Word Count: 53,534

This past week, I rolled out another few thousand words.  This week, however, marked two significant events to my book.

The first, which is definitely related to the second, is that I got some feedback from my friend (my unpaid, and very highly skilled editor, who also acts as my motivation couch throughout this entire process) as well as my husband.  My husband’s comment was that the book, so far, is interesting enough to read, and this must be something since he has never read a book to its entirety his entire life.  A biased opinion, to be sure, but definitely helpful to keep my spirits positive.  My friend, who also liked the book, told me some key structural areas that I needed to fix (but overall the book was very good so far, and she can’t wait for more of it to be written).  One of the things that she mentioned was characterization, which I will need to correct in my first draft.  The second thing that she mentioned was “to drop seat-holding clues throughout the book, without giving away anything abouts its conclusion too fast.”

She gave me a nice example from one of the books that she was reading, the author being James Patterson.  So I stole his idea, and put in a very enticing prologue, and then the book starts off without any of those characters.  You’ll find one them later in the book, of course, when I want to reveal a nice juicy tidbit, and then you’ll meet the other two sometime even later.  “Make me wonder what ever happened to them,” she told me.  “It should be related to your ending, but don’t make it too key, either.  Just let the reader know something that the main character, or even all the other characters except for the arch-nemesis, doesn’t know.”  This is such great advice, and it comes at a perfect time in my writing.

The reason is because I’m a good way into writing, but I’m not even close to being done yet, so if I want to change things, then I can, without really rewriting entire chapters.

So the second thing that I did is interweave another story line, based off the prologue that I wrote, which was based off my friend’s advice.  This changed my outline somewhat, since I have to introduce these characters, but one of them is going to be introduced right at the time of last week’s ending point.  This coincides nicely with the first “turning point” in the book, according to the Marshall Plan and it also gives my book some depth that I was craving.  This section of the book was kind of lagging, and the outline was a little weak, and it really needed her timely, and wise, advice.

So I learned the most important thing of writing.  You can write your entire book according to your outline, and there is nothing wrong with that.  Or you can view it as as a rough draft, the very first draft of your book, which means that it’s supposed to change and you’re supposed to make your first draft better.

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