I haven't blogged here in so long, I had to look up my website's password. Not good.
But, hey, I'm baaack!
How is everyone? More imortantly, what are ya'all writing?
I have been busy these past two months on two projects. One, a dark YA contemporary, STARS IN MY POCKETS. After some awesome edits via the incomparable Judi Lauren, I believe my story's truly alive. It's out in query-form to a few agents. Fingers crossed.
My second project was my NaNoWriMo2016. Yes, I won. Woohoo! But you can sense the lack of enthusiasm there, I'm sure. I didn't get a chance to plot the story before writing, so it's just a bunch of formless words on the page right now. More than 50,000 formless words, nonetheless. It's my first attempt at historical fantasy. Working title: JACKY INDIANA WEARS PURPLE POLISH. It's for the middle grade or younger young adult audiences.
Like my 2015 NaNo, this will sit for the next few months, marinating in its magical juices, until I return to it for major revision work.
Unlike bears who are preparing for their winter hibernation about now, I'm preparing to come out of my writing cave because this time of year always makes me want to connect more. So here I am, and I really did miss you all!
Right now, I'm revising my 2015 NaNo : MAGENTA WISE: PLASTIC WRAP. It's a young adult mystery--also my first attempt at this genre.
Although I spent all last summer plotting the story, after I finished it last November, I realized it wasn't what I'd expected. I revised it some, shared it with my critique partners and beta readers. Then I let it sit again while I worked on those above stories.
This week, I spent time at OneStopForWriters where I plotted it again. And let me just say, people, I love Angela Ackerman and Becca Puglisi. If you don't know OneStop, get over there! These ladies have put together an amazing closet of tools to prep and preen your pretty baby and make her shine.
So, enough about me. Tell me what you're working on. If you use OneStop, I'd love to hear what sparkles the most for you.
That's my story, what's yours?
As the darker months approach, I emerge from my summer writing cave, bleary eyed but invigorated. Because I am a teacher, I relish the off-time to work on my writing. This past summer, I spent ten-twelve hours each day editing and revising my current manuscript.
I'd like to share a little bit of my process with you, then I'd love to hear how you revise. Something I hear from other writers: how do you know when you're finished?
Revising is like running down hill: you have to put on the brakes at some point and try not to scrape your face. I think I am at that point. I think.
This post is not about setting up a new story. It's about what to do once you've written your first draft and combed through it at least once or twice to see what you've written. I don't consider those revision stages. That's still part of the writing. For me, when I'm pumping out my story, I just go. I have a plan, that's true, but I'm writing non-stop. When I get to the end, I go back, read it, fix stuff, read it again, fix more stuff. I do this until it feels solid.
Then I put it away.
When I come back to it--weeks or months later--I see it through fresh eyes. Now I'm ready to revise.
Here's what revision looks like for me:
1. Brew coffee
2. Drink coffee
3. Turn off social media
4. Gather resources nearby
5. Get chocolate
6. Eat chocolate; think about lunch; turn social media back on...
7. Return to step 1
8. Open my document (yes, there are distractions until I get down to business)
9. Send my document to my Kindle
10. Read my story like a book (this is an amazing trick I learned from an author)
11. Mark up awkward phrases, typos, grammatical errors, etc., using NOTES
12. Re-open my document (for me, this is in Scrivener); make corrections from my Kindle NOTES
13. Share my story, chapters, opening, whatever, with my Critique Partners
14. Review their feedback; decide what to take and what to leave (remember, it's your story)
15. Now I revise.
Revision is the tearing apart and reconstruction of your story. When you first sit down, you might not even know what the story is really about until you get to the end. That's how it is for me. Steps 1-14 are actually the foreplay to revising.
Revision is messy, heart-breaking, frustrating, really, really hard. You have to get rid of characters who are in the way, develop characters who are too thin, tighten plots, destroy plots.
It's not easy, but when you get through this process, you have a story. And that's a beautiful thing.
What is your process? I'd love to hear it.
That's my story, what's yours?
As a teacher and mother of grown children (23 and 19), I love summer. Lots of time to catch up on writing projects, but most importantly: tons of lazing in the sunshine reading.
This summer, I managed to devour five delicious stories. Because I write contemporary young adult, I read books from that genre. However, I also gobble up my favorite adult fiction.
If you want to follow my reading rants, check out my Goodreads page, or click this link to reviews I post here.
Now, check out these five writing tips I learned from the books I read this summer.
High Fidelity: find a line or phrase that ties into your story’s theme. Repeat it throughout your novel. Nick Hornby makes lists. He has a Top Five for almost everything in his life. This works really well for the character (a lonely and serial boyfriend record shop owner) and the theme (finding happiness with one thing).
Al Capone Does My Shirts: make your setting do extra work. In this middle grade read, author Gennifer Choldenko uses 1950s Alcatraz as a backdrop to seventh grader Moose’s caged life looking after his autistic older sister. If she had set this story in the city of San Francisco—where some scenes take place—it wouldn’t have worked as well. The island prison says so much metaphorically for Moose and his family.
Misery: every summer needs at least one creepy Stephen King read. Since I never read the book—just saw the film—I decided I could handle the suspense while reading in the bright sunlight on a California beach. There is so much to learn from this man, but in the case of Misery, it’s all about characters. King knows how to make the most repulsive people likable. Annie Wilkes is a monster, but she’s also a tormented woman with a troubled past, a town against her, and a compulsion for sweets after she’s been BAD. If you write mean characters in your stories, give them a quality that makes readers say, “oh, well, yeah she chopped his leg off, but come one, she’s got those cute porcelain statues.”
That Time I Joined the Circus: like High Fidelity, this story has great recurring hooks and phrases that help us feel safe in an unfamiliar world. JJ Howard introduces us to a young girl who meets tragedy and must leave home to find home. She takes her quirks with her, though. Of course. One thing the girl likes is music. She’s always comparing an event to a song she heard. Howard uses the song title and a lyric in her chapter headings. As we journey from circus land to circus land, from New York to Miami, we always feel at home because of the music.
It Should Have Been a #GoodDay: if you are working on a story with multiple POVs, you might check this quick read by Natalie Corbett Sampson. There are four narrators, each taking us through the same day. As the story heats up, we use the varying perspectives to figure out how things might pan out. One of the narrators is an autistic teenager. His voice is stellar. Because we hear the other characters’ thoughts and feelings, we learn a lot about how other kids see those with differences. This is a perfect format to showcase autism and the fears and prejudices we can carry.
What are you reading? If you picked up a great idea for your writing, please share it in the comments below.
That’s my story, what’s yours?
You've heard the terms plotter and pantser. Which one are you?
I'll give you a hint about me: I'm a Virgo.
In my own regular life, I plan my day, leave myself sticky notes on the bathroom mirror, set alarms to remind me about appointments or what to pick up at the store. I don't leave things to chance. Certainly not my memory.
I plot my day, so of course I plot my books.
Why? For me, it sends events in motion. If I know what's coming, I can lay the groundwork with intention. Instead of taking the fun out of writing, planing keeps me on point and my stories tighter. That makes me happy.
Here are my five plotter must have's:
1. Alarm Clock: you can't write if you're still in bed. I teach, so for most of the year, I'm working during my favorite time to write. What to do? I set my alarm clock thirty minutes or more before I need to get up. Since getting up is usually at 6:30, I try to get up at 6 or 5:30. Otherwise, I will write at night. It all depends on my day. You can't schedule creative, so I need to write when time avails me.
2. Blake Snyder's SAVE THE CAT: I discovered Snyder's easy to follow beats two years ago at a SCBWI conference. Three authors attested to it, gave us all a quick how-to and why-to, and I was sold. I outline my plot to the beats of Snyder's three-act outline, tweak what I need to, and follow this when I set up my chapters and map my character arcs. This saves time and frees me up to focus on the story and creative process.
3. Scrivener: Oh, how I love my Scrivener! This writing app puts everything I need at my fingertips (my keyboard fingertips). I have written many blog posts about this tool's awesome features; check them out if you want. The best part of Scrivener? I can't choose one thing, but I do love the character and setting templates and the ability to upload pictures for both. Right now, I'm editing my new YA mystery. The revision mode lets you write in a different color, which makes it easy to find your new ideas after hours of editing.
4. Critique partners: Of course you can have critique partners if you pants your way through stories, but I can't let a blog post like this go by without a shout-out to my dear crits Gwynne Jackson and Jessica Gruner. Critique partners are vital at each stage of your writing. Whether you are planning, writing, editing, or revising, these smart people will give you the feedback you need to make your story better. I brainstorm plots, pluck their brains when a plot point goes awry, and take in their suggestions when I finished my story and am preparing to edit.
5. A good kind of pressure: This can come from anyone and anywhere. Your family, friends, Twitter buddies, neighbors, or colleagues. But no one can apply that necessary pressure to get you writing and thinking about your story if you don't tell them what you are up to. Let the world know you are writing the next bestseller. Locate beta readers for feedback, too. Their feedback and suggestions or whoops and wows will motivate you to keep going.
Whether you plan your story scene-to-scene before you write or sit down in front of a blank page and let it flow, you need support. I love to connect with other writers. Please find me on Twitter or Facebook. Let's connect and support each other.
That's my story; what's yours?
When I think about my boring day, I wonder why I can't bump into John Cusack at the glove counter or come across an injured famous writer in a snowbank (not that I'd take him home and torture him). My life is neither a romantic comedy nor a suspense novel. My life is.
Yet that is where great story nuggets begin--in the mundane moments of our lives.
In my current agent-seeking YA manuscript, IN BLOOM, the story begins with an obssessive-compulsive teenager straightening her rug while her brother tries to share some strange news. That news plays out later in the story, but it's a fun way to introduce the two siblings and show their idiosyncrasies.
Consider three recent great tales and their openings:
- A boy suspended from school spends the day at the museum with his mom. (THE GOLDFINCH)
-A woman takes an interest in events outside her window on her daily train ride. (THE GIRL ON THE TRAIN).
-A boy and a girl spend mundane mornings riding the bus to school. (ELEANOR AND PARK)
-A boy's attempt to kill himself is stalled when he spots a girl toying with the same fate. (ALL THE BRIGHT PLACES)
Each of these moments present a great way to open your story. Let's explore.
1. Transportation exploration. Putting your main character on a bus, train, plane, car trip, bike, or whatever is a great one to have her accidentally witness something, unexpectedly run into someone, or serendipitously find something.
2. Field trip. Whether your character is school-age or adult, a school field trip provides numerous opportunities such as those mentioned above. On a field trip, your MC can get lost, meet a stranger, find a strange item (in a bathroom, on the ground, in a gift shop), or learn something useful that might save her life later (i.e., how the ancient Egyptians stopped poisoning).
3. Beginning with an Ending. Start your story with your MC either trying to end his life or getting into an accident. Here, you have opportunity for another important character to enter. This character could be someone he later saves or who has another meaning to him (long lost... sister... brother... etc.).
Clearly, that last one is no ordinary life moment, but tragedy happens all the time. As a writer, you have the opportunity to turn those ordinary moments into something extraordinary.
Spend the day chronicling your life moments--the grocery store, bank line, work, lunch, phone calls--and find that catalyst that could turn dramatic.
That's my story, what's yours?
Word choice matters.
If you are a writer, choosing the wrong word at the wrong time could land you in a mess.
When Alice tells the Mad Hatter that she has said what she's meant because she meant to say it, he scolds her: "You might just as well say that "I see what I eat" is the same thing as "I eat what I see.""
Words matter, and so does the order in which we use them.
Today is Leap Day, a perfect time to review the use of verbs. Let's start with leap.
Synonyms include: hop, jump, spring, vault, bound, hurdle.
However, those words refer to the act of leaping, such as: I leapt over the boulder. An equivalent sentence could be written using any of the aforementioned synonyms. Not true if you wrote this sentence: The company leaped at the opportunity to raise production. You wouldn't say The company vaulted or hurdled at the opportunity. You could say they jumped or sprang.
Say what you mean.
My esteemed critique partner, Gwynne Jackson, reminds me often that the best word to use is the simplest. If the frog hopped onto the lily pad, say so. Don't get fancy by saying it vaulted onto the lily pad. Do frogs vault?
Varying words and sentence helps your writing flow, but don't get overzealous. If the shoe fits...
When your vocabulary needs a boost or the word you've written doesn't sound right, take time to research the right word. For that, there are many resources.
Scrivener If you use this amazing writing app, you know all about its dictionary and thesaurus. Double tap the word in your document and bring forward a dictionary page to examine.
Etymolonline I use this in the classroom with my students. Type in a word and learn the word origin, common usage, synonyms, antonyms, or more.
OneLookDictionary Another creative site that offers up loads of suggestions to help you find the right word.
Whatever you are working on right now, take the time to choose the right words.
If you seek an agent, you must know about #MSWL.
However, beware its lethal lure...
There are many places to find what agents seek.
1. Agency sites.
2. Personal Twitter and Tumblr feeds.
3. The #MSWL.
Smart writers will check out the updates on the Twitter feed.
You might also be interested in two different websites.
This simple one.
This curated site with more info and archives.
If you are a serious querying author, you will want a free or paid account at Query Tracker. Don't forget to polish your query. Always seek a second (or third) pinion from critique partners or friends. Learn even more here about what makes a good query.
This week, I'm busy heavily revising ON THE ROAD TO MARTY MCFLY after an agent who requested the full manuscript suggested I tighten the plot.
I'll be busy with that for several weeks. As for the rest of you, write on!
This week, I tackle another completed manuscript and ready it for queries. STARS IN MY POCKET is my fourth YA novel. Two books are part of the Logos Publishing House bookshelf and a third awaits an agent's love. If ON THE ROAD TO MARTY MCFLY doesn't land an agent, I'm hoping STARS will.
For the past four weeks, I've been editing, revising, sharing, and repeating the process on both manuscripts. Although the task is tedious and sometimes frustrating, I know the attention will only improve and tighten the stories.
Since this is my current world, I thought I'd share my steps with you. I'd love to hear others' methods when it comes to fine-tuning a new manuscript.
Here's my story...
After I've written the final chapter, I will put my work away for at least a month. While it sits and finds itself, I busy myself with other writing projects and catch up on my reading.
Next, I read through the story on my computer (in its Scrivener form) and listen to the flow, watching for key plot points and erroneous tangents.
If the story flows, I begin re-reading the book for as many major characters as it has. If there are three main characters, I re-read it three times, focussing on that character, his back story, details, arcs to plot and other characters. Then I take a read-through for the collection of minor characters, bringing them more to life.
I keep this editing/revising process moving for weeks and sometimes months.
Each time I read through the book, I edit and revise sentence structures, word usage, and grammar.
When I'm close to the end, I read through for filter words (words that pull the reader out of the story). Scrivener is great for this.
My final revision mode is on Kindle. I compile my manuscript, send it to Word where I format it, and email it to my Kindle app.
I read it like a book, but I use the notes and highlight colors to catch errors that slipped past on my computer.
Sometimes, I find major plot issues. In that case, I might go through a major revision and repeat the editing/revision process all over.
Throughout this time, I am meeting with critique partners and sharing with beta readers. All feedback helps.
Today, ON THE ROAD TO MARTY MCFLY awaits my critique partners' read-throughs to help tighten the plot. Two agents liked the writing and voice, but both had trouble with the plot.
STARS IN MY POCKET is on my Kindle with notes. I've read 68%, and will next go back to Scrivener to repair seams and mend holes.
It may not be a perfect process, but it works for me. Soon--I can feel it!--I will get that agent call. Until then, all I can do is edit, revise, rinse, and repeat.
What are your practices for editing your manuscripts? Please share!
This past week, my students explored the wonderful use of personification in their writing. When not overused, this form of figurative language can enliven tired writing. The trick is knowing when to employ it.
December has been a month of writing exercises. We've written about who we are not and--with the assistance of Kobe Bryant--taken time to say goodbye to something in our lives.
This week, let's play around with personification (attribution of a personal quality or human characteristic to something nonhuman; representation of an abstract quality in human form).
As soon as my new crop of young writers turn in their permission to be published forms, I'll share their clever lines. In the meantime, it's your turn to try.
Before you tackle the usage in a current piece of writing, practice. Our parents and coaches told us "practice makes perfect," and they were right. Nearly. Practice makes the game easier. Perfection is a whole other story.
1. Have a seat in your favorite writing space with your favorite writing tools (pen and paper work well for this exercise).
2. Create a T-chart on your paper (or simply draw a dividing line down the middle).
3. Look around the room and select one object that's not alive (a book, clock, floor tile, painting, curtain, chair...).
4. Record that object at the top of one side of your T-chart.
5. Beneath it, list the item's traits and/or actions (one per line). For example, if you choose a clock, you might list: face, hands, quiet, numbers, glass, ticks, tocks, hangs.
6. On the other side of the T-chart, list human traits and actions--again, one per line. It helps to think of one person when you do this. For example, using myself, I might write: laugh, stand, cry, listen, ponder.
7. Now, consider the two lists, and find a trait from each side that complement each other. In my examples, I might pair face and ponder: The quiet clock listens to the children's conversation.
Some examples to get you started:
The tired leaves dropped to the ground.
The empty paged mocked me.
The angry sea tossed the boat.
Still stuck or want a challenge? Study the picture above and write your best personified line. Share it below.
Considering sharing your personification practice or other writing tips with us.
“There is freedom in being a writer and writing. It is fulfilling your function. I used to think freedom meant doing whatever you want. It means knowing who you are, what you are supposed to be doing on this earth, and then simply doing it.”
― Natalie Goldberg, Writing Down the Bones: Freeing the Writer Within
As I wind down my energy from the amped up NaNoWriMo writing sprints of November, I return to my usual routines. One of which includes my own writing exercises courtesy Natalie Goldberg's book, "Writing Down the Bones."
One of my favorite exercises in that book is one that has you focus on who you are not. I will be using this prompt with my new batch of creative writing students this week, so I thought I'd share the exercise with you as well.
Grab your writing notebook and favorite pen. Goldberg says the heart speaks best through a flowing pen rather than a computer. I often write on the computer because it's easier. Plus, I'm a messy writer. However, when it comes to writing exercises, I write freehand in my journal.
You have your notebook and pen. Now find a quiet space and set a timer for at least ten to twenty minutes. Get ready, set, write.
Who are you not?
Here's my unedited flow of words:
I'm not the kind of person to own a snake, ride a unicycle, be an astronaut when she grows up, order a burrito with extra hot sauce, dance naked in the street after midnight like my neighbor in college, wear orange tights, get a full sleeve tattoo (or any tattoo?), spank my child, not care what people think of me.
I'm not the the person who complains all the time, laughs when someone is hurt, or orders a different ice cream flavor every time she visits the ice cream shop. I am not loud or very quiet. I am not the smartest or dumbest person in the room. I am not sophisticated nor pedestrian.
I am not obscene or rude. I am not perfect or happy not being perfect. I am not the person you sit next to on the plane who talks nonstops or doesn't give you elbow room.
I am not likely to hurt myself, drive recklessly, or dive off a cliff. I am not likely to scale a building or walk a tightrope higher than one-foot off the ground, sky-dive, or learn to fly a plane.
Who I am not says as much about me as who I am.
Who are you not? Share with us.