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I rewrote the section of my book where I (aka my "main character") meets the girl from the Massachusetts family that's vacationing out west, and falls in love. He takes her to a deserted overlook at the edge of a cliff and for a moment she thinks she may have put herself in a dangerous situation; the communications misfire leaves them shaken but that in turn gets them talking openly and honestly while they sit side by side pitching stones off the cliff.

As originally written, it was a description of the event, not a fully fleshed out scene with full dialogue and internal monologues and whatnot, and I needed it to pop a lot more, to be as emotionally moving to the readers as the event itself was to the characters.

I read the results to my authors' group, the Amateur Writers of Long Island, to favorable reception:




"Good balance of action and contemplation"

"Beautifully written. You have a wonderful flow to your writing — it seems to come so effortlessly. "
"Very honest and real."

"So glad to hear you express the boy's point of view on sexual domination."

"This is a great description of a best-on-earth sitch to be in. Well done."
" & Wow! A reversal of emotional fortunes. Cool!"

"I like their comfort with each other."

"Excellent. The pebbles were a great touch. You convey the mood, and the nature of the interaction, the internal emotions at work, all in such a gentle but real, relatable fashion. The development is so well paced. Fantastic analysis. Well told, particularly as it can be delicate subject matter. Very honest as well."

"Very revealing story, different fresh, mind altering -- thanks"

"Very genuine! Realistic, subtle."

"Great dialog, super flow. Love how you write! SO sweet!"





Now, it is a very warm and supportive group. We don't tend to tear each other down in our critiques. Even so, the feedback I'm getting from the group reinforces my sense that yes, dammit, I can write.

I actually do have a good book. One that is vivid and emotionally moving. I'm so weary of the process of trying to get it published, but it will be worth it in the long run.


Just hit a milestone, by the way:



The Story of Q — total queries to Lit Agents = 1200
Rejections: 1178
Outstanding: 22

As NonFiction—total queries = 970
Rejections: 951
Outstanding: 19

As Fiction—total queries=230
Rejections:227
Outstanding:3

The Story of Q — total queries to Publishers=41
Rejections:26
Outstanding:7
No Reply 3+ Months: 6
Pub Contract Signed, Publisher Went Out of Business:1
Pub Contract Signed, Rights Reverted (creative diffs):1


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ahunter3: (Default)
It has been a very long time since I've done any rewrite in The Story of Q beyond a little superficial surgery here and there. It's mostly been a stable and complete-feeling book.

I've been contemplating some of the critical rejection notices (some of which process you saw echoed in my May 22 entry). The conclusion that I reached was that their complaints and feedback were not accurate or helpful, but that nevertheless, yes, the book has a major weakness. What should be the emotional centerpiece, or at least one of the major emotional centerpieces, was glossed over and described from a detached distant vantage point instead of being properly caught in vivid prose.

The love interest of the story is the girl from Massachusetts who shows up with her family in the summer between junior and senior year in high school. In its current form, the book covers that visit with scarcely a single actual conversation.

Not one of my beta readers or editors from lit agents or publishing houses have ever highlighted that as a problem. I don't know why. Now that I see it I can't unsee it. My book has some really vivid sections, but this event, which totally needs to be one of them, just isn't.

I know how that happened: it is painful for me to write. It is painful in part because I want to capture exactly how it was, and it's elusive for me, because I sealed up some of those memories because of how things turned out, so it is frustrating to try to evoke just what happened between us and the rhythms of how we spoke and interacted. And then it is painful because even after all this time it's still ripping scabs off. And it is painful because when I do write of it, it is inadequate. But if it is, it will still be far better than the woefully inadequate handling that these scenes received up until now.


Bloody hell. Then I have to find a way to trim some other stuff or else accept a longer word count.


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