Just What I Need: Revision and Self-Editing for Publication

Revising a novel is a lonely business. It gets overwhelming.

Last Friday I went to a reading at Skylight Books, a Los Feliz neighborhood gem, and in their sparse but well-curated Writing section, I found James Scott Bell‘s book, Revision and Self Editing for Publication: Techniques for Transforming Your First Draft into a Novel that Sells.

In my experience, books on writing can be full of fluff, throat-clearing and nattering to beef up content that might fit into a half-hour PowerPoint presentation. This one, happily, has almost no non-nutritive filler. Mr. Bell’s tips start in the introduction—including a great little exercise on how to sharpen your sense of plot.

Books on writing sometimes contain only uninterrupted prose, paragraph upon paragraph with few bullet points, sidebars, or headings. This one isn’t like that. It’s got headings and bullet points aplenty, so you can read it front to back, or you can scan it for the bit you need right now.

And the prose is beautiful, with lots of varied sentence construction. I really appreciate that. If you can’t write great prose, please don’t try to teach me how to write.

I also love all of the examples from books and movies I already know. And, if you don’t know these examples, Mr. Bell lays out the plot or sets the scene so you will get it.

I was around page 24, and I already felt so grateful that I tweeted the author to thank him. He tweeted me right back. So this guy is also savvy about social networking. A definite plus.

This revision stuff scares me like Mrs. Brody is scared of Quint. There is much to do. I have to delete delete delete sections and stitch the remaining scenes back together in a way that doesn’t leave the manuscript all effed up like the skin of the Frankenstein monster. I can get into a downtrodden frame of mind about it. Mr. Bell’s book tells you up front that this dark mood will come. It gives you several techniques to help combat it, like a little post-it somewhere in your space that says ‘I can fix it.’

Yes, darnit! I can!

I think this book is going to be my best friend as I tromp all Hobbit-like through the revision marshes toward the distant burning mountain of Draft Four.

Hooray, I say!

San Francisco Writer’s Conference 2014 – Day 1

I am dog tired and it’s only day 1. This is intense. Lots of energy. Trying to learn how to pitch your novel rapidfire with only 5 clear bullet points, and networking like crazy, bonding as quickly as possible with folks doing the YA Fantasy genre thing. Many business cards were given, many gathered. Hope to God I can put faces with cards when it’s all done. Already building my YA Fantasy cohort.

Things I learned from the Children’s, Midgrade and YA Pitchathon

Who was there:

  • Natashya Wilson, Editor at Harlequin Teen (Editor of Julie Kagawa’s Iron Fey series)
  • Laurie McLean, Forward Literary Agency
  • Pam van Hylckama Vlieg, Forward Literary Agency
Gems and Nuggets:

Elevator Pitch:
  1. Just give them enough to interest them.
  2. Four sentences, 25 words or less.
  3. They really like the high-concept pitch, aka, it’s like Silence of the Lambs meets Charlotte’s Web, except good, because that would be sucky and what the heck does it mean, anyway? For this, use movies, books, and even video games that everyone knows.
  4. Never claim your novel is the next Harry Potter.
  5. It should be punchy.
  6. Don’t tell the end.
  7. Only tell the A plot.
  8. A YA Fantasy should be from 85 to 90k words.
  9. Another formula for the pitch “Who fights who to get what?”
Speed Dating:
  1. Your name
  2. Genre of your novel
  3. Title of Novel
  4. Word Count
Query Letters
  1. Don’t make me scroll
  2. First line is your logline high concept, aka Indiana Jones meets The Mummy (The Hook)
  3. Second paragraph is your back of book copy (The Book)
  4. Third paragraph is about you (The Cook)
  5. Another formula to describe the above is the The Hook, The Book, The Cook
Things I learned from Pitchcraft by Katherine Sands, Literary Agent
  1. In any pitch you only have time to cover 5 points, so choose them carefully
Basic Novel Pitch Formula
  1. Place (also time, era, modern day? 1066 Hastings? What?)
  2. Person, for instance, Bill, a 45-year old accountant who has always wanted to be an opera star
  3. Pivot: The dynamic moment that sets the whole story in motion.
General Notes About Pitchcraft
  • Set off sparks
  • Get interest
  • Show, don’t tell
  • Comparisons to other books, for example, “For readers who loved “The Hunger Games and the mortal instruments, my Contempory YA Fantasy pits the heroine against real historical magicians and alchemists who are seeking to use her power to make their immortality permanent.
I also attended a great talk by Rusty Shelton about ‘Discoverability in the Age of Social Media’ lots of great way to leverage social media to build ones brand, even as a novelist.
But as I am now a steaming pile of OMG, I must rewrite my pitch, asta la bye-bye for tonight!

Follow Me and how to Make Every Scene Seeable

Good morning, readers, writers and other word enthusiasts!

First of all, you can follow this fledgling blog at Bloglovin, which is my favorite aggregator. I like the way it allows you to set up lists for your interests, so you can just read the stuff about one topic and save the others for later. Here’s a link: Follow my blog with Bloglovin

Second, I am working with a great writing teacher in Sherman Oaks, CA. If you would like to check her out, she has a Wednesday evening class at 7pm. You can audit the first class and see if it is a good fit for you.

For more info on Claudette Sutherland’s writing class, gotoclaudette.com.

I’m thinking I’ll be moved to write a new blog post frequently on Thursday mornings, since I work with Claudette on Wednesday nights. I am learning so much from her. I feel as if I’ve been walking through an old mansion in the dark, and someone just came in with a candle.

MAKING A SCENE SEEABLE

Something she talks about frequently is making a scene SEEABLE. Last night she gave me a great rule to write by:

  • Anytime you change to a new setting, make sure we can see it, and we know where and when we are, and who’s there, what’s at risk.
  • You do it with little brush strokes, little pictures, details of the senses.
Here’s an example from my first chapter:

The enormous horned creature crouched in the center of the gold disc just yards in front of Avery, ready to spring. Its mandibles clicked together. White hot liquid churned in its mouth. It shifted on segmented limbs, talons scraping the black floor. 

Sunlight pierced the high narrow windows, struck the beast’s gray glass talons and threw shards of brilliance onto curved stone walls. Light licked along the fine gold lines of the many-pointed shape on the black floor.

Can you picture this scene?
Thanks for reading!

I am a Writer

I’m almost done with my second draft of my first novel, Tigers Slow Awake. I’ve been thinking I should have a blog about writing and process and how the heck do you get from just a few vague ideas to 160,000 words. And how do you get from there to something you actually feel confident querying an agent or editor about?

I don’t know yet what that will be like, but I know I’m going to do it.

I’m writing a synopsis, something like you’d see on a book jacket, something that tells the story and sells it, too. But it’s scary to face the task of putting all my plot in one place. I suppose there’s something daunting about every phase of writing a novel.

I’m using the program Scrivener to wrangle this draft, and although I like it, I find the Compile feature was not at all intuitive. I had to do a deep web search to get it to come out the way I wanted, and it’s still not quite there. I’m so ready for Scrivener to have its own app. Apparently they have been working on that at literatureandlatte.com for more than three years. This is supposed to be the year they get there. I wish them the best of luck! I could really use that app!

And I’m working with a great writing teacher in Sherman Oaks, Claudette Sutherland. I’ve put her website link here. She gives great supportive feedback and I think she’s helping get my prose into line, among many other helpful things!

One thing I’m struggling with is how to inject imagery into the action so the reader knows exactly where they are and can really picture it. It’s quite a discipline to write that way, a good challenge.

Wish me luck! I’ll keep you posted!