Re-Editing, Re-editing, and Re-editing

For roughly almost all of last year, I did not work on my first novel at all. One, it was hard because COVID had all of us hunkering down and stressed out that trying to do anything that required a lot of concentration was just pointless. This doesn’t’ mean I wasn’t working on any writing projects. I did many blog posts that were dear to my heart (and a few of those that I started researching last year will finally be completed this year because, yes, I DO take my time with researching and writing these posts). Plus I did more research (general) into the 19th C for the other 5 novels (6 Austen variations because there are 6 completed Austen novels). Then I decided to do some research into Faerie Tales (because I had once scribbled an idea back when I was 15 that I do think may be fun projects). I also adopted another cat (Parker) as companion to Henry. Met a wonderful guy (and still going strong over a year later), watched a lot of films, read a lot of books. Gained a bit of weight (as did we all I imagine). But now, I am back on board with re-editing my novel. Egads!

Northanger Abbey: Our Hero Henry Tilney | Austenprose – A Jane Austen Blog
JJ Fields as Henry Tilney (Northanger Abbey). Courtesy of Pinterest. Also the namesake of my cat, Henry.

So, what’s it like to come back to a novel that once was all consuming, read it, and discover that there are parts you no longer like? A bit weird, to be completely honest. In a way, I feel closer to Jane Austen (who famously re-wrote her novels over and over again, over a period of years) and other writers, both departed and contemporary. We must, after all, be our own worst critic and our most fervent admirer. Re-reading my own novel is surreal. There is no other way to describe it (unless we want to say it’s a bit like schadenfreude, except we are taking our pleasure from our own misfortune). There are parts that I immediately know must be cut because they do nothing to advance the tale. There are parts that can easily be condensed and explained in a sentence or two instead of paragraph after paragraph. In some ways, I was much more into describing than showing, which is a fault most (academically trained) writers probably have. This is why we edit.

Jane Austen Manuscript Chapter 10
Jane Austen’ editing process. Courtesy of the British Library.

Both Cassandra and Henry Austen made statements in their later lives regarding Jane’s writing process. It should come to no surprise that she had outlines and knew how she wanted each of her noels to end (I do that as well). But like most writers, even she probably acknowledged that after writing and editing the first time, sometime things have to be changed because what you thought may have been a good choice (like a name or even an ending), just doesn’t work as well. It seems Jane was forever rewriting her novels into newer drafts, editing them, changing them, chipping way at the excess until she deemed them to be ready to be published. And that is all I am doing as well. Since the age of 19, I had outlined and had these thoughts of re-working Jane’s novels in such a way as to include a bit more history (because we are so removed from her time, we forget some of the most basic knowledge her audience had, we no longer have), but in a way that is fun and gives us the endings we want, but in a different way. Now, in my naivete, I did write a fan letter to Jane Odiwe when I was 19, wanting some advice from an author I admired about whether or not my idea would work. Now, not to besmirch Odiwe (for I do admire her for her storytelling and her love of Austen), imagine how shocked I was when her “Searching For” series started coming out and I realized my fan letter from all those years ago, when I had stupidly written her an outline of my idea, became her reality.

Searching for Captain Wentworth by Jane Odiwe
Courtesy of Amazon

Then, I read it. Well, not all of them, just the one regarding Captain Wentworth because it was the one I had foolishly outlined for her in that letter years ago. Dear Reader, hers is enjoyable, but nothing like mine. Other than taking the name (because I did give her the title of my novel as Searching for Captain Wentworth), and the premise of time travel (which, thankfully, I abandoned when I was 21 and opted for another route), I know my novel will not suffer nor (hopefully) be compared to hers. Now, I do not blame Jane Odiwe. After all, a fan letter from over 20 years ago (to which I never received any reply and please recall this was early in the age of emails and twitter did not exist), to which she may have read (or had been read for her and to her), probably installed a nugget of an idea that inspired her. For that, I am humbled because what she ended up writing is nothing to what my plans have become. While hers has involved time travel, and not much accuracy in terms of history, they are sweet pieces of fiction and, dare I state, love letters to Austen herself. While my concept is more about fleshing out some of the characters and giving a bit of background, with some fantasy and witticisms thrown in for good measure. The hard part, of course, is the whole getting of an agent. Because my original title was stolen, I had to change mine. And because it sounds similar to Odiwe’s, some agents refuse to read even the first chapter.

Inside Out in the Office: A Closer Look at Anger
Anger from Pixar’s Inside Out. Courtesy of Pixar/Disney

Does this anger me? Of course! I’ve also gotten comments such as I seem to write English fairly well for someone with my name (because people with Arabic names can clearly not understand the complexities of the English tongue), or I had no right to be writing Austen (because it’s only the domain of….whites?). I’ve even had agents state my novel is too ambitious (and too much like Austen), I should consider throwing in sex scenes instead of wanting to keep it sex free. The audacity of it all (because while Austen did not show sex and her novels are really sex-free, she did include romance and sensuality, which I have striven to retain). Having not touched it for a year, I am more determined than ever to edit it (again, for it seems to be the 6th or 7th time now), really make it as good as I can, then query agents again later this year. Yes, I expect I will have more rejection letters than acceptance. Yes, I still struggle with HOW to query successfully because no matter how many blog posts and tips (and hints) agents have given, none of them have worked for me.

3 Ways to Get a Literary Agent - Keller Media, Inc.
Courtesy of Keller Media

There is, of course, the more modern route which is to self publish. My boyfriend has self published 2 novels and 1 collection of short stories (and no, I have not read them). I will most likely self publish my poetry (literary agents for poetry is almost non existent and I’m sure the competition is even harder). I do plan on sending poems out to online journals and other publications to get some in print, because I do think having some of it out there would be a good thing. I have, over the past 2-3 years, have sent them to online magazines and journals with no response, but hopefully that will change. Of course, I have also, technically, self published a few poems here on this blog (and a few on Poetry.com-remember that old site? Those poems are long gone, in terms of online presence as I do have them written down). And I did get one or two published in my college days (and one in my high school days as well). So, I have no issues with going this route for poetry. But for the novels? Perhaps I am a bit old fashioned but I really do want to try and find an agent. I know so many books on Amazon are self published (it seems so many go this route and the offerings can be incredible to god awful all in one book that has to be split into 3 or more). And while that is an option, I want the agent for the simple reason that I want to see my books in stores. I want to see them in libraries. I want this little bit of myself to outlive me in print form (my immortality, as it were). Would it be nice to know that 200 years from now, my works could inspire others? Of course! I’d be pleased if my works inspired someone even 10 years down the road!

So, back to editing. That dreaded business for which others have worked with professionals. And yes, a professional editor would probably be very helpful. Yet I want to work the story to the best of my ability FIRST, then sending it off to an agent (hopefully). And then, if an editor is brought in, I would not mind. I see professional editors as that final step in polishing a work. My novel is still a bit rough, so to speak, and I want to be able to smooth it out and have that knowledge that I did so before even thinking of handing it off. Because what I know I can chip away, an editor may also chip away, or they may chip away more than what I think should be done. While I always am astounded with the stories coming out with people who wrote and then found an agent, and saw their book published all during the lockdowns, that is not normal when it comes to the literary world. For one thing, having these tales out and about make it seem as if writing a novel and getting signed to an agency is extremely easy ad those of us who struggle MUST be lacking in some way. This is simply not true. For a novel to have been written, queried, signed, then published in the span of 10 months tells me (as it should others) that the novel is probably very rough or very short and most likely (and I hate to write this), but not well written. Most novels take 2 years MINIMUM from when they are accepted to when they are published. Sometimes more IF one does not have an agent is is looking for one. In other words, this is not a fast sprint to the finish line. This is carving Michelangelo’s DAVID.

Why Tom Holland's Spider-Man/Peter Parker Is The Worst One Yet |  Moviedash.com
Tom Holland as Spider-Man/Peter Parker in Spider-Man: Homecoming (and yes, the inspiration for my cat, Parker/Peter Parker). Courtesy of MCU/SONY

Like any long term anything, patience, fortitude, and stamina is key. Now, with the whole COVID thing, I know my Depression & Anxiety have gotten worse, which means my attention span is not the best.

Red squirrel - Wikipedia
Red Squirrel. Courtesy of Wikipedia. And yes, my attention span has sometimes been THAT short.

HOWEVER, with things improving, and hopefully some medication tweaks, my attention span will be much improved and I can edit for longer periods of time rather than doing half a chapter a week. Naturally, editing on a computer screen is also not ideal, but I am determined to do this more choppy edit on the computer first. Then I may consider getting it all printed out and doing a more traditional edit like Austen did (and that I did my second time around too). So, I am basically trying to tell you, Dear Reader, that if you are also in a similar boat as I am, and struggling with writing or editing, take a break. Walk away for a bit. It seems a bit daft, but it helps. It truly does. I do believe not looking at it for abut a year has made it easier for me to make those bigger edits that the novel needs to be a better, more cohesive, story. We do, after all, tend to get very attached to our writings and it’s hard to look at it objectively when the struggle, the effort it took to bring it all about is still so fresh. IF you are doing a dissertation (as I have friends who are currently doing this), walking away for a long period of time is NOT doable. Sadly. BUT (and this is vitally important), walking away for a day or two does help.

Pin on Writing Superboards
Found on Pinterest

Witting is a process and when you first get everything down, like any parent, you think it’s a masterpiece and utter perfection. Dear Reader, it is not. And that can be very hard to understand as well as being very hard to accept. Now, I did do 2 edits back to back after I first finished the novel over 2 years ago, walked way, then came back after a mere 3 weeks and did, I believe, 2 or 3 more edits. It was not enough time for I was still too much attached to certain passages and characters to be objective. But now, having given it nary a glance for 10 months, I can be more harsh, more critical of my own failings and work. It’s much easier to remove one or two entire paragraphs, condensing it to 2 or 3 sentences when I am not so adamantly attached to them. What I am trying to stress, of course, is editing is hard. It’s a lot or work, and it’s not going to be easy. DO edit after you first finish. I found so many typing errors it was not humorous. But then walk away for a least 3-4 months. Then, come back, do another edit. Walk away for a few more months, then come back to edit it again. If I had known this, I do think this novel of mine would be at that stage here I can query an agent. But this is entirely my failing and one I know I will never repeat. Learn from this, Dear Reader, for it’s advice I know I would have liked to have been given and one I have yet to come across elsewhere.

As for Jane Odiwe, I wish her no ill will nor any regrets. My fan letter was so long ago that she probably had no memory what I wrote when she started writing the “Searching For” series. And I am completely at peace with that You have to realize that there are so many people writing Regency type novels out there that anyone who is able to stand out, even a bit, is a credit to those of us who are dabbling in this genre. While mine are more fantasy variations with historical underpinnings, there are variations out there doing “what ifs”, mysteries, sequels, etc. If you ever Google it, there are more variations, sequels, and themes on Pride & Prejudice than any other Austen Novel. And while I could have gone the route of doing P&P first, I wanted to focus on Persuasion because it is the novel (besides Northanger Abbey) that I love the most. Both of those novels are also the least adapted (film & TV wise) and have the least variations, which is a great pity, is it not? For we have Wentworth writing the best love letter in all of Austen and Tilney, who knows his muslin (and smirks quite often). So take heart. Keep typing or writing away (I wrote mine out first on paper, roughly a third, then switched to typing). Keep researching (if that’s your thing). And keep dreaming.

Character Cheatsheets

Someone sent a comment that I had all ready done a posting about character tearsheets and cheatsheets earlier. One, yes thank you for pointing that out. I am fully aware that I did a brief blog post on these subject earlier. Two, that post was very brief and not very informative,  but was me giving insight as to how I created characters and I didn’t devote as much time to explaining myself as I was currently writing and editing my novel at the same time. And for anyone wondering, no I did not allow the comment to be posted as there was some foul language and for everyone’s sake, I have the right to refuse to publish such things.

As the last blog post went in depth to discuss how to do character tearsheets and why a writer may find them helpful, I thought it would be as useful to discuss the concept of a cheatsheet. Now, this name is a misnomer because it’s not really a cheatsheet per se. On my computer, I call them Character Charts and they also exist in the novel notebook I have (for each novel) as the same thing. I refer to them as cheatsheets because having the information available to me on the laptop makes it easy for me when editing or writing instead of having to stop and rifle through the notebook to the appropriate page.  Also, I tended to add information when typing it out that is not available in the notebook of information that I decided was more relevant to the telling of the character in terms of dialogue or characterization (physical tells, etc).

From Pinterest; yes it’s for a different genre,  but look at some of the questions each section is asking here. Some of these may end up on your character cheatsheet.

character creation sheet - Google Search

From Pinterest (daddilifeforce.com); this is the basic form I used when developing my own character chart. I didn’t use all of these questions, but many of these were useful in developing my own questions I wanted to answer.

Both of the above charts were very useful to me when coming up with my own version of a character chart. I primarily used the bottom one, but I do think the top one has good references to Religion and Psychology that I did use. I changed Race to Race/Ethnicity for my own purposes and I included a View on Self for each character because a someone who’s evil doesn’t see themselves as evil and someone who’s strong may think they are weak in a certain way. Almost like an insight into their own personal view of a flaw (for me). I don’t think there’s a wrong or right way or doing these and it should be personalized to a writer’s style. I did 24 of these for my novel, each one being a word document. There is a 25th one of miscellaneous characters of just people like servants, people mentioned but never seen in the novel and I have listed stripped down, basic information: Name (and any meaning if there is any), Age, Occupation, Looks, Personality, Family. Looks would include Race/Ethnicity. There are 5 people listed on that one document (technically, 4 people and 1 Lawyer firm, but you get the general idea).

Image result for The Hero's Journey blank

From Pinterest; this chart actually reminded me of something one might do for a Character role on Stage or for a Costume Design. Yet it’s a chart and it may be a form that works for you.

My mother said this above form looks like a government issued Tax form, which I have to giggle and state it kind of does. The purpose of these is for you to understand your character. It sounds simple, but it’s deceptive and difficult. You have to know your character inside and out. You have to know them intimately, from their most sacred thoughts, to passing fancies, to even smells or foods they can’t stand. You have to know them so well that if a fan asks you a question, you can answer-or not and allow them to figure it out themselves. After all, sometimes too much information can kill one’s love of the world that was created (Rowling, I am talking about you). The best advice I ever read was to think about this as an interview. You are conducting an interview of your character and are trying to get as much information as possible. You may start off with the basics and over time, as the story develops, you will find out more. Hopefully, you will remember to update the chart when that happens so you don’t forget.

This set includes a Character Feelings/Character Traits anchor chart and 2 different graphic organizers. The Character Feelings graphic organizer allows students to track a character's changing feelings through the beginning, middle, and end of a story. The Character Traits graphic organizer gives students a tool to identify and record a character's personality traits and evidence for those traits.

From tearchersherpa.com; while this is geared towards school children, this wouldn’t be a bad way of brainstorming for a writer. I used this same form for one of my characters and it helped.

As you can see from the above example, not all charts are word heavy. And if you are just trying to get a feel for a character, I really think the above chart would be a good place to start. Most writers that I have spoken to and have read about have all agreed that you do need some way of keeping track of your characters. Charts are one way of doing this. Now, if you decide to just print out pages and fill them in, then getting a binder or having a folder is going to be your way of keeping track of the information. OIf you want a way of somehow putting it on the computer (so you have adigital copy), I think scanning them as individual PDFs would be the way to go to ensure you have a digital set with you, and a physical set as backup. Yes, I may be a little crazy of having 2 versions (hand written then type written), but I like having two copies. I can take the handwritten notebook with me when I print out my novel at FedEx and begin to edit and revise it without having to turn on the laptop. I also make sure to have my research notebooks on hand as well so I can fact check and verify any and all dates that I put in it because we all make typing errors. It’s maddening, but a fact of our profession. And I’ve learned, through trial and error, that even reading it doesn’t always catch the errors. I’ve gone really old school and read it aloud. Sometimes what looks fine on paper sounds really odd out loud. Sounds crazy but it works. Also really a good idea for working dialogue.

It is the opposite for me, this is where the love of my life found me

Pinterest

Basically, find a method that works for you. Use Pinterest, use Google. Look at all the options that are out there. Pick and chose from them to create your own chart. Because what works for one novel or even more than one isn’t always going to work for all of them. That’s the beauty of creating your own version. Because you have tailored it to fit your needs, you can easily continue to tailor fit it for your projects! Never let an author or even an agent tell you that you are doing it wrong. There is no wrong way to do this. There is YOUR way and THEIR way. YOUR way is always the best.

Presenting “Austen Spoilers” Cartoon by John Atkinson

Character Tearsheets: An Introduction

Character tearsheets are something that is common in the Theatre (possibly Film and television) world for Designers. Particularly Costume Designers, though I am certain Hair & Makeup Designers use them as well (in Theatre, Hair & Makeup tend to fall under the domain of the Costume Designer while in Film and Television, that’s an entirely different department). The easiest way of explaining it is a typical tearsheet is a word document (or similar program) of one page where you have pictures/images of a character for design purposes. It’s a way of visually assisting you in coming up with a design for a show. Sort of like a quick visual scan. Most costume students end up doing this in programs as we generally don’t have time to render (fancy term meaning draw and paint/maker/etc) in the short amount of time we are given for the assignment. Sometimes we are given mere days, so doing tearsheets is a quick way of designing a show for an assignment.

An example of a grad student’s tearsheet for Midsummer Night’s Dream on their online portfolio (courtesy of Kristalduke.com)

What you can see from the above example, is the “actor” she has chosen for the role. The jacket style she is considering and possible colors. I also see pants, vests, shoes with spats, a top hat, a cane (in one image, but that just me coincidence), and a fob watch. So, one gets the general idea of where she is going with that design. And you may be wondering, how does this relate to writing?

A writer’s board (courtesy of screencraft.org)

Places like Screencraft and other writer’s resources always recommend a corkbaord or whiteboard to jot down ideas and help build your novel or screen play, etc. And if that works for you, fantastic! My mind doesn’t work that way. Maybe because I come from an English & Theatre background that’s more academic or because I’ve never found those tools helpful other than posting notices, who knows. All I know is I grew frustrated trying those routes in trying to organize my novel and my thoughts because it didn’t work for me. So I turned to ways that I knew worked and they helped me a lot, so I hope that somewhere, they may help someone else. Instead of designing a character for a show, I used a word document (some ran to two pages instead of one) to help me visualize each of the main characters and a few of the secondary ones as well. I pulled images such as celebrities that I thought had the color hair that I liked. Period portraits that showed the outfits or poses I thought fit that character. To putting images of books they read, furniture they used. Even they’re favorite kind of tea or flowers. Anything and everything that would help me “see” that character and create them (especially their moods, and dialogue) in the novel. And I did make notes on the sheets, especially if I couldn’t recall why I picked an image. For instance, I used an image of Cary Grant and specifically chose it because I loved the smile in it. That smile, to me, was the smile I saw my character having. So I made a note of it on the tearsheet that said “Cary Grant Smile.”

This is the picture of Cary Grant smiling that I liked. (Getty Images)

It doesn’t have to be that complicated and it doesn’t have to have a lot of images. If there’s a landscape of a picture of a tree that to you, screams a certain character, put it on your sheet. Something about it is speaking to you, so use it. And if it’s a certain color (like a paint swatch or just the color of a jacket), then yes, make a note that it’s that color you are associating with that character. It could inspire a scene in the novel, you never know. This doesn’t have to be a hard process or a long one. I only have tearsheets for 8 characters for my first novel and I have more than 8 characters. I really only focused on the main ones and the ones I was struggling with in terms of trying to write dialogue for (they were secondary ones). Most don’t get this kind of attention so don’t feel you have to do one for each and every single character. If you have 4 main characters, do one for each of them. Then if you find you are struggling later one for one or two others, then go back and do a tearsheet for each of those characters. I found it really helped me focus on those problem characters and scenes that I struggled with because it helped me focus.

Lyme Cobb (antonyspencer.com)

Another use for them that I did that I had never done before was use them for images of places that the characters travel to. Of course, if it’s a fantasy world, that may be difficult, but if you know the world contains mountains, why not have a tearsheet of different mountain ranges for inspiration? How about different sunsets or forests? Or carriages or carts if that’s how they are traveling? It does help you focus on your novel because it’s a great little visual aide in narrowing down all those images you may have been collecting on Pinterest. And I even have a tearsheet for a cat because it’s a character in the novel. Grey cats are not all the same I will state in my defense and grey kittens in particular vary. Will nay of this information make it’s way into the novel? No. But it’s good to have it available in case anyone who ends up reading the book asks. think of it as your own personal background information that you can share or not with your fans in the future. And hopefully, you will share.

1995’s Persuasion at Lyme (janeausten.co.uk)

I hope this has been insightful, helpful, but most of all, inspirational. I want people to learn from my mistakes (as in listening to experts who say to only do things a certain way) and realize that there are many ways to go about the writing process. I’ve found a method that works for me. And it works well because it’s familiar, it’s easy, and it’s simple to do. Will it work for everyone? No and I don’t expect it to. But is it something I hope people will try? Yes, I do hope those of you who are writing will try this method and see if it’s helpful for you. And I hope it is. There is no right or wrong way here. We are all learning together.

On Writing: Character Charts & Tearsheets

I have notebooks (one for each of the six novels I have planned to write in the Austen Style) with a list of characters and a few lines describing each. That is not much to go on once you begin the writing process. I have found that writing (yes, in the notebooks) a more detailed list of each character, then typing it out makes it not only accessible when I am writing, but also when I am then typing out the story and want to make sure that I am not screwing up a description of said character without having to rummage for the notebook. Yes, this is a lot of work and probably more than the average person will ever go into. For me, it is easier to physically write out notes and then type from them. Call it an affectation leftover from my days of writing a paper every week during graduate school. This doesn’t necessarily mean that my entire story is written out verbatim prior to typing it out. I would state that a majority of it is there, sometimes with little notes from me stating to add a line regarding the weather or other such nonsense. But when I began typing it out, I did some editing from the written page to the typewritten screen, Some things I did away with completely; others were expanded upon. I created an entire chapter I had not planned on, which forced me to do a quick handwritten outline before typing. And while I am sure all of this is interesting, the one thing I have found the most useful is the use of Character Charts and Tearsheets.

I found a decent Character Chart via Pintrest from the website daddilifedotcom. While most of it has been useful, it distinctly reminded me of character charts I had to do as a Costume Designer and as a Theatre Major. It’s amazing how much of what I had loved and learned has translated into the writing process. I would say that if you ever happen upon a copy of The Magic Garment (by Rebecca Cunningham) and turn to the chapter of understanding the play, you will see some of these same questions, or similar, from the Character Chart given as a way of understanding the characters one is designing for. Actors and Directors go through the same process as well, so this is not an unfamiliar concept for me. I will state this, there are other sources that state you should have at least 100-200 questions answered per character to truly understand them before writing. I find that a tad excessive, except my questions ranged around 70, so perhaps it’s not that excessive after all.

The true strength is, of course, is to cater the questions to the type of novel (or even short story) that you are writing. If you find a chart or list asking questions about modern technology, and you are setting your story in the Viking Era, please feel free to disregard those questions. Not unless you’re doing some weird science fiction tale, then proceed. There were questions from that Chart I found that I didn’t answer for every character. Some character really didn’t have a favorite type of music or food. And for those, I simply stated that they had no preference. If one had an aversion to a certain color, I also gave a reason why. Such as ‘Mr. X hated black as he found it too depressing and brought up memories of funerals’. Questions not on the chart, are things like smells or touch. What if you’re character suffers from a form of Anxiety of PTSD, certain smells or sounds can bring back unpleasant memories. I use touch as a sensory too because if, say, someone was physically abused, they may find causal touching unpleasant. So, think of the chart as a way to start analyzing your character from the ground up, and even psychologically. Though don’t go overboard with it. Not every single character needs to be this thought out. A servant or random background character who has a few lines can be described with a few lines of notes, which is what I did for an office of lawyers who are mentioned, but never seen.

Tearsheets are most likely a term no one has heard of outside of the Theatre or Film Industry. It’s definitely a Designer term, but one I feel has been extremely beneficial to me and I hope will be beneficial for others. In layman’s terms, a tearsheet is a word document with an assortment of images, phrases (or both) that helps you “see” your character in the flesh. It’s a very basic Costume Design way of doing an initial concept, but I found it very helpful to use in conjunction with the charts. For example, I have a historical image of a naval uniform from the 1800s along with an image of a man in modern dress on the same page. While I am writing a historical novel, the image of the modern man, I have made a notation of, is being used for his posture. Basically, the way he is standing, the air he is giving off, is what I “see” in my mind for this particular character. I have an image of someone else because of their hair colour. I have an image of a 3 mast Frigate (I believe it’s Old ironsides to be specific here). I have an image of a few men in period portraits for hair styles. It’s a visual way of me being able to “see” this character, but it also helps, in turn, on the chart when trying to describe his eye color. I can’t say they are one thing when I’ve clearly decided visually that they are another.

Now, does this mean I will do one for every character? Heavens no! I only have tearsheets for the main characters (I believe I only have 8 in total for this novel, though I have close to 15 or 16 charts). Some characters are in the novel so briefly that a chart is sufficient enough for me that I didn’t need any visualization in order to write them. Some, especially the ones who are in it almost all the time, I did need the visual along with the written. Bear in mind that this is how it worked on this particular novel. The next may require me to have tearsheets on almost everyone or only two or three. I really don’t know until I start the writing process as the other 5 are in pure Outline stage. Not every technique I have come across will work for me, but it may work for you. I tend to use what I am most familiar with, which are techniques I learned as an English Major and a Theatre Major. If you are more inclined to just write on a laptop or PC without anything handwritten, then by all means go forth and write!

Books that I have found useful as they have great insight on how to process characters and analyze them. They can be expensive, so please use your local library:

The Magic Garment (2nd Edition) by Rebecca Cunningham

Acting: A Handbook of the Stanislavki Method Introduction by Lee Strasberg and Compiled by Toby Cole

Acting in Shakespeare by Robert Cohen

Theatrical Design & Production (4th Edition) by J. Michael Gillette

Color: A Workshop for Artists & Deisngers (2nd Edition) by David Hornung