I’ve put these three pages of the observation journal together because they all relate to the same project — my short story “Not to be Taken” in the poison-themed Egaeus Press anthology Bitter Distillations.
The story began in the journal — I’ve posted indirectly about it before, from the pages where I was first trying to sort out my ideas. It forms the third row from the bottom in (Too) Many Ideas (several elements appear in the final story) and was the subject of the alphabetical list in Reflections and Alphabetical Order (of all those ideas, the final story was closest to “R”, but only if you unfocus your eyes).
By this stage, however, I had written the story and was suffering through the editing process, which I only seem to be able to get through by being dramatic about it (I’ve accepted this as part of my method). So it seemed an obvious subject for journal exercises.
This was a lot of fun and silliness, but in the end it was helpful. Shifting the idea to be about minor characters or flipping all the roles, or changing everyone into birds, made me think more about whether I wanted to keep certain elements, and be more deliberate about the ones I did keep. It also made me check that I was actually liking the story — there are a couple notes there about things that usually help me:
- emotional spine
- character emotions (this is a tricky one but I’m starting to remember to think about it).
The story did not change hugely as a result of this. But it did make me more assured about it. You’ll see the notes there are about tightening the draft and remembering to TAKE CHARGE of my own projects, which is a lesson prompted by a few things last year.
The next page features another activity I’d heard most recently from Helen Marshall (in a subject she was running and I was tutoring): 5 terrible opening sentences. The first example is for “Not to be Taken” (the actual first sentence for which ended up being “Lucinda collected poison bottles”). It didn’t shake up the draft as much — the 10 terrible takes (above) were much more effective for that.
But I also tried it on a non-existent story, and the exercise was very effective for that. Writing bad opening sentences was a very fun way to find a path into an idea, and to quickly develop a cast of characters along the way. Trying exercises out until I work out what they do suit is another good use of the journal.
It was also particularly interesting to note what appealed about each (terrible) sentence, and why — frankness, restrained humour, fun with stock characters (see also: The Caudwell Manoeuvre), and so on.
By the next week, I’d actually managed to finish editing the story (and had sent it to Angela Slatter for comment). This page is a simple breakdown of what I actually did (the editing checklist started here), and what worked, and lessons I learned, which included the following:
- The painfulness of editing is not an indicator that anything is wrong with the process.It will take the time it takes.
- That will be more time than I want it to be.
- But faster than avoiding it.
- Some distraction/inhibition-removal helps.
- Aesthetic & theme are useful for making decisions.
- Rule of threes (and thoughts on the stability of triangles — this led to two blog posts: Three Points and Silhouettes and Further Points).
- Doggedness & commitment.
- Dissatisfaction with “predictability” may be a function of reading it 17 times. What’s satisfying for a reader is different for the writer.