So I'm a bit late on posting. Sorry about that. Poor time management on my part.
Self flagellation concluded, between trying to parse out accounting over an online course, big mistake, and establishing Iago's identity as an alien infiltrator for a paper in my English class, I've been pretty dang busy. Also, the wifey and I are getting ready for a two week camping trip.
So, I mentioned earlier I finally submitted my manuscript. It spent just a couple days in the hands of first readers whom I suspect were office lackeys before I got a rather aggravating e-mail from an editor, from a publishing house I'll never contact again, who demanded I make a series of changes. Now, this company had promised to be a great entryway into the world of the published author and I'd even been recommended to them by other writers.
Thing is, I've never seen one of their books on a book shelf. I'm not sure what to make of that.
In any case, the prime objection to the manuscript as submitted was how various characters, no matter how important to the story, could seemingly just die at any point without an emotional context. You know, a bit like in real life. Now, apparently, this was a bit jarring to the readers and thus some manner of change seems indicated as all parties involved wish to emerge profitably from the endeavor. Fair enough. However, what is certainly not indicated, was to have some nattering deconstructionist* tell me I have no idea how to 'convincingly portray a life and death situation.'
I'm no Ringo, or Kratman, or any of the other highly successful mil-SF authors out there. My experience of combat was, I suspect anyway, far different and more limited than at least the two I named. That said, I suspect I have a rather better idea of what combat looks, feels, sounds, and smells like than some office bound junior editor who has misinterpreted his job responsibilities to include literary criticism.
I would have at least liked a bit of consistency. With regards to one scene I'm being told that the emotional reactions of my characters are too pronounced and, apparently, an elite group of combat veterans should share the same ideological and emotional nihilism of the more pretentious breed of literary critic. Soldiers, apparently, are allowed no emotional range beyond angst ridden bitterness or bloodthirsty and amoral. However, when someone dies in a seemingly arbitrary fashion during an event in which he was essentially an interested spectator, this should have had a profound effect on the insufficiently emotionally-stunted survivors. Apparently, they should have taken a moment to reflect on the chaos, pointlessness, and random nature of war. Not, of course, as I was quickly consoled, that any of their views on what they were doing should have changed, but they certainly should have re-evaluated them. Nevermind that they had a mission to do and were already being shot at, hence the a fore mentioned death. No they should have had an emotional scene of some variety there.
Well, if your reading this, Mr. Editor, you can go stuff yourself.
That particular scene was the greatest source of contention and it is NOT getting changed. Yes, I have already changed quite a few other scenes and now I'm trying what to do with all these characters who are suddenly not dead. I'll deal with it. If nothing else, after the numerous rewrites at this point, I've certainly gained experience.
If/when this particular manuscripts does get published, I'm gonna mail an autographed copy to that little twerp with that scene dogeared and, "Suck it!" written in the margin at the end of the chapter.
*I already have enough of a problem with deconstruction as a form of literary analysis as it essentially intends to prove that nothing actually means anything. Which of course is an incomplete method as at least some things have a very obvious, clear cut moral to them. With a very few notable exceptions, I've only seen deconstruction used to 'prove' that no piece of literature communicates any idea that the deconstructionist objects to.