Ta-daa!

[resonant]

Praise the protector-of-small-books; the second draft of the romance is finished.

We're leaving next Friday for another long visit to the in-laws', heaven help us, and I'll be happy to be able to take a vacation from the book. I was getting to the point where every morning I got up and thought, "Damn it, I don't want to write about these stupid people and their stupid problems."

Once I get back, I can give it another draft -- to polish up the language, to make sure developments at the end are well supported at the beginning, to plant brass plaques in unobtrusive places so that they can Serve Crucial Plot Ends.

I still think of myself as the person who does everything at the last minute in one draft, rewriting only enough to fix obvious problems -- that's the way I did everything in high school and college. I guess the results matter to me more now, or else I'm taking on more ambitious projects, because I'm now an extremely drafty and outline-y person. ("Dear English teacher, you'll be happy to know that I take a lot more trouble with my writing now that I'm a pornographer.")

Meanwhile, while I'm in California, I can work on the outline for the next romance. And write slash stories.

Comments

[dsudis.livejournal.com]

Well, it was a matter of plausible authorial intent, for me. When we read Macbeth and talked about the chain of being and how Elizabethans understood the universe to be ordered and how all of that was reversed by a regicide, I was into it. When we read Jane Eyre and the teacher started going on about how when Jane meets Mr. Rochester and Jane is standing up and Mr. Rochester is on the ground, this indicates the author's beliefs on feminism, I just started getting annoyed, because it was a story, and why couldn't we just be reading the story? But, like I said, I've learned to be more critical since then.