Tag Archives: editing

Layers

What if truth is simply what might happen? With or without explanation.

Jude Hill

Unfiltered collage

The collage featuring flower, radicchio, cross, desert, and cell phone was made while Iran contemplated how to retaliate.

Finished reading Olive, Again. Finished reviewing friend’s manuscript. Swapped pages with another writer/friend, so I have another bit of writing to review. Started tracking water consumption again (did you know you ought to be drinking 1/2 your body weight in ounces a day?) Fabric for crib quilt in the washer.

PS. I have absolutely no idea why the font is going wonky here. Any more than I had a clue as to why comments were turned off or Michelle sent to spam. If only I didn’t have to find and input serial numbers for a re-install I would’ve done it already.

Let’s count

One backpack full of 12 books delivered to empty neighborhood kiosk.

Three ten hour days spent fixing TV computer. One call to Comcast. Endless searches on internet. Number of consecutive good night’s sleep in absence of TV news? FIVE. Number of heroes in this story? One. My husband.

Six hundred words deleted over three hours, the equivalent of roughly 1 1/2 pages. Number of words still to delete? Don’t ask. Number of times I’ll wring my hands before the second draft’s done? Also — don’t ask.

Number of metal utensils laid out to deter dog-thieving: six. Batches of cookies baked: seven, two of them doubles. One ball of dough left.

Articles of impeachment written: two. Number of articles that COULD HAVE been written (spitballing, here): 25. Still to come: full House vote and one major shit storm in the Senate. Number of years poised at the edge of the abyss: 243.

Number of times I felt dismayed reading black twitter’s critiques of Warren: too many to count.

Seasons of The Kominksy Method watched: 1 1/2 (highly recommend).

Total library fines owed: eek! I don’t know.

Number of times I paused to notice the absence of my sister: at least a dozen. Some moments marked by relief, others by grief.

Number of rallies in support of impeachment planned for tomorrow (the eve of the House vote): more than 600.

Number of times I’ve tipped my head back to admire trees since reading “The Overstory” — too many to count. Number of people to whom I gave copies: three.

Two trips to the PO in the last five days qualifies me as a fucking saint. Three mice mailed, three mini-cloth houses.

Number of meds I forgot to take yesterday: four. Number I did take: two.

Number of days I just let go by without opening my laptop: two.

Eight days till Christmas, five ’til the shortest day of the year.

Here’s wishing all of you lots of love and joy in the days to come.

Rejected scenes from a novel

 

img_7066Sometimes constructing a story is like collage, where you add layer after layer, hoping that the whole picture somehow works.

img_1798Sometimes constructing a story is akin to piecing fabric — moving around existing components until a pleasing design emerges, then adhering them.

Right now, editing resembles lipo-suction. Sucking out the fat in service of a tighter sequencing of events is harder than I thought it would be.

In part, this is because I have ADD. Having my kind of focus means I can endlessly and with rapt attention go line by line and make significant improving edits. But to take in the whole? To understand how big chunks work or don’t work? This is challenging. It took me two weeks of hand-wringing to convince myself I could even do it!

Here’s the upshot: my manuscript is way too long. Industry standard for unpublished authors is 90,000 words (in the neighborhood of 200 pages). Mine clocks in at 310,000 and worse, sags throughout the entire middle. I wish it were as simple as excising the middle, but that won’t get me to my goal of a readable, compelling 200 page novel.

Things to consider:

  • they say to write the book you want to read. I like page turners (i.e. plot driven novels). Mine is character driven. Plot decidedly secondary (or absent?)
  • I have let the actual events of Eliza Lucas Pinckney’s life inform her narrative and it’s been suggested that to do so is to handicap myself (a small example: her two closest friends were named Mary. I let that stand, even though as a reader it would drive me nuts).
  • each scene demands that I ask, does this drive the story forward? Does this?

But! What if our standard idea of narrative progressing in an arc is not only limited, but based on an a masculine sensibility (and specifically, male sexuality) in ways that are limiting?

From Paris Review article discovered last night — Here’s critic Robert Scholes: “The archetype of all fiction is the sexual act … the fundamental orgastic rhythm of tumescence and detumescence, of tension and resolution, of intensification to the point of climax and consummation.”think ‘arousal phase’ ”climax’.

Says author of Paris Review article, Jane Alison: “Well. This is not how I experience sex. Critic Susan Winnett says, “Meanings generated through dynamic relations of beginnings, middles, and ends in traditional narrative and traditional narratology never seem to accrue directly to the account of the woman.” And anyway, why should sex—this kind of sex!—be the archetype of fiction? Why should an art form as innovative as fiction have a single archetype at all?”

Food for thought. Having said that, without any explanation of setting or character, here are two deleted scenes. Make of them what you will. Both fall in the category of ‘too much back story for secondary characters.’

 

JAMES WHITTAKER

And so, it was on a windy morning in early December 1737, that a Barbadian Christian with something to hide parted with a half-Yoruban, half-Dutch temptress and pocketed the proceeds. As the buyer led his newly-acquired slave and her child down the tamarind-lined path, neither he nor the seller knew that Sally was with child — the cane grower’s child. But Sally knew, as women sometimes do.

Before the Barbadian cane grower even crossed the threshold back into his gracious abode, he was halfway to forgetting the whole unpleasant business. What relief! What shrewd calculation! Without even having made the decision to do so, his mind began to blur the outlines of his ugly (though thoroughly socially acceptable) transgression and its brief, tortured aftermath. Smudge. Smudge. How swift the gracious erasures performed by amnesia — how convenient the mechanism of blame!

He returned to the so-called seat of his empire and exhaled in relief. He patted the arms of his chair as if to say he was back, a man of society wholly in charge of his destiny, and perhaps also a man made generous by recent events.  Even though the well-timed disposal of Sally might’ve allowed him to forgo the lavish fete, he would not renege. Wasn’t he a man of his word? He was planning a menu when his wife entered the room.

“Is that vile thing gone at last?” But her husband had moved on.

“I’ll say 200’s the upper limit,” he answered, forgetting that he had yet to mention the gala out loud. “And let’s make it memorable, my pumpkin. How about a masked ball?”

The cane grower’s wife sat down, befuddled for a moment but not a jot longer. She was onto it! They would roast four pigs! There would be dancing! She leaned toward his desk and said in conspiratorial joy, “The date must correspond to a full moon — think of the light on the terrace! Oh and Mrs. Thorp just this week made mention of an orchestra worth the hire!”

He concurred. She glowed. When had they last been this united in thought? He said, “A full moon – indeed! Always the one with the grand idea, you! Imagine it shining on the bay… won’t our guests swoon with envy, my dear, and high time?”

The cane grower dunked his quill into the bottle of ink rather too hard. Dunk after hard dunk. No wonder the point had been dull on that awful morning – but no — he would not think on it. He would take down his wife’s every idea. Nothing like a little scare to humble a person into conciliatory attentiveness!

Surely Mrs. Whittaker wondered at his softened tone, his posture of consideration?  She said nothing more about Sally, which could have meant any number of things. Maybe the distraction worked. Four pigs!  Mrs. Thorp’s orchestra!  Then again, she might have thoroughly skunked him out, but in the interests of marital peace generally and a magnificent ball specifically, let the matter rest. If so, she was not quite as dim as her husband believed. Furthermore, she might be possessed of a larger spirit than he knew as well. Think on it: if his wife so freely abandoned what turned out to be a well-grounded suspicion in order to graciously leap into their shared future, without for a second demanding the consolation prize of being right, maybe she deserved his ministrations of care, not as decoy against his sin but as her rightful due. Had she always been more worthy of his esteem than he’d allowed? He committed to granting her a bit more warmth, a more frequent nodding alliance of opinion. Maybe a dance or two on the moonlit terrace come time?  For once, she impressed him.

You could say, therefore, that in addition to preparing and serving meals, bundling alfafa, sweeping the veranda and house entire, watering bromeliads, and increasing the inventory with a son, Sally granted the couple the gift of a much-needed renewal. The fact that it was one the couple could not have engineered on their own made it all the more remarkable. It was the mulatto’s disruptive guile (for he at last concluded it was not diminished capacity but guile, guile, guile) that had generated a significant new conjugal arrangement. One spouse rose up, the other slipped down, causing the two to arrive somewhere in the middle where approach one to the other was possible. Like everything else Sally gave, it was bestowed (taken) without their having to fork out a single letter of credit or clattering coin.

In two months time, when the orchestra tuned up on the terrace and the bay shimmered with moonlight, our sugar exporter on Barbados would hardly be able to recall the mulatto’s voice. In fact, he wouldn’t even really remember that the wench’s voice had been singularly arresting. And, because amnesia does not carefully discriminate in its sweep of erasure, he would also forget that he had given the slave his small Bible. He’d forget how, when he held out his precious Bible – the one given to him by his sister all those years ago — the impudent slattern had had the gall to refuse it. You’d think such an exchange would stick in a man’s mind, but it did not. Smudge. Smudge. The cane grower’s amnesia so thoroughly swiped at that morning in the pantry, in fact, that he would later wonder where the Bible had gotten off to, even going so far as to question another house slave about its disappearance.

GEORGE LUCAS

In conversation it never came out that Whittaker had placed an advert for the mulatto one week prior. And, just as the cane grower hoped, the Captain purchased the mulatto’s two year old son too, with nary a moment’s hesitation. All traces of the wench would be gone!

Perhaps the purchase of the boy could be supported by South Carolina’s ‘head system’– whereby land apportionments were meted out based on the number of persons in a household, even colored ones, and even two year olds, albeit at reduced count. Surely, the low cost of a toddling boy as compared with the land his head would facilitate surveying made it a shrewd transaction?

A shadowy notion of quid pro quo inserted itself just below the level of the Captain’s attention — not quite conscious enough to make him calculating, but present enough to render him a fool. By purchasing the Negress’s boy, he hoped to purchase the slave’s goodwill, for what exactly remained notional and to the extent any thought arose at all, it surely wasn’t about sexual congress. It did, however, occur to the Captain what a nice presentation the mulatto would make in one of Millie’s well-made frocks and wouldn’t it be pleasant to have the girl sing in the parlor after tea?  A refined use. An acceptable intercourse.

And so, on a gray morning in December of 1737, with the purchase of Sally and her two year old son, Noah, Captain George Lucas became for the first time in all his years a man governed by more than mere duty. He renamed his acquisition ‘Melody’ and anticipated with a certain glow the pleasure of hearing her voice again. He was doubly satisfied, for he’d come into possession of valuable military information at the inn the evening prior. Spain was preparing to invade Georgia. Antigua’s Governor would be grateful for the news.

Had the Captain stepped outside of himself for a moment, he would have traveled back to Antigua empty-handed and discussed moving to South Carolina with his wife. A pro forma exchange, but not without value. He might have recognized that it was foolish to risk conjugal peace based on a ditty about peas and rice.

Furthermore, he might’ve recognized the folly of trying to recapture a momentary rapture with a purchase. His nebulous desires were unworthy of his character for a host of reasons, but there was one more flaw in all of this, one which stained his person with the darkest blotch of all and it was this:  How on God’s green earth could a man expect rapture to flow from transactions in human flesh?