pjthompson: (Default)
Random quote of the day:


"To be a writer is to throw away a great deal, not to be satisfied, to type again, and then again and once more, and over and over."

—John Hersey




Illustrated version. )
pjthompson: (Default)
I'm at that part of the rewrite (midpoint) where I wonder why I ever fooled myself into thinking I had even an inkling of talent, wherein everything I reread seems like the grossest dross, and every character a cardboard mockup of a human being. I'll get over myself. Middles are supposed to make you despair, I think, both in the writing and the rewriting. It's a Universal Rule.

I'm also experiencing that wiggily sensation of realizing I have to cut some more characters. It always feels like a betrayal when I deny one of them their time in the sun. I become far too attached, frankly.

I'll be reluctantly cutting back the role of Tansy, the tough chick warrior, although she's enormous fun to write. I've come to accept that her tough chick action is seriously interfering with the tough chick action of my main character, Carsten.

In the world there's room for plenty of tough chicks. But fiction is not the world. Unless it's polemical fiction, and I don’t wish to go there. (And, really, that's not the world, either, just some somebody's idea of How Things Should Be or their simplistic notions of How Things Are.)

So Tansy won't be disappearing entirely (and may have a greater role in one of the other books in this series), but I'm not going to be using her as tough chick window dressing in this book. That's a disservice to the story, as well as to Tansy herself.

What a not-world, what a not-world. All my lovely tough chickness!
pjthompson: (Default)
Holy Macaroni—I hit a fervent patch of histrionic saidisms in my manuscript today. It's the big climax thing happening here and lots of emotional baggage coming to the fore—but I mean, really. I had to work those out of my book's system right quick.

You know, I have no ambition to write anything more ambitious than melodrama, but I want it to be the Great American Melodrama, I want it to be good melodrama. So when I hit a patch like this, or those abominable shortcuts last week, I'm grateful that writers get a chance to do it over again.

I want to make the sentences clean and bright, and each cut feels like a victory to me, accomplishing two things at once: making the writing better and bringing the word count down. If both factors aren't present, I don't make the cut (and in fact I've added where clarification was still needed), but when you've got something this big, there's always room for some cutting.

I have a "no strays" rule that I apply to each paragraph: I leave no single word (or even two or three small ones) left by themselves on a line at the end of a paragraph. Nothing below, say, an inch to three-quarters of an inch (the Angry Inch). I can usually find something in each paragraph to bring that stray back up into the fold and have one less line in my story. And the way I look at it, if it's that easy to bring the stray up, there's probably more cut potential left in the manuscript. If I struggle and struggle before I can find a cut that doesn't damage the sentences or the sense—or give up in frustration—then perhaps I'm arriving at the proper word count.

She thundered. :-)

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