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When Revisions Go Wrong
Happy Valentine's Day! Here's a story about a witch.
I know most of you are just here for the DEFCON 3 rodent situation, so I'm happy to report that after killing six (yes, SIX. Sierra-India-Xray) mice, we seem to have eliminated the threat. It was a tough week for everyone (not the least my children who have read one too many anthropomorphic stories and did not approve of the bloodshed), but we made it through.
What I'm Working On:
This week is the MFA intensive week, which means I'm back in the classroom lecturing on novels and short stories and how to write a proper fight scene. I'm also reading the first years' novel proposals and editing some of the second years first drafts. This doesn't leave much time to write anything new, but I really enjoy teaching so it's worth the trade-off.
I'm also still waiting to hear back from the agents who are reading The Second Greatest Thief in New York. Publishing has always been slow, but it seems to be even slower than usual thanks to Covid/overworked agents/industry drama, etc. Agents are less inclined to take on new clients, and editors are overwhelmed with submissions. I'm holding the whole thing loosely, and occasionally I entertain the idea of bidding farewell to New York and looking into one of the hybrid publishing concepts that are popping up in response to traditional publishing's woes. It's an idea that's simmering in the back of my mind. If it goes anywhere, you all will be the first to know.
What I'm Reading:
I just finished rereading Howl's Moving Castle which was, as always, delightful. Sophie is one of my favorite spunky Young Adult protagonists and, while I really do enjoy the Miyazaki movie, it strays far enough from the original plot that it doesn't make a whole lot of sense. The book is much more satisfying narratively.
I've started A Man Called Ove for my book group. I know there was a lot of hype about it when it first came out, but I never got around to reading it (although I did read Anxious People a few years back). This is one of the reasons why I love being in a book group: I often end up reading books I wouldn't normally have picked up.
Writing Tip: When Revisions Go Wrong
This tip requires some backstory. Back in 2016, I signed with a literary agent for The Winter King. We had a phone call in which we talked about some of the changes she wanted to see in the manuscript before it went out on submission to editors. In particular, she wanted to see more magic/fantasy elements. I agreed, and as I was pondering how to add more magic, I came up with this idea for a witch in the woods. The villagers were already suspicious of the woods, but I thought that if Cora actually confronted a witch, it would really heighten the tension in the story. Here's a scene from the revision I did. You'll notice it's very similar to a scene that ends up in the final story:
The sun’s rays lit up well over half of Hrimsby by the time Cora left her house. She fought against the irritation that balled in her chest; it was already hard enough to complete her double load of chores, now she would have even less time. Perhaps Gyda would understand and give her less work, although empathy was not an emotion the woman experienced often.
She raced through the outskirts and was almost at the village square when she heard a cry. It came from the direction of the woods. Cora hesitated. She’d been so wrapped up in her thoughts, perhaps she just imagined it.
But then she heard it again.
“Help me!” The voice was clearer this time, and very young. Cora would have thought it was Thea, if she hadn’t just left her at home with her mother. Her spine tingled.
Cora glanced around. No one else was in sight. Why would a child have wandered into the forest? Even the youngest villagers knew about draugar, but they were close to the temple; perhaps the girl had become separated from her parents on the way to deliver tithes.
“Please,” the voice pleaded. And then it screamed, a child’s wail of terror. Or pain.
Cora gritted her teeth. She remembered the stories of girls lured into the forests by draugar. And Abelone had told her that Matroga could imitate a child’s voice. She should keep going. Try to forget the terrible humanness of the voice. And hope she didn’t hear news later of a child who’d died in the woods.
“Mama, where are you,” the child sobbed.
A needle pricked Cora’s heart.
“I’m coming,” she cried, and plunged into the woods.
The gaps between the trees narrowed the further she trekked. Boughs of pines, heavy laden with snow, brushed her shoulders like icy fingers. Cora stepped carefully, watching for covered bogs or frozen creeks. She couldn’t risk getting her feet wet, or she might lose them.
She stopped, listening. The sound of soft weeping drifted across the stillness. It was just ahead. Just a little further. Cora was shivering violently, frightened and terribly cold and unable to turn back.
“Hello!” she called out, but not too loudly. She didn’t want to draw anything else to her location. Even now, the trees could be carrying a message back to the witch of the woods, whispering to her of trespassers.
Cora glanced behind her, reassured by her footprints in the snow. She would be able to find her way back easily enough. She could move quickly, even with a child on her back.
When she turned back, a movement on the ground caught her eye.
Something crouched beside a clump of dinceweed. It was as white as the snow and its edges blurred and swayed, but even still, Cora knew who it was. Or who it had been. Even though she hadn’t seen him for eight years, she recognized the familiar curve of broad shoulders, narrow waist, and wiry legs.
“Father?” she said.
The figure straightened up, holding a wispy strand of dinceweed, and turned towards her.
Cora sucked in a breath. It was like seeing her father’s face in the reflection of a pond: swaying and distorted, but clearly him. She didn’t move closer, didn’t dare herself to hope that it really was him. She knew that draugar could take the shapes of the dead.
“Cora,” her father said, and held out the dinceweed. It was an urgent gesture, like he wanted to show her something.
Cora hesitated, and in that moment she heard the child’s voice calling again for her mother. The trees behind her father began to shake, shuffling snow off their branches, quivering and trembling in a violent dance. A child couldn’t make that much commotion, Cora thought.
Then, a nightmare of plant rot and claws and half-formed limbs stepped out from behind the tree. It was Matroga. It was death walking, and it passed right through her father’s ghost, scattering it like a cloud, but not before he spoke one last time:
“Run, Cora Quickfoot!”
Cora hadn’t been afraid of her father’s ghost. But at the sight of this creature, a wave of nausea swept over her. Where its mouth should have been, a hole opened and shut like a fish, and the little girl’s voice came out.
“Mama, mama, mama,” it said, and limped towards her.
Cora recoiled and stumbled backward. The horror moved slowly, but it was unhindered by the rough terrain, walking upright one moment, then shifting into a crawling, scuttling shape the next.
She turned and ran, choked by panic and terror.
Behind her, Matroga had abandoned the child’s voice, and the noise it made now was like the scratching of knives on rock. It was gaining on her. She couldn’t see the tree-line. She couldn’t run fast enough.
“Help me!” she screamed. A branch slapped her across the face. Cora sobbed and brushed snow from her eyes. Her hand pushed a holly bush aside.
She felt something warm and soft.
A white wolf ran beside her, winnowing its way through the snow drifts. Just touching it filled her body with strength. It moved so quickly that Cora feared she would fall behind. But it had answered her cry for help, and its back was as broad as a small pony. Steeling herself, Cora grabbed a fistful of fur and swung her legs over its back. The wolf ducked its head and ran faster. The trees were thinning. The light grew brighter. They were almost there.
Matroga cried out, and the sound was like a hundred voices all shrieking, furious. But it had come no closer. The wolf strained forward, and Cora buried her face in its thick coarse hair. Fear and exhilaration formed a single current and rushed through her body.
They burst out of the forest and into the market square, the evil tug of the forest receding like water sloughing off her back. Cora slid off the wolf and glanced back. She could see the monstrous thing slithering back into the darkness, disappointed.
Cora bent over double and caught her breath. When she straightened up, an old woman was watching her, her eyes widened in fear.
“She is wolf-kin!” The woman shrieked, fumbling to grasp the tassels on her belt. A dozen heads turned to see where she pointed.
Cora glanced down, but the wolf was gone. She stood alone at the edge of the woods.
“She was riding a wolf,” the woman insisted.
You’re wrong,” Cora said loudly. “The cold has blurred your vision.”
She ignored the stares and whispers of the villagers and walked with head held high across the square.
I added a few more scenes in as well (including one where Cora hides out in Matroga's cave to escape Fyodor and his men). I very proudly sent the manuscript back to my agent.
She was not a fan.
In fact, when we got on the phone to talk about my revisions, she suggested I take Matroga out completely. She said that her presence in the story was distracting. That we already had multiple antagonists, and that it muddied the ending and overcrowded the scenes.
And you know what? She was absolutely right. I didn't see it her way at first. I probably had a bit of a pity party because those revisions had taken a long time and I didn't want to kill my darlings. But after sitting on her feedback for some time, I revisited the manuscript with the cold, calculating eyes of an editor, and completely agreed. I cut those scenes out, but I didn't toss them in the trash. I saved them in a file called "deleted scenes" and I ended up using snippets of these descriptions in the draugar's scenes later on (turns out all I really needed to do to increase the magic was highlight the draugar a bit more).
All this to say: sometimes, you try things that don't work. I have yet to write a story where every scene from the rough drafts makes it into the final product. Sometimes you have to cut really fantastic, fun scenes, but if they don't serve the story, then they have to go. So my writing tip for today is not to despair when revisions go wrong. Also, you don't have to take everyone's advice for your manuscript, or the finished product will look like this:
But, you do need to find a small group of readers (including your editor, agent, etc.) and really listen to what they have to say. It can be very humbling sometimes, but if it makes your final story better, then it's worth it. And don't be afraid to try something new in a revision. Just save it as a new document (title it something like Rough Draft Number 432) and give it a go. Maybe you'll end up scrapping it, or maybe it'll be just the thing your story needed. You won't know until you try.
That's all for this month! If you have any questions or topics you'd like me to cover next month, feel free to send me an email.
Christine