A cherry-picker investigates a tree from the inside. Click for a larger version on the ABC website. Photo credit: ABC News: Karl Hoerr
See the open window at the top? That’s my office. Read the full story here:
http://www.abc.net.au/news/stories/2008/05/27/2256870.htm
The boom arm on the cherry picker, which is essentially a steel I-beam about 80cm square, bent in half on impact. […]
The LaTrobe Reading Room at the State Library of Victoria is possessed of such a tranquil, scholarly ambience that, in order to remind the reader of the perfect serenity he or she is privileged to enjoy, it has had to be randomly seeded with unoiled chairs which scream at the lightest touch like a bed full of climaxing banshees.
Two months ago, as I was in Las Vegas shooting Osama bin Laden with a machine gun, a man connected to the publishing industry was reading the choicest extracts from my novel. Before him were two stacks of paper: one piled heavy and high and marked ‘NO’, the other much shorter, marked ‘YES’ and, I’d like to think, haloed with tinkly stars dancing to a heavenly coloratura.
Milestones are a strange business. I’ve never had a problem with motivation writing this novel, except when driven to soulless despair by some of the insaner moments of a listless career in university administration, yet I do tend to go a bit wild when my word-odometer passes a number with four zeroes in it.
I’ve spent much of the last three weeks informing the reader (also the spouse, the neighbour and the teen-aged sales assistant at J.B. HiFi) of my revelation that before I could type a single word of the grand climax of The Last Monk, time would be required to percolate, to mull, and generally to walk around parks scowling at ducks in the vain hope that someone would ask me what I was looking so thoughtful about.
Quite a bit of time, I thought. About a fortnight.
As it happens, it took about six hours.
I did some quick sums a couple of days ago and realised that my final act is now seventy pages long, and I haven’t even got to the really exciting bit yet.
This gave me an excuse to do something I’ve always enjoyed, which is editing in widescreen. Because there’s a lot of material, and the changes I anticipated would most likely involve shuffling big chunks of text around, the best way to do it is to print the whole thing out, spread it out on the floor and scan it from a distance to let the large-scale structures reveal themselves.
Here then is what my living room floor looked like this morning:
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