Dabs with the Language Sander

Revisions on my Tudor novel are almost done. I mention this because I've been blogging mainly about poetry in recent months, yet I seem to have spent most of that time writing - or fiddling about with - prose.

It's always been a secret thought with me that prose rhythms are akin to poetry, or ought to be. Certainly I take my time over sentences that don't sound 'right' to me in their context, whatever that may be.

A good sentence should flow, should be both elegant and fit for purpose - by which I mean it should communicate whatever the writer needed it to communicate, which might be nothing or everything, or any point in between.

Clumsy writing is the last thing I want to find when looking back over what I've written.

Unfortunately, it's almost unavoidable in early drafts.

This is how it happens. You need to present a thought or a situation or a mood, and the words don't want to come, but you don't have time to coax them. You're a professional writer, you have deadlines, you have bills to pay. So you bodge it. You write what is needful and make a mental note to return later - preferably after dark when no one but the night watchman's cat is there to witness your shame - and rewrite the damn thing so that it says what is needful without leaving mental splinters in your reader's head.

That's one part of the revision process. Sanding off the rough edges.

A less pleasurable part of revision is having to rejig characters who now have beards, or no longer have beards, or whose motivation is entirely changed, or who must now swim the moat instead of swinging across it with the help of trailing creepers.

I'm joking, of course. But when you change even one detail, you quickly realise that nothing happens in isolation. Everything in the novel is interconnected. This is where we get our word 'text' from, a marvellously hard-working word which is related to 'textile' and the idea of weaving.

So once you decide, at the revision stage, that a minor change needs to happen, you also need to find places where a knock-on effect will occur following that change, and to make sure everything remains consistent within the world of your novel. Once you have six or seven 'minor' changes like this to make, the process of scouring the book for places where further changes need to happen becomes quite time-consuming and fiddly.

And meanwhile, you can't help little dabs with the language sander ...

But the hardest work is more or less over. I have one key scene to entirely rewrite, and maybe a short chapter to add early on, and the rest is about style.

Then I have the next book to begin.