Edith here, writing from north of Boston, gearing up to ignore the short days and darkness of the coming month.
I’m doing that by keeping really, really busy. Today I’m incorporating all the red ink I added over the last week during my last (I hope…I truly hope) paper read-through of Turning the Tide, Quaker Midwife Mystery #3.
Some of my comments to myself are edits with a goal of polishing the language. Split the long sentence into two. Divide that paragraph in a different place, because the last sentence really belongs with the next para. Make sure all the senses play a role.
Some are plot related: on page 94 one scribble says, “Why didn’t she think of this when she found the body?” – which happens on page 6. Oops, but fixable.
Of course there are also the missing periods, redundant words, and unclear wording to fix. Other bits to sharpen and hone.
A few of my remarks relate to research for this book, which is set during presidential election week in 1888 (I know – great timing!). For example, I described a road covered with planks, not cobblestones, which was a method of temporary paving back then. But I realized during the read-through that I don’t know if the planks go crosswise or lengthwise and I need to check on that.
I read a great craft post last week over on Inkspot, the Midnight Ink writers’ blog (where I blog every second Thursday of the month) that really made me think. Lisa Alber wrote about sense of place. She says, “You know when you hear readers say that they skip the descriptions? I would bet in most cases, those descriptions are static — just the author describing the environment around the character rather than describing the environment through the character.”
That’s so true! I’m sure I’ve thought about it in the past, and been taught it, but imbuing setting with my character is something I have to learn over and over. Lisa gives a few great examples of the same setting – sunshine streaming in a kitchen window and illuminating a spider web – as seen through different characters’ eyes. Go read the post. You’ll see what I mean.
So as I move through my manuscript, I’m also going to take a look at every single place description and deepen it. I’m going to make sure it has a reason to exist: showing us how midwife Rose Carroll is feeling. I can show another character’s reaction to place, too, as long as it’s through dialog or physical reaction, since this story is told exclusively from Rose’s point of view.
Thanks, Lisa, for pushing the end of my revision process a little further away. I know checking for sense of place will improve the book in the end, and that’s what counts.
Readers: What do you do with a beautiful description of setting that is only that? Skip it or enjoy the rich language? Writers, is making sure that setting is filtered through your character’s eyes already part of your revision list? Do you ever slip up?