Last week I set some goals to keep me on track for a productive summer.
So, how am I doing?
- Edit one chapter a day: Check. I’m working through the novel backwards this time, to keep it fresh for my editing eyes.
- Write a new short story each week: Not complete, but new story (working title: Wednesday) is halfway done, and I’ll wrap it up this weekend.
- Critique two stories each week: Check. By the time the new story’s done, I should have enough points to post it to the litreactor workshop for feedback.
- Find a new agent to query each week: Nope. Need to set aside some time next week to do this.
- Polish and submit a new story each month: Check. I’ve currently got three short stories making the submission rounds, one of which I submitted for the first time this month.
Another strong portrayal of a villain from Grossman.
Avoids the trap of completely rehabilitating Nixon. He’s sympathetic without being likable, and interesting to follow without the reader always cheering them on.
Loses steam in the second half. There’s plot lines that go nowhere, scenes that could have been cut without changing anything, and the climax happens completely off-screen, with no buildup or release of tension.
Still, I learned a few things about writing:
- Delivering most of your plot via dialog — so long as you’re not data dumping — can be a great way to keep the story moving.
- The best villains think they’re the hero.
- Restricting your book to one POV can be too confining. Multiple POV can let you explore other aspects of your world, which you might need if your story takes place somewhere very different.
My wife’s in Arkansas for the next few weeks, visiting her mother for her annual pay-off-the-guilt-from-moving-to-California visit.
Normally, this is a time I tell myself I’m going to get a lot of writing done, hermit-in-the-woods style, but instead end up staring at the keyboard, trying to dig up inspiration.
So this time, I’m setting goals. Daily, weekly, and monthly goals:
- Final-pass edit one chapter in the first novel every day.
- Write a draft of a new short story every week.
- Critique two stories submitted to litreactor (the online writer’s workshop) every week.
- Find a new agent to query every week.
- Polish and submit a new story to a new market every month.
I’ve decided to go with submitting the first novel to agents. However, I’ve also joined Publisher’s Marketplace, so I can be selective about which agents I query. Less of a shotgun approach, and more of a laser.
I’m hoping the explicit, bite-sized goals will keep me focused. Who knows? They might become new habits.
A 1990s trenchcoats-and-mirrorshades action film published in the 21st century with 1950s gender roles. An odd, frustrating, throwback of a book.
Three things it taught me about writing:
- Be careful when porting an old genre to a new skin. Bringing along the social mores along with the other elements will make your book feel dated from the start.
- Taking an otherwise-competent character and pushing them out of their element is a great way to both explore a new world and make it challenging for them.
- In sci-fi, it’s not enough that the names of things — computers, cars, etc — change. Our relationship with them needs to change, too, or it’s just window dressing.
At the Writer’s Coffeehouse this weekend, another writer asked what they should do when they have four novels, all finished, each in a different genre, that they want to pitch to agents. Should they target each book’s query to a different agent? Should they mention they have other novels when querying one of them?
The answer — which surprised me — was no to both.
Don’t mention the other novels when first querying. Save that for later, if they want to talk more.
And instead of sending out queries based on the book, pick the agents you’d like to represent you, and send them the book you think has the greatest commercial potential.
Agents will want to represent everything you have. But by querying with the book that will likely sell the best, it’ll be easier for them to imagine selling your book to a publisher, which will increase your chances of convincing them to represent you.
So now I’m confronted with the question: have I been editing the wrong book?
A frustrating question to have, when I’m only one editing pass away from being totally done. And I’ve already written the synopsis. And the query letter. And have agents picked out.
But maybe I’d be querying the wrong book? Of the three, I think my most recent one’s the strongest draft. The second one’s the best story, though, and my beta readers’ favorite. The first one is, of course, the only one that’s actually done, in the sense of being a final draft.
So which one do I query with?
Novel edits are coming along faster than I thought. Might actually get them all done by the end of the month 🙂
It’s weird to see the novel being reshaped under my editing scalpel. I can feel the book getting better, little by little: its characters more consistent, the world more fully realized, the pacing tighter.
I’m remembering my plans for a follow-on book, and looking forward to writing it. Can editing a novel make you excited to write the sequel?
Managed to whittle the list of editing passes from twelve to twenty and now back to thirteen.
Which means I didn’t finish them by the end of March, like I wanted.
I *did* finish the biggest of the changes, though: giving each chapter to either the male or the female protagonist, swapping evenly between the two, and filling out her narrative arc so that her storyline has equal weight.
The changes I have left are much smaller: revising character appearances, adding touches to scene descriptions, and making sure everything is consistent.
Still, I’m setting weekly goals, aiming for three editing passes done each week. At that rate, I’ll be finished with the edits in early May
Much later than I’d like, but I tell myself that’s better than not doing them, or worse yet, continuing to tweak and edit for a year or more.
My original plan for editing the first novel turned out to be…rather naive.
I thought it would be enough to fix the female protagonist’s plotline, then make a few description tweaks, and be done.
Instead, I’m looking at making a dozen or more editing passes over the novel, each one picking out a thing to fix and make consistent through the book.
I’ve had to change character appearances, character names, city names, backstory, world history…nearly every element needs to be tweaked one way or another to line up better with what I think the novel should be.
So I’m keeping a running list of things to fix as I go, jotting them down as I find them. That way I can focus on just one editing task at a time, getting one thing right all the way through the book before going back to the beginning and starting on the next fix.
My goal was to have these edits done by the end of the month (for a total of three months of editing), so I could spend the next three months editing my second novel. But we’re a third of the way through March, and, well…my list keeps growing.
Still, I’ll push on. I’m finding I still like this novel, still like the characters. I want to do them justice, give them the best book I can. So I’ll keep working through the list, till the list is done.
A series of confusing, racist, Anti-Semitic stories. None of the characters are admirable. The mysteries are mostly atmosphere followed by “as you know” mansplaining. The only memorable characters are the ones he gives over to racist caricature.
Taught me several things not to do:
- Don’t lean on description over plot. A thin mystery is a boring mystery, no matter how you dress it up in thick descriptions.
- Don’t hold your characters in contempt. If you don’t like writing about them, why would anyone want to read about them?
- Don’t assume that insisting two characters are friends is enough for the audience. If they’re friends, readers should be able to tell without being told. If no one can tell, then, maybe they’re not friends after all?
Inspiring. I could not imagine daring to try to write dialog for Greek gods and long-dead philosophers, but she did, and does it brilliantly.
Made me miss my days as a philosophy major, and that’s a good thing.
Three things I learned about writing:
- Long explanations of things are ok, but only after the reader has come to know the characters, and care about them.
- Switching first-person narrators is fine, so long as you keep the number of them down and clearly label each chapter so we know which character is speaking.
- Sense of place can come through not just by food and clothing, but architecture and leisure activities as well.