And now I'm home again. I went out for dinner and to write. My first choice was Mandola's Italian in the Triangle not far from here. The food is good, but what I really like is the atmosphere; well-lit outdoor tables and good people watching. But the line was out the door and I was starving so I drove over to Magnolia Cafe on Lake Austin Blvd, which is what Sixth Street turns into at MOPAC. There was a wait there as well, but I pulled out my big cumbersome novel, removed the writing tablet from the inside pocket of the three-ring binder, found out what I needed to work on next, and dove into it.
This isn't writing, this is rewriting, revising or whatever. Whatever you call it, I haven't been doing much of it lately, so it felt good to get to it. For some reason, this part of the process feels less satisfying. The fuller versions, I would write a chapter at a time, for the most part; it was easier to get into the groove than it is when I'm just reworking a paragraph or two, or adding dialogue to a scene, which seems to be more often than taking dialogue out. I guess when things are cut down, whole chunks are usually pulled out, dialogue, narrative and all.
My first few attempts at rewriting were frustrating. I didn't think I was saying what I wanted to say, or felt like a lot more needed to be written, or that I didn't know how to get to the end of what I was writing and reconnect it with the existing manuscript. I read a couple of these to S, just to point out my frustration and illustrate my failure, and he liked what I had written. In the case that I couldn't find the end, he suggested I leave off the last partial sentence and leave it at that. He was right; it worked!
We joke that I'm writing this book for him. But he is my audience. He's a super-smart person, and knows me and my work better than anybody ever could, since we've had such a long acquaintance and because we've worked together creatively for a big chunk of those years. He's my first editor; these are his changes, for the most part, that I'm making before I consider the novel done and start the even more thankless job of looking for an agent or a publisher.
A few other people have also read the first draft. My mother is one of them. But I think she might have abandoned the project. She read the first chapter online, requested more (which meant I just had to tell her what buttons to push to get to the other chapters), and then asked if I minded if she printed it out, so she wouldn't have to sit in front of the computer the whole time. I gave her a copy. I visited there a month or so ago. It was an interesting visit. Not too traumatizing. But anyway, things get a lot more graphic by chapter four.
Another person who read (or is reading - she hasn't reported on her progress lately) is my old improv teacher. She had my favorite thing to say about the novel: It's not a nipple, it's a butthole! Perfect. She was referring to the graphic nature of my writing. My friend P1's then-boyfriend read it and sent me an amazing, descriptive, well thought out and useful critique by email. Ultimately, I didn't take his overriding suggestion - which was to change the more intimate details - but I did take a pause, as I have more than once over this, before proceeding. S was a big part of the decision not to change the content. A childhood friend of his, who is now a long-time friend of mine, is an editor and and she read it and had a similar reaction as P1's boyfriend did. She said up front that she has a hard time with graphic sexual content; I think the description of semen was particularly noted.
A lot of my writing of the novel took place at a time in my life when I was watching a lot of movies. Sometimes I would start writing late in the evening after watching a movie that inspired me. The inspiration totally fed into the august chagrin storyline; not that I stole anything from the movie, just that the inspiration that created the movie charged the inspiration that was creating the novel.
I have the hardest time explaining the channeling thing. P1 seemed to think I wasn't giving myself enough credit. But that's not what it's about. This is what I love about writing, tapping into a part of my brain that works on this completely different plane; it's there but isn't always reachable. It comes in its own time. Of course, putting myself in the proper situation to let that part of my brain work - a well-lit outdoor table at a nearby Italian restaurant perhaps - has a lot to do with it too.
I think I would have spent more time at Mandola's writing; I felt a little rushed and distracted at Magnolia. But I am happy with what I got written. It's still longhand, but I think it's going in the right direction. I just have to type it up.
This isn't writing, this is rewriting, revising or whatever. Whatever you call it, I haven't been doing much of it lately, so it felt good to get to it. For some reason, this part of the process feels less satisfying. The fuller versions, I would write a chapter at a time, for the most part; it was easier to get into the groove than it is when I'm just reworking a paragraph or two, or adding dialogue to a scene, which seems to be more often than taking dialogue out. I guess when things are cut down, whole chunks are usually pulled out, dialogue, narrative and all.
My first few attempts at rewriting were frustrating. I didn't think I was saying what I wanted to say, or felt like a lot more needed to be written, or that I didn't know how to get to the end of what I was writing and reconnect it with the existing manuscript. I read a couple of these to S, just to point out my frustration and illustrate my failure, and he liked what I had written. In the case that I couldn't find the end, he suggested I leave off the last partial sentence and leave it at that. He was right; it worked!
We joke that I'm writing this book for him. But he is my audience. He's a super-smart person, and knows me and my work better than anybody ever could, since we've had such a long acquaintance and because we've worked together creatively for a big chunk of those years. He's my first editor; these are his changes, for the most part, that I'm making before I consider the novel done and start the even more thankless job of looking for an agent or a publisher.
A few other people have also read the first draft. My mother is one of them. But I think she might have abandoned the project. She read the first chapter online, requested more (which meant I just had to tell her what buttons to push to get to the other chapters), and then asked if I minded if she printed it out, so she wouldn't have to sit in front of the computer the whole time. I gave her a copy. I visited there a month or so ago. It was an interesting visit. Not too traumatizing. But anyway, things get a lot more graphic by chapter four.
Another person who read (or is reading - she hasn't reported on her progress lately) is my old improv teacher. She had my favorite thing to say about the novel: It's not a nipple, it's a butthole! Perfect. She was referring to the graphic nature of my writing. My friend P1's then-boyfriend read it and sent me an amazing, descriptive, well thought out and useful critique by email. Ultimately, I didn't take his overriding suggestion - which was to change the more intimate details - but I did take a pause, as I have more than once over this, before proceeding. S was a big part of the decision not to change the content. A childhood friend of his, who is now a long-time friend of mine, is an editor and and she read it and had a similar reaction as P1's boyfriend did. She said up front that she has a hard time with graphic sexual content; I think the description of semen was particularly noted.
A lot of my writing of the novel took place at a time in my life when I was watching a lot of movies. Sometimes I would start writing late in the evening after watching a movie that inspired me. The inspiration totally fed into the august chagrin storyline; not that I stole anything from the movie, just that the inspiration that created the movie charged the inspiration that was creating the novel.
I have the hardest time explaining the channeling thing. P1 seemed to think I wasn't giving myself enough credit. But that's not what it's about. This is what I love about writing, tapping into a part of my brain that works on this completely different plane; it's there but isn't always reachable. It comes in its own time. Of course, putting myself in the proper situation to let that part of my brain work - a well-lit outdoor table at a nearby Italian restaurant perhaps - has a lot to do with it too.
I think I would have spent more time at Mandola's writing; I felt a little rushed and distracted at Magnolia. But I am happy with what I got written. It's still longhand, but I think it's going in the right direction. I just have to type it up.
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