Wife made it back from Arkansas on Tuesday (huzzah!), so my hermit-writing time is coming to a close.
Overall, I think having the weekly goals really helped me. While I didn’t hit them all (mumble mumble agent-search), I hit enough of them to build up a writing rhythm, and got a lot done.
All told, I’ve:
- written two new short stories, and have started a third
- circulated three previously-written stories
- completed final-pass editing of all but the last quarter of my first novel
- reviewed nine submissions by litreactor peeps
I’d like to keep up some of my new habits. I think the litreactor reviews help me to see similar problems in my own fiction, and practice fixing them. I also think the chapter-a-day editing is the only way I can get detailed editing passes done.
I like writing a new short story every week, but at some point I’m going to need to work on editing them all into shape, so I can submit them. So I’ll keep that one for perhaps the next week or two, then settle into editing what I’ve got.
Third and final week. How’d I do?
- Edit one chapter a day: Check. Whew.
- Write a new short story: Check! Last week’s story is up on litreactor for feedback. Newest story will be going up as soon as I have the points.
- Critique two stories: Check and check.
- Find a new potential agent for querying: Dropped.
- Polish and submit a new story each month: Still on track. Got some good feedback on “Wednesday” from the fine folks at litreactor. I’ll revise it this weekend, and should have it ready for submitting by the end of the 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?
Fantastic. Absolutely nails the smugness and insincerity of the South, along with the surprise of finding help in unexpected places. Protagonist is a perfect mix of insecurity and snark.
Thank the gods it’s a series; can’t wait to read the next one.
Three things I learned about writing:
- Narrating a character’s internal debate in long-form is fine, so long as it’s in the right place: when the character is away from other people. Don’t do it during dialog.
- You don’t need dialect to write Southern characters. Getting their facial expressions and hypocrisy right is enough.
- Finding a real-life struggle that mirrors the fantasy one is a good way to ground it.
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?
Masterful. Incredibly well-crafted series of nested narratives that simultaneously did a deep dive into Dracula lore and sucked me into a single family’s generations-long saga. Just…wow. So well done.
Three things I learned about writing:
- You can use flashbacks to cover over narrative time that would otherwise be boring, like train (or plane) travel
- To make an old myth feel fresh, look for the side that’s not usually given a starring role (like the Turkish side of the Dracula legend), and explore it.
- Journals and letters are a great way to both nest stories, and keep each story personal, told by the person that lived it
Beautiful. Simple, tight prose, telling a deeply moving story.
Can’t wait to read the next one.
Three things I learned about writing:
- What a society condemns is just as important to making it feel lived-in as what it praises.
- Characters don’t always have to be imposing their will on the world. They can show their inner character by the opportunities they take advantage of, as well.
- In a world of bad choices and flawed people, heroes can be cruel and cowardly, and villains can show mercy.