Taking London comes out seven weeks from Tuesday. I've been doing this a long time so I know it's best to try not to think about it. The gestation cycle is so long between finishing a book and seeing it in print. I will be euphoric and perhaps weep when I receive my first box of finished copies, cracking it open to hold the new book in my hands for the first time.
Had a nice zoom with my editor this morning. Second Pass for Taking London is coming my way on Thursday, which is the last time I'll see the words before it gets sent to the printer, there to be bound and shipped to the four corners of the earth. I'll read it one more time, hoping there are no completely awful sentences. It's a year this week since I began writing it, but the research went on for a while before that…
Taking London is the best thing I've ever written. These past two weeks making one final edit were like Christmas. I'd literally wake up at 3 a.m., eager to find better ways to tell the story. Then I'd force myself to go back to sleep, reminding myself a rested edit is a sharper edit. I'd dream about the characters, letting them tell me more about their arc.
Most writers don't love editors. I do. Back since Beth Hagman at Competitor Magazine told me to tell stories in the most linear fashion possible ("the horse pulls the cart over the trail by the fastest route"), the notion of editors crafting a story has been in my head. Through Jason Kaufman, Geoff Shandler, Gillian Blake, and Brent Howard, these wonderful people have made me better. And don't get me started on how much I love copy editors. This gushing deserves an explanation.
It's been awhile since I wrote in this space, so I thought I'd pass along a little update over what I've been doing this past year. Last spring, just as Covid was beginning to look like a long term issue, I began working on the first book of my own in ten years. The title is TAKING PARIS. It's about World War II. I love it.
