At the tail end of the year, my good good agent John Jarrold has sent me edits for my next book, Stormblood. It’s The Wire meets Mass Effect set on an asteroid that’s comprised of a hundred cities stacked on top of each other. Contains first-person snark, alien drugs, drug culture, religious cults, armor, gangs, neon-dunked streets,, food porn, and booze. Lots and lots of booze.

I’ve been tackling the edits for a few weeks now, they’re going pretty smoothly. It’s been slowly climbing in word count to where it sits at a solid 120k, 15k longer than The Rogue Galaxy, but John told me not to worry, since 140k is not unusual for a debut novelist, especially in the UK.

So I’m letting my legs stretch a little, letting the slow moments between characters linger, letting them shoot the breeze and grow on-screen rather than rushing because I’ve got to keep the pace up (nailing this balance down is no easy feat). It’s cathartic to keep refining and discovering things about your world and characters and know that you’ve really nailed a scene. It’s always my favourite part of the writing process, where you’re giving each chapter the last few polishes and finally see the gems and realise how pretty they are, to con a cliche. In earlier drafts, I knew I was onto something, but it was too broad, the waters too muddy for me to sharpen it to a fine point. Now that I’ve got the shape of the narrative burned into my head, it’s easier to take that paragraph, or that chunk of text and realise what it’s doing in context, and improve upon it until I’ve got exactly what I want on the page. I go over each chapter like this, honing the emotions, the narrative development, the scenery, until it’s as good as I think I can make it. It’s so, so easy to overstep and turn a quiet, sedated moment into a melodrama of sentimental monologues that are shamelessly trying to exploit sympathy from the reader. The line’s harder to walk than you’d think. I’ll forever believe that characters are the true heart of any narrative, and I want their emotions and desires and conflicts to be on-point as possible. So I’m going through the book and trying to make that happen.

It’s not perfect, but I love this book and almost everything about it, and I hope it sees the light of day at point. But if it doesn’t, then I’m still happy to have written it. There’s a lot of personal things in this book, baked into the characters, story and world, and putting them on the page has taught me a boldness that I’m not sure I had prior to writing this. I wrote what I wanted, but there were some things I deliberately avoided because I wasn’t sure how they’d be received, and if I’d want folks close to me reading it. But I went with my gut and spun out a first-person narrator who wasn’t afraid to be forthcoming out his deep, personal traumas, who said what he was thinking and got some pretty messed up things inflicted on him as a result. It even prompted my agent to comment on it.

He does it to himself, I swear!

Anyway, my current round of edits will continue to consist of refining each scene, tightening up the dialogue and making sure the world-building is in shape and the character arcs are on a smooth trajectory that’s isn’t too blatantly going through the motions of a narrative path. The next round will be more focused on the prose-level. I edit my prose as I go, but this time I’ll be putting the final touches on the work on a sentence level. Some don’t bother with this, but to me, language and choice of words is important, and if I can look fancier by replacing lobby with atrium or blue with cerulean, I will, dammit!

I’ll probably polish off edits this week, and turn it in early next year. Me and John are going to discuss what to do with it. I’ll be posting a yearly round-up soon, so look out for that, and have a great holiday.