Teasing the Inevitable

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Gosh, I hope it works out for these two crazy kids.

Tonight is the Oscars.  S and I are going to an Oscar party, though that’s mainly just for the fun of going to a party.  As far as the nominees are concerned, as my dad always likes to say, you can’t begin to plumb the depths of my indifference.  I was just looking at the official site, and in pretty much every category, it’s just movie after movie that I’ve never seen.  We got A Man Called Ove from the library.  And we watched about the first half-hour or so of Captain Fantastic.  And I saw Zootopia on Netflix.  But other than that, I’ve seen nothing.

The truth is that S and I spend a lot more time reading and watching TV anymore than we do watching movies.  Especially movies in the theater.  It’s been a very long time since we’ve gone out for a movie, in fact.  But that’s okay, because there’s so much good TV and so many good books.

Speaking of which, we just got the DVDs of Victoria with Jenna Coleman from the library, and we stayed up a bit later than we should have last night watching the first five episodes.  That took us from Victoria’s accession to her marriage to Albert.  It’s very good, and I wouldn’t be surprised if we finish it today.

At the same time, we’re reading Ethan Frome for S’s classic lit book club.  I’ve read it before, years ago, but S hasn’t.  Thanks to a technical glitch in the Google Books version that she’s been reading, she ended up accidentally skipping the introduction.  (For those of you who have read the book, that’s the frame story, where the narrator meets Ethan Frome and ends up having to stay at his house in a snowstorm.)  So we dug out her tablet and I read it to her while she drove.  And of course it changes the story quite a bit when you start out knowing, even from Ethan’s first appearance in the book, that something awful is going to happen to him.  The question becomes, “How did this happen?”

That’s the same issue faced with historical fiction, like Victoria.  No one with even the slightest knowledge of history has any doubt how things are going to work out between Victoria and Albert.  The facts are well known, and there’s not really any way to create suspense there.

The trick, in both cases, seems to be a focus on the characters.  Both Edith Wharton and the writers of Victoria seem to be concentrating not on trying to create false suspense where suspense is impossible, but rather giving us marvelous and telling little bits of character development.  In other words, rather than focusing on the outcome (What will happen to Ethan Frome?  Who will Victoria marry?), we focus on the internal qualities of the characters—the flaws and strengths that will lead them to this outcome that we already know.

Here, for example, is the third paragraph of the main narrative of Ethan Frome:

The night was perfectly still, and the air so dry and pure that it gave little sensation of cold. The effect produced on Frome was rather of a complete absence of atmosphere, as though nothing less tenuous than ether intervened between the white earth under his feet and the metallic dome overhead. “It’s like being in an exhausted receiver,” he thought. Four or five years earlier he had taken a year’s course at a technological college at Worcester, and dabbled in the laboratory with a friendly professor of physics; and the images supplied by that experience still cropped up, at unexpected moments, through the totally different associations of thought in which he had since been living. His father’s death, and the misfortunes following it, had put a premature end to Ethan’s studies; but though they had not gone far enough to be of much practical use they had fed his fancy and made him aware of huge cloudy meanings behind the daily face of things.

Even before we know why this much younger, healthier Ethan has walked into Starkfield, we know something vitally important about him—he’s a frustrated scholar unhappy with his lot in life.  Similarly, there’s a fantastic scene in episode 5 of Victoria, where Albert’s libertine older brother, Ernest, takes him to a brothel to “educate” him before his marriage.  Albert goes off with one of the prostitutes, but rather than sleep with her, he just talks to her and takes notes on what he should do on his wedding night.  It really explains a lot about the character, and about the kind of relationship we (as viewers who know our history) know we’ll be seeing later on between the queen and her beloved prince consort.

As a writer, I suppose the lesson here is to remember that “how” and “why” are sometimes more important than “what” happened.  If you create interest in your characters, you can make the reader want to keep reading, even when there’s no suspense as to how things are going to end up.

J

The Long and the Short of It

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my silly edit from Versailles

Last weekend I finished the longest solo work of my writing life. (J and I discussed that I’ve easily written 200K+ words of the Quartet on my own, but that’s not really a solo project.) It’s a Musketeers fanfic of limited appeal I started it back in July. It will never be widely read, and it took a boatload of time and effort to write, but I’m really glad I did it. I think it’s quite good, which is something I almost never say about my own writing. I’m, frankly, crazy proud of it. I’m still in the process of posting it for the rest of the world to see, so it’s not out of my life yet, but the blood and tears have been shed, and it’s time to think about what’s next.

Returning to the pattern I had going about this time last year, I think I’m going to juggle multiple projects, at least until one insists upon itself and demands my full attention. Some of it’s going to be original fiction, some is going to be fanfic, and some of it will be Myrcia ‘verse. It’s going to be a mix of short and long pieces, with a healthy dose of outlining thrown in.

The Swift True Road/Mercenary stories

This is my Italian Renaissance mercenary novel I started back for NaNoWriMo.  I never felt truly comfortable with the setting, and my outline is a giant mess, and I was trying to squeeze way too much into one novel. Dropping it was one of the best choices I ever made. But I do want to get back to it, and this time I want to do it right. I asked J for advice, and he came up with something I wasn’t expecting.

Write short stories.

“Huh?” I thought as I tried to figure out how that was going to fix my novel, but then he explained. Since part of my problem was not feeling comfortable in the world, J suggested I write some short stories, almost like character prompts. I should focus on one character and a part of the setting I need to understand better, and just write that. Once I’ve written, for instance, Francesco’s first night in camp as a mercenary, I’ll know more about that character and how mercenary camps work. (It also helps focus my research, so I’m not “GAH! Must know entire Renaissance world!”) I want to write at least one story for each of my named characters, so I’m thinking that perhaps after a dozen or so of these, I’ll be ready to dive back into restructuring the novel. And I’ll have a nice little collection of short stories I might look into posting somewhere.

Two Shots of Bourbon/Versailles fanfic

I think I’m about to dive into a new fandom with my fanfic—Versailles. I mentioned the show briefly  after we finished watching Season 1 the first time, and since then my obsession with the show has just grown. I’m particularly interested in the brothers at the center of the show, Louis XIV and Philippe I, Duke of Orleans. But as I’ve started outlining my first fanfic and toying with ideas, I’m finding myself a little hesitant for a lot of reasons. My biggest concern is getting Louis’s voice right. Chatting with the lovely Storyskein this morning, I mentioned that maybe I should do a one-shot from Louis’s POV before diving into the longer fic I have planned. In other words…

Write short stories.

I already have a one-shot piece in mind to write from Louis’s POV, after which switching to Philippe’s POV for a story would probably not go amiss. (Just because I’m not as nervous about getting his voice correct right now doesn’t mean I won’t be later if I skip practicing it now.) Also, a couple of short pieces would be a nice way to introduce myself to a new fandom. Plus, having just finished my longest work, I could probably use the mental change of something shorter.

Oleg Omdahl 4

When I’ll get around to actually writing this, who knows. I certainly won’t be ready for April Camp NaNoWriMo, but perhaps July Camp or NaNo proper in November. In any case, it’s never too early to start extreme outlining. I actually outlined Oleg 3 (Fiat Justitia) a year and a half before I wrote it, so there’s no reason I can’t get to work on this at any time J might be up to diving into it with me. (I will admit I really adore outlining with J. It’s one of my great joys in life.) I already know a lot of what I want to do in this one, it will just be a matter of filling in blanks.

And that’s what’s on my plate. And it looks really quite tasty. I’ll be sure to report back on how the short story theory works out.

~S

Listening to Myself

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The felt goatee is the most important part.

With one thing and another, I almost forgot to blog again.  S has finished a giant fanfic project, so she and I were reading her story aloud together.  As we’ve mentioned a number of times on this blog, reading aloud is an important part of our revision process.  I’d go so far as to say, in fact, that it’s the most important part.  Reading aloud is the best way to catch little typos, awkward phrasing, and inconsistencies of plot and characterization.  And, of course, it’s fun if you can do it with someone you like.

But what happens if you don’t have someone to read with?  Or what happens if your writing partner happens to be working on her own stuff at the moment, and you want to read something over again for the third or fourth time, and it seems like something of an imposition to ask?  Well, as I’ve mentioned before, there’s a way around this.  You can make your computer read your story to you.

I’ve actually been doing this myself over the past few weeks.  In addition to all the other little revision and reference projects I’ve been working on, I decided to reread all our Myrcia books in chronological order, starting with Keara of Glen Taran and ending with S’s Oleg Omdahl mysteries (a span, in the internal timeline of the Myrciaverse, of more than 2,700 years).  Right now, I’m at A Fatal Humor, which is just over halfway through.  The point of doing this isn’t just to pat myself on the back for how much I’ve written.  It’s to make sure I can remember all those stories and keep everything straight in my head as I write more.

Now, I could just sit in my comfy chair and read them the normal way, off my computer screen.  But I’d also like to get some exercise occasionally.  So what I do is to connect my Bluetooth headphones and listen to the books, two or three chapters at a time, while walking.

The first step is to save a couple chapters of the book as their own PDF file.

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Next, you open the PDF and use the “Read Out Loud” feature (under “View”).  Choose “Activate Read Aloud,” then open the same menu again and choose “Read to the End of Document.”  (Note the “Pause” option here, too.  And once you’ve paused, you’ll see “Resume” in its place to start it up again.)  I’m using Acrobat Pro, but Adobe Reader has similar options, as well.

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If you’re in a hurry, you can change the speed, as well, under “Edit” > “Preferences.”

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I’ve got mine set at 280 words a minute, for example.  So if I do three chapters, each of which is, say, 3,000 words long, that will take me a little over half an hour.

Now, obviously it’s always more fun to read with S, but she’s got her fanfic project to work on, as well as—oh, yeah—her job.  So the “Read Out Loud” function is a good substitute.  And there is at least one benefit to reading aloud with the computer instead of by yourself or with another person.  The computer can’t guess what you meant, and can only ever read exactly what’s there.  Sometimes, when you read aloud, you can cheat; you can make a clunky phrase work by reading it with a certain intonation.  The computer can’t do that, though.  It reads what you actually wrote, warts and all, in a flat, utterly pitiless tone.

At my current rate, I figure it’ll take at least the rest of this month to get through all our stories.  Maybe a few weeks of March, too.  But in March, I’ll have to take a break to start planning my April Camp NaNoWriMo novel.  Yes, that’s right—Spring is just around the corner, even if it doesn’t particularly look like it just now.

J

The Persuasion Project: Chapter 6

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CE Brock illustration from mollands.net

 

It’s Persuasion Live Read time again! Chapter 6 opens with a nice bit of character building for Anne, but without a ton of plot happening during her stay with her sister, Mary Musgrove, at Uppercross Coattage. And even though things pick up a bit later on, I think I’m just going to pull some quotes that struck me. It’s as “live” as I can make my read. (Crazy thought—Read aloud with asides. Post audio.) Anyhow, here’s my favorite example of what Austen is doing in this chapter with Anne.

She played a great deal better than either of the Miss Musgroves, but having no voice, no knowledge of the harp, and no fond parents, to sit by and fancy themselves delighted, her performance was little thought of, only out of civility, or to refresh the others, as she was well aware. She knew that when she played she was giving pleasure only to herself; but this was no new sensation.

Just in case you were questioning whether or not Anne Eliot is a better person than you. Truly, she is always willing to be underappreciated, put everyone’s complaints and desires above her own. Is there any heroine who is so content to be unassuming without also coming across as spineless and unsympathetic? (I’m looking at you, Fanny Price. I’m looking at you.)

But then in the second half of the chapter, the Crofts arrive to take up residence at Kellynch. I immediately love Mrs. Croft when she comes to visit Anne and Mary at Uppercross Cottage.

Her manners were open, easy, and decided, like one who had no distrust of herself, and no doubts of what to do; without any approach to coarseness, however, or any want of good humour.

She’s entirely my kind of woman, and frankly, after all of the shallow, fake, and conniving people in Anne’s life, exactly the friend our heroine deserves. However, Mrs. Croft then nearly gives Anne a heart attack.

“It was you, and not your sister, I find, that my brother had the pleasure of being acquainted with, when he was in this country.”

Anne hoped she had outlived the age of blushing; but the age of emotion she certainly had not.

“Perhaps you may not have heard that he is married?” added Mrs Croft.

Of course, this turns out to be Captain Wentworth’s brother who used to live in their neighborhood, and the man the Captain was visiting when he and Anne fell in love. It could be a cheap ploy, but it works, and my heart is in my mouth along with Anne’s.

Another thing I love about Austen especially in this novel—her practical, honest narrative voice. Here’s how she describes the loss of the youngest of the Musgrove sons, Richard.

The real circumstances of this pathetic piece of family history were, that the Musgroves had had the ill fortune of a very troublesome, hopeless son; and the good fortune to lose him before he reached his twentieth year; that he had been sent to sea because he was stupid and unmanageable on shore; that he had been very little cared for at any time by his family, though quite as much as he deserved; seldom heard of, and scarcely at all regretted, when the intelligence of his death abroad had worked its way to Uppercross, two years before.

So blunt and honest in a way you don’t expect the well-mannered to be, and no one (seemingly) has better manners than Jane Austen. J and I were just discussing why Pride and Prejudice has received far and away the best adaptation (the BBC mini), and he proposed it’s because Austen’s narrative voice is so significant to the enjoyment of her novels, and that the narrative voice in P&P is so close to Elizabeth Bennet’s voice you can have her believably deliver the famous opening line about a man of large fortune and other tidbits from the narration. It feels so natural and the best of Austen remains. What more can you want? The narrative voice of Persuasion is so wonderfully blunt and subtle all at once, without the restrictions Anne feels since she is such a decent, unassuming woman. (Crazy idea—work out this theory some more and write about it in detail.)

And that’s all for now, but I’m so excited because Captain Wentworth is coming!!!!!

~S

 

The Long Count

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1,243, count them, 1,243 pages!  Mwahaha!

It’s Sunday again, and we almost forgot to blog. S has been working on a rather important project for work that we won’t discuss here. I’ve been working a little on some reference works for the Myrciaverse. Also, we made a pot roast for supper, and it was delicious.

Over the weekend we finished The Count of Monte Cristo for S’s book club. It’s the second time I’ve read it, and it’s easy to forget just how incredibly long it is. How long is it? Well, it’s so long that the book club is doing War and Peace this summer, and thanks to The Count of Monte Cristo, War and Peace will only be the second-longest book we’re reading this year. That’s how long it is. S may post her thoughts on it sometime, but here’s my super-quick review.

It’s very good, and if you’ve got a few months free, I would highly recommend it. However, we had a few issues with it. For one thing, Dumas really drags the story out. There are long books that feel shorter than they are, like War and Peace. And for the most part, The Count of Monte Cristo is one of those. It reads pretty quickly. But there are times, like the chapters where Luigi Vampa, the Roman bandit, is introduced, that take up far, far more space than they really need to.

Then there are problems with the story itself. The count’s relationship with Haydée, his Greek slave girl, seems awfully forced. The count ends up with her because reasons, basically. One gets the sense that Dumas planned it that way, and forgot to show their relationship developing believably over the course of the story. As I remarked to S right after we reached the end, Haydée is the Ginny Weasley of the book.

As for the count himself, the fact that he decides that revenge is bad at the end comes out of pretty much nowhere. And the way he treats Maximilien Morrel at the end—refusing to come right out and say that Maximilien’s sweetheart, Valentine de Villefort, is still alive—is just cruel. When Maximilien and Valentine are reunited, they both act absurdly grateful to the count, when any normal person in their place would smack the guy in the face.

But even so, it was a good book. Good enough to read twice, in fact.

J

The Persuasion Project: Chapters 4 and 5

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CE Brock illustration from mollands.net.

The Persuasion Live Read finally continues! When last we saw Anne and her family in Chapter 3, the Elliots were retrenching, letting their home to people connected to the mysterious Captain Wentworth from Anne’s past. What could possibly happen next?! Well, let us read.

Chapter 4
He was, at that time, a remarkably fine young man, with a great deal of intelligence, spirit, and brilliancy; and Anne an extremely pretty girl, with gentleness, modesty, taste, and feeling. Half the sum of attraction, on either side, might have been enough, for he had nothing to do, and she had hardly anybody to love; but the encounter of such lavish recommendations could not fail. They were gradually acquainted, and when acquainted, rapidly and deeply in love. It would be difficult to say which had seen highest perfection in the other, or which had been the happiest: she, in receiving his declarations and proposals, or he in having them accepted.

How lovely is that? Granted, the reader is immediately inclined to swoon over these two given how our sympathetic heroine feels about him, but Austen in just a few sentences wonderfully describes the blossoming of true love. Bless her. This, of course, makes it even more painful as the reader learns how Lady Russell, not entirely in the wrong, convinced Anne to break her engagement to the unpromising Captain Wentworth.

But we soon learn that Captain Wentworth was actually as promising as he claimed he would be—rising in rank in the navy and making his fortune. Anne, I think showing a wonderful maturity and realism, doesn’t blame Lady Russell or herself for acting as she did when she broke her engagement to him, and yet, she would not advise a young woman in the same position to act in the same manner. It’s a fantastic, Austen-y realization, followed by that equally lovely self-delusion Austen excels at, as Anne thinks she will be able to meet Captain Wentworth’s sister and brother-in-law when they take the house with no awkwardness. Poor girl.

Chapter 5
So, Admiral Cross (that is Captain Wentworth’s brother-in-law) comes to terms with Sir Walter to move into Kellynch Hall. Sir Walter, Elizabeth, and Anne are all to move to Bath within the month, but Anne’s other sister, Mary, is ill and wants Anne to stay with her and her family just a few miles from Kellynch Hall. I think this exchange sums up how Anne is truly the only decent member of the family:

“I cannot possibly do without Anne,” was Mary’s reasoning; and Elizabeth’s reply was, “Then I am sure Anne had better stay, for nobody will want her in Bath.”

So, Sir Walter, Elizabeth, and Elizabeth’s companion, Mrs. Clay, depart. Anne stays with Lady Russell for a time before venturing to Uppercross Cottage to stay with Mary, one of Austen’s great “invalids.” In addition to Mary, the reader is introduced to her in-laws, the Musgroves, the table being set incrementally for the story about to unfold in earnest.

Hopefully I’ll be more regular in my live read, especially when I finish up The Count of Monte Cristo. In the meantime, think of Rupert Penry Jones.

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Original from PBS.

~S

 

It’s Not a Retcon Until You Hit “Publish”

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Don’t zoom in unless you want spoilers!

Here at Unicorn HQ, we have a three-day weekend, which means plenty of time for writing projects.  At the moment, of course, we’re just sitting around drinking coffee, but we’ll get back to work later on.  Maybe after we go grocery shopping.  But rest assured, we’ll be hard at work sometime soon.

Last night, we worked on the outline for S’s latest fanfic saga.  Maybe at some point she’ll post some more about it, but for now all you need to know is that it’s a sort of romance story with a love triangle.  As originally conceived, it was all about the romance, though with just enough plot to explain how, at various points of the story, two of the three members of the triangle get into rather serious trouble.  (I can’t say how they get in trouble, because that would be a spoiler.)

So a few weeks ago, S started posting chapters of this fanfic at her favorite fanfic-publishing site.  And an odd thing happened.  It turned out that her readers were actually quite interested in the plot.  They liked her original characters and said they were looking forward to seeing what happened later.

You can see her problem now, can’t you?  The plot was never intended to be important.  It was just window dressing—an excuse to get the members of the love triangle in position (as it were) for their romance to blossom.  Now S suddenly realized that she really needed to flesh out the plot.  And that meant going back and outlining again.

We got out the butcher paper, rolled it out on the floor, and she wrote out a quick summary of each chapter.  Then we went through, figured out where the plotting and political intrigue could be expanded, and wrote it in with a pencil.  After that, we did some quick character profiles for some of her original characters.  In the story as originally written, these people barely showed up.  But if they’re going to become a bit more important, S needs to know what they look like, where they’re from, and what their motivations are.

This kind of re-outlining is always a bit tricky.  When you write a scene, it hopefully has a certain flow or rhythm to it.  So it’s not always easy to find places to add new information.  Let’s say you have a scene where Susan and Bob are talking about their friend Frank.  And in your new outline, you’ve decided (for some reason) that it’s really important to find some way to mention that Susan and Frank went to college together.  Maybe that could be entirely straightforward—rather than telling a story about something stupid Frank did at last year’s office Christmas party, you can just change that so it’s a story about something Frank did at a frat party in college.  Bingo—you’ve got that information into the scene for the reader to see, and almost nothing had to change.

Sometimes, though, you’re left pulling your hair and banging your head against the keyboard, thinking, “There’s no where to put it!  There’s no reason why Susan’s college years would ever come up in this conversation!”  Now you’re faced with either rewriting the conversation from scratch, or writing a new scene.  Which means more outlining, of course.

But that’s what you have to do, and that’s what we’re up to this weekend.  Also, I’m still working my way through the reference guide that I’m writing about the main city in the Myrciaverse.  Last night I invented a number of markets and shopping districts.  It’s good fun.  Just the thing for a cold winter afternoon.

J

Line. By. Line.

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Alexandre Dumas, owner of the biggest yacht in France?

For about a month now, J and I have been making our way slowly through The Count of Monte Cristo by Alexandre Dumas for my book club. In general, the prose is excellent and occasionally quite funny, and the characters are compelling, and I think it’s fair to say we’re both enjoying it more than not. And yet, we’re 684 pages into this 1620 page novel and fully understanding for the first time why readers might be tempted to read an abridged version of a book.

For instance, there is a section where the titular Count meets some young men in Rome who become very important to the story. There’s some colorful and exciting incidents in this section, which also serves as a bit of travelogue, but we both felt exhausted every time we reached the end of a chapter in this section. It could easily have been cut in half. But, hey, Dumas was paid by the line, and clearly when he wrote this section he had a boat payment to make.

It’s actually rather annoying. I don’t dislike any particular part of the novel, because the writing is excellent and it is exceptionally readable, but I can’t help feeling as though I would like it more without the bloat. (Example. “But let me tell you in detail about this thing the reader just finished reading!”) Perhaps an abridgment is in order, because I now have under a month to get through 1,000 more pages.

So, that’s why I need to keep this short. So much reading, so little time. But we didn’t want anyone to think we’d forgotten about the blog over the holidays. We should be back to regular posting now, and for the sake of my reading sanity, I hope to return to the Persuasion live read soon. I need something a bit more concise in my life at the moment.

~S

All Over But The Wrapping

community-christmas

And of course we still need to decorate our Troy.

A Merry, if premature, Christmas to everyone.  A Happy Hanukkah, Kwanzaa, and Solstice, as well.  And to our imaginary friends in the Myrciaverse, have a safe and happy Seefest.

S and I went out yesterday and finished up our Christmas shopping, and I have to say I’m impressed at how efficient we were.  We couldn’t leave the house until well after noon, since we had an ice storm Friday night, and we had to clear away the small glacier that had formed on our steep driveway.  But even so, we managed to get all our presents bought in record time, and we got home in time to have a pizza and watch a few episodes of Rectify off the DVR (it’s a really good show, by the way).

We’ve already gotten ourselves a few gifts.  S bought herself some lovely new fountain pens that she’s really enjoying writing with.  Last month, the awesome Municipal Liaison of our local NaNoWriMo group loaned her one of these cute little fountain pens during one of our write-ins, and S loved it so much that she had to go to JetPens and buy herself a bunch of them.  (As an aside, how cool is it that there’s a website where you can order obscure Japanese pens from the States?  For those of you who don’t know, I lived and taught in Japan for three years, and yes, they really do take writing implements and office supplies in general to a whole new level.)

My old slippers had given up the ghost (the insoles had departed), so I got some new ones which are warm and fuzzy, which is really all you want out of a pair of slippers, especially in the winter.

In other news, we’re still revising here, and S is still plugging away at her latest fanfic story (using those awesome new pens, of course).  We might not be able to post quite as regularly over the next few weeks, since we’ll be visiting family.  But don’t worry.  The long, frigid days of January and February are right around the corner, when we’ll be cooped up inside with nothing to do but write and revise!  Isn’t that exciting?  I think so.  (Seriously, though, this is the time of year when S and I always ask ourselves, “Why didn’t we decide to live somewhere warmer?”)

J

I’ll Fix It in Post

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“Fix it in post.” The most dreaded words on set?

Often when J and I are writing, we will borrow from the world of film the idea that we can fix what’s wrong in “post.” Of course, this is just our silly way of referring to revision, but I thought about the idea, and the trope, more seriously when I was working on my ill-fated NaNo novel. Granted, unlike a film, a novelist can always go back and “reshoot” (rewrite) a scene to get what she needs, but I think there’s something to be said for having the raw materials you need before you get to the revision process.

Now, I’ve never made an exact study of the numbers and percentages, but let’s say in a novel that has been properly outlined and researched ahead of time and is drafted thoughtfully, it will have 10-20% changed significantly in revision. When I start a novel knowing that eventuality is coming, that is something I can live with at this point, because I’ve written enough to appreciate that writing is rewriting. But then on a novel like The Queen’s Tower, my NaNo book from two years ago, I went in with a tenuous outline and characters I didn’t know especially well. I finished the first draft of that knowing I would be changing around 20-30% of what had been written, plus adding about 30% entirely new content. That’s pretty daunting, and probably why I still haven’t finished the novel.

And that brings us to this year’s NaNo novel, The Swift True Road. Not only did I not start with the level of detail to my outline I prefer, but I didn’t do as much character work as I would have liked, and being my first historical novel, I quickly realized I hadn’t done even close to enough research. Because it was NaNo, I kept plowing along, but around 35,000 words in, I realized I would be completely reworking at least 50% of what I had already written. Knowing I would be chucking half of what I was laboring so hard to write became discouraging to the point that I didn’t have the heart to continue writing the novel. It also seemed to be a supreme waste of time.

As J pointed out last week, I decided to set The Swift True Road aside, and I went to work on other projects to see me through the month of November, and make certain I still wrote 50,000 words for the month. At some point, I absolutely intend to return to The Swift True Road. I still think it’s a great idea for a book, a romance between two mercenaries in Renaissance Italy, but I’m not going to pick it back up again until I’m sure I can successfully draft a novel that will leave me with the pieces I need to polish a good story in post.

~S