While I continue to struggle back and forth with the idea of keeping the age of the first generation of my Atlantic City characters as-is or changing it by 2-3 years, and have long been hard at work significantly toning down the age-inappropriate content (if not outright excising it), there’s a much bigger reason radical gut renovations are/were needed for much of the material till about 1963.
It’s absolute garbage!
Garbage with great bones, but garbage nonetheless. A house with rotting floors, walls, doors, and stairs, irreparably broken machinery like washers and stoves, burst pipes, fraying and broken wires, and smashed windows can still be saved with a very strong foundation and beautiful exterior.
Since I decided to shelve the original eight-book series running from late 1941–September 1950, and with it much of the contained material, there’s an obvious huge gap to be filled with entirely new storylines and radical revisions of the ones with enough potential to be saved. Even within that series, there was a gap between September 1945–April 1947.
I deliberately underwrote a lot of Cinnimin, esp. Sagas I–IV, knowing I’d have all the space in the world to significantly flesh it out and add new material once I transcribed it into a computer. Saga I also ends with a few pages rushing through what happened after V-J Day till the eve of Cinni and her friends starting college in 1950. I long knew I’d have to transform that into an actual narrative of normal length.
The Max’s House books I handwrote the first drafts of, #1, #3, #7, and #8, plus the long-unfinished computer-generated #2 (which caught some kind of bug and became unable to open, though I did print a number of pages), are by far most in need of radical rewriting. Though I gave #1 two much-needed reworkings, they still didn’t go nearly far enough.
And why are they so terrible?
They were written by someone aged 11–15!
A lot of the school-related storylines, even the fourth through sixth and ninth through twelfth Max’s House books I wrote from ages 19–about 24, were based around the gang hating school, doing horribly in most classes, frequently skipping school, sassing off teachers, caring more about social life at school than studying and getting ready for college. Despite being the cardinal opposite of that, I was too wedded to ideas from fluffy teen shows, and then felt afraid to radically change course.
Implausible storylines and events. E.g., Cinni, her sitting charges, and her friends are hanging out in some submarine-like boat at the pool and get stuck there after closing time. It’s sucked down the apparently giant drain, pulled into the Atlantic, and winds up in a Rhode Island pool. Now-axed ex-smoker Rachel Simmins gets several surgeries to suck all the tar out of her lungs.
Too much mean-spiritedness. It’s one thing to show characters as typical young people who’ve got a lot of growing up to do and aren’t always 100% respectful to everyone (esp. people they dislike). Entirely another for them to constantly say nasty stuff, mistreat people, arrange for them to be publicly humiliated, beat them up, steal from them, etc.
Ridiculous storylines and events. Like, why would Max’s stepmother Bambi have a summer home in freaking Paterson, NJ instead of a resort town?! Why does Mrs. Hitchcock move full-time to her French summer home and leave baby Scarlett in Violet’s full-time care, esp. when she tried so many years for a third child and much of France was in shambles after the war?
Cinni and Sparky have babies during college without missing a beat!
No unique storylines, as aforementioned. I cared more about making a teen and preteen soap than crafting original stories and characters.
So many cluttery scenes accomplishing nothing. Until Levon shows up in Saga I of Cinnimin, the story consists of little more than Cinni and Violet’s babysitting misadventures, constantly skipping school, and just acting like ill-mannered, mean-spirited brats who think they’re such bad-asses.
Even with the caveat that Eopolis isn’t supposed to be a normal neighborhood, and that these kids aren’t supposed to be like normal kids their age, there are limits. E.g., why would fifth grade Violet enter a contest to win a purported naked photo of Frank Sinatra and proudly carry it everywhere she goes?! Why would anyone of any age watch their own parents having sex, film it, and show that to their friends regularly?!
Poor historical grounding. It’s particularly bad during WWII. There are a couple of scrap metal drives, mentions of war bonds, and ration coupons, but the gang acts like the war is a huge annoyance and inconvenience. None of their older brothers serve in the war either.
The most important things I’m left with are my characters and their general storylines. I wanted to tell a coming-of-age story about a large group of friends in Atlantic City, having a lot of funny adventures along the way, and I mostly succeeded. Many of the details and circumstances might change, but the core elements remain the same.