Getting through the publishing process, or not? (from October 2020)
It’s taken weeks to get over the trauma of the structural edit of The Draftsman. And in between then and now, life and the outside world have weaseled their ways into brain and heart to make it even harder to think fiction.
This might be a natural part of the process. You think about characters, you eventually consider what they do and don’t do and then you get the whole thing down on the page and suddenly without any warning it’s all gone, forgotten about. Then people ask you about the story, the characters and what they do, and what happens in the end. It’s not polite to offer the first response that comes to mind, but it is polite to smile and say “thanks for asking” and then to change the subject. Sometimes this works. If it doesn’t you can tell the truth. “It’s been so long, I’ve forgotten what it’s about”. It’s only a little lie.
So fab, you send in your structural edit. And fab you wait, and you wait some more and some more and eventually you forget about it again. Then you see a diary note: “deadline for structural edit to Unbound” oh bugger. Then hang on, not oh bugger at all you say to yourself. Then slightly louder you say to the cuckoo clock “I sent that in, and I’ve heard not a whisper. Did they even get it? (who knows) Should I nag? (probably not) Can I resist the urge to ask? No I cannot.” And yes, they did get it. Pull some more teeth with another question: what happens next?
After the structural edit?
Fortunately this is an easy question to answer, so the answer comes within weeks. What happens next is that the structural edit is reviewed and the editor puts together another set of queries and questions. These are so that the author can clarify why Mrs Himplestanger says she hates cheese in chapter two, but tucks into a cheese fondue in chapter nine. Oops. These are the sorts of things that authors really should notice, but often don’t. And why is that a surprise? Who knows about cheese or not when you’re forty thousand words away?
And while the structural editor is once more doing their wonderful thing, and you’re dreading having to read the bloody book yet again, you have other tasks to fulfil. The publisher wants a Style Sheet completed. This has nothing to do with formatting or paragraph properties but everything to do with “character lists and timelines”.
Character lists and timelines
I am not entirely confident that I can pull this together for The Draftsman, but I am trying. The trouble is that every time I take a stab at character lists and timelines, something terribly important needs doing and gets in the way. I have to straighten my speaker wires, polish my collection of novelty USB sticks and take an urgent inventory of the household rice collection (four varieties, all in good supply and all very surprisingly in date). Once the excitement of such activities wears off the character lists and timelines spreadsheet beckons once again. But then faced with a menacing array of empty Excel spreadsheet cells, arranging pens and pencils in size order on a far corner of the desk is suddenly an absolute must to do. And this vital task can take so long because the naughty pencils keep rolling off the desk. Then there’s the fringes on the rug to comb out, and the dead flies to line up and measure, and those spiders won’t spin their webs without a song or two to help them along. And so it goes. Thinking about it, there will be a couple of weeks before the structural edit second edition comes back with some important changes. Perhaps I’ll wait for that instead. Just in case.
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