Guest Post: Deborah Halverson on Viewing Narrative Beats as “Revelatory” Beats in MG/YA Fiction

Deborah Halverson

By Deborah Halverson
for Cynthia Leitich Smith's Cynsations

We work hard to get to know our characters.

Creating bios, interviewing them, giving them personality tests. One discovery tool often overlooked in this great pursuit are the small actions tucked into the narrative beats.

Narrative beats are those little breathers in dialogue, sometimes filled simply with speaking tags like he said, she said. They’re rhythmic beats in conversations.

The actions that fill those beats can be priceless character revelations anytime, but especially in our first chapters, during our first drafting.

Alas, often writers fill those breaths with generic filler action. I see this at play when full manuscripts land on my editing desk.

Perhaps we writers drop in those generic actions because we’re so focused on getting the first scenes in place; perhaps we’re just not seeing those beats for the opportunities they are.

Oh, what treasure troves those little actions can be!

Regardless of why we do it, when we plug in filler action, we miss out on revelatory moments—“revelatory beats,” I call them—that can help us get to know our characters sooner and with delicious richness.

Our first step in mining these moments is spotting the filler. The filler in this example is looked:

Beth looked at him. “No. I want to go, too.” 

“Looked” doesn’t reveal anything about Beth. First pages full of similarly bland actions won’t help us get to know who she is. Other fillers include stare, glance, gaze, turn (to), smile, frown, and laugh. Synonyms for these actions creep in, too, like grin, snicker, giggle. The word eyes also appears in a lot of narrative beats, and those eyes are usually staring, looking, glancing….

We can turn these precious moments into opportunities to learn about our characters in our early drafting by pledging not to fill the breathers with generic actions, even when we’re speed-drafting to get the story tacked into place.

When we hold ourselves back like that, when we leave a beat demanding to be filled, our characters will step in to fill it.

Our characters will step up; they will do something that reflects who they are and how they’re feeling at that moment. What they decide to do is our revelatory gem.

What might they do? Click-click-click their pens, perhaps, to reveal they’re jumpy. Maybe they’ll pace, revealing they are particularly physical. Maybe they’ll rewash the same mug over and over and over, showing fastidiousness or revealing a tendency to avoid big things that demand their attention. Maybe they’ll pull out a tissue so they can open a doorknob without touching their flesh to the germy knob.

My pal Beth in the above example might do something to indicate how capable or strongly she feels about going, which in turn might prompt me to rework what I thought she’d say after the beat:

“No.” Beth darted ahead of him and blocked the doorway. “You’re not leaving without me.” 

Little actions, happening in the middle of an exchange with another character, reveal things about characters’ personalities, comfort zones, relationships, mood, and more.

Filling your first draftings with this kind of content instead of looking, or glancing, or brushing the hair out of his eye, helps you get to know your character early.

Revelatory beats may even cause us to alter the dialogue we were about to lay down. I didn’t know Beth was so forceful until I saw what she did in the narrative beat.

Are you wondering if you’re denying yourself those early revelations? Check. In your work-in-progress, do a find-and-replace search for each of the words above, no matter how much you’ve written. Tally up all their synonyms, too, to see how many times you choose the same general filler action. How does that number compare to your page count?

Then add all the filler uses together. How does that number compare to your page count? A manuscript I worked on recently used eye 150 times, look 301 times, and glance 16 times. 467 uses of the same general action, although some surely weren’t in the narrative beats. This wasn’t an unusual discovery, and the manuscript was a good one.

As an editor, I perform this search and tally often. I even have a name for it: The Stop Looking Test.

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For me, the test is an assessment tool to be applied to a finished manuscript. For you, it’s a tool to help you identify if you should make the first-drafting pledge.

Eventually, revelatory beats will become a subconscious part of your drafting style, so you won’t worry about bogging down your quick-drafting.

Not every narrative beat contains an action, of course. Sometimes that breather contains setting details or exposition. But when it’s time for action, we can make the action something revealing about our character so that we—and readers—will get a feel for the characters’ personalities from the very first pages in the book.

They are small moments, but they can add up to a big overall impression. And we all know how important first impressions can be.

Cynsational Notes

Deborah Halverson is the founder of the popular writers’ advice site DearEditor.com and the award-winning author of  Writing Young Adult Fiction for Dummies (Wiley Publishing, 2011) and Writing New Adult Fiction (Writer's Digest, 2014), the teen novels Big Mouth (Delacorte Books for Young Readers, 2008) and Honk If You Hate Me (Delacorte Books for Young Readers, 2009), the picture book Letters to Santa (illustrated by Pauline Siewert, Becker & Mayer, 2012), and three books in the Remix series for struggling readers (Pearson Canada).

She was an editor at Harcourt Children's Books and is now a freelance editor specializing in young adult/middle grade fiction, new adult fiction, and picture books.

Deborah has worked with authors—bestsellers, veterans, debut, and aspiring—for twenty years. She also serves on the advisory board for the U.C. San Diego Extension “Children’s Book Writing and Illustrating” certificate program.

Guest Post: Harold Underdown on Line Editing

Harold Underdown

By Harold Underdown
for Cynthia Leitich Smith's Cynsations

Eileen Robinson and I have been teaching about revision for several years now through our partnership, Kid's Book Revisions.

Until recently, we hadn't taught about line-editing--it seemed too complicated, too messy, for a workshop approach--but we thinking we've figured out how to do it. I'd like to tell you why you should learn about line-editing, show what line-editing is and how to do it, give you a couple of exercises to do, and point you to some places where you can learn more about it.

Line-editing is an in-between stage of editing, with developmental editing coming before it and copy-editing after. It's often done by an in-house editor.

Why should you take the time to learn about it?

I can give you three reasons.

Though there are limits to how objective anyone can be with their own writing, you can use line-editing to make your manuscripts better. You can also trade line-edits with writer friends, as you might do with beta reads, which could help with the objectivity problem.

And as author Jo Knowles pointed out, learning line-editing skills could lead to "freelance editorial opportunities."

To understand what line-editing is, it helps to know what comes before and after.

Developmental editing comes before--that's the stage when an editor works with a writer on the big issues, such as plot, characterization, voice, and so on.

After line-editing comes copy-editing, when an editor typically lets go of what's seen as a finished manuscript, so that it can be prepared for publication by the copy-editor, who typically works on grammar, punctuation, spelling, and the like.

What's left between those stages?

Editing at the sentence and paragraph level, done line by line (hence the name), covering problems in description, dialogue, pacing, and sentence structure, requiring the line-editor not only to spot specific writing problems but to bring their editorial judgment to bear and ask questions and make comments about focus, clarity, or what's left in or left out.

The boundaries between these three stages are blurred, of course, but overall, that's what you can expect as a manuscript moves through them.

Line-editing can be done in one of two ways--on paper or on screen. Line-editing was always done on paper until the arrival of personal computers and electronic workflows, and that approach is still used by some editors today.

Here's an example courtesy of Emma Dryden, done on a picture book manuscript we provided to her and some other editors as a sample. As you can see, she wants to trim a lot of the text. She has comments, and she has a few suggestions. If she had even more comments, she might have added them on Post-it notes.

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More and more these days, editors like to do their line-editing on screen, using the Track Changes and Comments features in Word.

Just as with line-editing by hand, heavy editing can lead to a confusing visual display, and writers often have to pick carefully through the manuscript to make sense of them. Here's an example of work that editor Karen Boss did on that same passage, this time on screen.

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As you can see from these two short examples, there's a lot going on in line-editing, which is why it's typically learned by young editors in house, in an apprenticeship kind of process, watching more senior editors do it, and then doing it themselves with supervision.

How can you learn to do it on your own?

We think it's possible to learn via a two-part process, first practicing identifying and fixing specific issues in isolation, and then doing actual line-editing with the help of "mentor examples."

We are planning to do this in a seven-plus hour workshop this fall, but to give you a feel for it, we've got a couple of examples here.

This first example is set up as a puzzle.

We've taken a passage from Gail Carson Levine's Dave at Night (HarperCollins, 1999) and scrambled it. Your task is to put it back in the correct order. This requires you to think about what sentence makes the most sense as the opening sentence, what would best follow after it, and so on.

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Though this is an artificial exercise, a writer has to make decisions like this in action sequences, so we think it's a good way to sharpen your thinking around this area.

Once you've done your best with the passage, scroll down to see how the passage was actually published. We would agree that other sequences are possible, but see if you can figure out the logic of that sequence.

Why does the first sentence make sense as the first? Why are the second, third, and fourth sentences together, and why in that order?

Continue asking yourself questions like these through to the end.

To line-edit well, of course, editors must do much more than put sentences in the best possible order, fix run-on sentences, eliminate clumsy phrasing, and the like, though doing those things is a required part of line-editing.

Correct sequence for Dave at Night excerpt (click image to enlarge)

Editors must also bring their editorial judgment to bear on a line-by-line basis, and ask questions and make comments to help the writer see where they need to make improvements.

To learn how to do that aspect of line-editing, we believe it's essential to see actual examples of line-editing being done. As I mentioned previously, as we worked on our course, we asked some editors to provide sample line-edits, and in the course itself we show how multiple editors responded to the same passage.

I will share one example here. Take a look at this sample, which is the opening paragraph for a middle-grade novel with a setting on a planet other than our own--it's a sort of vacation planet, visited by many different kinds of beings. Shelpa is the main character.

If you encountered this passage, what comments and questions would you have about this as a line-editor?

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Now compare your notes to what editor Marlo Garnsworthy had to say.

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She had a suggestion about the first sentence (as a side note, almost all of the editors we shared the passage with had a comment here--but all of their comments were different!), followed by a clarifying question, a comment phrased as a question, and then a comment on something she liked.

These are good examples of the kinds of things editors do when they line-edit.

As Emma Dryden did by hand in the passage I showed earlier, they may also suggest deletions, re-orderings, and even additions, but engaging with the writer via questions and comments is a large part of the process.

So, where can you go to learn more? There's no one book that I know of that is "about" line-editing, but I do want to recommend a few for reference:

• Self-Editing for Fiction Writers by Renni Browne and Dave King (HarperCollins, 2004): this is aimed at adult writers, but much of the editing it covers is line-editing. 
• The Chicago Manual of Style (University of Chicago Press, 2017): this is more of a reference book, but does have some guidance regarding types of sentences and correct syntax. 
• The Magic Words by Cheryl Klein (W.W. Norton, 2016): chapter 16 offers an extended and annotated line-editing sample. 
• A Dash of Style by Noah Lukeman (W.W. Norton, 2016): this crosses over into copy-editing issues but provides help with punctuation, for those who need it.

But if you really want to learn how to line-edit, I hope you will join our class, "An Introduction to the Practical Side and the Mysteries of Line-Editing." Our first session will be at 8:30 p.m. Eastern  Sept. 26. Registration is still open.

Cynsational Notes

Harold Underdown is an independent editor and publishing consultant; he does critiques, helps to develop manuscripts, does strategic consulting, and provides other services for individuals and publishers.

Harold enjoys teaching, and in that role wrote The Complete Idiot's Guide to Children's Book Publishing (Penguin Random House, 2008), now in its third edition. He founded and runs "The Purple Crayon," a respected website with information about the children's publishing world.

He speaks and gives workshops through the Highlights Foundation, SCBWI's national and regional conferences, and Kid’s Book Revisions (offering online and on-site tutorials, webinars, retreats, and workshops in partnership with Eileen Robinson).

As an in-house editor, he worked at Macmillan, Orchard, and Charlesbridge, and has experience in trade and educational publishing.

Cynsations Return & Author Update: Cynthia Leitich Smith on Writing, New Releases, Native Voices & Allies

Learn more about Cynthia Leitich Smith.

By Traci Sorell
for Cynthia Leitich Smith's Cynsations

As an New York Times bestselling author and the creator of Cynsations blog, Cynthia is well known to many. But after reading her upcoming YA novel, Hearts Unbroken (Candlewick, Oct. 9), this summer, I believe readers gain more insight into her earlier years.

The novel draws in part on her experience as a Muscogee (Creek) teen growing up in the suburbs of Kansas City and as a reporter and, later, editor-in-chief on her high school newspaper.

The fictional, contemporary story follows Louise, a senior forced to reconcile how bigotry and racism are coming to a head in her community through her various roles as a tribal citizen, sister, student, reporter, friend and, most definitely, girlfriend.

Cynthia, I welcome you to Cynsations, your own wonderful creation!

From the promotional copy:

When Louise Wolfe’s first real boyfriend mocks and disrespects Native people in front of her, she breaks things off immediately and dumps him. It’s her senior year, anyway, and she’d rather spend her time on her family and friends and working on the school newspaper.

The editors pair her up with Joey Kairouz, the ambitious new photojournalist, and in no time the paper’s staff find themselves with a major story to cover: the school musical director’s inclusive approach to casting “The Wizard of Oz” has been provoking backlash in their mostly white, middle-class Kansas town.

From the newly formed “Parents Against Revisionist Theater” to anonymous threats, long-held prejudices are being laid bare and hostilities are spreading against teachers, parents, and students—especially the cast members at the center of the controversy, including Lou’s little brother, who’s playing the Tin Man.

As tensions heighten at school, so does a romance between Lou and Joey—but as she’s learned, “dating while Native” can be difficult. In trying to protect her own heart, will Lou break Joey’s?

Pre-order a signed copy from BookPeople or order at your local store & request a signed bookplate & goodies!

Let's start with the genre – you've crafted a contemporary, realistic young adult novel whereas your more recent novels have been YA fantasy. What prompted the return to a novel with a contemporary Native American teen and her family as the focus? 

I have this theory that where there are secrets, lies or regrets, there are stories. Think about it, in each case, there are stakes, there is nuance and competing interests. Conflict and reversals.

Hearts Unbroken began with a regret, as a novel-length apology to a high school boyfriend. I was an awkward teen (hey, I’m an awkward adult!). When I’m nervous or exhausted, I still babble a bit even though I can absolutely rock a podium with proper preparation.

Bottom line, I said the wrong thing, and I was sorry for decades. There’s a story in that and it’s not all in the book, which is only loosely inspired by what really happened.

How would you describe the story?

It’s a love story wrapped around a school-journalism story, written in an Indigenous style and sensibility. Or at least a hybrid style with strong Indigenous elements.

Enter to win 1 of 10 hardcovers!

The novel is thematically about speech, nodding to journalistic speech, religious speech, political speech, interpersonal speech, hate speech and microaggressions.

Or, put another way, it's about speech, its blessings and its costs.

Early Native readers have mentioned to me that they see it as about empowering cultural voice, especially given the inclusion of Indigenous language in a daily-life reclamation context.

Big picture, the plot is infuriating and funny and representative and romantic. It’s also a little geeky. All of my stories are at least a little geeky. There’s also terrific kissing.

The narrative goes all in, fully submerging the reader in a Native teen perspective and suburban experience. The depiction of the family relationships is central. Meanwhile, the subplot, centered on the protagonist's brother, (hopefully) offers more mainstream appeal.

Why did you decide to focus your protagonist on high-school journalism?

Again, personal experience. I was the editor of my high school newspaper and went on to major in news/editorial at the White School of Journalism at the University of Kansas. As a student at The University of Michigan Law School, the First Amendment was a major focus of my studies. In my third and final year, I did an independent study on the right to speak (and the right not to) with Professor Lee C. Bollinger, who's now the president of Columbia University in New York.

No, I didn’t set out to write Hearts Unbroken because news journalists are unfairly under attack right now, but I’m glad it’ll be out there for teens today. I hope it encourages at least a few readers to consider a career in reporting, editing, photo and/or videography.

You are always encouraging Native writers entering the industry. What craft and career advice do you have for those just starting out on this journey?

Get in touch with Native children’s-YA authors who’re agented and/or actively publishing. Read what’s already out there by members of our intertribal community. You'll be able to gain an up-to-date, in-depth overview at Debbie Reese’s blog, American Indians in Children’s Literature.

Native authors at Kweli, 2016

Visit your local SCBWI regional chapter – attend a conference or workshop or both. They vary from place to place. Hopefully, it’ll be a fit. If not, look for another one that's driveable.

Make an effort to attend Kweli: The Color of Children's Literature Conference.

Embrace the study of craft. Seriously, commit. Enroll in workshops – there are a variety on and offline at various price points. Find a solid critique group or partner.

If you want to get an MFA in writing for young readers, write me and we'll discuss whether it's the right choice for you. See also my writer resources.

For those who’re allies, how can they support Native voices?

Foremost, be respectful of Native people and cultures in working with young readers. Assume that there are Native kids in your classrooms and communities. They’re everywhere, and so are their peers, who interact with them based on what they learn from the larger society, from you.

Set aside everything you picked up from Hollywood. Treat the political noise out of Washington, D.C. with a hefty amount of suspicion. Forget those construction-paper headdresses you made in first grade for Thanksgiving.

Chris Evans, Hemsworth & Pratt 

Are you used to thinking of yourself as the hero of the story? We routinely see the underrepresentation of some folks but also the overrepresentation of others.

Three of the Marvel superheroes in the last Avengers movie were played by white dudes named Chris. Chris Pratt as Star-Lord, Chris Evans as Captain America, and Chris Hemsworth as Thor.* And, hey, I enjoyed all of their performances. But no way around it, that's seriously hefty representation.

Meanwhile, can you name any three on-screen Native girl or women characters from your entire history as a moviegoer? (Bonus points if they're not animated.)

All of which is to say, when it comes to Native people, you may need to gut check your instinct to cast yourself as the savior.

Understand that you don’t know the history and are probably underestimating the complexity, not only regarding Native cultures but also Indigenous governmental structures and literary forms. The oral tradition is vital, but we have our own relationship to the written word, too.

What else? We’re a growing but small creative community with precious few gatekeepers of our own. Give us a chance to speak and not only about Native and diverse literature, though when we do talk about all that, listen carefully and reflect deeply.

Signal boost our new and existing releases. Advocate for our inclusion throughout the curriculum and book-events circuit, and integrate our titles not only in your Native Heritage Month celebrations but all year long.

Have you ever read a YA novel by a Native woman? Check out Apple in the Middle by debut author Dawn Quigley (North Dakota State University Press, 2018). In no particular order, also be sure to read books by Joseph Bruchac, Tim Tingle, Traci Sorell, Carole Lindstrom, Art Coulson, David A. Robertson, Cheryl Savageau, Lisa Charleyboy, Lee Francis, Monique Gray Smith, Erika T. Wurth, Jenny Kay Dupuis, Richard Van Camp, Arigon Starr, Kate Hart, Eric Gansworth, Louise Erdrich, Cherie Dimaline, Daniel Vandever…. I could go on and on, and there are more writers and illustrators on the horizon. See my teacher and librarian resources.

* Just to geek out: Chris Evans also played The Human Torch. Additional white guys named Chris who played superheroes include: Christopher Reeve as Superman; Christian Bale as Batman; Chris O'Donnell as Robin; and I'm giving partial credit to Chris Pine, as Captain Kirk because he also played Steve Trevor in "Wonder Woman" and appeared in "A Wrinkle in Time."

Is there anything you’d like to say more broadly to writers from any underrepresented group?

In Memory: Nancy Garden

Offer private and public support to one another, especially those of you who’re bigger, more established names or members of groups with a stronger presence.

Years ago, I wrote a Horn Book article about Native humor and storytelling, and Nancy Garden sent in a letter to the editor in support. She was a very early, important voice in the LGBTQ writimg community and understood what it’s like when your numbers are small.

The fact that she took the time and made the effort? It meant the world to me. Still does.

You’ve been a leader in the conversation around diversity during both its ebbs and flows. What aren’t we talking about that we should be? 

From a writing craft perspective, we should focus more on secondary characters and intersecting subject matter. Every single writer must write across identity elements in those contexts. It’s not all about protagonists and the nonfiction focal topics.

More broadly, those of us in children's-YA writing need to wrap our minds around the fact that we’ve been defaulting to the same white and male storytelling constructs for generations. More than that, those of us who're writing teachers have been largely insisting upon them. Meanwhile, content-wise, let's not settle for bite-sized nuggets of representation, tailored to mainstream comfort and expectations. Let's embrace diversity for real.

This fall marks the paperback release of Feral Pride (Candlewick, 2015, 2018). Could you tell us a little about that story?

Sure! It’s the cap to the Feral trilogy and crosses over its heroes with those from the Tantalize series, which is set in the same universe.

The governor of Texas has been kidnapped by demon snakes and furry hominids (kind of like Bigfoot) and the scoundrels have blamed our heroes, who’re shapeshifters, for the crime.

This is a fantastical construct in which shapeshifters battle bigotry and oppression parallel to what marginalized groups experience in our real world. So, yes, it’s funny and romantic and action-packed and super geeky, but it also speaks through metaphor to ongoing real-world dynamics.

Why did you first launch Cynsations, and how has it evolved over the years?

As I mentioned above, I’m a recovering journalist, and I always wanted to cover good news.

Pre-order Feral Pride in paperback.

(When writers are thinking about where their voice fits into the conversation of books, it’s worthwhile to consider what they enjoy doing and where their strengths lie.)

I entered the field at a time of low morale in the creative community. Publishers weren’t taking many chances on new voices. Celebrity books were all the rage. Madonna said on late-night television that she wrote a children’s book because there weren’t any good ones.

Meanwhile, I was trying to raise awareness of contemporary Native children’s books in a society that had decided Native people were all extinct. (I'm told that’s the answer Texas school children are supposed to provide on standardized tests to any questions asked about Native people: Extinct.)

So, I figured I’d get really 21rst century with it. Show by example that Native people have a present and future.

So, I fired up Cynsations to illuminate new voices, mid-career authors, living legends. Writing by authors and illustrators from underrepresented communities. The business of publishing. The writing life. Craft. The idea was to reach out to writers in a more-than-a-guidebook kind of way, in an encouraging and ongoing conversation.

What do you have coming up next?

My immediate focus is on middle grade projects. I’m especially excited about an anthology of stories by new and established Native voices, set around a contemporary powwow. As for my current novel writing, we're talking middle grade speculative fiction. I also have another middle-grade realistic short story coming out in another anthology and a couple of poems that will be featured in picture books. Meanwhile, I'm putting thought into what my next project for teens might be.

Beyond that, I’m committed to supporting and signal boosting other voices – underrepresented and/or new and/or reinventing and/or long-established voices, too.

So, write on, Cynsational readers! I believe in you.

Cynsational Notes

Look for Cynthia's upcoming YA release, Hearts Unbroken (Candlewick, Oct. 9). If you'd like a signed copy, you can pre-order it from her local independent bookstore, BookPeople, of Austin, Texas. Or, if you've already pre-ordered, request a signed bookplate and goodies. The paperback of Feral Pride (Book 3 in the Feral trilogy)(Candlewick, Oct. 2) is available for pre-order, too.

Giveaways! Are you a high school teacher, YA librarian or Native teen group leader? Check out this classroom-set ARC giveaway of Hearts Unbroken on Twitter! Are you a YA reader? Enter to win one of 10 hardcover copies of Hearts Unbroken from YA and Kids! Book Central.

Traci Sorell covers picture books as well as children's-YA writing, illustration, publishing and other book news from Indigenous authors and illustrators for Cynsations. She is an enrolled citizen of the Cherokee Nation.

We Are Grateful: Otsaliheliga illustrated by Frané Lessac (Charlesbridge Sept. 4, 2018) is her first nonfiction picture book and a 2018 Junior Library Guild Selection. The story, which has received starred reviews from Kirkus and School Library Journal, features a panorama of modern-day Cherokee cultural practices and experiences, presented through the four seasons. It conveys a universal spirit of gratitude common in many cultures.

In fall 2019, her first fiction picture book, At the Mountain’s Base, illustrated by Weshoyot Alvitre will be published by Penguin Random House’s new imprint, Kokila.

Traci is represented by Emily Mitchell of Wernick & Pratt Literary Agency.

See also an interview with Traci from Picture Book Builders. Peek: "First, it needed to be colorful because it’s a four seasons book—so bright and not muted was what I pictured in mind. Second, the illustrations must be culturally accurate. I got my two criteria met and so much more!"

Cynsational Return

From Cynthia Leitich Smith

Sunset at Vermont College of Fine Arts.

Welcome back to Cynsations! We hope you had a wonderful summer. My highlights included teaching at the residency of the MFA program in Writing for Children and Young Adults at Vermont College of Fine Arts in Montpelier and speaking at the annual convention of the American Library Association in New Orleans. Right now, I'm at LoonSong: A Writer's Retreat in Cook, Minnesota.

Here on the blog, we'll once again be hosting insights from writers at every stage of their creative journey. We'll look at books that cross borders, publishing as an industry and new releases. We'll consider various aspects of a writing life.

This semester, we're moving to more flexibility between four- and five-day posting weeks. But we're sure you'll still find plenty to read and reflect on.

Thank you to Cynterns Gayleen Rabakukk and Robin Galbraith for their ongoing efforts.

Thanks to all for returning to Cynsations. We hope you'll find fruitful inspiration and information in the posts to come.