first draft

Six Easy Tips for Self-Editing Your Fiction

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This post by Kristen Lamb originally appeared on her blog on 8/21/13 but has some really good self-editing tips.

There are a lot of hurdles to writing great fiction, which is why it’s always important to keep reading and writing. We only get better by DOING. Today we’re going to talk about some self-editing tips to help you clean up your book before you hire an editor.

When I worked as an editor, I found it frustrating when I couldn’t even GET to the story because I was too distracted by these all too common oopses.

There are many editors who charge by the hour. If they’re spending their time fixing blunders you could’ve easily repaired yourself? You’re burning cash and time. Yet, correct these problems, and editors can more easily get to the MEAT of your novel. This means you will spend less money and get far higher value.

#1 The Brutal Truth about Adverbs, Metaphors and Similes

I have never met an adverb, simile, or metaphor I didn’t LOVE. I totally dig description, but it can present problems.

First of all, adverbs are not ALL evil. Redundant adverbs are evil. If someone shouts loudly? How else are they going to shout? Whispering quietly? Really? O_o Ah, but if they whisper seductively? The adverb seductively gives us a quality to the whisper that isn’t already implied by the verb.

Check your work for adverbs and kill the redundant ones. Kill them. Dead.

Read the full post on Kristen Lamb‘s site.

Getting Ready for NaNoWriMo

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This post by Steve Shepard originally appeared on Storyist.

“What are you writing this year?”

It’s the question on everyone’s lips at the regional NaNoWriMo kickoff parties. The answer, even among seasoned NaNoWriMo veterans, is often “I don’t know.” So if you don’t know either, relax—you’re in good company. Heck, even Chris Baty, the NaNoWriMo program director and cheerleader in chief, claims he doesn’t know what he’s writing yet.

If you’re looking for ideas, there are pleny of resources available to you: The NaNoWriMo forums, and Chris’s book No Plot? No Problem! are two of the best.

As this is my fourth year participating in NaNoWriMo, I thought I’d add to the mix by writing a quick how-to on the techniques that have worked for me.

 

Play “What If?”

So what should you write?

Conventional wisdom says that you should write what you know. If you’re a teacher, write about a teacher facing one of the many struggles teachers face. If you’re an accountant, write about an accountant facing accountant stuff.

Or not.

I disagree with this “conventional” wisdom. For many writers, part of the joy of writing is in learning about something new, and in living in a world of your making. The trick is finding a story idea that captures your imagination.

One of the more effective ways to do this is to play a game of “What If?” Look around you and ask what would happen if something you cared deeply about changed in a significant way. For example:

 

Read the full, lengthy post, which includes practical tips for mapping out your NaNoWriMo plan, on Storyist.

I Smell Your Rookie Moves, New Writers

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This post by Chuck Wendig originally appeared on his terribleminds site on 8/26/15. Warning: strong language.

I am occasionally in a place where I read work by new writers. Sometimes this is at cons or conferences. Sometimes it’s in the sample of work that’s free online or a fragment from a self-published work. Sometimes I just roll over in my bed and there it is, a manuscript by a new writer, haunting me like a vengeful incubus.

I would very much like to yell at you.

Now, listen, before I begin the part where I scream myself hoarse about the things you’re doing wrong, I want you to understand that we’ve all been there. We’ve all done it poorly. Doing it poorly is the first step to, well, not doing it poorly. I have written my fair share of HOT PUKE, and it’s just one of those things you have to purge from your system.

(Though here we also enter into another caveat: HOT PUKE is not actually a delicacy. You do that shit over in the corner, barfing it up in the potted plant so nobody sees until morning. You don’t yak up today’s lunch in the middle of the living room and then do jazz-hands over it: “Ta-da! The Aristocrats!” What I’m trying to say is, your rookie efforts are not automatically worth putting out into the world, especially if those efforts cost readers money to access them. The mere existence of a story is not justification for its publication. Don’t make people give you cash for your inferior efforts. Get it right before you ask money to reward you for getting it wrong.)

Here, then, are some things I have noticed in drafts by new or untested writers, and these are I think standard errors — and they’re ones also that tested authors sometimes stumble into, so peruse this list, see if you have stropped up against any of these sins like a randy tomcat, and then fix your business. Get it? Got it? Good?

Let the yelling commence.

 

Read the full post, which includes many specific writerly mistakes with illustrative examples, on terribleminds.

 

Genius Time

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This post by Jennifer Crusie originally appeared on her Argh Ink site on 7/10/15.

I looked at Lavender Blue‘s first act and realized it was 46,244 words long.

That’s too many.

I’m not really that fixated on numbers, but I know that readers are going to need to be turned into a new story long before the halfway point. I’m not sure how long this book is going to be, but 46,000 words is definitely the halfway point or close to it. (It was contracted at 50,000 words, but that ain’t happening). I need the murder at the halfway point, end of Act Two, so really, just no on that length.

So I did what I always do. I made a list of the scenes with their word counts, which showed me that eight of them were really transitions, not scenes (too short, no conflict) and then studied the remaining, twenty-five actual scenes, looking for what I could cut (over 10,000 words had to go which was around four scenes).

 

Read the full post on Jennifer Crusie’s site.

 

The 10% Rule – Or How Stephen King Made Me A Better Writer

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This post by Erin Whalen originally appeared on her site on 8/25/15.

When I was a kid, I was a HUGE Stephen King fan.

I read The Shining in grade four. Carrie and Salem’s Lot and The Stand in grade five. Cujo in grade six. (Still can’t bear to think of the ending to that one.)  Different Seasons in grade seven. Christine in grade eight. And so on…

As I grew older and developed an appreciation for books that strove to do something more than scare the pants off people, I left Mr. King’s works behind. But I’ve always had great appreciation for his ability to create compelling characters and spin a yarn that could captivate and terrify me and leave me wanting more.

So when a friend recommended his book On Writing, I decided to check it out.

Turns out Mr. King’s book on the writing process is just as captivating as his novels. He offers fabulous advice and a compelling account of his own experience of becoming a writer and honing his art.

One of the best takeaways I got from his book was “the 10 percent rule.”

It goes like this:

Whenever you finish a piece of writing, check its word count then go back through it and ruthlessly remove at least 10% of the words.

So if it’s a 750-word article, delete 75 words. If it’s a 500-word article, take out 50 words, etc.

 

3 Tips on How to Shrink Your Word Count

As you implement the 10% rule, you’ll become aware of words in your writing that don’t add essential meaning to what you’re trying to say.

Here are 3 specific examples to look for:

 

Read the full post on Erin Whalen’s site.

 

5 Ways to Get Early Feedback on Your Book Idea or Manuscript

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This post by Nina Amir originally appeared on The Book Designer on 5/27/15.

Gathering reader feedback on your manuscript before you to print might be the most valuable step you can take toward producing a successful book. You can obtain this information in a variety of ways depending upon how you choose to write your manuscript.

In fact, you can even get early feedback before you write your book. This type of test marketing can save you a lot of time and energy spent producing a manuscript that might never sell.

The goal of getting early reader feedback on your book idea or manuscript is simple: Incorporate the valid suggestions you receive to help you craft the best possible book.

The following five strategies provide you with the means to get beta readers or reviewers for your ideas and your work. Each has a different set of benefits, and each is useful at a different stage. Choose one that suits your style, your point in the book-production process and the work at hand.

 

1. Blog Your Book

The main benefit of blogging a book, purposefully writing your book post by post on your site, comes from the author platform you build by doing so. As you produce the first draft of your book on the Internet, you gain loyal blog readers and subscribers. They are your potential book readers or buyers even though they have already “bought into” reading the first draft of your book—your blogged book.

 

Read the full post on The Book Designer.

 

Cara Lopez Lee’s Thoughtful Rules for Compassionate Critiques

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This post by Cara Lopez Lee originally appeared as a guest post on Rebecca Lacko’s The Written Word site.

I have a small, trusted circle of critique partners. I know I’m lucky, they’re hard to come by. I met two at Writers’ Studio at UCLA, a couple of years ago, and I count them dear friends. Two others, I met when I began volunteering for Field’s End, a non-profit literary event group. In all cases, I found my partners by magic, or universal synchronicity, or dumb luck–I really don’t what alchemy transforms strangers to trusted allies. All I can I say is it is extremely difficult to both find and BE a good critique partner. That’s why I’m sharing ideas from author and HGTV-writer Cara Lopez Lee’s excellent post, Feedback with Compassionate Detachment.

Here are excerpts:

I’ve discovered that providing feedback with the goal of serving both writer and story can be fast and easy, if you know how…

Creative writing is always deeply personal, fiction or non, and I’ve learned that’s why it’s important for feedback to be both compassionate and detached. I’ve since developed a reputation among coaching clients, writing colleagues, and students for giving feedback that encourages and motivates. Here are a few tips that have helped me:

1. Take responsibility for your opinion by emphasizing “I” statements over “you” statements.
This helps writers take feedback as opinion, rather than personal blame or praise, encouraging them to decide whether their writing needs to change or just needs another audience. For example:

  • I’d like to know more about this character’s relationship with his father.
  • I’m confused here. Is it possible to clarify?
  • I find myself wondering how this character felt when she saw the body
    (Note: If you only adopt one technique, let this be it. You will win friends and influence writers! -RL)

 

Read the full post, which includes six additional specific critique tips, on The Written Word.

 

A Checklist to Evaluate Your Story After You’ve Written It

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This post by Jodie Renner originally appeared on Killer Nashville on 5/21/15.

Once you’ve got the first draft of your short story or novel down, it’s time to go back and reassess each scene to make sure the characters are engaging and the scene is as compelling as it can be.

Besides advancing the storyline, every scene should:

  • Reveal and deepen characters and their relationships;
  • Show setting details;
  • Provide any necessary background info (in a natural way, organic to the story);
  • Add tension and conflict;
  • Hint at dangers and intrigue to come;
  • Enhance the overall tone and mood of your story.

Remember that every scene needs conflict and a change.

To bring your characters and story to life, heighten reader engagement, and pick up the pace, try to make your scenes do double or even triple duty – but subtly is almost always best.

For example, a scene with dialogue should have several layers, including:

  • The words being spoken;
  • The character’s real thoughts, opinions, emotions, and intentions;
  • The other speaker’s tone, word choice, attitude, body language, and facial expressions;
  • The outward actions, reactions, and attitudes of both.

Here are eight key ways you can intensify your writing and enhance the experience for readers:

 

Read the full post on Killer Nashville.

 

Avoid Holes In Your First Draft

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This post by Ksenia Anske originally appeared on her blog on 5/24/15. Warning: strong language.

Boy, the things The Badlings is teaching me. I don’t know what it is about this book. Maybe it will be my watershed moment and I will look upon the chasm cleaved in my life, on one end of it written “before The Badlings,” on another “after The Badlings,” and I will see the middle of it a thousand fiery dragons spurting up pillars of fire to remind me of what it was like. And I’ll tell you what’s it’s like. It’s gruesome. I’m learning one very valuable lesson writing this book.

Most of the story is handed to you in the first draft.

I think I’m paraphrasing Terry Pratchett as he said something along these words and I have read it somewhere and can’t find it now. No matter. It’s true. As shitty and cumbersome and as absolutely detestable your first draft might be, the foundation of the story is there. Your job is to lay it all down, like a groundwork for the future philandering with your story, because no matter what you will add or subtract, the core will stay the same. It doesn’t have to be complex, it can be very simple. In fact, the simpler it is, the better. But here is the catch. If you miss this core, or if you gouge pieces of it out later (I did both), you will suffer in the clutches of ruthless editing as a consequence until you bleed out of your nose.

The same holes you will have in the core of your story at the very beginning will show up like festering sores in all consecutive drafts no matter what you do. I have heard horror stories from writers about how they had to abandon a manuscript because no matter how many times they rewrote it, it was flawed. It was an ugly child born maimed and it could not be cured.
 

Read the full post on Ksenia Anske’s blog.

 

My 4 Golden Rules of Writing

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This post by Nicholas C. Rossis originally appeared on his site on 8/26/14.

I’ve been wanting to write this post for a while now. The main reason is that I keep coming across several writing rules that make little sense to me. Then, I came across a gem of a post by Constance Hale, “When Shakespeare Committed Word Crimes” on TED.

Constance confirmed what I long suspected: when there is tension in a language between what comes naturally and the rules, it’s because someone has tried to shoehorn the language into their idea of conformity.

Does this mean there are no rules? Not at all. It just means that the ones we are taught in workshops and classrooms are not necessarily the ones that matter to actual readers – as opposed to teachers, agents and editors. So, here are my golden rules; the ones no fiction writer should ever break, in my view:

 

Rule #1: Don’t let your writing get in the way of your story.
I know I say this all the time, but it bears repeating. Fragment your sentences. Break the rules. Hemingway is considered the “master of the short sentence,” but when his stories reach a climax, he will suddenly write long sentences—as long as three or four hundred words even. So, throw caution to your wind. Have fun with the language.

 

Read the full post on Nicholas C. Rossis’ site.

 

Navigating the Forest of Feedback: 8 Ways to Recognize Helpful Criticism (and How to Ignore the Rest)

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This post by Elizabeth Law originally appeared on her Elizabeth Law Reads site on 3/5/15.

Recently, on a flight home from vacation, I met author Randi Hutter Epstein and we we were talking about her work. She said “After about three days of writing, I don’t know if what I have is good, or crap. I’ll ask anyone their opinion!”

Exactly.

If you’re a writer you need feedback, whether you’re a novice or an author with 30 books under your belt. And there are a lot of people out there who are only too happy to give it to you. But how do you know what comments are useful, anyway? What should you take, and what should you toss? Here are some good things to consider when asking for, or getting, feedback:

#1) What are my manuscript reviewer’s credentials and experience?
Has he published books for the same age category as I’m writing for? Or is she perhaps less far along in the process, but still experienced in reading and listening to manuscripts, and in giving thoughtful feedback? Maybe he is at the same place as I am and we can learn together?

Because you don’t need to hire an experienced editor to get good feedback.  For example, critique groups probably help their members more with their works in progress than any other class, editor or method out there.  But do keep in mind who is telling you things.  If they are fellow writers, do you admire or like their work? Do they share your ability to learn and grow?   Or are they one of those types who seem to have all the answers, until you find out they’ve never actually published anything?

 

Read the full post on Elizabeth Law Reads.

 

The Utility (and Trappings) of the Novel Outline

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This post by Jamie Kornegay originally appeared on Writer’s Digest on 2/12/15.

I’ve been selling books for more than fifteen years and learning to write novels even longer. Of all the author readings and Q&A sessions I’ve hosted (and attended), one of the most common questions among beginning writers, even curious readers, is this: Do you start with an outline?

You’ve heard the pros and cons. An outline helps organize your thoughts and prevents you from spinning your wheels and traveling down dead-end storylines. The flipside, of course, is that constructing an outline boxes you in and limits the possibility of discovery, which is the most creative and rewarding part of writing.

First, it’s important to note that there are no ironclad rules to novel writing. Every writer works differently and stumbles upon his or her preferred method through trial and error. The novel, rather than writing advisers, should tell you what it needs.

The traditional term paper outline, with its Roman numerals and letters, is helpful to organize a finite amount of information, but a novel is more amorphous. I couldn’t begin to collect a novel’s potential in an outline, though I certainly understand the impulse. There’s something terrifying about the blank page and its stark white emptiness. What could you put there that anyone would want to read?

 

Read the full post on Writer’s Digest.

 

15 Terrifying Things That Will Make You A Better Writer

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This post by Chris Brecheen originally appeared on Writing About Writing on 9/6/12.

Ready to do some things for your craft that will terrify you even more than a sewer-dwelling clown?

Tired of the same ten articles online giving you the same twenty bits of advice about writing punchy verbs or sitting down at the same time each day? Are the thousands of clones of “How to be a Better Writer” articles getting you down? Do you think, “Okay, already! I’m already carrying the damned notebook everywhere I go. What’s next?” Ready for some new advice?

Then this list is for you!

But be warned. This is not a happy list, an easy list, or a list filled with fluffy easily-implementable things you can do in an afternoon to make yourself feel incredibly productive. It’s not a list for those who want to think themselves writers without doing the work. I have a list like that over here. This is a list for people ready to take their writing, and possibly their craft to the next level but aren’t sure how. Maybe they’ve run into a wall or two or maybe they just feel like there’s something they could be doing to write better. Many of these things will not be fun or enjoyable or may even add an “unpleasant” dynamic to your writing.

But they will make you a better writer without ever using a word like “punchy.”

There are hundreds of craft books that will help you dissect every word choice of your prose, and there are millions of articles with those same 20 bits of advice. But somewhere between those two is this list: things you can do that are less well known, but that writers swear by.

1- Write When You Don’t Want To/Keep Going When It Hurts

This is the flip side to “write every day.” This is the side no one talks about. This is the shitty reality of that plucky wisdom.

Eventually even the best writer doesn’t feel in the mood. No matter how much joy and pleasure the simple act of writing brings you, one day, you will face the fact that you won’t want to. And you won’t want to a lot. Some days it’s like your desire to just take a day off is Aragorn wielding Narsil and your motivation is one of those comic relief orcs. But these are the days when it’s most important to do push through and do something. Even if you just write a couple of pages. Even if it’s just a freewrite.

 

Read the full post on Writing About Writing.

 

The Seven Deadly Sins of Dialogue

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This post by Susan DeFreitas originally appeared on Lit Reactor on 2/23/15.

Ursula K. Le Guin has said that scenes with dialogue are where emotion happens in fiction. According to the emerging body of neuroscience on fiction, such scenes are also where fiction most clearly approximates actual lived experience, that “vivid and continuous dream” of which John Gardner spoke.

That may help to explain why readers love dialogue—some so much so that they’ll skip right over your meticulously written descriptions and summaries to get straight to the goods: people talking to each other.

But dialogue is also a place where things can easily go south. As an editor, I have become far too acquainted with all the ways that otherwise competent writers can absolutely hamstring their fiction—precisely at the point it counts most.

 

1. Said Bookisms

Say what you will about the Bible, The Prince, and Fifty Shades of Grey—as far as I’m concerned, one of the documents most destructive to the project of civilization is Said Is Dead. Starting in the eighties and continuing to this day, many elementary-school English teachers have seen fit to foist this guide upon their hapless students, to the detriment of us all.

In it, the writer is instructed to throw over plain old said and asked for such highfalutin alternatives as queried, snarled, intoned, and god help us, even cajoled. Which, after all, are more specific verbs, and they help us avoid repetition. So what’s the problem?

 

Read the full post on Lit Reactor.

 

Corrections Are Good: How to Take Critique Like a Dancer

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This post by Kim Bullock (link goes to a site for Carl Ahrens, a major character in her current novel) originally appeared on Writer Unboxed on 1/30/15.

My daughter, who had not known a plié from a tendu until age nine, was understandably terrified when she entered her first class at one of Dallas’ most prestigious classical ballet schools.

She had been the prima dancer during her one year at a beginner studio, performing front and center in the recital. “Work hard and you can go anywhere you want in the dance world,” her teacher had told her privately after ballet lesson number three. I was in the room at the time, and I watched that spark of a dream ignite in her eyes.

I feared her passion for dance might be snuffed out by trying to compete in a room full of girls who had been on tiptoe since toddlerhood, but my sensitive perfectionist emerged from class dry-eyed and grinning. She did chinés turns all the way back to the car, narrowly avoiding trash cans and hedges.

As she twirled, she rattled off an extensive list of things she had done wrong in class that day: everything from her hyper-extended elbows to her weak turnout and lazy fifth position. Her old teacher had apparently failed to correct her bad habits, so she would need to relearn everything

Though she did not seem upset in the least, I had to ask. “Did you receive any roses with all those thorns?”

“She didn’t name my butt. If it sticks out when you plié, she’ll give it an old man name,” my daughter explained. “The girl next to me was told to ‘put Fred away’ three times.”

 

Read the full post on Writer Unboxed.