Oh, the first look at a first draft.
And then the work begins.
For me, before anything else happens, the finished novel has to go from bytes to book. I typically send the manuscript (set up for reading - my writing setup is a whole different story, but isn't conducive to reading on a page) to Kinkos for printing and binding. When I was younger and (relatively) flush, I went for more expensive options. Now I tend to conserve a bit: a few hundred pages of printing costs is quite pricy enough.
There's nothing quite like holding the book in my hands, even if it isn't anywhere close to a final form.
Next, the readthrough. This is to get a big picture view of what's on the page - not what I think is on the page. I try not to make any editing notes at this point, though I might jot down something that stands out ... or in the case of Scylla and Charybdis, I created an outline of the scenes and their purpose. I ended up deciding everything needed to be there, unfortunately for the final length of that one.
Then, the markup. I start reading again with pen in hand, marking omissions, tweaks, question marks - there are always a couple places in a manuscript where I simply end up writing "Huh?" - wording that needs to change ... all the good stuff.
Then, the actual input. Now, for those of you who don't know, I hate handwriting. Hate hate hate it. Extended handwriting is physically painful for me. (I actually have an ocular motor dysfunction - the "bridge" between my eyes and hands is out - and learning to handwrite was a struggle for me. I ended up coming up with my own method of holding a pen/pencil that tends to make people stare. Which is why I panicked when my pastry instructor told us to hold a pastry bag "like we hold a pencil" ... but I digress.)
So the upshot of this tale of woe is that my handwritten notes tend to be very sparse, and sometimes when I come back to them, I'll have no idea what I meant in the first place. At first, I used to think this was a problem with my process. I came to realize it was a feature. (Like any good bug: maybe I should have been a programmer.) Having to translate myself causes to consider the issue a second time. Maybe I decide to do something different; maybe I decide the change wasn't needed after all. I tend to refer to this process as "1.5 editing passes."
And then the work begins ...
Quotes, musings, tidbits and news from speculative fiction author Lindsey Duncan - click over to This Site for her website.
About Me
- Lindsey Duncan
- I'm a professional harp performer, chef / pastry chef, and speculative fiction writer from Cincinnati, Ohio. My contemporary fantasy novel Flow is available from Double Dragon Publishing, and my science fiction novel Scylla and Charybdis is now out from Grimbold Books. I've also sold a number of short stories and a few pieces of speculative poetry. I write predominantly fantasy, usually epic and/or humorous, with some soft science fiction. I play the traditional lever harp with a specialty in Celtic music - but I also perform modern and Renaissance tunes. And yes, you read that right - I have a diploma in Baking and Pastry and an Associates in Culinary Arts and am currently working in the catering field at Kate's Catering and Personal Chef Services (Dayton, KY). I am a CPC (Certified Pastry Culinarian) and CSW (Certified Specialist of Wine).
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