Therese, cool to hear you’re interested in trying a screenplay. It changes the way you think. When I get back to noveling I’ll be working very differently, closer to screenplay method at least when I write out the bones. A novelist is like the screenwriter and the director, and cinematographer, etc. so fleshing out the elaborate details will make more sense from that perspective.

Lisa, congrats on being so close to completing your first draft! My gut is one of my best editorial gauge’s, too. If I feel bothered and can’t put my finger on what’s wrong with the writing, I usually hit a block…which ends up being a good thing in the end.

Ray, STORY is great, isn’t it? It’s so dense with information that I can only absorb a little at a time, then I have to think on what I just read.

I don’t have a technique to share — just a thanks for sharing yours! But, I do believe in trusting my gut. If a scene or series of scenes is/are bothering me, I pay attention even if I can’t pinpoint the flaw right away.

One thing I’ve noticed is that a problematic scene might be problematic because of a lack of proper set-up and character development. The scene itself is fine; it’s what’s came before that’s off.

If not, then I look at the text and try to find where I’ve been inefficient and took to long to get to the point, or think of a quicker way to get to that point.

I’m finding this is actually a lot harder with a screenplay. When you need say, your catalyst by page 12 or 13 and every scene that comes before is essential or the reader won’t be glued to the story… then all you can do is shorten existing scenes.

When it comes to that, you just have to omit every single unnecessary word until there are no more unnecessary words. Then see where you stand as far as pacing. If after all that the pacing is still way off, you might have to kill a darling.