
A friend and fellow writer asked me if I edited my writing as I wrote or after I finished a draft. My answer was yes. I do both. I edit as I write, over and over again, and I edit once the draft is “finished,” if that’s possible.
The question provoked a deeper thought. Is it possible for me to separate editing and writing?
The answer is no, and I suspect computers have something to do with it.
I was trained in journalism. At the time, classroom technology consisted of Royal manual typewriters. Electric machines were available, but my journalism school couldn’t afford them. I taught myself typing on a portable electric typewriter, but in-class assignments and tests were done on the manual Royals. I can still remember the sound of 20 journalism students pounding on typewriter keys.
To continue reading, please see my post today at the ACFW blog.
Photograph by Stanley Dai via Unsplash. Used with permission.



He felt like screaming. Instead, he dug his fingernails into his legs where his hands rested. He briefly glanced as the phone message left by his secretary. Please call as soon as convenient. He would like a meeting as soon as possible. And a phone number for a Detective Merwin with the Bristol police.
Should he call Gwendolyn? He knew his wife was volunteering at school today. She wouldn’t be home until 4 or 4:30. Should he say anything? This could be just a perfunctory conversation with the detective, just the routine thing they did.
Writing a fiction series seems to have become popular in the 19thcentury. It’s not the same thing as serial publication, which is how Charles Dickens published his novels – a chapter per issue of a periodical. One of the best-known series in the 19thcentury was the Chronicles of Barsetshire by
What happened was this: as I constructed what became the world of Michael and Sarah Kent-Hughes, the construction grew, it expanded over time, it became more elaborate and detailed, and it became too big to be contained in only a single book. What was one rather large manuscript was transformed into four novels.
Venneman won’t do any and everything his client (in the novel, the Archbishop of Canterbury) asks, but it’s less a matter of ethical concerns and more a matter of what will and won’t work. He’s working for church officials he feels profound disdain for, and he’s working against Michael Kent-Hughes because he hates the monarchy. Mr. Venneman has his own agenda, and he’s ruthless in pursuing it.