Wonderful! Posh notebooks give me an inferiority complex, moleskine or leather bound- a panic attack! Thank you for sharing your dirty laundry, my notebooks look just the same. I love the listed flower names. It's very brave of you, my writerly gussets are usually well steeped in editorial bleach before shown to all! Hyssop's mentioned-erm . . . it's not pretty, maybe I'll share another time!
Thanks Warren. I still love a posh notebook but you can see why it wouldn’t suffice for novel writing for me. I don’t mind admitting I’m not one of those hugely talented writers who can produce perfect prose straight off. (Probably no such anyway) With me it’s a lot of hard graft, returning again and again to the page in order to get it to a place I’m happy with. Work not magic.
First drafters are like good sight readers in the world of music. A good effort when anything's put under their nose to play. But, no one ever says, 'I hear the magic of a soul whose lived with this music in their bones and made it their own'. In the redrafting you do the work of magic every time, Avril. You can smell the rootedness and 'lived with-ness' of worlds in your writing.
Wonderful! Posh notebooks give me an inferiority complex, moleskine or leather bound- a panic attack! Thank you for sharing your dirty laundry, my notebooks look just the same. I love the listed flower names. It's very brave of you, my writerly gussets are usually well steeped in editorial bleach before shown to all! Hyssop's mentioned-erm . . . it's not pretty, maybe I'll share another time!
Thanks Warren. I still love a posh notebook but you can see why it wouldn’t suffice for novel writing for me. I don’t mind admitting I’m not one of those hugely talented writers who can produce perfect prose straight off. (Probably no such anyway) With me it’s a lot of hard graft, returning again and again to the page in order to get it to a place I’m happy with. Work not magic.
First drafters are like good sight readers in the world of music. A good effort when anything's put under their nose to play. But, no one ever says, 'I hear the magic of a soul whose lived with this music in their bones and made it their own'. In the redrafting you do the work of magic every time, Avril. You can smell the rootedness and 'lived with-ness' of worlds in your writing.