As the screen goes wavy again, or, what had already begun to bore Millicent by the time talkies rolled around

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No time for a long-winded missive today, campers, but I could not let the occasion pass without posting a few words. What occasion rises to the mandatory observation level, you may well ask, eyeing both the lapse between this and my last post and the undeniable fact that Author! Author!’s older posts are still, alas, unhappily plagued with extraneous symbols? Participating in a species of conversation all too common behind the scenes in publishing circles.

It tends to run something like this: someone whose job it is to read submissions, all day, every day (except, of course, on those days she invests in skimming a few hundred queries at a sitting) quietly goes nuts while reading the 531rst submission of the month. Grounding her no doubt expensively straightened teeth to an extent that her former orthodontist would deplore, our Millicent — for yes, it is she, everybody’s favorite agency screener — she vents her frustration upon a sympathetic friend while she is waiting in line for her latté.

“It’s happened again,” she murmurs into her phone. “Three submissions in a row in which the text asserted that what was going on was…wait for it…just like something in a movie!”

Having been savvy enough to call a fellow professional reader, she’s sure to meet with sympathy. Calling me, however, might not have been the best choice. “I know, I know: it’s maddening to see writers rush to use the same metaphor, over and over again. But you must admit, it isn’t those three writers’ fault that you happened to read their submissions back to back.”

“Not their fault!” Predictably, Millicent burns her lip on her too-hot latt?. “Everybody knows that saying something happening on the page was just like a movie is bad writing.”

I can’t resist teasing her; we’ve had this discussion too many times. “It depends upon how the sentence using that tired old concept is constructed, doesn’t it? I could imagine it being expressed very prettily.”

“Fine. I’ll send the next fifteen manuscripts that use it to you, so you can compare their delightful sentence structure.”

She’s laughing by the time we hang up, but I must admit, she has a point. As anyone who reads for a living could tell you — particularly agents, editors, and the screeners they employ, all of whom by necessity must read manuscripts one after another, due to sheer volume — nothing quite makes the mind scream like spotting the same phrase, concept, or metaphor crop up repeatedly, page after page. When those pages happen to belong to different manuscripts, the frustration can be even greater: after the fourth or fifth time in a week, even the most literature-loving Millicent can start to wonder if half of the writers in the English-speaking world gathered someplace secret five months ago, to agree upon what the clich? of the season will be.

Hey, there are fashions in writing, just as in anything else that requires taste to appreciate. And, just as in runway fashion, once an innovative author hits the big time with a unique offering, the pros are used to seeing dozens — nay, hundreds — of copycat submissions flooding their inboxes shortly thereafter.

At first, that can be exciting: it’s no secret that publishers often attempt to capitalize upon the success of a bestseller by bringing out similar books in short order. Which makes sense, right? A certain group of readers have already demonstrated that they like that kind of book; why not offer them similar titles?

Actually, there’s a pretty good answer to that: after what can be an astonishingly short time, however, the readership for a particular type of story can, well, get tired of it. Perhaps more to the point for those trying to break into print, the Millicents tasked with screening all of those remarkably similar stories can begin to find them a bit predictable.

And those Millies are not the only ones. “Another Twilight knock-off?” their bosses exclaim. “This one had better have an awfully different spin.”

The rapid rise and fall of bestsellers and their followers is too well known in literary circles to raise many aspiring writers’ eyebrows these days. Come closer, though, and I’ll let you in on a little professional secret: that’s not the kind of repetition that causes Millicent to fling aside a submission, rend her garments, and rush out the door for a coffee refill. It’s seeing how many otherwise original, well-written manuscripts utilize precisely the same standard comparisons and hackneyed phrases as those that are neither prettily constructed nor particularly unique.

Seriously, it’s kind of startling to spot on the page. A pro will be reading along, enjoying a good story well told, when she’s abruptly confronted with a paragraph like this:

Ambrose staggered, stunned by the force of the blow. The world wavered before his eyes, as if he were watching an old movie and a flashback was just about to begin.

Nothing wrong with the writing there — so why might that last clause send Millicent’s hand automatically reaching for a form letter beginning Thank you so much for your submission, but I’m afraid it does not meet our needs at this time? Could it have anything to do with the fact that an hour ago, she had just rejected a manuscript containing this gem?

Mignonette clutched her head, trying to make sense of it all. It was surreal. She felt as if she was in a movie.

Leaving aside the relatively rare editorial pet peeve regarding how often narratives describe perfectly comprehensible scenes as surreal — not nearly so often as they label a situation utterly devoid of irony as ironic, admittedly, but still, frequently enough to become annoying — is it really so hard to understand why the lingering memory of Mignonette’s affection for film might color Millicent’s perception of the freshness of Ambrose’s reaction to the blow?

And a thousand writers’ hands shoot into the air. Yes? “This is ridiculous, Anne,” film aficionados everywhere grumble. “Why shouldn’t two writers embrace the same comparison, if they write about it differently? Feeling like you’re in a movie is a fairly common experience, after all; eschewing writing about it would be akin to declaring that depicting a character drinking milk an instant-rejection offense.”

An excellent argument, grumblers, but part of the problem is that so many manuscripts don’t write about it differently. Even in conversation, it was just like a movie is a clich? for a reason, after all: in everyday life, people tend to describe what you rightly point out is a common feeling in the modern world in a common way.

Correct me if I’m wrong, but isn’t one of the primary goals of developing an individual authorial voice not to express things precisely like everybody else does? And don’t we writers pride ourselves upon presenting our readers not merely with a mirror held up to their own lives, accompanied by a transcript of what they already hear, but our own personal take on reality, phrased in a way that is like no one else’s prose?

Do I sense writers of third-person fiction leaping to their collective feet, shouting, “Yes, by gum! Down with hackneyed phrases and concepts!” while those of you who spend your time crafting first-person narratives sat on your hands? I’m not entirely astonished: writers of first-person fiction and memoir frequently work under the principle that if good first-person narration reads as though an actual human being might conceivably have said it out loud, and if most people incorporate clich?s into their everyday speech, then loading a first-person narrative with clich?s is only being true to life, right?

Well, arguably. It can — and all too often does — result in a narrative voice that sounds not like a specific individual, but just anybody. Millicent is also confronted with this kind of opening many times a day:

Oh, my God, I can’t believe it. I’m sick of this. The gall of some people! I’m so over it. I’m out of here.

Believable verbal expression? Oh, yes. But I ask you: what do those stock phrases actually tell you about this narrator? Or about the situation, for that matter?

Hackneyed phrases and concepts are, after all, generic. That’s why polite exchanges so often bore readers: by definition, those phrases that everybody says in particular situations convey no individualized meaning.

Did I just hear some eyebrows hitting the ceiling? I kid you not: as delightful as courtesy is to encounter in real life, it can be stultifying on the page. Take a gander:

Kendrick held out his right hand. “Nice to meet you.”

“Pleased to meet you, too,” Ghislaine said. “Beautiful day, isn’t it?”

“Yes, the weather is nice. Oh, here’s Maurice. How are you, Maurice?”

They shook hands like old friends, as indeed they were. “Fine,” Maurice said. “How are you?”

“Oh, fine. Ghislaine, this is Maurice.”

Maurice shook her hand. “How are you?”

“Fine. How are you?”

Longing yet for death’s sweet embrace? What if you had read similar personality-free conversations eight or nine times today?

Does that prospect appall you? Or have you caught up pitchforks and torches for some other reason?

“Oh, come on, Anne,” polite people everywhere scoff, genteelly brandishing weaponry. “Everyone understands that these are stock phrases — but that’s the point, isn’t it? By having the characters spout courteous clich?s, the narrative is letting the reader know that these are nice people.”

Perhaps, but surely, that’s not the only way to demonstrate their many sterling qualities. If Kendrick complimented Ghislaine on her fetching frock, would he not come across as a pretty nice guy? If she were rushing back from her volunteer work with homeless children, pausing only briefly to exchange pleasantries before her shift at the leper colony began, might the reader not gain an inkling of her other-orientation? If Maurice had just experienced the loss of his beloved pet ocelot, would you consider her rude if he mentioned it?

Actually, that last one’s not the best example, as Millicent would hasten to tell you. She could not even begin to estimate how many times in any given week of screening her tired peepers fall on a scene like this:

“How are you?” Kendrick asked.

“Fine.” Maurice drew his sleeve across his eyes. “Except my beloved pet ocelot, Coriolanus, has just passed away.”

“I’m sorry for your loss,” Kendrick said. “Oh, here comes Ghislaine. Ghislaine, Coriolanus died!”

“Oh, Maurice!” she exclaimed. “I’m so sorry for your loss.”

I could go on and show what the policeman on the corner, all seventeen of Maurice’s coworkers, and his great-aunt said upon hearing the news, but you’re sensing a pattern, right? I’ve said it before, and I shall no doubt say it again: just because people say something in real life doesn’t mean that it will make good reading on the page.

Or, to put it another way: strong dialogue doesn’t need to sound like everyday speech to work in print. It’s needs to be more interesting than everyday speech.

If it’s to impress Millicent with its originality and beauty, that is. After hours of too-polite dialogue, imagine what a relief it could be to read an exchange like this:

Ghislaine realized that she knew the man tugging on her arm. “Why, Kendrick, you look just awful!”

“I feel as if my guts have been ripped out.” He managed a brave smile. “Haven’t you heard about Maurice’s ocelot?”

Her intestines squirmed with anticipated horror. “What’s happened to Coriolanus?”

“Killed in a freak basketball accident. He was prowling along the top of the backboard, and a rogue shot knocked him to the ground.”

“Oh, my God!” Ghislaine cried. “It’s just like something in a movie!”

Oh, so close! Millicent was just settling in for a nice, interesting read, and the manuscript had to throw up a red flag. It might not be the final red flag for this submission — you would want to find out why there’s an ocelot in this story, right? — but in most professional readers, Ghislaine’s cri de coeur would at least elicit a roll of the eyes.

Were there other problems on the page, though, it might well prompt a cry of “Next!” Remember, it’s Millicent’s job to thin the submission pile. Her boss, the agent of your dreams, can only take on a few new clients per year; naturally, there’s a heck of a lot of competition for those spots.

That being the case, is it truly sensible submission strategy to decorate your manuscript with that observation about how the ongoing situation resembles what one might expect to encounter on the big screen?

Do I hear some cries of despair out there in the ether? “There you go again,” frustrated writers complain, and who could blame you? “You’re just accepting Millicent’s claim that everybody knows that the movie comparison is bad writing. At the risk of repeating the grumble from earlier in this post, doesn’t it all depend upon the writing?”

Yes, of course — and no. You see, good writing doesn’t exist in a vacuum; readers of every stripe tend to read more than one author in their lifetimes. They have come to expect the work of one author to differ from every other’s.

And they’re right to expect that: imagine how boring life would be if all well-written books sounded as though they had all been written by the same person!

In an agency, publishing house, or even within the context of a writing competition, good writing doesn’t magically rise to the top of the submission or entry pile. To get to it, Millicent and her ilk read through everything else. Since a submitter cannot control the order in which his work is read, it really doesn’t make strategic sense to rely upon the hope that his use of the movie trope — or any other commonly-employed comparison or phrase — will not pass under a screener’s eyes immediately after somebody else’s attempt to do the same thing.

Even the best of literary devices can start to seem overused with repetition after all. Think about Millie’s screening day for a moment. What kind of pretty prose do you suppose greeted her over the morning’s first latté?

She ran through the bleak forest, her long, red hair streaming behind her. Were those dogs she heard in the distance? Why had Fidelio placed her in this horrible position?

No time to wonder — those villagers with torches would catch up with her any minute now. If she’d been the monster in a Frankenstein movie, she couldn’t have been in more danger.

Come on, admit it — you’re starting to tire of the film references. And although I’m certain it doesn’t feel that way, so far, only four of the examples in this post have contained it.

Yes, really. This comparison gets old fast.

Picture, then, how Millicent’s weary eye must twitch upon catching sight of yet another iteration of the same concept. Especially if the next manuscript in the pile read like this:

Silvia couldn’t believe it — this was all so surreal. She didn’t even feel like herself: it was like she was watching herself on television.

In response to what fully a quarter of you just thought: no, Virginia, referring to television instead of a movie wouldn’t lessen the negativity of Millicent’s reaction. She would merely think that the writer of that last one didn’t get out as often as the writer of the one before it.

She would have a hard time justifying sliding either page under her boss’ nose, and not just because, like any experienced professional reader, the agent for whom Millie works may safely be assumed to have seen the movie/television/music video comparison thousands of times already. Like many publishing professionals, that agent may also feel a certain resentment towards movies, television, music videos, and new media for taking up time that right-minded people used to devote to reading.

But it didn’t occur to our submitter to say that Silvia’s surreal experience was like something in a novel, did it?

Still not convinced? Okay, I’m dropping all pretense: there’s one other reason that Millicent might hesitate to overlook this particular red flag on the page. This next example is infected with a mild case of the phenomenon; see if you can spot it.

Ricardo ducked behind the nearest desk, gasping as if he were about to have a heart attack. What a great movie this chase would make! Except that no one would believe it.

Yes, this passage contains the dreaded movie comparison, but did you catch the secondary problem? Essentially, what a great movie this chase would make! is a review of the scene currently in progress: not only is the narrator telling the reader that this chase would be exciting on the big screen — the text goes so far as to say that the result would be great.

If Millicent and her kind cringe when they spot a hackneyed phrase or concept in a submission, they see red when they think a manuscript is indulging in self-review. “It’s not your job to tell me how great you are,” she’s likely to snap at the manuscript. “It’s your job to show me. And it’s my job to decide whether you’re great, good, or so-so.”

The moral here, should you care to know it: it’s a heck of a lot easier to impress a professional reader with good writing that’s original than good writing that strays into overused territory, either in terms of wording or concept. Stock phrases and comparisons might sound right in the privacy of your writing studio — as well they should: people actually do talk in clich?s. But by definition, clich?s are not fresh; clichés are not original.

And trust me on this one: that clich? about how the current scene is like a movie ceased causing agents and editors to exclaim, “Wow, I’ve never seen that on the page before!” approximately two and a half years into the silent era.

Maybe it’s time to give it a rest. Instead, why not startle and delight Millicent with an insight and phrasing only you could have produced?

It’s worth a try, anyway. Keep up the good work!

Do you mind if we talk about something else? Like, say, the times that try editors’ souls?

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Or, to put it in more practical terms, if I promise to show you more properly-formatted pages while I’m at it, will you forgive my devoting tonight’s post to a foray into a notorious editorial pet peeve? What about if I talk about several?

It’s not as though there aren’t dozens from which to choose: as I may have horrified you with depressed you into a stupor by bringing up mentioned in passing last time, those of us fortunate enough to read for a living are expected — and often rigorously trained — to notice patterns in writing. How often a manuscript uses the word blanched, for instance, or describes anything as being mauve.

Not that there’s anything inherently wrong with either word choice, mind you, when used sparingly. Surely I will astonish no one, however, if I suggest that your garden-variety reader might prefer not to see characters blanching at the sight of mauve objects on every other page. Adult readers, if you must know, tend to become bored by word and phrase repetition every bit as quickly as they lose interest in a slow-moving plot, dull explanation, or unsympathetic protagonist’s plight. In order to spare the reading public that pain, editors strive to catch not only larger narrative issues, but also redundancies, whether they be of concept, image, or phrase.

And, bless our hearts, we are seldom shy about pointing them out, sometimes as early as the second or third time an author uses a pet word or action. “For heaven’s sake, Mavis,” we have been known to scrawl in manuscript margins, “Jeremy has blanched, went pale, and felt the blood drain from his face already in a 4-page scene — need he also waste the reader’s time noticing his ashen face in the nearest mirror? What’s a mirror doing in the middle of a forest, anyway? And while we’re talking plausibility,” Mavis would be expected to turn the page over here, to read the editorial scribblings on the back of the page, “are you planning at some point to provide the reader with some explanation for all of the mauve leaves on the purple trees? Is the water supply in this forest somehow tainted? Are the trees subject to some sort of lavender mite infestation? Or have you perhaps forgotten that the trees on the other side of the world you’re describing were also on the mauve side?”

Given so much provocation on the page, it is perhaps not altogether surprising that one of the great long-term liabilities of reading for a living — or one of the great advantages, depending upon how one chooses to look at it — is that over time, the dedicated pro becomes decreasingly able to read anything without scrawling corrections in the margins. I’m not merely talking about manuscripts, synopses, and queries here, mind you, but all typed words on a page. The New York Times, for instance, once the standard of American prose, now seldom passes under my long-lashed eyes without picking up some entirely justified marginalia. Nor do magazines go unscathed: I’m looking at you, Radcliffe Quarterly.

Heck, I routinely take a corrective pen to menus, fliers, and wedding programs. One recent November, I had to be restrained bodily from correcting a grievous misprint on my ballot for a county election; the proper spelling would have confused the counting machine, I’m told.

But would that not have been preferable to asking the citizenry to select a superior court joge? Possibly to serve in mauve robes?

While in some walks of life, this level of habitual scrutiny might prove somewhat problematic, for professional readers like agents, editors, and contest judges (or, in this county, joges), it’s a positive boon. So what if in some benighted professions, it is neither expected nor considered particularly sane to look one’s coworker in the eye and say, “I like the content of you’re saying, Ziggy, but the fact that you uttered the word exciting fourteen times over the course of a six-minute speech, insisted upon using impact as a verb, and failed to define a good third of your basic terms detracted from your presentation’s effectiveness,” without finding oneself cordially disinvited from all future meetings? Someone has to defend the language. And by gum, if that means rending our garments and wailing to the heavens, “You’ve used this metaphor twice in 137 pages! And phrased it almost identically each time, you…you?torturer,” well, we’re up to the task.

I see some of you blanching, doubtless at the thought of that manuscript you recently sent out to the agent of your dreams. Well might you turn pale, ashen-faced ones. If the same metaphor graced page 1 and page 241, a good editor would catch it. So is it really so much of a surprise that an even ordinarily conscientious agent — or, for that matter, Millicent, the agency screener — felt all of the blood draining from her face when that metaphor cropped up on pp. 1 and 5? Or — sacre bleu! — twice on page 1?

Half the good professional readers I know would not only have become impatient at any of these levels of metaphor repetition — they would have leapt to the conclusion that the writer was repeating himself so much on purpose. Clearly, this is an authorial plot to get away with lazy writing. As opposed to, say, an authorial failure to recognize that his pet phrase of today was also the pet phrase of three months, eight days, and sixteen hours ago.

How could you? You know how much such things upset Millicent.

Actually, you probably didn’t, at least when you first began to write. Until a writer has enjoyed the incomparable pleasure of having her work dissected disemboweled subjected to professional critique, she tends not to have any idea of how closely an agent or editor is likely to read, much less a Millicent. As we discussed yesterday, the overwhelming majority of first-time queriers and submitters fully expect their pages to be read with, if not a completely charitable eye, than at least a willingness to look past little things like conceptual redundancy and an over-reliance upon a select group of particularly nice words. It’s the overall writing that counts, right?

Can you hear Millicent giggling? From a professional reader’s perspective, the very notion that repetitious word choice, recycled notions, or even frequent typos would not be considered part of the authorial voice being offered in a submission is pretty funny. A screener can judge writing only by what’s on the manuscript page, after all. And is Millicent really so wrong to believe that a manuscript in which every inanimate object is apparently mauve-tinted might be indicative of a slight compositional problem?

Then, too, most writers radically underestimate how good a well-trained professional reader’s memory for text will be. Remember, Millicent is usually in training to become either an agent, who would be expected to read a client’s fourth revision and be able to tell how it had changed from the three previous drafts, or an editor, who might conceivably find himself telling a bestselling author, “By jingo, Maurice, I’m not going to let you do it! You used precisely that simile in Book I of this five-part series; you can’t reuse it in Book V!”

Oh, you think I’m exaggerating, do you? Earlier today, I found my text-addled mind drifting back to a novel-cum-memoir I had read, I kid you not, in junior high school. And not merely because Memorial Day is a natural time to consider the noble calling of memoir-writing. A pivotal scene in that book, I felt, would provide such a glorious illustration of a common narrative mistake — both in manuscripts and in queries, as it happens — that I just had to drop our series-in-progress and track down the book.

Yes, yes, I know: sometimes, even other editors are surprised at how well I remember text. A few years ago, when my own memoir was lumbering its way through the publication process, my acquiring editor scrawled in my margins, “Oh, yeah, right — you remember a biography of the Wright Brothers that you read in the third grade? Prove it!” I was able not only to give him a chapter breakdown of the book, but tell him the publisher and correctly identify the typeface.

That’s how little girls with braids grow up to be editors, in case you had been wondering. If anyone wants to talk about the estimable Katharine Wright Haskell, apparently the only member of the Wright family bright enough to realize that heaving the first airplane off the ground might be of more significance if somebody bothered to alert the media, I’m still prepared and raring to go.

So I had good reason to believe that my recollection of a fictionalized memoir ostensibly written by a childhood friend of Joan of Arc was reasonably accurate. A lighthearted burrow through the roughly two thousand volumes I carted up from California after my mother moved from my childhood home, so she would have to tote only the remaining eight thousand with her (long story), and voil?! The very pages I had in mind.

Care to guess whether I’d remembered the font correctly?

I’m delighted that I did, as this excerpt provides excellent examples of the kind of narrative missteps that Millicent thinks so many of you do on purpose, just to annoy her. For starters, it exhibits the all-too-common narrative trick of echoing the verbal habit of using and as a substitute for a period in first-person narration, in a misguided attempt to make the narrative voice sound more like everyday speech. It can work, but let’s face it, quite a bit of everyday speech is so repetitious that it would be stultifying if transcribed directly to the printed page.

It also, you will be pleased to hear, beautifully demonstrates another classic memoir bugbear: telling an anecdote on the page as one might do out loud at a cocktail party, with practically every sentence a summary statement. (Hey, there’s a reason that show, don’t tell is such a pervasive piece of editorial feedback.) And, most common of all in both memoir and fictional first-person narratives, the pages in question much character development for anyone but the protagonist.

All sounds pretty terrible, doesn’t it? Actually, the scene isn’t badly written; the aforementioned garden-variety reader might not even have noticed some of these problems. Nor, unfortunately, would most aspiring writers prior to submission, for the exceedingly simple reason that far too few of them ever actually sit down and read their work beginning to end, as any other reader would. The writer already knows what’s on the page, right?

Or does he? My guess is that in this instance, the writer had very little idea that what he was slapping on the page was even vaguely problematic.

But you shall judge for yourself. To render the parallels to what Millicent sees on a daily basis more obvious, as well as to continue our exercises in learning to know properly-formatted manuscript pages when we see ‘em, I’m presenting that memorable scene here in standard format. As always, my blogging program is for some reasons best known to itself a trifle hostile to page shots, so if you are having trouble reading individual words, try holding down the COMMAND key and pressing + to enlarge the images.

Twain page 1

Twain page 2

Twain page 3

Come on, admit it — while you might have excused all of those ands if you had heard this tale told out loud, they’re a trifle eye-distracting on the page, are they not? Ditto with the word repetition — could this author possibly have crammed any more uses of to be, to get, or to see into these three pages? And don’t even get me started on concept repetition.

I sense those of you committed to the noble path of writing memoir — or writing reality-based fiction — shifting uncomfortably in your chairs. “But Anne,” you protest, averting your eyes, “this isn’t the powerful negative example you led us to expect. I get what you mean about the sheer volume of ands, but other than that, there’s nothing wrong with the narrative voice here, given that this is a memoir. Isn’t part of the point of any memoir that the voice does sound like someone might speak? Is that not, in fact, one of the charms of first-person narration in general?”

Well, yes, but just as an event’s having actually occurred in real life (and it’s true, too!) does not necessarily mean that it will inevitably strike the reader as plausible on the page, first-person narration’s reading like everyday speech does not guarantee readability. In print, narrative chattiness may work against the reader’s enjoyment, because chatty people, like the rest of us, reuse words and phrases so darned much. Even talented verbal anecdotalists seldom embellish their tales with the level of detail that the most threadbare of written accounts would require. And funny out loud, let’s face it, does not always equal funny on the page.

Which is to say: as delightful as our example above might have been tumbling out of the mouth of a gifted storyteller, as a story on a page, it’s lacking quite a few elements. A sense of place, for one — is there a reason, the reader must wonder, not to give us some sense of what either the woods or the village were like? If both are left so completely to the reader’s imagination, is there not some danger that a Millicent fresh from polishing off the manuscript before this one might automatically assume that those trees were mauve, and those villages occupied by the wan?

Oh, you thought I’d dropped that running joke? In a blog, I can get away with going back to that same well this often. How many times, though, do you think I could revisit the joke in a book before the reader got bored? Or Millicent became irritated?

While you’re pondering those troubling questions, let’s return to our example. How else does it fall short?

Well, as so often happens in memoir, we’re just told that the action is happening here or there, rather than shown what those places were like. And lest anyone be tempted to shout out that old writing truism, “But it’s stylish to leave something to the reader’s imagination!, let me ask you: based upon the pages above, could you tell me where these people are with enough specificity that a reader would be able to feel like she’s there?

“But that’s not fair!” I would not blame you for shouting indignantly. “It’s the writer’s job to establish a sense of place, not the reader’s job to guess.”

Precisely what Millicent would say. She would object, and rightly, to this scene’s providing her with too little description to enable her to picture Joan and her young friends operating within an environment. Nor are those friends fleshed out much, either in character or physical trait.

Heck, poor Millie doesn’t even get to see the frightening Benoist: instead, the memoirist merely asserts repeatedly that he and Joan were getting closer, without showing us what that have looked like to a bystander. Like, say, the narrator of the scene.

Speaking of the narrator, were you able to glean much of a sense of who he is as a person? How about what his relationship is to Joan? Are you even sure of their respective ages? Any idea what year it is? Heck, if you did not already know that the girl would grow up to be the patron saint of France — actually, one of four, but Joan of Arc is certainly the best known in this country — would anything but the children’s names tip you off about what part of the world these characters inhabit?

While I’m asking so many rhetorical questions in a row — another occupational hazard, I’m afraid; margins absorb them like a sponge does water — let me ask a more fundamental one: did you notice that although this excerpt is apparently about how the village’s children reacted to Joan, there’s practically no character development for her at all?

That’s at least marginally problematic, in a book entitled — wait for it — PERSONAL RECOLLECTIONS OF JOAN OF ARC. What, we are left to wonder, does she look like? Why doesn’t she stand up to her playmates (beyond, of course, the justification of being “so girlish and shrinking in all ways”) or, failing that, why doesn’t she simply walk away from the nasty little beasts?

And don’t stand there telling me that the narrator had no choice in the matter, because that’s how it really happened. Yes, a memoir or fact-based fictional story should be true, but it also has to be both interesting in the page and plausible. Reality, unfortunately, is not always plausible; it’s the writer’s job to make it so on the page.

Which begs another editorial question: why can’t a kid brave enough to face down the village madman’s axe (or ax, depending upon where it falls in this passage; the error is in the book in front of me), a rather interesting thing for a person to do, come up with more revealing answers to questions than a simple yes? This is another notorious editorial pet peeve: almost without exception, the least character-revealing way for anyone to answer a yes-or-no question is with — again, wait for it — a simple yes or no.

Are some of you writers of the real blanching now? “But Anne,” you gasp, clutching your ashen cheeks so heavily drained of blood, “people actually do answer questions that way! And isn’t the point of written dialogue to reproduce the feel of actual speech?”

Well, that’s one of the points of dialogue. Another is not to bore the reader to death, isn’t it? And, if at all possible, it should be entertaining.

Just holding a tape recorder up to nature tends not to be the surest means of hitting any of those excellent goals. Why? Chant it with me now: most everyday speech is repetitious.

I can stand here and keep saying that as long as necessary, people. Again and again and again.

As we may see in the scene above, a character that keeps saying nothing but “Yes” isn’t exactly thrilling the reader with deep insight into her thought processes. Or even into the scene itself: little Joan is not, after all, a hostile witness in a murder trial, but a child talking with her playmates. Wouldn’t it ultimately be more realistic, then, if she sounded like the latter?

Speaking of realism, would it be too much to ask the narrator to explain why the villagers left an axe lying anywhere near the madman’s cage in the first place? Might not the locals’ efforts have been more productively expended making sure he can’t get out than chopping off his fingers?

And yes, in response to what half of you just thought: this is precisely the kind of thing an editor would have gripped her pen angrily and inked into the margins of a manuscript. Not because she’s mean, but because she’s trying to help the writer give the reader a more enjoyable reader experience.

That’s a noble calling, too, you know. But in the unlikely event that some writer out there might care less about the moral beauty of Millicent and her ilk’s devotion to textual excellence than how to worm his way past it in order improve his submission’s chances of getting picked up by an agency, let me hasten to add that the sooner a writer learns to read his own manuscript the way a professional reader would, the easier he will find self-editing. Not to mention being able to catch the Millicent-irritants that can prompt a screener or contest judge to stop reading.

In the interest of helping you fine people develop that ability, let me ask you another question about today’s example: if you had previously known absolutely nothing about what the what the real-life Jeanne d’Arc achieved, wouldn’t you find it at least a trifle too pat that her playmates choose to picture her doing more or less what she grew up to do — and to laugh at her about it? If the girl had suggested this role herself, it might merely have been not-particularly-subtle foreshadowing, but honestly, can you think of any reason to include this at all except to make the reader feel cleverer than St. Joan’s playmates?

Millicent wouldn’t be able to think of one. Neither would most professional readers; it’s our job to deplore this sort of narrative ham-handedness.

“Just how ill-informed would a reader have to be not to find that first bit clumsy?” we mutter into our much-beloved coffee mugs. “Isn’t it safe to assume that anyone who would pick up a book about Joan of Arc would know that she lead an army and was burned at the stake, even if that reader knew nothing else about her? And if your garden-variety reader knows that much, isn’t it an insult to his intelligence to drop a giant sign reading Hey, dummy, this is foreshadowing?”

Was that mighty gust of wind that just whipped the cosmos the sound of half of the memoirists out there huffing with annoyance, or was it merely the first-person novelists sighing gustily? “But Anne,” both groups think loudly in unison, rather like the remarkably collective-minded children in the anecdote above, “this is how I was taught to write first-person narration. It’s supposed to sound exactly like a real person’s speech. So why shouldn’t St. Joan’s unnamed childhood buddy sound like anybody else telling anecdotes out loud?”

A couple of reasons, actually. Yes, good first-person narration takes into account the narrator’s individual speech patterns; no dialogue should sound like just anybody. Which is precisely the problem with all of those yeses, right? All by themselves, yes and no are generally presumed to mean the same thing, regardless of who is saying them. So, like polite spoken clich?s of the “Excuse me” and “I’m so sorry for your loss” ilk, they are too generic to convey personalized content.

Strong dialogue also typically reflects the narrator’s social status and education, personal prejudices, and what s/he could conceivably know in the situation at hand. And then there are those pesky individual quirks and, yes, the century in which s/he lived.

So I ask you, first-person writers: just how does the narrative voice in this passage indicate that this particular anecdote took place not too long after the Battle of Agincourt in 1415? As opposed to, say, the 1890s, when this account was first published?

And if you were tempted even for a nanosecond to mutter in response, “Well, if the 1980s is when readers would have been seeing this dialogue, sounding like that just would have seemed normal,” let me ask a follow-up question: if this scene were narrated in the voice of a pre-teen texting this to a friend today, would that make this scene ring truer to today’s readers? Or would it merely read as though the writer either hadn’t thought much about how Joan and her friends might have communicated with one another — or was presuming that today’s readers were not capable of following any type of dialogue than their own?

Those of us who read for a living have a term for that kind of assumption: insulting the reader’s intelligence. We often find ourselves scrawling it in margins.

How often, you ask, your faces a mask of pallid horror? Well, operating on the assumption that internal monologues have both always sounded pretty much like modern speech and don’t vary much from individual to individual is as common a mistake in first-person narratives as having all teenage characters sigh and roll their eyes is in YA submissions. Yes, some people do think and talk that way, but must everybody? Should Helen of Troy formulate her innermost thoughts in the same way as, say, Eleanor Roosevelt, Louisa May Alcott, or Confucius?

There’s a dinner party, eh? I’ll bring the stuffed grape leaves.

Doesn’t it make for more interesting narration if your narrator’s speech bears at least some marks of time? And if she has some individual quirks of thought and expression?

Besides, if we are going to be true to the rules of first-person narration, shouldn’t we be objecting to how often our narrator here professes to read the other children’s minds — although, notably, not Joan’s? I don’t know about you, but I find that most of the time, my thoughts are located in my own head, not floating somewhere in the middle of a group of bystanders. Millicent, too, tends to regard her own thoughts as separate from other people’s. The inevitable consequence: characters who think together tend to annoy her, unless their shared brains crop up within science fiction or fantasy context, where they can be plausible.

That cast a different light upon the narrative choice here, doesn’t it? As an editor might well scrawl in the margin, are we supposed to believe that our narrator in this instance is a mind-reader, or that the local children were too simple-minded to be able to form individual opinions about what is going on in front of them? Is the narrator just not familiar enough with the individual characters to be able to guess how their thoughts might have differed, or, (turn page over here) since he’s of a different social class than they are — not abundantly apparent in this scene, is it? — does his reporting that they all thought the same way a function of his views of their training in rational thinking? Or does it indicate the opposite, that he feels so close to them that he presumes that his beloved friends and he could only have thought and felt identically?

“Or, Mark,” the editor might conclude, “did you originally write this scene in the third person, with an omniscient narrator that could plausibly read everyone’s thoughts? If so, you can’t legitimately endow your first-person narrator with that ability. Pick a narrative perspective and stick to it!”

In fairness to Mark, as well as all of the blanching first-person narrative writers out there, plenty of writers actually were taught to write first-person narration this way — in short stories in their high school English classes. And with good faith, too: in short bursts, run-on sentences do indeed come across as ordinary speech-like. In the published examples of this type of narration that tend to turn up in class, it’s not all that unusual for the author’s voice and the first-person narrator’s voice to merge into colloquial harmony.

Or, to put it another way, Mark Twain tends to sound like Mark Twain, for instance, no matter whose perspective is dominating a particular story. That’s part of his branding as an author, right, his distinctive narrative voice and humorous worldview?

Admittedly, adopting a chatty voice makes quite a bit of sense for narrative voice in memoir. The reader is going to have to like how the narrator/protagonist talks about her life well enough to want to follow the story for a few hundred pages, after all; we might as well get friendly. Yet in practice, the primary danger of relying on the repetitive phrasing, clich?s, and percussive and use to achieve realistic-sounding narrative cadence is precisely that it will put off the reader because as the pages pass, it can become, at the risk of repeating myself, rather boring.

Think about it: even if a memoir were being told as a collection of verbal anecdotes, wouldn’t you rather listen to a storyteller with some individual flair for phrasing, instead of someone who just sounded like everyone else? No matter how inherently exciting a personal story is, a great telling can make it better reading. So can a narrative voice reflective of the time, place, and society in which that tale takes place.

But just try telling that to Mark Twain — who, as the sharper-eyed among you may already have noticed, wrote the scene above, in what he considered his best book. Although that retrospective assessment is a trifle hard to take seriously, in light of the fact that he published the book both under a pen name and in serial form. Actually, he took it to even one more remove: he wrote a preface under a nom de plume, presenting himself as the translator of a memoir written by one of young Joan’s contemporaries.

Why go to all that trouble? Because by all accounts, he felt that the poor sales of THE PRINCE AND THE PAUPER were largely attributable to his established audience’s expecting anything published under the name of Mark Twain to be a comedy. Good branding has its drawbacks for a creative artist.

Take that, purists who would like to believe that writing with an eye toward market concerns is a product of an increasingly cynical publishing industry over the last twenty or thirty years. Twain and his publisher worked out that tactic in the 1890s.

But I digress. As a reader, how well do you think his narrative choices worked here, either as fiction narration or as the memoir narration it originally professed to be? In your opinion as a writer, how do you feel about those slips into the first person plural — is the reader carried along with the we perspective as a narrative choice, as we were in Jeffrey Eugenides’ THE VIRGIN SUICIDES, or does it read like a perspective slip?

In today’s example, do you feel that the mostly distinctly modern narrative voice, coupled with the almost entirely uncritical view of Joan, was the best way to tell this tale? Reviewers in Twain’s time did not think so — they believed (and I must say I agreed with them back in junior high school) that a protagonist who never does anything wrong is a trifle on the dull side, as far as the reader is concerned. Twain’s Joan never sets a wee foot wrong; even in her earliest youth, he tells us, she raised her voice in anger only once, and even then it was to voice a patriotic thought.

A taciturnity unusual in a rabble-rouser, you must admit. Also an unusual characteristic for someone who challenged social norms enough for anyone to want to burn her at the stake: Twain’s narrator presents her as a quiet, universally beloved little girl. Butter, as folks used to say, would not melt in her mouth.

But is that how little girls with braids grow up to lead armies?

Twain evidently thought so. No matter how outside-the-box her observations or actions are shown to be (or, as we saw above, summarized to be), in this narrative, nothing she did or said from birth to the age of fourteen so much as ruffled the composure of the inhabitants of a querulous small village in wartime. Surprising, to say the least, in a young lady who by her own account had been engaging in frequent heart-to-heart chats with a couple of your more illustrious virgin martyrs since the age of twelve.

Perhaps the querulous small village where I spent my formative years was atypical, but I’m inclined to think that had I gone around snatching murder weapons from the clutches of local lunatics or holding confabs with deceased ancient Roman maidens, the locals might have had a thing or two to say about it. I’m also inclined to think that their observations would not have been entirely favorable, regardless of how winsome and girlish I might have been while disarming the maniac in question. It doesn’t strike me as the type of endeavor best undertaken in a party dress.

I’m not saying that Twain is necessarily factually incorrect about any of this; naturally, his best guess is as good as ours on a lot of these points. The little lady lived rather a long time ago, so the issue here is less historical accuracy than dramatic plausibility. Still, just because something really happened does not mean it will necessarily come across as plausible on the page; as agents like to say, it all depends on the writing.

As an editor, though, I think it was Uncle Mark’s job as a writer’s to make me believe his take on this. Presuming you agree with me — speak now or forever hold your peace — I ask you: was this narrative choice the best fit for the story he wanted to tell? And if not, should Millicent accept this manuscript?

Does the fact that a good third of you just began hyperventilating mean that it had not occurred to you that whether a story is not only well-written, but attacked from an appropriate narrative angle is a potential rejection trigger? It is, inevitably. Wouldn’t it have been nice if your last rejection letter had told you that, if Millicent or her boss thought that your first-person story would have worked better as a third-person narrative, or vice-versa?

Literary taste is, of course, to a very great extent individual, so only you can answer my question about Uncle Mark’s narrative choices to your own satisfaction. Am I correct in presuming, though, that you are at least a tiny bit curious about how an editor currently holding down the literary fort in the U.S. publishing world might respond to the choices he did make? Glad you asked. Let the scrawling begin!



What am I hoping you will take from this, you ask, eyes wide with horror and previously rosy cheeks drained of blood? Not merely that being a brilliant writer does not necessarily preclude turning out a clunker of a first draft from time to time — although that’s not a bad thing for aspiring writers to bear in mind. The popular conception of true literary talent’s consisting of letter-perfect creative phrasing dripping from one’s fingertips directly onto the page, with no further polishing necessary, each and every time, does not match up particularly well with reality. As any experienced editor could tell you, most of the books people regard as semi-miraculous productions of pure inspiration have actually been worked, reworked, and run past half a dozen critical readers.

And I mean critical readers. The kind who will remember what the author did in the same scene in each previous draft.

Remember that, please, the next time you’re struggling with a scene that just doesn’t seem to want to hit the page gracefully — or with much specificity. In moments like that, it can be very tempting to embrace the tack Twain did above, writing up the scene in summary form, with few vivid details, just to get the darned thing committed to paper as rapidly as humanly possible.

What makes me think that this was written quickly? Editorial instinct, mostly: I find it hard to believe that a humorist as gifted at reading out loud as I know Twain to have been would have killed the comedy — or bored the reader — with this much word repetition unless he was writing on a pretty tight deadline. Serialization tended to be submitted that way back then, you know, as Dickens would have been only too glad to tell you. Had Uncle Mark taken the time to revisit this scene and iron out its wrinkles, I don’t think there would have been quite so many references to eyes — and, frankly, I don’t think that he would have had his narrator faint at the climax of the scene. He was too good a storyteller.

But that choice certainly saved the author the trouble of having to figure out how the girl convinced the wild man to give up the axe, though, didn’t it? Trust me on this one: experienced editors — and Millicents — see this type of narrative shortcut often enough to recognize it for what it is.

So what should a savvy writer do when faced with this sort of first-draft dilemma? Go ahead, give in to temptation; there is value in getting a full scene on paper. Just make sure to set aside time later in the writing process to return to that scene and flesh it out.

Unless you would prefer to have your future editor bark at you, “This is lazy writing, Ambrose. Didn’t anybody ever tell you to show, don’t tell?”

Just in case nobody has yet snarled that in the general direction of your manuscript: show, don’t tell. Immerse your reader in sufficient details for her to be able to feel as though she is part of the scene, rather than leaving her to fill in the specifics for herself.

Oh, you don’t think that’s what Twain is doing here? Okay, rise from your chair, grab the nearest willing partner, and try to act out this interaction between young Joan and Benoist, based solely upon the choreography the narrator above chose to provide us:

She stood up and faced the man, and remained so. As we reached the wood that borders the grassy clearing and jumped into its shelter, two or three of us glanced back to see if Benoist was gaining on us, and this is what we saw — Joan standing, and the maniac gliding stealthily toward her with his axe lifted. The sight was sickening. We stood where we were, trembling and not able to move. I did not want to see murder done, and yet I could not take my eyes away. Now I saw Joan step forward to meet the man, though I believed my eyes must be deceiving me. Then I saw him stop. He threatened her with his ax, as if to warn her not to come further, but went steadily on, until she was right in front of him — right under his axe. Then she stopped, and seemed to begin to talk with him. It made me sick, yes, giddy, and everything swam around me, and I could not see anything for a time — whether long or brief I do not know. When this passed and I looked again, Joan was walking by the man’s side toward the village, holding him by his hand. The axe was in her other hand.

Not much practical guidance for the actors there, eh? Other than all of that seeing (a word most writers tend to overuse in early drafts, incidentally), the actual movements mentioned here are pretty routine: one party standing still, the other moving toward her. The mover threatens, but we are not told how. Admittedly, a lifted axe doesn’t have to move much to seem threatening, but did you notice how pretty much all of the sense of danger is conveyed via the narrator’s dread, rather than through showing the reader vivid, terrifying specifics? And how virtually all of that dread is summarized, rather than shown in any detail?

From an editorial perspective, that lack of specificity distances the reader from what should have been a thrilling scene: by leaving us to fill in the details, the narrator abdicates his proper role here. It’s his job to make us feel that we were there, or at least to show us the scene engagingly enough that we have that illusion.

Yes, he grounds us in his experience by telling us repeatedly that he is seeing this or that, and that these sights made him feel sick (and ultimately pass out). But great heavens, man, if you’re going to narrate a story like this, isn’t it your job to at least ask a bystander what happened, so you could share that information with the reader?

Don’t tell me that once you’ve seen one axe-wielding madman, you’ve seen ‘em all. As both a reader and an editor, I want to know what this particular madman looked, sounded, moved, smelled, and felt like. I want to know precisely what our heroine did that gave Benoist pause; I want to be shown how he crept up on her stealthily while apparently walking straight into her line of vision. And gosh darn it, I want to know how an axe of 1415 differed from one I might buy at the corner hardware store today.

Without those details, and phrased in fairly ordinary terms, this excerpt is indeed like everyday speech, in the negative sense, despite the inherently exciting subject matter. Substitute a memo-wielding boss for the axe-bearing madman, and this could have been an anecdote overheard in a coffee house after work, couldn’t it?

Please don’t limit your answer to a simple yes or no. I was hoping to learn something about you.

Distancing the reader from the action in this manner is an unfortunately common tactic in memoirs and first-person fictional narratives alike. Instead of showing the reader what happened through a fully realized scene, the narrator simply summarizes; rather than demonstrating relationship dynamics through dialogue or action, the narrator just sums up what was said. And by describing subsequent actions in the same words or in hackneyed terms (I believed my eyes must be deceiving me? Really, Mark?), the action may move forward, but the reader’s understanding of what’s going on does not.

Joan stood; Benoist glided. Then Joan stood while Benoist glided. Then she stopped — odd as the narrative had not shown her going forward. Then the narrator conveniently blacks out so we cannot see what is going on. Then the problem is solved. The end.

A bit mauve, isn’t it? Well might you turn pale.

Seldom is this the most interesting way to convey a story, in my experience. Like having characters answer yes-or-no questions with yes or no, as opposed to more detailed (and thus more character-revealing) responses, the summary route closes off story possibilities. And by definition, repeated phrasing adds nothing new to the scene.

Neither, incidentally, do all of those thens: logically, they are unnecessary. Why? Well, in a story in which events are being presented in chronological order, the occurrences in Sentence 1 are presumed to have happened before those in Sentence 2, which in turn came before what’s described in Sentence 3.

Thens, then, as we have seen them used in that last example, are logically redundant; most editors would advise you to reserve them for moments when what happens next is genuinely unexpected. Take a gander:

Joan stood; Benoist glided toward her with an axe. Then the Wright Brothers and their sister, Katherine, swooped through an opening in the forest canopy in a motorized glider to snatch the weapon away.

Admit it — you didn’t see that last twist coming, did you? As a reader, didn’t you get a kick out of that?

Remember, there’s more to telling a story than simply listing its events in the order they occurred. Racing from its beginning to its end may not be the best way to engage the reader. You want the journey to be both memorable and enjoyable, right? And if the narrative can manage either to surprise the reader with an unanticipated turn of events, delight her with astonishing imagery, or intrigue her with beautiful phrasing — ideally, all three — all the better.

Before I release you to ponder the challenges of expanding a first-person narrative from the anecdotal level into a completely inhabited scene, I want to talk about another common faux pas: the further distancing effect of the narrative’s reminding us repeatedly that the narrator is seeing, hearing, or observing this or that. Obviously — at least from a professional reader’s perspective — if an action or object is depicted in a first-person narrative, the narrator perceived it; otherwise, she could not legitimately bring it up, right?

So when Twain’s narrator tells us repeatedly that he saw Joan do this or Benoist do that, it’s logically redundant. Of course, he saw it: he was standing right there. Why bother to remind the reader of that self-evident fact? Or, to put it as a garment-rending professional reader might, does the author think the reader is too brain-dead to remember who the narrator is and that he is present?

Oh, you don’t want the pros to take every word you commit to the page that seriously? But it’s how they show their respect for your eventual readers!

And for your literary gifts. Again: if it’s on the page and the writer appears to possess even the slightest vestige of talent, Millicent is going to assume that you put it there on purpose. She’s also going to believe, with good reason, that if a writer has set up rules for how the story is to be told — in this case, from the point of view of a childhood friend of Joan’s, and only from his perspective — the narrative will follow those rules consistently.

This, too, trips up quite a lot of memoirists and other first-person narrator-wranglers. Once a narrative is committed to a single perspective, it cannot report anything outside of it without shattering the illusion of a limited point of view. Thus, when the narrator slips into the first person plural, informing us that we saw this or thought that, it’s jarring to the reader’s sensibilities.

And when, like Twain’s narrator, he professes to know what we all are thinking…well, let’s just say that maybe Joan isn’t the only one who needs to be worrying about going on trial for dabbling in the supernatural. Unless the narrative establishes some means by which a first-person narrator could possibly have reliable insight into other characters’ thoughts and feelings, he should really stick to his own.

If his thoughts and feelings are somehow different from every Tom, Dick, and Benoist who might be hanging around in the same place at the same time, great. If he can manage to express them in language evocative, memorable, and tailored to his individual worldview, though, even better. And if he can work in a little character development, perhaps through revealing dialogue, terrific.

Which is not a bad definition of memoir voice, if you think about it: a narrator with a strong personality and specific worldview recounting situations of significance to an overall dramatic story arc in language and from a perspective unique to the teller. If every sentence of your memoir — and, to bring this back to our series-in-progress, every sentence of your query’s book description — does not rise to that level, you might want to think about revising it.

Millicent will thank you. So will your readers.

So Mark, darling, as much as I admire your writing in general and short stories in particular, if I were your editor — oh, you thought that editors don’t live in the hope that this type of activity would be the first, best use of a time machine? — I would insist that you sat down and revised these three pages. Actually, I would do it because I admire your writing: your narrative voice, even in this rather serious book, is better than what we’re seeing here.

And that axe you keep telling us you’re seeing, narrator? Try to think of it as your editor, chopping away all of that phrasing and conceptual redundancy. Trust your reader’s intelligence a bit more, please.

Do bear in mind, too, that while reality itself can be convoluted and devoid of point, readers have a right to expect a book based upon real events to be a good story possessed of an identifiable story arc. It should be dramatically satisfying. And if the real-life version is not, believe me, Millicent isn’t going to be inclined to take that as an excuse.

No need to go pale about this. You can do it. But in order to pull it off successfully, you’re going to have to be able to read your work not only like a writer, but also like a reader.

Oh, it feels good to be delving back into craft. Would anyone mind if I continued to keep standard format illustration on the back burner for a bit and made narrative voice my topic of the week?

Actually, that’s a rhetorical question, come to think of it. Keep up the good work!

Entr’acte: what’s that you say, Lassie? An international terrorist ring has infiltrated the school band’s bake sale and is holding the woodwind section hostage?

I had promised you fine people a weekend of posts on craft, but once I consulted that subsection of my always-burgeoning to-blog-about-when-I-can-find-the-time list, I realized that I could conceivably treat you to a full season of it. Ever since, I’ve been paralyzed by indecision about where in the morass to start.

Why is the list so long, you ask? It’s a predictable side effect of living on an editor’s desk, I’m afraid: I hate to break it to those of you new to the biz, but to read manuscripts for a living is to develop an ever-burgeoning array of literary pet peeves, and violent ones at that.

I’m not merely talking about coming to feel a well-justified horror of typos, finding that one’s eye twitches at the sight of the fourth sentence in the passive voice within a single paragraph, or startling one’s neighbors by hoarse, strangled cries of “Why do you hate the English language?” at manuscripts displaying a blithe disregard of subject-object agreement, either. Most classically-trained professional readers enter the game with such attitudes and behaviors.

Those of us who have been at it for a while pick up much more sophisticated irritation-triggers, born of seeing the same types of plot device over and over again. A deep sense of futility at a story that opens with an unnamed woman, possibly clutching baby, fleeing equally unidentified pursuers at night through some sort of uninhabited landscape — forest, blasted heath, alligator-infested swamp, etc. — in a state of inarticulate terror. Sheer repetition may cause editorial malaise may escalate to free-floating anxiety if the lady in question happens to be sporting tattered garments, be toting some priceless yet surprisingly portable family heirloom, or possess (shudder) long, flowing hair that catches on the brambles/heather/passing reptiles as she runs breathlessly toward the uncertain future. If that hair happens to be — can I bring myself to type it? — the color of sunset or sunlight, all the pro can do is long for Death’s sweet embrace or the ability to shout “Next!”, whichever is more convenient.

Not all well-worn openings induce such extreme reactions, of course. An experienced agency screener might only sigh gustily over the eighteenth submission of the week in which the protagonist wakes up with no idea of where s/he is. Eyes might be rolled if that hapless soul is similarly in the dark over who s/he is. Those eyes will not begin searching the room for some handy stabbing implement unless that protagonist happens to glance into a nearby reflective surface — mirror, limpid pool, an unusually shiny gum wrapper — and note, possibly wonderingly, that s/he has blue eyes, long blonde or red hair, and pleasing facial features. (Why does no one ugly ever wake up an amnesiac?) If that self-assessment includes the sight of a leg, and that leg happens to be shapely, the implement may be used on ourselves.

And as fond as those of us pursue the life literary tend to be of caffeinated beverages, particularly of the warm variety (I’m looking at you, Millicent), we have been known to set them aside with unnecessary vim, resulting in splashing, when a narrative stops dead in its tracks in order to depict the protagonist (possibly one with long red, blonde, or raven tresses) having a heart-to-heart with a quite a bit less physically attractive best friend/confidante coworker/improbably non-judgmental parent about the ongoing conflict, to try to figure out what the heck s/he is going to do about it. We’ll take a God-give-me-strength-or-at-least-stamina sip if the protagonist and (usually her) friend conduct this plot-freezing confab whilst actually consuming coffee, tea, hot chocolate, or a cocktail that will no longer be trendy by the time the book comes out. Admittedly, we might choke on that judicious sip if the friend does not contribute more to the conversation than a series of semi-supportive wows and uh-huhs, but you’ll be delighted to hear that the spit-take doesn’t actually occur unless that conversation recaps, blow by predictable blow, the scene that fell immediately before the cozy chat.

By contrast, our blood pressure will rise only slightly if our hero/ine appears on the scene just in time to observe over a freshly-deceased body, “He’s dead.” Our molars will grind only a trifle if her/his superior subsequently orders her/him to — wait for it — find the killer, pronto, because that, obviously, would not have occurred to him/her. Tooth enamel may become damaged, however, if that superior is experiencing pressure for results from above/the mayor/the governor/the president, based upon a timeline so short that only a five-year-old with an unusually short attention span, a mosquito trying to live out the last few moments of its lifespan with gusto, or someone completely unfamiliar with the concept of an investigation would consider reasonable.

Should the deceased that s/he so helpfully declared defunct also in this moment be revealed to be a close personal friend never mentioned before in the story, relative (sisters seem to be particularly expendable, a trend troubling to those of us boasting a couple of X chromosomes and a full family tree), or that troubled kid who decided in the last scene to clean up his/her act/addict twelve hours off “the stuff”/terrified witness this close to agreeing to testify in that big trial about which the Aboveniks have been pressuring everyone in sight, apparently based upon a fundamental misunderstanding of how the criminal justice system works, we might end up clutching our right arms and visiting the emergency room. But you shouldn’t worry your pretty little head about it.

We’ll be fine. Tell my cop brother/D.A. sister/hard-boiled detective ex-husband that my last wish was that s/he would catch that killer/corrupt official/ill-mannered vampire. S/he knows I have always loved…gasp…whimper.

To be fair, all of us see these tropes on television and in movies all the time: to the many, many, many writers whose sense of drama was derived from flickering images, these plot devices often seem perfectly reasonable, if not downright mandatory. And in genre fiction, it often does make sense to honor book category conventions; a vampire’s gotta bite and a test pilot’s gotta fly, after all.

So what if Millicent the agency screener knows as soon as she realizes that the manuscript was written within the last ten years by an American that any vampire the reader is supposed to like will be — you’ll never see this coming — conflicted about killing any mammal larger than a stoat? Want me to tell you about the conflict s/he is going to have with a vampire with less rigid ethical boundaries?

It’s less reasonable, however, to expect any reader, much less one that does it for a living, to be surprised when the P.I.’s partner gets killed before we’ve really gotten to know him. Or when the grizzled (fill in job description here) two weeks from retirement either takes two in the chest or is assigned to train a rookie. (Is there any governmental institution in the world that embraces this as a standard practice?) Or if the only person in the book about whom another character says, “Oh, s/he had a tough childhood,” turns out to be the serial killer/arsonist/mysterious perpetrator of late-night office vandalism.

Just once, I’d like to see the axe murder turn out to have experienced an upbringing so normal that Sigmund Freud would have shouted, “You’re kidding — no one’s childhood is that perfect.” Good parents inadvertently produce sociopaths, too, do they not?

Oh, it hadn’t occurred to you that professional readers might enjoy being surprised every now and again? Believe me, one doesn’t have to cast one’s eyes over more than a thousand or two stories in which the (almost invariably male) protagonist’s wife/girlfriend and possibly small child is slaughtered within the first scene in order to provide him with motivation to perform the dangerous task that someone must manifestly do immediately before one begins being actively on the look-out for plots with a little more twist to them. By the same token, if one sees the same premises, plot twists, and even lines of dialogue in manuscript after manuscript, it does become a trifle difficult not to anticipate them.

“Oh, look,” Millicent mutters, unthinkingly taking a sip of her latté before it has had time to cool, “the only two vaguely attractive people in the book have just fallen in love. What’s next, a tale in which the Lady of Dubious Virtue turns out to have a heart of gold?”

Seriously, professional readers’ enjoyment can be quite impeded by this sense of déjà vu. No matter how many times one tells oneself, “Look, Mavis, I realize that cultural storytelling norms are pervasive, and that the mortality rate for mothers in the Star Wars series was virtually 100%, but you have no right to imagine that dear old white-headed lady on page 2 breathing her last on page 10. You’re just going to need to read the intervenes pages and see what happens,” it’s impossible not to feel a bit vindicated when the protagonist’s dear old white-headed mother does in fact breathe her last on the bottom of page 9.

But will Mavis find it entertaining? Well, it all depends on the writing, as agents and editors like to say. (Hey, every society has its tropes.) Even in a brilliantly lyrical manuscript, though, it’s substantially easier to entertain a reader who has not known since page 1 what was going to happen on page 158.

Just the nature of our old pal, the story arc, and of storytelling as an art form, I’m afraid. And, frankly, of an agent or editor’s job: reading thousands of manuscripts in the hope of finding the one that’s as pure gold as the ticker beating within the aforementioned Lady of Dubious Virtue.

That’s not the only source of pet peeves, of course; professional readers see the same movies and television shows as everyone else. We’re not immune to the influence of pop culture, however much some high literary types might imply otherwise. Your humble correspondent’s personal least-favorite — the narrative shortcut I like to call the it’s gotta be… phenomenon — crops up constantly, not only in manuscript submissions, but throughout the cultural firmament.

How much do I dislike seeing it on the page? Well, you know how much I enjoy defining things? This time, in order to expose you to it as a brand-new Millicent might experience the phenomenon, I’m going to bypass definition entirely, opting instead to show you a few examples. Try to spot it in the wild.

Tyrone brought his beloved motorcycle to a screeching halt beside the bevy of onlookers. He could tell before he fought his way to the front of the crowd that Sheila was dead. Living people can’t fold themselves in to rectangles that small, much less spread their arms the length of a city block and their long raven hair across the awnings of three separate businesses. That requires assistance from a psycho with a chopping implement, possibly one from a less-than-happy home.

And he knew just the psycho to do it. Gunning his motor, he raced off into the night in pursuit of Garland Hecht.

Did you notice it? Admittedly, it’s subtle here — and in our next example.

“You’re not going to send me away again,” Arlene shouted. “My daughter’s been missing for three days, and all you’ve done is tell me to be patient!”

The principal’s patience seemed to be waning. “I understand that this is stressful for you, Mrs. Belcher, but the marching band’s not back from its maneuvers yet. For all we know, she simply missed the bus.”

The phone rang. Arlene leapt to answer it. “Lana?”

A pause. “Mom?”

Sensing a pattern here? No? Let’s try again.

I couldn’t believe my ears. “A break-in? At ten o’clock on a Monday morning?”

Bob pointed to a couple of indistinct footprints. “Well, someone’s been here.”

The officer cleared his throat. How long had he been out of the academy, forty-five minutes? “Um, ma’am, could you tell us if there’s anything missing?”

I already knew that there wouldn’t be. It wasn’t Warren’s style. “Not that I can see. But this isn’t a thief.”

“Wait,” the officer said. “You know who did this?”

“Yes. My ex-business partner.”

“Yeah, right.” Bob guffawed. “He’s not only dead; he’s buried halfway across the country.”

Dear, naïve boy: was he unfamiliar with the ease with which a wax figure could be introduced into a coffin at a closed-casket funeral? I gave up on explaining and turned to the officer. “I appreciate your concern, but there’s really nothing for you to do here. I’ll handle this myself.”

Predictably, Bob exploded. “But Claudine, that’s crazy! Ghosts don’t shatter living room windows. For all you know, whoever broke it is coming back!”

Oh, I was sure of that. In fact, I was counting on it. Only this time, I’d be prepared.

If it didn’t strike you that time — and it might not; this one’s ubiquitous — I shall have to fling all subtlety to the winds. I present you now a blatant version. Hint: this is also the device’s most common form.

The chief dispensed with the civilities. “About time you got here, detectives. A fifth burglary, and downtown’s breathing down my neck to get results.”

Bonnie and Mac glanced at each other, then at the crime scene. It looked nothing like the other four, except for what was not there: a Persian carpet showed dents where the grand piano once stood. A single candle burned on the mantelpiece. The family photos on either side had not been disturbed.

She leaned toward her partner. “It’s got to be our guy.”

“His rage is clearly escalating,” Mac whispered.

She held her finger to her lips. “Chief,” she called across the room, “we’ve got to go track down a lead.”

It leapt off the screen at you that time, I hope. If not, let me ask you what I would scrawl in the margin of this manuscript: how did Bonnie and Mac know that even though the crime scene was different, the same perpetrator had stolen this piano as the previous ones? Is not the only common element here the theft of a piano, and is it not conceivable that more than one piano thief is currently occupying the planet?

While we’re at it, what makes Claudine so sure that Warren was the only conceivable window-smasher? Does he hold a national monopoly on the practice? Does she have any other reason to believe him to be above ground?

And how did Arlene Belcher know that her daughter was the caller? It wasn’t her phone, after all; plenty of people telephone high school principals. Was it just a lucky guess? If so, why didn’t the narrative present it that way — or at least show the principal acting surprised at her answering his phone?

Finally, is there any basis for Tyrone’s certitude that his favorite psychopath hacked up Sheila? Or does he simply know no other psychopaths?

The answers to all of these questions, I regret to say, ultimately boil down to the same thing in each case: the characters leapt to these conclusions because the plot required it. Not because it would be impossible for the writer to move these various stories forward unless a major character stated categorically that this, and only this, was the only plausible perpetrator, but because the narrative is using this device to avoid having to deal with any other logical possibilities.

Or even, in several of these cases, to describe what makes the concluder so darned sure. Yet in each instance, the reader is told point-blank that X must be true — and, since the narrative does not question that bottom-lining statement, the reader is left to assume that it must, indeed, be accurate.

Pardon my asking, but why must it be true? As these passages were written, none of the characters making these assertions seemed to have much logical basis for leaping to these conclusions. Admittedly, we’re also not shown any reason to doubt these sweeping assertions, but that’s not the same thing as showing enough on the page that we can draw these conclusions along with the character, is it?

To a professional reader’s eye, the it’s gotta be… phenomenon is primarily a narrative shortcut. It saves the narrative the trouble of presenting either plausible inductive or deductive reasoning by simply stating what the writer wants the reader to believe.

And that, my friends, is a show, don’t tell problem.

Oh, you didn’t see that coming? Millicent would have; so would most professional readers. Simply asserting that X is the case, Y is this kind of person, Z is feeling Q is classic telling, not showing. Instead of providing the reader with a dozen pieces of evidence that would lead the reader to realize that they all point to X, or demonstrating the kind of person Y is through action and dialogue, or illustrating Z’s Q feelings through same, the text just assumes that the reader needs to be told all of these things point-blank.

From an editorial perspective, this is not merely less effective storytelling — it implies that the writer does not trust the reader’s intelligence enough to draw the correct conclusions. But most fiction readers don’t require spoon-feeding; they tend to find it a bit obvious.

And if they find it obvious, how do you think a seasoned Millicent will feel about it? Plots low on complications tend to minimize conflict; a straight line from mystery to revelation is seldom the most interesting way to get there. So if the manuscript in question is well written, she might well feel disappointed at seeing potentially interesting — and perhaps less predictable — possibilities cut off by it’s gotta be….

“No,” she will long to lecture the manuscript, “it doesn’t have to be, as this is currently written. Please, either show me in detail why the path you’re choosing here is the logical one, or present me with enough plausible alternative explanations that I may have the pleasure of trying to solve a complex puzzle for myself.”

That raised some hackles out there, didn’t it? “But Anne,” writers fond of quick-deciding characters protest, “I read Tyrone, Arlene, Claudine, Bonnie, and/or Mac’s reactions in a completely different way — and, appropriately for this fine nation’s current trends in filmic storytelling, in the manner that I suspect screenwriters and directors intend me to interpret them. Where you and Millicent see narrative convenience, I see smart characters doing what smart people do all the time in real life: draw impressive conclusions from scant evidence.”

You have a point, speed lovers: intelligent people can often interpret subtle clues correctly and distill them into statements of fact. But if you’ll pardon my mentioning it, people of normal intelligence are also given to assessing situations and drawing conclusions therefrom. And I’m sure you’ve noticed that both in novels and in those TV shows and movies to which you allude, a fairly standard means of demonstrating a character’s lack of intelligence is to show him or her making untrue observations based on scant proof.

See the problem? By disregarding entire universes of alternate possibilities, Tyrone, Arlene, Claudine, Bonnie, and Mac could be exhibiting lightning-fast interpretive skills — or they could simply be too ill-informed or dim-witted to realize that there are other options.

I get what you mean, though, devotees of speed: television shows and movies have accustomed us all to equating intelligence with both the ability to blurt out relevant facts quickly and to make snap judgments about swiftly-changing situations, just as we’ve been trained to regard barking orders as indicative of authority, a belligerent insistence upon not accepting help as a token of toughness, and being able to assess a technically complex phenomenon at a glance as an infallible sign of expertise. I would just like to point out that it’s probably not entirely coincidental that all of these common traits also happen to be awfully convenient for someone trying to tell a story in a hurry.

Like, say, in an hour-long (minus commercials) cop show. Or in a 90-minute movie. A storytelling shortcut or two might be very helpful in wrapping things up quickly.

That doesn’t mean, though, that these common storytelling shortcuts constitute the only way to tell a story — or necessarily the best way for your story. And isn’t one of the reasons that you wanted to write in the first place to express your own sense of story and characterization? Wouldn’t you enjoy astonishing your reader with a plethora of possibilities — and having the satisfaction of seeing that reader become embroiled in trying to resolve the plot’s conflicts along with the protagonist?

Every writer must answer those questions for him or herself, of course. Only, please, when you’re tempted to cut to the chase, ask yourself: does it have to be this way? Or am I avoiding exploring interesting alternatives or complications in the interest of speed?

Give it some thought, please. And, at the risk of being predictable, let me encourage you to keep up the good work.

Reimagining a classic impeccably: a conversation with I, IAGO author Nicole Galland

Okay, okay, so I didn’t manage to get our planned whew-I-survived-PNWA treat up yesterday, as I had hoped, as a quick breather between talking about how to handle conference pitching with aplomb and today’s plunge into how to handle a request for manuscript pages — which will still be happening later today, you will be delighted to hear. I have an excellent excuse, however: the other day, a truck burst into flames outside the salon where I was having my hair cut.

The first those of us inside the salon heard of it was the giant pop when the windshield exploded. Not the best time to have one’s head in a sink, as it turns out. Both my stylist and I jumped so much that I have a gigantic bump on the back of my noggin. It’s rendered it just a trifle difficult to focus on a computer screen.

And that, in case any of you had been wondering, is why fiction has to be so much more plausible than nonfiction — and why simply slapping real-life events on the novel page so often doesn’t ring quite true. Quite a lot of what happens in this zany world of ours would seem completely absurd if it popped up in a novel.

Case in point: would you believe it if Our Heroine not only rushed to her blog the instant she could see straight after that out-of-nowhere explosion, but posted twice in one day? Surely, that pushes the bounds of credulity; the fact that it is actually going to happen would be irrelevant.

Is my vision still a bit blurry, or are some of you sighing and shifting impatiently in your chairs? “Yes, yes, Anne,” those of you eager to get requested materials out the door mutter, “I’m sorry for your whacked head, but we’ve been talking about practical matters for the last week. I’ve appreciated that, as I have a manuscript request burning a hole in my metaphorical pocket from my recent successful conference pitch and/or a query that hit the right note. I’m begrudgingly honoring your advice to read my submission IN ITS ENTIRETY, IN HARD COPY, and perhaps even OUT LOUD before I send it off to the agent of my dreams. But honestly, a cozy chat about plausibility in fiction? Or a discussion of craft with a respected historical fiction author, as the title of this post implies you’re about to have? How can I do that and remain monomaniacally focused upon popping my manuscript into the mail as soon as I have satisfied your insane demands?”

All part of my evil plan, impatient shifters (but please, don’t say popping to me right now; it makes my head throb). As it happens, evil plans, plausibility in fiction, craft, and the all-important issue of how to keep the faith throughout what can be a long, attenuated submission process — even if you hit SEND immediately after today’s late-night post on how to present your work professionally, it’s not at all uncommon for submitters not to hear back for months — are all part of this afternoon’s treat.

So is the question of how to render over-the-top realities plausible on the page. Or wasn’t plausibility something for which you had been scanning while you were re-reading the pages you intend to submit IN THEIR ENTIRETY, IN HARD COPY, and, if you want to make me happy, OUT LOUD?

Okay, that’s why you might want to pay close attention to the content of this discussion, impatient shifters. Now, allow me to introduce my discussant, a highly-respected historical novelist deeply gifted at bringing even the most over-the-top events of years past into vivid, plangent, and utterly plausible life on the page: Nicole Galland.

Nicole Galland’s terrific new retelling of OTHELLO, I, Iago came out a few months back, and although you of all people know I am not prone to gushing, I think it’s one of the best historical novels of recent years. I also think it’s both a terrific read and a great example for those of you toiling away in the currently popular vineyard of reconceiving classic tales. From the publisher’s blurb:

From earliest childhood, the precocious boy called Iago had inconvenient tendencies toward honesty—a “failing” that made him an embarrassment to his family and an outcast in the corrupted culture of glittering, Renaissance Venice. Embracing military life as an antidote to the frippery of Venetian society, he won the glowing love of the beautiful Emilia, and the regard of Venice’s revered General Othello. After years of abuse and rejection, Iago was poised to win everything he ever fought for…

…until a cascade of unexpected betrayals propel him on a catastrophic quest for righteous vengeance, contorting his moral compass until he has betrayed his closest friends and family and sealed his own fate as one of the most notorious villains of all time.

Pretty exciting, eh? Actually, for once, a blurb has undersold the dramatic action — and the genuinely astonishing twists of the plot.

Yes, even if one happens to know Othello awfully darned well. I do, as it happens: I’ve acted in it. Heck, I’ve played more than one role in it. And more than one turn of events made me not only gasp out loud, but put that pen with which a prudent author interviewer always takes marginal notes right through the page.

Think about that. Usually, I don’t jump for anything less than a nearby explosion.

Seriously, one of the occupational hazards of being an editor is the deadening of one’s capacity for surprise. Editors are notorious for rolling their eyes over mild foreshadowing on page 14 and murmuring, “Oh, great, now I know how the book ends.” If you are the type of person that likes to receive a story arc in sequential chunks, I would strenuously advise against accompanying an editor to a movie.

That suggestion is brought to you, incidentally, by the unlucky soul that happened to be occupying the adjacent loge seat when I saw The Sixth Sense. The first time the mother appeared onscreen and did not ask how her child’s therapy session had gone, everyone within three rows heard my annoyed huff, if not my whispered, “Oh, so the mother can’t see the therapist; he must be a ghost. I’m bored now.”

As you might imagine for a reader with that kind of attitude problem, it’s rare that a plot catches me by surprise. So how is it possible that reading a story whose ending I know as well as Othello’s kept me up all night reading because I wanted to know how it was going to turn out?

Which is, of course, the central problem in retelling any well-known classic. It’s always a writing challenge to draw readers into a story, particularly one that takes place long ago, but it’s an especially high dive with Shakespeare — and not merely because of the intimidation value of tackling one of the theatrical world’s greatest tragedies. Even readers that routinely turn pale at the very thought of their high school English class’ discussion of Hamlet may reasonably be expected to be familiar with the outlines of the plot: General Othello and the lovely Desdemona are in love, Iago convinces Othello to become madly jealous, and the stage quickly becomes littered with corpses.

To make the dive even higher, the literary world has in recent years applauded — and even expected — new takes on culturally well-known tales not only to render them fresh and accessible for current readers, but to do so from the point of view of the villain. In reimagining Othello, that presents quite a difficulty: Iago does some pretty loathsome things to the people around him, rendering him hard to like — and, unusually for chatty Shakespeare, the play’s audience is actually not treated to much explanation of his motives.

How did Nicole conquer these twin challenge? By means of a writing choice that I think will delight and instruct those of us devoted to writing fiction: by delving so thoroughly into Iago’s past and personality development that as he takes each step toward infamy, the reader is cajoled into saying, “Oh, okay — I can go along with that.”

The result is hugely engaging. I, IAGO not only seduced me into liking the villain — something I would not have thought possible — but left me feeling by the tumultuous last quarter of the book that by having empathized with his increasingly warped sense of right and wrong, I had become enmeshed in his fate. Yet even though I could see it coming, even though I had picked up the book knowing that it had to come, the trip there kept catching me off guard, because I was experiencing it moment-to-moment with the protagonist-villain.

And that, my friends, is not something that happens all that often to those of us that murmur at the first mention of a character’s hard childhood, “Oh, so he’s the serial killer.”

An unexpected fringe benefit that friends of the Bard will love: this story is so steeped in the Shakespearean ethos that small hints of his other works seem to have been built into the very plaster of the ballrooms and steel of the swords. Here is an image plucked from a sonnet; there is descriptor reminiscent of Juliet. And could that possibly be a reference to Pericles, Prince of Tyre?

It is, in a word, fun — not word I generally associate with tragedy. If I have a critique (other than having lost sleep to this story), it’s that I would have liked to see both Desdemona’s very genuine wit and Othello’s descent into overwhelming paroxysms of jealousy in a bit more detail. Why was this great mind so easily overthrown?

But that’s a minor quibble. As an established fan of Nicole’s writing — and, in the interest of full disclosure, as someone who first met her during an audition for Measure for Measure at Harvard, back in the Reagan era — naturally, I expected to be charmed by the writing. I have to say, though, I think this is far and away her best book to date, and certainly one I have been frantically handing to every aspiring historical novelist I meet as a prime example of how it’s done.

So, equally naturally, when she made a flying visit to Seattle recently, I dragged her into my back yard, turned a camera on her, and implored her to share her writing secrets. Unfortunately, before we began, I took off the hat I had been wearing on that hat day first, so you’ll have to excuse my hair.

Seriously, its state requires excuse, so much so that had this not been such a meaty interview with such an old friend, I might have held off on posting it until I could find a gifted retoucher of videotape. But I promised you a treat, so I shall cast vanity to the winds.

How I suffer for your art, eh? Concentrate instead, please, on this year’s bumper crop of lilacs — and a great conversation about craft with one of the best. Enjoy!