Then if she does request the full, I'd find a way to finish it in 10 days or so.

It's entirely up to you, as you know -- I just wanted to give you my perspective. And I know what you mean about hating a book while you're writing it -- I've been there. But if you give yourself the holidays off to relax and have some time away from it, and then see what happens if she calls, you don't lose either way, you know?

Could be the one time you're happy to get a rejection letter, though.

Frosted Brown Sugar Cinnamon PopTarts:

Bwah! I just saw your post in Bitches. The courtesy phone. Hee.

Susan, if you're burned out, put it away. The rewrite I've been reading isn't crap, but it's making you miserable. Put it away for awhile.

And if she calls and loves it, you'll feel re-energised.

My three cents.

I think what I'm going to do is map out what needs to happen between now and the end--I did it in my head after my last post when I got out of the house to run an errand and clear my head. (It's amazing how much a minor change of scene can give you more perspective on things.) In particular, I was frustrated because I felt like I was running out of anything resembling conflict between James and Lucy well before I could tie up all the subplots. So I excised two subplots altogether and decided to handle the remaining, more important one in an epilogue.

Anyway, I'll write all this down, and that way I'll have a framework if I do have to write it in a hurry.

At long last, an email from the editor of the "Clowns of the Apocalypse" story:

Just wanted to give you a note to let you know the antho is still go and your story is in (I enjoyed it!). Contract at some point in the near future.

So, yay for evil clowns?

Go Team Evil Clowns!

Whee!

So, I'm three for three on anthologies, and one for two on short-short submissions. Not bad. Seems to me I maybe ought to rethink this whole "the novel is my only strength; short stories not so much" stance.

It's very weird. I'm far more comfortable writing novels than short stories, but if the shorts are going to get bought, I should maybe write a few more of them and look for submission points. Or vice versa. Or something.

I'm really pleased about my clown story. Because it's actually a nice sly pro-choice story: "I don't choose to be the Lamb of God and ignite the apocalypse." But you're the Chosen One! You have to! It's written! "Yeah, well, you didn't ask me first, so PFTPFTPHPFTPH!"

I'm debating whether or not I should write more from a plan with Anna than I did with Lucy. Because I can really see in hindsight how much Lucy's plot suffers from me just sailing in without a clear vision of where I was going and how to get there.

What I don't want to do is one of those hideously detailed outlines/synopses that some books and writing classes advise, and many writers swear by. I know one class through UW Extension that requires you to hand in a 50-page synopsis before starting on the book itself. Which would drive me crazy--if you write toward the short end of the novel spectrum, that's a quarter the length of the book! Granted, I write twice that long, but still. I also don't want to do the detailed character biographies and goal-motivation-conflict charts a lot of the writers I know adore. Even though deep down I know it's not true, I'd rather feel I was discovering my characters and plot than building them from scratch. In general, overplanning would strip all the magic and joy out of the process for me.

So what I'm thinking of doing is working from a brief outline--1 or 2 pages--with the important story events and brief notes on why they're important. And then I'm going to make an estimate of how far along in the story each plot point should occur. I'm shooting for 100,000 words, give or take 10,000, because that's a good marketable length for this type of story. And while I'm not going to sacrifice everything for the sake of marketability, if I can tell this story right it's going to rock hard. I want it to have a chance to sell, and controlling the pacing and my tendency to ramble on forever is a sacrifice worth making. So if I know that Big Moment X should occur before pg. 75, or that Turning Point Y should be no more than 2/3 of the way through, that helps me stay on target.

That's the theory, at least. I'm still a beginner at this.

I *would* do the outline, Susan, except I do not think like that in the least.I've changed my mind about my protagonist's life three different times, and those would all be different books.