 Hello and welcome back to my channel. If you're new here, my name's Jackie. I'm an aspiring writer and I actually have the next week off work which is really exciting. So today is the 20th of February and because of COVID obviously you can't travel anywhere so I thought why not treat this week as a vivid experiment and see what it would be like to live as a full-time writer. So this week I'm going to try being a full-time writer for the week. Kavya, when I say full-time writer I don't mean I'm going to try and do 40 hours of writing for the week mainly because I do just have a week off. I will be going back to work on the 1st of March so I could try and push for something like that but I don't think it's wise because there's no recovery time. It's more just seeing how I naturally want to structure my day and how much writing I can get done when the restriction around having to spend a certain amount of time at work each week is gone. So what am I working on this week? There are two things I'd like to look at. The first one is my fantasy hot mess. This is the project I've been working on since Christmas week so two months now. I'm actually no further along than I was two months ago which is really depressing but I think one of the things you'll see as this week progresses is that this book has involved a lot of going back and doing the same thing over and over so one of the first scenes I want to work on this week is actually going to be the fourth time I've done this scene in this draft so it's a bit of a slow process however I'm okay with that. I don't have a firm deadline I just want this to be the best book it can be. Other than that I do have a few other things on this week especially this weekend so I think that's going to help give a more realistic expectation of what full-time writing life will be like because I imagine when you are a full-time writer you do still have other things going on in your life it's not like you just put your life on hold so you can lock yourself away in a cabin and write or at least if you do that's probably not your average week so today for instance now I actually need to go to a French bakery so Drew discovered that there's this French baker who or lives works one and a half kilometers from here so I need to go out now and pick up some fresh French bread which is going to be amazing and then this afternoon I'm meeting up with some former colleagues to go axe throwing and do karaoke so probably not getting any writing done today but just in case I thought I'd start the video now. It is now 11 30 on Monday morning and I've just done two hours of work on my book so I did about 10 minutes of outlining type of work just because I had some different ideas that I hadn't incorporated into Yartmine yet and what was interesting was that I've mostly just outlined up to the midpoint of the book. Isn't it a midpoint? Yeah to the midpoint um and between the like turning point and midpoint so the second 25 percent is mostly there but it still needs some work like I feel like I've got Perry's plot outlined but I need to find some more stuff for Aubrey to do in that little chunk so um I've outlined up to the midpoint of the book and I started wanting to do the midpoint and wasn't really getting anywhere and I thought you know maybe that's not such a problem I'm nowhere near up to this point in the writing yet so why not just focus on writing what I'm up to and when I'm a bit closer I can do that bit because I know that a lot of what I did in the draft in 2019 is going to be reusable for that point so I think once I've got my new first half of the book then I'll be in a better position to like recreate the second half and decide boy I want to keep and what I want to cut from the previous version as well as what needs to be added so I did my 10 minutes of outlining then I did um the next what hour and 50 minutes was sort of writing work it was actually rewriting a scene that I worked on the last time I did a writing session and redoing it from someone else's point of view and I'm finding it really interesting to work on a book where I already have like so much information and so much that I know I want to achieve and admittedly my experience is limited in recent history I've only really completed two projects this is one of them and powerless was the other one and I think in general the powerless process was the better one it was a lot more efficient at least because I had my outline I did my nano-rimo draft and then when I started revising it I was really just trying to build on what was already there so in this book there's so much thought that's gone into it over the past 15 years that trying to figure out how to fit it all in as a struggle but there's also an opportunity there because in powerless when I was sort of writing the first draft it was really just okay so how do I get from here to here to here to here like it's really just I have my plot points and it's transitioning from one to the next whereas in this one yes there's also that element of I need to transition from one thing that happens to the next thing that happens but because there's so much more information I have the ability to ask myself well what's the most powerful way of doing this so the example of the scene I'm currently working on I'm up to my third version of this thing in fact fourth version of this scene and when I talk about versions in this video I only talking about this draft of the book so it's not including the previous two drafts so this scene I'm now up to version four and the reason is because when I first put it in I'm like I really want to have a chapter that shows a bit of Perri and Madeira's relationship before we get into the plot and things are moving too quickly for us to establish that so they were going to go out on the town because it's mentioned later that this is something they used to do so they go out on the town and Madeira was gambling and I thought they could get into a bit of a scuffle before they leave and the bar sees Perri's hair color for context Perri has unusual coloring and people get a bit strange about it I can't really say any more without giving context that even the characters don't know at this point but she yeah no one else looks like her and people get a bit weird when they see her from just ignoring her to downright rude to abusive type of things I thought this is a good chance to see what the reaction to her is like out in the real world because in the university where she lives everyone sort of used to her so we don't like you sort of hear her mentioning that she looks strange but we don't see what impact that has so that was the first iteration they went out they got into a scuffle um they ended up stopping they ended up stopping by at a friend's house so we could meet him as well and then they decided they were going to steal the macguffin at the end of the scene so this was a transitional one but there was some purpose so that was version one version two I thought yes it's nice that we've included a bit about Perri's coloring but the other thing that's big in this book is that people don't like mages in fact there was a war that ended 20 years ago where they tried to kill them out and in the world today basically they're trained to be hidden like to learn how to hide their abilities and this is something that was sort of told in earlier versions but not really shown and I thought okay what if we turn this into a yes Perri's hair is like the catalyst for the scuffle but then they discover their mages and we can see what some of the real anger is so I end up having these guys so we cut the going to the friend's house these guys ended up following them out of the pub and tried to attack them and then Madeira uses her powers to stop them which you're not supposed to do at all but the whole thing about Madeira's character is that she's like just so angry like she knows she has all of this strength she knows she's meant for so much more she's she's sick of being an outcast and a target and like back home she's sort of been promised to a 60-year-old coffee magnate which she isn't happy about so she's her arc in this book is really about taking her power back so first rewrite was visiting the friend second rewrite was incorporating that and I did that in a couple I actually did two versions of the second version so there were a couple of different ways that the Madeira using her powers could go one was they were sort of both attacked up against a wall and then another one was like she got away but Perri didn't and she came back to save Perri and that was the one I settled on when I finished my last writing session on this book because I thought it's good for their relationship too to show that Madeira is like going to be there for Perri she's not just going to save herself but then once I finished the last version I was working in the office that day and I was on the bus home and I thought this should be from Madeira's point of view because it's about Madeira's character in her arc it's not about Perri's like Perri's just a witness so then today what I've been working on is redoing the entire chapter from Madeira's point of view so I did 3,603 words but they're not all new it's sort of the scene was already there I was just redoing it from Madeira's point of view but in any case I think it was really good progress so far and I think given that it's been like a week since I last worked on the book it was a really good way to get back into it like being able to work on something that was already there rather than start something from scratch so now it has been two hours since I started writing I am a bit worn out so I'm going to go to the gym for a lunch break and then come back here and maybe I'll try writing something that's new this afternoon. I'm now back from the gym and it's actually been three hours so one of the things that's really nice about not having work is you can take all the time you want so that was part of it the other thing is that the free weights area has been closed for the last two months because they've been like refurbishing it and today was open so I got to do like actual squats and things again so I had a long workout and then also you know sauna and shower and everything then came back and had some lunch and three hours if my day is gone so um yeah not that there's anything bad about that it's more it's interesting to see how time goes and where it goes but the good news is I don't need to be back at work so there's no rush so I'm going to I don't actually know what I'm going to work on next I think maybe I should go through like the next scene again so basically if you've followed this fantasy hot mess saga you might know that it is a book with multiple point of views and one of the things I decided I was going to do was write through each of the main character's perspectives up to the turning point so the 25% mark and I've been focusing on Peri who's like the main character and the chapters in her story were she is preparing for the exhibition and there's a train thing she speaks to the governor slash master who's title I need to confirm about presenting at the opening gala and he says no and he wants to present the MacGuffin instead then she and Madeira go out get into trouble decide to steal the MacGuffin that's now from Madeira's point of view but because it's part of the same story I'm just going to include it they go and steal the MacGuffin things start going wrong there's an aftermath chapter that I looked at a few weeks ago which I think I need to revisit because I don't know if it works and then I'm not sure if this is immediately next off we need a couple of days but she is working at the exhibition and preparing everything and someone steals it from her and that's the turning point moment so I think like that's almost done actually in some form so I need to go through like the next two chapters the stealing and the aftermath they've already been drafted I just need to go through and make sure they still work and then there's just this one little linking chapter unless I squeeze it into the aftermath one I'm not sure yet but in any case we're almost up to that turning point at which point I will go back and look at Aubrey's chapters and a little worried about Aubrey because I've spent this time fleshing out Perry's stuff she has more story now happening before that turning point Aubrey on the other hand his story was originally escape from the castle get caught in his escape and given a mission and arrive in Derrimon which is the city where it's the book is set and then after arriving in Derrimon he bumped into Perry and caused the MacGuffin to get stolen basically so he had four chapters leading up to this and I've been trying to think about how to expand it and it's a bit hard because the good thing about Perry is or the good thing about most characters is you can sort of show a day in their life so you can see how things change his day in the life isn't very interesting because he's been locked in a tower for 10 years so I figure I can have one scene with him locked in the tower with him plotting before he escapes but other than that I'm not sure so that's not a today problem anyway I'm not going to get through that much I don't think so it's a problem for later this week but I do need to figure it out I think it would be nice if he had something else he was working on once he got to Derrimon before he bumps into Perry and then other than that so if you saw my planning document earlier you might have noticed there are three columns basically one column is Perry one column is Aubrey and the next one is sort of the cast of villains so that's Jared and it's and they're like sidekicks them I'm not too fussed about having like a complete narrative like I don't think I need to go through and create the same amount of content for them I think just if we get like the key turning points for them so as each of the pieces that the plan falls in place that'll work I've been thinking of this similarly to a gathering of shadows by V.E. Schwab so that is the second book in the shades of magic series and Kel and Lila are the two main characters they each have fairly complete plots and then you've got Holland who's like the sort of antagonist not really he's like the dark force lurking in the background but not really causing problems until towards the end of the book but we do check in with him a couple of times and I went through and estimated like in this book which is maybe 100 to 120,000 words he has 10,000 words so you do just check in with him at those key points so having seen it being done in a way that works I think the way I'm going to approach this will work so thank you again V.E. Schwab for giving me something I can copy so um I think that's enough babbling I should really get to work now now one of the problems of unpicking scenes and doing them again and again is that that means you need to unravel what comes after them as well so I mentioned the first version of this scene had them going to their friend's house and now I've moved on to the next one which starts with their friend and they're arguing about whether they should actually go through with stealing the McGuffin or not and I can cut that out but the thing is I really like the argument like it's just funny and it's a really good way to sort of say what all of the obstacles are and it wouldn't make sense for it to happen between Madeira and Perry since they're sort of on the same side so now I'm like well do we make them stop by this other friend's house on the way to stealing the McGuffin which doesn't really make sense because they'd see him have an argument with him and then he wouldn't tag along with them anyway so yeah I'm not I'm not sure what to do because I really like this bit and I don't want to lose it and it wouldn't actually work anywhere else in the book like it's unique to this one scenario so um yeah this session is mostly just staring at the screen thinking so it's been an hour and I'm not getting anywhere I yeah looked at the beginning of that scene and I put in a flashback that I'd cut out and I need to add a little bit of linking to get the pre-heist stuff into the heist stuff because there's now no planning and no arguments with the character who's no longer involved and um yeah I'm just not getting anywhere like I've read through everything and sort of can't think of what to do other than write me to add something here so I don't know if it's just because this is difficult section or if it's because I did like quite a bit this morning but I think um I'm gonna call it a day which feels really weird because I haven't actually spent that much of this day writing or working on my writing but yeah maybe my tolerance will build up as the week goes on we'll have to see it is Tuesday morning and I just got back from the gym and I fell over on the way back because on the weekend we actually had some warm weather warm meaning like plus one and um all the snow started melting and if you're from a place where it snows you already know that this happens but the Australians who are watching who don't know about this when snow melts it needs to be warm for like a consistent period for it to melt and go away but if it's not it melts and then refreezes as this really lumpy ice so on the way to the gym there are pods which don't really get shoveled so now they're covered with like three inches deep of this lumpy ice that is re-frozen so I slipped over and fell for the first time in two years because I haven't fell since my first winter here and someone saw so it was very embarrassing and now my shoulders a bit sore even though it's not the side I fell on so I'm not sure what's happening there but anyway I lived to tell the tale clearly and um today I need to get back to writing so my goals for today are one to um get through the stealing them the oven scene because I've already been through that a couple of times in this draft I don't think I'm going to rewrite it I think I might just link the two part scenes I have by saying you know 30 minutes later they were at the foot of Whitehall with all of the equipment they've gathered I also thought that I could potentially include like the funny conversation I wrote in the aftermath so maybe the next morning they bump into this friend and they talk about it as something they have done not something they're going to do because his sense of shock and consternation will still be the same whether they've done it or are thinking about doing it so we got the aftermath scene which is when they get back to the dorms and everyone's awake then maybe breakfast the next morning and now I'm thinking maybe I don't even need the scene when they get to the dorms maybe we just jump to breakfast the next morning and sort of say in a sentence how you know they'd gotten back and everyone was awake which could work as well and now I don't want to cut stuff I've done though this is the problem when you write stuff you have things that you've written and you want them to go in the book you don't want to write it and then have to throw it out entirely so maybe this is another section I'll highlight in yellow but basically I want to get to the point I want to get Perry to the point where she's ready for the orb to be stolen and then I'll go back and start Aubrey so that's really just figuring out the aftermath and I think we can probably I don't know whether it's going to be too fast but this is great viewing material so I'm stuck because when I write I tend things tend to happen very quickly I'm not very good at having time passing because everything sort of happens one after the other so a story which maybe I originally thought would take place over three months ends up taking place over four days so this is sort of what's happening here it's like okay this has happened does it get stolen the next day because there's nothing else that really needs to happen between her stealing it and getting stolen or do I need to add a break of a few days in there because the antagonists need some time to get their shit together now that they realize it's stolen they need to assemble the forces in order to steal it from her I don't know if this is a downside or an advantage of trying to do the entire story from one character's point of view up to the turning point because having multiple point of views means when there's not much happening here I can skip over to the other point of view but the idea is that each character should have their own complete story happening so if there's like not much happening you know obviously Perry is doing something in her life well Jaredan's recruiting ints and telling him to start following her so yeah I'm I'm not really sure how that works I'm just going to try today and see what happens and um yeah get up to the point where she bumps into Aubrey and then go back and start working on Aubrey's story so I was working on my book for about three hours today and two hours of that was productive time I actually took a break in the middle because I got just a bit stuck and worn out and really needed a break so I spent the valuable time watching YouTube because I'm on holiday and I can't good news is I've gotten everything done so I'm now at the point where Perry in the next chapter will bump into Aubrey and we'll lose the McGuffin and the plot will start so that's where I wanted to get to I'm not 100 happy with what I did because this last chapter is really just a miss like it's a mismatch of things as opposed to something where there's a clear event happening so um we have the aftermath of stealing the McGuffin where they get back to the dorm and realize that it's woken everyone up and they're not sure why we have the next morning where they look at Whitehall and it looks like the orb is still there and all the damage is undone and they don't know why and then they go to breakfast and I brought in the friend who they originally meeting the night before and basically included all of the conversations from the previous night but you know now referring to the past which I quite like but the thing is because it's just this chapter is sort of reacting to what happened the night before and what went wrong there's nothing really happening and I have the feeling this is going to be one of those ones where once I've got the full draft and go back through it it's not going to work but I'm not sure what else to do in this spot for now so I sort of think it's better to just like leave it and know that this might be one of the you know three or four chapters that I'll have when I get to the end of the book it'll need to be redone anyway because that's what happened with powerless like there are sort of two the first scene needs to be redone and then there are sort of two chunks in the book that don't work as well as they could um I think one's one chapter and one's sort of two chapters in a row so yeah now I just feel a bit tired and I think one of the things I'm realizing is even when I have all of this time to write I do only have a certain amount of capacity for writing so maybe being a full-time writer isn't realistic I don't know or maybe it's just because you know I'm tired from work and this week was supposed to be a sort of slow recovery week and if I was legitimately writing full-time then I would have more capacity for creativity each day so something interesting to think about the biggest thing that's annoying me about the scene though is I'm not sure where to end it because it is just this sort of mismatch of stuff that happens in between stealing the macguffin and what happens next so usually like I would like to end chapters on a cliffhanger or a revelation or at least a good last line and this one sort of the conversation is just meandering and I feel like I need something to set up that Trevor's going to be part of the welcoming committee he'll meet Aubrey and we'll take Aubrey to the exhibition so we need something on like will I see you at the exhibition but that's such a boring way to end the scene so I'm really not sure what to do with the end of the scene at least it's done I have I think 20,300 words or so in this document which is just Perry's story there's about 2,700 which um I wrote earlier and I'm going to move later in the book so that means what like 17 half 18 thousand is actually her first part of book which I think is a pretty good introduction for just one character so tomorrow I can start working on Aubrey which is going to be a nice change because it's been like almost two months since I've done anything with Aubrey because I've been working on Perry since I did my yeah attempt to write a book in a week so that should be fun so I've been thinking about Aubrey's story and I'm not getting very far so I'm heading to the gym for a workout but basically after yesterday's aftermath scene I had the realization that scenes need like purposes they need there needs to be a central action or goal that the character is going for and what I realized is that this aftermath scene it has objectives from my point of view as the author so those objectives include that I want to show the aftermath of stealing them the guffin and what happened I want to say that all of the majors work up so we know that there's some connection between it and the majors even though we don't know what it is um and I want to show like the next morning basically it looks like nothing happens so that explains why there's no public outcry or panic so I have all of these objectives but I don't actually have anything that's meant to happen in this scene so that then creates a situation where you've got a bunch of like disconnected bits of dialogue and description and so on but nothing's actually happening and it makes it really hard to know when to end the chapter as well because you don't just get to the end of the action but anyway I put it aside because I hadn't been getting anywhere and I decided to look at Aubrey's story and what I wanted to do was add like a chapter or two to the beginning of his story like what I did with Perry's so we get more of a sense of his life so I have objectives I want to show more of his life before he escapes from the castle and goes to Derrimon I want to show um how he's been trying to like make a role for himself at the king's side and I want to show his like magical ability which is reading minds I want to show you know how he's able to listen in on what people are thinking and how he uses that to manipulate them to get what he wants so I have these objectives I don't have anything that needs to happen though yeah what I was thinking was that we'd have a chapter or two where he's locked in the tower and he's basically making his final bid for like a role at his father's side and the role I always thought would be good for him is as a spy because he can read people's minds so what I want to establish is that he's had this um like habit over the years of I don't have it but he's been trying over the years to feed information to his father that he might not know um as a way of proving his worth and what needs to happen in this scene is it's his final bid for this role so he needs to find one final bit of information that his father doesn't know that he thinks um will be more desirable than anything he's shared in the past and hopefully that'll like give him a legitimate role and if it doesn't then he's decided now's the time and he's going to go so I sort of have a vague idea of what I want to have happen but there's nothing much beyond that so like again it's all objectives but no clear goal or action that's happening in this scene so I don't really know what to write and I think missing pieces whatever is the piece of information he finds out but this raises more problems because obviously his father's a king he has his own spies so how would Aubrey come across a piece of information that the king already isn't aware of then two what is it that's big enough to make Aubrey think this is the thing that'll get him free and I thought what would work is if I could find something about Derrimon so so maybe something that leads the king to think I don't know they're going to declare war or who knows what and that would work really well and it would be nice to tie it into the main plot the problem is the antagonists aren't doing anything at this time like they haven't started their plan so it can't be about them and I'm not sure what else it could be so yeah I wasn't getting anywhere so I'm gonna have a workout and hopefully I'll make more progress when I get back I'm back from the gym I still don't know how to address the scene that I was planning to write so I'm gonna go out to a cafe because I haven't actually written from a cafe and I don't even know how long and I think just being surrounded by p-wall sort of create a little bit of pressure where I have to actually work rather than just waste time so I'm obviously back from the cafe my goal was to work on the first chapters for Aubrey's story so here's my other main point of view character and as I think I said earlier the first couple of chapters I had from the last draft I was going to keep but I wanted to add like a new one or two chapters beforehand so we see a little bit more of his life and after maybe half an hour of faffing around and looking on google I decided no we're not going to do that we're just going to go with the existing chapters and the main reason for that is that I still can't think of something for him to be doing and I know that including a chapter for the sake of having a chapter usually isn't the best approach so because it's the beginning of the book I can tack on things that happen earlier so if I do come up with an idea later it might be really interesting for him to have another chapter or two at the beginning where he uncovers some sort of conspiracy that prompts his escape but until I think of something I don't think there's any point in adding that so I went through the like original first three chapters which haven't really changed much since the 2019 draft and today when I went through them I didn't change very much again I think chapters one and two work pretty well so chapter one is his escape from the castle chapter two is when he gets caught and then chapter three was his arrival in Dharamon and sort of like seeing the new city and getting a little tour of Whitehall and it's a little bit like the aftermath chapter that Perry has after they steal the orb where stuff needs to happen we need something to transition from the previous scene to the next day and there are things that it accomplishes but there isn't one key action or goal or objective that the chapter is structured around it's a bit weaker because of that and this is the same case with Aury's third chapter and I'm not sure how to solve it and I'm not going to solve it today because I am exhausted and I have a feeling it's because I had this giant brownie at the cafe and it's just too much sugar for my body to handle anymore so yeah warning to everyone who's under 30 this happens when you get older at least it's happening to me when I get older I haven't done like I haven't changed much about that third chapter at the moment and I'm sort of just leaving it there as a placeholder like the aftermath one which I might go back to but what this means is I only need to do one more chapter in order to have everything set up to get into my turning point sequence of events which is about 7900 words I think I checked the old document yesterday and that I'm basically just going to copy and paste so that's going to be really exciting that'll be a really big word count day I wouldn't have urged those words but yeah one of the things that's a bit weird in my writing tracker is how I track words because there are different activities but it'll be a big word day so from here I am really exhausted so I wanted to get the other chapter done tonight it's going to be the first chapter from Jaredan's point of view he's the antagonist and it's going to be after they've stolen the orb and there's sort of been like a mini earthquake and white hole has broken into two and everyone's panicking and they don't know where it is and I do have a version of that chapter from when I was working on this book over Christmas however I've got a lot more stuff that I want to add to it mainly him fighting with the other masters at the school because there's bad blood there and it would be nice to introduce it I think this will also need a little bit more work because in the Christmas version of this book I originally introduced him a bit earlier and had an initial chapter with him and I don't think I'm going to include that or I'll include the scene because I like the scene but it doesn't need to be at the beginning it can be a bit later so this will be our first time meeting him as well so this chapter is going to have to do a lot more leg work than it had to last time so I'll see if I revive a little this evening because it would be really nice to get that done tonight and then tomorrow I can just jump into copying and pasting the 7900 words into the document hello it is Thursday and I just did the first chapter of jaren's story to be honest I'm seriously considering keeping his previous first chapter in the book which might sort of happen before this the reason I'm for it is because I really like the scene I think it's a good way to start it has some like of his rhetoric in there which I like the reason I'm not thinking about putting it in there is because I'm worried about having too much time away from perry when we're supposed to be building like her story and the relationship with her but anyway I've done his chapter which is the aftermath after the orb is stolen and he reacts and decides that okay he's going to find it now now it's vulnerable he has his chance and that means I've done everyone's scenes up to the turning point so now I'm going to put them all into a single document so what I've got is an empty document on one side of the screen and then in the other side of the screen I have my draft documents I have a separate document for perry a separate on for a brian a separate one for jaren so I've put my documents together and I now have 27258 words which um is about what I was expecting based on what the draft I did over christmas or how long that was actually no that's longer because I think hang on where's my I have too many tabs open let me check that draft okay interesting so that was about I'm saying about because there was a bit that I had in for the words that I never moved across I think it was about 29600 all up and um that actually includes the whole next section that I'm going to put back into here which is like 7900 words I've actually added quite a bit which I didn't realize um and that's even including this scene of geridans that I didn't copy across because I'm sort of 5050 about whether to put it in and I think that's about 3000 words as well come on scroll scroll scroll yeah so 2941 so if I include that in here that means I've got 30 000 words it's like this first 20 percent of my book this is going to be a long book um so that feels pretty substantial and I'm feeling pretty good about it I do feel like the work I've done on it has made it stronger which is always promising I am a little bit worried about the balance between the different points of view especially if I put this extra chapter from geriden in there because the way it's structured at the moment is we have three chapters well two chapters is perry one is madera but that's sort of the perry storyline because they're together so I'm including that as sort of protagonist then we have two chapters for auri where we introduce him we go back to perry where she steals the orb we get our first chapter from geriden which is his aftermath chapter and then the last two chapters um one of them is the perry aftermath chapter which I'm not really sure about because there's not one clear event that's supposed to happen here so it does feel like a bit of a ramble and when then we've got um auri's arriving in daramon getting his tour chapter which doesn't have a clear event so um yeah the last two chapters need a bit of work but otherwise like that's 27 to 30 000 words depending on what I do with that chapter that I think is working pretty well I don't know why I'm so happy like I am feeling really happy that I finally got here but part of me in my head is going you haven't actually gotten any further than where you were in the week of christmas when you tried to write this book in a week so um from here I actually have to go out because I've got a massage scheduled which is going to be wonderful and going to make it feel like I wasn't working on the book for this whole week and then um this afternoon I think I'll move those 7900 words with the turning point incident across and um see how that works and then maybe tomorrow I'll actually like shock horror I'll write something new this year rather than just going back over and over the first 20-25% of the same book again and again so it's massage time happy friday so at the library yesterday I went through the 7900 words from the last version of the book which was the whole turning point incident which I was fairly sure I wanted to keep and I have mixed feelings about where the book is now because one it's 38 000 words I'm not sure how that happened I mean obviously I know how that happened I wrote a whole lot of stuff and then put it into the same document and the words added up but because I've been so focused on these smaller parts like perry's section has been the longest and that's maybe 18 000 words but all of the others have been sort of a few thousand words here and there so putting it all together it was like oh I've actually done quite a bit of work on this so there's sort of this like almost triumph that oh I've actually made some progress in this book this is really exciting there's also a bit of a sense of dread because if I plot using story engineering structure which is sort of my default plotting structure it divides books into percentages and your turning point or first plot point as larry brooks calls it is supposed to happen around the 20 to 25 percent mark of the book so I estimated it started around 20 percent and probably because it's over multiple chapters now I sort of have these like domino scenes or things that happen so you have this one thing and it turns into something else so it's like maybe 10 percent of the book so that's 20 to 30 percent of the book so what that means is I'm at 38 000 words and in theory I should be around the 30 percent point of the book which means my final book is going to be like 120 25 000 words which is longer than I was expecting and that's a little daunting future Jackie here so if you're still watching you've probably noticed this is a very long video and the week isn't over yet so I've decided to split this into two parts and I'll be publishing the second part next week so if you've been enjoying things so far please like and subscribe and please tune in again next week when you will see me have a mini breakdown when I realize that I might need to get rid of one of my main characters in order to make this story work it's not fun other than that if you are a full-time writer I would love it if you told me how you structure your week in the comments below or if you're an aspiring full-time writer let me know what you think your ideal week would look like other than that again like subscribe hit the notification bell do everything that will keep the gods of youtube happy and I will see you next week bye