As I’ve discussed before, history isn’t tidy. I made some strategic cuts to the story at the outset, mostly for my sanity. Now I’m cutting even more as they don’t add to the story I’m trying to tell, which is a damn shame as Dee and Kelley generated So. Much. Weird. that begs exploration. Just not by me:
A series of incidents in which Kelley apparently conjures demons and poltergeists outside of his actions with Dee – and this breaks my heart because I so, so want to play with what was going on here! I found this delicious story in the footnotes of part 9 of I.R.F. Calder’s thesis but it’s so divided from the rest of the spiritual actions that I can’t justify including it.**
The possibility that Jane Dee was from a recusant family. I could only find one reference (since removed), and there’s more narrative tension if Jane is solidly Protestant in Catholic Bohemia.
And there’s probably more. What are you cutting, and why?
*Looking forward to reading this after I finish the WIP.
**Actually, I might do a short story based on this.
The third act. The moment of truth, the home stretch, the part of the book in which I bring the reader to the climax of the story by throwing everything I have at my protagonist so he has no choice but to face his demons and cut them down.
Which is great when your historical timeline fits nicely into a three-act structure but when it doesn’t… well.
Most fictional treatments of the Dee/Kelley partnership fudge the timeline, I suspect because thumbnail biographies of Dee imply that he parted ways with Kelley right after they swapped wives–a well timed climax (ha!) if ever there was one.
In reality they–and their wives– limped along in the same house for another year and a half and I really want to milk those 18 months for all the dramatic tension they’re worth. Unfortunately, this is the part of the book where I’m supposed to tie up loose ends and race for the finish.
So I have to either make this drawn out angst into a rollercoaster or cut it completely. If the latter it’ll break my little black heart but I’ll do it in the name of art. Besides, I can write short outtake vignettes if I still feel the need to punish my characters just that little bit more.
How about you? If you write based on real events, how do you work with (or against) the timeline? Or if you’re a reader, how much accuracy do you want in your “based on a true story”s?
I’ve managed to trim down the first third of my book to under 100 pages! This is something of an accomplishment, as the first draft weighed in at a hefty 475 pages – long even for historical fiction, and inexcusable for a first time author. I’m currently rewriting the second third–if I can slim it similarly I’m on the right track.
Cutting has been remarkably easy. Because I wrote the first draft out-of-order many chapters wound up with “last time on [book]”- type introductions. Rewriting in order makes these obvious, and they’re the first to go.
Also: anything that bores me. The first draft adhered too closely to the historical record which includes a lot of pedantic to and fro and preparation. Such interludes hobble the story, and if I’m tuning out I imagine my readers will too.
Speaking of which, the day job and other amusements have impeded my going to my local critique group. As such I joined Scribophile at the recommendation of a HNS acquaintance. I’m getting good feedback, in record time and in the comfort of my own home. Gotta give to get though, and I can only hope I’m as helpful to my fellow writers as they are to me.
I’m not going to have the second draft complete by the HNS conference in late June, but I’m further ahead than I thought I’d be, simply because there’s so much I can get rid of!
How are everyone’s works in progress (writing and not)?
Yea, though I walk through the valley of suck, I will not falter…At least, I hope I won’t.
It’s fair to say that I’m not going to have the second draft done by the HNS conference in June. Well and so–I work with the time I’ve got and while it’s not as fast as I’d like at least it’s steady.
But I’ve run into parts of this book that I…despise is not too strong a word. One section in particular I still hate despite acting on quality feedback, and though I move on to the next part I have to wonder if my second draft isn’t turning into just another, worse, first draft.
My plea to my regional Historical Novel Society chapter resulted in: get more critiques. Which I can’t argue with. Second (and third, and fourth) pairs of eyes catch what I can’t because I’ve been looking at the damn thing too long.
I have a local critique group but can’t always get to physical meetings. I’m checking out Scribophile on the recommendation of another HNS colleague to see if online critique exchanges are equally helpful.
Totally unrelated (or not?): my fencing game has been in the valley of suck as well. New coach, new footwork, so I’ve been clomping all over the strip like an asthmatic elephant for months.
Until this past weekend when some of it finally “clicked”.
This is a consistent pattern with my fencing: I have to sweat away in the valley of suck to make a higher (how’s that for a cheesy/tortured metaphor?) I wonder if my writing progress will be the same. I’ve been fencing sixteen years and this pattern remains. I’ve only been writing for four.
Four! (I started at the cusp of a previous government shutdown, and here I am again).Has it been that long? Or has it been that brief?
A sudden illness laid me low so I don’t have a ton of scintillating prose for you this week. I’ve made good use of the downtime though:
Just like the fun stuff, I journal the rough stuff. Given how writers need to torment their characters I chronicle every twinge and ache. I’m currently smacking Edward around in rewrites and a reference file saves time.
I find this works for anger too. Hell, I find arguments easy to write in general, but it clears the mind enough to write it well.
And, of course, reading still feeds the muse even when I don’t have the brain power to create anything.
Illness and other downtime is inevitable. How do you make it work for you?
Strange days, the weeks around Christmas and new years. I find it difficult to keep motivated due to the disruption in schedule (and a nice cold I’m working on – achoo!) Certainly not a time to start anything new. So I thought I’d review:
Finally finished gathering comments on my first draft and started proper rewrites!
Terrible Minds – Chuck Wendig – Frames writing advice in a rude, wildly funny manner. Includes “Five Things I learned Writing” guest posts and flash fiction challenges. Check out his writing books (more linked below the fold) for solid advice made hilarious.
Writing Excuses – the long-running podcast offers 15 minute episodes with guests, writing prompts, and golden advice on all aspects of the writing business – check their tag cloud. I may put the Impostor Syndrome episode on repeat! There’s even a transcript site if you can’t listen.
This whole “writing a book” thing has a steep learning curve. No matter how much I practice I might not see positive results for years. Even if I do the odds of being able to make a living at it are small. It sounds bleak and I suppose it can be – I can well understand why some people just quit.
Fortunately I have some prior experience stubbornly pursuing uncertain payoffs.
I’m a competitive fencer.
I picked up a foil because I needed the exercise and I’ve always thought swords were cool. What started as a less-boring means of keeping in shape became a physical and mental passion, and over the past fifteen years I’ve earned a couple of ratings (kind of like belts in martial arts) and medals along the way.
Please note that “fifteen years” thing. Fencing is about keeping calm and acting correctly in a quickly changing, physically demanding situation. I am neither a natural athlete nor reliably cool-headed and it took every second of those fifteen years to get this far.
Interestingly, the longer I work on the book the more parallels I find between fencing and writing:
First efforts suck. Just as the first draft is dreck that needs editing, my first competitions were practice for competing: adapting to the noise, fighting down performance anxiety/”stage fright”. With each event I got a little more confident, and performed a little better.
Practice practice practice. As writers must write, so must fencers fence. Damn tiredness, sore feet, writer’s block, or whatever else. Feet on strip = butt in seat.
Massive amounts of persistence and patience are required. I competed for four years before getting my E rating and it took another three to get my D (the highest is A). I hope it won’t take me that long to get published. Even if it doesn’t it may still take years for my books to do well, but that’s ok, because:
I don’t have to be perfect to be good. I’ll never be an olympian but I’m not a bad fencer. I’m good enough to win national medals and keep my head above water with scary As and Bs. And while I’ll never be a J. K. Rowling, I hope to tell a story competently enough to entertain readers.
Ongoing education. Just as there is no mastery in writing, there is no endpoint at which someone becomes a perfect fencer. High rated fencers still have coaches and do drills and footwork. I expect to read books on craft, take classes, go to conferences, and the like long after I’m published. Speaking of which:
I can’t do it alone. Without supportive, enthusiastic club mates and a coach that prevents me giving in to my natural laziness I’d never have done this well! My writing is much the same: I need critique partners, beta readers, editors and other professionals I’m still discovering to make my book as good as it can be.
In the next two weeks I’m in one local and one national competition, so wish me luck. If nothing else they’re good persistence/patience exercises I can fold into my writing discipline.
What about you? What “transferrable skills” do you bring to your own writing (or other creative pursuit)?
Well, nothing you can see yet, anyway. Let me explain.
Edits and rewrites continue. Got good feedback on a rewritten chapter from my critique group. I can honestly say I look at the book every day. Nonetheless, progress is slow.
I can draft in fits and starts because it’s ok if the words suck. Butt in seat, type type type, and there you are. Unfortunately it takes me at least 15 minutes to get into “edit mode”: find my place, review what I’ve already done, and get back into the scene/character’s head…
Long story short, I’ve discovered that early morning stolen moments aren’t working. If I can get 2 uninterrupted hours I can usually complete a scene, but given day job, life, etc. I only have this luxury on weekends.
Hence this abbreviated blog post – what time I can steal goes into the book.
Once I’m published I can never work this way again. Fellow writers, how do you edit when on a deadline? Is it possible in short spurts? Any mental exercises for slipping into one’s story world easily so I can pick back up fast?
I’ve become a bit of a hermit writing-wise. Nothing feels ready to put before my critique group, and I declined a public reading because I didn’t want to derail the editing process to prepare one 15 minute section. I’m probably cheating myself of learning opportunities but I’ve not yet figured out the balance for this phase.
So, back into the trenches. Imagine me banging my head against the keyboard between adverb search and destroy missions.