The stages of editing.

I thought it would be simplest to show you the very beginning of Lamplighter. I will make some comment on each version but will let them speak for themselves - my hope is that when you click on an image it will show it at a better, more readable size.

Please, ask any questions you like.

As you can see my initial beginning was markedly different from what we now have in the book. My first thought was to start the very next day from where Foundling left off. I am glad that I did not. The where to begin a story is one of the big challenges in writing. Apart from this, other problems clear to me (now, at least) are a/ that Grindrod is unrealistically harsh & b/ the excessive use of capitals for his voice.

Next is the proper beginning to the story; it is bloated and clumsy - but that is the nature of my first drafts for you... The comments on it are made by the fair hand of my publisher, Dyan Blacklock.

The change from first to second draft is hard work but seeing the better, tighter story emerge from all the pain is a genuine joy. The scribble in green is my own hand as I continue to improve the text - all those little details and tweaks that feel make the tale a whole lot better.

This final stage is what are called pages. It is the properly typeset book printed out on ordinary A4 paper for me to go over for any final and usually small corrections. I, however, made some significant changes - as you can see by the highlighted text, which, if memory serves, was shifted and cut. If you get out your copies you shall see what I mean. This is not normal at this stage, of course, but most was agreed to by my editor (the purple penciled Celia Jellet), for it indeed made the whole work again that much better. (I paid for the re-typesetting, btw - 'tis only fair...)

There you have it! Just like that. This book writing thing is easy!

Also Gareth of Falcata Times asked me to point you all to their review of Lamplighter, which fits well with this post, the final end for this whole process: people reading it and even reviewing it. Thank you, Gareth!

For breakfast today I had porridge with sultanas and a cup of Irish Breakfast tea.

A poll for you...

Just put up another poll for your pondering (just scroll down a bit)... more substantial posting coming soon.

Still here! Still here!

Just in case you thought I had shuffled off somewhere, I am still about, honest, being very preoccupied about editing (actually a major rewrite - you should see all the green pen scribbled over each page, the inserted pages with even more green scribblings) and slack about blogging.

I heard once that you need to post at least once a week to be considered a real blog, so I don't know where that leaves us...

Just thought I would acknowledge that "clede" (a corruption of Mr Hranac's 'cledu' verificon word) meaning a country dance, and most likely "verger" (coined by Alyosha's daughter) meaning a builder of fortifications, might well have a place in the Half-Continent. 'Tis a bit perplexing about how such things work though; can I even have them to use? They are other people's stuff after all. I could sit here and just plunder you all and never have to come up with my own stuff - though where is the fun in that...! endless invention is entirely the point. It is just that some words are just right for the idea. Then again, there have been several times I have had to let some entirely perfect 'word' go because it is someone else's property, which just pushes me try again, to dig deeper, to slide sideways and get inventive. What I do not want is to be is a thief.

Back to the rewrite... (oh, and I will put up some old variants of bits of Lamplighter soon, to show what editing does for me -and you too, as the end users... did you know that you are 'end users'? Sounds a bit cold...)

Hope you all are well.

Oops, no title!

monday comes bearing a "nosy personal question, Mr Cornish: I was just re-read Foundling again and am suddenly wondering if you have some sort of deep-seated, sweat-inducing terror of, when traveling, accidentally getting on the wrong bus/train/airplane. [I'm talking of course about Rossamund's incident with the Rupunzil and the Hogshead.] because i am a paranoid traveller myself, and that situation certainly struck a chord with me...did you have some sort of bad experience, or is it just the product of an over-anxious imagination?"

I think it is the latter, though now that I ponder it, I certainly have an at times morbid concern for missing my stop - may be that is it?

Ben Bryddia was wondering... "Since it's not socially acceptable to be abroad without a hat of some sort in the Empire, does Europe's refusal to wear one say anything about her personality?"

I reckon it does, yes... especially in light of her rather ironic observations of Rossamund's continuous loss of his own head ware.

He also went on to muse, "I was also wondering if fuses came in any other shapes than the simple poles described in the books. I have no idea how one would wrap a knobbly bastinade stick with wire, but the concept sounds rather interesting to my addled thoughts."

This seems a perfectly feasible and probably likely variation for some certain fulgars. Sets me on interesting train of thought...

Dear Master portals ponders, "I was wondering - with all the monsters, how is hunting in the H/C? I mean, everyone seems quite well fed, but I never heard anything about actually getting the food. I know Rossamund walks past pastures with cows, but he also eats venison. Maybe I'm missing something (probably, but ... yeah ...)"

Fair question. Hunting and rearing of such things as deer ready to slaughter for the table are very much alive and well in the Half-Continent - something you can just assume are occurring. They have not appeared especially in the books because there is only so much minutiae I can put in each one... and I reckon not every spoke of the wheel needs reinventing (just most of them ;).

The most excellent Perry Middlemiss over at Matilda has picked up on my previous enthusiasm for editing, but I can say now that yes, indeed, as Klesita suggests, editing is taking its toll... *deep breath* The second draft is bearing only some resemblance to the first - the journey is very different every time. Added to this, I just learnt today the Robert Louis Stevenson wrote the first draft of Doctor Jekyll and Mister Hyde in 3 days (!!!!!) - I wish!

The Agonies of Editing

Ahh noelle, it's not just fledgling authors who feel the dents of editorial comment. I am about to receive edits from my publishers and am getting myself prepared for the sting (as much as you can). "Don't they get it! How dare they say that! But I love that part!" might be among the thoughts you're having. I rant and rave and get all bothered and offended.

I find two things help with the post edit sting (actually three) a/ putting the edits down for a bit and mulling (or brooding -if you like) them over; b/ choosing the best "hills to die on" if you get my meaning - the happy medium between those things you are willing to change and those that must remain as they are, besides which, it is still your story, you do not have to make any of the changes an editor asks of you (though I would not recommend such action, a good editor will me you a better writer - I know that is true for me, God bless you Celia and Tim) c/ the healing balm of time.

Also, remind yourself that the editing stage is a team effort, AND the crucial first sharing with the beginnings of an ever widening audience. Though criticism is hard to bare, the excitement of the improved text gained through it is well worth all the struggle... well I think so, anyway.

My first drafts are L-U-M-P-Y, uneven, turgid and at times self-indulgent - folks don't have to be sad that they get edited down and words cut out; the words that are left are far better than those removed. Just for perspective I excised 25,000 words from the 1st draft of Lamplighter and oh how it improved. If anyone thought say that the journey from Winstermill to Wormstool dragged a bit in the final version of Lamplighter, just know that it went for a whole chapter longer in the 1st draft... even I thought is S-L-O-W when I came to read it over properly for myself. And now here in Book 3, Factotum, I have managed I think to prise 9,000 words (so far) out of the first 10 chapters and it is already a far better book.

So bring on the editing, I say, pain and all, a better book awaits (though ask me again in a week or so's time how I am feeling about it all...)

Alyosha, I really enjoyed your comment and though I have given cursory thought to engineers and masons and the like, I shall now think a little more particularly about such folks who tread the middle path between out and out adventure and staying safe behind walls. Concometrists come to mind a bit here, the measurers and the surveyors - but what of engineers? What should I call them...?

CBCA 2009 - or, Back at last!

Sorry everyone for taking sooooooooo... long to post again, here I am at last!

Editing has me in its merciless grips; the first draft of Book 3 is far too long so cut cut cut, condense condense condense. One of my initial errors (which happened in Books 1 & 2 as well) is that I put in too much world detail - fascinating to me (and my mate Will) but not so great for a well flowing plot or more general reader interest. My second pass involves reducing this to something smoother and less thrombotic to read, some plot-extraneous matter being put into the back matter where it fits much better (thank you Lord for the Explicarium!) The balance for me is having enough detail to fully build in the experience of the Half-Continent whilst not over-indulging (well, too much anyway...)

To those who contend that MBT is self-indulgent and has too much world in it, I answer, what is the point of writing (not "righting" as I had carelessly had previously... you should see my drafts!!!) about a pretend world if it is only briefly touched upon and has no real impact on the story told? Having said that, I have still got to tell a good story - well, the best I can at least.

So, I suppose you could say, my contention has some merit for I learnt recently that Monster-Blood Tattoo Book 2, Lamplighter has made it into the 2009 CBCA Awards Book of the Year shortlist for Older Readers. Very very chuffed that it has been recognised in the same award that honoured Foundling two years ago. Brilliant!

The complete list is as follows:

EATON, Anthony Into White Silence
FRENCH, Jackie A Rose for the Anzac Boys
MARCHETTA, Melina Finnikin of the Rock
MOLONEY, James Kill the Possum
TAN, Shaun Tales from Outer Suburbia
CORNISH, D. M. Monster Blood Tattoo Book Two: Lamplighter
(Check me out with my egocentrically loooonnngggg book title... ;)

Brilliant for us all and all the Notable Books with us.

NSW Premier's Literary Awards 2009 Shortlist.

Delighted to be able to say that MBT 2, Lamplighter has been shortlisted in the 2009 NSW (meaning New South Wales for the uninitiated) Premier's Literary Award's The Ethel Turner Prize for a work of fiction, non-fiction or poetry written for young people of secondary school level. The list of us all goes a little like this:

Dianne Bates - Crossing the Line
Michelle Cooper - A Brief History of Montmaray
D.M Cornish - Monster Blood Tattoo Book Two: Lamplighter
Alison Goodman - The Two Pearls of Wisdom
Nette Hilton - Sprite Downberry
Joanne Horrniman - My Candlelight Novel


I feel like a bit of an upstart occupying a list with such luminaries. VERY VERY gratified to be recognised in one the countries big awards, thank you so much to those that put me there. With all this good news I just might explode with joy... if, of course, my stupid character flaws would just stop getting in the way and spoiling the glee...

For all the shortlistings for the entire gamut of the NSW Premier's Awards for this year go here!