gillpolack (gillpolack) wrote,
gillpolack
gillpolack

I have finally returned to my editing. I still hurt, but I hurt less and don't do much in one sitting and it seems to work. The space in between computer stints gives me thinking time. These are my thoughts of the minute.

I wrote a part of 'Chocolate Redemption' about the time an editor told me that I needed to dump some of my verbosity and let dialogue speak for itself. I didn't realise I was actually writing that advice into 'Chocolate Redemption' but the stark dialogue really shows when compared with my normal (stark in terms of unadorned by anything except 'he said' and 'she said' - not stark in terms of almost non-existent). What also really shows is that I normally use the stuff that apparently dulls the dialogue - looks and actions and drawing out the vocal expression from within the dialogue - for a lot of the character development for my main secondary characters. My lesson of the day is find out *how* you use a stylistic thingie before you dump it on someone else's advice. My two shadowy characters are a lot more interesting now that I'm showing tapping feet and grumbly voices and whatever strange expression is on their face when they speak.

It comes down to where we write well. I write fiction well when I write with Gillian-voice and Gillian-voice is loquacious and a trifle sarcastic and rather reflective and annoys some editors enough so they want to trim it massively and other editors so little they let my work go to print unchanged. I get surprisingly extreme reactions given I am such an innocuous person. Anyhow, if I cut Gillian-voice I often cut the things that need to be part of a text for it to work.

Other people get the same results using quite different methods. They can cut the prettiness round dialogue because they get their character development through other means (and I intend to explore this next year - more tools in the writing arsenal are always handy) or because characterisation works differently for them. How style works and novels come together is the polar opposite of one-size-fits-all.

When I finish my last 115 pages of editing, I get to write a synopsis and a cover letter and then my strange little novel will be sent into the big wide world in search of publishers who like Gillian-voice. Expect me to bcome increasingly timid about this stage. I will do it, though. Several people have threatened dire fates if I don't.
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