When to cut a manuscript

Those who are regular followers of the doings of Arthur Dent may have received an impression of his character and habits which, while it includes the truth and, of course, nothing but the truth, falls somewhat short, in its composition, of the whole truth in all its glorious aspects.

And the reasons for this are obvious. Editing, selection, the need to balance that which is interesting with that which is relevant and cut out all the tedious happenstance.

Like this for instance. ‘Arthur Dent went to bed. He went up the stairs, all fifteen of them, opened the door, went into his room, took off his shoes and socks and then all the rest of his clothes one by one and left them in a neatly crumpled heap on the floor. He put on his pyjamas, the blue ones with the stripe. He washed his face and hands, cleaned his teeth, went to the lavatory, realized that he had once again got this all in the wrong order, had to wash his hands again and went to bed. He read for fifteen minutes, spending the first ten minutes of that trying to work out where in the book he had got to the previous night, then he turned out the light and within a minute or so more was asleep.

‘It was dark. He lay on his left side for a good hour.

‘After that he moved restlessly in his sleep for a moment and then turned over to sleep on his right side. Another hour after this his eyes flickered briefly and he slightly scratched his nose, though there was still a good twenty minutes to go before he turned back on to his left side. And so he whiled the night away, sleeping.

‘At four he got up and went to the lavatory again. He opened the door to the lavatory…’ and so on.

It’s guff. It doesn’t advance the action. It makes for nice fat books such as the American market thrives on, but it doesn’t actually get you anywhere. You don’t, in short, want to know.

—Douglas Adams, So Long, and Thanks for All the Fish


  1. Hmm. one wonders where in this books this scenario could have occurred. 0:)

  2. The only time to include such drivel is if it’s woven in with Arthur Dent having to think something through, something we’re interested in hearing. Or a fascinating conversation and action with a bedmate. And it’s still way too much.

    Sometimes you need a spine of normalcy to attach muscles of fantasy to. For the contrast, or pacing.

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