Every writer’s process differs, but most phase the work into drafts. Usually four, and I’m no different. In the past, I would toss out the first draft and start over, which means I technically had five drafts, but I don’t do that anymore. And while I enjoy all the drafts for different reasons, I like the fourth because it’s all about quality.

For all the drafts prior, including all the minor versions (for example, I will often have a 3.0, 3.1, and so on), I ignore the picky grammatical issues. There’s no point in fixing something that might change anyway (I’ll get more into that philosophy another day). However, I can get deep into the word weeds in the fourth draft.

I won’t lie and say that I never pause to pick the right word when working on a first draft. I often do. But as a rule, I don’t dwell long. The bulk of my efforts early on are focused on story and character editing. The time consuming details like generous descriptions, character appropriate metaphors, and even punny wordplay come later in the third, but I still avoid getting sucked into picky grammar and stressing about the finding the perfect word.

The fourth draft is when I throw off the shackles—no more restrictions exist. I can touch anything I want. Hopefully, it’s just polish, but sometimes it’s more. I often find that being anal about flow uncovers opportunities to add some spice or sweetness. I might even find some incredibly overlooked logic or motivation issues.

I feel like Preserved Killick from the Aubrey-Maturin series polishing the silver. There is something immensely satisfying about getting the best possible shine out of something that took the better part of a year to create.

Looking back, it seems that I finished the fourth draft of my first book, Stuyvesant’s Wall, in late August 2019, over five years ago. I’ve learned much since then, but my approach to the fourth draft hasn’t changed. It’s all about the polish, and I’m enjoying editing the third Retrokid book.