Posts Tagged ‘writing process’

Publishing Isn’t for Sissies…When the work and creative and “other” sides collide

Sunday, December 9th, 2012

Samantha Perry was all dressed up with someplace to go. Yet it was closer to midnight than dawn in her winter world. Amidst what wouldn’t be a flowering garden for several months, as if a July morning’s warmth surrounded her, she paced another lap around her community’s park.

The sun was due. It would soon be another January day like any other day in their northern suburb of Atlanta. Another harmless moment to get through. Nothing yawned more threatening than getting her sleepy family ready for their Mimosa Lane Monday. But on a scale from nervous to freaked out, Sam had been silently racing toward a meltdown the entire weekend.

Somewhere around three o’clock last night she’d risen from beside her still-sleeping husband, showered and dressed for the day and bundled into the heavy coat Georgia demanded from only a few months each year. Heading downstairs and through her cozy kitchen’s French doors, she’d escaped into the peace that being outside and alone brought her. She’d been night walking for hours.

Opening Draft
Sweet Summer Sunrise
Seasons of the Heart
Book Two

***

It’s a crazy work and personal weekend.

crazy work day

I won’t go into the details, except to say that opportunities are taking off all over the place, and so is the stress, and so is the upheaval in my “away from work” life. It’s usually like that. You never see the good or the bad stuff coming, and you never appreciate the calm until the storm’s upon you.

So, of course, I owe my publisher the second book in the series that’s taking off like no one expected, with it’s Christmas novel launch.And on top of my life being overwhelmed with back-to-back holidays AND promoting a book release that keeps (YAY!) going strong, I’m facing the rewriting of a 380 page rough draft that means so much to me–but isn’t at the point where I think it’ll mean anything to anyone else unless I recraft it over and over and over again, until it’s talking on it’s own.

Publishing isn’t for sissies, my friends.And it’s always about the next book. And the next. And these days, success in digital publishing about having an ongoing series with lots of backlist titles. The only way to do that is to keep writing forward and building into what readers are buying–and somehow maintaining the integrity of your work and stories and characters, so you keep pleasing the fans who are loving what you’ve already done. (more…)

How We Write: NANOWRIMO Rewrites… Ouch!

Wednesday, November 28th, 2012

So, you’ve participated in NANOWRIMO. Now what? NOTE: I didn’t say you’d finishedNANO.  I saw a tweet from someone yesterday saying she wasn’t going to finish her NANO project this year, and that she was likely never going to finish this book at all. And that’s just sad to me. It’s the worst of what can happen with an extreme challenge like this: demotivation. Or even harder to watch than that: any writer, no matter how new, deciding after a month of dedicated draft writing that she CAN’T do what she wants to with a book–to the point that she’s giving up before giving it a real chance. Don’t do that, my friends. DON’T!

just say now

Remember our revision discussions:

ANYONE can learn to deconstruct and rewrite story. It’s always better if you approach a draftingproject with as much planning as possible,  at some point WE ALL feel lost while we draft, even multiple-published authors.

I just finished a 3-day writing retreat where I’ve drafted 150 pages. Which just about killed me. And not because of NANO. Because I have a book due–NOW. And sometimes in this business, no matter how much we’d like to for every book, faster has to take precedence over slow and thoughtful and story slowly evolving in its own organic way. It’s an unfortunate fact of our world that getting the next book out sooner rather than later is key to maintaining and escalating reader interest, particularly in a series like the one I’m writing in my Seasons of the Heart books for Montlake. Christmas on Mimosa Lane is selling well now, readers are asking for Sweet Summer Sunrise, and by God I’m going to finish this draft so I can promise them it’s coming on time next June.

The question became very quickly once I’d squirreled myself away from all distractions to create, “Could I? Would I?”

no yes

I’ve been drafting UGLY. Really ugly. But there’s also beauty in what I’ve created.

This dark but creative place that crashing a draft out becomes is what I teach students when we talk about Improvisation. The story and characters and community I’m dreaming up as I type like a mad woman (with purpose, because I have the bones of a story outline) have taken over at this point. (more…)

How We Write: Drafting freedom

Wednesday, November 14th, 2012

So you’re in the middle of NANOWRIMO and typing words and pages every day until your fingers fall off and your brain short circuits. But what are you creating? Is it anything you’ll keep once December arrives? Drafting with creative freedom is key in this sort of challenge, but creating with purpose is the linchpin to your success.

Write without constraint, yes. As I said in last week’s How We Write post, draft without clinging too tightly to planning or expectation. BUT you have to revise every rough word you draft. And you don’t ant to have written yourself into so many dark corners and black holes that a finished novel that you can sell will be impossible to carve out of your draft.

How do you lay the groundwork for the “rework” you know needs to be done, while you’re giving your story the creative freedom it needs to come to life?

draft free

Me? Remember that I’m a geeky, techno-loving girl who while drafting must continually slap my hand and let go of the overly organized stuff that enables the more analytical side of my brain. So nix on the forms and charts for me. But keeping track of changes I see coming and new things I draft into the story on the fly is my thing. Being analytical while I create is crucial, without allowing the right side of my brain to interrupt the left’s mad dash toward a draft’s finish line.

I’m in the midst of writing Sweet Summer Sunrise, the next book in my Seasons of The Heart series for Montlake, and I’m crashing things as usual on a pretty tight deadline. Layered, emotional, complex things. Four points of view–one of them a child. Community. Romance. Psychological and relationship realism that’s more valuable to me than all the rest. At least three subplots going on at once, and that’s just the external stuff. Internal journeys are even more sensitive to overwriting and wandering, because you have to be subtle about how you share a character’s journey so the reader doesn’t feel beaten over the head with it.

Of course there will be mistakes in my rough draft. I have to learn to accept that and again, as I said in last week, allow myself to write crap for a while so the better stuff will flow, too. A mistake I can always do something about later. An empty page, not so much.

mistake

My reality is that the whole package of what I’m writing is too complicated a thing to come together in a single draft.

Yet I need that first draft, so I have something I can revise and refine and rework until the story I’m dying to tell takes shape. So how do I keep up with everything I want to do, but am not quite doing yet, as I draft–without break the delicate flow of my creativity of these first words on paper? (more…)

How We Write: Draft Writing, the beginning…

Wednesday, November 7th, 2012

NANOWRIMO… Write a book in a month… Easy, right? NOT.

How about we just talk about writing every day for a week, for those of us who have trouble with the grand scope of NANO. One day at a time for seven days, how will you draft every day–with PURPOSE–so that by the end of a week you’re motivated and enthusiastic and encouraged enough to go for another week. Screw the month-long pressure of being finished with a completed novel?

once upon a time

I teach draft writing, even though it’s my downfall. I’m currently drafting a new book and it’s driving me CRAZY because I don’t like not knowing what’s going to happen next. But I can’t know, not for certain no matter how much I plan what I’m going to do, until I draft the darn thing.

So why all the drama?

Frailty, they name is woman???

No, I’m just a perfectionist who doesn’t feel good when what’s coming out of my mind rough isn’t the golden, beautiful thing I want it to be yet. I have to give myself permission to write crap for a while, in order to have something that I can polish later. Shudder. Not my happy place, but this week I’m going to dive in and rough stuff out regardless.

Join me, won’t you?

Here’s the plan:

  1. Write into a new story or book every day. EVERY day. Not thinking about it every day. WRITING it every day.
  2. Don’t get up from your computer until your daily progress is done. Finished. DONE. No exceptions.
  3. Don’t buy into the excuse that you can’t, because it’s too hard. It’s supposed to be hard, especially when you’re distracted or afraid or worried or mired in some other details of your life.
  4. Don’t think you’re alone. I’m right there with you. If I can deal with it, you can. So, deal with it ;o)

And you know I wouldn’t leave you floundering without some, hopefully, helpful suggestions to keep you writing, right? (more…)

How We Write: Rewriting techniques…

Wednesday, October 31st, 2012

Once you have a draft of your novel, WHAT do you do with it? How do you make it better? Last Wednesday, we talked about deconstructing your story so you could see its various parts and come up with a rewriting plan. Now let’s get down to it–what parts of your book should you consider pulling out of the tapestry, fine tuning (or overhauling), and then weaving back in?

who what when where

Last weekwe left off with the protagonist, and you’d isolated the parts of the book that showed his/her character arc to the reader. With your POV scenes flagged, you have a visual road map to how your treating this important story element–the lens through which your reader sees and feels and experiences the story. Exactly what is someone who doesn’t live in your head getting out of how you’re handling your protagonist?

Let’s start with some things you can see just with the “flagging” technique I described last week:

  • Look at how often that character is in point of view. Are there large stretches when we’re in the antagonist’s POV or a secondary characters’? Is there not enough variety, and you need to work in more alternative looks at the action in your story and show things more from the perspective outside your protagonist’s head?
  • Look at how you open each POV scene. Is it always in dialogue? Always in narrative? Always in action? Always coming or going from somewhere? This may seem simple, but it’s the type of pattern we follow can get into in drafting and not even realize it. Mixing things up from a single character’s perspective at times can add a fresh look to a scene.
  • Skim through the character’s POV scenes. Do you see a lot of dialogue with no external observations or internal thoughts? Too much internal dialogue and only sparse dialogue. This kind of review can give you an immediate feel for what might need work for a single character, no matter what you’re doing with the rest.
  • Read each of the protagonist’s scenes in the first half of the draft. Can you clearly see his/her build up to and reaction to the inciting incident first turning point and midpoint of the story? Is he/she changing in each key place in the story, and is that clear in from his/her POV?
  • Do the same for the key turning points in the second half of the story.
  • THEN (this is more story structure detail than I usually summarize, but here goes), look at his/her emotional reality at the Inciting Incident. (more…)

How We Write: Deconstructing BEFORE Rewriting. No more excuses…

Wednesday, October 24th, 2012

Anyone–ANYONE–can deconstruct and rewrite a manuscript. Anyone can learn to rework a story one scene at a time. And we’re talking rewriting–NOT copy editing a manuscript to catch punctuation or grammar mistakes, or line editing to make sure prose flows beautifully. These skills are important, too, but only after an author has dissected the first draft and rewoven it’s parts into the best story possible. These are the ideas I discuss with writers at conferences year around.

This week in HoWW, I’ll do my best to cover the high points of a deconstruction technique that, combined with rewriting, it takes me a two-day weekend workshop to teach properly. This is interactive stuff that I love to work with in person, while students apply what I’m showing them to a work in progress. In fact I’m already lining up several hands-on rewriting workshops for 2013. And the mindset of one of these weekend retreats that I hope you’ll also achieve, at least a little, after reading this post, is–

  • No more excuses for not rewriting.
  • No more hiding behind “not seeing” what needs to be changed in your story.
  • No more big, scary book that’s too complicated to rework.
  • No more feeling out of control of your creativity as you rewrite!

Next Wednesday, we’ll get more into what to do with your story once you can see its various pieces more clearly. Today, let’s zero in on the seeing part!

Once your draft is completed, the story can seem too complex to tackle, right?

You feel too close to your work to be able to analyze and re-craft it. There’s just too much there, and it’s impossible to see where each change will take the story. It’s easy to find yourself rewriting in circles, never really getting anywhere. And who has that kind of time?

Under-Construction

So, let’s talk deconstruction technique. Not HOW to do the revisions themselves–that will be for next week.  And, frankly, fully learning how to revise a scene or a chapter or an act or an entire novel is more about trial and error and learning from experience). This is a post about how to deconstruct what you have, so you can get to work on what needs to be done–THAT I can show you today ;o)

How can you challenge each story component in your draft? (more…)

How We Write: Revision intro–scratching the surface…

Wednesday, October 17th, 2012

David Kaplan says in A Creative Approach to Writing and Rewriting Fiction, “The purpose of writing a story is to rewrite it.” I taught a brief intro to revision a couple of weekends ago. There wasn’t nearly enough time. I like to teach this part of the writing process hands-on, over several hours at the very least. An entire day as part of a retreat is best–that way writers can bring in their WIPs and dig into the techniques, fussing about until they figure out how some if it works best for them. But the response to our limited time at this conference was overwhelming positive, regardless, and I promised my students I’d get more specific out here in my How We Write blog category. So…here ’tis. More details to come in the following weeks. Then maybe we’ll tackle my approach to planning through character. But let’s start with my very favorite thing–rewriting!

rewriting

Like the above quote says, no book’s done with just a single draft in your pocket. Not even two drafts, if you aks me. You’re not done, just because you have your first thoughts down on paper (or in the computer). Once you’ve got that good stuff behind you, it’s time to make it even better!

Feeling a little cranky yourself yet?

Yeah, this motivational post is going to be a little heavier on the tough love than most.

Finishing  your first draft is just the beginning. It’s merely the end of your planning. For those of you who don’t outline your plot and character ahead of time (I’m shaking my head now. Can you hear the tense spots in my neck popping while I do it?), the draft is your only planning. But for even those of us who put serious thought into what we’re going to write before we actually do, we still don’t know for SURE what’s going to happen until that magical creative thing that is putting words onto paper happens, and the story itself takes over.

I’m a firm believer in the creative flow of drafting. The power of discovery. The synergy of planning and experience and momentum combining to create something magical. BUT… That something magical, that completed draft, is only the beginning. It’s not everything it could be. It’s not ready to leave your mind and your heart behind. It’s not all it can be. Which means, it’s time for the REAL work to begin…

Kaplan tells us that ”You need three things to be a good fiction writer…talent…a knowledge of craft…and just as necessary, a devotion to revision, to the merciless re-working of your writing until it is the best it can be.” And he (and Jenni and I) aren’t talking about looking for typos or grammar errors or tweaking your prose so it pops just so, though all that’s important eventually.

What I teach to craft students is re-writing, not copy editing or proof reading. (more…)