Isn't that kinda normal?

I usually read my stuff aloud. If it doesn't sound right when i read it out loud, I revise.

And that's it.

Vampire People had few edits, really. I went through a beta read to see if what I was writing resonated in the ways I intended. Having so many friends who are editors who also beta read means fewer edits/rewrites, and it's a blessing.

Sam has sort of lost all meaning for me because I've read it so many times. I don't even know if it's good anymore. I know I love the little guy. But I have no idea if he sucks.

I usually keep several versions of my nonfiction articles, because I'll decide a point I deleted should really be included or I'll decide that my descriptive ability was really much better last week.

And I think, "I wrote this crap?"

Allyson, I've made a living writing for 30 years and 90+ percent of the time, I'm "OMG, I wrote this crap. This sucks. Why did they hire me? Why will they ever give me anything else to write?"

My experience working with other writers has been that the ones who think that they do a good job and that every word they write is golden are not very good writers and a pain to work with.

He hasn't touched any edits since he turned in his three chapters last year. I'm annoyed, frankly. You can't have 40% for three chapters out of ten and no editing and then tell me you're really busy. You just can't.

Oh, well, that's different. Unless the two of you signed something, then it could be trickier.

My experience working with other writers has been that the ones who think that they do a good job and that every word they write is golden are not very good writers and a pain to work with.

Well, yeah. ::wry grin::

But I still stand by my "publishing's stupid" statement. At least, until I get another contract, IF that ever happens.

My experience working with other writers has been that the ones who think that they do a good job and that every word they write is golden are not very good writers

I think I barely have a clue what I'm doing, so maybe there's hope for me.

There's nothing in writing. Emails, but no signed contract. And it was dependent on him writing usable shit. Since I'm culling it...

I just feel awful having to do this. He worked hard and he's a good guy. He's just not a good writer.

I don't feel like much of one, either, right now. But there is the excitement of taking Sam racing through the Chunnel and emerging in Paris.

For today, I suck. But tomorrow is another, and all that Scarlett bullshit.

I think that's kind of a broad statement, too, Ginger. I don't believe every word I write is golden, and I know there are times when I need to do better, but I do think I'm pretty good at what I do. That said, I always know I'm not the next Virginia Woolf or whatever, so.

A little confidence is a good thing. But feeling doubt about what you've written, especially when you're very close to it, and haven't had a chance to put it away and not look at it for a while, is entirely natural.

There's nothing in writing. Emails, but no signed contract. And it was dependent on him writing usable shit. Since I'm culling it...

As long as you can tell him *why* (in concrete terms) his contribution isn't usable, then you should be good. I'm guessing this isn't someone who would have the means to sue anyway, so.

And hey, sometimes things don't work out. It happens. If he really want to write, he might as well learn it now.

I think, too, there's a pretty wide gulf between thinking you're a good writer and thinking every word is golden. I mean, in my more lucid, clear-headed moments I know that I'm both good at what I do and still have a ton to learn. It's part of the fun, actually-- learning the new stuff. And there's also a pretty big divide between taking every editorial suggestion offered and knowing when to stick to your creative instincts.

However, the ones who think every word is golden... I dearly wish they would get struck with the clue stick.