Gerhard Richter and the Art of Literary Maintenance

Before I even finish writing chapter two, I've already started making notes on how to edit it. In editing, I typically use a few different metaphors to help me along.

1) What kind of drink would this chapter be? Does it read like a shot of Jaegermeister (short and strong) or a can of the Beast (more content, but watered-down)? Ideally, I'm going for Guinness (smooth and hearty, and if the barkeep's poured a shamrock on top, even better).

2) Is it Grandma Moses (no surprises, very simple and straightforward) or Jackson Pollack (what the fuck am I looking at?)? Me, I'd like to go for Gerhard Richter who's painting in layers interests me.

The Layers:

The first layer usually just moves the story along. It's more action than description. It's more two-dimensional than three. For the second layer, I close my eyes and ask myself what I see. This is where I flesh out characters, settings, dialogue and the sequence of events. Transitions between sentences, paragraphs and the general action smooths out. You've moved the story along, congratulations, but have you made the most of opportunities for comedy? Have you introduced or played up the conflicts enough to keep people interested in the characters and the story? Also, have I stayed true to the main themes or have I lost focus by introducing tangential ideas and allusions while trying to be clever showing everyone what a fucking genius I am? That being said, I usually go through 5-8 drafts before opening the process up to public comment.

I had a junior high gym teacher stand over me once while on the bench press. I did a few reps and then heard him say, "OK, one more." I did one more. Then he said, "Now one more." I did another. After a third "one more" I saw where this was going, but I'm glad he pushed me. I've come to enjoy editing as it presents a similar challenge: Are you humble enough to admit that what you just wrote is shit and can you make it better? Ok, now make it better again. And again.