Points of View

This week, I’ve been so pushed for time that I couldn’t pull together a full entry. Instead, here are a couple of photos.

This first one is my writing area. There are better views from other windows, but it is a great place to stand and observe people and traffic. There is a seat in the room, but it’s not in front of the PC. I prefer to stand while I write.

The second is my bookshelf. I don’t have a TV here, so this is the focus of my living room. I’ve yet to read most of them, but they’re there for when the occasion arises.

Dissecting Two E-rejection™ Slips.

If you’re a writer, feedback is a great thing, although less so if you’re a sound engineer. But the quality can vary considerably. Let’s consider two of my recent rejection slips, or the e-mail equivalent thereof. I think I’ll trademark the term e-rejection™.

We’ll endure the bad one first.

An anthology publisher sent me an e-rejection™ to my short story The Strange Case of Mr Brown, with the opinions of three readers.

Two of them commented that the story was bland, but neither of them offered up any specifics about why they thought so. With that information, I could have refined the weak parts. The third one pointed out that the eponymous Mr Brown had an eidetic memory, and that this case wasn’t strange, but I believe the reviewer missed the point that the, “case,” also referred to an unusual court hearing.

And now for something a lot better.

Some time ago, I sent a synopsis of my novel Fifty Million Nicker to an publisher. Less than two weeks later, they asked for the whole shebang.

In the e-rejection™, they told me that they felt the story didn’t take off and lacked a sense of drama or excitement. But they planted a useful nugget halfway through that summed up the areas for improvement: “You needed to surprise us with unexpected twists, and real obstacles, and genuine peril for the protagonist to overcome.”

Essentially, they were telling me to up my game, and I agreed with 90% of the criticism. I’d spent so long honing and polishing it that I’d never stepped back and considered if I could improve the actual story. And I’m now halfway through rewriting the some of the sections.

The common thread.

Both publishers commented that they liked my writing style, the latter even stated they would be happy to consider future work. When I write, I work to the principle that a sentence is only successful when you understand it after one reading. So it annoys me when I read a headache like this: “He knew that she wanted him to think that she had failed to call his bluff.” That’s not from a real book, thank goodness.

If you’re a publisher and want to slate consider the aforementioned works, I’m happy to send them on.