Keeping Score: February 15, 2019

The novel keeps changing.

I’m trying to pull all the threads from the workbook together, so I know what edits I need to make. I’ve been using the outline template from the workbook, which has been surprisingly helpful.

But as I do so, I keep having more ideas, better ideas, that ripple out and change the book. One of my characters has gone from being a Senator, to a corporate auditor, to a DOJ Investigator. The key scene between my protagonist and one of the secondary characters that makes him switch sides, which was weakly motivated before, now has the solid footing of a quid pro quo exchange (tied to one of the protagonists’ plot layers).

Once again, I’m glad I’m taking the time to do this work. I was skeptical of the workbook’s outline at first, but in going through the process, I’m learning a lot about my story and my characters. Some of its seeing how much I really do know about the world, and some of its seeing those connections that I didn’t before.

So it looks like I’ll be lucky to finish the outline by the end of this month. But it’ll be a damn good outline, once it’s done.

Keeping Score: February 8, 2019

I’ve finished the workbook!

Well, finished as much of it as I can. There’s a few exercises that I’ll need to come back to.

One says to take every scene in the book and choose one detail to heighten, which is something I’ll want to do after I’ve written the new scenes and re-arranged the ones I have.

Another had me write a pitch, and then follow-up by coming back to the pitch in a week and winnowing it down some more. That’ll obviously have to wait.

But I’m done with the bulk of the exercises. Now all I have to do is put them into practice.

So next week I’ll be combing through the workbook, pulling notes and scene ideas out and combining them with the notes I have from own first read-through.

There’s going to be a lot of changes, so I’ll need some way to keep track of them all. I think I’ll start by writing out a new outline, sketching out the scenes (new, changed, and existing) in order. That’ll give me something to compare to the novel as it exists now, a guide to what needs to change.

I might also work up a timeline, just to be sure everything’s in place, and maybe even a map of the setting, to fix everything in my mind.

Hopefully I can get all that done in a week, and then start on the edits the following week.

I have no idea how long those’ll take. This is my first time doing this — editing a novel top-to-bottom using more than just my own gut instincts — and I want to do it well, or at least as well as I’m capable of doing it.

If it takes me all year, that’s fine. So long as keep at it, and finish it.

Writers Coffeehouse: Feb 2019

Another great Coffeehouse this month. Jonathan Maberry was out at a conference, so Peter Clines (NYT Bestselling author!) stepped in for hosting duties.

Clines’ style of running the Coffeehouse (he’s been running the one in LA for 4-5 years now) is a little more freeform than Maberry’s, but even without a strong structure, we had a lively, respectful discussion that covered a lot of ground. I even got a couple of my own questions answered, about some things I’ve been struggling with.

I’ve posted my notes below.

Thanks to Clines for hosting, and to Mysterious Galaxy for letting us use their space!

Notes:

  • peter clines has the Conn; he’s been running the LA coffeehouse for 4-5 years; subbing for jonathan while he’s at writer’s festival
  • his method: 1st half writing craft, 2nd half publishing side
  • thinks it’s better to not have a social media account than to have one that looks abandoned or run by bots
  • whatever you do, if anything, it’s critical that you be honest and authentic, even when crafting a public persona
  • small trick: switching the font for third or fourth draft can make different things pop out at you, help you find errors
  • libby hawker: making it in historical fiction
  • also: read wolf hall and see how hillary mantel does her description and world-building
  • random nugget from shane black: plot is what happens outside the characters, story is what happens inside the characters
  • clines: used to follow writing guidance slavishly, reading writers digest, doing what it says; has become more skeptical over time, especially as he’s figured out what works for him, and how that differs from what works for others
  • pantsers: can be very helpful to have a timeline, even after first draft; one writer found 12-yr gap in her book (!)
  • tip from mystery writer: even if you’re not going to have a big “gather the characters together so sleuth can layout the clues” scene, write it anyway; it’ll solidify everything in your head so you can confidently write the mystery itself (with dropped clues, red herrings, etc)
  • chapter to chapter: have something driving the characters from scene to scene, either internal or external, so the reader has a reason to move forward; even placement of flashbacks needs to be driven by the story
  • prologues are fine, but make sure they have a payoff within a few chapters, or cut them altogether
  • relevance is key: even if your planning a series, make the nuggets you put in the first book relevant to that book
  • “start with action” can be a trap: if you begin with volume at 11, you’ve got nowhere to go but down
  • recall the punches of humanity and comedy in the midst of horror or action: the terrorist grabbing a candy bar while setting up in die hard, etc
  • don’t discount the freedom you get by not being published yet; enjoy the fact that you have no deadlines and no pressure to finish
  • beta readers: seek out at least one or two people who read mostly outside your genre, to make sure you don’t have too much inside baseball
  • the 50% rule: half of all submissions can be rejected on pg 1: wrong format, wrong genre, etc; following the rules and sending a polished manuscript to the right people can put you ahead of 50% of others
  • one step beyond read it out loud: have someone else read it out loud to you, and see where they stumble or hesitate or pause
  • short story tips: damon knight’s book on writing short fiction
  • one bit: if you have a first-person story, write it in a different pov and see if the main character vanishes; if so, you don’t have a character you just have a viewpoint

Keeping Score: February 1, 2019

I’m almost done with the Breakout Novel Workbook. Only seven exercises left to go, which I might be able to knock out by the end of next week, assuming I double-up some days.

Even as I enter the last part of the book, the novel keeps changing. One of the last exercises was on marking changes in how the characters see each other, which pushed me to ask why Character X comes to see Character Y favorably, which led me to alter a scene so those two characters were in it (instead of the original two), which opened up new connections I hadn’t seen before between events very early in the book and the arrival of Character X, which led to…a whole cascade of changes.

All good changes, I think. The workbook emphasizes connections — between characters, between actions, between subplots — and each change is making the parts of the book more connected. With each change, it’s almost like I can feel the various plot threads pulling together, tightening up.

And I need that tautness, that tension. I want this story to be so tight it hums.

I’m even starting to see where the lessons of the workbook can be applied to the short stories I’ve been shopping around. Ways to make their stories more personal, more powerful. Once I finish the workbook, I might practice some of those techniques on the short stories before tackling the novel. None of the stories have sold, so it can’t hurt, right?