>run statrprt.exe file:WIP.odt
MANUSCRIPT STATUS REPORT OT:2019/09/21 ψSC:UNKNOWN
word count: 169,493
page count: 656
# of chapters: 121
longest chapter length: 5,041 words
shortest chapter length: 221 words
opening paragraph length: 7 pages
# of footnotes: 15
# of pages in meter: 5
longest string without punctuation marks: 24 lines
# of named human characters: >200
# of chapters featuring most featured character: <20
status: cooling down
title: HEAVEN PARK
よくやった！
September 20, 2019
July 28, 2019
July 2, 2019
May 21, 2019
April 13, 2019
Quidditch & Apricots
I was due to write a post but I couldn't think of a subject, so I asked for help, and this is what we got.
It is said somewhere that both Adrian and Zooey have control of the whole brain the whole time: their only problem is agreeing on what to do. Two pilots, one plane. You can see Adrian without Zooey in chapter 7 and Zooey without Adrian in chapter 10: they're just less frustrated when the other's sleeping. However, both personalities alone are too radical for their own good, so it's best to compromise and help each other. Adrian needs Zooey to show empathy and not to antagonize everyone. Zooey needs Adrian to grab the steering wheel while she plays air drums.
Bored as in, I'm not interested by this subject anymore, not that I can remember, no. Bored as in, I would rather be playing Terraria right now, yeah, quite often. Take breaks!
I'm gonna say 31. It's how old I was when I met them.
From my experience, the editing process is sort of a negotiation. I doubt any editor expects an author to take 100% of their suggestions. On the other hand, taking 0% is arrogant and self-righteous. So sure, you can refuse some changes. But you also have to wonder whether you're doing it out of pride: if you and your editor truly see eye to eye, you must listen to their input. Since Meddling Kids, everything I've published has gone through the same editor at Doubleday, and he has improved all of it. We've argued, but I'm glad he stood up to me every time, cause he was right. Also, keep in mind that editorial suggestions seldom come in the form of, "This doesn't work--write this instead"; they're more often like, "this doesn't work--find an alternative," so there is ample room for solutions that please everyone.
The biggest and most specific change that was suggested to me was in The Supernatural Enhancements. I refused it, but I explained why and proposed a different solution, and the book turned better than the manuscript.
I don't like giving writing advice because universally good tips are painfully obvious. Plus, my own beginnings were in Catalan, which is a completely different scene, so my experience doesn't help. Therefore, I only have the usual platitudes for you: write stuff, finish it, and then write more stuff. Don't skip steps 2 and 3.
Thanks all for your questions! Keep them coming!
So about A.Z., what's it like for Adrian when Zooey's knocked out, and vice versa? Static? Cognitive impairment? Does he gain full control over her hemisphere, and why doesn't his personality change? Researching for, you know, reasons.
It is said somewhere that both Adrian and Zooey have control of the whole brain the whole time: their only problem is agreeing on what to do. Two pilots, one plane. You can see Adrian without Zooey in chapter 7 and Zooey without Adrian in chapter 10: they're just less frustrated when the other's sleeping. However, both personalities alone are too radical for their own good, so it's best to compromise and help each other. Adrian needs Zooey to show empathy and not to antagonize everyone. Zooey needs Adrian to grab the steering wheel while she plays air drums.
Do you ever get bored of a story during the writing process? I can't tell if when it happens to me if it's because the story is boring, or because I've just been sitting on it for too long and it's just not fun to me anymore.
Bored as in, I'm not interested by this subject anymore, not that I can remember, no. Bored as in, I would rather be playing Terraria right now, yeah, quite often. Take breaks!
Oh, also, about how old is AZ?
I'm gonna say 31. It's how old I was when I met them.
How smoothly does the editing process usually go? Are you ever told to change things you don't want to change/write things you don't want to write?
From my experience, the editing process is sort of a negotiation. I doubt any editor expects an author to take 100% of their suggestions. On the other hand, taking 0% is arrogant and self-righteous. So sure, you can refuse some changes. But you also have to wonder whether you're doing it out of pride: if you and your editor truly see eye to eye, you must listen to their input. Since Meddling Kids, everything I've published has gone through the same editor at Doubleday, and he has improved all of it. We've argued, but I'm glad he stood up to me every time, cause he was right. Also, keep in mind that editorial suggestions seldom come in the form of, "This doesn't work--write this instead"; they're more often like, "this doesn't work--find an alternative," so there is ample room for solutions that please everyone.
The biggest and most specific change that was suggested to me was in The Supernatural Enhancements. I refused it, but I explained why and proposed a different solution, and the book turned better than the manuscript.
Hey Edgar, any advice to someone trying to break into the publishing industry?
I don't like giving writing advice because universally good tips are painfully obvious. Plus, my own beginnings were in Catalan, which is a completely different scene, so my experience doesn't help. Therefore, I only have the usual platitudes for you: write stuff, finish it, and then write more stuff. Don't skip steps 2 and 3.
Thanks all for your questions! Keep them coming!
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