There is some evidence that when I get right down to it, I’m writing in some kind of void. The words are pouring out onto the page and its as if I am watching someone else compose them. I remember a lot of what’s been said, the bulk of it. But there’s a shock when I read them and see the emotion behind them.
Yes, I know its been some time since—well since I said anything here. I am still working on editing. The first person to read the novel has finished it, she really read it. Comments and analysis and all. Most of my early editing will be based on what she deduced and came up with from reading it because as I look over her comments I think she’s right.
People don’t know it, but when you’re writing you have to delete entire sections in editing. Sometimes whole chapters go and there’s a pinch of fear before you do it, but there’s a sudden relief when its done.
It’s hard to explain.
"Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it–wholeheartedly–and delete it before sending your manuscripts to press. Murder your darlings." – Sir Arthur Quiller-Couch
The first time I read this quote it, it was in Stephen King’s book "On Writing” which I would recommend to all of you out there who hope to write. Back then I never really got what it meant, I just thought that it was about deleting text. But then I took into account the first part about exceptional writing.
If you’ve been doing this for a while, you always have that little piece you’re proud of. Not the whole story, but the section where you really think you’re writing shines through.
Sir Quiller is telling you to cut that, cut it right out of the writing because it will distract from the piece at large and stand out. It’s hard to do, because when you write a lot of the words can gain an emotional attachment. Characters and scenes become dear to you and you can’t cope with letting them go.
But it helps, sometimes things just flow better and are more concise and less self indulgent and after all, its about you—not the writing.
This wasn’t meant to be here, but since I mistakenly posted I might as well take the time to write something substantial for you all to read.
Or I could just post an image of something that illustrates a point. Guess which of these I will be doing, just guess.
Have you ever been browsing the web and found a picture of a person that looked like a character you had been writing or a character you imagined? This girl did that for me, it was kind of odd because when I found her I was looking for something else story related and bam, there she was.
The editing of the novel goes well, though I still haven’t named this creation of mine. It’s kind of funny, ears after its conception and several rewrites and the name has never completely come to me, nothing as a name sticks out to me. I guess I was under the impression that a name was supposed to just make its way into your hands and perfectly fit the novel in question.
A name should be the easy part. But really it’s not. It’s the first thing that your book puts forward for the world to see. And there are so many out there that just encompass the work which they describe. Others take cultural references or a place from the book and just make it their own. Midnight in the Garden of Good and Evil is a good one, or how about Bonfire of the Vanities.
There are titles so well known, so engrained in our minds that even those who have no idea what these books are about know their title. Bridges of Madison County? And who hasn’t heard of Cider House Rules?
I’m not asking for a title this good, but I want a title that fits and feels like it belongs to the book—not just some words tacked on to give it a name. You know how you meet a person and their name fits their personality and how they look and who they are?
I want that for my book.
When I first heard about the Grindhouse movies back when they were in theaters I had some mixed ideas of what to expect. I was going through this “must be mature” phase and thought that it would tarnish all of that if I indulged in movie watching of that kind.
Still when the DVDs came out, the movies hadn’t made the splash that I thought they would so I didn’t rush to by either of them until I saw they were on sale where I worked one day and thought what the Hell.
This was almost a year after their release.
I bought Planet Terror and wasn’t as wowed as I thought I should be, but what did get my attention was the fake trailer for Machete. It was funny, ridiculous and I instantly wanted more. So when I heard it was coming out because of popular demand, I was giddy.
Fast-forward to now—I don’t think I’ve been this disappointed by a movie in a while. It should have at least been to the standard that the other Grindhouse flicks were. But it was just a mess. Most of the ridiculousness and hilarity lost in the blatantly obvious, zealously repeated political message that the movie’s makers tried to hammer in.
All that sticks out from this, over the women hiding phones in their vaginas and the people repelling from rooftops with intestines is that this movie was a platform for illegal immigration and not even a good one. The rhetoric is just a rehash with people saying things like, “We didn’t cross the border, the border crossed us!” and other tired lines from rights battles gone by.
Even those who are in strong agreement with the message probably won’t like the way its handled and I think it would be hard for anyone to review this movie and not make mention of this.
Frankly, the experience left a bad taste in my mouth, I’m hoping that "Get Him To The Greek” will be better, though Russell Brand scares me.