Creating a new, fictional world requires a lot of planning: outlines, lists, brainstorming, and character sketches. But one thing I've also found to be very helpful for my new novel is the creation of maps! Maps have been crucial for me to visualize and better understand the world that I am creating — and especially helpful in keeping things straight.
Much like the benefits of outlining your novel before you start, visual representations of your fictional world truly add a lot to an author's ability to conceptualize the story before you really dive into writing. But for me, these maps have been particularly helpful during the writing process itself. Of course, I am not talking about full-color, picture book ready images here. But the more I have gotten into my story, the more detailed my maps and pictures become.
Regardless of what your visuals actually look like, the first benefit of these artistic representations is your heightened ability to visualize what your character is actually seeing. When you first determine the spatial relations of things such as a castle, the size of a city, or of an important room within the story, you then have a better sense of just how long it might take your character to get from one side of the city to another; or just where that secret key should be placed within the room so it is just above eye level. The more I understand the world in which my characters inhabit, the better descriptions and details I will be able to provide. And the better descriptions present within the text, the more my reader will ultimately be able to visualize the world herself.
Not only do these kinds of illustrated aids help me better visualize my characters' world, but they also allow me to keep my story consistent throughout the narrative. If your character only walks down a certain street once somewhere in the first third of your novel, and then, in the last third, you want to have her walk down the same street but head in a different direction it can be easy to forget if she originally went to the left or to the right. So, instead of constantly having to flip back through my pages to uncover this little but important detail, or having to flip through to find many of the other such details present in your book, referring to the map that you've created can be a great help. Not only does it provide consistency, which is definitely a key component of world building, but it also saves you a lot of hassle. It's easy to refer to the map of the square, or the palace, or the kingdom itself in order to make sure I am accurately describing the placement of a certain landmark in relation to another, or how a character would get from one place to another.
One trick that I've found to help me keep things straight as I work through my novel and refer to my variety of maps I've created is the use of cardinal directions, meaning north, south, east, and west. By placing a small compass rose in the corner of my visuals, I've been able to easily understand where everything is geographically and most importantly where things are in relation to one another. In terms of consistency this becomes highly important. Although I do have one map representing the entire world of the story, when I am working on both creating and writing about specific locations such as the castle or the city square, I want to make sure it all lines up correctly. Much like I need to make sure I know if my character took a right or a left to get to her friends house, because I know my character will be traversing the city many times throughout the story, and even go beyond the natural city limits later on in the book, I've found that using the cardinal directions has also proved helpful in remaining consistent.
Writing visually is a key component of all good novels. You want to make sure to place your reader inside your world, allowing them to get a true feel for the place. Maybe I'm not an artist, but your visuals really don't have to be. All you need is a basic sketch of your place, some labeled sections, and really, you're good to go.
These are all tools to help you understand the world better anyway. Because in the end, we're all creating something out of nothing — a place out of no place — so we want the world to be as well thought out and clearly conveyed as possible.
Sunday, December 30, 2012
Wednesday, December 26, 2012
Wednesday's Writing Prompt — Present
Did he simply forget? Or was it out of malice?
What was the gift your character imagined they would receive? Imagine it was something that could have changed her life, or dramatically affected her situation. Or, was it something that would prove the person's love for her? How does she react? Are there people around her? How do they react? What are the ramifications both for your character individually, and the relationship between your character and this person?
Wednesday, December 19, 2012
Wednesday's Writing Prompt — Switching Identities
If your character could choose to be anyone else, who would they choose to be? A super hero? A movie star? A professional athlete? A family member? Why would he want to be this person? What is the motivating desire behind his wish? Jealousy or envy? Aspiration or admiration? Boredom with his own life?
Now what would happen if your character could actually become this person, or trade places with him for a day? What would that experience be like? What would your character be forced to encounter that he wasn't prepared for? Perhaps it can only happen in a dream, but what does this switch reveal about your character? What does it change?
Now what would happen if your character could actually become this person, or trade places with him for a day? What would that experience be like? What would your character be forced to encounter that he wasn't prepared for? Perhaps it can only happen in a dream, but what does this switch reveal about your character? What does it change?
Sunday, December 16, 2012
Outlining — The Trick to World Building
The start of a new project means a return to the stage of prep work and research, note taking and just general brainstorming. But this time, as I dive into my novel, I've also incorporated extensive outlining in the early stages of my writing. A divergence from my normal practices, I've found outline to be extremely helpful, going far beyond what I expected and opening up lots of new ideas.
Typically, or, for my past three works, I didn't really do any outlining at all — not in the sense of a chronological, written down game plan of all the things that would happen in my novel or the events I wanted to make sure to get to. My "outlining" instead took place mostly in my mind. I thought about concepts and jotted things down, and overall, had a really strong sense of my story's characters and conflicts by the time I actually started writing. I also kept a decently extensive series of lists of characters, soccer diagrams, and a time line of events. I mean, when you have a whole soccer team to keep track of and you want to make sure that one boy is not being mistake for another, or place someone in the wrong position, those types of lists become pretty important. But these came as I was writing the manuscript, rather than before.
For this project, however, as soon as I got the idea, I know it had to be different. I couldn't just think about things and then take off writing. I had to do a thorough preparation; and a preparation that was entirely different than my usual plan of attack. It's funny how projects can mandate such different approaches, as if the idea was demanding to be treated differently and I just had to acquiesce. But that's what happened, and so, I began my outline. And man, has this outline been helpful!
I still did plenty of mental prep work in which I thought about major questions, characters, conflicts, and the story arc. But when I actually began outlining, I realized just how much this project, or really me — the writer of this story — needs an outline. It has helped me to see the greater story while also narrowing in on important little details and weaving them through the narrative. Because I know exactly (or presumably) what will happen in chapter ten, I am able to write a better chapter one, because I know where the story is going, and just what the reader needs to be aware of from the beginning.
To be honest, my new manuscript is a bit of a divergence from my regular ideas. I am entering into a world of fairy tale, and fantasy, and as such, the presence of an outline helps me to feel more comfortable. I think I need to know more about the plot with this novel, because fairy tales have certain conventions, and building a world that is so different from our own requires a new type of work from me. After talking to my new and truly fantastic mentor for the spring semester, Ms. Lauren Wohl, I was affirmed in my outlining process, particularly for this type of novel. Lauren said that with world building, the details and nuances of a society become more complicated, and outlining, as well as listing and diagraming and even drawing maps can help you build a world that is consistent and most importantly understandable for your reader.
She also mentioned that Walter Dean Myers outlines so meticulously, and with such extensive detail that when it comes time to write the manuscript, he is basically just typing, just connecting all the dots, as his outline is truly the draft of his novel. And not to say that we all have to create such a robust outline, but in many ways, outlining creates the foundation for a novel. It is like a map you draw for yourself to work your way through your novel, and ultimately arrive in your destination of choice.
Outlining has helped me have a clearer picture of my story, and where all the pertinent information needs to be inserted, and what that pertinent information even is at all. It's also inspired new creativity, as while I am working on one section, I often get a brilliant idea for a previous one, or one yet to come.
So perhaps I will continue outlining for every story I write. Who knows? But truly, I love it! Outlining has definitely helped me and I've only just begun.
Typically, or, for my past three works, I didn't really do any outlining at all — not in the sense of a chronological, written down game plan of all the things that would happen in my novel or the events I wanted to make sure to get to. My "outlining" instead took place mostly in my mind. I thought about concepts and jotted things down, and overall, had a really strong sense of my story's characters and conflicts by the time I actually started writing. I also kept a decently extensive series of lists of characters, soccer diagrams, and a time line of events. I mean, when you have a whole soccer team to keep track of and you want to make sure that one boy is not being mistake for another, or place someone in the wrong position, those types of lists become pretty important. But these came as I was writing the manuscript, rather than before.
For this project, however, as soon as I got the idea, I know it had to be different. I couldn't just think about things and then take off writing. I had to do a thorough preparation; and a preparation that was entirely different than my usual plan of attack. It's funny how projects can mandate such different approaches, as if the idea was demanding to be treated differently and I just had to acquiesce. But that's what happened, and so, I began my outline. And man, has this outline been helpful!
I still did plenty of mental prep work in which I thought about major questions, characters, conflicts, and the story arc. But when I actually began outlining, I realized just how much this project, or really me — the writer of this story — needs an outline. It has helped me to see the greater story while also narrowing in on important little details and weaving them through the narrative. Because I know exactly (or presumably) what will happen in chapter ten, I am able to write a better chapter one, because I know where the story is going, and just what the reader needs to be aware of from the beginning.
To be honest, my new manuscript is a bit of a divergence from my regular ideas. I am entering into a world of fairy tale, and fantasy, and as such, the presence of an outline helps me to feel more comfortable. I think I need to know more about the plot with this novel, because fairy tales have certain conventions, and building a world that is so different from our own requires a new type of work from me. After talking to my new and truly fantastic mentor for the spring semester, Ms. Lauren Wohl, I was affirmed in my outlining process, particularly for this type of novel. Lauren said that with world building, the details and nuances of a society become more complicated, and outlining, as well as listing and diagraming and even drawing maps can help you build a world that is consistent and most importantly understandable for your reader.
She also mentioned that Walter Dean Myers outlines so meticulously, and with such extensive detail that when it comes time to write the manuscript, he is basically just typing, just connecting all the dots, as his outline is truly the draft of his novel. And not to say that we all have to create such a robust outline, but in many ways, outlining creates the foundation for a novel. It is like a map you draw for yourself to work your way through your novel, and ultimately arrive in your destination of choice.
Outlining has helped me have a clearer picture of my story, and where all the pertinent information needs to be inserted, and what that pertinent information even is at all. It's also inspired new creativity, as while I am working on one section, I often get a brilliant idea for a previous one, or one yet to come.
So perhaps I will continue outlining for every story I write. Who knows? But truly, I love it! Outlining has definitely helped me and I've only just begun.
Wednesday, December 12, 2012
Writing Prompt — Decorations
What holiday does your character celebrate? And how does she decorate for the holiday? Write a scene in which your character chooses, unpacks, or hangs decorations. Does she do this alone or does she have help? Is she the more enthusiastic party, or is someone forcing her to participate in the decorating? Do the decorations remind her of a past time, or excite her for an upcoming celebration? If the holidays don't fall into the time frame of your story, pick another holiday. Perhaps something less celebrated like Arbor Day. Create a fun decoration idea, and explore how you can reveal your character or move the plot forward through the scene. Sunday, December 9, 2012
All About Agents — Why They're Important and Where to Start Your Search
Hello, friends! I hope you've had a good week with all of the things you're doing and just life in general. It was good for me to officially wrap up my classes, and now begin the transition into the new phase of looking for agents and starting my next book. Many of my friends have asked me questions about just what agents do and how they work for you as a writer. So I thought I'd blog a bit about that this week, while also discussing just where to go about gathering info about agents and trying to find the one that is best for you.
So, to start, here's a brief/simplified summary of what agents do and why they are helpful: Before, a writer used to be able to send their submission materials directly to a publishing house. Then, the editors would look through what was commonly called the "slush pile" and find your work and contact you. Of course, this is a bit of a simplified summary, but basically that's how it worked. Today, while some publishing companies still accept what are called "unsolicited manuscripts" when you just send your material in blindly, most no longer accept these, meaning you can't just send your materials in and hope someone will pick up your work. So this is where agents come into play.
Agents provide the link between authors and publishing houses. So instead of sending your materials to a publisher, now you send them to different agencies, hoping that an agent will like your letter and sample and want to see more of your work. If they then like your manuscript, and you both agree that you would like to work with one another, then your agent will be the one to reach out to the different editors at publishing companies and pitch your work. An agent thus serves as your representative, and in the eyes of the publisher, as someone who has pre-approved your work. Having an agent show your work to an editor may not mean it is right for their house or their current list, but it gives them the opportunity to receive a short pitch of the idea from a trusted colleague, rather than the more intensive process of sorting through the submissions themselves.
That's the short summary of what an agent does, but how do you go about getting an agent in the first place? Well, when you're ready to start the process of searching for an agent, checking to see who represents your favorite authors or books that are like the one you have written can be a great place to start. Thanks to social media and author's websites, a lot of this information is online. Authors tend to list their agent's name in their short bio of their Twitter page, or somewhere on their website or blog. Once you've collected a list of agents who represent your kind of work, it's worth checking into and reading the different agency websites to get a deeper idea of just what these agencies focus on, what they are like in terms of working with their authors, and what types of books they are currently looking for. Query Tracker is also a great resource for you to explore, as it allows you to sort through the lists of agents by genre or target age group, as well as providing a direct link to the agency websites, thus taking out a lot of the searching process.
For most people, finding an agent is an important part of the writing process. Of course, there are situations in which you could submit directly to an editor that you've met or established a relationship with, but with the way the publishing world is today, I would say that agents would benefit the majority of us writers out there. Particularly those who have yet to be published.
Putting your work out there can be a daunting task. You never know how many rejections you might receive, but you also never know just who might love your work and want to represent you. I'll be honest and say that while I've been preparing and planning to submit to agents for quite some time, now that I am here and my manuscript is polished and ready to go, I definitely have a fair amount of trepidation going into this. But I think those feelings of fear have more to do with how much I want to get published and less to do with the fear of rejection. Like many others, I know that I have worked so hard and poured myself into these pages, so the hope of them getting published and being read by others is so real that it can get a bit scary.
I personally believe that the best things in life, and the things you want the most, often are quite frightening when they finally appear in front of you. But that doesn't mean that you shouldn't go for them, or that they aren't as good as you thought they were. I think this falls somewhere in that category. Searching for an agent could be the beginning of a wonderful journey that leads me to some of my dreams. And it could also be hard and not quite what I would have imagined. But that doesn't mean that I shouldn't try and try hard. You have to work for what you want, and you have to stay true to what you love. So hopefully, one day, I'll be able to tell you all about how wonderful it feels when someone decides they want to publish my book. But for right now, the important part is just taking the first step and putting my work out there. So that's what I'm doing. And I hope you'll do the same thing, too.
So, to start, here's a brief/simplified summary of what agents do and why they are helpful: Before, a writer used to be able to send their submission materials directly to a publishing house. Then, the editors would look through what was commonly called the "slush pile" and find your work and contact you. Of course, this is a bit of a simplified summary, but basically that's how it worked. Today, while some publishing companies still accept what are called "unsolicited manuscripts" when you just send your material in blindly, most no longer accept these, meaning you can't just send your materials in and hope someone will pick up your work. So this is where agents come into play.
Agents provide the link between authors and publishing houses. So instead of sending your materials to a publisher, now you send them to different agencies, hoping that an agent will like your letter and sample and want to see more of your work. If they then like your manuscript, and you both agree that you would like to work with one another, then your agent will be the one to reach out to the different editors at publishing companies and pitch your work. An agent thus serves as your representative, and in the eyes of the publisher, as someone who has pre-approved your work. Having an agent show your work to an editor may not mean it is right for their house or their current list, but it gives them the opportunity to receive a short pitch of the idea from a trusted colleague, rather than the more intensive process of sorting through the submissions themselves.
That's the short summary of what an agent does, but how do you go about getting an agent in the first place? Well, when you're ready to start the process of searching for an agent, checking to see who represents your favorite authors or books that are like the one you have written can be a great place to start. Thanks to social media and author's websites, a lot of this information is online. Authors tend to list their agent's name in their short bio of their Twitter page, or somewhere on their website or blog. Once you've collected a list of agents who represent your kind of work, it's worth checking into and reading the different agency websites to get a deeper idea of just what these agencies focus on, what they are like in terms of working with their authors, and what types of books they are currently looking for. Query Tracker is also a great resource for you to explore, as it allows you to sort through the lists of agents by genre or target age group, as well as providing a direct link to the agency websites, thus taking out a lot of the searching process.
For most people, finding an agent is an important part of the writing process. Of course, there are situations in which you could submit directly to an editor that you've met or established a relationship with, but with the way the publishing world is today, I would say that agents would benefit the majority of us writers out there. Particularly those who have yet to be published.
Putting your work out there can be a daunting task. You never know how many rejections you might receive, but you also never know just who might love your work and want to represent you. I'll be honest and say that while I've been preparing and planning to submit to agents for quite some time, now that I am here and my manuscript is polished and ready to go, I definitely have a fair amount of trepidation going into this. But I think those feelings of fear have more to do with how much I want to get published and less to do with the fear of rejection. Like many others, I know that I have worked so hard and poured myself into these pages, so the hope of them getting published and being read by others is so real that it can get a bit scary.
I personally believe that the best things in life, and the things you want the most, often are quite frightening when they finally appear in front of you. But that doesn't mean that you shouldn't go for them, or that they aren't as good as you thought they were. I think this falls somewhere in that category. Searching for an agent could be the beginning of a wonderful journey that leads me to some of my dreams. And it could also be hard and not quite what I would have imagined. But that doesn't mean that I shouldn't try and try hard. You have to work for what you want, and you have to stay true to what you love. So hopefully, one day, I'll be able to tell you all about how wonderful it feels when someone decides they want to publish my book. But for right now, the important part is just taking the first step and putting my work out there. So that's what I'm doing. And I hope you'll do the same thing, too.
Wednesday, December 5, 2012
Writing Prompt — Teacher
Imagine this teacher has been away for whatever amount of time and now returns either to your character's delight or dismay. Has this teacher returned to teach your character a new life lesson? Is this teacher not the person who your character remembered? Does he twist the plot and disrupt your character's life? Play with the ways this teacher affects your character, both emotionally and situationally.
Sunday, December 2, 2012
Shifting Gears — From Finishing to Beginning
Hello, everyone, and happy December! It's amazing how quickly these last few months have flown by, and just how much has happened during that time. As we move into the holiday season, and into the new year, I can contentedly say that I am finished with the final revision of my novel, and moving onto starting the next! Of course, this season will bring an interesting time known as the agent search, and hopefully some rest as well, but as I leave this one project and start on the next, I have begun to think about just how wrapping up one project provides a natural segue to the next.
As a writer, I think it is super important to always be thinking about future projects as you dive into your current one. Part of this goes back to the idea that you never know which novel, and which idea, will be the one that gets you an agent, or a contract, or a widespread readership. But also, being forward thinking and eager to create new, good ideas helps you in your commitment to the craft. Writing is no easy thing, and while it is great to take some time to celebrate your accomplishment of writing or revising your manuscript, you also want to make sure that you keep writing. There is no better way to become a better writer than to simply write more. I know this sounds totally cliche, but the more I write, the more I realize just how true this is.
Right now, I am waiting on the final comments from my mentor and then will officially be done with this novel. And part of me would love to kick back and relax for the next two months as I will admit I am quite tired from the hectic schedule of this past semester. But at the same time, I know it is time to move onto the next project and begin the process again.
I definitely think I am ready to move on from revision and begin writing something new again. While revision can be great, agonizing over sentence level details and deciding if the word "just" should go before or after the verb, and rereading a sentence with and without a contraction is really only fun for so long — at least for me anyways. You can really drive yourself crazy spending so much time on just one word placement when there are thousands of words you need to work through. Of course, this is not to say that revision can't have its great moments, but for now, I know I am ready to jump into the phase of creating anew, and leaving the meticulous nature revision behind.
I've heard some people say that after working with a project for so long, sometimes it can be hard to leave that world behind, with all of its characters and storylines and nuances that have really become a vivid reality to the author. I know I've spent a lot of time in my own fictional world and can see just how true this might be. But right now, because these three months of revision has been so intense and I feel at peace with where the story is at, I am happy to take a break and leave Carter and his world behind. But much like the way that every draft gets better, and your knowledge and craft of writing continually grows and builds upon itself, I think that Carter, and the stories I've written before, will always be part of the fabric of what I write next. They will never truly be left behind.
Your books become part of the fabric of who you are. And while some people might scoff at this idea as overly dramatic, it is really no different than the way that experiences and memories come to shape each of us. What you write, what you spend your time doing, all the things you think about, and all the lessons you learn about writing will carry on to the next project. However latent the role of these past projects become, they will always be part of your creative self, reminding you of the lessons you've learned and helping to shape your characters into more interesting ones and your plot into one of intrigue and action.
So as I move from the end of one project to the beginning of the next, I am confident that while I will face new challenges that I might not have dealt with before, I am better equipped to the write the story I am planning to write, and to write it well. It is time for the beginning of a new project, and thus I will take the lessons I've learned from Blinding and bring them forth into my new fictional world where characters will be created and imaginary lives will be changed. So wish me luck! Here's to many new lessons, new stories, and hopefully, even stronger writing :)
As a writer, I think it is super important to always be thinking about future projects as you dive into your current one. Part of this goes back to the idea that you never know which novel, and which idea, will be the one that gets you an agent, or a contract, or a widespread readership. But also, being forward thinking and eager to create new, good ideas helps you in your commitment to the craft. Writing is no easy thing, and while it is great to take some time to celebrate your accomplishment of writing or revising your manuscript, you also want to make sure that you keep writing. There is no better way to become a better writer than to simply write more. I know this sounds totally cliche, but the more I write, the more I realize just how true this is.
Right now, I am waiting on the final comments from my mentor and then will officially be done with this novel. And part of me would love to kick back and relax for the next two months as I will admit I am quite tired from the hectic schedule of this past semester. But at the same time, I know it is time to move onto the next project and begin the process again.
I definitely think I am ready to move on from revision and begin writing something new again. While revision can be great, agonizing over sentence level details and deciding if the word "just" should go before or after the verb, and rereading a sentence with and without a contraction is really only fun for so long — at least for me anyways. You can really drive yourself crazy spending so much time on just one word placement when there are thousands of words you need to work through. Of course, this is not to say that revision can't have its great moments, but for now, I know I am ready to jump into the phase of creating anew, and leaving the meticulous nature revision behind.
I've heard some people say that after working with a project for so long, sometimes it can be hard to leave that world behind, with all of its characters and storylines and nuances that have really become a vivid reality to the author. I know I've spent a lot of time in my own fictional world and can see just how true this might be. But right now, because these three months of revision has been so intense and I feel at peace with where the story is at, I am happy to take a break and leave Carter and his world behind. But much like the way that every draft gets better, and your knowledge and craft of writing continually grows and builds upon itself, I think that Carter, and the stories I've written before, will always be part of the fabric of what I write next. They will never truly be left behind.
Your books become part of the fabric of who you are. And while some people might scoff at this idea as overly dramatic, it is really no different than the way that experiences and memories come to shape each of us. What you write, what you spend your time doing, all the things you think about, and all the lessons you learn about writing will carry on to the next project. However latent the role of these past projects become, they will always be part of your creative self, reminding you of the lessons you've learned and helping to shape your characters into more interesting ones and your plot into one of intrigue and action.
So as I move from the end of one project to the beginning of the next, I am confident that while I will face new challenges that I might not have dealt with before, I am better equipped to the write the story I am planning to write, and to write it well. It is time for the beginning of a new project, and thus I will take the lessons I've learned from Blinding and bring them forth into my new fictional world where characters will be created and imaginary lives will be changed. So wish me luck! Here's to many new lessons, new stories, and hopefully, even stronger writing :)
Wednesday, November 28, 2012
Writing Prompt — Movie
What is your character's favorite type of movie? Does she go to the movies often? Does she prefer to watch them in the comfort of her own home, sitting from the couch dressed in pjs, or does she get a thrill from sitting in the large, dark theater surrounded by other movies goers?How can a trip to the movies, or just a movie itself work its way into your story? Does a specific movie parallel the action of your own plot? Or does a new romance begin while watching a film over popcorn and a large drink? If your character is a child, is this her first trip to the movies with her friends, or alone, or ever? Or, does a trip to the theater reveal a sadness in your character's life? Think of all the different ways a movie can work into your plot, and, if it just doesn't seem to fit, how can a movie that has been important to your character reveal something about her personality to your reader? Use your character's emotional response to a scene to speak for her, perhaps sharing something she is unable to articulate on her own.
Sunday, November 25, 2012
In Thanks — The Importance of a Mentor
This time next week, I will have turned in my final revision of my manuscript and will be anxiously awaiting for my mentor's final responses. He will annotate the manuscript, send me a letter, and I will call him on the phone — all for the final time, at least in this context. After Saturday, our cooperative work on this project will be done. And I can honestly admit, that idea seems strange.
After almost three and a half months of working together, and after I have worked on this manuscript for two months before that, somedays it seems this project has just become part of the very nature of my life. But like all projects, this manuscript is wrapping up and a new one will soon be starting. In some ways, it is time to move on, and transition into the next phase of sending it out and starting my next project. Nevertheless, I wanted to take the time to truly stop and appreciate all that I've accomplished in the past five months, and, more importantly, the person who has helped me do so.
When I found out who my mentor was in mid-August, I was overjoyed to have the privilege of working with someone who had accomplished so much in his career and who, I was certain, had much wisdom to share. It turns out I was right. I truly could not have picked anyone to work with over the past few months. I would never have gotten my manuscript to this point without my mentor and editor, Stephen Roxburgh.
Like the very name of his publishing company suggests, the role of an editor may often be unseen or unknown to the reader, but it is of supreme importance both to the writer, and the manuscript itself. My manuscript is infinitely better because of the ways that Stephen has shaped and led me. The input, guidance, wisdom and support he has given me has not only bettered my manuscript, but also changed me as a writer. I am thankful for his choice to work with me, and all of the wisdom he has imparted along the way. I could write for pages about all the things I've learned about the writing process and the craft; how to view your characters; what to cut and what to keep; the intentionality behind every word; the steps of the revision process; and so much more. But really, while all of these things are invaluable, most of all I want to appreciate his willingness to work with me and help me get closer to the writer I want to be. It all started with his decision to take on my project and work with a young writer. And for that I will be forever grateful.
Of course, I know that this mentorship with Stephen is a unique situation afforded to me by my master's program, but the value of having a writing mentor cannot be overestimated. While mentors are easier to obtain within a school setting, whether at the college or graduate level, I would highly encourage anyone to make sure that they are learning from writers or editors who have been doing this longer than you have. Mentors could perhaps come from a writing group or class you decide to take. And on some level, reading books about craft can serve as a type of mentorship for your writing as well. But being in relationship with other writers or editors who can read and help better your work is absolutely invaluable. Not only will you learn more about writing, but you will also find encouragement and support as you work your hardest and chase your dream.
I am blessed to say that these past few months have proven to be a great learning experience for me. I will always remember the guidance of my mentor and look back at the growth I have made during this time. I cannot express just how grateful I am, but only hope to continue learning and writing, and hopefully have more relationships such as this one — relationships that make me better, and lead me to create better books.
After almost three and a half months of working together, and after I have worked on this manuscript for two months before that, somedays it seems this project has just become part of the very nature of my life. But like all projects, this manuscript is wrapping up and a new one will soon be starting. In some ways, it is time to move on, and transition into the next phase of sending it out and starting my next project. Nevertheless, I wanted to take the time to truly stop and appreciate all that I've accomplished in the past five months, and, more importantly, the person who has helped me do so.
When I found out who my mentor was in mid-August, I was overjoyed to have the privilege of working with someone who had accomplished so much in his career and who, I was certain, had much wisdom to share. It turns out I was right. I truly could not have picked anyone to work with over the past few months. I would never have gotten my manuscript to this point without my mentor and editor, Stephen Roxburgh.
Like the very name of his publishing company suggests, the role of an editor may often be unseen or unknown to the reader, but it is of supreme importance both to the writer, and the manuscript itself. My manuscript is infinitely better because of the ways that Stephen has shaped and led me. The input, guidance, wisdom and support he has given me has not only bettered my manuscript, but also changed me as a writer. I am thankful for his choice to work with me, and all of the wisdom he has imparted along the way. I could write for pages about all the things I've learned about the writing process and the craft; how to view your characters; what to cut and what to keep; the intentionality behind every word; the steps of the revision process; and so much more. But really, while all of these things are invaluable, most of all I want to appreciate his willingness to work with me and help me get closer to the writer I want to be. It all started with his decision to take on my project and work with a young writer. And for that I will be forever grateful.
Of course, I know that this mentorship with Stephen is a unique situation afforded to me by my master's program, but the value of having a writing mentor cannot be overestimated. While mentors are easier to obtain within a school setting, whether at the college or graduate level, I would highly encourage anyone to make sure that they are learning from writers or editors who have been doing this longer than you have. Mentors could perhaps come from a writing group or class you decide to take. And on some level, reading books about craft can serve as a type of mentorship for your writing as well. But being in relationship with other writers or editors who can read and help better your work is absolutely invaluable. Not only will you learn more about writing, but you will also find encouragement and support as you work your hardest and chase your dream.
I am blessed to say that these past few months have proven to be a great learning experience for me. I will always remember the guidance of my mentor and look back at the growth I have made during this time. I cannot express just how grateful I am, but only hope to continue learning and writing, and hopefully have more relationships such as this one — relationships that make me better, and lead me to create better books.
Wednesday, November 21, 2012
Wednesday's Writing Prompt — Turkey!
Write a comedy scene that leaves your character in a state of disarray. Think about all the things that go wrong for him. Even if these create a feeling of sadness, creating comedic moments can be a great way to give your reader a break from the tension, and help them to feel more sympathetic toward your character. Visualize the scene in your mind and work on conveying your character's emotions through his response to the situation melting down around him. What does this reveal about your character himself? Is there any way he can save the meal, or will people walk into a kitchen with mashed potatoes on the floor and a freshly burnt turkey sitting on the stove top?
Sunday, November 18, 2012
The Home Stretch — Wrapping Up Your Revision, and Finishing Strong
December 1st is the deadline for my last revision, and this time around, I am feeling a new sense of pressure. This pressures comes solely from myself, of course, but still. It's there. And it's there because as the end of the revision approaches, I've realized just how badly I want to make my novel great, and how the time to do that is now.
Working with my mentor over the last few months has been more than I could have ever hoped for. Truly, I have learned so much and my novel and my knowledge base as a writer has grown tremendously. But now as things are wrapping up, I feel that creeping sense of uncertainty that makes me question if I've done enough, and what more I could be doing.
Revision is not a finite process, and every manuscript and writer will require different styles and timelines for revision. For me, particularly as I was and still am on a very specific revision schedule, the period of three and a half months I have dedicated to revision is now coming to a close. And while I can revise beyond this timeframe, independently or perhaps with another editor or writing buddy, I do see this cycle as one of the final steps in my revision process — at least for now. So, with the idea that in another two weeks my manuscript will have reached a fairly "finished" state, I know my mind is just whirring with questions and lists of things to accomplish and the worry that I just want to do everything to make my manuscript as good as it can be!
Being so close to a manuscript and working with it for so long, I know it can become hard to picture what a new reader will think of the novel as opposed to basing my opinion on the many months I've spent with it. Questions like, will he like it? Will she think its a page-turner? Will he believe all the characters to be authentic and engaging? I know everything about the manuscript, from my protagonist's middle name to exactly how the doctors visit went, and just what the setup of his house looks like. So as I try to evaluate if it is "good", it can be hard to tell just how right, or — gulp — wrong, I could be. All of these questions and feelings have arisen over the past couple days as I have slowly worked through my list of things to revise, and edged closer to my final deadline.
After I turn in this revision, my editor will read the manuscript one last time, and then...Then I am on my own. I know that I will begin sending the novel to agents as I start the first pages of my spring novel, but the realization that I will be doing this all on my own has really hit me this week. Stephen won't be there for me to ask my questions to; and he won't be there to give me a specific task for the next week or impart some much needed wisdom. And it is this knowledge, that soon I will be on my own without anyone to lead me along, has inspired a new wave of diligency. A new sense that now is the time to work and work hard. Now is the time to do all that I can. In all of my other revisions, it's not that I haven't worked hard, but now, it's as though I've moved from dress rehearsal to opening night. It matters what I do this time, because this is where people will start to see it. The time to make things right is now.
It's almost like after this cycle, there is no second chance — and while really, this is my fifth, it holds the same feeling. When you come to the end of revision you want to feel as though your work is as shiny and attractive and creative as possible. You want to feel that no matter who reads it, they will come away feeling impressed, happy to have spent their time within the pages of your story. So I must work hard. Even though I am tired and ready for the semester to end, and even though there are days I feel like I might want to take a break from the world I've created, now, today, is the time to stay focused. And tomorrow, and the next day, and the next day, all the way until December 1st.
Then, I will take a deep breath, press the send button, and, if I work hard for the remaining two weeks, be able to trust that my work is the best that it can be, and that the manuscript is truly ready to go out into the world. Here's to praying that it happens! And to being proud of my work at the end.
Working with my mentor over the last few months has been more than I could have ever hoped for. Truly, I have learned so much and my novel and my knowledge base as a writer has grown tremendously. But now as things are wrapping up, I feel that creeping sense of uncertainty that makes me question if I've done enough, and what more I could be doing.
Revision is not a finite process, and every manuscript and writer will require different styles and timelines for revision. For me, particularly as I was and still am on a very specific revision schedule, the period of three and a half months I have dedicated to revision is now coming to a close. And while I can revise beyond this timeframe, independently or perhaps with another editor or writing buddy, I do see this cycle as one of the final steps in my revision process — at least for now. So, with the idea that in another two weeks my manuscript will have reached a fairly "finished" state, I know my mind is just whirring with questions and lists of things to accomplish and the worry that I just want to do everything to make my manuscript as good as it can be!
Being so close to a manuscript and working with it for so long, I know it can become hard to picture what a new reader will think of the novel as opposed to basing my opinion on the many months I've spent with it. Questions like, will he like it? Will she think its a page-turner? Will he believe all the characters to be authentic and engaging? I know everything about the manuscript, from my protagonist's middle name to exactly how the doctors visit went, and just what the setup of his house looks like. So as I try to evaluate if it is "good", it can be hard to tell just how right, or — gulp — wrong, I could be. All of these questions and feelings have arisen over the past couple days as I have slowly worked through my list of things to revise, and edged closer to my final deadline.
After I turn in this revision, my editor will read the manuscript one last time, and then...Then I am on my own. I know that I will begin sending the novel to agents as I start the first pages of my spring novel, but the realization that I will be doing this all on my own has really hit me this week. Stephen won't be there for me to ask my questions to; and he won't be there to give me a specific task for the next week or impart some much needed wisdom. And it is this knowledge, that soon I will be on my own without anyone to lead me along, has inspired a new wave of diligency. A new sense that now is the time to work and work hard. Now is the time to do all that I can. In all of my other revisions, it's not that I haven't worked hard, but now, it's as though I've moved from dress rehearsal to opening night. It matters what I do this time, because this is where people will start to see it. The time to make things right is now.
It's almost like after this cycle, there is no second chance — and while really, this is my fifth, it holds the same feeling. When you come to the end of revision you want to feel as though your work is as shiny and attractive and creative as possible. You want to feel that no matter who reads it, they will come away feeling impressed, happy to have spent their time within the pages of your story. So I must work hard. Even though I am tired and ready for the semester to end, and even though there are days I feel like I might want to take a break from the world I've created, now, today, is the time to stay focused. And tomorrow, and the next day, and the next day, all the way until December 1st.
Then, I will take a deep breath, press the send button, and, if I work hard for the remaining two weeks, be able to trust that my work is the best that it can be, and that the manuscript is truly ready to go out into the world. Here's to praying that it happens! And to being proud of my work at the end.
Wednesday, November 14, 2012
Wednesday's Writing Prompt — Birthday
How are the people in his life reacting to this upcoming date? Are they on the same page regarding his birthday, or do they hold the opposite stance than that of your character? How can that create tension within your story? Will this year bring about a change, or will your character's birthday be the same as always? Is this day linked to a larger problem within your story? How does it exacerbate or bring resolution to the greater tension?
Sunday, November 11, 2012
A Blog on My Birthday — Lessons from the Past Year
Birthdays are a great time for reflection. And since today is my birthday, and my weekly blogging day, I thought this would be a great time to reflect on my writing over the past year, and the things we can learn on commemorative days such as these. So, since twenty four would make for way too long of a blog post, I came up with twelve things I've learned over the past year. Some are things I've learned for the first time, and some are simply lessons that have been affirmed over the past year, but all contribute to bettering your writing, and more importantly, becoming a better writer yourself. Hope you enjoy!
1. Write all the time. Over the past year, I've done a lot of writing. Completing two manuscripts, planning a third, and fully revising one, and while some days I can honestly say I am exhausted, the truth is that the more I write, the better I become. My last book was better than the one before, and my next will be better still. You learn as you write. And even if you can't trace it, or measure it, or quantify it in some way, writing all the time makes you better; and leads to more production — which is always good, because you never know which book will be your winning ticket.
2. Stay committed. There will be days when you just want to stop, or quit, or maybe scream. But seeing your project through is just as important as starting it in the first place. Creating goals can be a good way to do this. Creating a schedule helps, too. But no matter what system you use, staying committed makes all the difference. Writers will go through struggles. But real writers will also be the ones to persevere.
3. Make sure you have at least one writing buddy. My writing buddy has been supremely important in keeping me going, reminding me of my goal, and helping to develop my ideas. We don't necessarily work together or read each other's work all the time, but every time we get together we talk about our ideas, and work through our uncertainties. We encourage one another and throw out different ways a plot might go, or bring up important elements to keep in mind. Writing buddies are key. You may actually write alone, in a solitary space, but no writer can actually do it alone. You at least need someone who understands all your complaints about writing!
4. Tell people what you do, and accept their encouragement. This has been one of the greatest things for me this year, and something I've realized for the first time. I think I've said it before, but I have been blown away by the way people are interested in, curious about, and supportive of my writing. This has kept me going on lots of occasions. Telling people about your process invites them into a relationship with your work in some small way, and opens up lots of doors for support and encouragement — most of which miraculously come at just the right moment!
5. Remember how far you've come. Writing is a solitary act, and sometimes, after we've revised and revised or written and rewritten, it can feel as though we are not achieving quite what we want to achieve. But remember where you started. Every writer has at least one book sitting in the drawer, and that book may never do anything other than collect some real or virtual dust. But there is nothing wrong with this. Just think about how you used to be looking at the blank screen and now you have fifty pages. Or how bad your last manuscript was. Or how you used to write weak dialogue but now write engaging, page turning discussions. Don't forget the past. It will help you stay motivated for the future.
6. Make writing a priority. I've said no to plenty of plans over the past year, or made myself sit in front of my computer when all I really wanted to do was watch a TV show or hang out with a friend. Writing will only get done if you actually make yourself do it. Don't let it get lost in the shuffle.
7. Always be searching for new ideas. The project you are working on will eventually come to an end. Published or unpublished, just like when you get to the end of a good book and start reading slower so the last page takes that much longer to come, your manuscript too will have to be wrapped up in some fashion. And you want to be ready to move onto the next project. So remember to keep your eyes and ears open for the next great idea. It might come from a headline of a newspaper or the person sitting in the cube next to you. But wherever it comes from, make sure to be on the lookout, and to write it down!
8. Remember that you love this. I'm not sure that all of us writers would have the same answer about why we write, but take some time to remember just why you are doing this. Why do you love writing so much? What is it about books that makes you excited or tugs at your heart? Remember these things. Because on the discouraging days, this will ultimately keep you going.
9. Trust yourself, and your idea. It is super important to listen to the suggestions of other writers, and to study writing as a craft. But at the same time, you want to make sure to stick with what you know is right for you. My professor once said newer authors often give in to suggestions of their editors because they feel that they have to, even if they don't agree. I think it is supremely important to follow and consider the suggestions of your editor, or agent, but never forget that this is your work and you should ultimately stay true to what you believe.
10. Persevere. When people tell you it's not good enough, or raise their eyebrows in question when you tell them your idea — just keep moving forward. Part of the writing life is rejection, uncertainty, and lots and lots of words on a page before you get to something truly great. But keep going. Keep writing, even if for now, you're the only one who stands behind what you're doing.
11. Sometimes, take a break. Whether the break is a half hour longer of dinner, or going to bed early, or just a spontaneous dance party in your room, getting away from the screen can be just as important as sitting there. Creativity isn't always on the schedule we want it to be, so don't be afraid to let your mind rest for a little while. It will make all the difference in the end.
12. Be ambitious. Fear can definitely be a road block to this, but the more ambitious you are, the more likely you will be in meeting your goals. Of course, realistic goals are important, too, but selling yourself short will never get you anywhere. So think big. And work hard. And your ambitions will suddenly seem like they're in reach.
1. Write all the time. Over the past year, I've done a lot of writing. Completing two manuscripts, planning a third, and fully revising one, and while some days I can honestly say I am exhausted, the truth is that the more I write, the better I become. My last book was better than the one before, and my next will be better still. You learn as you write. And even if you can't trace it, or measure it, or quantify it in some way, writing all the time makes you better; and leads to more production — which is always good, because you never know which book will be your winning ticket.
2. Stay committed. There will be days when you just want to stop, or quit, or maybe scream. But seeing your project through is just as important as starting it in the first place. Creating goals can be a good way to do this. Creating a schedule helps, too. But no matter what system you use, staying committed makes all the difference. Writers will go through struggles. But real writers will also be the ones to persevere.
3. Make sure you have at least one writing buddy. My writing buddy has been supremely important in keeping me going, reminding me of my goal, and helping to develop my ideas. We don't necessarily work together or read each other's work all the time, but every time we get together we talk about our ideas, and work through our uncertainties. We encourage one another and throw out different ways a plot might go, or bring up important elements to keep in mind. Writing buddies are key. You may actually write alone, in a solitary space, but no writer can actually do it alone. You at least need someone who understands all your complaints about writing!
4. Tell people what you do, and accept their encouragement. This has been one of the greatest things for me this year, and something I've realized for the first time. I think I've said it before, but I have been blown away by the way people are interested in, curious about, and supportive of my writing. This has kept me going on lots of occasions. Telling people about your process invites them into a relationship with your work in some small way, and opens up lots of doors for support and encouragement — most of which miraculously come at just the right moment!
5. Remember how far you've come. Writing is a solitary act, and sometimes, after we've revised and revised or written and rewritten, it can feel as though we are not achieving quite what we want to achieve. But remember where you started. Every writer has at least one book sitting in the drawer, and that book may never do anything other than collect some real or virtual dust. But there is nothing wrong with this. Just think about how you used to be looking at the blank screen and now you have fifty pages. Or how bad your last manuscript was. Or how you used to write weak dialogue but now write engaging, page turning discussions. Don't forget the past. It will help you stay motivated for the future.
6. Make writing a priority. I've said no to plenty of plans over the past year, or made myself sit in front of my computer when all I really wanted to do was watch a TV show or hang out with a friend. Writing will only get done if you actually make yourself do it. Don't let it get lost in the shuffle.
7. Always be searching for new ideas. The project you are working on will eventually come to an end. Published or unpublished, just like when you get to the end of a good book and start reading slower so the last page takes that much longer to come, your manuscript too will have to be wrapped up in some fashion. And you want to be ready to move onto the next project. So remember to keep your eyes and ears open for the next great idea. It might come from a headline of a newspaper or the person sitting in the cube next to you. But wherever it comes from, make sure to be on the lookout, and to write it down!
8. Remember that you love this. I'm not sure that all of us writers would have the same answer about why we write, but take some time to remember just why you are doing this. Why do you love writing so much? What is it about books that makes you excited or tugs at your heart? Remember these things. Because on the discouraging days, this will ultimately keep you going.
9. Trust yourself, and your idea. It is super important to listen to the suggestions of other writers, and to study writing as a craft. But at the same time, you want to make sure to stick with what you know is right for you. My professor once said newer authors often give in to suggestions of their editors because they feel that they have to, even if they don't agree. I think it is supremely important to follow and consider the suggestions of your editor, or agent, but never forget that this is your work and you should ultimately stay true to what you believe.
10. Persevere. When people tell you it's not good enough, or raise their eyebrows in question when you tell them your idea — just keep moving forward. Part of the writing life is rejection, uncertainty, and lots and lots of words on a page before you get to something truly great. But keep going. Keep writing, even if for now, you're the only one who stands behind what you're doing.
11. Sometimes, take a break. Whether the break is a half hour longer of dinner, or going to bed early, or just a spontaneous dance party in your room, getting away from the screen can be just as important as sitting there. Creativity isn't always on the schedule we want it to be, so don't be afraid to let your mind rest for a little while. It will make all the difference in the end.
12. Be ambitious. Fear can definitely be a road block to this, but the more ambitious you are, the more likely you will be in meeting your goals. Of course, realistic goals are important, too, but selling yourself short will never get you anywhere. So think big. And work hard. And your ambitions will suddenly seem like they're in reach.
Wednesday, November 7, 2012
Wednesday's Writing Prompt — Speech
Whether for a win, a loss, or some other occasion, place your character in a situation in which they have to make a speech. How will her address be received? Do the consequences of her words
better her world? What benefits does she gain from the address? Or is she instead putting herself or someone else in danger?
Is she being forced to make this speech? What will happen if she
refuses?
Consider the emotions of your character. Instead of stating them explicitly, try to reveal them to the reader through describing her physical reactions, her perception of the room, and the diction that she uses. Perhaps she is feeling nauseous and light-headed, or her voice shakes as she speaks. Or, maybe her perception of the lights around her make her feel as though the room is warm and inviting, even glowing. As your character walks up to the microphone or feels the eyes of the spectators for the first time, what happens? Consider starting your story in this very moment, filling in the backstory as you go.
Sunday, November 4, 2012
The Question of What to Say — On Talking About Your Manuscript
Today marks the end of my fourth revision cycle, after which I will have a few days of rest before receiving my manuscript back from my editor/mentor, and will start revision all over again. And while this past revision cycle has been busy with edits, the most challenging of which turned out to be deciding the placement of chapter breaks, I wanted to blog about something other than the revision process itself. Something that has been on my mind for quite some time. Namely, the decision about when to talk about my novel, and to what extent.
With my blog and my general commitment to writing/revising each and every day, pretty much everyone in my life knows, on some level, about my writing. The support I have received has been truly overwhelming, and I am so thankful for the encouragement offered each and every week. I've even blogged about it here, as I know that my writing, and my emotional wellbeing, would not be anywhere as strong without all of you. But in everyone knowing and supporting my writing, questions about my book and requests to read it consistently come up. And I always find myself at a bit of a crossroads here, unsure about how much to share, but not wanting to hurt someone's feelings by saying no.
I love sharing insights about my writing process, how I get ideas, the timeline of writing, and the publishing industry itself. Honestly, it is so great that people are so interested and want to understand my writing life better, as I know it opens up connections and deepens relationships when you share your passions with other people. At the same time, it can be hard to know what exactly to say and what to keep to myself. On my blog, I tried to be very careful about not revealing too much about my manuscript, because as much as the online world is wonderful and encouraging and meant to be a shared experience, I simultaneously want to protect my ideas, and make sure I don't give too much away in the case that my manuscript will be published one day. But with friends, and those I care about, it is much harder to be as protective or deny someone insight into what my ideas may be.
Over the past fews months, in response to the question, "What is your manuscript about?", one of the ways I've tried to manage this is by prefacing my answer with, "I will tell you, but you can't tell anyone else." Sometimes, I feel a little silly repeating this, but I see it as a way to both alert someone that not only do I really not want them to tell anyone else, but also that by telling them, I am placing a certain amount of trust and confidence in that person. Of course, depending on who I am talking to, I provide more or less detail about the work, but other than perhaps my one writing friend who I work through all my ideas with, I also feel a little uncomfortable telling people about my work. And that turns into feeling a little guilty.
I know people are just asking because they are curious. And so often I receive truly amazing, and surprising support from others. Because the reality is that they really do care. But while the writing process, and this part of my life really, is something that I definitely want to share, it is also something that I do alone; something that still has to come from me, and no one else. Recently, a friend asked me why I wouldn't want to let other people read my work. And it was a really good question because it made me reflect on the reasons which I think are these:
I know some authors never disclose what they are working on, not even revealing the smallest snippet of the idea. This is definitely not something I am looking to do, but I do think the amount of sharing can also depend on the project. For the manuscript I will begin working on in December, I know that I do not want to share as much as I have for this project with such a broad spectrum of people. I've only told one person the title, and other than two of my friends who have helped me work out the plot, virtually no one knows anything about it beyond that it is going to be a fantasy novel, much like a fairy tale. And for some reason, with this project, I want to keep it that way.
I guess I don't have any concrete conclusions to share or what is the "right" answer. But I often feel this tension between wanting to answer people openly, and not wanting to keep my work private. Of course, there are times when I want help, and I definitely rely on a few fun, key idea people to bring up new concepts and help me work through conundrums. But on the whole, this is a question I think about consistently, and one I have still yet to resolve in my mind.
Perhaps this tension between wanting to be friendly, loving, and open and wanting to protect, shelter, and keep my work private will always exist. But at least know that if I don't tell you as much as you might like, it is truly nothing personal. It's just hard for me to know exactly what to say.
I'd love to hear what others writers think about this, and how much others are willing to share with friends and what that they keep to themselves, so feel free to comments or shoot me an email!
With my blog and my general commitment to writing/revising each and every day, pretty much everyone in my life knows, on some level, about my writing. The support I have received has been truly overwhelming, and I am so thankful for the encouragement offered each and every week. I've even blogged about it here, as I know that my writing, and my emotional wellbeing, would not be anywhere as strong without all of you. But in everyone knowing and supporting my writing, questions about my book and requests to read it consistently come up. And I always find myself at a bit of a crossroads here, unsure about how much to share, but not wanting to hurt someone's feelings by saying no.
I love sharing insights about my writing process, how I get ideas, the timeline of writing, and the publishing industry itself. Honestly, it is so great that people are so interested and want to understand my writing life better, as I know it opens up connections and deepens relationships when you share your passions with other people. At the same time, it can be hard to know what exactly to say and what to keep to myself. On my blog, I tried to be very careful about not revealing too much about my manuscript, because as much as the online world is wonderful and encouraging and meant to be a shared experience, I simultaneously want to protect my ideas, and make sure I don't give too much away in the case that my manuscript will be published one day. But with friends, and those I care about, it is much harder to be as protective or deny someone insight into what my ideas may be.
Over the past fews months, in response to the question, "What is your manuscript about?", one of the ways I've tried to manage this is by prefacing my answer with, "I will tell you, but you can't tell anyone else." Sometimes, I feel a little silly repeating this, but I see it as a way to both alert someone that not only do I really not want them to tell anyone else, but also that by telling them, I am placing a certain amount of trust and confidence in that person. Of course, depending on who I am talking to, I provide more or less detail about the work, but other than perhaps my one writing friend who I work through all my ideas with, I also feel a little uncomfortable telling people about my work. And that turns into feeling a little guilty.
I know people are just asking because they are curious. And so often I receive truly amazing, and surprising support from others. Because the reality is that they really do care. But while the writing process, and this part of my life really, is something that I definitely want to share, it is also something that I do alone; something that still has to come from me, and no one else. Recently, a friend asked me why I wouldn't want to let other people read my work. And it was a really good question because it made me reflect on the reasons which I think are these:
- My friends and family are not my target audience
- While I will always want my loved ones to like what I write, ultimately, I am going to keep writing it either way, and don't want to feel discouraged by potential disapproval
- To some extent, I am just not interested in their opinions, because I want to trust my own, and I want to create something that comes strictly from me
- I want them to read it one day for sure, but not until the work is done, polished, and really ready to go somewhere
I know some authors never disclose what they are working on, not even revealing the smallest snippet of the idea. This is definitely not something I am looking to do, but I do think the amount of sharing can also depend on the project. For the manuscript I will begin working on in December, I know that I do not want to share as much as I have for this project with such a broad spectrum of people. I've only told one person the title, and other than two of my friends who have helped me work out the plot, virtually no one knows anything about it beyond that it is going to be a fantasy novel, much like a fairy tale. And for some reason, with this project, I want to keep it that way.
I guess I don't have any concrete conclusions to share or what is the "right" answer. But I often feel this tension between wanting to answer people openly, and not wanting to keep my work private. Of course, there are times when I want help, and I definitely rely on a few fun, key idea people to bring up new concepts and help me work through conundrums. But on the whole, this is a question I think about consistently, and one I have still yet to resolve in my mind.
Perhaps this tension between wanting to be friendly, loving, and open and wanting to protect, shelter, and keep my work private will always exist. But at least know that if I don't tell you as much as you might like, it is truly nothing personal. It's just hard for me to know exactly what to say.
I'd love to hear what others writers think about this, and how much others are willing to share with friends and what that they keep to themselves, so feel free to comments or shoot me an email!
Wednesday, October 31, 2012
Wednesday's Writing Prompt — Halloween!
Now decide what you want your character to do. Will he press onward, looking for his destination, or will he try to turn back? Whatever he chooses, does he find something along the way? Does his discovery open up a whole new plotline for your story? Is it a projection of his own fear or is it really there? What is his physical reaction to the situation? What is he going to do? How is the tension complicated by the fact that it is Halloween night?
If your character is an adult, have him think back on a time when this happened. What emotions does it bring to mind now? Did it ruin his view of the holiday, or leave him always wondering about that place? Perhaps have him return to the scene, or encounter a reminder that begins a new journey.
Sunday, October 28, 2012
Keep the Reader Reading — Disclosing Information at the Right Time
Providing the right information at just the right time is an essential part of crafting a good story. You want to make sure not to give away to much, to create tension and suspense, and provide a payoff for your reader among many other things. But in order to do all of these things well, one element to keep in mind is the idea of when, how, and how often you provide information that your reader needs to know.
For my current revision process, this is something that has been on my mind. I moved a scene up to make sure the reader has enough information to keep him interested. I studied my order of scenes to make sure each scene laid the foundations for the ones to come. But because my first revision mandated that I delete so many of my initial pages that essentially served as backstory rather than action, in earlier revisions, I really tried to analyze where information was introduced to make sure that the reader knew just enough of what she needed to know, when she needed to know it, so that she would remain engaged and wanting to move forward with the story.
As the story then progresses, however, it is equally important to make sure that while you provide the necessary information for your story, you also are not repeating the same information again and again. Of course, you want to make sure to give your reader all the necessary clues and reminders so that the story remains understandable and fluid, but repeating information can also become redundant. Even though certain characters might not know what your reader might already know, it is important to be aware that to simply restate the information for the sake of an unknowing character can negatively affect the reader's experience of your novel — because they already know.
This was something that my mentor brought to my attention for my current revision. Because my protagonist is keeping a secret from many people, as he begins to reveal the truth, I need to be continually conscious of both the way in which he does it —meaning word choice and the analogies he uses — as well as how much information is revealed, and potentially repeated, each time. The more I thought about this, the more I realized he was right. Of course while I was writing I thought it was important to make sure my protagonist explained things to the important people in his life. But with the reader standing in a place of dramatic irony, these conversations or revelations need to be abridged, or perhaps portrayed through indirect dialogue rather than a repetition of what has already been said.
Essentially, what I am saying is this: You don't want to sacrifice your reader for the good of a character. The reader is the one who must stay engaged. She is the one you want to make turn the page, and she is the one who you don't want to bore with your over description or constant reminders of what she already knows.
Much like my last post about keeping a reader emotionally engaged, you also want to respect the reader's intelligence and ability to make connections and remember what has already occurred. Sometimes, as the writer, it is hard to see it from the reader's perspective or as someone reading it with fresh eyes. We already know the whole story. But in this part of the revision stage, it is important to really look at your manuscript as if you'd never seen it before. However hard that may be, it is important to constructing the reading experience you want your audience to have.
But being aware of what's already been said will only serve to make your novel stronger. You want your manuscript to be as interesting as possible. And information that someone already knows doesn't have have the same appeal as the new information that can be found on the next page. One of the most important things for us authors is to keep your reader reading. And if taking out a repeated section of dialogue, or extracting information that's already been established will do that, then by all means, take it out!
Disclosing information in the right places can be like a balancing act — making sure there is just enough over here to balance a lack of something over there. But it will all be worth it in the end. When you're reader keeps turning the page, and there is no boredom to be found, then the tinkering and the revising will all be worth it. So ask someone to read your work. Or pretend you're a first time reader and see what you find. I can guarantee your novel will be better for it!
For my current revision process, this is something that has been on my mind. I moved a scene up to make sure the reader has enough information to keep him interested. I studied my order of scenes to make sure each scene laid the foundations for the ones to come. But because my first revision mandated that I delete so many of my initial pages that essentially served as backstory rather than action, in earlier revisions, I really tried to analyze where information was introduced to make sure that the reader knew just enough of what she needed to know, when she needed to know it, so that she would remain engaged and wanting to move forward with the story.
As the story then progresses, however, it is equally important to make sure that while you provide the necessary information for your story, you also are not repeating the same information again and again. Of course, you want to make sure to give your reader all the necessary clues and reminders so that the story remains understandable and fluid, but repeating information can also become redundant. Even though certain characters might not know what your reader might already know, it is important to be aware that to simply restate the information for the sake of an unknowing character can negatively affect the reader's experience of your novel — because they already know.
This was something that my mentor brought to my attention for my current revision. Because my protagonist is keeping a secret from many people, as he begins to reveal the truth, I need to be continually conscious of both the way in which he does it —meaning word choice and the analogies he uses — as well as how much information is revealed, and potentially repeated, each time. The more I thought about this, the more I realized he was right. Of course while I was writing I thought it was important to make sure my protagonist explained things to the important people in his life. But with the reader standing in a place of dramatic irony, these conversations or revelations need to be abridged, or perhaps portrayed through indirect dialogue rather than a repetition of what has already been said.
Essentially, what I am saying is this: You don't want to sacrifice your reader for the good of a character. The reader is the one who must stay engaged. She is the one you want to make turn the page, and she is the one who you don't want to bore with your over description or constant reminders of what she already knows.
Much like my last post about keeping a reader emotionally engaged, you also want to respect the reader's intelligence and ability to make connections and remember what has already occurred. Sometimes, as the writer, it is hard to see it from the reader's perspective or as someone reading it with fresh eyes. We already know the whole story. But in this part of the revision stage, it is important to really look at your manuscript as if you'd never seen it before. However hard that may be, it is important to constructing the reading experience you want your audience to have.
But being aware of what's already been said will only serve to make your novel stronger. You want your manuscript to be as interesting as possible. And information that someone already knows doesn't have have the same appeal as the new information that can be found on the next page. One of the most important things for us authors is to keep your reader reading. And if taking out a repeated section of dialogue, or extracting information that's already been established will do that, then by all means, take it out!
Disclosing information in the right places can be like a balancing act — making sure there is just enough over here to balance a lack of something over there. But it will all be worth it in the end. When you're reader keeps turning the page, and there is no boredom to be found, then the tinkering and the revising will all be worth it. So ask someone to read your work. Or pretend you're a first time reader and see what you find. I can guarantee your novel will be better for it!
Wednesday, October 24, 2012
Wednesday's Writing Prompt — Costumes
Halloween is just around the corner and your character needs to come up with a costume. First, think about where he is going: a friend's party, trick-or-treating, a work event, a family tradition, etc. How do the group dynamics of the event factor into the decision? Is your character reluctant to participate, or just dying to go? Will he be going as part of a group costume, or as an individual costume? Is figuring out a costume high on his priority list, or something he will have to throw together at the last minute?Think about what other things are going on in your character's life, and how that affects his attitude toward the party. What does the costume say about your character's personality? How can you use the costume to reveal something you don't want to explicitly state?
Tuesday, October 23, 2012
Update!
I've updated my "Books" page to reflect my almost fully revised work in progress. An upper middle-grade, realistic fiction novel, I am excited to see how far I've come in the last couple months and for the final revisions to take place. So thanks for all of you who have asked about it and encouraged me along the way. It is not done yet, but the finish line is in sight! Check it out the brief synopsis!
Sunday, October 21, 2012
Tracing the Emotions — Keeping Your Reader Emotionally Involved
As of this past week, I have completed my third round of revision on my manuscript and am about to begin my fourth. It's amazing to see just how much the novel has come along. It's definitely been a lot of hard work, especially with each revision is on such a tight schedule. But, while I am slightly exhausted to be sure, it's nice to be able to see the fruits of the work paying off!
This week, in my letter from my editor, one element that he highlighted for the next revision is to make sure to track the reader's emotional involvement with certain characters. In essence, I need to take a careful look at the emotional progression of certain characters, but also begin to consider the way in which readers will respond to those characters.
For instance, one of my characters, Tate, is the best friend of my protagonist. For the majority of the novel, however, Tate is angry at Carter for something he's done, and struggles to believe Carter's professed reason for why he did it. Now, I know this doesn't give you lots of insight into the greater situation or the dynamic between the characters, but it provides a good example this type of revision. Throughout the novel, Tate's anger manifests itself in a variety of ways. So as the novel progresses, and his anger changes, I need to make sure that his emotions are consistent and relative to the situations playing out around him.
Going through the scenes in which he appears, cataloging a list of his actions, and listing his emotional responses are all part of creating the emotional map for any character. Of course, I know people do this in a variety of different ways, including color coding, using index cards, or creating extensive outlines. But really whatever works for you is great, as long as you are making sure to carefully go through all of the places in which your character appears since even the smallest of actions can convey a world of emotion. You want to gather as full a picture as you can of the emotional life of your character.
But tracking a character emotionally is not only about following their emotions, but also being aware of how the reader responds to their emotional progression. One of the things my mentor said about Tate was that in a few instances, he has begun to come across as mean. And if he comes across as mean, then the reader loses sympathy for him, which in turn, lessens their sympathy toward my protagonist. Evaluating reader response to your character's emotional lives is just as important as the character's emotions themselves. Of course, it is not always about making your character likable, but instead, about remembering their emotions go beyond just the characters themselves.
Sometimes we become so caught up in moving the plot along and ensuring the value of each scene, and even each sentence, it can become easy to forget your reader's response. For my character, I didn't necessarily have a problem with Tate acting mean, but I do want to make sure to protect the reader's connection with him, and thus don't want his meanness to break the bond that has hopefully formed.
Because this type of revision shifts some of the focus away from the story itself as it exists on the page and onto the response of the reader, it is definitely a revision that should come later in your process. In the case of flat characters, who never really change or only make a cameo in one scene, there role doesn't merit this type of scrutiny. But all the other characters who play a main role in the action or even in the development of your protagonist can be evaluated in this way.
Secondary characters' emotions can often be just as important as the emotions of your protagonist. Like the real world, all of our characters exist in an interpersonal web of relationships. And, this web includes your readers' relationship with the characters. One of the best parts of the reading experience is that you get to lose yourself in a whole new world of friends and action and fantasy. So you want to make sure to keep your reader connected. Their emotions matter, too!
This week, in my letter from my editor, one element that he highlighted for the next revision is to make sure to track the reader's emotional involvement with certain characters. In essence, I need to take a careful look at the emotional progression of certain characters, but also begin to consider the way in which readers will respond to those characters.
For instance, one of my characters, Tate, is the best friend of my protagonist. For the majority of the novel, however, Tate is angry at Carter for something he's done, and struggles to believe Carter's professed reason for why he did it. Now, I know this doesn't give you lots of insight into the greater situation or the dynamic between the characters, but it provides a good example this type of revision. Throughout the novel, Tate's anger manifests itself in a variety of ways. So as the novel progresses, and his anger changes, I need to make sure that his emotions are consistent and relative to the situations playing out around him.
Going through the scenes in which he appears, cataloging a list of his actions, and listing his emotional responses are all part of creating the emotional map for any character. Of course, I know people do this in a variety of different ways, including color coding, using index cards, or creating extensive outlines. But really whatever works for you is great, as long as you are making sure to carefully go through all of the places in which your character appears since even the smallest of actions can convey a world of emotion. You want to gather as full a picture as you can of the emotional life of your character.
But tracking a character emotionally is not only about following their emotions, but also being aware of how the reader responds to their emotional progression. One of the things my mentor said about Tate was that in a few instances, he has begun to come across as mean. And if he comes across as mean, then the reader loses sympathy for him, which in turn, lessens their sympathy toward my protagonist. Evaluating reader response to your character's emotional lives is just as important as the character's emotions themselves. Of course, it is not always about making your character likable, but instead, about remembering their emotions go beyond just the characters themselves.
Sometimes we become so caught up in moving the plot along and ensuring the value of each scene, and even each sentence, it can become easy to forget your reader's response. For my character, I didn't necessarily have a problem with Tate acting mean, but I do want to make sure to protect the reader's connection with him, and thus don't want his meanness to break the bond that has hopefully formed.
Because this type of revision shifts some of the focus away from the story itself as it exists on the page and onto the response of the reader, it is definitely a revision that should come later in your process. In the case of flat characters, who never really change or only make a cameo in one scene, there role doesn't merit this type of scrutiny. But all the other characters who play a main role in the action or even in the development of your protagonist can be evaluated in this way.
Secondary characters' emotions can often be just as important as the emotions of your protagonist. Like the real world, all of our characters exist in an interpersonal web of relationships. And, this web includes your readers' relationship with the characters. One of the best parts of the reading experience is that you get to lose yourself in a whole new world of friends and action and fantasy. So you want to make sure to keep your reader connected. Their emotions matter, too!
Wednesday, October 17, 2012
Wednesday's Writing Prompt — Politics
If your character is a child, imagine the political situation from their vantage point. Or, if your character lives in a fantasy world, or in a time set in the past, think about what specific differences you need to explain and explore to better allow your reader to understand the greater setting. Creating a larger problem to frame your story can add depth, authenticity, and tension.
Sunday, October 14, 2012
Don't Rush, but Hurry Up — The Importance of Pacing
Yesterday, my friend recounted a story to me in which someone said to her, "Now don't rush, but hurry up!" The more I thought about it, the more I realized just how perfect this statement is. This is exactly what you want to do with you a novel. You want to hurry yourself to the action; to the real meat of the story. But you don't want to rush getting there, or leave out any of the crucial parts.
Pacing is a complex problem that will come with every novel. Of course, we all go into a novel with a certain plan, knowing roughly how much time we are looking to cover, and how we want the narrative voice to read. But the difficulty of figuring out the level of detail that you want to describe, how to do so in an interesting manner, and then keeping this consistent throughout can sometimes prove challenging — particularly when you want your pacing to keep the reader engaged, and always wondering what will happen next.
This is something I've been thinking a lot about over the past two weeks while working on my third round of revision for my manuscript. My mentor instructed me to go back through every scene, and really evaluate how I could tighten things up, or if I really needed a scene at all. This type of evaluation was really aimed at the questions, "Do your readers really need to know this?" and "How does the exposition/dialogue/event further the story?"
As I went through my manuscript line by line, I realized there were three main areas were I could enhance and contribute to the pace of my story. First, I looked for material that I could cut. These sections were in some way unnecessary. This could be a description of a place or person that just doesn't need to be in the story, or a conversation that doesn't further reveal or build character, or maybe just a statement of the obvious that the reader can glean for herself. Perhaps it' two lines, or two paragraphs, or two pages, but cutting unnecessary material can increase the pacing significantly.
Next, I really looked at dialogue. Dialogue is something that can help the reader get a lot of information in short spurts, and deepens character. But because you want the dialogue to have a quick movement, longer monologues and lengthy conversations are often something to avoid. This was particularly important for me because of the age of my character. Thirteen year old boys are not often very verbose, so I tried to pare down my character's words particularly when it came to any type of repetition.
The third area I looked at was exposition. In my first draft I had tons of exposition to start the story. Now, most of it is gone, and the action of my story starts right when you read the very first page. This meant that I had to figure out ways for information to come through a variety of sources as the novel continued, but not in such away that it slowed down the action. Good exposition can be one or two lines, so I tried to focus on key pieces of information, rather than general descriptions.
While this is something to be aware of in the first draft, I think pacing is an element that needs to be looked at in revision, when you've gotten everything you wanted down on the page and can then see the whole scope of what you're working with. And just as pacing for each of your projects will be different, so, too, will your revisions. But the key thing is that for each of your manuscripts, you only want to include what's necessary. You want to plunge your reader into the action and keep them steadily wanting more and not feel as though they are plodding through or digging for some buried treasure. You want to remove the debris from the path and provide a clear line toward the destination, all while not take too long to get there.
So like following any treasure map, creating the right pacing may not be easy, but it certainly can be done.
Pacing is a complex problem that will come with every novel. Of course, we all go into a novel with a certain plan, knowing roughly how much time we are looking to cover, and how we want the narrative voice to read. But the difficulty of figuring out the level of detail that you want to describe, how to do so in an interesting manner, and then keeping this consistent throughout can sometimes prove challenging — particularly when you want your pacing to keep the reader engaged, and always wondering what will happen next.
This is something I've been thinking a lot about over the past two weeks while working on my third round of revision for my manuscript. My mentor instructed me to go back through every scene, and really evaluate how I could tighten things up, or if I really needed a scene at all. This type of evaluation was really aimed at the questions, "Do your readers really need to know this?" and "How does the exposition/dialogue/event further the story?"
As I went through my manuscript line by line, I realized there were three main areas were I could enhance and contribute to the pace of my story. First, I looked for material that I could cut. These sections were in some way unnecessary. This could be a description of a place or person that just doesn't need to be in the story, or a conversation that doesn't further reveal or build character, or maybe just a statement of the obvious that the reader can glean for herself. Perhaps it' two lines, or two paragraphs, or two pages, but cutting unnecessary material can increase the pacing significantly.
Next, I really looked at dialogue. Dialogue is something that can help the reader get a lot of information in short spurts, and deepens character. But because you want the dialogue to have a quick movement, longer monologues and lengthy conversations are often something to avoid. This was particularly important for me because of the age of my character. Thirteen year old boys are not often very verbose, so I tried to pare down my character's words particularly when it came to any type of repetition.
The third area I looked at was exposition. In my first draft I had tons of exposition to start the story. Now, most of it is gone, and the action of my story starts right when you read the very first page. This meant that I had to figure out ways for information to come through a variety of sources as the novel continued, but not in such away that it slowed down the action. Good exposition can be one or two lines, so I tried to focus on key pieces of information, rather than general descriptions.
While this is something to be aware of in the first draft, I think pacing is an element that needs to be looked at in revision, when you've gotten everything you wanted down on the page and can then see the whole scope of what you're working with. And just as pacing for each of your projects will be different, so, too, will your revisions. But the key thing is that for each of your manuscripts, you only want to include what's necessary. You want to plunge your reader into the action and keep them steadily wanting more and not feel as though they are plodding through or digging for some buried treasure. You want to remove the debris from the path and provide a clear line toward the destination, all while not take too long to get there.
So like following any treasure map, creating the right pacing may not be easy, but it certainly can be done.
Wednesday, October 10, 2012
Wednesday's Writing Prompt — Carnival
Take your character to the carnival. What does she see? Who does she notice? Create a sensory image, focusing on the sounds, smells and sights around her.
Now imagine she's uncomfortable. Why is she uncomfortable? Is there a way to make her feel relaxed, or is her discomfort part of a larger problem? How can she interact with the setting around her? Is she there alone, or does she have company? Did she want to come to the carnival? Why or why not?
Sunday, October 7, 2012
Choosing Your Next Project — Writing for Others, and for Yourself
Yesterday, I had coffee with my good friend and fellow writer Heather Demetrios to catch up on life and talk about all things writerly. And while all of our conversation was truly fun and enriching, one thing I kept thinking about after I left is the balance between current projects and future projects. Or perhaps more precisely, choosing what project you want to pursue next, and how to know that that's the one you should go with.
For me, this subject has been on my mind because while I still have a long way to go in the revision of my current novel, the deadline for my spring mentorship proposal is fast approaching. The way that my MFA program at Simmons works, this year, my second and final year of the degree, consists of two intensive mentorships in which you work on two different manuscripts during the two respective semesters. Thus, the need to be aware of what I am going to do next, and to select what I feel is the "best" project from my list of potential ideas, has definitely been a real pressure that I've felt over the past few months.
Similarly for Heather, who is completing her MFA at VCFA, she, too, must choose a project to work on next. And, as a 2014 debut author with her YA novel Streaming, feels the even added pressure of wanting to produce a great second novel that will be a strong follow up to her first. Of course, I am confident that she will absolutely succeed in this, but I completely understand the stress that comes with choosing your next project. The endeavor of writing a novel mandates a large amount of time and commitment. And while some people can balance writing several things at once, the reality of doing that with working in a full-time (or even part-time), and doing that well, becomes a real challenge. Never mind the fact that when you have a list of projects you want to pursue, you want to take into account the market and what you think will most likely sell, especially as a yet unpublished or debut author.
So as we talked about all our worries yesterday, and as I left to return home to my work, I realized that this pressure, this uncertainty, is something we will probably always have to deal with. No one knows for sure that one book will sell over the next. Or that this project should take precedent over that one. And it is this decision making process that will probably always keep our minds spinning as we consider our upcoming works. But, this is not something that necessarily has to hold us back, or paralyze us from producing good work. If handled the right way, it is something that can only make us better.
See, I think Heather and I both come from the camp of "write more, and write more, now!" For better or for worse, we will probably always be the overachieving sort who go for the things we want and never want to quit anything, no matter how hard something might become, and then move onto the next one. And productivity wise, this can be a great quality, but emotionally, sometimes it is simply exhausting. So ultimately, like most things, choosing what to work on next must come down to a balance. On one hand, it is good to write with an eye toward the market — considering what is out there and what isn't, what holes you can fill, and what audience you're after. But at the same time, you need to go with what you feel most passionate about, or the story you know in your heart you need to write, regardless of the trends of what you think is likely to get bought.
The writing we do has to come from us. And even though I know I so desperately want my writing to be read and to affect other people, my writing will always need to be not just from me, but for me, too. We need to write for ourselves; for the love we have of literature and for the stories that we are just dying to tell. We need to write knowing that one manuscript might not go anywhere, but that we'll still keep on writing anyway. Maybe your first, or second, or third or fourth book doesn't get a lot of attention, or maybe doesn't even get bought. For all of us, that is a slight scary reality. So you want to make sure that especially now, as a newer or even more established author, each project you work on is a project you're really invested in, not just one you think will get you ahead.
The hard truth is that there are no guarantees. Being a writer is not a path for someone who is looking for security and certainty. As as someone who likes to plan out everything, I can say, it can be totally hard. So choosing the book you really want to write is something that will help sustain you on the long journey of writing.
We ultimately do this because we love this, right? And loving your book will help you want to keep going — in this project and in the next. And having some good writer-friends by your side, to work through your worries and your ideas, definitely won't hurt, either!
For me, this subject has been on my mind because while I still have a long way to go in the revision of my current novel, the deadline for my spring mentorship proposal is fast approaching. The way that my MFA program at Simmons works, this year, my second and final year of the degree, consists of two intensive mentorships in which you work on two different manuscripts during the two respective semesters. Thus, the need to be aware of what I am going to do next, and to select what I feel is the "best" project from my list of potential ideas, has definitely been a real pressure that I've felt over the past few months.
Similarly for Heather, who is completing her MFA at VCFA, she, too, must choose a project to work on next. And, as a 2014 debut author with her YA novel Streaming, feels the even added pressure of wanting to produce a great second novel that will be a strong follow up to her first. Of course, I am confident that she will absolutely succeed in this, but I completely understand the stress that comes with choosing your next project. The endeavor of writing a novel mandates a large amount of time and commitment. And while some people can balance writing several things at once, the reality of doing that with working in a full-time (or even part-time), and doing that well, becomes a real challenge. Never mind the fact that when you have a list of projects you want to pursue, you want to take into account the market and what you think will most likely sell, especially as a yet unpublished or debut author.
So as we talked about all our worries yesterday, and as I left to return home to my work, I realized that this pressure, this uncertainty, is something we will probably always have to deal with. No one knows for sure that one book will sell over the next. Or that this project should take precedent over that one. And it is this decision making process that will probably always keep our minds spinning as we consider our upcoming works. But, this is not something that necessarily has to hold us back, or paralyze us from producing good work. If handled the right way, it is something that can only make us better.
See, I think Heather and I both come from the camp of "write more, and write more, now!" For better or for worse, we will probably always be the overachieving sort who go for the things we want and never want to quit anything, no matter how hard something might become, and then move onto the next one. And productivity wise, this can be a great quality, but emotionally, sometimes it is simply exhausting. So ultimately, like most things, choosing what to work on next must come down to a balance. On one hand, it is good to write with an eye toward the market — considering what is out there and what isn't, what holes you can fill, and what audience you're after. But at the same time, you need to go with what you feel most passionate about, or the story you know in your heart you need to write, regardless of the trends of what you think is likely to get bought.
The writing we do has to come from us. And even though I know I so desperately want my writing to be read and to affect other people, my writing will always need to be not just from me, but for me, too. We need to write for ourselves; for the love we have of literature and for the stories that we are just dying to tell. We need to write knowing that one manuscript might not go anywhere, but that we'll still keep on writing anyway. Maybe your first, or second, or third or fourth book doesn't get a lot of attention, or maybe doesn't even get bought. For all of us, that is a slight scary reality. So you want to make sure that especially now, as a newer or even more established author, each project you work on is a project you're really invested in, not just one you think will get you ahead.
The hard truth is that there are no guarantees. Being a writer is not a path for someone who is looking for security and certainty. As as someone who likes to plan out everything, I can say, it can be totally hard. So choosing the book you really want to write is something that will help sustain you on the long journey of writing.
We ultimately do this because we love this, right? And loving your book will help you want to keep going — in this project and in the next. And having some good writer-friends by your side, to work through your worries and your ideas, definitely won't hurt, either!
Wednesday, October 3, 2012
Wednesday's Writing Prompt — Rain
Now decide if you will reveal what the flyer says. How would your story change if you kept it a secret from the reader, allowing only your character to know what he has just read?
Sunday, September 30, 2012
As Good As It Can Be — Seeing Your Novel All the Way Through
This week in my publishing class, when talking about the relationship between editors and authors, my professor said, "A good editor will push an author do another rewrite when the author thinks they just don't have another rewrite in them." Spoken by a venerable veteran of the publishing industry, who also happens to be a well respected author, I instantly related this to my revision process with my current novel.
I am currently in my second round of revision with my mentor, and as I think about the remaining three revisions I will have to do, I know that part of me worries whether I will have it in me to get them all done in the next two months, and if I will do them well. The vast amount of revision needed to take a manuscript from a first draft to the final draft can be quite large. And while I can't say that I know just how much time my manuscript will need, my professor's statement really made me think about the hard work it takes to make your book the best book it can be.
I think in the midst of revision, or writing, or just working hard, it can be easy to lose sight of the idea that we want to make our novels the very best novels they can be — and here's the key part — no matter how what it takes. At moments, it can be easier to settle for the feelings of "right now". Right now, I wonder why my novel can't just be good enough as it is? And right now, I don't really want to cut this portion or reconceptualize that section. And right now, I just don't know how much longer I can take writing and rewriting and revising the same piece of work. But despite these feelings, the truth is that you don't really want to put out a novel that is just "okay". You want to put out a novel that you are proud of, and a novel that tells your story in the very best way possible.
It's pretty great to see that one of my favorite novels had to go through several rounds of revision. And that she mapped out her chronology, and changed her characters name more than once, and wrote ideas in the margins, and crossed things out, and all of the other things that I, and the rest of us writers, do on a daily basis. We're all going through the same frustrating process filled with hard work, anxiety, perhaps some tears, and definitely a whole lot of time. But at least I'm not the only one who feels that it's tough sometimes, and I'm not the only one who struggles to think that I have more in me for this rewrite or the next.
Writing is not always a glamorous art. Maybe the actual process might never seem glamorous to some. But we're all going through the same thing. And hearing my professor talk about her struggles, and seeing Natalie's right there on the page in front of me, it reminds me that hopefully, in the end, I might just come out with something beautiful.
I am currently in my second round of revision with my mentor, and as I think about the remaining three revisions I will have to do, I know that part of me worries whether I will have it in me to get them all done in the next two months, and if I will do them well. The vast amount of revision needed to take a manuscript from a first draft to the final draft can be quite large. And while I can't say that I know just how much time my manuscript will need, my professor's statement really made me think about the hard work it takes to make your book the best book it can be.
On Friday of this week, I also took a research trip to down Connecticut to visit the children's literature archive where all of the original materials for the book Tuck Everlasting are held. There, I got to go through the original, early manuscripts of Natalie Babbitt's work, correspondence between her and a myriad of people, as well as all of the publicity, reviews, and other materials for her various books. One document I read that really stood out to my writerly self was a note from her editor that said something to the effect of, "and you thought this day would never come." Thinking about the implications of this statement, I realized that it's good to know that Natalie Babbitt struggled with waiting, or the long process of revising, or just the vulnerability that comes with trying to put your work out there. And this author, whose work I really admire, and whose work was sitting right in front of me, perhaps wasn't too different from me.
I think in the midst of revision, or writing, or just working hard, it can be easy to lose sight of the idea that we want to make our novels the very best novels they can be — and here's the key part — no matter how what it takes. At moments, it can be easier to settle for the feelings of "right now". Right now, I wonder why my novel can't just be good enough as it is? And right now, I don't really want to cut this portion or reconceptualize that section. And right now, I just don't know how much longer I can take writing and rewriting and revising the same piece of work. But despite these feelings, the truth is that you don't really want to put out a novel that is just "okay". You want to put out a novel that you are proud of, and a novel that tells your story in the very best way possible.
It's pretty great to see that one of my favorite novels had to go through several rounds of revision. And that she mapped out her chronology, and changed her characters name more than once, and wrote ideas in the margins, and crossed things out, and all of the other things that I, and the rest of us writers, do on a daily basis. We're all going through the same frustrating process filled with hard work, anxiety, perhaps some tears, and definitely a whole lot of time. But at least I'm not the only one who feels that it's tough sometimes, and I'm not the only one who struggles to think that I have more in me for this rewrite or the next.
Writing is not always a glamorous art. Maybe the actual process might never seem glamorous to some. But we're all going through the same thing. And hearing my professor talk about her struggles, and seeing Natalie's right there on the page in front of me, it reminds me that hopefully, in the end, I might just come out with something beautiful.
Wednesday, September 26, 2012
Wednesday's Writing Prompt — Fall
Develop a setting that incorporates the fall season. You can place your character in an apple orchard, on a hay ride, or simply have them noticing the trees outside their window. Now place your character within the scenery you've created. How does she interact with it? What effects does it have on her? Are their memories attached to her surroundings, or this specific season? Is she wishing for the past or welcoming the change openly? How your characters feel can greatly affect how a setting is described. Think about the ways in which your character's internal thoughts are projected onto the scenery around her.
Sunday, September 23, 2012
Keeping Your Character's Secrets —What to Say, and What Not to Say
Just like real, everyday people, each and every character has an internal world and an external world. One of the great qualities of the novel is that the wall between the internal and external can be broken down, and we, the readers, get to peek inside the internal world of a character in the way that we can never do in real life: we actually get to see inside their heads. We feel like we are getting to know all their thoughts, but really, we are only seeing all the thoughts that the author allows us to see.
This is where my blog post picks up this week: thinking about the question what thoughts of my protagonist should I allow the reader to have access to, and what thoughts should be kept secret? The weight of this question is also augmented by the fact that at the start of my novel, my protagonist is also keeping a secret from those around him. And not only is he keeping a secret, but he is also trying to resist the truth himself.
As I've continued my revision this week, I've run into many sections within the manuscript where I've thought, "He doesn't need to say this," and deleted a sentence or two. Mostly because these thoughts have been 1) obvious and something the reader can glean from the exposition and/or his actions, or 2) too mature/analytical for the narrative moment that he finds himself in. I think I should pause for a moment here and say that my story is also being told in the first person voice. This POV greatly informs my questions of what to reveal and what to keep secret because it is ultimately my character who is talking about himself. There is no omniscient or close third narrator who has some level of detachment or even investment in getting or protecting the whole truth of the story. This is Carter's story, being told by Carter. And much like you and I are very selective in the truths we tell, or perhaps more accurately, how we frame those truths, it becomes a significant concern for me as the author to achieve an authenticity in the voice and revelations of my character.
It's not so much that he wouldn't or doesn't think a specific thought, but it becomes a question of what should be said and when a thought should be said. A thought he might reveal at the end of my book, when he is more self-aware and coming to accept more of his limitations might feel very out of place at the beginning of the novel. Similarly, while he reveals his feelings to one of his friends, I need to make sure that the spoken words are an appropriate reflection of a thirteen-to-fourteen year old boy's emotional depth, instead of perhaps something deeply profound that I would love to have my character say.
Finding the appropriate balance between expressed and unstated thoughts begins with an awareness of just who your character is, and also, how your character's secrets affect the overall arch of the story. I know that my novel would be vastly different if Carter were willing to proclaim his secret to the world on page one. Secrets are often very important to the plot and the motivations of your character, and they can be a great way to keep your reader turning the page. But in keeping secrets from your reader, however big or small, you want to make sure to give them enough of an emotional connection with your character so that they care about him, and want him to achieve whatever he is after.
When working around secrets and your character's hidden thoughts, you also want to make sure to keep your character believable. So while you must always remember that your characters have secrets and needs and fears and desires, you always want to remind yourself that they're not always going to be talking about them. Walking the line between providing some sense of that protective self-awareness as well as a willingness to be open thus becomes even more important, particularly when working with a first person narration.
We all have certain things that we want to hide, or a desire to say other things that might not reflect the whole, complete truth. This is an important aspect of developing compelling characters. But as the author, it is your job to figure out exactly what needs to be said and what should be kept behind the curtain. And like most other things in the revision process, there is no formula for exactly how to do this. But one good tip to remember: just like the rest of us real-life characters, your characters aren't as self-aware as you'd like them to be.
This is where my blog post picks up this week: thinking about the question what thoughts of my protagonist should I allow the reader to have access to, and what thoughts should be kept secret? The weight of this question is also augmented by the fact that at the start of my novel, my protagonist is also keeping a secret from those around him. And not only is he keeping a secret, but he is also trying to resist the truth himself.
As I've continued my revision this week, I've run into many sections within the manuscript where I've thought, "He doesn't need to say this," and deleted a sentence or two. Mostly because these thoughts have been 1) obvious and something the reader can glean from the exposition and/or his actions, or 2) too mature/analytical for the narrative moment that he finds himself in. I think I should pause for a moment here and say that my story is also being told in the first person voice. This POV greatly informs my questions of what to reveal and what to keep secret because it is ultimately my character who is talking about himself. There is no omniscient or close third narrator who has some level of detachment or even investment in getting or protecting the whole truth of the story. This is Carter's story, being told by Carter. And much like you and I are very selective in the truths we tell, or perhaps more accurately, how we frame those truths, it becomes a significant concern for me as the author to achieve an authenticity in the voice and revelations of my character.
It's not so much that he wouldn't or doesn't think a specific thought, but it becomes a question of what should be said and when a thought should be said. A thought he might reveal at the end of my book, when he is more self-aware and coming to accept more of his limitations might feel very out of place at the beginning of the novel. Similarly, while he reveals his feelings to one of his friends, I need to make sure that the spoken words are an appropriate reflection of a thirteen-to-fourteen year old boy's emotional depth, instead of perhaps something deeply profound that I would love to have my character say.
Finding the appropriate balance between expressed and unstated thoughts begins with an awareness of just who your character is, and also, how your character's secrets affect the overall arch of the story. I know that my novel would be vastly different if Carter were willing to proclaim his secret to the world on page one. Secrets are often very important to the plot and the motivations of your character, and they can be a great way to keep your reader turning the page. But in keeping secrets from your reader, however big or small, you want to make sure to give them enough of an emotional connection with your character so that they care about him, and want him to achieve whatever he is after.
When working around secrets and your character's hidden thoughts, you also want to make sure to keep your character believable. So while you must always remember that your characters have secrets and needs and fears and desires, you always want to remind yourself that they're not always going to be talking about them. Walking the line between providing some sense of that protective self-awareness as well as a willingness to be open thus becomes even more important, particularly when working with a first person narration.
We all have certain things that we want to hide, or a desire to say other things that might not reflect the whole, complete truth. This is an important aspect of developing compelling characters. But as the author, it is your job to figure out exactly what needs to be said and what should be kept behind the curtain. And like most other things in the revision process, there is no formula for exactly how to do this. But one good tip to remember: just like the rest of us real-life characters, your characters aren't as self-aware as you'd like them to be.
Wednesday, September 19, 2012
Wednesday's Writing Prompt — Baking
Place your character in the kitchen, ready to bake a cake or dessert of
your choice. What is the occasion? How much time does he have? Is he
following a recipe? Does he know how to bake? Now have something go
wrong. Perhaps adding the wrong ingredients or setting off the smoke
detector. What is your character's response?Then, have a second thing go wrong. How does he respond now? Is he alone in the kitchen? Is he trying to surprise someone or impress another? Think about the emotions behind your character's baking struggles. Is there something else going on that just makes him too distracted to focus, or is it another emotion tied to the process like loss, frustration, or expectation?
Sunday, September 16, 2012
Save or Delete? Revising and Rewriting
This week started my first intensive week of
revision for my manuscript, and while I had definitely anticipated this time
for quite a while, I didn't fully know what to expect.
Just as each project is different, so, too, is the revision process. Sometimes
you start in the beginning and work your way through, while other times you
might work backwards or pick a certain element to revise throughout your work.
For this initial revision, I am focusing on the first third of the novel: tightening,
cutting, and just getting to the main action of the novel sooner. I've also
been adding a few scenes, too.
One of the best pieces of advice my mentor gave me was that my reader is more interested in seeing the interactions between the kids as opposed to the interactions between my protagonist and the adults around him. From this, I’ve been able to reconceptualize just what are the most interesting scenes in the first third of the novel, and what might come off as a little less interesting.
But in all of this, I've found myself asking the question, "Should I cut this? Or should I keep it?" I've definitely cut a lot of material — entire scenes even. Despite the initial feeling that I had worked so hard on these scenes and conceptualized the story so specifically, I really find the deletion process pretty easy. I'm ruthless, you might say. So far I've cut out about forty-five pages out of entire manuscript. But when it comes to material that isn't part of a strictly prolonged child-to-adult scene, or backstory that we don't actually have to see playing out, the line between what should be saved and what should be thrown out becomes a bit more blurry. What happens to those really great sentences that just don’t seem to fit in anymore? And the piece of dialogue that is so great but needs to be changed based on the changes to the scene above?
Most of the time the answer is that I have to let them go. Maybe try to store them in the back of my brain for another time. But sometimes, I’ve found ways to repurpose ideas, moving a snippet of dialogue down into the next scene, or simply reorganizing paragraphs to make things work. Knowing when and what to delete or keep is really a case by case call that only you, the author, can make. There is no rule or equation that gives us all the right answers or even a guarantee that this new way of writing a scene was better than the old.
In determining exactly what material to delete, I think an important step in the process is first deciding how you want the story to read, and exactly what element of revision you are going to work on first. For example, in my revisions, I am really trying to streamline the action and plunge the reader right into the heart of the conflict. So I’ve taken out a lot of exposition that led up to this conflict. If I hadn’t know exactly what my goal for the revision was, it would have been a lot harder to make the necessary judgment call. Going in with a clear idea of what you are trying to accomplish can help tremendously.
Luckily this also isn’t the only revision pass I’ll do. So I don’t have to feel that this is my only chance. If I don’t make it perfect this time, there are still plenty of opportunities to work on it. Trying to tackle every revision element at once becomes way too overwhelming anyway. But I also make sure to keep a copy of the previous draft, so that in the event that I cut something that I might want to bring back later, I have it saved, and ready to go.
So for this revision period, I just need to keep my goals in mind and keep crossing things off my list. With one week left before I turn my manuscript back over to my editor, I feel like I'm in an okay place, though there is still a lot left to be done. Hopefully I can achieve all the things on my list this time, and make a whole different one the next!
I'm off to go work now. Happy writing!
One of the best pieces of advice my mentor gave me was that my reader is more interested in seeing the interactions between the kids as opposed to the interactions between my protagonist and the adults around him. From this, I’ve been able to reconceptualize just what are the most interesting scenes in the first third of the novel, and what might come off as a little less interesting.
But in all of this, I've found myself asking the question, "Should I cut this? Or should I keep it?" I've definitely cut a lot of material — entire scenes even. Despite the initial feeling that I had worked so hard on these scenes and conceptualized the story so specifically, I really find the deletion process pretty easy. I'm ruthless, you might say. So far I've cut out about forty-five pages out of entire manuscript. But when it comes to material that isn't part of a strictly prolonged child-to-adult scene, or backstory that we don't actually have to see playing out, the line between what should be saved and what should be thrown out becomes a bit more blurry. What happens to those really great sentences that just don’t seem to fit in anymore? And the piece of dialogue that is so great but needs to be changed based on the changes to the scene above?
Most of the time the answer is that I have to let them go. Maybe try to store them in the back of my brain for another time. But sometimes, I’ve found ways to repurpose ideas, moving a snippet of dialogue down into the next scene, or simply reorganizing paragraphs to make things work. Knowing when and what to delete or keep is really a case by case call that only you, the author, can make. There is no rule or equation that gives us all the right answers or even a guarantee that this new way of writing a scene was better than the old.
In determining exactly what material to delete, I think an important step in the process is first deciding how you want the story to read, and exactly what element of revision you are going to work on first. For example, in my revisions, I am really trying to streamline the action and plunge the reader right into the heart of the conflict. So I’ve taken out a lot of exposition that led up to this conflict. If I hadn’t know exactly what my goal for the revision was, it would have been a lot harder to make the necessary judgment call. Going in with a clear idea of what you are trying to accomplish can help tremendously.
Luckily this also isn’t the only revision pass I’ll do. So I don’t have to feel that this is my only chance. If I don’t make it perfect this time, there are still plenty of opportunities to work on it. Trying to tackle every revision element at once becomes way too overwhelming anyway. But I also make sure to keep a copy of the previous draft, so that in the event that I cut something that I might want to bring back later, I have it saved, and ready to go.
So for this revision period, I just need to keep my goals in mind and keep crossing things off my list. With one week left before I turn my manuscript back over to my editor, I feel like I'm in an okay place, though there is still a lot left to be done. Hopefully I can achieve all the things on my list this time, and make a whole different one the next!
I'm off to go work now. Happy writing!
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