Layer Cake

Cake baking has never been my thing. Too fussy. The ingredients make it look deceptively easy—butter, flour, salt, sugar, baking powder, milk, eggs and Bob’s your uncle. But the ingredients must be at a just-so temperature. The flour must be aerated, light. And if we’re talking layers and frosting, know that my inner klutz is cringing. Candy thermometers. Cake plates. Offset spatulas. Crumb coating. Pastry bags. Cakes that bubble on top or sink in the middle. Cakes that cling to the bottom of the pan, peeling away like a thick layer of epidermis. Frosting that is too thick, tearing at the fragile skin, or too thin, running down the sides like desultory rain, pooling on the plate, soaking your cake’s feet.

 

But when it comes to writing, I’m Martha Stewart. I’m a Six-Layer Coconut Cake with Lemon Curd filling.

 

I’m revising my second novel, The Crows of Beara, following my agent’s suggestions, questions, and cautions as a guide. I’m in a bit of a rush, emotionally. Agent wants to get this out “on sub” by mid-spring, before the summer doldrums sweep everyone out of their offices. On sub is writer jargon for ‘agent sending manuscript to editors, looking for novel’s publishing home.’

 

Practically speaking, the story is hitting its stride. When I finished the first draft a year ago, it had 105,000 words. After three revisions last fall, I submitted a 99,000 word second draft as my entry for the Siskiyou Prize for New Environmental Fiction. The Crows of Beara was one of two finalists for the prize, which gave me confidence that publication was worth pursuing.

 

Now into my second revision of a third draft, I’m working with 88,700* words. Over fifteen percent of a novel, gone. *Um. Since first publishing this post on Monday, I’ve lost a few more words. 87,500 now. 

 

My first drafts aren’t brain dumps, per se, but I do try to silence the inner editor. I do resist returning to earlier scenes or chapters, for fear of falling into a doubt trap, or miring myself in the revision process. I’m simpatico with Cheryl Strayed, who so succinctly gets it, “I write to find what I have to say. I edit to figure out how to say it right.” (From The New York Times Sunday Book Review, March 24, 2015

 

Once I begin revising, it’s a meticulous excising of excess detail and repetitive language and meandering thoughts and conversations to get at the heart of the story.

 

I may delete. But I never throw anything away.

 

During the first round of writer-editor revisions of In Another Life, I encountered notes from my editor requesting more detail here, more exposition or background there, clarification of background. In some cases, she was asking for layers—character motivation, a shoring up of sub-plot; in other instances, she was looking for frosting—a rounding out or plumping up of detail, filling in the crevices of the story’s foundation. Fortunately, I had nearly all of what she wanted from earlier drafts. It was a matter of copying, pasting, refining to fit the story as it had evolved.

 

The notes off to the side of The Crows of Beara read a bit differently. My agent has been unsparing and insightful at pointing out where I’ve gone too far, given away too much, overdone it, rambled on. These revisions have been like restoring a piece of furniture, stripping away the layers of thick paint to reveal the clean bare bones beneath.

 

In careful revision, I see the layers of story for what they are. I’m able to shift sentences and phrases around, picking up something I discarded on page 113 and adding it to a paragraph on page 87. I see where the second scene in Chapter 12 really should be the first scene and a thoughtful transition shows something about a character not yet revealed or a clean end to a chapter leads the reader naturally to the next. All these minute layers building to a stronger whole.

 

I’m a bread baker. I have a predilection for yeast over sugar. The sheer physicality of bread making is a release and marvel to me. I’ve learned over the years that it all comes down to the knead. You can knock most mistakes out of a lump of yeast dough if you’re willing to put time and energy into kneading (bread machines and Kitchen Aid bread hooks need not apply. That’s not bread baking, that’s an assembly line). Forget what the recipe says; most underestimate the time it takes to knead dough into submission by at least half. Probably because they know you wouldn’t start the process if you knew the truth.

 

Kind of like writing a novel.

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Pumpkin Layer Cake with Maple Frosting. I made this. Yes. Yes, I did.

 

 

That’s a Wrap: My (almost) Final Edits

I just clicked Send. My final edit deadline is tomorrow. I made it. It’s gone, for better or for worse. The Novel is gone. It is in the hands of an editing team who will clean up my commas and semicolons and whip the manuscript into shape à la The Chicago Manual of Style. I can do no more.

 

The next time I see In Another Life, in a month or so, it will be in galley proof form. I’ll be allowed to make only line edits or proofreading corrections. The story is what it will be today, tomorrow, and a year from now, on Publication Day.

 

I entered the editor-writer conversation and exchange process with a focused humbleness. Knowing I had so much to learn about this part of the publishing journey, I expected the story to be challenged and questioned, coaxed and tamed. What I didn’t expect—not at this late stage—is that I would be my harshest critic. Even after the revisions were complete and the story set, each read-through brought more changes to language, tone, rhythm. It’s not just that I felt the story and writing improve with each draft; I felt the writer and storyteller improve.

 

And so I think about a year from now, and how it will feel to release this novel when I am not the same writer. I’m certainly not the same writer who began In Another Life on a July day in 2012.

 

Writer’s remorse sits heavy on my soul. I should have read it through one more time. There will be something, I know, something critical I will have missed—just as there has been on each pass—a better way to construct a phrase, a scene, a novel.

 

But I have to let that go, don’t I? This is part of the process—accepting that what’s published today might not be what you would write tomorrow. In Another Life is my apprenticeship and my act of faith. It taught me many things about the writing process, lessons I hope never to relearn: don’t write without some sort of a plan; don’t write more than a handful of scenes out of sequence; don’t share your work too early; don’t listen to that inner critic telling you to hang it up and go home.

 

Do listen to the voice that says, Keep Writing. The story will sort itself out in time.

 

And now a year looms. A year to worry that no one will ever read the thing. A year to worry that they will. A year to plan blog tours and blurbs and fret about that damn launch party.

 

A year to revise the second novel and pray that it sells, and to finish the third. The fourth is already wrapping tiny, thin tendrils of ideas around my brain . . .

 

Speaking of marketing and promotion, here’s my new website: Julie Christine Johnson Don’t judge. I created the site just yesterday. Not much there, I know. It’ll get fleshed it out in time, probably go through a template change or three. But for now, I’ve snagged my domain name and a fresh, clean canvas to paint.

 

You guys. I wrote a novel. It’s going to be published. That’s just silly.

 

“If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy.”
― Dorothy Parker

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Deception Pass, Whidbey Island © 2015 Julie Christine Johnson

Things Fall Apart

Last night the adapter cord to my MacBook Pro gave out. There is a notice flashing on my printer’s display panel that the drum needs to be changed and the toner is nearly depleted.  I have a raging case of tendonitis in my right arm and my neck wobbles on my spine, as if it can’t quite carry the load of my heavy head–technological and physical manifestations of too much time spent on the computer.
 
The computer power cord is a minor crisis.  A new one should arrive Wednesday. In the meantime, I’m coming to you from an iPad, wondering how anyone types on this thing without a keyboard. Just don’t judge. This week’s formatting and editing will be half-assed. I’m typing with one finger.
 
Folks, the power cord incident could have been a major crisis. A meltdown of epic proportions averted by the mere shadow of days. Monday (tomorrow as I write, today as you read), my next-to-penultimate round of novel edits is due. Not only that, but a literary journal to which I’d submitted a short story back in July finally turned around their edits last Wednesday, requesting that I make my changes by . . . Tonight. Yup.
 
Done. Dusted. Damn. I submitted novel edits on Wednesday and short story edits Friday. You just go ahead and fall apart on me, Crucial Technology. I’m way ahead of you.
 
The end of the edits is nigh and I’m so ready. I’ve read The Novel so many times in the past two months, I can quote entire passages by heart. Knock Wood, revisions are behind me as of one draft ago; now I’m fine-tuning, line-editing, killing not plot darlings, but literary ticks. I read The Novel out loud last week, catching repetive words and phrasing (I had a thing for the words bitter, bloom, flat, drain, north, and all manner of breath, breathing, inhaling, exhaling. Jeepers). From the Read-Aloud Edit alone, I cut 1000 words.
 
For my next edit trick, I shall read The Novel backwards. I kid you not.
 
My editor promises to hand off the next round by Wednesday, just in time for that power cord to arrive. For me to hope that the fix is a simple change of hardware. Otherwise I am, to put it bluntly, screwed.
 
I’ll have about ten days to edit, and then back to the publisher it goes. A month of freedom to tackle revisions of THE CROWS OF BEARA, which my agent turned back to me last week (I used precious battery power last night, printing off the manuscript; printer toner and drum survived to print another day), then The Novel will be shuffled off to the Production team. It will undergo a final scrubbing–line editing and proofreading–before being formatted into something resembling a book. A cover is forthcoming. A frontpiece map. Sometime in April I will have galleys to proof. Then that’s it: other than minor corrections that become apparent after the ARCs go out this summer, it is what it is, and it will no longer be mine.
 
Three elements of The Novel remain on my to-do list: Acknowledgements; Reading Group Discussion Questions; and an Author Q&A. Yesterday, I made an iPhone video of myself talking about the inspiration for The Novel for the Sales and Marketing team. No, you don’t get to see it. Don’t even ask.
 
I realize I keep calling The Novel, The Novel. It does have a name, but it’s not what it was once, or even what it was after that. Can you bear one more title change? Although I’m learning never to say never when it comes to publishing changes, I’m thinking this one may just stick. And I love it. At last.
 
Here’s a glimpse of the editorial decision making process:

Hi Julie,

We have come up with an incredible new title for (the book formerly known as REFUGE OF DOVES, and then REMEMBERING! This title came out of taking a hard look at the positioning of the book and what the heart of the story is. Part of what you wrote in your first response to my editorial letter was really helpful for us– We’re not concerned with the how of reincarnation, but rather the more profound emotional reactions to it. This pointed us in the direction of focusing on the experience of reincarnation and got us thinking about books like THE TIME TRAVELER’S WIFE and LIFE AFTER LIFE, both of which have time travel/reincarnation elements, have been hugely successful, and also have very revealing titles that tell you basically what the book is about.

My latest idea was to shift focus from just the title to concentrating on the entire front cover—what the title, cover tag, and cover image together as a unified package will communicate about the book. I think we have come up with a really strong title and tag that play off of each other in a compelling way.

Title: In Another Life
Tag: Three men are trapped in time. One woman could save them all.

 
Well, I’m tapped out. Please laugh at that. I need to know you’re laughing.
 
Just one last thing.  Do you know what else I ordered yesterday, in addition to that damnable power cord? Of course you don’t. I ordered a portable keyboard for this tablet. It’s coming with me this summer on a grand adventure. Which I’ll tell you all about, soon . . .

Blooming! Copyright 2015 Julie Christine Johnson