{"id":120428,"date":"2024-07-26T10:00:00","date_gmt":"2024-07-26T09:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/?p=120428"},"modified":"2024-07-26T10:00:00","modified_gmt":"2024-07-26T09:00:00","slug":"little-things-big-things","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/little-things-big-things\/","title":{"rendered":"Little things, big things"},"content":{"rendered":"\n

The kids are off school. Yesterday was \u2013 complicated. And right now, I have seven kids in the house with me as the only (vaguely) capable adult.<\/p>\n\n\n\n

So \u2013<\/p>\n\n\n\n

A short email today, but one with a useful moral.<\/p>\n\n\n\n

On Wednesday night, I did (for our beloved Premium Members) a LIVE EDIT session, in which I took four short pieces of work and started to edit them much as I would if they were my pieces of text.<\/p>\n\n\n\n

When I do these things, I don\u2019t pre-plan my edits: the point really is to offer a stream-of-consciousness view into how I approach things. And each time I start one of these webinars, I always wonder if I\u2019ll actually have anything useful to say.<\/p>\n\n\n\n

I mean, I can always find trivia \u2013 this word repeated, an over-focus on bodily movements or sensations, a tiny muddle as to just how quiet a particular location is. At the outset, those things always seem to offer rather slim pickings. Good to correct, maybe, but perhaps not worth a webinar.<\/p>\n\n\n\n

Except \u2013 and Wednesday evening was no exception \u2013 these little things normally lead to something bigger. So here, for example, is the first paragraph from one of the passages we looked at:<\/p>\n\n\n\n

Aside from the weather and the hooting of an owl in the distance, it\u2019s deathly quiet. Exactly what I wanted. But if that\u2019s true then why do I ache for the comforting buzz of Jon\u2019s Bar? Knowing he was asleep upstairs made me feel safe somehow, like I was alone but not really. Now there\u2019s nobody, just me and the forest. Rain beats the roof above me in place of Jon\u2019s footsteps on old floorboards, wind the only other breath for miles<\/em>.<\/em><\/p>\n\n\n\n

Now, this was from a really quite good passage and the key emotional transition which followed was well and movingly handled. The author, Rian, stands a decent chance, I think, of writing something which agents will need to give serious consideration to in time.<\/p>\n\n\n\n

But? Well, the bit that niggled at me first was that damn owl.<\/p>\n\n\n\n

The first sentence here says, \u201cit\u2019s deathly quiet,\u201d albeit that the place isn\u2019t totally quiet because of some (undefined) weather and a distant owl.<\/p>\n\n\n\n

Only then, the last sentence says \u201cRain beats the roof above me.\u201d It doesn\u2019t say \u201cpatters lightly and almost without sound\u201d. It says \u201cbeats\u201d.<\/p>\n\n\n\n

So which is it? Beating rain or deathly silent? It can\u2019t be both.<\/p>\n\n\n\n

And then, Jon\u2019s bar is bamboozling too. Is the soundscape of that bar:<\/p>\n\n\n\n

a) A comforting buzz?<\/p>\n\n\n\n

b) Silent, because Jon is asleep upstairs?<\/p>\n\n\n\n

c) Nothing from the bar below, but footsteps from Jon walking around above, presumably after the bar has closed for the night?<\/p>\n\n\n\n

The answer seems to be all of the above.<\/p>\n\n\n\n

Now, these niggles are \u2013 I accept it \u2013 utterly trivial. The first sentence said \u201cAside from the weather,\u201d so it did, if we\u2019re being strict, make some allowance for the rain. And the thing about Jon\u2019s bar? Well, obviously, the soundscape of that bar varied with time of day, but the woman is perfectly capable of remembering each bit of it. We as readers are also capable of figuring these things out.<\/p>\n\n\n\n

But these niggles lead to another. The structure of the piece at the moment is this:<\/p>\n\n\n\n

    \n
  1. Deathly quiet here<\/li>\n\n\n\n
  2. Comforting buzz of bar (past)<\/li>\n\n\n\n
  3. Me and the forest<\/li>\n\n\n\n
  4. Jon\u2019s footsteps on floorboards (past again)<\/li>\n\n\n\n
  5. Wind the only breath<\/li>\n<\/ol>\n\n\n\n

    So we loop back twice to Jon, in the space of eighty words. That means that none of these soundscapes can be properly described or absorbed \u2013 we\u2019re just shuttling to and fro too often. And what\u2019s the emotional movement here? It\u2019s got a bit lost in the shuttling.<\/p>\n\n\n\n

    So, on Wednesday, we took these niggles and arrived at this:<\/p>\n\n\n\n

    It\u2019s quiet here. There\u2019s the sound of rain on the roof, and dripping off trees, and somewhere an owl, hooting unseen. Otherwise, nothing \u2013 a forestful of silence.<\/em><\/p>\n\n\n\n

    Exactly what I wanted. But if that\u2019s true then why do I ache for the comforting buzz of Jon\u2019s Bar? Knowing he was there, either serving beers or, after hours, moving around on the old floorboards upstairs, made me feel safe somehow. Like I was alone but not really. Now there\u2019s nobody, just me and the forest. Me, the trees, the owl and the rain.<\/em><\/p>\n\n\n\n

    That\u2019s ten words longer, but clears up the niggles around what exact sounds we\u2019re dealing with. More important, it cleans up the structure: we start with the forest, then we feel a pang for the buzz of the place left behind, then we consider again our solitary state here with the trees and the owls.<\/p>\n\n\n\n

    In bringing a bit of order to these smaller points, we also get greater emotional clarity. The new passage now shows a flow from external observation (\u201cit\u2019s quiet here!\u201d) to an emotional one (\u201cWow! I\u2019m really<\/em> alone here.) That movement \u2013 a deepening<\/u><\/em> \u2013 goes via a contrast (in terms of sound, and aloneness) with the world the character has just left.<\/p>\n\n\n\n

    This matters! The character is about to plunge into a howl of pain over her lost baby. The paragraph before that happens needs to set that up just right.<\/p>\n\n\n\n

    The new passage does just that. It gives us silence \u2013 nostalgia \u2013 oh crikey, I\u2019m on my own<\/em> \u2026 The whole paragraph is now getting us ready for what follows.<\/p>\n\n\n\n

    That, roughly, is how editing almost always works.<\/p>\n\n\n\n

    You start with a fairly low-level worry \u2013 in my case it was beating rain vs deathly quiet.<\/p>\n\n\n\n

    In solving that worry, we found others (was Jon\u2019s bar buzzing or silent or footsteppy?).<\/p>\n\n\n\n

    And in solving all those things, we got to something that:<\/p>\n\n\n\n

    a) No longer suffered from those minor niggles, but also<\/p>\n\n\n\n

    b) Gave us a powerful and emotionally compelling route into the howl of pain which is about to come.<\/p>\n\n\n\n

    Little things lead to big things. That\u2019s how editing works. That\u2019s why jumping on trivia is almost always important: it opens doors to things that you might not otherwise have sensed and found.<\/p>\n\n\n\n

    For me, the activity has a free-form quality. Sometimes, I enter my text with a mission. (Turn character A from male to female. Improve setting B. Solve the plot conundrum in chapter X.) Often, though, I just read the text and respond to it.<\/p>\n\n\n\n

    I find a niggle and tease away at it.<\/p>\n\n\n\n

    Little things lead to big ones.<\/p>\n\n\n\n

    The text improves.<\/p>\n\n\n\n

    Next week, I want to do something a bit similar in terms of plotting. I want to look at how very basic plot summaries can give us important clues about the entire novel. If you\u2019re doing our How To Write in 6 Weeks course, you\u2019ll know just what exercise I\u2019m talking about and (I hope) how illuminating it is.<\/p>\n\n\n\n

    FEEDBACK FRIDAY: How to Write a Novel \/ Module #4 \/ Prose<\/strong><\/p>\n\n\n\n

    Watch the lesson\u00a0here<\/a><\/strong>\u00a0(available to Premium Members)<\/p>\n\n\n\n

    Do your assignment:<\/p>\n\n\n\n

    Take a scene. Cut it brutally. Layer it up the way we did in the video. Then present your before and after efforts. (The \u201cafter\u201d version should be a max of 250 words, please.)<\/p>\n\n\n\n

    Upload the result to Townhouse\u00a0here<\/a><\/strong>.\u00a0<\/p>\n\n\n\n

    I\u2019ll be very keen to see the results of both the cutting and the layering up. I\u2019m expecting beauty and wondrousness here, folks. Oh yes, and we\u2019re at the one year anniversary of our Feedback Friday sessions. I\u2019ve loved them. Thanks for participating.<\/p>\n\n\n\n

    Til soon.<\/p>\n\n\n\n

    Harry. <\/p>\n","protected":false},"excerpt":{"rendered":"

    The kids are off school. Yesterday was \u2013 complicated. And right now, I have seven kids in the house with me as the only (vaguely) capable adult. So \u2013 A short email today, but one with a useful moral. 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