This past week has been consumed by edits for the second book in my Shark Santoyo Crime Series – Shark’s Bite. There’s nothing like a keen eyed editor to make you realize how many times you use the word “shrug.” Or nod.  Or dear God, how many times will my characters smile.  So many times.  Is there another way to say “smile” without actually using the word “smile”?  I may go mad looking up “grin” in the thesaurus.

When I get a manuscript back from an editor I make multiple passes through to make the requested changes and to make any changes to answer questions or fix problems an editor may have pointed out. The first time I make it through the manuscript I think I’m so clever. Then I actually read it and I think, “uh, I wrote that?” The word repetition, the sameness of gestures! And what about scene setting? The third time through I think… “Not bad, except for that one part.  That needs work.”  Then by the fourth and fifth rounds I’m hunting for typos and hoping like hell I haven’t put any fresh ones in with my changes. Finally, when I think I’ll go blind staring at it and I can’t think of one more thing to change, then back to the editors it goes. Then it comes back and I agree to fix all the terrible typos I managed to miss in the previous five rounds of read-throughs and then, finally, finally, off to layout it goes.

And after all of that, it’s still a fairly sure bet that someone will still find a typo.  And that’s when I make this face:

Most of my writing this month has been in the form of copywriting and, jeez, do I miss fiction. Churning out “welcome” scripting and press releases makes for a fun occasional challenge, but is no substitute for spending an afternoon putting a character in hot water (figuratively if it’s action, literally if it’s romance) and then figuring out how to get them out again (with a gun if it’s action, with a hot guy if it’s romance).

But one thing that copywriting does provide is practice in how to think about writing. When the word count is proscribed, and the client says that it should be sort of, maybe, be something about this random list of things that has been collected, suddenly it becomes very important to communicate what the over-arching message is. What is the hierarchy of information that needs to be communicated? What does the audience/reader care about? How can we determine what needs to be said and what can be left out? In copywriting, the ability to construct thoughts clearly and to analyze and think critically about a piece come to the forefront. In a novel, an author can spend a bit more time decorating the place with adjectives and allowing characters to spiel off witty bits of dialogue that may not particularly move the story forward. In copywriting, there’s usually room for only one or two adjectives and they had better be the right adjective that supports the speaker or brands character. Copywriting skills are like exercising a new set of muscles and definitely make me a stronger writer. But on the other hand, I’ll be glad to go back to fiction! For one thing, they rarely let me write about hot guys or guns in copywriting.