The eff word

Eleven week ago, I first wrote the scene I'm revising today. Originally, Seth said "f*ck" six times. I didn't have a problem with that; it's an intense scene and the main character is furiously angry. And yet, I felt that six might be too many for people who don't happen to be me. Somehow, I took three out and I don't even know what happened to them! I must have revised those sentences right out of the draft.

Two were revised into these: "What the hell, Mikey?" and "You’re screwing one of my best friends?"

But the one that still remains is: "Dude, f*ck you."

I hope I never have to part with it. It's simple, and it says so much.

(Sidenote that I can't resist including: I feel like a phony for putting those askerisks in here. I'm not good at censoring. But I'm trying to be all non-offensive.)

Edit: Ha! And a month after making this entry, I've now edited the entire SCENE out of the story. There are no eff words left as of right now!

Lyrics/ Dialogue

For most of my life, I've listened to music FOR the lyrics. I love clever, interesting lyrics. They are what often make or break or song for me. Of course I have to like the music, too. But the music just blends together into the background. My husband (a drummer) will sometimes go on about how he likes a particular drum fill or a guitar part, but all I really notice or care about are the words. And so it is with my writing. I have typically been a dialogue-first writer. My notes are often pages upon pages of unattributed dialogue absent of setting, action, or... anything else. Then when I type it up, I go back and put everything in to make it a real scene. It takes me several tries to get it right, and I still feel like my setting is lacking.

Lately, I've started doing things a little differently. Dialogue is still what drives many of my scenes, but I've started including many more of the important details in my first drafts. (Things like the expressions on character's faces, movements, and interior monologue.) If I'm feeling lazy, I'll sometimes makes notes to myself like [physical description] or [interior monologue] so that I'll know that I have to come back to it. I'm finding that my scenes are starting out better and my revisions are easier. I really feel like my writing is gradually improving as a result.

So, today, I was driving into work, listening to a Death Cab for Cutie CD. I sang along with the clever lyrics. And then I noticed that I was able to hear the individual parts of the song. Piano. Guitar. Percussion. I could hear them all. The song was so much deeper and richer than I'd ever noticed.

I'm not saying there is any type of real connection to the fact that I've recently started mixing up my writing style and am now hearing, actually hearing the music in the songs. But I did find it an interesting parallel.

Otherwise known as Draco.

A few years ago, I read some Harry Potter fanfic. Specifically Cassandra Claire's Harry Potter fanfic. People who have read it know that Draco Malfoy is a very major character in the series. He isn't whiny and awful like JK Rowling writes him; he's clever, sexy, sensitive, and just downright swoonworthy really (while still managing to be a bit of a jerk, of course). I was desperately in love with Draco for a while.

I later read interviews where JKR dissed Draco. She seemed frustrated that people like the character. She doesn't think he has any redeeming qualities and that girls only like him because the actor who plays him in the movies is hottt. (Or whatever.)

I've since reread some of the original HP novels and I really don't see anything good about Draco. It was CC's version of Draco whom I loved; JKR's is pretty much awful.

I've been reminded of the whole author's intent and reader's interpretation discussion here with my current project. I have a character named Kendall who readers seem to universally like. Many (but not all) are actually rooting for her to end up with the protaganist.

That is something I have NEVER envisioned. I mean, I love Kendall and I can see the chemistry she has with Seth, but I've known her secrets and manipulations from the start. I know all her plots and her true feelings. And I know that she is not going to end up with Seth (nor does she want to).

This past weekend, I turned in a chapter for my class which takes place late in the story. It is the climax where everything about Kendall is revealed. I fully expected that once readers found out the full truth, they would completely abandon the idea that Seth + Kendall = True love forevah.

NOT SO! One of my classmates (hi Liz!) left a comment after reading that chapter that she is still rooting for them to end up together! I was shocked! SHOCKED!

Results of outline submission!

In his own words: Hey Mindi,

Looks good – lots of potential as a coming of age novel for boys here (a la Looking for Alaska). And there are some editors out there really looking for YA with a strong male voice. Perhaps I can have a two-week exclusive look at this?

Best, and keep me posted,

[Male Agent]

Never have I been so pleased to receive a request for an exclusive!

Now I have to just, you know, finish writing the thing.

Submitted!

Last night I finally finished revising my outline. I emailed it to the agent who requested it two weeks ago. I was extremely busy during those weeks. I don't feel like two weeks is an unreasonable amount of time for him to wait, especially since he knew upfront that this manuscript is nowhere near complete and that I'm still working through it. I didn't want to rush the outline; I wanted it to be perfectly clear for him.

And yet, I find myself feeling paranoid that maybe he'll think I took too long. {sigh}

But, the good news is that I finished it! And sent it to him! Now I'll just have to wait to see what he thinks...