Heck, I might as well admit it. I do very little editing once it's down on paper/electrons. Sometimes a sentence trips my eye, and that tells me the thing needs to be worked on, or I realize--or someone points out!--that who's doing what is unclear. I will write down outlines for future scenes or a plot point that will springboard me into the rest of the story, but generally I just pour the elements I'm trying to work on into the big blender in my head and let everything settle out. I'll peek in every now and then to see how the brewing is going, try to answer any questions they have, or fine tune some choreography (sounds like Moulin Rouge going on up there), but once it's written I do little fiddling.

On the flipside, I have a piece I've written several years ago, and it's getting massive rewrites as I transcribe it into the computer. But that piece is dealing with a lot of mental angst and character development that's going in ugly places, and I wasn't near as comfortable with it back then. Thank you, Buffy, you've taught me how to torture my characters in new and more interesting ways.

I do very little editing once it's down on paper/electrons.

We have a lot in common. I find that only things I've started writing before they're ready need much editing. In some ways, it's a very stress-free way to work (for me, anyway).

Some people write tighter first drafts than others, which is damn annoying to those of us who don't. :-) Me, I've concluded that I'm better off to write a first draft as fast and sloppily as I can, because I lose story-momentum if I stop and dither over word choice (for instance). I can go put my hair up in a bun, put on all black clothing and become Editor-Woman later on, chipping away the verbiage until I have a story-shaped object.

My first draft is more me muttering about character motivation while I drive home. "No, no, there's no good reason for him to be there, why the hell would he walk into the lair of someone who hates him? And dammit, I wanted to kill her off, but it just doesn't make sense!"

That's where it's pulling nails, when I'm trying to work out why the hell they're doing things.

Everyone has to find thier own right ways to write. (I'm sure that could be carefully crafted in a terrible pun, but I can't be bothered.) It's as individual as your writing style, and it (sadly) means that swapping tips about method rarely works as well as you feel it should.

My first draft is more me muttering about character motivation while I drive home. "No, no, there's no good reason for him to be there, why the hell would he walk into the lair of someone who hates him? And dammit, I wanted to kill her off, but it just doesn't make sense!"

This is eerily familiar. "They've got to keep that guy on, but after that, why would they? And then he's got have that dream, and realise what he's really feeling, and then they have to be pulled away on a journey together. How shall I do that? Oh, I know, I'll kill his mother!" evil cackle

That's one of the hardest parts of plotting and planning--how do I get characters from Point A to Point B so that a) the reader doesn't hear the plot machinery creaking and b) I don't have to hit the characters with a stupid stick to get them to make certain choices.

Yes, the Evil Cackle of Epiphany! Gods, that's such a lovely feeling.

Gods, that's such a lovely feeling.

It is.

Note: I'm not the same person as connie. I know I keep agreeing with her, but I swear we're not a sock-puppet, either of us.

There's nothing like the feeling when you think of something truly awful you can inflict upon your main character in the name of literature. Sometimes, it'll happen while I'm driving along the highway, and I'll wind up smiling all the way home.