I am having a moment.
Later this morning, I will be sweating over my laptop, stressing about new words in a new manuscript. This afternoon, I will be hosing off my car after a very muddy trip to the mountains. And tonight, I will be cleaning up a scrapbooking mess I made in the living room.
But right now... right this second... I am having a moment -- a good one. I have the day off work, and I'm starting it off on the back patio watching the sun shine on the yard and drinking a cup of coffee (iced. This is Arizona after all. It's only 8:30am, and my temperature gauge already reads 90 degrees.)
This sunny caffeinated moment is how I am celebrating the launch of my second book, DEAD ENDS. (out today!)
I remember, after selling BUTTER, thinking the 2 year wait to publication would feel like a lifetime. In hindsight, it went by in a flash. But that flash was nothing compared to how fast it seems DEAD ENDS was published. We sold this book in the spring of 2012, so it's been a little under 18 months from sale to pub. For all but 1 of those 18 months, I was also planning my wedding, so I had very little time to obsess about this launch the way I did the first time around.
In fact, this quiet moment right now may be the very first time I've actually reflected on the road to book 2 at all.
I wrote the first draft of DEAD ENDS the month after we sold BUTTER, in part to keep myself from clicking on my email inbox every two seconds. *Best advice ever, by the way! There is a lot of waiting around on the path to publishing. Use that down time to write something new! Once edit letters and blog requests and cover comps start rolling in, you may find your writing time is being eaten away!
After my speed-drafting, I sent the manuscript (then-titled Billy D. & the Bully) off to one of my crit partners, who told me what I already suspected - I had a good start, some great characters... and not much plot.
So I spent the next 9 months or so rearranging, revising and rewriting. By the end of the year, with more help from crit partners, I had something worth submitting.
It was another few months before we sold it, and then I hit a wall of "now what?"
See, the first time around, every moment is a milestone.
book sale? champagne dinner out on the town!
cover reveal? splatter the internet!
launch party? everyone you know is coming!
It's a two-year-long party to celebrate a dream come true. But if book 1 is the dream, what is book 2?
It took me some time to figure out BUTTER wasn't the end of a journey but the start of a new one. And DEAD ENDS is the first step down that new path - a path that forks off in many directions, like a "choose your own adventure" book.
Do you want to write full time?
Do you want to explore a new genre?
Do you dream of longevity as an author?
It's a path of nothing but possibility, and it's a little intimidating, because once your biggest dream comes true... do you dare dream bigger?
For today, my dream is this: that readers who pick up DEAD ENDS will meet Dane, Billy D. and Seely... share their journey... and find something to love.
Showing posts with label crit partners. Show all posts
Showing posts with label crit partners. Show all posts
Tuesday, September 3, 2013
Wednesday, November 30, 2011
oh yes, she did!
today, i give my blog over to my crit partner and friend, Gemma Cooper, for two huge announcements that will knock your socks off! take it away, Gem!
----------------------------------------------------
I've announced two big/massive/gigantic bits of news this month.
Gigantic news 1:
I am now a literary agent at The Bright Literary Agency, representing children’s books - picture books, chapter books, MG and YA. Further info here and here.
Gigantic news 2:
I have accepted an offer of representation from the amazing Joanna Volpe of Nancy Coffey Literary for my scary MG book, 'The Sinister Mr. Smythe.'
I did consider making these announcements a few weeks apart or not making one at all about my wonderful agent. I thought it might be better to keep my writing life separate from my work life....but then I realised the two have never been separate.
These strands of my publishing career are intertwined. As I’ve learnt and developed skills in one, I’ve polished and honed skills in the other. So this isn't a typical 'how I got my agent story'. It's a ‘how I got into publishing story’ or more correctly, ‘how I achieved my dreams.’ (Warning, as Erin will tell you, I don’t do short stories, so settle down with a cuppa for this one!)
The story begins in a rather lovely drinking establishment in a magical land far far away (read this as an Irish pub in New York City, my home at the time). I was drinking with my bestest friend and we were having one of those conversations you only have after the second bottle of wine. Those conversations where you share your secret hopes and dreams.
“I've always wanted to write a book,” I said.
“Why don't you?” awesome BFF said.
And in the harsh light of day, after a coffee and my hangover cure of chips and ice cream, I thought, “Why don’t I?”
So I did.
Time passed, as it does. I wrote, researched, critiqued and booked a place at a writer’s conference. The name of one particular agent at the conference stood out, that of Joanna Volpe. This was because I’d followed the exciting, ‘how I got my agent and book deal story’ from her client, the talented Kody Keplinger.
“Brilliant,” I thought. “Kody is the perfect conversation starter.” Talking to Joanna became my main goal of the conference.
So I did.
I told her how excited I was to read THE DUFF (by the aforementioned amazing Kody) and then pitched my first novel - a YA UF. Joanna said, “Sure, send me a query,” and then we said goodbye, and walked away probably both thinking we’d never meet again.
(and this would be a rubbish story if that'd happened!)
I sent Joanna my first ever query letter. She did request a partial, but ultimately passed. But it was okay as that same week, I got a revise and resubmit from a renowned UK agent.
The conference was amazing as I met my first critique partner and now friend for life. And l learnt more about publishing, including more about the role of a literary agent. I'd worked in sales for eight years by this point, and I loved books. So how did I not know that there were people who got to sell books? And why was I not doing this job?!
Cue epiphany.
I had to become an agent! So I researched how I could make that happen. I stalked writers online and offered to beta books to hone my editorial skills - which lead to me finding the incredibly talented Erin (and we would need a blog post double this size for all the gushing I could do about her editing skills and amazing friendship over the years).
My research showed I could get into publishing by doing an internship.
Cue heaps of coincidence with a dash of fate.
The first and only internship I found and applied to was a joint one with FinePrint Literary and Nancy Coffey Literary. The application said to write a cover letter to Joanna Volpe.
So I did.
And after talking Suzie and Joanna's ears off about books during my interview, I got the internship. My first day, I heard back from the UK agent who was considering my R+R.
It was a no.
I threw myself into my work, reading sometimes until the sun came up. If I couldn't be a writer, then damn it, I'd learn to be the best agent there ever was!
The internship was awesome, but eventually I had to move back to the UK. Fortunately, fate played its hand again. I'd happened to mention to the wonderful UK agent who'd rejected my R+R that I was interning, and she suggested I contact her when I moved back.
So I did.
And two weeks later I was back in publishing again, learning from some of the best agents in the country. The long commute to work also gave me time to start writing a new book based on an idea I’d had after finding a black and white photo my dad. The book was very different from anything I'd written before. And it felt like THE book.
Time passed, as it does. I moved again and started doing some freelance editorial work. I finally finished THE book and mentioned it to Joanna. She read it and liked it, and along with Sara (assistant extraordinaire), gave me some amazing editorial notes.
Cue light bulb moment.
It took a while, but I finished the revision and sent it back to Joanna. That week I attended a SCBWI event and ended up catching the train home with the lovely Assistant Regional Co-ordinator. I talked his ear off about books the whole journey and he recommended me for a job at The Bright Literary Agency.
I interviewed at Bright. They offered me the job. My first week, Joanna offered me representation.
So this is me. Literary Agent. Writer. Lover of wine and chocolate.
I’ve lucked out joining the experienced team at Bright and will be working closely with Vicki the MD and the other agents in the office. Our key focus is to develop new talent and as a new agent, I have more time to spend with my clients and can offer my editorial experience to make your manuscript polished and ready for submission.
We are currently renovating the literary website, but please check out the link to Bright Group International. I only accept email submissions, so please send the first 3 chapters plus a synopsis or the full text if your submission is a picture book to literarysubmissions@brightgroupinternational.com
To pre-empt one question, ‘why does an agent need an agent’?
An agent is your advocate. They fight for you. They stay rational when helping you make the tough choices. They give you honest feedback. They empathise, sympathise and encourage. I know I can do this for my authors, but it would be impossible to do for myself. Luckily I've signed with a person who I've seen do all these things.
Yes I did!
I'll answer any and all questions in the comments.
----------------------------------------------------
I've announced two big/massive/gigantic bits of news this month.
Gigantic news 1:
I am now a literary agent at The Bright Literary Agency, representing children’s books - picture books, chapter books, MG and YA. Further info here and here.
Gigantic news 2:
I have accepted an offer of representation from the amazing Joanna Volpe of Nancy Coffey Literary for my scary MG book, 'The Sinister Mr. Smythe.'
I did consider making these announcements a few weeks apart or not making one at all about my wonderful agent. I thought it might be better to keep my writing life separate from my work life....but then I realised the two have never been separate.
These strands of my publishing career are intertwined. As I’ve learnt and developed skills in one, I’ve polished and honed skills in the other. So this isn't a typical 'how I got my agent story'. It's a ‘how I got into publishing story’ or more correctly, ‘how I achieved my dreams.’ (Warning, as Erin will tell you, I don’t do short stories, so settle down with a cuppa for this one!)
The story begins in a rather lovely drinking establishment in a magical land far far away (read this as an Irish pub in New York City, my home at the time). I was drinking with my bestest friend and we were having one of those conversations you only have after the second bottle of wine. Those conversations where you share your secret hopes and dreams.
“I've always wanted to write a book,” I said.
“Why don't you?” awesome BFF said.
And in the harsh light of day, after a coffee and my hangover cure of chips and ice cream, I thought, “Why don’t I?”
So I did.
Time passed, as it does. I wrote, researched, critiqued and booked a place at a writer’s conference. The name of one particular agent at the conference stood out, that of Joanna Volpe. This was because I’d followed the exciting, ‘how I got my agent and book deal story’ from her client, the talented Kody Keplinger.
“Brilliant,” I thought. “Kody is the perfect conversation starter.” Talking to Joanna became my main goal of the conference.
So I did.
I told her how excited I was to read THE DUFF (by the aforementioned amazing Kody) and then pitched my first novel - a YA UF. Joanna said, “Sure, send me a query,” and then we said goodbye, and walked away probably both thinking we’d never meet again.
(and this would be a rubbish story if that'd happened!)
I sent Joanna my first ever query letter. She did request a partial, but ultimately passed. But it was okay as that same week, I got a revise and resubmit from a renowned UK agent.
The conference was amazing as I met my first critique partner and now friend for life. And l learnt more about publishing, including more about the role of a literary agent. I'd worked in sales for eight years by this point, and I loved books. So how did I not know that there were people who got to sell books? And why was I not doing this job?!
Cue epiphany.
I had to become an agent! So I researched how I could make that happen. I stalked writers online and offered to beta books to hone my editorial skills - which lead to me finding the incredibly talented Erin (and we would need a blog post double this size for all the gushing I could do about her editing skills and amazing friendship over the years).
My research showed I could get into publishing by doing an internship.
Cue heaps of coincidence with a dash of fate.
The first and only internship I found and applied to was a joint one with FinePrint Literary and Nancy Coffey Literary. The application said to write a cover letter to Joanna Volpe.
So I did.
And after talking Suzie and Joanna's ears off about books during my interview, I got the internship. My first day, I heard back from the UK agent who was considering my R+R.
It was a no.
I threw myself into my work, reading sometimes until the sun came up. If I couldn't be a writer, then damn it, I'd learn to be the best agent there ever was!
The internship was awesome, but eventually I had to move back to the UK. Fortunately, fate played its hand again. I'd happened to mention to the wonderful UK agent who'd rejected my R+R that I was interning, and she suggested I contact her when I moved back.
So I did.
And two weeks later I was back in publishing again, learning from some of the best agents in the country. The long commute to work also gave me time to start writing a new book based on an idea I’d had after finding a black and white photo my dad. The book was very different from anything I'd written before. And it felt like THE book.
Time passed, as it does. I moved again and started doing some freelance editorial work. I finally finished THE book and mentioned it to Joanna. She read it and liked it, and along with Sara (assistant extraordinaire), gave me some amazing editorial notes.
Cue light bulb moment.
It took a while, but I finished the revision and sent it back to Joanna. That week I attended a SCBWI event and ended up catching the train home with the lovely Assistant Regional Co-ordinator. I talked his ear off about books the whole journey and he recommended me for a job at The Bright Literary Agency.
I interviewed at Bright. They offered me the job. My first week, Joanna offered me representation.
So this is me. Literary Agent. Writer. Lover of wine and chocolate.
I’ve lucked out joining the experienced team at Bright and will be working closely with Vicki the MD and the other agents in the office. Our key focus is to develop new talent and as a new agent, I have more time to spend with my clients and can offer my editorial experience to make your manuscript polished and ready for submission.
We are currently renovating the literary website, but please check out the link to Bright Group International. I only accept email submissions, so please send the first 3 chapters plus a synopsis or the full text if your submission is a picture book to literarysubmissions@brightgroupinternational.com
To pre-empt one question, ‘why does an agent need an agent’?
An agent is your advocate. They fight for you. They stay rational when helping you make the tough choices. They give you honest feedback. They empathise, sympathise and encourage. I know I can do this for my authors, but it would be impossible to do for myself. Luckily I've signed with a person who I've seen do all these things.
Yes I did!
I'll answer any and all questions in the comments.
Monday, October 17, 2011
The Revision Diaries (5)
sometime late last night, i tweeted something that looked a little like this:
I fixed it I fixed it IFIXEDIT!!!
except it wasn't bold or in massive type, because - dang it - twitter doesn't allow us to express ourselves through font!
but big and bold is how i felt after getting past a major hurdle in my line edits.
and really, "line edits" is a bit deceptive here.
often, at the line edit stage, and editor will have a few additional suggestions for revision. one such suggestion, for me, required a lot of pacing around the house and muttering to myself. i avoided the scene for a couple days - if you can call obsessing about it, emailing about it and jotting down notes on it avoiding. what i mean is, i didn't touch the scene in my manuscript. i worked on everything else - the actual line edits, the moments that needed rewording and other minor fixes that were easier to tackle. but i was afraid to mess with this one scene for fear of screwing it up.
over the weekend, i finally ran out of other edits, and i knew i had to face my fear. today, i want to share with you how i faced it and what i learned from it.
face the fear:
- my paralysis came mostly from the fear that the manuscript is pretty well polished, and this edit would require me to tear apart some of those polished pages. to help curb that fear, i took the chapter that would be mostly changed and copied it into a new word document. this way, i could mess it up all i wanted, and the original chapter would remain untouched in my ms. - a small, obvious, solution probably... but it really helped me relax.
- in fact, i liked working in this new document so much, i made THREE of them. and i started to write 3 different scenes - each with a different approach to the "FIX." one scene fell apart so fast and furious, i deleted the whole document. it wasn't even worth archiving under "experiments." the other two scenes worked a little better, and i treated them both like rough drafts - i gave myself freedom to make mistakes ranging from typos to total character revisions.
- then i did what i would do with any rough draft. i sent the scenes to one of my crit partners. with her notes, i was able to see which scene was working. i rewrote that scene, revised it again, then took the now-polished chapter and plugged it back into the manuscript.
lesson #1 - the domino effect:
- as polished as that chapter was, i had created changes that required me to now go through the rest of my clean ms and start mucking things up again - the one thing i wanted to avoid!
but now that i knew i had "fixed it," the other changes weren't so scary. i went backward from the scene to plant some clues of the scene to come, and i went forward in the manuscript to create a few moments that would be altered by the new scene.
- the lesson for me was - no matter how much i tried to isolate the issue, to make it this one small fix in this one small corner of the story - the fact is, any important change will have a domino effect throughout your story, even if the change is small and at the almost-polished stage of your revisions. if the change doesn't ripple through the entire manuscript, it probably wasn't that important to begin with.
lesson #2 - don't be afraid to TRY:
- i agreed with my editor that we needed this "fix," but i wasn't sure if her suggestion for fixing it was the right way. i got it all stuck in my head that i could fix it another way - a way that i had already tried and that wasn't working but that i was sure would have a different result if i kept doing it. hello, definition of insanity!
- the scene i wrote first was my own solution. i wasn't happy with it, but i couldn't figure out how to fix it. so i told myself, just TRY to do what your editor suggested.
well. yeah. my editor - she's a pretty smart cookie.
i liked the second scene so much better. i knew this before i even sent the scenes to my crit partner, but i wanted an outside opinion. ...and that opinion was a clear smack down on scene one and hearts for scene 2. lesson learned: even if an idea doesn't sound like the right solution, just try it out. you may surprise yourself.
so i tweeted to the world that IFIXEDIT! and now i can start my final pass through the manuscript, making sure everything is still polished. of course, it's always possible my editor will say:
Yo. You SO did NOT fix it.
(well, no, that's not actually possible, because my editor is much more eloquent than that - but you get the idea.)
if that happens, you'll know, because i'll be back here with another round of the revision diaries.
but for now:
Line Edits. Conquered.
I fixed it I fixed it IFIXEDIT!!!
except it wasn't bold or in massive type, because - dang it - twitter doesn't allow us to express ourselves through font!
but big and bold is how i felt after getting past a major hurdle in my line edits.
and really, "line edits" is a bit deceptive here.
often, at the line edit stage, and editor will have a few additional suggestions for revision. one such suggestion, for me, required a lot of pacing around the house and muttering to myself. i avoided the scene for a couple days - if you can call obsessing about it, emailing about it and jotting down notes on it avoiding. what i mean is, i didn't touch the scene in my manuscript. i worked on everything else - the actual line edits, the moments that needed rewording and other minor fixes that were easier to tackle. but i was afraid to mess with this one scene for fear of screwing it up.
over the weekend, i finally ran out of other edits, and i knew i had to face my fear. today, i want to share with you how i faced it and what i learned from it.
face the fear:
- my paralysis came mostly from the fear that the manuscript is pretty well polished, and this edit would require me to tear apart some of those polished pages. to help curb that fear, i took the chapter that would be mostly changed and copied it into a new word document. this way, i could mess it up all i wanted, and the original chapter would remain untouched in my ms. - a small, obvious, solution probably... but it really helped me relax.
- in fact, i liked working in this new document so much, i made THREE of them. and i started to write 3 different scenes - each with a different approach to the "FIX." one scene fell apart so fast and furious, i deleted the whole document. it wasn't even worth archiving under "experiments." the other two scenes worked a little better, and i treated them both like rough drafts - i gave myself freedom to make mistakes ranging from typos to total character revisions.
- then i did what i would do with any rough draft. i sent the scenes to one of my crit partners. with her notes, i was able to see which scene was working. i rewrote that scene, revised it again, then took the now-polished chapter and plugged it back into the manuscript.
lesson #1 - the domino effect:
- as polished as that chapter was, i had created changes that required me to now go through the rest of my clean ms and start mucking things up again - the one thing i wanted to avoid!
but now that i knew i had "fixed it," the other changes weren't so scary. i went backward from the scene to plant some clues of the scene to come, and i went forward in the manuscript to create a few moments that would be altered by the new scene.
- the lesson for me was - no matter how much i tried to isolate the issue, to make it this one small fix in this one small corner of the story - the fact is, any important change will have a domino effect throughout your story, even if the change is small and at the almost-polished stage of your revisions. if the change doesn't ripple through the entire manuscript, it probably wasn't that important to begin with.
lesson #2 - don't be afraid to TRY:
- i agreed with my editor that we needed this "fix," but i wasn't sure if her suggestion for fixing it was the right way. i got it all stuck in my head that i could fix it another way - a way that i had already tried and that wasn't working but that i was sure would have a different result if i kept doing it. hello, definition of insanity!
- the scene i wrote first was my own solution. i wasn't happy with it, but i couldn't figure out how to fix it. so i told myself, just TRY to do what your editor suggested.
well. yeah. my editor - she's a pretty smart cookie.
i liked the second scene so much better. i knew this before i even sent the scenes to my crit partner, but i wanted an outside opinion. ...and that opinion was a clear smack down on scene one and hearts for scene 2. lesson learned: even if an idea doesn't sound like the right solution, just try it out. you may surprise yourself.
so i tweeted to the world that IFIXEDIT! and now i can start my final pass through the manuscript, making sure everything is still polished. of course, it's always possible my editor will say:
Yo. You SO did NOT fix it.
(well, no, that's not actually possible, because my editor is much more eloquent than that - but you get the idea.)
if that happens, you'll know, because i'll be back here with another round of the revision diaries.
but for now:
Line Edits. Conquered.
Wednesday, October 12, 2011
The Revision Diaries (4)
i got my line edits this week, so you know what that means...
we're in for another round of:
The Revision Diaries: Confessions of an Author on a Deadline!
first, a brief word about line edits, for those not in the know. (those of you who are in the know, feel free to nod your head all, y'know, knowingly as we go along.)
line edits come after an author has done most of the major revisions. instead of big story or character suggestions, your editor will focus in on smaller moments on the page - bits that aren't working or need rewording, beats that are missing, moments that need to be amped up, and of course, lines that need fixing.
the accompanying editorial letter is probably shorter, but the manuscript pages probably have more marks. it's the detail work.
so i have had my line edits for all of 24 hours, and of course, i have already busted out the colored Post Its, consulted with my crit partners and sent one - possibly deranged and definitely way-too-long - email to my editor.
now i am ready to begin the work.
here's all i know for sure about the work that is to come:
it doesn't necessarily get easier.
when you are revising a rough draft, you can take a sledgehammer to that thing. you can go all demolition derby on it and rebuild from scratch.
when you get to revisions with your editor, it's more like tearing down a single wall and building it back up in a different spot, with better support beams and a fresh coat of paint.
and now i'm learning, when you reach line edits, you have to trade that old sledgehammer for a scalpel.
(yes, i know my architectural metaphor just turned surgical. i would fix that, but i'm saving all of my editorial skills for the manuscript right now. thanks for your understanding.)
what i'm trying to say is this step in the editorial process is all about being careful. there may be a scene to add or rework here and there, but mostly my job is to make the fixes without mucking up the manuscript too much, since it's so close to being done. it's making me just a little bit afraid to touch the page, for fear of smudging what is already polished.
as soon as i get over that fear, i'll be back with another installment in the revision diaries!
we're in for another round of:
The Revision Diaries: Confessions of an Author on a Deadline!
first, a brief word about line edits, for those not in the know. (those of you who are in the know, feel free to nod your head all, y'know, knowingly as we go along.)
line edits come after an author has done most of the major revisions. instead of big story or character suggestions, your editor will focus in on smaller moments on the page - bits that aren't working or need rewording, beats that are missing, moments that need to be amped up, and of course, lines that need fixing.
the accompanying editorial letter is probably shorter, but the manuscript pages probably have more marks. it's the detail work.
so i have had my line edits for all of 24 hours, and of course, i have already busted out the colored Post Its, consulted with my crit partners and sent one - possibly deranged and definitely way-too-long - email to my editor.
now i am ready to begin the work.
here's all i know for sure about the work that is to come:
it doesn't necessarily get easier.
when you are revising a rough draft, you can take a sledgehammer to that thing. you can go all demolition derby on it and rebuild from scratch.
when you get to revisions with your editor, it's more like tearing down a single wall and building it back up in a different spot, with better support beams and a fresh coat of paint.
and now i'm learning, when you reach line edits, you have to trade that old sledgehammer for a scalpel.
(yes, i know my architectural metaphor just turned surgical. i would fix that, but i'm saving all of my editorial skills for the manuscript right now. thanks for your understanding.)
what i'm trying to say is this step in the editorial process is all about being careful. there may be a scene to add or rework here and there, but mostly my job is to make the fixes without mucking up the manuscript too much, since it's so close to being done. it's making me just a little bit afraid to touch the page, for fear of smudging what is already polished.
as soon as i get over that fear, i'll be back with another installment in the revision diaries!
Friday, August 26, 2011
The Revision Diaries (3)
this week's installment of the revision diaries (confessions of an author on a deadline!) reads a little like a Goofus and Gallant episode.
side note -- Goofus and Gallant, for those who did not grow up with Highlights magazine, are two boys who get placed in a situation with choices. Goofus always chooses the irresponsible path, while Gallant is more thoughtful.
side note to the side note -- as a kid, i always pronounced it Goofus and Gal-AHNT, because i'm fancy like that.
totally off-topic tangent -- when i was growing up, G&G were drawn with pencils in black and white. but i just checked out the website for Highlights magazine, and those boys are full-color computer graphics now! and guess what else? you can totally play a G&G "choose your own adventure" game online! i played it... twice.
okay, back on topic!
Friday, i was oh-so GalAHNT. i wrote and revised and wrote and revised again. new scenes. reworked scenes. continuity checks. word choices. i stayed on schedule and did not get distracted. very responsible author this day.
Saturday, i woke up a Goofus. i was exhausted from two full days of revisions and decided to put off writing until the afternoon. i ran errands, did chores, chilled out with Handsome. typical Saturday stuff. except this was not supposed to be a typical Saturday, because the Tic-Tock-Deadline-Clock waits for no weekend!
of course, my day got away from me until only the evening was left. at that point, i had to choose between revisions and poker night with friends.
i won the first game, lost the second. net gain: fifteen dollars.
Sunday, the Gallant on my shoulder came to the rescue. i wrote from practically sun up to well after sundown.
and... i finished.
i know! crazy! i so didn't deserve the satisfaction of being done after my Goofus Saturday, but there it is. i reached The End - again. and then i panicked. Goofus and Gallant were perched on each of my shoulders, having an argument:
Goofus: we're done! press send and let's go celebrate.
Gallant: maybe we should have a crit partner look at those scenes we're still concerned about first.
Goofus: naw! we're tired of revising. let's play some more poker.
Gallant: but we haven't fully addressed that one issue our editor mentioned. let's go back to page one and --
Goofus: you're boring!
Gallant: maybe i am, but if we work just a little harder, hopefully no one will say the BOOK is boring.
*poof* Goofus disappears in a ball of smoke.
actually, i compromised. Gallant isn't always right, and he is a little boring sometimes. so i sent the questionable scenes to a crit partner and took Monday and Tuesday to be a Goofus. i hit the gym, hung out with my gal pals and relaxed with Handsome.
Wednesday, i spent all night dealing with that issue Gallant had mentioned until i was satisfied.
Thursday, i thought long and hard about a possible big change i had proposed to my editor and ultimately decided against it (because, among other reasons, i realized my editor is much much smarter than i am.) i tossed out my outlined changes and polished up the newly revised manuscript instead. and THEN i pressed send. Goofus and i are going to have a blast this weekend.
so that's the end of the Revision Diaries for now.
i'm in uncharted waters on this path to publishing, but i hear there are often several rounds of revisions, then copy edits, then bound pages, ARCs, etc... so i expect this "author on a deadline" will have more confessions to come.
side note -- Goofus and Gallant, for those who did not grow up with Highlights magazine, are two boys who get placed in a situation with choices. Goofus always chooses the irresponsible path, while Gallant is more thoughtful.
side note to the side note -- as a kid, i always pronounced it Goofus and Gal-AHNT, because i'm fancy like that.
totally off-topic tangent -- when i was growing up, G&G were drawn with pencils in black and white. but i just checked out the website for Highlights magazine, and those boys are full-color computer graphics now! and guess what else? you can totally play a G&G "choose your own adventure" game online! i played it... twice.
okay, back on topic!
Friday, i was oh-so GalAHNT. i wrote and revised and wrote and revised again. new scenes. reworked scenes. continuity checks. word choices. i stayed on schedule and did not get distracted. very responsible author this day.
Saturday, i woke up a Goofus. i was exhausted from two full days of revisions and decided to put off writing until the afternoon. i ran errands, did chores, chilled out with Handsome. typical Saturday stuff. except this was not supposed to be a typical Saturday, because the Tic-Tock-Deadline-Clock waits for no weekend!
of course, my day got away from me until only the evening was left. at that point, i had to choose between revisions and poker night with friends.
i won the first game, lost the second. net gain: fifteen dollars.
Sunday, the Gallant on my shoulder came to the rescue. i wrote from practically sun up to well after sundown.
and... i finished.
i know! crazy! i so didn't deserve the satisfaction of being done after my Goofus Saturday, but there it is. i reached The End - again. and then i panicked. Goofus and Gallant were perched on each of my shoulders, having an argument:
Goofus: we're done! press send and let's go celebrate.
Gallant: maybe we should have a crit partner look at those scenes we're still concerned about first.
Goofus: naw! we're tired of revising. let's play some more poker.
Gallant: but we haven't fully addressed that one issue our editor mentioned. let's go back to page one and --
Goofus: you're boring!
Gallant: maybe i am, but if we work just a little harder, hopefully no one will say the BOOK is boring.
*poof* Goofus disappears in a ball of smoke.
actually, i compromised. Gallant isn't always right, and he is a little boring sometimes. so i sent the questionable scenes to a crit partner and took Monday and Tuesday to be a Goofus. i hit the gym, hung out with my gal pals and relaxed with Handsome.
Wednesday, i spent all night dealing with that issue Gallant had mentioned until i was satisfied.
Thursday, i thought long and hard about a possible big change i had proposed to my editor and ultimately decided against it (because, among other reasons, i realized my editor is much much smarter than i am.) i tossed out my outlined changes and polished up the newly revised manuscript instead. and THEN i pressed send. Goofus and i are going to have a blast this weekend.
so that's the end of the Revision Diaries for now.
i'm in uncharted waters on this path to publishing, but i hear there are often several rounds of revisions, then copy edits, then bound pages, ARCs, etc... so i expect this "author on a deadline" will have more confessions to come.
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