Posted in Editing, Historical fiction, Rewriting, Third Russian novel, Writing

Walking through second edition edits

As it turned out, prepping Journey Through a Dark Forest for its print edition entailed more than tightening up the kerning to remove awkward gaps and catching the odd overlooked typo or minor error here and there. The changes are nowhere near exhaustive, since this wasn’t a rewrite, but they’re noteworthy enough to walk through.

In no particular order:

1. As I’ve been writing A Dream Deferred, it emerged that the Konevs and their best friends moved to rural Minnesota and stayed there so long for all the wrong reasons. Not only that, they made their oldest kids feel compelled to run right home to become farmers themselves after graduating university. Thus, their kids now say they wish they could stay in NYC and are only returning to Minnesota out of duty or outright parental pressure. Others comment on what a bad decision this is.

2. Tatyana’s ocelots, whom Boris gives her as a baptismal anniversary gift in 1937, are now named Nyx and Hemera, after the primordial Greek goddesses of night and day, respectively. Nyx is light and Hemera is dark. Pet characters need names too, even if they don’t constantly appear!

3. Fedya’s clown doll is now named Koko, after Max Fleischer’s very popular clown cartoon series.

4. Darya’s beloved doll from St. Paul is now called Alisa, and the stuffed bunny she got on her first birthday is Cadbury. Obviously, the Cadbury Bunny didn’t exist back then, but they’ve been making Easter chocolates since the 19th century. Doll and stuffed animal characters also deserve names. It’s one thing if they’re only mentioned once, but it’s so impersonal to keep calling them, e.g., “Jane’s doll” or “his tiger.”

5. Katya’s dear old stuffed parrot likewise needs a name.

6. Correcting the depiction of a Manhattan duplex from side-by-side to upstairs and downstairs two-story units.

7. Correcting depictions of other Manhattan architecture to make it clear these houses have multiple stories, stoops instead of verandas, and that Boris’s Harlem brownstone has three, not only two, stories. I have an upcoming post on writing about NYC architecture and housing styles.

8. Reworking Chapter 44, “Martian Panic,” to make it even more obvious only a TINY minority was not just duped but terrified by The War of the Worlds.

9. Inessa now offers Vitya (her future second husband) sympathies on the arrest of his wife after their first proper meeting, and says some of her cousins gave their kids invented Soviet names like Vitya and his wife. As originally written, Inessa says she likes some of those names, but doesn’t know anyone who used them. Huge discrepancy with how all eighteen of her first-cousins once-removed who come to America in 1950 have such names! Inessa also names a few of those cousins.

10. Fedya’s university was changed from Columbia to Cooper Union and back again. Though Columbia didn’t offer a BFA till 1947, Cooper Union only offered art certificates in this era. Absolutely no shame in getting a certificate instead of a degree, but it implies fewer than four years of study, and Lyuba and Ivan place great importance on their kids getting university degrees.

Another reason I changed it back to Columbia was because its 1948 graduation date, vs. any other NYC school, is the only one that works with the timeline of the final chapters. Too much frogging and radical reconstruction otherwise.

11. Reworking sections based around too-early semester start dates in autumn 1942 and spring 1946. I initially moved up the former dates until discovering that too would involve too much frogging and reconstruction. Novomira will have to go into labor her first day back at Barnard, not during a test a few weeks later. For the latter, Fedya will meet with his advisor instead of starting the semester “late” and going about his first day of classes. That semester started on 12 February.

12. A few little tweaks with the Cast of Characters to include or correct birthdates and delete characters who never appear in that volume.

13. While writing A Dream Deferred, I began picturing Lyuba and Ivan’s next-youngest child Sonyechka as blonde and wavy-haired, despite her initial description as raven-haired. There’s now a mention of all her hair falling out at six months (which is very common) and growing back wavy and very dark blonde, to Lyuba’s great shock. Her eyes are also described as very dark blue.

14. After the Siyanchuks and Duranichevs move to Queens Village, Patya tells his daughter Karina she’ll go to the independent Garden School in Jackson Heights. Originally, he said she’d now go to public school.

15. The first book Katya reads on her way back to California in 1946 is now If He Hollers Let Him Go. I had such a sour experience with The Member of the Wedding!

16. Liliana’s nickname was changed from Lilka to Lilya.

17. Dusya’s full name was changed from Nadezhda to Avdotya. I couldn’t find any strong evidence Dusya is a nickname for Nadezhda.

18. Alla’s husband is no longer called Karmov, but Daniil. It felt wrong to call this one character by his surname when no one else is referred to that way.

Posted in Editing, Rewriting

IWSG—February odds and sods

InsecureWritersSupportGroup
It’s time for another meeting of the Insecure Writer’s Support Group. The first Wednesday of each month, we share struggles, triumphs, quandaries, and fears. This month’s question is:

Has a single photo or work of art ever inspired a story? What was it and did you finish it?

No entire stories I can recall, though photos of things like houses and vintage couples have inspired aspects of my stories.

After spending the end of December and all January working on second edition edits for Journey Through a Dark Forest, I’m now ready to begin spot-checking the proof of The Twelfth Time before approving it for the hardcover run. Simultaneously, I’ll finish up the two sections of Dark Forest I left to get back to. They’re the most frustrating, since they’re premised on Barnard and Columbia, respectively, starting a bit earlier than they really did in autumn 1942 and spring 1946.

I initially moved up the dates in the first instance, and the dates in the next chapter, but later realised that conflicts with Darya referencing her first time at church in four years coincides with the fourth anniversary of her and Oliivia’s deportation from Drancy. I could remove that reference, but it feels more powerful to retain it.

Monday’s post will be a walkthrough of all the changes I made and why.

I also have to find a cover for the book formerly known as The Very First and do a final light edit of it. Initially I formatted it at 5×8, but it just felt too small, even if it created a larger spine. I changed it to 5.5×8.5, which brings it to just shy of 300 pages. Despite the doorstopper length of most of my adult books, my Atlantic City books are meant to be short and sweet.

Also on my to-do list is buying a block of ISBNs. I really wish the Canada-based IndieBookLauncher still sold blocks of five (for one book each) for $25. The Australian branch of Bowker sells ten for $88, plus a $55 new publisher registration fee for people who haven’t previously bought from them, but I don’t know if non-Australians can use their service.

I also am still super-loath to give any money to Bowker when they’re such a greedy monopoly. Not officially being listed as the publisher of my books doesn’t bother me nearly as much as financially rewarding that company. Indie authors typically don’t have cash to burn on ID numbers!

Yes, it’s really “not bad” to drop over a grand on 1,000 ISBNs you’ll probably never use when that money would be better-spent on things like marketing, cover art, editing, and author swag. How much did Bowker pay this dude to write such a ridiculous, out of touch comment?

I’m thinking of buying four each for Dark Forest, Dream Deferred (also to be published in four volumes), and my Atlantic City prequel series. I bought my ISBNs for three other books through a legit third-party site that charges far lower than greedy Bowker.

Simultaneous to all this, I’m continuing to work towards the finish line of Dream Deferred. Hopefully the timing will work out so I’ll finish proofing Dark Forest around the same time, and can begin my first round of edits of Dream Deferred with everything fresh in my memory. I can’t wait to start tackling that project!

Posted in Editing, Fourth Russian novel, Rewriting, Writing

2019 in review (Writing)

Going in, I hoped 2019 might be the year I finally finished my fourth Russian historical, A Dream Deferred: Lyuba and Ivan at University, but it wasn’t to be. I did, however, bring the story up to late April 1952. The main text only has two more months to go, and the Epilogue will take place in autumn 1952. Originally, the plan was for it to only be set over Thanksgiving, but now I have two or three episodes in mind.

This book will require more editing and revising than usual at this stage of my development. I blame this on not outlining new storylines as they came up. Most I was able to mentally keep track of and naturally weave into the overall story, but others just got away from me and ultimately ended in media res.

I’ll have to remove the short-lived storyline about, out of nowhere, the Koneva girls and their friends suddenly being deeply unhappy with the radical Stefania Wolicka Academy and longing for a more structured, traditional education. They were supposed to lose their scholarships due to dwindling finances and finish the year at a free Quaker school, but then Ivan’s prodigal father sends money to rescue them.

I went back and forth on whether Sonyechka and Tamara should attend New Lincoln or Walden School after moving to NYC, and ultimately decided on Walden, the school their friends the Zyuganovs are at. Likewise, I kept going back and forth re: which neighborhood the Konevs should live in, and feel it fits best if they move to the fictional Tranquility Towers in the West Village. I just can’t see them uptown, nor in a townhouse.

Another dropped storyline was Lyuba applying to Columbia for a master’s degree. Several characters have already attended Columbia, but the radical City College, Harvard on the Hudson, fits more with who Lyuba is.

I also dropped the storyline about some of my Barnard ladies leaving the school in protest and switching to Sarah Lawrence mid-semester. They’ll still leave the school after this academic year, but two will go to the free art school Cooper Union, while others will switch to City College. I’m no longer sure Sarah Lawrence is a better fit for any of them, as radical as it is.

I broke up three of my couples—Susanna and Vilorik (who lost their anencephalic baby-to-be in the eighteenth week), Léa and Rhonwen, Tolya and Yasha. They no longer felt right together. As for Léa’s family, I think I’ve decided against moving them to NYC. It makes narrative sense for the Konevs to want to return to the city, and their friends the Novaks, but the only Kahn I developed beyond a secondary character is Léa. They’re not essential to the continuing story.

The storyline about Katya and Dmitriy’s friends Sima and Marusya will be moved into the future sixth book. It’s developed far too quickly and then dropped almost as quickly. If I keep them at all, it’ll be as friends who might have a connection to Katya’s family.

I went through The Twelfth Time for a hardcover edition, and managed to take away several thousand more words, shrinking it down to 980 pages (including front and back matter). I thought it couldn’t be done after increasing the inside margins from 0.7″ to one inch.

Most recently, I went through Volume I of Journey Through a Dark Forest for its own print edition, and managed to shave off 3,000 words. This wasn’t necessary editing so much as having to reword some things and take out superfluous words to tighten up the kerning. When I changed the inside margins, it became necessary to go through the entire book and remove as many unsightly gaps as possible.

It’s really weird to me to see one of my adult books at under 400 pages! Now the total length is 858K. We’ll see if the other three volumes will have similar shrinkage when I’m through with them.

I added some new words, mostly to correct the inaccurate picture I painted of the duplex Pavel and Nadezhda share with Svetlana. In NYC, a duplex refers to two floor-through apartments, sometimes with two floors per each family, NOT side-by-side units!

Two of my 2020 posts will be on NYC architecture and housing styles, and architectural styles in general. It’s embarrassing that for the longest time, I wrote my Manhattan characters’ homes as traditional detached houses instead of multi-story, narrow edifices. Even in the early 20th century, that wasn’t realistic!

At the end of April, my story “Charleston Masquerade” was published in the IWSG anthology Masquerade: Oddly Suited. I’m really looking forward to returning to these long-shelved 18th century characters and writing their family saga.

I also wrote a story for this year’s IWSG contest, “The Search for Shoki,” set in 737 Japan. Though I wasn’t a winner, I’m glad I tried something new, historical fantasy. I’d be game for writing a full book set in the Nara period. There are barely any Japanese historicals with that setting.

Finally, I began looking ahead to a radical rewrite and revision of the first book in my Max’s House series. Unsurprisingly, the strongest material is the all-new stuff I added in 1999, 2011, and on and off during this decade. I’ll only be keeping the 1991–93 material as a bare-bones outline to avoid a complete rewrite.

Posted in Atlantic City books, Editing, Rewriting, Writing

IWSG—A miraculous relief and future writing plans

InsecureWritersSupportGroup
The Insecure Writer’s Support Group virtually meets the first Wednesday of each month, and lets us share struggles, triumphs, quandaries, and fears.

I found out at the beginning of September that mice got into my storage locker 900 miles away and ate some of the Easter candy in there. From that point on, I became consumed with worry about the fate of my irreplaceable notebooks, my journals from 1989–2008 (most of them in a big black computer bag) and at least 95% of the first draft of my still uncompleted 12-volume magnum opus Cinnimin (from October 1993–September 2010).

For the first week, I could barely sleep, and even began dreaming about my precious notebooks. I saw them in boxes in the storage locker, untouched, but in my waking life, I had visions of them chewed up by mice, decades of dedicated work destroyed, never to be replicated.

Finally, on Monday, my little brother got back to me after I followed up my initial text with well-chosen words to light a fire under him without making it seem like I expect him to be at my beck and call. Baruch Hashem (Thank God), he found both boxes of notebooks and the computer case.

I’ll feel a lot better when they’re back in my physical custody, but for now, it’s enough to know they’re safe.

Part IV of Cinnimin, written autumn 1993

For many years, I’ve been very aware of the fact that Cinnimin needs a lot of work when it’s finally transcribed, esp. the parts I wrote as a teenager. Even as a teen, from age fifteen on, I knew I’d significantly flesh a lot of things out when I had the luxury of a computer file which could be of any length and wasn’t confined by the parameters of a notebook. I deliberately underwrote many things.

Sagas I and II (the Forties and Fifties) need the most radical rewriting, and Sagas III and IV (the Sixties and Seventies) need a fair amount of work too. By the time I got to Saga V, I was an adult, and had developed into a more mature, stronger writer.

I’m also once again having nagging feelings about making my original generation of Atlantic City characters two years older. They’ve always deliberately been written as looking and acting older than they really are, as part of the satire, over the top humor, and je ne sais quoi of WTCOAC (We the Children of Atlantic City, a quasi-religion and secret society sort of like the Masons).

When I resurrected my long-shelved Anne Terrick in 2017, I moved her starting age from ten to almost thirteen, and don’t regret it. If I did the same for my Atlantic City characters, some things would have to be tweaked, but I don’t think the overall stories would suffer if, e.g., they’re in seventh instead of fifth grade when Pearl Harbor is bombed, or seventeen instead of fifteen when the war ends.

Toning down the content even further would destroy the satirical element, but keeping their ages might turn off a lot of people. E.g., Kit’s extremely precocious sexual début and her long list of lovers are a major part of her character, but if she starts at twelve instead of ten, the shock value is retained without coming off as creepy.

My yearly October spotlight on classic horror films kicks off on Friday with Georges Méliès as always. This year will also feature a few D.W. Griffith films, the 1919 German film Unheimliche Geschichten, a couple of lost films, German Expressionist films Waxworks and The Hands of Orlac, the 1939 remakes of The Cat and the Canary and The Hunchback of Notre Dame, and The Hound of the Baskervilles (also 1939). The series will wrap up with Abbott and Costello Meet the Killer, Boris Karloff.

I also hope to finally finish A Dream Deferred in time for NaNo. I decided to move the subplots about Katya and Dmitriy’s friends Marusya and Sima all the way into the future sixth book, when they buy cheap, abandoned, side-by-side Victorian houses in Haight-Ashbury.

If all goes well, I’ll start the fifth book, From a Nightmare to a Dream: Out of Stalin’s Shadow, next month. I’m looking forward to outlining it.

Posted in Editing, Writing

IWSG—Another month of exhaustion

InsecureWritersSupportGroup

The Insecure Writer’s Support Group meets the first Wednesday of each month. Participants share struggles, triumphs, quandaries, and fears. This month’s question is:

What publishing path are you considering/did you take, and why?

I was pursuing traditional publication in 2000–01, and again from 2011–14. Everything I’d read said all writers needed agents, and I took part in so many contests, pitchfests, and events like Gearing Up to Get an Agent and the Platform-Building Campaign.

Gradually, I came to realise I needed to be the mistress of my own destiny. I’ve nothing against the many writers who’ve chosen traditional publishing, but I personally like having total creative control. Most of my books, apart from my Atlantic City books, are also deliberately saga-length, with ensemble casts. I didn’t want to sit around waiting for 5–10 years to prove myself worthy of releasing a very long book.

I also don’t like the idea of waiting up to two years (or more) for a book to be published, after finding an agent. I enjoy setting my own release dates, and coinciding them with important dates to my characters.

After spending nearly an entire month checking four e-proofs and correcting a few stray typos and errors I caught, I went through my first Russian historical to create the fourth edition I’d wanted to work on for a long time. I also finally put my other books onto Nook and Kobo.

I also added a glossary and a “The Story Behind the Story” for And the Lark Arose from Sullen Earth, about both my volumes with Jakob and Rachel. I’ve always considered it one story in two books, though I still agree with my decision to make the final year of the story into its own book. The focus of each is so different.

Then I went back to The Twelfth Time, the sequel to Swan, for a long, long-overdue final polishing. Its first draft was 406K, and I’d taken it down to 398K the last time I worked on it. I’m proud to have gotten it down to a more manageable 390K, plus about 4K of front and back matter. Does anyone expect a Russian novel to be short?!

The Twelfth Time releases on 6 September, Lyuba and Ivan’s wedding anniversary. They chose that date because it was the date they finally became lovers, and conceived their first blood child together. I wrote that book in 2011, and began editing it in 2014. I shouldn’t have been sitting on it for nearly this long!

I also love the Russian Land typeface I found (which is free for commercial use). It’s based on the Old Church Slavonic alphabet, the precursor to modern Cyrillic. This typeface is far more suitable for the mood and style of these books than the fancy types I was playing with prior, like Chopin, Lucien Schoenschrift, Tangerine, and Exmouth.

I immediately got to work on the final polishing of Journey Through a Dark Forest, which I’m hoping to finally release either late this year or sometime next year. All this rereading is really making me eager to finally go back full-time to my fourth Russian historical, and the remaining seven books in my epic series, which I’ve named The Ballad of Lyuba and Ivan.

I also finally put together a page with links to all my current author pages and books. Planned future releases are also listed. I have no one to blame but myself for my previous failure at marketing myself.

Anything exciting going on in your writing and publishing life lately?