Lessons learnt from post-publication polishing, Part V

It’s been two and a half years since my unplanned Part IV of this series I thought would remain a three-parter. But why not add new posts as I learn new lessons?

I’ve been preparing And Jakob Flew the Fiend Away for its hardcover edition since December. As I’ve mentioned many times, I wish I’d done so many things differently with this book. When I decided to go indie in 2014, I led with Jakob’s story because I felt it was my strongest completed and polished material to date. It was also relatively short, at only 125K (not including front and back matter).

While I can honestly say I’m still proud of this book, and still feel it was the right decision to put out Jakob’s story in two separate books, I’m kind of disappointed in myself for not being truer to my natural voice and style. I let myself get too much inside my own head while I was writing it.

I wrote the originating long short story/piece of backstory in 2006, and turned it into the two books from 9 March–19 August 2012. The first book was written from 9 March–30 April, and the second was 30 April–19 August. Neither had any major edits or rewriting. Apart from a few bits I added here and there, and purging of overused words and phrases like “even” and “you know,” they’re largely just as I wrote them in the first drafts.

I believed so much in Jakob’s story, and entered it in a lot of contests, pitchfests, and virtual conferences. The other participants really liked it too, and helped me to craft a very strong query letter. I knew it was time to quit shopping around already when an associate agent ripped the query apart in a critique I won, taking issue with things everyone else had praised and helped me to change to its final form. Too many cooks spoil the broth.

Since I was in the thick of trying for trad-pub and doing all these contests and related events, I was hyper-conscious of dos and don’ts, and trying my very best to model them in my own writing. That included a lot more descriptions of body language and emotional reactions than I usually do.

As an Aspie, I’ve worked really hard to become better at this, since it doesn’t come naturally to me. Many of my older drafts had really unrealistic, flat, almost matter-of-fact reactions to very emotional events, like when Lyuba is separated from her baby Tatyana several times. Either that, or they felt really forced and corny. So that was a literary skill I genuinely needed to work on.

However, we should always strive to find our natural voice and style, not mindlessly copy someone else’s or go by a checklist of things we think we’re supposed to do no matter what. I now acknowledge I’m just not the type of writer who naturally fills my stories with things like widened eyes, rapidly beating hearts, and punching the air.

You know what does still feel natural in Jakob’s story? Every single description of his fear, terror, anguish, pain, and helplessness related to his broken foot and ankle, the long period of immobility during recovery, bearing weight through that leg again, relearning to walk, realising he’s been left with a limp, going up and down stairs creatively, navigating stairs at all, sharply feeling cold weather in those bones even after healing. All drawn from my own personal experience from my shattered tibia and fibula and being unable to walk for eleven months.

I wish I’d gotten out of my own head and written the entire book in that vein, doing what came naturally instead of going by expectations. E.g., there was no pressing reason I needed to rein in its length just because I intended it as YA. I always described it as upper, mature YA, and plenty of YA hist-fic is well above 125K.

While I still don’t regret making it a more original Shoah story instead of paint by numbers, that shouldn’t have precluded expanding Parts I–III. Maybe not rehash familiar territory, but add, e.g., chapters or sections of Jakob visiting his friends Sander and Elma, working on his scrapbook documenting the occupation, looking out the window at the local streetfighting, his work in the Westerbork restaurant’s kitchen.

I briefly thought about making it first-person, since that’s so trendy in current YA. At least I didn’t go that route, since my natural POV will always be third-person. It’s enough that Jakob’s story is a lot closer to third-person limited than I normally do. There are also a number of first-person interludes with Jakob and Rachel’s letters.

I believe all books take the form they’re meant to, even if that’s not how we originally envisioned them. This book just took a much shorter form than I wish it had. If I did a full rewrite or created an adult version, it might not feel like the same story anymore.

Author: Carrie-Anne

Writer of historical fiction sagas and series, with elements of women's fiction, romance, and Bildungsroman. Born in the wrong generation on several fronts.

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