Writing is re-writing they say
Published by on February 14th, 2009 Comments Off
If writing really is re-writing, then I’m thoroughly wrapped in writing right now!
In addition to completing the final chapters of Persistent Spirit, I am in the process of the third draft of the first ten chapters. These will be off to some enthusiastic friends for proofing.
The opportunity to submit to a publisher has motivated me to start the third draft before the second is properly complete. Opportunity is never a bad thing, but timing could be better.
It is good to re-visit these early chapters after anything up to a year since I last read them. It has been a satisfying experience re-reading work and genuinely liking what I have written. The text is fairly straightforward, and I think the characters are colourful. But what will other people think?
Questions, questions
I have a number of questions I am hoping my initial proof readers will be able to answer
Too much or too little information?
Getting the balance just right between how much information to reveal at a particular point in the story, against how much to leave out, is a constant struggle. The author, of course, knows all about everything, making it virtually impossible for him to spot gaps in a reader’s understanding of what is going on.
Most importantly, I need to understand what questions a reader might have at the end of each chapter. Controlling that flow of information and maintaining high anticipation, whilst feeding just enough to allow the reader room to take guesses as to future developments (deliberately misleading them up the wrong alley, of course!), is vital in maintaining page-turning momentum.
Is the dialogue believable without being tedious?
I have stopped reading books where the dialogue has such high realism that exchanges between characters are tedious and mundane. I have also stopped reading books with such condensed dialogue that it is difficult to grasp true character, motivation and relationships.
Is there enough description of the settings?
Again, a tricky balance between too little information about an environment, leading to incomplete imagery, against too much that threatens the intended pace of the storytelling.
Does the text flow?
I have consciously written in a late Victorian / Edwardian language style, with a little more colour than modern texts, and indulging in long, run-on sentences.
When creating the audio book version of this novel, I was able to intone my own rhythm to the words. my concern is whether I have been able to apply a similar rhythm to the written version.
I should be afraid, right?
In the back of my mind a voice keeps repeating that I should be afraid of the moment of letting my work out there for other eyes to see. But I am not at al concerned, in fact I am struggling to hold back.
This may come down to having already released the work into the world as an audiobook. Having received very positive feedback over the past year, reminders when episodes are released late, and the audio downloads (several thousand each month and growing).
That is certainly a significant element in building confidence, but there is something deeper, stronger and more personal wrapped in this project. I have been with these characters and this story, in its various guises, for so many years now. I have no doubt it is something that could find enough of an audience to make a successful series of books.
Does that sound arrogant at this stage? I hope not. Confident, yes, but I am under no illusions as to the tree root riddled path before me. But I remain confident that I have a good chance to get this work published. Far, far worse has found its way into print.
For now, it is time to get some real world feedback and make TableRappers into something people will buy, read, enjoy, and thirst for more.
