He comes, the old man by John R. Erickson.
Read it somewhere folks won’t see your eyes tearing up.
My mom had two cakes she introduced us to when I was a kid. She called them Mayonnaise Cake and Tomato Soup Cake.
Yeah, that’s how we reacted, too. Allow me to expand: the mayonnaise is used as a substitute for eggs and oil in a chocolate cake with coffee in the batter. A thick, dense, moist explosion of coffee-chocolate flavor. Frosting would be pointless. Vanilla ice cream works. We’d stir them together, unknowingly creating a cookies and cream experience 30 years before anyone was selling it.
My father was most precise in his speech. It was from him that I learned to look for the right word, the difference, for instance, between “loping” and “trotting” or “thinking” and “pondering” and such shades of meaning which give depth and clarity to our communication.
(That’s called “setup” so you’ll wonder, as I relate this, where it comes into play.)
After three variations I found myself stumped. The third feels right, but is it?
It’s easy to fly through storytelling, getting my readers to The End with the least fuss.
It’s better to make the critical scenes more than simply the conveyance of information. The deeper I dig into the core scenes, those that turn the story’s direction, the more memorable and emotionally fulfilling they are.
I’ve never done that, pushing myself to rewrite a scene multiple ways, looking for the best version. In the past, I’ve been satisfied to note the scene’s purpose, write a direct sequence of actions fulfilling that purpose, and let my editor tidy it up.
If he tidies brass, you get highly polished brass.
I want my books to be solid gold.