Hello, Friends.
I’m still revising. The good news is that I’m in the final act. Here’s my favorite sentence:
If Scott was right that energy paths ran across the lithosphere of the earth connecting land forms and significant natural monuments, and Emesh was right that the earth was overflowing with antediluvian energy activated by Shamash’s dying body, and The Weatherman was right that energy was the key to understanding the post-firestorm changes, then…Rachel’s mind stopped here. She didn’t know exactly what it meant, except that this LaPorte place was something like a nuclear reactor.
It gets readers all on track for Act 3 when everything both falls apart and pulls together, based on the clues and action in the preceding acts. No pressure.
Here’s my bad news. IT’S HARD. You want everything to SHINE and MAKE SENSE and just because a scene is fun or develops character, it doesn’t get to stay. It has to WORK. And sometimes that’s hard to decide.
I agonized over a chapter (chapter 30) this weekend, used my agent’s feedback, talked to everyone I encountered about it. Then, I send my revision off to my critique group. We meet this Friday to discuss and exchange notes.
This morning I realized that I can cut the scene. Just cut it out. Skip the agony. Boil the scene down to the three things I need to keep and move that to a different chapter. But, I’m scared. I’m over-thinking. WHAT IF THAT WAS THE CHAPTER WITH ALL THE BRILLIANT WRITING THAT READERS WERE GOING TO UNDERLINE ON THEIR KINDLES?
(It isn’t)
WHAT IF THIS IS WHERE READERS FALL IN LOVE WITH MY PROTAGONIST?
(If they haven’t by chapter 30 then you have a problem that revising chapter 30 isn’t going to fix)
BUT THIS IS THE CHAPTER WITH A HISPANIC CHARACTER WHO SPEAKS SPANISH AND I CONSULTED BOTH MY HUSBAND AND GOOGLE TRANSLATE TO MAKE SURE I GOT IT RIGHT. I NEED TO BE DIVERSE.
(There are many languages used in this world. Many languages that have been used. Many that will be. Are you going to have each one represented in this particular novel? You might want to check both the word count and your readers’ patience if this is your project. Instead, maybe concentrate on the story?)
BUT NOW I HAVE TO WRITE THAT CHAPTER, AND THE BEGINNING OF THE NEXT, ALL OVER AGAIN.
(Yeah, that’s called revising.)
Next month when I post, I hope to tell you that I’m finished revisions and have sent to my agent….then I get to attack my next novel that is almost there. It just needs some….wait for it…revisions.
Love,
Sherri
Taste of Sherri 
I am interested to see you are using the three act structure. Do you think this is necessary for novels in general or only for specific genres/types of story?
I have done some screenplay writing and am aware of the Hollywood imperative to make every word and deed move the story forward. And this seems to be shaping all story-telling. The decline of the literary novel is possibly part of this process.
I think novels, outside of stories that demand pace (adventures of some kind), need to take time to ferment, but maybe the ability to write and read in this way is becoming a lost art.
Hi Carl, I definitely used the 3 act structure for this novel. I fall somewhere between a plotter and a pantser. I think in images or “exciting moments” so I’ve found it helpful to write out a line of the events and divide into the three parts. This allows me to build in the character arcs more effectively and make sure it all hangs together.