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xenithI have been writing, just slowly.
I took all the scenes that make up the second plotline up to where it joins the first plotline, then I took out all the backstory, which meant writing a whole new first scene and rearranging/adding bits to others so they fitted the new reality.
I hate creating new filler material. It's creating from nothing but you can't "let it go where it wants" like with first drafts, because it has to fit into a certain hole. It's just a slog.
Then there's Nate.
He's a nice boy, well-behaved, polite, hard working, and a little wide-eyed. For example, in the new first scene, he decides he's going to look at the train. In the previous version, he just sees/hears a train from a distance. Now he has to look at it and into it, and guess who has to work out what the bloody thing looks like? Then he insists on looking out the window of the carriage. Guess who has to work out what he's looking at. *sigh* Or he takes what is supposed to be a couple sentences (carriage stops, passengers get out, it goes & parks) and turns it into a big deal where everything has to be described action by action.
He is a stubborn, bad boy when he wants to be.
But I've got the first 5 "new" scenes done to "second-draft quality". Now I just have to run through the next handful and make sure they fit with the new reality, and then I can get make to the rewrite I am supposed to be doing.
I took all the scenes that make up the second plotline up to where it joins the first plotline, then I took out all the backstory, which meant writing a whole new first scene and rearranging/adding bits to others so they fitted the new reality.
I hate creating new filler material. It's creating from nothing but you can't "let it go where it wants" like with first drafts, because it has to fit into a certain hole. It's just a slog.
Then there's Nate.
He's a nice boy, well-behaved, polite, hard working, and a little wide-eyed. For example, in the new first scene, he decides he's going to look at the train. In the previous version, he just sees/hears a train from a distance. Now he has to look at it and into it, and guess who has to work out what the bloody thing looks like? Then he insists on looking out the window of the carriage. Guess who has to work out what he's looking at. *sigh* Or he takes what is supposed to be a couple sentences (carriage stops, passengers get out, it goes & parks) and turns it into a big deal where everything has to be described action by action.
He is a stubborn, bad boy when he wants to be.
But I've got the first 5 "new" scenes done to "second-draft quality". Now I just have to run through the next handful and make sure they fit with the new reality, and then I can get make to the rewrite I am supposed to be doing.
