Posted in Adicia, Jakob DeJonghe, Writing

Lessons learnt from post-publication polishing, Part IV

I didn’t expect to write a Part IV to this series over a year and a half later, but the topic just seemed right to continue.

I had to go through the four manuscripts I’m prepping for print editions, and it was a powerful reminder of how far I’ve come in my development as a writer, even in the last 5–10 years. We should all always endeavour to become better at our craft. If we’re still writing exactly the way we did at earlier stages, and see nothing wrong with that bygone style, something’s very wrong.

As I mentioned in the earlier installments of this series, I definitely would’ve written Little Ragdoll much differently were I only going back from scratch and memory now. It’s much more telly or omniscient, in a number of spots, than my writing has evolved into since.

But I really do feel it ultimately works with the type of story it is, esp. since one of its strongest inspirations is the 19th and early 20th century Five Little Peppers series. It also reads like a 1960s version of A Tree Grows in Brooklyn (which I hadn’t yet read when I wrote this book). Hardly books with a modern narrative style.

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At the time I turned my long short story/piece of backstory about Jakob DeJonghe and Rachel Roggenfelder into two full-length novels, I fully intended to query them. I deliberately wrote the first volume as YA, albeit mature upper YA. Hence, the fade to black in the wedding night scene (though they remain technical virgins to avoid creating a potential half-orphan).

Were I writing that book as adult lit that just happens to feature someone who ages from 14–20, I would’ve made it much longer, by at least 50K. I would’ve added a lot more chapters, or made the existing ones much longer and more detailed.

I’d also expand certain wraparound narrative segments into active scenes, just as I would’ve done with many of those kinds of passages in LR. While the estimated 125K is on the short side by my standards, it’s towards the upper limit of traditionally published YA in the modern era. That was as short and sweet as I could make it.

Likewise, the sequel also could’ve been much longer than only 104K. I could’ve easily planned for many more chapters, or made the existing chapters longer. But the focus is on a single young couple and their first true year as husband and wife, not a bunch of competing subplots with my Atlantic City characters.

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Things I never thought I’d admit: My ingrained habit of putting two spaces after a period (except for blog posts), when combined with justified text and Baskerville typeface, can create a number of unsightly, disproportionate gaps. I’ll continue typing the way I was taught, but when it comes time to format a manuscript for print, I’ll do a find/change.

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I don’t regret at all the post-publication polishing and light revising I did of LR early last year. That book truly needed it, and became stronger as a result. But there are many things about the inherent voice and style I can’t change so much time after writing it, without the entire structure collapsing.

Indie authors can do whatever they want with their own work, but there needs to come a time when one steps back and recognises a book is the strongest, most perfect it’ll ever get. What’s more important, going back again and again to revise or rewrite already-published books, or spending that time on writing new books where you no longer make those mistakes?

I learnt from my mistakes, and recognise them when I see them in older books. It doesn’t mean those previous books are inferior or poorly-written because they have, e.g., a lot of adverbs or some telly spots. It just means I wrote them at an earlier stage of my life.

Author:

I started reading at three (my first book was Grimm's Fairy Tales, the uncensored adult version), started writing at four, started writing book-length things at eleven, and have been a writer ever since. I predominantly write historical fiction family sagas/series. I primarily write about young people, since I was a young person myself when I became a serious writer and didn't know how to write about adults as main characters. I only write in a contemporary setting if the books naturally go into the modern era over the course of the decades-long stories being told over many books. I've always been drawn to books, films, music, fashions, et al, from bygone eras, and have never really been too much into modern things. If something or someone has appeal for all time, it'll still be there to be discovered after the initial to-do has died down. For example, my second-favorite writer enjoyed a huge burst of popularity in the Sixties and Seventies, but he wrote his books from 1904-43, and his books still resonate today, even after he's no longer such a fad. Quality lasts for all time.

2 thoughts on “Lessons learnt from post-publication polishing, Part IV

  1. That’s the key, eh? Always learning. Especially with this constantly evolving industry, we have to be in the know.

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