Category Archives: Epublishing

Anything I deem useful for future epublishing of my writing.

Don’t wait for the band wagon

CLIMB ABOARD NOW WHILE THERE ARE STILL GOOD SEATS

It is axiomatic that there are no overnight successes.

Why?

Because it takes huge amounts of determination and preparation to be ready to respond well when an opportunity finally comes along – and if you’re not ready, it will leave you in the dust and move on.

Take your American Idol singer

The pipes that astonish are not natural, spur of the moment, magically angelic. Nope. If so, they are most likely to freeze at the first sign of stress.

The singer not only sings a lot in the shower, but has had parents paying for individual teachers, has been singing in the church choir, has spent years listening to music, and has been through a whole list of roles in the school plays.

Being on stage in front of a bunch of strangers and wowing Simon Cowell is not a fluke.

The illusion that it is sudden and unexpected and a direct blessing from Heaven is for the AUDIENCE. The ones who want to jump on the bandwagon as it goes by because, “I’m just as good as she is.” It keeps them buying the advertised products, watching the shows, purchasing tickets for Kelly Clarkson when she comes to town.

Even the little Wow! stories are the product of hours and hours and hours of cameramen recording every remotely possible candidate practicing in the hall – to be scrolled through for the exciting bits AFTER the winner has been chosen.

It matters only for the individuals

The producers don’t care who wins – they have SO many contestants that their triage is stricter than that after a major accident: they may let a few charismatic duds go through a few levels they aren’t qualified for – one leaves in the random possibility because crowds are fickle, but the staff’s job is to make sure that the two or three possibles culled out of each thousand who apply are usable.

They have no investment in a particular candidate. It’s dangerous to have one because talent and stardom are unpredictable beasts.

But the individual candidates, those who want to win, have to be ready to win – if it happens.

Artists need support BEFORE

before they are recognized as somehow ‘good.’

before they get discouraged and stop producing amazing work.

before everyone else discovers them.

It is even more important for those who are slow, or for whom doing the work is a great mental and/or physical effort.

I know that I will never forget the earliest responses on Wattpad from other writers, the ones who kept me cheerfully sharpening my nose. Because they KNEW – and SAID so – BEFORE others.

Peter Hyland, one of my characters, says,

“None of my friends are perfect. And most of them are irreplaceable. They provide the mirror when I get too big for my britches. New ones are hard to find.” He squinted at the dying sun. “I need them far more than they need me.

PRIDE’S CHILDREN: PURGATORY, Chapter 13

It is hard for people to commit, to say, “I’ve found this new writer/photographer/painter…, and you should look into their work” to recommend someone to a friend. What if the friend doesn’t like the new artist? Easier not to say anything, and just nod wisely.

But once the wagon is full, one more supporter isn’t going to make that much of a difference.

Getting started is hard – but up to the writer, who is the one to make the decision when something is first ready to be released to the public.

But keeping it going is much harder still, and that’s when the support can make the difference between someone going on to do creditable work – or quitting.

Why now?

It may or may not be important, or a stepping stone of any size, but I’m saying thank you to all my readers who have been saying, “I like what you write,” since I started putting Pride’s Children out in serial form on Wattpad.

You may or may not have noticed the new badge on the sidebar.

Pride’s Children: PURGATORY has been named Indies Today’s 2021 BEST CONTEMPORARY novel, and I’d love it if those of you who read mainstream fiction would pop over to my other site, the one for the books, and sign up to follow that blog as I get ready to finish and publish the second novel in the trilogy, Pride’s Children: NETHERWORLD.

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Is labeling mainstream novels literary counterproductive?

A REVOLUTION HAPPENED AND NOBODY NOTICED

Amazon tries; it really does.

To satisfy its customers, to make searching for what they want easy (easier), to supply it efficiently.

By revolution I mean both also that things turned around – 180° – from where they were, sort of, before.

Because before this all happened, ‘literary’ was a separate category in bookstores.

And literary meant a number of things:

  • Difficult to read, requiring great attention
  • Small in scope – One DAY in the life of Ivan Denisovich
  • Elitist
  • Using difficult flowery language
  • Very detailed – a navel closely observed and described
  • Slow and languid
  • Somehow not for everyone
  • Requiring a large SAT vocabulary
  • For people with an MA in English or Literature
  • Suitable proof for a doctorate
  • A credential for teaching English or Literature
  • With a limited audience
  • Special
  • Art
  • Cliched
  • Maybe French or translated from Italian or Russian
  • Not commercial
  • Often not ending anywhere near happily

Add or subtract from my list what comes into your head when you hear ‘literary novel.’ Please feel free to mention them in a comment.

What’s the revolution, you ask?

That ‘literary’ now means ‘traditionally published good stuff’ on Amazon, and is seen as almost the exclusive purview of, you guessed it, the traditional publishers large and small.

The books that are vetted by agents and editors at publishing companies (excluding the celebrity stuff), and are therefore both ‘better’ and ‘not for the hoi polloi.’

The other similar term is ‘historical,’ which is a little fuzzier and often about WWII, sometimes about WWI or the American Civil War.

Because the term ‘mainstream’ disappeared, and is not the same as ‘contemporary,’ which can be attached to, say, a Romance and a worldview: ‘Contemporary Christian Romance’ is a searchable thing.

It is considered presumptuous to label your own work ‘classic.’

And ‘General Fiction’ is not a category, but a garbage can.

‘Psychological’ is filling the empty slot somewhat – almost all novels for grownups are psychological, but is confounded by ‘thriller,’ ‘horror’, and ‘women’s fiction.’ With, of course, nothing actually labeled ‘fiction for men.’

It used to be possible to find mainstream fiction by looking for ‘a novel’ on the cover. No more. It now means only ‘book of at least 50 pages.’

It doesn’t matter for mainstream because

I’m convinced readers of mainstream fiction who use Amazon come there to find a good price on something they’ve already decided to buy.

I don’t think they search on Amazon. Not beyond maybe being attracted by something similar being offered by the ‘also read’ bots. There is just too much stuff.

They get their recommendations elsewhere – book critics (who rarely do SPAs*), reviews in the few places which still have book sections (print journalism has taken a lot of hits lately, too), and the publicity material put out for their best-selling authors by the traditional publishers (other authors get bupkis from traditional publishers – return on investment isn’t worth it).

So the market is saturated and sopped up by the same few titles which keep those offices in Manhattan open for the publishers (and their unpaid interns).

I’m hoping for virality. It can make the huge difference to a start – and then the writing must maintain the quality so that future books, even if widely spaces, are eagerly awaited.

Feel free to help kick that off – if you like mainstream fiction.

Don’t let ‘the system’ keep producing same old, same old – and then complain you can’t find anything you like to read.

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Thank you for listening to the daily rant. Now, if I could just manage to do it daily! 🙂

Oh, and the answer to the title question is yes: ‘Literary’ has too many negative and restrictive connotations in the minds of too many readers.

‘Literary’ is not a good substitute for such terms as mainstream, ‘big book’, epic, blockbuster, or commercial novel. It isn’t the same. Even when the intent is to make it a synonym with ‘well written.’

IMNVHO (In my not very humble opinion,)

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Final note: Pride’s Children: PURGATORY is taking part today and for the next few days at a promotion at HelloBooks – which has many other wonderful bargains for serious readers of General Fiction (its category) and many other genres.

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*SPAs = self-published authors, sometimes known as indies or independent authors

Economies of writer scale explained for readers

(2021’s last)

AMAZON IS MY PUBLISHER BUT…

I am Director of Marketing for Trilka Press, the imprint that publishes my books, and may some day publish other writers (don’t hold your breath quite yet).

I am the PR department, as well. All of it. And the Art Department. And IT. And Housekeeping and Bookkeeping and Landscaping and…

I am in charge of all financial decisions; we are still at the venture capital stage (me), so I’m VP of Finance.

All self-publishers are entrepreneurs by definition. We make all the decisions which affect us, except for those made by our printer and distributor (in my case, only Amazon – changing that will require work I don’t have time for now, but it’s on the very-long To Do list of the CEO and COO of Trilka Press (again, me)).

Advertising is solely my responsibility at the end of 2021

If I want to advertise (takes time and effort away from writing), I choose the venue (Amazon, FaceBook, and, in one horrible expensive decision years back, the PAW (the Princeton Alumni Weekly), which I was allowed to advertise in as a former staff member – circulation 90K prime potential readers – cost >$600, RoI = $0).

And I set up the ads. And pay for them. And fulfill all the requirements of timing – and due diligence. I should have asked PAW for some statistics – it turns out that particular advertising section, published twice a year, is filled with other self-publishers and some perennials, and is probably not a good place to peddle fiction by unknown authors who get a tiny number of words to hawk their wares. Duly noted.

So, like all of us, I spend some time managing promotion for myself (I know, sounds so tacky!). Or I’m depending on the kindness of strangers, which is erratic.

You get over it when you realize you want readers, readers in general have been conditioned to be wary of SPAs (self-published authors), and it’s up to you.

If you happen to be lucky, or go viral in some way, good.

Don’t count on it.

Even in the pushy real world, most overnight sensations have been at it for at least ten years. Or are connected. Or know something about somebody (just kidding!).

The power and control are heady – and scary!

Unlike many indies, I am not solely supported by my writing (a good thing!). But I also don’t want to write only for myself, at least not past this trilogy, because it is an incredible amount of work, takes all my available energy, and I worry about leaving fans hanging if something happens to me during the (very long) time it takes me to write something to my standards – and don’t want them to see how far below that I start.

Twenty-one years so far – and the final book will consume at least my next five years.

This little win I just received – the lovely and letter-perfect review from Jennifer Jackson at Indies Today – showed me how much encouragement affects my ability to focus. Duly noted again – but it’s not the kind of thing you can say, even to friends: “Please tell me something nice about my writing.”

I do my part for other writers, and they have been wonderful, but modesty and not-bragging were ingrained in my generation by our parents, whose generation fought WWII, and had their priorities pretty straight by the end of it, in many ways. Did they overdo it? Probably. All parents do, no matter how perfect we think we are.

But I digress…

I generally avoid low-price sales

How can conditioning people to expect something for almost nothing be a functional business model?

Someone commented recently that most free or 0.99 downloaded books are NEVER read.

The exception is the books which somehow get read, and make the reader a fan who then purchases or borrows from library or streaming service the author’s other books.

And up until now I didn’t have other books.

The exceptions I can live with include:

  • Sales to raise a book’s rank (for Search Engines)
  • Sales to promote a series which already exists
  • Sales to promote a launch
  • Sales to capture any remaining market for a bestseller already out a while
  • Or sales to take advantage of a blip

In other words, sales which have an expected (or hoped for) return on investment. That investment can be considerable, and the return is not guaranteed, but, for example, most writers mention in writing groups (self-selected) that they’re happy with BookBub deals and get a significant bump from them. ‘Loss leader’ I believe the marketing folk call it. BookBub doesn’t lose, authors who don’t do well hope maybe next time, and readers get bargains or freebies.

I’ve noticed Netflix keeps raising its prices. Because ‘give stuff away free’ is not sustainable. And Amazon and Facebook make money from the ads. But authors who don’t get that boost might be subsidizing the whole experiment.

Anyhoo – moving right along – BUY!

If you have a business reason for a sale, you will eventually learn which ones work.

Amazon is being very efficient these days: the $0.99 price took less than an hour to show up today, so THE 0.99 E-BOOK SALE is on. At least until four days after January 14, 2022, when my first Hello Books promotion will be over. The price will then return to $9.99.

PLEASE take advantage of the timing – I am hoping for a bump in ranking which might help later, and followers who might be interested in NETHERWORLD.

If you go to PURGATORY‘s page, I would appreciate it if you scroll down to the Editorial Reviews and tell me what you think of the new version – I modeled it on The Goldfinch‘s ER, and Amazon was very responsive as I worked on changes – an hour or so instead of their published ‘3 to 5 business days.’ Much appreciated, because it is almost impossible to get those things right the first time, and it took me three iterations.

The probability of a lower price is minuscule – I think ‘FREE’ doesn’t work for my kind of author and book.

[NOTE: The paperback is not on sale any more (Amazon was playing with it).]

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Really looking forward to your comments – readers and writers. How does any of the above reflect your experience?

And if you are interested in NETHERWORLD, but haven’t popped over to the books’ site to Follow it, now is a good time to guarantee you hear about things like sales.

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One way to encourage a writer

When you are reaching the end of writing a novel, it looks as if you’ll never finish.

Encouragement comes in odd places:

  • a reader wanting to know when the next one is out
  • sales you didn’t expect, didn’t advertise for
  • the writing going particularly well
  • a tough section written
  • and a review that blows your metaphorical socks off (one gets so jaded).

This morning, my inbox contained a link to that kind of review, and I encourage those who are here for the fiction to take a quick look at the books’ sister site, Pride’s Children . com, and sign up there if they haven’t – because NETHERWORLD will be here early next year, and that encouragement keeps me focused.

An encouraged and supported writer (thanks to all my visitors and commenters and fellow bloggers and friends from FB and GR – you know who you are, and I hope you know how important you are) is a happy writer, and is probably writing much better than a discouraged one.

I don’t buy the drugs-and-alcohol motivated writer narrative (one reason being because my body doesn’t process alcohol fast enough and I don’t tolerate most meds), so I have to go on HAPPINESS, the universal salve.

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Sleep and lowered stress would be nice, too, and research to treat and cure this dratted disease (ME/CFS). I’m doing the best that I can.

Reduced brain fog would be ideal.

I’m doing the best that I can.

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Do self-published authors owe other SPAs?

IS SAYING ANYTHING THE HEIGHT OF ARROGANCE?

On this blog – and in comments – and on Facebook…, I am constrained by the available options for text and emphasis and images.

I live quite happily between the limits imposed by the constraints, find my own way of doing what I need to do (most of the time) so I can write the way I prefer.

And, as a member of various online groups, come into contact with other authors.

On occasion, we will exchange or list our book titles with/for each other, and I will see what choices someone slowly becoming a friend has made in self-publishing, from cover to content to interior book design.

And then the hard part comes: if I see potential that is not realized fully because of relatively small, benign problems, I am, mother-hen-like, pulled strongly toward saying something, making a small suggestion that would improve, IMNVHO (in my not very humble opinion) their work.

Their PUBLISHED work.

Who am I to make recommendations?

Someone who has read an enormous number of books – and has self-published exactly ONE so far.

Someone who went into excruciating detail in preparing Pride’s Children PURGATORY to look as good as the best traditionally published work (limited by Amazon and their paperback POD (publish on demand) capabilities), and, of course, my own learned-in-time skills, and spent months getting the ‘look and feel’ of the paperback, and the look of the ebook, to my own standards.

Someone who took a lot of advice from people who would give it.

And who rejected gobs more from people I didn’t end up respecting for their opinions.

Traditional publishing is not mine to condemn

Because, although every one of my opinions had been informed by what I’ve had to deal with in READING those books, I have no control over their choices, nor do I crave any.

Things such as tiny text on the page, double-spaced, surrounded by huge amounts of white space, and with a gutter so narrow you have to break the spine to read the words that edge it.

Or as pale gray text.

Or as fonts (leave that one alone).

Or… (insert here the things you hate the most about traditionally-published books that seemed deliberately designed to make it hard to read).

But self-publishing has an image problem

We are accused – and all SPAs are tarred with the same brush – of being, well, crap.

We are assumed to not be able to find a traditional publisher who will takes us on, regardless of the small to non-existent advances, predatory contracts, miserly royalties, accounting mysteries, and complete lack of control that we are pretty sure we’d have to live with if we tried.

And, unfortunately, I have to agree with a lot of the complaints (again, regardless of the fact that much traditionally-published material is of poor quality itself).

So what should I DO?

The question crops up almost every time I read an SPA’s work (and buy, usually because I’d like to find out how the story ended, and the price is usually quite reasonable (<$10) if you buy an ebook, compared to the ridiculous prices for traditional ebooks): do I say anything?

To the author, directly, in an individual and gently-worded email which he or she can peruse – or not – in PRIVACY.

Should I couch it in ‘best practices’ language?

Should I include a copy of something with some of their particular awkwardnesses minimized (including, but not limited to, a piece of their own work)?

Should I point to an example that I consider ‘correct’ and make a comparison?

Because what I DO do, is to never buy a book from them again.

And never (okay, once so far) recommend their book.

IOW, leave them in their happy ignorance of my elevated standards and practices, happy in their own devices, which probably include… what?

Intelligent authors make unintended or misguided choices

There are basically three explanations:

  • they don’t know
  • they know and don’t care
  • they know – but have no clue how to fix the problems

And may or may not appreciate a busy-body telling them.

But lack of quality affects many things down the chute from just writing the damn thing: read-through, recommendations, reviews, and ultimately the ability to write fiction profitably.

I have kept my mouth shut – so far

Figuring nobody appointed me standard-bearer.

Figuring that as long as I monitor my own work, I’m doing the most that I should.

Except that that niggling perception among many readers that self-published work is crap affects ME. And I have to work very hard to distance myself from the crowd when trying to persuade a reviewer to read MY stuff.

So I’m throwing this out there to see what my readers think:

  • Should I try to improve the breed? Or
  • Should I try to make sure the readers I want think of me as a good outlier?

And should I ever use my own pretty work as an example when interfering in other writer’s God-given right to make their own choices?

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Write a good book, they said

ALL STORIES ARE ABOUT LOVE

Humans are born needing love to survive – ‘failure to thrive’ may even be a cause of death when there is not enough love, in the form of feeding, holding, keeping warm, for an infant to want to live.

If that love isn’t present ‘enough’ by a certain age, it may never be recovered. Adults who have survived have significant problems. The Romanian children kept in orphanages and later adopted often were incapable of attaching to their new parents, parent who were not prepared to deal with them and their special needs.

Distinguishing between a Romance and a mainstream love story

like Pride’s Children is critical for my advertising, and it is something I still have a very hard time with.

Romance readers do not like Pride’s Children.

The negative reviews I have come from people whose expectations were not met.

And that’s my fault – because something I did caused them to EXPECT a Romance.

Romance readers have very clear ideas of what they want:

  • a relationship between TWO people
  • relatively short books
  • more of the same only different – from the same author
  • an HEA (happily ever after) or at least HFN (happy for now) endings
  • and in some cases, a form of point of view that alternates, in the same scene, between the points of view of the two characters
  • covers which indicate the kind of Romance enclosed within, from chaste to steamy
  • recommendations from Romance websites

There are many variations and compilations, but those are the basics from what I can discern.

I wish I wrote Romance – it is in some ways much easier to signal what a book is, and to market.

There is also a huge amount of competition!

A mainstream love story is a different beast

Even though Gone With the Wind is often listed as a Romance (and ‘Romance’ is what all novels used to be designated), it is not: no happy ending, not even a HFN. NOT a relationship between two people – Ashley Wilkes is in the middle for most of the book. And no head-hopping: the point of view is firmly locked on Scarlett for the whole story, but in a limited, not very intimate, omniscient way.

I’d call GWTW a mainstream love story, even a fairly literary one.

And I think that is the key to its enduring success.

At the end, we ache for Scarlett, for ‘tomorrow is another day,’ for her transformation, for her future – which made it irresistible for the Margaret Mitchell estate to allow a writer to take the story further.

Unfortunately, they picked a Romance writer, which I believe was the wrong choice, and didn’t buy.

But the marketing… with the book’s fame, they could market it any way they wanted.

I don’t have that fame.

Traditional publishers might have known how to market Pride’s Children

Many things kept me from submitting Pride’s Children to an agent, trying to find a traditional publisher:

  • I’m deathly slow
  • Disability is handled in the story – at the time I was nearing a finish, disability only got lip service while being sort of categorized with ‘diversity’
  • I’m pathologically stubborn
  • I have believed the indie self-published path is better for a long time now
  • I dislike not having everything in my control
  • I was sure I would be getting, “Nice – but not for us right now” responses, as traditional publishers went with things they were more certain they could sell
  • I knew I would be asked to change certain elements of the story to something more palatable
  • I don’t like their royalty structure
  • If I break out, I want it to be because of what I did, and not for someone else to be able to claim the credit.

But not going traditional leaves me in charge of marketing and publicity.

And most indies do not write mainstream literary fiction!

So there is little path to follow, and that among mostly indie historical novelists; though if I end up taking as long as I seem to be, ‘historical’ may fit me. Depends on whether it is 25 or 50 years since the events happened, as 2005/6 is the timeframe. I’ll probably make 25 by the time I finish the third volume, but probably not be around for 50.

I am gleaning information and ideas from many sites and groups

None of them really appropriate.

I need to figure out how to ‘go viral,’ to capture the zeitgeist, to become popular.

While still having zero energy, fighting my body daily to get some writing brain time, and trying to blaze a trail.

I have ideas. I have sources and places to put ads (some of the previous ones were expensive disastrous messes). I get cannier and sneakier and more educated and more focused with each thing I try.

But it hasn’t been, and won’t be, easy.

The last attempt led me to USTO.gov (copyrights and trademarks and such) to make sure a phrase I will trademark wasn’t being used already.

It isn’t.

But the cost is not zero, and the category I fit in right now – intent-to-use – won’t last long enough for my purposes, so I’m not revealing it until I’m ready to use it. Meanwhile, I will be on tenterhooks.

Which brings me full circle:

‘Write a good book,’ they said.

But never said that part of that may make it extremely hard to sell.

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As usual, comments are very welcome – and I love getting suggestions.

Also, my thanks to Stencil for their graphics software and ability to have a free account for up to ten images a month.

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Using Autocrit to combat combat fatigue

IF YOU DO YOUR OWN EDITING, BE MERCILESS

Despite the recommendations of every editor on the planet, some of us do our own*.

Editing’s no different from any of the other tasks a self-publisher tackles:

  • You are not going to do it perfectly
  • It is a skill – and you are not born with it
  • Learning has many steps
  • There are books which will teach you (or you can take a class)
  • It takes time to do it well
  • It is not inexpensive – if you count your time
  • The professionals started somewhere
  • The results are there for everyone to see
  • No matter what you do, someone will criticize you
  • There are objective standards – but not everyone agrees what they are
  • There is great satisfaction in doing it yourself

Why do your own editing?

Because, in the long run, everything you learn makes you a better writer. Because you can. Because it is always available, on your own time schedule, at your own price (but don’t forget that the time you spend editing might be better spent writing). Because you can’t afford what a good editor costs, and a bad one is useless.

In my case, because I am incapable of interacting with someone else about my own work. Call it a feature – or a bug.

How to have an editing program assist you

After I have almost everything written, polished, listened to, and in what I consider final form, I run it through AutoCrit – and all of the COUNTING it does for me:

  • Duplicate words.
  • Overused words.
  • Two-, three-, and four-word phrases repeated (ouch – unless deliberate).
  • Unusual words.
  • Cliches.
  • Generic words.
  • My own personal word list.
  • Adverbs.

Each and every one of these flagged items gets put through a wringer: Context. Intent. The possibility of synonyms, and a consideration of nuance. Number of repetitions. Whether the repetition is by accident or design.

In other words, everything that has bitten me before.

What I don’t let it ‘help’ me with

Anything else.

Why? Because I don’t trust its judgment on ‘passive voice,’ or ‘subject verb agreement,’ or ‘tense.’ Or ‘readability.’

I have a set, but complex, style. Autocrit doesn’t see italics, for example, but I signal to the reader that something is a direct thought by changing to first person and putting the text in italics. So if you read:

There is no way I’m telling him that.

you’ll know it’s a more intense thought, in those exact words, than general internal monologue:

She wasn’t going to tell him that.

It’s too complicated for an automatic program.

But the counting alone is an amazing help for me

When and where I need it.

This is my reason for having a lifetime membership – my brain is tired more than lazy all the time due to chronic illness and disability, so I let it serve up the most convenient word WHEN WRITING. But I’m not going to let first words stand – not without a raze-to-the-ground fight.

Because my readers deserve the best I can provide on the LANGUAGE side of the writing.

Self-editing with a program is a tool

It takes a fair amount of time per scene, but I think of it as the best investment of that time I can make, because the final product is improved in so many ways. I look for strong verbs instead of verb + adverb combinations, more precise nouns instead of common nouns, and also places where I can reinforce a motif or thread I want to keep.

And I don’t have to count or do the time-consuming searches because Autocrit is merciless.

Last tip

After the scene is polished through this process, I put it through several of the steps one final time – because I have had the experience of working on synonyms and nuance, and finding out that to reduce the count of one way of saying things, I have increased the count of another!

*Adapted from an online comment – you may have seen some of this material before.

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Do you use an editing program to improve your own writing?

How?

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Resetting your writing after a break

AND YOU HAVE TO GET BACK TO WORK

Even when there are still aftershocks to contend with, and the normal has skittered sideways a bit, there is a time when you can’t keep reacting to interruptions constantly with the fight or flight response – and you have to settle down and figure out where you are and what has changed and what has not.

And, in my case, get back to writing.

I labelled a file ‘REDEFINING my life at URC >5/24/19’ and set to work.

Where was I? What was I doing? What was next? These are questions which I’ve been attempting to answer on the fly just to get some writing done in the interim.

But I promised myself I’d do something more organized an more formal asap.

The time is now – if you can

Otherwise the trial will fail – and you’ll get endless opportunities to try again.

But eventually it happens.

You start to realize you’d forgotten many of your own notes. But there they are. And you forgot your own plotting decisions – which will have to be redone, except… here is the file.

I do this periodically.


From October 2012:

Jamming the creative process: RESET to break the jam

Sometimes what keeps me from writing is not procrastination nor ego nor fear.

It is simply that ‘things’ – writing, life, house, … – have become so disorganized (and behind) that I can’t think, much less be creative.

Time gets spent, not in getting things done, but in thinking about getting things done. Thoughts go round and round, never settling long enough in one area to get that area started, much less finished.

How is the creative process affected?

By its main requirement: creating requires a free and nimble mind.

No further writing or editing on the WIP was getting any attention of QUALITY. Scheduling time for writing, blocking the internet by using Freedom, and all other methods aimed at the symptoms, rather than at the root cause – logjam – FAILED. Quite miserably.

The problem is analogous to computer mainframe usage in the good old days, when, to avoid a single user glutting the machine, the computer would ‘roll out’ an image of the core with a particular user’s program and all the user’s data, and ‘roll in’ someone else’s program and data. (Rolling in and out used a small amount of CPU time.)

Then it would compute for a while, and repeat the process with the next user in the priority list. If the algorithm wasn’t managed carefully, or there were too many users being allowed into the queue, the machine could get stuck in a place where all that was happening was sequential ‘roll out’, ‘roll in’ – but no actual work got done before it was time for the next. All the CPU’s time was being used to manage sequencing of jobs, none to doing the actual jobs.

No one’s job got done – and the CPU was busy all the time.

That is how my brain feels when things get too messy.

I can’t actually roll a job in and get a significant part of it done – the competing jobs are clamoring for brain/CPU time.

At this point the only thing to do is declare a reset – everything stops. Then only the top job or two are allowed any traction (typically one of these jobs is ‘TAXES’), everything else is blocked out, and, after clearing the logjam (i.e., ‘Filing taxes’), work is evaluated, rescheduled, cleaned up, dejunked, and otherwise processed before resetting the queue.

Something innocuous can start the jam: a visitor blows into town and occupies prime time space for a day or two (with, for us CFS folk, the several-day recovery that is non-negotiable). Or a new, shiny program beckons, promising to solve some long-standing problem and make future workflow more efficient. Or tax planning requires that all charitable contributions to be charged to the current fiscal year be RECEIVED by the intended organization by Dec. 31, not just MAILED (as it used to be), moving the paperwork time into the Christmas time-frame with a vengeance (instead of being done in that nice post-Christmas lull before New Year’s Eve).

Or [fill in here the life events that, by themselves, could have been handled, but collided with… to create the felt-like effect of a logjam, interlocked fibers].

It doesn’t matter what caused mine this time.

If you’re really curious – ask. And be prepared for long tale of woe…!

Ahem! The solution is to RESET – and that is what I’m doing.

So: I absolve myself of guilt (no one would do this to herself ON PURPOSE), and RESET. I put the editing on hold for as long as this one takes, get extra rest, do the top project or two.

And: we’re back in the writing business (I’m assuming this post – except for the mixed metaphors – shows coherent thought).

Editing sounds positively enticing – I can’t wait to see the final version of the current scene.


And how does that connect to what I’m doing in 2019?

Current editing is Scene 26.2 in NETHERWORLD.

Current writing is Scene 26.3.

And I would say the current tale of woe is the continuing saga of replacing things we had in New Jersey that worked fine (such as doctors and driver’s licenses) but we still don’t have here. One by one.

And I no longer do taxes since hubby retired!!!

But I’m writing. And reconnected with most of my research and organization files. And stuff I didn’t even remember was there. Phew – it would have been a lot of work to re-do some of that!

What do YOU do when you need to reset YOUR life?

New review post on Pride’s Children site

NO RESPECTER OF PERSONS

If you’ve wondered where I’ve been, part of is these last two weeks has been entertaining a guest: Mr. FLU.

And yes, I did get the flu shot back in October (I always get one), and every year as far back as I remember; possibly that’s why the worst effects lasted about a week.

But getting over the whole thing is no picnic. I am on tissues with extra softness – by necessity. I can’t wait for my heart rate, which went up to 100 bpm and stayed there for days during the worst part (normally, for me, around 60-66) is driving me crazy because it is still hanging up there at almost 80. It’s exhausting in itself.

Life and my Universes

Also had lovely houseguests.

And today, by dint of I don’t know what force, I finished a scene I started, according to my notes, on Jan. 21. Way too long, but had only sketchy notes as to what absolutely had to go in it, no rough draft for this one, and no brain. I swear it feels no different, finished, than the ones I have more to go on than a title and several Dramatica appreciations. I even listened to it in the robot voice, and can pronounce myself satisfied (if I ever get there).

New post (with cookies) – thanks, Stencil.

New post at Pride’s Children with a lovely new review that has lifted my spirits.

Said spirits have been on a rollercoaster ride; still trying to figure out how to post about the stress load I’m carrying – and will be until we’ve moved.

Be well.

The pain of discovering typos in published work

ONLY GOD HAS NO TYPOS

Pride goeth before a fall

I know that. I expected that. And my typo rate was, I thought, rather low, especially considering that I ended up being, for reasons too long to go into, my own proofreader.

And I worked my tail off at it. It’s very hard to be critical of your own work. So? It’s part of the job.

Now, I have found egregious (well, to me) typos in traditionally published books – one major book on writing that I use almost daily has ‘principal’ (main, or the guy who is in charge of a school) instead of ‘principle’ (fundamental truth or morally correct behavior) not once, but twice – so the author got it wrong and the proofreader failed to correct it; or a proofreader got it wrong, changed it, and the author didn’t catch the incorrect correction. Or they both have no idea they don’t know.

I earmarked the place, and occasionally toy with the idea of sending a note to the author (which I don’t do – not my circus, not my monkeys). For future editions, you see. Because it is the kind of book that gets future editions.

But it amuses me to know it’s there. And I still love the book.

Proud of having low error rate, until…

I had found ONE wrong word, ONE extra ‘s’ at the end of a word, and a couple of places where, when doing the final formatting pass through MS Word (to get widow and orphan control, running headers and footers, and right margin indents for the print version of Pride’s Children), WORD inserted some stupidities (specifically, leaving –” as the only thing at the beginning of a line, 5 or 6 times) after I published.

They’re on my list of things to correct on the CreateSpace file (yeah, it’s on the to do list, somewhere in the 9000s). No one who reviewed has commented on those tiny typos, so they’re not all that significant in the flow (or my readers are being kind).

And all but the first two are not present in the ebook, which didn’t go through Word.

Acceptable. Imperfect, but not too much.

Possibly because my youngest daughter mentioned it (she finally read the book!!!), I was a little more attuned to a particular possibility when I was sitting in the doctor’s office yesterday, reading my own book.

And then, wham! I saw it. I’m not even sure if it’s the same thing my daughter mentioned (though it may be), and I now know exactly what I did, and it really doesn’t affect the story that much.

But I am now aware of a FLAW that I, as a perfectionist, can’t let stand.

Easy to fix?

Can’t let it stand.

You know me.

I moved the idea of putting an errata page on prideschildren.com up on the list – so those lovely people who purchase the first book in the trilogy in paper can correct their own copies (not that many readers, but still…), possibly now aware that they have the coveted First Edition – flaws and all.

Or I can slink away, offering (consider yourselves offered to, if you are one of these wonderful people) a corrected copy as soon as I can make them, and being aware that they were either too kind to point this out to me, or, better, too engrossed in the story to even notice.

The ebook will be corrected (again, asap – not a fast possibility, either), so that anyone who downloads it again will automatically get the corrections. If they care. Because this new little typo is in both versions. [hangs head]

The good side

There’s ALWAYS a good side.

I caught it (before I had a chance to look up my daughter’s questioning whether I had it right). From reading it myself in a relaxed way, with nothing else to read. Rather than from it being scornfully pointed out by a reader. Rather less painful – or is it?

Because I’m indie and self-published, it is both my responsibility and my right to fix it (so I don’t have principal for principle for all eternity of this print run).

CreateSpace and Amazon make it easy to fix (haven’t done it yet, so that’s ‘easy in principle’ for now): I upload the corrected files (I believe), wait, and within a couple of days, I can hold my head up in public again.

I have added (mentally – that darn To Do list is so darn long) a few things to the ‘look out for’ list for my AutoCrit editing passes. Especially since my brain appears to be losing its mind, I will now examine every single ‘s in each scene because the world not understanding that plurals don’t have apostrophes is its problem, not mine. I will speak sternly to the brain, and it will whine that it’s so overburdened already, and I will remind it that I’m in charge.

Etc. I.e., I will improve my skills based on this little irritating contretemps.

And because I’m indie, I don’t have to deal with a proofreader about the whole thing.

So why am I making a big deal of this?

Because professional means that you worry about these details, and that you try to make the next one have fewer (not less) errors.

It’s good for me to see where improvement is necessary (believe me, there is a whole new process in place so this particular little error won’t recur).

And it actually bolsters my belief that self-editing, and learning from your self-editing how to be a better writer is critical.

I stand behind my own work, even in the tiny places.

For the future

It’s okay to point typos out to me if you notice them. I just got a wonderful email back after my beta reader read – and liked – the next chapter. I strive to send her finished work. And her wonderful nitpickiness tells me what she likes, asks questions which lead often to some wonderful back-and-forth, and always mentions the little things. She found two. I love her for that.

It also reinforces that doing the beta reading one chapter at a time has some significant advantages for me: a chapter is a reasonable size chunk of writing to deal with at a time. Things get noticed.

And I can’t see how this would possibly work with a traditional publisher, the timing, and the diffusing of responsibility. All while the writer is supposed to be writing the next book. Not for me, anyway.

So there it is. And no, you won’t find out from me what I did wrong (at least not until the Errata page comes out). If you didn’t notice, I’m not going to be the one to point it out. Nope.

Welcome to the wonderful world of independent writing. PLEASE feel free to contribute your own stories.


Thanks to Stencil and Quozio, my go to places for images. I’m resonsible for the silly words that appear in them.

New Year’s Sale on Pride’s Children ebook

MARKETING 101: PERIODICALLY RUN A SALE – $2.99

People have new Kindles they got for Christmas, or they have downloaded the free Kindle app for their phone or desktop or tablet or iPad…

It reminded me that after all the hoopla is over may be a very good time to think what you want to spend time reading. Let me make it easier for my readers right now.

Pride’s Children: PURGATORY (Book 1 of the trilogy) is almost 170K of a novel of obsession, betrayal, and love – and I’m just getting started.

I’m working hard on Book 2, NETHERWORLD. I have plans to put Too Late up on Amazon as an ebook. My body has been giving me a lot of guff – maybe a sale will encourage everything to settle down and let me write.

Remember: Amazon lets you gift someone an ebook in the easiest way possible – check the product page. The sale will be worldwide – as soon as Amazon changes the price for me.

Enjoy!

Caleb Pirtle’s list of 100 indie books to read before you die

Caleb Pirtle, III, is undertaking a monumental task.

Mind you, he is vastly overqualified for it, as he has SEVENTY books published, and runs a well-known eponymous indie book site* with his wife, Linda Pirtle (also an author of mysteries), showcasing mysteries and other genres, and has been doing so far longer than I’ve been involved in the online part of writing and indie publishing (I started reading the blogs in 2011, having this one in 2012).

Here is why:

A similarly titled list on Goodreads ‘had completely overlooked, ignored, and paid absolutely no attention to novels written by indie authors.’

(*You may remember VentureGalleries)


DISCLAIMER

Caleb serialized Pride’s Children way back when I was starting to publish Book 1 one scene at a time.

We have become online friends through extended comments on his site – his opinions,  always well expressed and nuanced, lend themselves to conversations on writing and publishing topics.


Here are the first five and the second five.

I’ll update this post (and you should bookmark his and Linda’s blog) as he continues listing the books he thinks should be on the list. He is always open to comments, too.

How to self-edit fiction with AutoCrit

CAN A WRITER SELF-EDIT SUCCESSFULLY FOR PUBLICATION?

I keep getting into online discussions with editors (cui bono?) who insist that no writer of fiction can or should self-edit. Not for publication, they say. And they cite the example of so many self-published books which are full of typos and grammar mistakes and spelling errors as proof.

Yes, there are many self-published books which need better editing. According to Sturgeon’s Law (Theodore Sturgeon, 1918-1985, American SF author and critic):

90% of SF is crap, but then 90% of everything is crap.

My paraphrase, but it will serve. It is now being applied particularly to self-published work, but applies to traditionally-published work as well. We can argue about the percentages, but the point is that much work gets published without meeting someone’s standards.

Some of us care. A lot.

I happen to believe that the best gift an author can give herself is to learn to self-edit well enough for publication.

The reason is simple: If you can learn to produce quality work all by yourself, the READER gets the unvarnished best the writer can produce, UNALTERED by someone else.

Voice unaltered. Tone unaltered. Style unaltered. Judgment unaltered. Story unaltered.

The thing which makes a particular writer unique is preserved for the delectation of the reader. Artisanal. As all writing should be.

And it only comes from really being aware of what you write – and why.

Okay. Now that we have the WHY, let’s have the HOW:

Think of the best quality in published traditional work. You should aspire to better that standard.

This is not an easy task. There is learning. And failing. And getting appropriate feedback. And yes, making mistakes in judgment and execution.

But setting yourself a rigorous process, adding to that process as you learn, and following that process isn’t that hard. It just requires becoming aware of the difference between the story in your head, and the story on the page, and not quitting until the difference is as small as you can humanly make it. We call this ‘work.’ Hard work. I have made a contract with my readers that I will do this work before they get to read what I write.

It is work that is rewarded by making you a better writer. Big reward. Useful reward. And, in the long run, it will save you money, frustration, and dealing with people who don’t get your vision for your own work.

Enter the final mechanical stage.

Once I have used everything I have learned about writing from my teachers, books by Sol Stein, Donald Maass, Blake Snyder, the Dramatica team, and all the reference books off- and online, I have a scene or a chapter which needs to be cleansed of dead skin.

It isn’t ready for the beta reader until it is finished, but my ‘finished’ needs the final mechanical stage. I use AutoCrit for this purpose. As close as I can get to the original AutoCrit program which is basically a counter of terms and a comparer of those terms against a database. There is a new version; I’ve learned to ignore the new parts because the last thing in the world I would pay attention to is a program telling me what to write. Writing is my job.

I want the mechanical editor to tell me what I’ve done, in a very black-and-white way. I want it to count for me, because counting adverbs is the most boring thing I can think to do by human. Or counting the number of times a four-word phrase (each possible four-word phrase in my text) is used. Or counting the number of times I have used words or phrases (and showing me where they are). And making a list of unusual words.

For this I use certain specific sections of AutoCrit.

After pasting the text in, I visit the following menu items:

Strong Writing: Adverbs, Cliches, Redundancies, and Unnecessary Filler Words.

Word Choice: Generic Descriptions, and Personal Words and Phrases.

Repetition: Repeated Uncommon Words, Word Frequency, and Phrase Frequency.

For all of the above, I ignore the program’s nagging (such as ‘Remove about 3’ when it somehow decides that I have too many occurrences of ‘that’), because for me, AutoCrit is only an automated counter doing the dirty work for me because I’m too lazy to do it myself (and know that humans given mechanical tasks make huge mistakes because they get BORED).

I do NOT use other sections. Why? Because they judge me. Or someone wrote a little piece of text to put there that sounds just like it. Once we go from comparing the number of times I use ‘that’ to the average for fiction in their database, I have all the information I want from an algorithm.

Pièce de résistance: how to use the information.

This is the writer’s job: every single counted detail from my text, generated easily by a program, is now subject to the final test: Is this the way I want it?

In other words, it’s back to me. Not with suggested ‘improvements.’ Just counted, and displayed for me to decide if it serves my final intent to have the text stay the way I wrote it (remember, I considered it pretty much finished before I tossed it into AutoCrit).

If it shows me clichés from its database that I have used, I have to decide if the character using the cliches uses cliches. Some do, some don’t. Clichés are neither good nor bad. For some characters I will keep the cliché but try to make the sentiment unique again – which leads to some pretty interesting substitutions from that subconscious brain.

If it shows me I have used one of my personal words a certain number of times (my worst lately tends to be ‘get’ and its variations ‘got’ and ‘getting’ and ‘gotten’ – all of which I’ve input to my personal words file in AC), I will decide 1) if there are too many, 2) if they are the only way to say something (rare), 3) if they have a literary intention (parallel structure often leads to word repetition the database can’t account for),…

Generic Descriptions usually have to be separated into two piles: those in dialogue (and even those benefit by tweaking) which mark a specific character; and those in the internal monologue where I dump what other people use a narrator for (It was a dark and stormy…), ie, description. I may have a very good reason (really) for using the generic description, but it doesn’t hurt to be reminded to check.

I never, ever, use AC’s Homonyms tab, because it is excessive, and I can spell, and have NEVER yet found myself using the wrong homonym. Okay, maybe two or three times in the 3.5 MILLION words I’ve put through AC, but NOT by using the Homonyms tab. Too much stuff to process – there are a lot of homonyms in English, and they will find all of them and offer what seems like every other word in a red box. There must be a better way to do that mechanically (don’t mark every ‘you’ because it might be ‘ewe’); meanwhile, I put those words I might misspell by accident into my Personal Words file (though, thought, through, thorough).

Summary

First, examine every single kind of counted word or phrase that you might not otherwise catch, and

Last, decide whether and how to fix it: you’re the author – it’s your baby.

Very simple.

It still takes time, and a lot of effort, and a lot of thinking, and going back and forth to Scrivener with the text of a scene.

I find I can do about 5-10 corrections at a time, after which I save the results in Scrivener, get a fresh copy of the text, paste it into AC, and re-process that tab/menu/submenu.

All other types of errors – spelling, punctuation, point of view consistency, chronology and plotting, content (was this character a red-head?) – should have been eliminated (by me, the spellchecker, and a dictionary/thesaurus) before I use AC.

But I care – and I’m not using my beta reader except as a first reader. For what should be finished work, so she has as clean an experience as I can make. I don’t want her pristine read complicated by anything that distracts her from the flow; when she tells me something doesn’t work for her, it is going to be taken very seriously.


And that is how I use AutoCrit (I have a Lifetime membership – worth every penny) to do what no human editor should be asked to do (count) and what I don’t want an editor to do (change ANY of my words, which includes suggesting I change them). They may not be happy about this, but it is the least traumatic way for me.

I really should stop even clicking on those ‘everything needs an editor’ posts. Their authors, some of them editors, hate people like me.

Reading unfinished work, knowing the end

HERE IS A NEW INDIE MARKETING QUESTION:

I’m pondering whether the reason many people don’t try a trilogy is because it isn’t finished.

I’m exploring a concept that would provide the reader with story protection, and get the writer a safe space to write and some moral support.

Suppose you:

  1. were considering reading something long, like Game of Thrones
  2. liked the first book in the story trilogy (or at least the beginning in the Look Inside! feature on Amazon)
  3. were worried the author might check out before finishing, leaving you forever curious about how the story ends – and whether it makes sense
  4. knew there is a planned end, and you think you will probably be happy with it (the prologue gives hints)
  5. knew the author is slow, but patient and dedicated, and will finish if is it at al physically possible to her
  6. knew the author was extremely good at following a plan/outline/rough draft – so the story itself is finished, but the execution (the actual words) hasn’t happened yet
  7. wanted to read it now
  8. were willing to take a chance on an ebook version that could be regularly updated as the final draft slowly dribbles out, one scene/chapter at a time
  9. MOST IMPORTANTLY, had the rough draft included in your current ebook so if the author doesn’t make it, you still know how the story ENDS.

Then, would you buy it now, to get what is already there, and wait for the notification that the next update was available and download the whole again from Amazon?

In other words, buy unpolished work full price so as to get the polished pieces (plus the end) faster than waiting for the whole?

Just curious.

It would be very different from a subscription service, or a planned serial, because you would HAVE the end.

You’d have to decide if you WANTED to read that extremely rough version of the end, or just have it in case the author couldn’t finish it. You should choose NOT to read it; the rest of the story in rough format would be your insurance.


The intent of this post is to start a discussion about whether such a model would work to finish the planned Pride’s Children trilogy in a total of around a half-million words.

I haven’t seen it before, but this is indie, folks, and we can do anything we want.

Amazon already allows writers to update their manuscripts.

 

Is the gift worth your LIFE?

ONLY IF YOU HAVE TO

I wake up angry too many days.

Then I spend time getting myself at least back to neutral, because I live with other people, and it isn’t fair to them to have to put up with me in that mood, unless I have no other choice, and we already know I have a choice, because I have used that choice successfully every day for many years now: figure out how to, today, and get over yourself.

Every day I berate myself

Because I don’t get to work sooner.

I sit at my computer, and end up checking out whether anything has changed in the world since I forced myself to go to bed last night. Now that we have online subscriptions to the Washington Post and The New York Times, I do a quick flip through the headlined new articles, to see if anything needs my attention.

I remember the comic (xkcd, I believe) about how someone can’t go to bed because the internet is broken.

I know it’s partly physical: for some reason probably related to illness, the brain comes on slowly, and usually doesn’t really focus on anything mentally challenging until after first nap. That baffles me, and scares me, because I have to drag myself into that first nap, too, always convinced before I do so that it won’t help, that if I could just force myself through, block the internet, START working I would now be fine for the rest of the day, and I’d get everything done which never gets done.

Every day I test out my mental speed by doing hard sudokus: under about 6:30 minutes, I can probably do something useful with a small effort; over that, and I can’t usually write, and, worse, make mistakes of epic proportions (luckily Scrivener has snapshots and I do backups erratically but so far successfully). Those scare me – when it takes you a month to write a scene exactly the way you want it, and you think you have deleted it, well, it’s not a pretty feeling.

Nothing helps until somehow

The process starts up by itself, if it’s going to that day.

Many days it doesn’t – and I am helpless to understand why. Because it seems that other, equally stressed days, work.

I laugh when I see people suggest taking days off: it takes me so long to get back to where I was when I’m forced by Life to do something else for a few days that I am pretty sure I won’t make it back to writing ever.

My brain is on instructions to at least try every day, and, indeed, I have no idea what I’d do with a day taken off deliberately from writing.

Back to the ‘gift’ I’m writing about

And that gift IS writing.

Not that I have any choice in the matter, it seems, but the writing, as it is now, is the result of who I’ve become.

And that’s the question: if I had to choose, and I had the Hobson’s choice of writing what I do and being sick, or neither, would I value what I’m writing enough to choose illness if that were its price?

Is one single story – if that’s all I manage – worth a life?

Is LoTR worth Tolkien’s life, GWTW Margaret Mitchell’s? And why classify myself with them (and neither was ill). What about ‘Barbie Takes Manhattan’? Or ‘Bridget Jones’ Diary’? Or ‘Harry the Cat’?

The choice is an illusion

I have children and a husband – they come first.

And, as soon as they don’t need me this instant, I try again to focus.

I took my nap, am more awake (though sudoku still says well over 7 min.), and I come back to the same question: is this worth writing? Is it worth my life? I’m not sure what the answer is, but it certainly is what I want to do with my life, with the energy I get, with the time I spend/waste every day.

I didn’t make this choice – it chose me. Somehow. Like the other gifts in my life, I’ve found myself nose deep in the pool whether I liked it or not.

By standing on tiptoe, I manage not to drown. And then another day comes, and another task, and I find myself, on the good days, inside my head walking Kary and Andrew through an exchange, planning exactly how Bianca will take the next step, knowing what is coming, but not exactly how the words will play out yet.

And wishing I could speed it up.

What did you get for Christmas?

The same old thing.

I don’t want a pony.

But I want this. And if this is the price, yes, bring it on.

Hope you got what you wanted.