Some manuscripts have a meh quality to them. That’s not good. If you’re bored with it, the publisher will also be bored along with prospective readers. Take two aspirin or a double Scotch and go back to it in a few days. If it’s still meh, get rid of it, at least let it set for a while and go on to something else.
But some manuscripts sing. That’s the first clue about getting your groove back. Then more stuff begins to happen:
- You’re reading a compelling novel like Cormac McCarthy’s Cities of the Plain and here come your characters right in the middle of it, talking the dialogue right out of the book (You got a girl? Shit no. You sound like you’ve had some bad experiences. Who aint? You fool with them and that’s the kind you’ll have.)
- You’re watching one of the final episodes of “How to Get Away with Murder” and after Annalise Keating says, “Prayers are for the weak–I’ll stick to beating your ass in court,” one of your characters blurts out “Say which?” and you find yourself writing dialogue for your book while people on the show are getting away with murder.
- Taylor Swift is singing “The Man” and you get it mixed up with Burl Ives’ “The Big Rock Candy Mountain because your story is pushing on your hand like the dog that’s not getting petted.
- You’re ready for a good night’s sleep, turn out the lights, the cat snuggles in close and purs outs a lullaby, and ten minutes later you realize your seeing scenes from your story rolling through your mind’s eye like big trucks on a long-haul highway.”
- Your spouse and/or significant other says, “Do you want sex,” and you say, “No, I’m busy, but thanks for asking.”
Storywise, you got it bad and that ain’t good because you won’t have your life back until you finish your book. The groove’s got you.