Designing Your Characters Names

Typography glossary

When it comes time to name a cast of characters in a new manuscript, I tend to surround myself with thick-spined baby naming books (or long lists online) and get bogged down in the meaning of a name–king? queen? strong one? mouse-like? darkness?–and sometimes the pattern of sounds. For example, in a recent manuscript I had a group of siblings all share names with double letters in them and end with a y-sound (example: Billy, Jennie, Bobby, Annie) to connect them as a unit. As writers, common assumption is we can control the content of our stories, but not the design: publishers, being the experts they are, usually take on the responsibility of cover design, and for interior pages choose the fonts, design the layout, determine the look of the running heads and page numbers.

But what if content and design are so linked that writers can choose one and affect the other? If we could, in fact, design our character’s names?

I am taking a super interesting typography class for my day job–my book-nerd and word-lover heart is so happy learning about fonts and design principles and practicing making words pretty–but something from the first class tickled the writer section of my brain.

The professor was talking about how our brains associate certain shapes with certain meanings. For example, straight lines indicate power and strength. Richard Campell Gansey (Raven Boys, anyone?) is an interesting name in it’s own right, but Richard Campell Gansey III? Something about that particular Roman numeral (rather than any other Roman numeral, say, IV) really does whisper the idea of strength, both in meaning (family dynasty and power), and in form, the actual shape of it.

In our culture, curved lines often imply feminism and our professor argued curved lines also command immediate compassion. For a soft, sympathetic feminine character (of course, there are tons of other sorts of lady characters!), a name composed of rounded letters, o’s and s’s, a’s and j’s–perhaps Sophia? Or Amelia?–could do the trick.

The letter X has traditionally been associated with mystery. X marks the spot, solve for x in algebra or a word problem (always the greatest mystery of all, for me in high school at least!).

Other things to think about: horizontal strokes imply no movement, while vertical strokes imply alertness. Diagonal strokes–whether ascending or descending–are full of energy (increasing or declining). To me, the trump letters of diagonal strokes in the English alphabet are Z, W, and V. Think of what a name with the letter Z in it, like Zelda, or V like Victor, or W for Wanda can trigger in a reader!

Obviously, this isn’t the end-all-be-all way to name characters, and all readers might not pick up on the cues you were going for in designing your characters’ names, but it’s kind of a fun perspective to consider.

Even as writers, there is no end to where typography can take us!

January’s Too Few Book Reviews

As I mentioned recently, and for a variety of reasons, I’ve become interested in starting a little blog series where at the end of every month I give a few little book reviews of any books I read that are under reviewed. In this series I want to focus on books that, for whatever reason, haven’t gotten the media attention and book buzz other more popular books did, have less than 2,000 reviews on Goodreads as of my posting, and could use a little bit of love and attention. Also, I’m adding information for each title about how I discovered that book and/author. Mostly because I think this is interesting information, but also in case it helps any authors who have under reviewed books of their own and want to think of creative new ways of reaching new readers.

Book: Blue by Joyce Moyer Hostetter

Total Current Reviews on Goodreads: 404

Date Published: May 2006

Publisher: Calkins Creek

How I Discovered this Book: Went to the History Museum of Catawba County in North Carolina a few months ago, which had an exhibit on the polio hospital that had been run there in the 1940s. I expressed a deep interest in the topic (GOD I LOVE THE HISTORY OF PLAGUES…ESPECIALLY polio) to the museum curator and she pointed out that a children’s historical fiction book set in the hospital itself, written by a local author, was for sale in the gift shop. Obviously, this book was meant for me and I bought it immediately.

Thoughts: MG historical fiction always has a sweet spot for me as a reader. The voice of the story, and the main character narrating it, was so distinct, uniquely her and also uniquely of that place, both historically and geographically. It’s a perspective of WWII from the home front, the families and children left behind when their fathers went to fight overseas. I don’t think there are enough books that have this perspective, particularly from a character living in the south, as a region, and, let’s be honest, did you even know that there was a polio outbreak during WWII in the United States. (I only learned this in college during a really specific history course, but otherwise I think I’d still be totally clueless about this usually “hidden” history.) I love that this book was set during WWII, but wasn’t about every single battle fought during WWII, which made it feel more realistically like it was from a child’s perspective, for me personally. Perfect if you want a historical fiction read that will surprise and charm you.

Book: Ghost Knight by Cornelia Funke

Total Current Reviews on Goodreads: 1,387

Date Published: May 2012

Publisher: Little, Brown Books for Young Readers

How I Discovered this Book: Digging through the OverDrive audiobook archive my library provides. Looked up Cornelia Funke, a favorite author, and found this lovely gem.

Thoughts: Love. Love love love love. Set in charming Salisbury, England, this is EXACTLY how I like my ghost stories: creative and historical (there are medieval KNIGHTS, folks!) and spooky and funny, with saucy spunky characters, alive and dead alike. This reads like my very favorite MG books when I was a MGer myself. I also happen to think this is the best comp book out there I’ve found for my current WIP (so I’m totally referencing this book in my query letter in a few months, when I finally can compose said query letter, thank you very much!) if you’re interested. PS: If you’ve read and loved this book in the past, let’s be friends. Also, will you please be my beta reader? (I’m kidding…but not kidding.)

Book: Prisoner of Night and Fog by Anne Blackman

Total Current Reviews on Goodreads: 2,290 (it was at under 2,000 when I started reading, though!)

Date Published: April 2014

Publisher: Balzer + Bray

How I Discovered this Book: Mentioned in a round-up most-anticipated April releases over on the YA book blog, Perpetual Page-Turner.

Thoughts: Intensely detailed historical fiction that makes you feel like you’re there, in the early-early years of Nazi German. I could actually see the brick of the cobblestone streets, the world building and setting was so detailed. The twist of this story is that the main character is trying to solve her father’s murder…and her Uncle Dolf is no other than Adolf Hitler himself. An intimate, up-close, and brave portrayal of a massive historical figure who usually remains distant (in a far-off-famous-person sort of way) in young adult fiction.

How the Writing is Going

A thing that I’ve heard many writers say many times before is that every book you write teaches you something. I like that idea. It’s a concept that’s always appealed to me. For a long time, though, I was having trouble figuring out what, exactly, each of my failed manuscripts was trying to teach me. There was a lesson there, somewhere–there had to be!–but I just couldn’t find it.

Now that I can look back on a sequence of several shelved manuscripts, tucked away in the dark corners of various flash drives hidden in dark desk drawers, I’ve realized that they were mostly just teaching me the same thing: You’re not ready, not yet. I’d write this pile of words that had a few glimmers–some good writing, a few characters I became particularly fond of, a place definitely worth setting a story in–and I’d look at it once I had typed “The End” and just know with this heart-sinking feeling that this wasn’t it. It wasn’t a book, it wasn’t a story–just a few random events with the same cast of characters strung together in chronological order–and I wasn’t capable of making it into something book-shaped. I would think on it for months and wouldn’t be able to think of a single idea that would salvage this not-book-shaped thing I had worked on for months, maybe a year. I wasn’t ready, I wasn’t there yet. So I’d start again.

With each passing failed manuscript, it was getting harder and harder to admit that I still wasn’t ready, this still wasn’t the book that was worth showing to beta readers, would get me an agent, would make it on bookshelves. It was particularly hard for me to admit that fact with the last manuscript, the one I spent all of 2013 writing. My writing was definitely getting better. There were some fleshed out scenes I could see so vividly, certain snatches of dialogue (and let me tell you, dialogue for me is HARD!) that would catch me on a reread. It sounded, a little, like a book. And the characters were the most real human creations I had ever been able to make with my own words. I wanted this book to work. I needed it to work. So, for the first time ever, I went back into a manuscript and tried to revise it–not petty line edits and sentence restructuring, not just adding flowering words here and there–real revision, moving around events and adding things and changing motivations. I spent months trying to revise that could-maybe-be-book-shaped thing and I was frustrated to the point of tears. I wasn’t having fun. I wasn’t enjoying writing. I hadn’t enjoyed drafting the book–I’m just not the type of writer who enjoys drafting–but I had assumed all those years that I would really like revising, once I finally got to experience it. It was the polishing point of the process, where all the good ideas came together. It was the part I had loved the most about giant academic papers in college, taking that raw material I had dumped on the page and making every single word right, making them the right words in the right places in the right order. Shouldn’t some stage of the writing be fun, if I’m a writer?

But revising this manuscript was no more fun than drafting it had been. If anything, it was worse. The plot just wasn’t working and it felt like the characters were glaring out of their world at me. If you could just figure out this revising thing, if you could just do this thing right, you could do us justice, they seemed to be saying. It took me a while to realize that it wasn’t that I was broken–it wasn’t that I was completely incompetent at revising–it was that the story was broken. And it was also partly because I wasn’t the same person who had written that first draft. I still cared about the characters, but I didn’t care about the plot, about what the book was about, anymore. I wasn’t as excited about answering the questions I had been so eager to find answers to the year before. I had, for all intents and purposes, outgrown the story. So I shelved it.

It was hard, shelving that book. There are parts of it that I believe might be the best stuff I’ve ever written. And at that point, one year ago this month, I had been trying to write a book for a long time. I’m one of those people who wrote books in elementary school, middle school, high school, college. Has always dreamed of being a writer. I fell in love with children’s literature and never really left it. I’ve been devouring it, studying voice and trends and watching the young adult branch of publishing grow and boom. I’ve been reading about literary agents and publishers through my favorite author’s blogs for nearly ten years now–since I was a little public school baby writer–all with one goal in mind: sharing a quality book worth reading with readers. How wasn’t I there, yet? Why were other people, who had just randomly woken up one day last year and decided they wanted to write a young adult book get it done right on their first try? How was it possible that this most recent not-book-shaped thing was still telling me You’re not ready?

Every time I try out a new idea, type up the words “Chapter 1,” for the first time, I try something different. It’d always be young adult, but it’d be a different genre: young adult fantasy, young adult dystopian, young adult historical, trying to find the right fit. I’d try different tenses, pants vs. plot, and different formats, like a book told completely in journal entries. When I set down to write the new book of 2014, it was really different for me. Third person. Middle grade. Male protagonist. I had never done any of those things before.

The drafting, as always, was hard. I kind of hate drafting, I’ve realized. It’s painful for me. I want things to be good–I derive a lot of pride and joy from good sentences, good writing, great characters, from writing I enjoy reading after I’ve written it–and first drafts are just by nature mediocre at best, nothing to ever brag about. And somewhere in the middle of every story I always get completely lost, whether I have an outline or not, and the quality deteriorates even further from there as I write in circles, just throwing words at the page trying to see what sticks. Stuck somewhere in the middle of my story, for a lot of weeks this summer, I didn’t write at all.

I was feeling more confident about this book, though, towards the end of 2014. I felt like I had a better handle on all the things–story, characters, dialogue, scene structure, tension, and that ever-elusive creature “voice”–than I had ever had in the past. I would read over passages and knew that, at the very least, I was definitely becoming a better writer, I was definitely better than I had been a few years before and that was a relief. At least I was getting somewhere.

When I reread the full draft last month, the whispering was a little different than it’s been before. The whispering was, this could work. It doesn’t work yet. But it could.

As I said before, I dislike drafting. I certainly can’t make myself do it every day, as so many people claim “real” writers do. It’s too draining and if I force myself to do it every day, I end up tossing the words usually anyway, and I end up hating writing, avoiding it, even more than I already want to do during the dreaded drafting stage. During the 2013 manuscript, I finally understood that writing every day just wasn’t something I could do while also balancing everything else–exercise, friends, family, reading, full-time job. And I forgave myself for that.

So that’s why how I’ve been reacting to revising this book has surprised me so much.

I’m 22,000 words in now and I’m not slowing down. I put myself on an idealistic 5,000 words a week schedule…and I’m actually a little bit ahead, which I’m pleased about for now. But the way that I stay on schedule means I have to dedicate a decent chunk of hours to consistently revising every week. I originally gave myself the goal of three times a week, totally reasonable. The thing that’s really been surprising me, though, is that three times isn’t enough…not hours-wise, but emotionally. I WANT to revise this story every day, all the time. I’m driving somewhere and I’m thinking about tackling the next scene, diving back into my little fictional neighborhood. I’ve started carrying around a dozen or so pages in progress in my purse all the time (I print out the first draft and pretty much rewrite every sentence by hand and then revise even further when I type it up that night) and edit a half an hour here or there, in-between doctor’s appointments, on lunch breaks. There’s a momentum building with this story as I nail down each chapter that I’ve never experienced before. I feel like there’s a little train, like the miniature one that circles around Christmas villages, in my head, plugging away to the tune This could be it, this might be it, it’s finally sort of working, I think this is working.

This is what revising looks like. Lot's of words in the margins and arrows and cross outs.

This is what revising looks like. Lot’s of words in the margins and arrows and cross outs.

So that’s where I am, in case you were wondering. 22,000 words into a 65,000 revision/rewrite, with the plan to finish the second draft by April 1st (no joke) and get it out to some beta readers. Barring any really awful, unanticipatedly drastic feedback, I think that should take about two months. So…the plan is to seriously start querying in June, then I guess.

Fingers crossed this manuscript keeps liking me and I keep liking it and my beta readers like it after that…

End of an Era

It’s come time to retire my little old laptop. It overheats, turns off and on on its own command, is the equivalent weight of a pile of bricks, and despite multiple battery replacements over the years it can last only about fifteen minutes when not plugged into an outlet. I want to retire it now before one day it just decides not to turn on any more and I have a major melt down.

I’ve been thinking this for a while, but with NaNoWriMo looming, my fear that the computer would just call it quits in the middle of a massive write-in session has been keeping me up at night (I kid you not).

My little old computer was a Christmas gift in December 2008 when I was a sophomore in college. That was very nearly SIX years ago! As I’m sifting through the computer, making sure everything is exported and archived to an external hard drive, I started keeping tally of how many books I wrote on this old keyboard and I realized something:

I wrote my very first novel on this computer.

I mean, the first novel I consider my “real” novel attempt. There were of course novels in middle school and high school I muddled in and a few I even finished, but the book I wrote for independent study, a MG historical, in spring 2009 was the very first experience of me sitting down with a plan and a novel-writing goal, the first time I produced something (nearly) novel-length worth sharing with others.  All told, I’ve written nearly five books on this thing:

1. 35,000-word historical MG (spring semester, 2009)

2. 54,000-word YA (2011; first 4,000 written as college creative writing capstone final, 50,000 to completion for my very first NaNoWriMo win!)

3. 15,000-word non-fiction (2012; my published Byberry State Hospital book!)

4. 66,000-word YA dystopian (started in NaNoWriMo 2012, finished in December 2013)

5. 12,000-word YA (NaNoWriMo 2013 attempt)

6. 40,000-word current WIP, MG (started in January 2014)

We’ll just combine #5 and #6 together and call it one full book, shall we?

Let’s not even mention all the short stories and extremely lengthy history papers written on this thing. It’s seen a lot of miles/accrued a huge lifetime word count! [pats affectionately]

And may the new computer, a slim, sleek MACBOOK AIR (I am fangirl dancing inside…it is SO LIGHT) last as long and help me write the next five awesome books! Anyone want to join me for NaNo for the first 50,000-word stretch on this new keyboard and cheer each other on? :]

How many book-shaped things have you written on your current computer?



Every aspect of my life has been in upheaval for the past few months. I was avoiding blogging for so long because every day was so unsure, for awhile, I didn’t know what I could share or report that wouldn’t change within the next twenty-four hours. I think, finally, though, the dust is settling. I’ve fallen into a new semi-regular routine and, upon review, am comfortable enough to announce that this is how things are and how they’re going to be for awhile. Here are the results:

I gave up on my WIP. This was really hard to give up, because the first few chapters were some of the best writing I’ve ever done, I think. The problem was that I don’t think I realized how hard and unpleasant this particular WIP was making writing for me until…I started a new WIP and the words, characters, and story are appearing like magic and writing is fun again and I’m starting to rebuild my confidence that I am a writer and I write well. I’m hoping that this new book will build up my writing and imagination muscles so I’m able to attack that first WIP again, someday. But in the meantime, I’m completely charmed by this new WIP and I hope, in two months, so are my beta readers. I’m writing more and more regularly, averaging about 1,000 good, worth-keeping words a day. It’s not much, but it’s regular and gratifying. The new WIP is slowly growing; it’s hard, emotionally, to be at the beginning of a new project again when I think about how I have no completed project under my belt, when I think about the fact that I am completely starting from scratch, again, but it is what it is. I’m spending about 50% less time with my face glued to some screen connected to the internet which has, to my surprise, spiked my personal daily happiness an amazing amount. With less internet, I get more things done, things that weren’t getting done before and were causing me huge amounts of anxiety. Yes, this means I’m falling behind in my blog reading and writing. Yes, it means I’ve fallen behind with my email correspondence and other people are annoyed that I am not responding to their emails right. this. very. second. But it’s been so freeing and pleasant and it’s working for me so, that’s that. I’m commuting less, significantly less, and less times battling New Jersey roads and New Jersey drivers has made me infinitely happier. Why less commuting? I got a new job. I’m now Coordinator, Content Development at HarperCollins Publishers. [insert fangirl screaming here] There are so many good things at the new job that I can’t even list them all without sounding like a huge, snotty brag so I won’t go there except to say I love what I do and the people I’m doing it with and I lovelovelove all the books I’m able to read. On that note, I’m reading up a storm but being really picky and choosy about what I read, only reading books that I believe will be truly excellent. Putting a higher value on my personal reading time has made me happier too. As always, feel free to share your awesome reading experiences and become my friend on Goodreads. On another note, I’m eating in a completely new and entirely healthier way. I’m exercising regularly.

Honorary first day photo. Training at the HarperCollins NYC office!

I think what it all boils down to is that I’ve taken care of a bunch of personal stuff and I’m left happier than I’ve been in a long time. I’m emotionally steadier and I’m much healthier, both emotionally and physically. It feels like what I imagine a detox feels like. I didn’t even really realize how crappy I was feeling for so long, didn’t even realize how stressed out I was in my “normal” routine, didn’t realize how much all of this was negatively impacting my writing, which in turn made me feel even crappier, didn’t realize I was trapped in this huge ugly cycle of disappointment, until I got to this new place where the grass really is greener. I keep breathing the air and waiting and waiting and waiting for things to decline and decay, just a bit, but they don’t. Things really are better, and they’re staying better. I just want to let out a huge sigh of relief that not everything has to be as hard as I was beginning to believe it needed to be. There’s this amazing calm that’s come over me as I spend every day chipping away at several of my goals, where every day is actually a unit of progress in the right direction for so many things.

So, after that little personal ramble…Happy President’s Day to you! I hope things are going well in your worlds as well! I’m going to spend today’s holiday writing, reading, cleaning, and watching some of the massive amounts of snow outside my window melt. I’m going to eat some amazing lentil soup I made on the snow day earlier this week. I’m going to go to the gym tonight and listen to an audiobook. I’m going to pay a few bills and get a few things checked off my to-do list. It’s going to be fantastically relaxing and my WIP will be a little closer to being a real thing on my hard drive. I can’t wait :]

Writing Shortcuts: (Part 4) Characters

This is the fourth post in the Writing Shortcuts mini series where I discuss all the things I learned in the second draft that I wish I had known (and done right!) during the first draft of my current WIP. Check out post #1 and #2 (setting) and #3 (pacing) to catch up!

Apparently everyone in the world besides me knew about this handy little writing trick. Even the non-writers of the world (I polled a few, so it might be an unreliable sample) knew. And when I mentioned my mind-blowing, brilliant, life-changing writing idea to them, even the non-writers paused and stared at me like I was crazy. “. . .  you don’t already do that?” some asked. “Doesn’t every writer do that?” others asked, inevitably referencing some world-famous writer who had admitted to the practice in an interview/magazine article/memoir.

Apparently, this is obvious to the logical people of the world.

But in case some of you out there never had this idea occur to you before (like me) and (like me) just go at a manuscript and writewritewrite 50,000, 60,000, 70,000 words with no real character knowledge, just kind of expecting each word to get you a little closer to the character having life breathed into them, I have news for you:

Characters back stories are the most amazing thing in the world.

Character back stories are a get-to-know you opportunity. They’re generally only one or two pages long and in them they include first impression information (what you’d notice right away if you met them for the first time), self-introduction information (the quick-and-dirty sort of elevator speech every person has when introducing themselves to someone you want to get to know. Think back to how you introduced yourself to your college roommate), and the deep dark stuff you’d only pull out of someone past 2:00 am when you’re laying on a trampoline together, staring up at the stars, and talking about life.

These back story write-ups were inspired by MG/YA authors Kit Grindstaff and Jennifer Hubbard, who gave this great session at the NJ SCBWI conference back in April that completely rocked my world. It was about dirty little secrets. About how important it is to know those secret, dark things about each of your characters. Only once you understood them like that, could you then throw them on the page, like I had been blindly doing, and expect any magic to percolate.

After reading the first draft and giving the first few chapters to a critique partner, I knew one of the greatest weaknesses of the manuscript–and one I didn’t yet know how to fix–was the main character. She was the most important person in the book, by definition, especially because I was writing the book in first person, but she almost barely existed. She had no personality and was overshadowed by the much clearer secondary characters. I was having her do all these things and say all these words, but she was not a fleshed out person with flaws and feelings and fears, and it was really obvious that I just didn’t understand what made this character tick. What was her motivation? Her favorite things to do in her free time?

I came up with nada.

The other characters were also pretty flat, so I systematically began approaching each character with a homework assignment: each one had to have this entire form filled out completely and satisfactorily before I could dive into revisions.


[Full name, occupation]

Motivated by: [i.e., truth, justice, fear, guilt, secret crush, etc.]

Instant description words: [i.e., adventurous, devoted, controlling, bubbly, lone wolf, etc.]

Biggest mistake ever made in life: [usually a flashback memory scene to a regret]

Biggest obstacle: [The thing the character finds most challenging, the thing they’re constantly trying to work on. Example: needing to fit in, mending a frayed relationship with a loved one, getting over fear of heights]

Least likeable quality: [Flaws are so much more illuminating of a character than why I like them. This question helped me figure out that one character was meek to a fault, for example. If I had just focused on her likeable qualities, I would have had a pretty flat character who was friendly, polite, and a loyal friend. But with that meekness shining through, she has an added depth and becomes more real.]

These are the basic things I always answer. A lot of other stuff gets written down and crossed out and doodled, but these are the bare bones I need to understand every character’s personal history. I write these out by hand, so they’re pretty much a hot mess of scribbles in a notebook that only I can decipher.

It took me about two weeks to do a character sketch for each of the secondary characters. I learned a lot of things I didn’t know about each one. But I kept returning to that blank page for my main character. I’d jot down ideas, tid-bits of the main character’s history, anything to get to know her better.

After a few weeks and a lightbulb moment thanks to a brainstorming session with my sister, I finally finished her character sketch. I understood her. I got her. And it made revising her scenes, her dialogue, her actions, and writing new scenes for her so much easier. I was able to edit away all the crap in the first draft that, it was very clear to me now, was simply not this character’s MO. If only I had done these character sketches to begin with, before I ever started the first draft! Writing that entire first draft over the course of about four months didn’t help me get to know the characters better. I wandered through that world and through that plotline as lost as any of my characters. It wasn’t an effective method for me. The characters just foundered for pages upon pages and even when I wrote “The End,” I was still lost.

Lesson learned? Always write character sketches for each and every character before the first scene they appear in. It’ll help make them consistent and it’ll help the scenes write themselves. Now, off to squeeze in some character sketches to prepare for the secret NaNoWriMo project…!! I can’t wait to spend the month practicing writing a speedy and much better first-draft process! Join me?

Writing Shortcuts (Part 3): Pacing

This is the third post in the Writing Shortcuts mini series where I discuss all the things I learned in the second draft that I wish I had known (and done right!) during the first draft. Check out post #1 and #2 (setting) to catch up!

While reading through the first draft, I slowly came to realize how uneven the days of the week were. The plot spanned across the course of six days. Nearly 40 percent of the book happened on Day #1. (!!!) Other days got as little as 5 percent of the grand total page count. (This was partly a symptom of my speed-writing need. I get really excited about a story idea during a first draft and want to get to the end so badly that I write only the barest of bones. I just want to write “The End” ASAP…and scenes, chapters, and entire day’s worth of events get increasingly shorter as a result.)

Something that would have REALLY helped me during the drafting process to slow down my writing pace and, as a result, create a manuscript that had better story pacing, would have been a calendar.

Like this one.

Plotting Calendar

Plotting calendar. Magical tool for measured pacing!

Once I read through the first draft, I bullet-pointed the scenes on the calendar. That’s when I started seeing the holes. Literally. Huge, gaping holes. Seeing it laid out like that, I realized that one day only had one scene: a random conversation that happened during the evening. Then, cut scene, the next day! Seeing all these holes was like instant inspiration to dig in and start fleshing out the story. I started envisioning the characters interacting together–these were detailed visions I was itching to get on paper–in scenes that didn’t yet exist in the draft, but which I knew HAD to happen and would fit in those holes perfectly. The calendar helped me see a lot of scenes that I should have written during the first draft but was too rushed to give them the time and attention they deserved.

So, lesson learned? Always have a calendar for a first draft. (A lesson learned just in time for NaNoWriMo! Anybody else doing it? Friend me!)