Lou Paduano | Urban Fantasy Novels | Sci-Fi Crime Series

  • Home
  • Books
  • Order a Signed Book
  • Blog
  • About
  • Contact
  • Greystone
  • DSA
  • Greystone-in-Training
  • Box Sets
  • Free Books

Reflections on the Editing Process – The Medusa Coin

February 27, 2017 By Lou

The editing process, for me, has never been my strong suit. I get itchy during it, like I’ve been sitting still for weeks or months without any movement. It becomes problem solving and while math has always been a fun diversion for me, it gives me a headache after awhile.

The Medusa Coin was no different, yet completely different than both Signs of Portents and Tales from Portents during the editing process. It showed me quite a bit about the way I work and how I work best when it comes to a larger manuscript.

Editing process lessons learned (hopefully)…

editing processBetter time management. The Medusa Coin is an 85,000 word BEHEMOTH. Unlike the short stories in Tales, this one required quite a bit of reading to get a handle on the problems within. Reading takes time and it seemed to be in short supply for me over the last two months. To better serve the editing process and future books I need to focus on the following:

  1. Lighter scheduling. While editing The Medusa Coin I had to finalize Tales from Portents, I scheduled my first promotion for Signs of Portents and I outlined Pathways in the Dark. Oh yeah, and worked on this blog. RIDICULOUS. Why would I do that? Because I am an idiot. Dividing up my sparse amount of work time between all of these projects made the first month of edits a nightmare. Won’t happen again.
  2. Speaking of sparse time available…(I miss you naps.) My plan going forward is to center the bulk of my editing around long weekends, holidays (THANK YOU, FEBRUARY BREAK!) and summer vacation. Having larger chunks of time made the first draft possible and it remains true for every other step in the process as well.
  3. Putting everything else on autopilot. Batching blogs. Setting up promos in advance. All of that should be done to keep the focus on the editing process. January fell apart on me because my head was everywhere else and The Medusa Coin ended up at the bottom of the priority list.
  4. Research ahead of time! A no-brainer yet I kept pushing it back. Made for way too much double work.

Editing process management

It took me an entire month of reading through the book, highlighting questions and problem areas before I realized I needed a better system. Since the end of January things have gone much smoother thanks to changes I made by tackling specific issues:

  1. By arc or character – Following a single thread throughout the book put a laser focus on one aspect of the book and allowed me to work it into the larger narrative more easily by finding natural connections throughout.
  2. By event or action sequence – After each individual arc was set, going through the major events or action pieces of the narrative was my next step. A little wider in scope but still narrow enough to make sure all of the right elements were in place – building the entire work up brick by brick.

Light at the end of the tunnel

I am making my final pass on The Medusa Coin this week. Final pass is a misnomer since I will be reading it about ten times after this, but it is the last major reworking of the text before sending it to my group of first readers. I’m incredibly nervous. This story has been with me a long time.

Fingers crossed it came through in the telling.

Thanks for reading.

Share this:

  • Click to email a link to a friend (Opens in new window) Email
  • Click to share on X (Opens in new window) X
  • Click to share on Facebook (Opens in new window) Facebook
  • Click to share on Tumblr (Opens in new window) Tumblr
  • Click to share on LinkedIn (Opens in new window) LinkedIn

Filed Under: Editing Tagged With: editing process, The Medusa Coin

Manuscript Editing Interview Part 3

December 1, 2016 By Lou

Last month I sat down with my editor, Kristen Hamilton of Kristen Corrects Inc., to discuss her background and her process when it comes to manuscript editing. By “sat down” I, of course, mean e-mails were sent and emoticons dispatched in lieu of drinks at the local pub. Still, laughs ensued and I appreciate her helping me understand more about her process. You can find part one where we discussed Kristen’s secret origin here. Part two talked about the start of the editing process for Kristen. You can read it here.

I cannot stress how important editing is to the writing process. Especially Kristen’s work on Signs of Portents and the rest of the Greystone series.

(For brevity’s sake I’ve toned down my sarcastic follow up questions to focus on the good stuff. You’re welcome.)

You read for hours on any given day. Probably every day. How do you keep your eyes from crossing or completely blurring over when handling manuscripts all day for weeks?

When I first started doing a lot of editing on the computer, I would get frequent headaches from staring at the screen for too long. Those have long since gone away—I think I just had to get used to it. Occasionally I will print out a manuscript and edit the hard copy. I take frequent breaks from the computer, and I never push myself. If my eyes are tired, I know I’m done. It’s not worth it, risking leaving an error in an author’s manuscript. I know that their books are their babies, and they’re entrusting a lot of responsibility to me to make sure their manuscript is perfect before it goes out for publication.

Does your focus wander to that dreaded chore list? Or maybe an e-mail that needs to go out right after this next chapter?

As far as e-mails—yes, they can certainly get distracting. Recently I’ve been so busy that answering my e-mails each morning takes up a solid hour and a half. And just when I’m all caught up on e-mails, a new one pops up. That’s one of the difficult things about being self-employed: if I’m not answering e-mails, I’m not getting any new jobs! But if I answer e-mails all day, I’ll never get my current jobs done. It’s a double-edged sword. I’ve learned that sometimes it’s necessary just to close out of my e-mail so I can focus on my work!

What are your expectations from the people you work with on a project? What do you hope they take away from the experience?

I love authors who are engaged with the editing process—those who have completed and revised their manuscript, recruited beta readers, and made the changes to make their manuscript better with each revision. It shows me that they’re really committed to their book, which is refreshing—not every author puts that effort into their manuscripts. An editor, as an industry expert, will help bring insight to an author’s manuscript that others will not, but external opinions and feedback will definitely help.

I hope authors look at my edits and learn how to write better for future works. I just met one of my clients, Aubrey Moore, in person at the 2016 Boise Book Fest this past weekend. She said that getting your book edited isn’t just about correcting the grammar, typos, or punctuation errors…it’s about having a professional look at and correct your work and say, “Okay, to be a better writer, this is what you need to focus on….” When I get an author’s second book and see that their writing has improved, I know I’ve done my job well.

At the end of the editing process, when I give authors their manuscripts that are ready to be published, I always tell them to be sure to market their books—and I really hope they take my advice. I have edited so many great books over the years, but the authors don’t market them, nobody knows about them, and the books never sell. It’s sad, really.

Okay, fun stuff.

Coffee or tea? Also, how many cups to get you through the day?

Definitely coffee in the mornings. Usually I’m good with 1 cup, but sometimes I’ll go for a second one. I’ll have the occasional cup of tea in the evenings or during winter afternoons.

What are you reading for fun right now? 

I’m currently reading Stranger in a Strange Land by Robert A. Heinlein. I’m also planning to read The Lies of Locke Lamora by Scott Lynch this month. I’m in the middle of a bet between my brother-in-law and my friend about which of those books is better, and I have to have an answer by Thanksgiving. I am going on a cruise next month, and am planning to read The Woman in Cabin 10 by Ruth Ware—that one’s about someone who gets pushed overboard a cruise ship. (Yes, I’m really going to read that while on a cruise.)

What books are you looking forward to reading?

I have a HUGE list of books I want to read after that—Life of Pi and The Silent Wife are ones I’m more excited about.

Big events writers should be aware of going on now or in the near future?

There are usually writers’ conferences in every big city across the United States periodically throughout the year. I’d like to attend the Writer’s Digest Conference one August in New York City. Next month is National Novel Writing Month (NaNoWriMo), which is where authors all over the nation support one another in writing an entire novel in one month. It’s a pretty lofty goal, but there have been some good books to come of it.

One piece of advice for writers looking for an editor right now? And for those still working on their manuscript?

For writers looking for an editor right now: do your research. Reach out to different editors, get sample edits from each, and make sure you like their editing style, as every editor’s is different. Make sure you’re protected with contracts that legally bind both of you to the editing agreement. Check out their previous work and spend some time talking with them about your project to see if it’s a good fit.

For writers who are still working on their manuscript: it’s never too early to reach out to an editor, especially if you want to expedite the editing process. Good editors will be booked out weeks or months in advance, and many will get you on their schedule in advance, giving you the opportunity to continue working on your manuscript as the date approaches. If you have time, revise your manuscript before you send it to an editor. You might further develop scenes to make them better, realize you explained something incorrectly, or catch other errors. Any revising is better than none at all!

I want to thank Kristen Hamilton of Kristen Corrects Inc. for sharing her process. More so I want to thank her for making my books readable but there isn’t enough room on the Internet for such a thing. (Plus she would edit the crap out of it, I’m sure.)

Find out more about Kristen and her wonderful work at her website.

Thanks for reading.

Share this:

  • Click to email a link to a friend (Opens in new window) Email
  • Click to share on X (Opens in new window) X
  • Click to share on Facebook (Opens in new window) Facebook
  • Click to share on Tumblr (Opens in new window) Tumblr
  • Click to share on LinkedIn (Opens in new window) LinkedIn

Filed Under: Editing Tagged With: editing process, Kristen Corrects Inc, Kristen Hamilton, manuscript editing

Manuscript Editing Interview Part 1

November 21, 2016 By Lou

Last month I sat down with my editor, Kristen Hamilton of Kristen Corrects Inc., to discuss her background and her process when it comes to manuscript editing. By “sat down” I, of course, mean e-mails were sent and emoticons dispatched in lieu of drinks at the local pub. Still, laughs ensued and I appreciate her helping me understand more about her role in the process.

I cannot stress how important editing is to the writing process. Especially Kristen’s work on Signs of Portents and the rest of the Greystone series.

(For brevity’s sake I’ve toned down my sarcastic follow up questions to focus on the good stuff. You’re welcome.)

What is your background?

I always knew I wanted to do something in the writing/editing industry. I attribute this to the long hours my mom spent reading with me—usually 3-4 hours each day. We started with picture books when I was an infant and worked our way up to chapter books, and I eventually went on to start reading full-length novels (Dean Koontz novels were and still are my favorites) when I was in fourth or fifth grade.

By age 11, I was reading college-level materials. Reading was something I was always good at, and it made me feel accomplished to see how much stronger my reading skills were than my classmates’, so I kept at it. I’ve always been an introvert—quiet and shy—so books became my world. Instead of playing on the playground at recess, I’d sit and read a book. After school, I’d read. I devoured everything I could get my hands on.

My confidence was further bolstered when my entire fourth grade class took a writing test, and I was the only one who passed. When I was in the ninth grade, the teacher made photocopies of an essay I had written to show the other students “how to write a proper essay.” Teachers constantly encouraged me, and being singled out like this gave me the enthusiasm to keep going.

How does one prepare to become an editor?

Originally my goal was to be a journalist, and to write for the newspaper. When I was in middle school and high school, I was on the school newspaper staff, but it was less than what I had anticipated it to be. I didn’t enjoy coming up with story ideas—I found it difficult and tedious. But when I had a rough draft—boy, that was fun, editing it and seeing what I could do to improve it. Once the words were already on paper, I excelled.

By the time college rolled around, I was still trying to pursue the path of being a writer, even though a small part of me knew it didn’t quite fit. I took creative writing workshops, but I enjoyed reading and critiquing others’ work much more than I did writing my own stories. It was here, as I watched the teacher critique others’ stories with the class, that I began to learn what to look for when editing—character development, plot arc, believability of dialogue…

How did you start out as an editor?

I was working in fast food all through college. In the spring of 2012, I snagged a job at a car dealership writing descriptions about the vehicles. I was so excited—this was the start of my writing career, I just knew it! But working in a cubicle wasn’t what I thought it was going to be. I didn’t enjoy the set 8-to-5 hours and there was never enough for me to do. In fact, I ended up writing the car descriptions so fast that I ran out of work. They transferred me to a department that needed some extra hands—accounting. (Did I mention I failed my college math classes?) I ended up being at the accounting department for 2 weeks before they laid me off. I had only been there for 6 months and felt like a huge failure.

So there I was, sitting on the couch, unemployed. My boyfriend (now husband) threw a book in my lap: Freelancing for Dummies. I had nothing better to do, so I read it.

Two days later, I started Kristen Corrects. I started out at Odesk, now Upwork. The wages there are pitiful and most of your competition is outsourced work—think places like India, the Philippines, etc. I only worked a few jobs to get a few pieces of work for my portfolio and some testimonials. Then I created www.kristencorrects.com. I built up my SEO rankings, so if you type in “manuscript editor” on Google, I come up on the first page. My career is developing now that I have a ton of return and word-of-mouth clients, which has given me a landslide of clientele. It’s been a lot of hard work, but I’m incredibly passionate about what I do.

Parts 2 and 3 of our chat is coming next week.

Thanks for reading.

Share this:

  • Click to email a link to a friend (Opens in new window) Email
  • Click to share on X (Opens in new window) X
  • Click to share on Facebook (Opens in new window) Facebook
  • Click to share on Tumblr (Opens in new window) Tumblr
  • Click to share on LinkedIn (Opens in new window) LinkedIn

Filed Under: Editing Tagged With: editing process, Kristen Corrects Inc, Kristen Hamilton, manuscript editing

Signs of Portents – Author Commentary Part 5

October 20, 2016 By Lou

I saved one of my favorite subjects from Signs of Portents for last. The villain of the story.

(Spoilers ahead.)

Villain Building.

Villain building is always a tough nut to crack. On some level there is a purity to just being evil. To being the killer. But there has to be a reason for it. Some layered discontent, some mental instability, something there to connect to the reader.

Villainous motivations.

Nathaniel Evans was a one note player in the drama. During the first draft he was the killer but there was nothing to his story other than the destruction of the city. As I went along, as pieces fell into place and the “signs” portion of the title made more sense to me on every level, I realized the why of it all.

Why Evans was the right choice for the villain in this novel. Why he was after what he was after. And even why each victim came into focus, giving me a little tease for what was coming in future books. (Did you wonder about that too? How a man dead for over one hundred years could stumble on the exact people he needed at the right time? Think about that.)

The tools at his disposal.

The question of the specific victims aside, their role in Evans rebuilding throughout the novel was something I went back and forth on. Did he take both of Decker’s hands or only one? What about Abigail Fortune’s eyes? Early drafts had it as both but as I went back and tweaked little details I realized how much more creepy the man could be with one mangled hand and one pristine.

The same was true for the eyes. Two crimson was on the nose. (Even my three year old daughter knows people with red eyes are evil. And if they have sharp teeth? Totally evil.) Having both eyes blue didn’t work either. Too mundane. But one of each?

villain building

The cover alone sold me on that idea.

Origin stories

The true history of Portents wasn’t fleshed out in the first draft and became confusing to the reader. It was a slow evolution through the editing process. But once it came it clicked into place nicely to help in my villain building. The William Rath story. The flashbacks to the Town Square. All of that came after the initial draft to help flesh out Evans. Each element was carefully placed. My fear for a long time was in over-complicating the plot. It is a fear I carry into every project because it takes away clarity and momentum in the climb to the climax.

And yes, the William Rath “story” wiping out the truth about Evans may have been a play on Jebediah Springfield from The Simpsons. It did occur to me when I went into revision mode. Who hasn’t been influenced by The Simpsons at this point?

Questions?

I think I’ve come to the end of my commentary on Signs of Portents. I love doing this kind of thing and can’t wait to share some of the craziness behind Tales from Portents in a few months. Until then, if you have any questions on Signs that I didn’t cover or that you were interested in learning more about feel free to contact me directly here. There is also the Facebook and Twitter pages that I stalk frequently as well. Goodreads also has a really cool Ask the Author feature that would be a great place to keep the conversation going.

Thanks for reading.

Share this:

  • Click to email a link to a friend (Opens in new window) Email
  • Click to share on X (Opens in new window) X
  • Click to share on Facebook (Opens in new window) Facebook
  • Click to share on Tumblr (Opens in new window) Tumblr
  • Click to share on LinkedIn (Opens in new window) LinkedIn

Filed Under: Editing, Signs of Portents, Writing Tagged With: editing process, Signs of Portents, villain building

Signs of Portents – Author Commentary Part 4

October 17, 2016 By Lou

Not everything comes out on the page perfectly. Not the first time. Sometimes not even the second, third or fourth time you’ve gone through a manuscript. There is usually an element missing, something discovered later on in the process. A character moment to follow through the manuscript, a plot point you need to touch on so the turn makes sense three chapters later. Or it could be something simply like you forgot Loren was wearing a coat and put him in jean shorts and crocs.

Then there is Chapter 16 in Signs of Portents, which pretty much needed a complete and total rewrite during the editing process.

The original draft.

Scenes have some requirements to make them relevant to the narrative. They drive action. They build an image or relate theme. And they need to drive character’s forward through their arc in the novel. Chapter Sixteen opened with Loren outside the Central Precinct, fighting against the need to talk to Ruiz about the case, right before Soriya draws him back into it with the death of her bouncer friend, Urg.

That was my original outline. I failed to hit the first point home completely. Check it out.

Loren was sitting on a park bench across the street from the central precinct when the call came.  Her words were sparse, long pauses cutting through them that were not from reception issues, though Loren swore his phone knew when to crackle and fade with each and every call received.  Soriya was distant on the other line, her mind somewhere else as she spoke.

“The apartment.  Now.”

Loren was sitting on a park bench.

character momentUm, what? The great character moment for Loren in this chapter, the incredible image built in the reader’s mind, was Loren SITTING ON A BENCH. Top notch stuff, Lou.

That line made it through four drafts somehow before I realized the problem. A whole slew of problems actually. Why was he sitting on the park bench? Why was he not DOING anything? He would have been better off sleeping on the bench than sitting. At least that would have shown him unwilling to go home to his apartment. Still, not ideal.

Enter the new elements.

I knew adding the Ruiz element would at least clarify the why of Loren’s sitting on the bench outside. But this was a chance to push a character moment further, to layer in his arc about being torn between Portents and Chicago. His old life versus the new one he was hoping to build.

I also had a chance to slip in some details from the case, something Loren was fighting to keep in the background but couldn’t help considering even in his resistance.

Two new players came into the chapter that pulled it together:

  1. Loren’s sister, Meriwether. (His character moment.)
  2. The William Rath statue in front of the Central Precinct. (Advancing the plot.)

A much more fleshed out chapter was the result:

The William Rath Addition

Loren sat on a park bench across the street from the Central Precinct as the bell tower behind him chimed in a new early morning hour. From his position, the statue of William Rath stood before him. The building’s namesake towered over Loren, a fifteen-foot monument to the city’s founder though the contemplative detective believed the legend would be disappointed with the praise.

The statue was cracked and worn from age. There were a number of imperfections in the face and hands as if changed after the fact. The dedication plaque held the same issues with dates overwritten and marred, either by age or man Loren could not say for certain, but the date 1893 read false when compared to the rest of the writing that adorned the stone surface of the commemoration. It reminded him of the change on the date marking the warehouse where the body of Vladimir Luchik was found.

Focusing on the statue and the plaque was the fourth distraction Loren had created to keep from leaving the cold metal bars of the bench. Anything to keep him from heading into the stationhouse and the waiting Captain Ruiz. Ruiz wanted to go over the case, the same way they always had in the past. A pot of coffee split between them and a piece or three of kuchen from the captain’s wife, Michelle. Ruiz wanted everything to be the same, the way it had worked between them for so long. Loren wanted anything but that. Things had changed. Hadn’t they? Change was good. Change was needed. Change meant growth; it meant movement, be it forward or backward. It was movement and Loren needed to keep moving.

Loren’s sister enters the world.

It took three rings before Loren realized his phone was going off in the left-hand pocket of his leather coat. It took another two for him to work his hand around the thin device, scan the caller ID, and make the decision to accept the call. There were certain people who expected calls after midnight. Loren was not one of them. Family, however, trumped the late hour the same way it did almost everything else. At least, that was what Loren wanted to believe, holding the phone to his ear.

“Hello?” he said over the wind. He turned away from the night chill that crackled into the phone, letting it fall on his back instead.

“Greg?” the voice on the other end asked. A deep sigh of relief blew into the line. “Oh, thank God.”

“Meri?” Loren rechecked the caller ID. It was definitely his sister. “What time is it?”

Meriwether Atkins, formerly Meriwether Loren, guffawed into Loren’s ear loudly. Loren used to enjoy the sound of his sister’s laughter when they were kids but since she had started a family of her own, he realized that her laughter typically meant something else entirely different than joy.

“What time is it?” she repeated. “About three hours past your train’s arrival. You know, that train I stayed up to meet so I could drive your ass home?”

Dammit. He had meant to call. Meant to text. Something to let her know about Ruiz’s rescheduling but it slipped his mind as if Chicago and his life there no longer existed. There was only the mystery before him, just like it had always been. Just the way Ruiz wanted it.

“Oh.” It was all he could mutter against the wind. He never should have asked in the first place but their relationship had been so strained, even with his return to Chicago. Part of him wanted to connect, or at least make the attempt he had been putting off for the last three months.

“Yeah. Oh,” Meri replied. “Anytime you want to make with the explanations and the apologies, I’m all ears. And don’t for a second start chewing in my ear with whatever nonsense flavor you’re craving today.”

Loren looked to his left hand that had retrieved a pack of gum from his pocket. He quickly tucked it back inside. Sisters. When they know you, they know you.

“Ruiz called me in.” Loren looked to the Rath Building and the dim light from the second floor office of the waiting captain. He felt the eyes of the statue of William Rath burning into him as fiercely as Meri’s undoubtedly did from the other end of the call.

“Of course he did,” she muttered. There was no surprise in her tone but Loren heard the disappointment. “He knows that’s the last thing you need, right?”

“He does.”

“But there you are.” There were things older siblings should never teach younger ones, Loren realized, hearing the biting sarcasm that filtered through every word his sister spoke.

“Here I am.” He joined her tone.

“Stop it.”

“What now, Mer?”

“Stop pretending to listen with your repeating answers and actually listen.” She took a deep, audible breath. Loren waited patiently on the bench that overlooked the front of the stationhouse of the Central Precinct. He snapped open the package of gum, slipping a stick into his palm. He let it rest there rather than incur more wrath from the responsible Loren. He knew there was enough coming his way as it was.

“That place almost destroyed you. You know this. You chose to come home, so come home. It might not be what you were hoping for, and God knows we can be just as screwed up as anyone, but family is family, Greg.”

He heard her every word. He had said them to the cracked and weary face in the mirror more times than he cared to recall. There was a time when family was king of the hill and everything else in the world was sitting at the bottom of the pile of priorities. That was how the world was supposed to be. Beth became that family to him in Portents. When Chicago no longer felt like home, she took that place. Even in her absence, she held that place while he spent every waking moment looking for who or whatever took her from him. Meri was right—he had come home, and it wasn’t the way it was supposed to be. Family was family though, right?

“How is she?” he asked quietly, his eyes shifting up to the night sky.

“You should call her and ask her.”

“Meri…”

“She’s…she’s okay, Greg.” There was a sadness in her tone. “Tired from watching my kids all day but okay.”

“Good.”

“Greg. How are you?”

The question always surprised him. He didn’t have an answer. He never really knew how he was doing. Not really. Between being back in Portents with Ruiz and Soriya, and now with the case laid in his lap, there was too much to consider to answer the question neatly.

“Craving the stick of peach mango I unwrapped.”

A deep sigh was Meri’s reply. It was clear she knew the question would never be answered. “Go, Greg. Go to Ruiz and your work. I’ll be here to pick up the pieces.”

“I’m fine, Mer.”

“I know.”

She was already gone from the conversation. He pushed her away as easily as he had when he first left Chicago to make a fresh start. “I’m sorry about the train hiccup.”

“Took you long enough to get there.”

“I am an idiot sometimes.”

“Sometimes?”

“I’ll be home soon.” The words slipped out and he tried to retrieve them by clearing his throat loudly. “I’ll call. Tell Mom—”

“You tell her,” Meri replied quickly. The phone clicked and Loren was alone once more. He let the phone hang by his ear, wondering if he would ever again feel like he could be there for his family as much as Meri had been there for him when he really needed her. There was a divide separating them, one he had put into place long ago. It was more than his work, though, which was what drove him away in the first place. That, and what his father put them through over the years. Loren couldn’t stay in Chicago and watch his family crumble. At the time, he wasn’t strong enough to stop it, the abuse both verbal and physical. His strength came later, with Beth, but by then the split was complete. And remained complete, even after so much water under and over every bridge separating the Loren family.

He tucked the phone away. Dry, cracked fingers ran through his uncombed hair, massaging his scalp to wake him up. Loren had barely slipped the stick of gum between his lips when the phone lit up once more. He clicked the accept button, the first burst of peach mango hitting his tongue.

Her words were sparse, long pauses cutting through them that were not from reception issues, though Loren swore his phone knew when to crackle and fade with each and every call received. Soriya Greystone was distant on the other line, her mind somewhere else while she spoke.

“The apartment. Now.”

Thank you, self-editing.

A much more involved scene to add character moments and build up the mystery in the background led to a stronger addition to the novel. Though I do think Greg Loren Sits on a Bench will be a New York Times bestseller someday.

Thanks for reading.

Share this:

  • Click to email a link to a friend (Opens in new window) Email
  • Click to share on X (Opens in new window) X
  • Click to share on Facebook (Opens in new window) Facebook
  • Click to share on Tumblr (Opens in new window) Tumblr
  • Click to share on LinkedIn (Opens in new window) LinkedIn

Filed Under: Editing, Signs of Portents, Writing Tagged With: author commentary, character moments, editing process, Signs of Portents

Signs of Portents – Author Commentary Part 3

October 6, 2016 By Lou

Last time I wrote about the addition of Captain Rufus Mathers as a foil to both Loren and Ruiz in their work at the Central Precinct. Ratcheting up tension in each chapter became a very specific goal when I was wrapping up my work on Signs of Portents. The Mathers character fit the mold perfectly for what I needed. He also gave me another element to add later in the novel. What is commonly known as the ticking clock factor.

What is the ticking clock factor?

ticking clock factorThe ticking clock factor is a plot driven deadline to push the action forward in the narrative. It is the timer on a bomb about to go off. It is the fifteen minute race through New York City traffic to answer a phone call to the tune of a madman’s game. (Yes, Die Hard With a Vengeance reference achieved! Just don’t force me to explain the water jug thing.) The ticking clock forces action. It forces movement.

“You have to be home for dinner at five o’clock.”

You better damn well be home for dinner before that clock hits five. Even if your pants are on fire and you have three miles to run with dogs chasing you. So what if your cell phone broke and your watch is chirping like crazy? Get home already!

The ticking clock adds a layer of tension into the background of the scene and pushes characters to act.

The Bookstore Scene

In Chapter 32 of Signs, Loren is working tirelessly to put together the pieces of the case. He’s exhausted and pushing himself way too hard. Ruiz’s doubts, first introduced in his solo chapter (with Mathers) come out here and he tries to pull the plug on Loren’s work.

In the initial draft and the first couple revisions, before Mathers came into the picture, the conversation moved pretty quickly to Nathaniel Evans and the true history of Portents. There was no tension between the two of them. No pressure to complete the job at any pace, other than the natural need to stop another murder (not insignificant, just not enough in my eyes).

It went like this:

“Something someone said and then what I found at Mentor’s…Eckhart’s.”  Loren was trying to piece it together as he spoke.  He knew leaving the raven out of the mix was the best option when it came to Ruiz, who already looked him over suspiciously.  The Captain walked around the table and pushed the chair back under the table.  He grabbed Loren’s coat and held it out for him, pointing for the door. 

“Food first.  Then murder and mayhem.”

 As Ruiz backed up for the door, Loren tossed him the book he found tucked under Mentor’s pillow.  Ruiz looked down to see the title, The True History of Portents in bold white letters on the cover.  There was a list of authors in small print.  A book that extensive needed many hands to put it together.  One of them he recognized immediately.  Of course he did, he thought as his eyes widened, since he had stood up at her wedding the last time she used the surname noted on the crinkled cover. 

 “Beth worked on this book.”  Ruiz stated plainly, staring at the name Beth Schmidt.

 “Looks like.”

 “Your wife worked on a lot of books.”

“But this is the one that matters to this case.”  Loren snatched the book from the questioning Captain and held it in front of them.  “Every book in this library mentions the founding of the city as being late 1800’s.  Every sign, every monument has different stonework, with a revised date to make the word of all of these books true.  But they’re wrong.”

 “How so?”

“This book talks about the first Portents.  The real Portents that is still here, buried in the rubble.  It goes from the founding in the 1870’s until the revised dates.  Maps, details, historical documents long thought lost.  All from the very beginning.”

“I’m not seeing the connection, Greg.”  Ruiz replied.  He held the door for Loren.  The detective gathered up his belongings on the table quickly, holding tight to the case files and the book as he spoke.  He moved for the door, giving a quick nod to Mason behind the front counter before exiting the main door to the street.  The mini-van was parked by the curb in front of the store.  Loren shot Ruiz a look, but the Captain ushered him on without a word.

            “I know.  I know.  It sounds crazy but when you’re dealing with people killing other people with their bare hands and old souls this is what it comes down to, you know?”

            “Old souls?”  Ruiz tried to ask, but Loren refused to slow down.

            “Anyway,” he continued, “The same name keeps popping up throughout the book and I’ve seen it in a half dozen places in the last three days around the city.  Tell me, Ruiz.  What do you know about a guy named Nathaniel Evans?”

Not quite there.

It was adequate. It pushed the plot forward to where it needed to go. But it wasn’t enough. Not to me. I wanted more and I had this Mathers guy in the background so why not use him? Why not push Loren to take a leap because he was being forced to instead of just throwing it out there?

Revision time.

“Something someone said and then what I found at Ment—Eckhart’s.” Loren was trying to piece it together. He knew leaving the raven out of the mix was the best option when it came to Ruiz, who already looked him over suspiciously. The captain walked around the table and pushed the chair back under. He grabbed Loren’s coat and held it out for him, pointing for the door.

“Greg.”

“Wait.” Loren looked back to the clock and then to his friend. “Shift doesn’t start for another four hours. How did you get the call about me?”

Ruiz checked the door to make sure Mason hadn’t let anyone else into the back room. “Called in for a meeting.”

“Dammit,” muttered Loren.

“Yeah.”

“Mathers?”

Ruiz nodded. “He’ll be taking point first thing tomorrow if we haven’t closed it.”

“He has no clue what the hell—”

“We know that, but who else does?”

“Please tell me that prick at least had the decency to pin it on my idiocy and not lay this at your doorstep?” Loren asked, concerned.

Ruiz’s face was shadowed from the overhead lights, his eyes dark. “He did,” he answered. “Doesn’t matter either way. I handed you the case so it falls on me. Don’t think for a second Mathers won’t use it against me first chance he gets.”

“He won’t, because he has no chance of solving it.”

“True.”

“I screwed it up for you.”

“Not your fault.”

“Dammit.” Loren ran his fingers against the scruff collecting on his chin. Of course he screwed it up for Ruiz. He should never have been on the case in the first place. He should have stayed in Chicago or brought all of his things months ago when he first moved. But now? After three days of running through the streets looking for an old soul, talking to ravens, and almost being trampled by a giant with a chicken wing fetish? He had the answers. The damn raven knew it and so did he, at least on some level, and to see it slipping away because of Mathers? “So we have a day.”

Everyone loves a deadline.

Like life, throwing a deadline at the characters can help kick their thoughts into overdrive. We move faster when we have to be somewhere at a certain time. (Mostly because we ALWAYS leave late.) Sometimes we move too quickly and we forget something. But other times having that pressure focuses us.

That was my goal with the ticking clock and Loren’s connection of Nathaniel Evans to the case.

It gave more insight into Mathers who gets to be a bigger part of the story going forward. More than anything, however, it put the pressure on Loren to solve the case. He was the only one able to do it. It was time to prove that. To Ruiz and especially to himself.

All thanks to adding the ticking clock factor to the mix.

Thanks for reading.

Share this:

  • Click to email a link to a friend (Opens in new window) Email
  • Click to share on X (Opens in new window) X
  • Click to share on Facebook (Opens in new window) Facebook
  • Click to share on Tumblr (Opens in new window) Tumblr
  • Click to share on LinkedIn (Opens in new window) LinkedIn

Filed Under: Editing, Signs of Portents, Writing Tagged With: author commentary, editing process, Signs of Portents, ticking clock factor

  • 1
  • 2
  • Next Page »
Resurrectionists

Buy Your Copy Today!

Recent Posts

  • Greystone Series Sale Ends Today
  • Errant Knight is now on Patreon!
  • Alpha and Omega is out today!
  • Alpha and Omega Sneak Peek
  • Errant Knight Cover Reveal

Disclaimer: Links throughout this site may be affiliate links. All commission earned through these links go to Eleven Ten Publishing to produce more books for your reading pleasure.

You can view our privacy policy here.

Recent Posts

  • Greystone Series Sale Ends Today
  • Errant Knight is now on Patreon!
  • Alpha and Omega is out today!
  • Alpha and Omega Sneak Peek
  • Errant Knight Cover Reveal

Join My Newsletter Today!

Sign up for news and special offers!

Thank you!

You have successfully joined my newsletter list.

Copyright © 2025 Lou Paduano