Revision Steps

Today, the Revision-o-Rama series of posts draws to a gentle close with some revision steps for your writer’s toolbox. I hope you’ve gotten some new ideas and the food for thought has been fruitful for you. Of course, I will keep posting about revision steps on the blog and, of course, you will keep revising into the new year (right?). Now it’s time for me to take a breather, reset back to my “regular programming” and give you all a few ideas for how to proceed from here, as well as recommend some books on revision that I’ve read and found helpful in my study on the subject.

One of the First Revision Steps Is…

…Other readers. It’s that simple. Writing is most definitely not a solitary pursuit, at least it shouldn’t be. With writing, the following thing tends to happen: the more we write, the more we get stuck on the same revision steps, the more we muck around in the same material over and over, the more blind we grow to it. The most obvious example is missing typos. Our eyes just tend to gloss over the words if we read them too much. Or we know our manuscript has problems but we leave them in because a) we love that part, b) we’re too lazy to really fix it, c) we’re waiting for someone to call us on it, d) we figure that’s what an editor is for.

No, no. As editors tighten their belts and only take on the most polished projects, it has become even more important to develop your own toolkit of revision techniques so that your work is agent-ready. (Who will then tell you to — you guessed it! — revise yet again, if they’re the kind of agent who places a lot of emphasis on editorial work, which I do.) So, since you’re effectively blind to your own work, you have to bring in qualified readers as soon as you’re feeling strong enough to hear their feedback.

Revision Resource: Join a Critique Group

Join a critique group if you’re not in one already… there are plenty of writers on message boards and various websites who are just dying to get together and are maybe too shy to ask. Whether you do one online and email manuscripts back and forth or whether you find a group in your area through a writing or arts center, the Internet, Craigslist, etc., make sure the group you’ve got is quality. If they don’t write kidlit, they should at least respect it and want to learn more about it from you. If they’re not published, their work should at least be damn close. The best groups have at least one published or agented writer in the mix. Strive to join those that feel slightly more advanced than your level, so that you can really trust and enjoy their expert advice.

The Value of Critique Groups

The other great thing about critique partners is that you learn a whole lot about writing just by looking at someone else’s work. If you see a mistake or something that jumps out at you in another manuscript, and you get good about analyzing what works and what doesn’t — guess what? — soon you’ll be turning the same revision techniques on your own work. (It usually takes a while to translate… anyone can be a critic but actually implementing the same revision steps toward oneself is the real challenge.)

Even if it’s not a traditional critique group with regular meetings, you should at least hook up with one or two writing friends or take a writing class. Maybe you can make some bonds that’ll extend past the last day. Or go to local or national conferences. There are plenty of writers there that you can befriend and keep in touch with. But the key is getting eyes on your manuscript, and getting eyes that know what they’re talking about (now that, my friends, is a mixed metaphor). Teach yourself to hear their wisdom but take it with a grain of salt. You’ll learn a lot, you’ll also discard a lot, but I can tell you one thing for sure: the more feedback you get on a manuscript, the more it’ll inspire you, the more it’ll spark your own imagination and the stronger it will be (check out some constructive feedback examples).

Writing and Revision Resources

If you want to do more independent study on writing and revision steps, I can recommend the following books on revision, specifically, and the writing process in general:

Story by Robert McKee
Dialogue by Robert McKee
The Anatomy of Story by John Truby
Bird by Bird by Anne Lamott
Rules for the Dance by Mary Oliver (with a focus on poetry)
On Writing by Stephen King
Revision and Self-Editing by James Scott Bell
Self-Editing for Fiction Writers by Renni Browne and Dave King
The Bestseller Code by Jodi Archer
Writer to Writer: From Think to Ink by Gail Carson Levine
Spilling Ink by Anne Mazer and Ellen Potter (aimed at younger writers, read my review)
Story Genius by Lisa Cohn
Writing Great Books for Young Adults by Regina Brooks (read my review)
Writing the Breakout Novel by Donald Maass
The Emotional Craft of Fiction by Donald Maass
Writing the Intimate Character by Jordan Rosenfeld
Save the Cat by Blake Snyder
Save the Cat Writes a Novel by Jessica Brody
The Magic Words by Cheryl Klein
Writing Picture Books by Ann Whitford Paul
Writing Magic by Gail Carson Levine

Books on grammar and punctuation:

EATS, SHOOTS & LEAVES: THE ZERO TOLERANCE APPROACH TO PUNCTUATION by Lynne Truss (hilarious!)
THE ELEMENTS OF STYLE ILLUSTRATED by William Strunk Jr. and E.B. White (stylish!)

Books on writing for children:

DEAR GENIUS: THE LETTERS OF URSULA NORDSTROM ed. by Leonard S. Marcus (highly recommended!)
THE SPYING HEART by Katherine Paterson
THE WRITER’S GUIDE TO CRAFTING STORIES FOR CHILDREN by Nancy Lamb

Books on reading:

READING LIKE A WRITER by Francine Prose

Finally, Maggie Stiefvater did this on her blog with great success, so I just wanted to open it up to you all in case anyone is looking for a critique buddy. You can use the comments for this post as a personal ad to find fellow writers who might be looking for the same. Maybe talk briefly about what you write (What age group is it for? What genre is it? Is it complete?) and what you’re looking for, and we’ll see if we can’t match anybody up so you guys can go off and work together.

Ready to invest in an expert set of eyes? My book editing services will help you build on the revision steps you’ve already taken.

Creative Writing Revision Exercises

Here are some creative writing revision exercises that’ll help those of you wondering how to rewrite a novel. Grab your red pencil and read on!

Creative Writing Revision Exercises to Strengthen Character

100 Declarative Sentences

This is a great brainstorm tool, and it’s really hard. This creative writing revision exercise works best with a character or a setting that’s giving you difficulty. Maybe your critique group thinks it’s thin or flat or unconvincing, or it just doesn’t feel right to you. Concentrate on this place or this person and write 100 declarative sentences about her, him or it. Sounds simple, right? Well, it really calls into question how well you know what you’re writing about. A declarative sentence is just an informative sentence that states a fact. Let’s say I have a character called Claire who isn’t working for me. I would start my list:

Claire plays JV tennis.
Claire likes to eat ice cream but only after she wins a game.
Claire wishes she had long hair like Abby does.

Etc. etc. etc. A lot of it will feel like you’re just riffing. You’re making things up. You’re improvising. But you’ll come up with some great surprises, like quirks of a character that you never thought of. Then, around sentence 80, you will feel like you will never finish this stupid exercise. And you will hate me. And you will probably give up and watch some TV. So it goes. But the point here is that you’re thinking of the place or person as something real. Declarative sentences are simple and informational. It will force you to think about things you haven’t been considering yet.

Who knows if you will use all of the 100 things you come up with? But the truth and beauty of fiction always lies in the specifics. Here, you have an opportunity to come up with specifics, quirks, tidbits and other things that will flesh out your character or setting and make them seem more real, more significant. Some of my favorite details about a character or place, the ones that stick with me long after the book is over, are small things like this. That Claire has the purple nail polish chipped off the big toe on her left foot. That Bellmeadows, the town where Claire lives, has three car dealerships but no gas station. Character and setting are in the details. Force yourself to come up with some. You’ll get maybe 10 or 20 new things to add throughout your manuscript.

Creative Writing Revision Exercises to Strengthen Prose

Cut Boring and Ambiguous Words

In my slush pile, I get a lot of queries that use boring and ambiguous words. What do I mean? Here’s an example (an amalgamation of all that is bad, one it has pained me deeply to write):

Johnny learns a mysterious secret at the beautiful Temple of Adventure that will change his life forever. Shadowy conspirators push him into a meaningful choice — and there’s no going back. When Johnny is faced with the truth, dangerous circumstances propel him to a thrilling and exciting climax that will leave readers begging for more.

Huh? What? What is this book about? All I have are general words that are meant to hype me up but they’re all fluff. Just like a booming announcer’s voice during a movie trailer that’s trying to tell me a story, it’s all dazzle and no substance. There are some words that are so general that they mean nothing. Or they mean different things to different people. What one person finds “beautiful” or “thrilling” isn’t the same across the board. Using some in a query or manuscript is okay, but I’m seeing a lot of paragraphs that resemble the above. If I read a paragraph full of generalities and ambiguous words, I really have no idea what your plot is. Plot is made up of specific events, not hot keywords. Avoid these words in your query and in your manuscript. Specifics are key. What does “beautiful” look like to this character? How does that character react uniquely to something “exciting”? (Here’s a handy list of character reactions.) Use instances where you’d normally use a boring or ambiguous word as an opportunity to show us something about the characters you’ve created. Striking out these blah words also goes a long way toward adding to voice.

Eliminate Filters

Filters are phrases like “I think” and “I see” and “in my opinion” that dilute your prose. They’re most noticeable in first person but appear in third person, too. For example, it’s a lot more wordy to say, “I saw a dog bounding across the lawn,” than, “A dog bounded across the lawn.” Obviously, the narrator saw it, or they wouldn’t be describing it for the reader. Same with, “I thought her hair looked stupid.” That’s weak compared to, “Her hair looked like a skunk had set itself on fire.” The “I thought” and “I saw” just lessen the impact of what follows. Of course, you’re allowed to say things like, “I thought I saw a ghost,” if they’re important to your plot, but try and weed filters out of your ordinary prose. Tangentially, one of my biggest pet peeves is when writers put: “… blah blah blah, I thought in my head.” Yes. Obviously. What else do you think with? Your elbow?

Reading Aloud

As many readers have mentioned in comments, a nifty trick for how to rewrite a novel is reading your manuscript aloud. Yes, it’s tedious. Yes, you sometimes lose your voice doing it, but you catch so many things you never would’ve caught before. My favorite thing to do — during workshop and critique sessions — is to actually have another person (or, you know, if you’ve got such a patient person at your disposal at all times) read your manuscript or parts of it to you. This is extremely instructive. You hear it in another voice (one that’s not inside your head) and you get to see where you reader stumbled or seemed to get caught up in certain sentences. You get to see if another voice makes the prose come alive (which means it has voice of its own) or if it lies flat on the page and makes your reader start droning. Very useful stuff!

More Resources for How to Rewrite a Novel

The above are just a few creative writing revision exercises that you can use. There are literally millions of writing exercises, books, methods and other authorities that you can study on the subject. I’ll name some of my favorites in my next post (and the last for Revision-o-Rama, boo!).

In the meantime, you can find more creative writing revision techniques in previous blog posts. Here’s a post about how to avoid writing cliches, and here’s another post about a nifty novel revision tip. Feel free to leave your hot tips and brainstorming ideas in the comments.

Feeling stuck on your WIP? Need help with how to rewrite a novel? Hire me as your novel editor and I’ll offer a fresh perspective on your work.

Happy Holidays!

As most of publishing slumbers, I’m going on a quick holiday blogcation and will refrain from posting until Monday, December 28th. In the meantime, read over old posts, share your thoughts in the comments or, you know, step away from the computer and go spend time with loved ones. This blog won’t be able to hoist a glass of champagne or eggnog and warble through the canon of Christmas carols like only your tipsy extended family can!

Revision-o-Rama will return for a few posts at the end of the month (And the end of the year! Can you believe it?) with some exercises and “action items” for you all as you continue with your writing and revising into 2010.

And since I believe in gratitude and looking around every once in a while to say, “Wow, my life is awesome!”… I want to thank all of you readers and comment-leavers and writers for making Kidlit’s first year such a success and a great experience, both for me and for the other writers who visit. May this holiday season and the new year bring you all love, happiness, writing mojo, and, of course, closer to the end of a Million Bad Words!

Types of Voice in Writing

What are the types of voice in writing? Developing writing voice is the number one thing that separates the published from the unpublished and, after that, the good books from the mediocre ones. The most successful writers in kidlit these days have undeniable voice. One way people describe voice is that, if you pick up a book without seeing the title or cover, and start reading, you’ll be able to guess who the author is. Sure. That’s what I like to call “authorial voice” and it’s important. But if you’re just starting out or you’ve only completed one or two projects, your authorial voice is still developing. So that explanation of voice isn’t satisfying enough, in my opinion.

Writing Voice Defined

So what is voice in writing? Where does it come from? I want to argue that it comes from character. And since a lot of main characters are thinly-veiled versions of the author, this means the character’s voice shares a lot of elements with the author’s own voice. Two birds with one stone! What do I mean by “the character’s voice”? Well, if you remember, a character should be as fleshed-out and vibrant as a real human being. They should have their own favorite words that they use (not necessarily slang, people, that’s the cheap and superficial way to do it!), their own way of speaking, their own way of describing things, their own way of seeing the world.

If you want to learn the types of voice in writing, or if people keep telling you that your voice didn’t hook them enough or wasn’t enough for them to make a connection, I would seriously try writing in the first person. That’s where you can see the effects of voice most easily and immediately. But there are different types of voice in writing — some authors write with a lot of voice in close 3rd or omniscient 3rd, but it is much more challenging. Either way, let me explain voice in the context of a character.

Voice is How Your Main Character Sees the World

I said in my post about writing imagery that theme is like a lens… something everything else in your manuscript is filtered through. This idea holds even more true for developing writing voice. You need to figure out who your main character is and then see the world through their eyes. Use the words that they would use. Describe things with that character’s particular slant. Here are two ways of describing the exact same thing: a green couch. First: “It was a moss-green item of furniture that could fit four people.” Second: “The lumpy old raft of a couch was baby-poop-green and threatening to make me sick. After all, it was jammed with my three least-favorite people: Uncle Mordy, Aunt Mildred, and my lech cousin Kenny. Oh yeah… and me.”

That is in a character’s unique voice. Aunt Mildred might’ve described the couch in a completely different way, because she happens to watch a lot of Martha Stewart, or whatever. And we still get the information that the couch is green and fits four people. But we get it through a special filter. Just like we’re learning something about a manuscript’s theme through the writer’s use of imagery and description, we should also be learning about the character through the voice. Different types of voice in writing will reveal different sides of the story.

Word Choice Matters

Developing writing voice also circles back to word and verb choice. Boring words that sound like they’re out of a business memo or that are too adult and drab for the kidlit audience are the bane of my existence. Words that are stilted or businesslike, like “objective,” “achieve,” “vehicle” (instead of “car”), “communicate,” “item,” “object,” even general words like “beautiful,” “exciting,” “dangerous,” mean nothing. That’s because they lack voice. And a reader isn’t going to respond to them and get engaged in the material. Two paragraphs above, I used the verb “jammed” instead of the more static “sat” or “reclined” or “rested” or even “was stuck” because it’s active, it fires up the imagination. And it fits the mood and tone of the situation I’m describing.

Character and Voice and Inseparable

Some people liken developing writing voice to almost “hearing” the character whispering the story into your ear as you write. That’s a nice way of thinking about it, if it helps you. I think voice is equal to the life in your character. Pitch-perfect word choices create voice and define character. A well-defined, unique character generates voice. The two are in a constant feedback loop. And the same is true for third person narrative, only it’s really the narrator’s voice that shines through here. Depending on how far removed your narrator is from the story, you can either make the voice a really big part of the tale, like Adrienne Kress does in her books, or you can be more distant. Whether your voice is outrageous and brash, as in the example above, or a little more subdued, like your average 3rd person narrator, it still needs to be carefully crafted, word by word, so that its unique essence comes through on every page.

And that’s a huge challenge. I can tell you honestly that the books which I choose to represent all have voice. 99.99% of what comes in to me might not be “bad.” It might even be “pretty good.” There may be nothing technically wrong with the writing, either. But the voice will be lacking, and that’s really the “x-factor.” It’s usually the last thing to fall into place for a writer as they wade through their Million Bad Words. It’s when you’re proficient at all the other writing tricks and tools that you really feel like you can play around and experiment and play Frankenstein… create a living, breathing thing on the page.

Types of Voice in Writing: Do Your Research

But the only way to get there is to write and study types of voice in writing. Try Laurie Halse Anderson and David Levithan, Carrie Jones and Frank Portman, Daniel Handler (Lemony Snicket) and M.T. Anderson. Meg Cabot (Yes, even her! Some people find her sugary energy grating, but that’s why so many people love her!) and J.K. Rowling. If you want to read an adult book (Gasp! Heresy! And on KIDlit.com, of all places!), I would seriously recommend THE BRIEF WONDROUS LIFE OF OSCAR WAO by Junot Diaz. That is voice heaped on top of voice and piled with even more voice and slathered with a heaping scoop of voice to make a delicious voice sandwich. It’s the only adult book I’ve read this year (how awesome is that?) and I read it twice.

Use Your (Literal) Voice

A tip that I think works to find your writing voice is speaking the story into a pocket recording device and transcribing it later. The first stories that people told each other were oral histories around the campfire. This was long before the Bible and the printing press. Composing your story to yourself aloud helps open up creative channels you’re not used to using, helps you improvise, forces you to get a little hammy and act it out. It also reminds you to use a unique voice (yours!) and that you’re, at the end of the day, telling a story. Write a whole book that way or just try a chapter. It’s worth a shot.

My manuscript critique services will help you develop a unique voice that suits your story.

Writing Imagery, Theme, and Description

There are a few things I want to focus on in today’s post: writing imagery, theme, and description. They’re important considerations when revising a manuscript, but they usually come into play below the surface. Things like plot, character and dialogue are obvious, they’re right in the reader’s face.

It’s the subtler things that can really make or break your work, though. And a huge part of revising is seeing what common threads and themes you’ve left for yourself. It’s like magic. Your subconscious usually puts lots of things in your manuscript for you to find on a second or third read… connections you never knew you’d made, common images and ideas that resonate with the larger meaning of your work, all sorts of interesting stuff.

Theme Emerges During Revision

When you revise, think about what your work is saying. You’ve got to have a reason for writing it. There should be distinct themes and ideas that you could point to as the center of your book (check out some book themes here). GRACELING isn’t just an awesome fantasy story about people with special talents, for example. It’s also about one’s place in the world, duty, honor and empowerment. Those are the ideas that Kristin Cashore weaves into the manuscript, her themes.

Once you know what these are — and you usually won’t until you’ve started revising — you can use them as a lens for when you’re writing imagery and description. This sort of fits with the point I’ll be making about developing writing voice before the month is out. A theme for your work should color everything in it, subtly, especially the descriptions. If you’re working with a theme and a plot with a lot of loneliness in it, settings aren’t “empty,” they’re “desolate,” which has a much stronger resonance with the themes you’ve set out to play with. When you’re working on thematic writing, look at all your descriptions and characterizations through the lens of the bigger idea you want to work with.

Theme as a Lens for Writing Imagery and Description

The next time you’re reading a really well-written book, think about how the author is writing imagery, description, metaphor, all of those fancy-pantsy literary devices that usually crystalize during revision. I bet all of the author’s prose seems to just fit with the plot and the theme of the work. In writing, everything is a choice. When you get to the really fine-tuning work of a fifth or sixth pass revision, you’re looking for all the little places where you can make the right choice. If you’re setting up a scene where a person is alone in their snowbound house, you wouldn’t say that a “boisterous” wind rattled the windows, you’d maybe say, “a pang of wind made the glass shiver,” or whatever.

Everything has to fit. From the way you describe a scene to the verbs you use to the seemingly-innocuous metaphor you choose for your character’s frame of mind at the moment. I hate putting labels on it like “theme” or “message” (because you really don’t want to be teaching anyone stuff with your thematic writing, readers, especially kids, don’t cop to that sort of thing) but there really should be something larger at work, something subtle but everpresent, in your novel. It’s in revision that it gets teased out and crafted. Every sentence should ring with it… whatever it is that you want your reader to feel and experience as they’re moving through your story.

Watch Out for Purple Prose

In that same vein, don’t overload on the literary stuff either. Don’t go crazy with metaphors and similes to the point where every sentence has a “like” or “as” in it. And don’t go crazy with description, either. Those days when readers indulged in long, lavish scene-setting and endless purple prose are over.

When you’re writing imagery and description, you want to get the job done quickly and economically. I like to tell people that the best writing comes from very specific, extremely well-chosen details (more advice on writing descriptions). Let one or two perfectly-picked specifics do the work of paragraphs. Isn’t it enough for me to say, “Dinah saw that her thong was sticking out past the waistband of her jeans, blushed, and pulled her pants a notch lower,” for you to get what Dinah’s about as a character? I don’t have to describe her push-up bra or skimpy tank top or hooker heels or the silver cross nestled ironically in her cleavage… you get it right from the thong-flash.

So when you’re working on thematic writing, make intelligent choices that fit the larger goal of your work. Think like an MFA student for a day and make sure your images and descriptions match your theme. Cut out blocks of description and replace them with well-chosen details. See if you can’t make your writing tighter and more effective, sentence to sentence, page by page.

When you hire me as your book editor, we can create a customized plan to achieve your writing goals. Do you want help fine-tuning your thematic writing? Let’s work on it together!

“Show Don’t Tell” Examples

“Show Don’t Tell” is the old adage you hear in every writing class, workshop, critique group and probably on some things you’ve had edited, rejected or submitted in your lifetime.

“Show don’t tell,” says the editor or agent or well-meaning crit partner. “You know, this really is an issue of showing versus telling,” says the writing teacher. Well, we all know that showing is good and telling is bad. But do we really know what that means?

“Show Don’t Tell” Examples of Telling

The common rhetoric is too general. Here’s what “show don’t tell” means and, more importantly, why it’s important.

Let me give you some show don’t tell examples. I’m not saying this is the end-all and be-all, or even that well-written, but I’m hoping you’ll see the difference. Here’s telling:

Katie was so hungry she could eat a horse. She bellied up to the diner counter, her stomach rumbling. If she didn’t eat now, she’d die. It felt like an empty pit had opened up inside her. “A burger, please!” she shouted.

Karl, working behind the counter, looked at the newcomer with disdain. He really hated people who came up and bossed him around, even if they were supposed to always be right. He procrastinated as much as possible with restocking the silverware caddy. Then he wasted some more time wiping down the counter. Finally, he came over to the girl who he didn’t like very much. “Would you like fries with that?” he asked, ironically, a fake smile on his face.

“Show Don’t Tell” Examples of Showing

Now let’s try showing on for size:

Katie ran up to the counter and gripped the edge hard. It felt like a pit had opened up inside her. “A burger, please!” she shouted.

Karl barely registered her from behind the counter. Screw “the customer is always right,” he thought, glancing at Benny, the fat manager. He opened the dishwasher and pulled steaming hot forks out one by one. Then he noticed a coffee stain on the counter that had to be rubbed twice, three times, four. The new girl wove in her seat like she was about to pass out. Victory. Finally, he met her eyes. “Would you like fries with that?”

Digging Deeper Into Showing and Telling

What do you notice about these show don’t tell examples? In the first one, the characters’ emotions are very obvious. Why? The narrator tells you all about them. We know Katie is hungry and we know Karl really isn’t digging the bossy way she ordered a burger. That’s fine. It works. It gets the information across, right? (In a very redundant way, mind you!)

What about in the second example–did we still get that same information? Now what about it is different, then? There are a few things. First, we were able to get “hungry” without anybody saying the word. The rush on Katie’s part to get to the counter combined with a little bit of interiority about what she’s feeling and then matched to her shouting out an order. We’re pretty sure she’s hungry or, at the very least, that something urgent is going on.

Using Interiority: Thoughts, Feelings, Reactions

We get more into Karl’s head here. We get his tension with the manager and his attitude about a common customer service adage right away. He won’t even look at the customer. Instead, he busies himself with painstakingly removing forks “one by one” or the tally of how many times he wipes the counter. These drag out the scene without once using the word “procrastination.”

We also get more of Katie’s hunger from his perspective, and how it makes Karl feel. That way, his rehashed “Would you like fries with that?” still comes across ironically, though, this time, it’s because we know what’s been going on in his head much more intimately. This is called interiority.

How Readers Receive and Know Information

This brings me to why “show don’t tell” is so crucial, why so many writing teachers and agents and editors and critique partners harp on it: there are many kinds of knowing. One kind of knowing, you get by reading facts in the newspaper. You are a passive recipient of information.

Another kind of knowing, the kind you practice every day in your life, is the detective work kind. You have to do some reasoning, some sleuthing, you have to actively pay attention to what’s going on around you — what the world is showing you — in order to figure people out, judge a situation, make your own assumptions and decisions about things.

This is the exact kind of “knowing” that you’re interested in giving your reader. By showing them a scene, showing them what’s going on in a person’s head, giving them information but embedding it below the surface, you’re inviting your reader to put their thinking cap on, to dive into your story and go deeper. The reader had to work in the second of the two show don’t tell examples to figure out what’s going on with both Katie and Karl.

Guess what? That made them feel like they knew the characters better, it made them more engaged in the story and it gave them a sense of ownership of these people and their scene. Since the reader did some work to figure out what was going on, they now feel included, emotionally invested. Cool, right? And every author should pick creating that experience for their reader over just telling them stuff with every sentence they write.

An Exception to the Rule

Showing v. telling with a person’s interiority in third or first person narration is one small exception to the rule. (Check out my post on interiority in writing for more on this concept.) I know some of you will ask why I still chose to tell the reader “It felt like a pit had opened up inside her” in the second of the two show don’t tell examples, too. There are some times when you can show too much. If you’re always saying “she punched the wall” or “she spat on the ground,” for example, instead of occasionally just saying what the character feels inside, it can get overwhelming. You don’t have to say “angry” outright, but you can simply tell the reader what’s going on with narration instead of action or gesture. Sometimes that’s easier and more direct.

It all depends on where you want the focus of each moment to go. And it is a balance. Play around with it. Now that you know why “show don’t tell” is so crucial in your writing, you should really, at least in the beginning, err very much on the side of showing.

Struggling with your balance of showing, telling, and interiority? Hire me as your novel editor and I’ll apply these concepts in a completely custom way to your manuscript.

How to Write Dialogue: Tips From the Masters

Today I want to discuss how to write dialogue, but I feel like you’re all pretty thoroughly sick of me by the midpoint of Revision-o-Rama, and rightfully so. I’ve been blabbing my mouth off for quite some time. So instead of bloviating about writing dialogue rules, I’ll let writers who actually write excellent dialogue do it for me! (I’ll also compile a link or two from what I’ve previously written on the subject… anything new I try to write will start to feel redundant and, as we all know, redundancy is one big thing to get rid of during revision!)

how to write dialogue, writing dialogue rules — Check out these resources for tips on how to write dialogue that’s crisp and authentic.

Excellent Thoughts on How to Write Dialogue

First, click here for an excellent post about revising dialogue from amazing YA writer Laurie Halse Anderson’s blog.
Next, you can find another post about dialogue by clicking here, this time from YA writer Barry Lyga, who Laurie recently feuded with on Twitter… about dialogue!
In fact, Barry has so much to say about dialogue that he has a whole enormous series on it! You can find Part 1, Part 2, Part 3 and Part 4 by clicking on the corresponding links. (I linked to Part 5 in the bullet point above.) Check them out, they are well worth a careful study.
Finally, go ahead and wander on back to Kidlit.com for an old post I did about dialogue tags.

A lot of tips on writing dialogue can still apply as tips on revising dialogue. If anyone has great posts from other blogs that I’m missing (and there are a lot, I’d wager), leave them in the comments and I’ll add them to the list so that this can become a resource for the future.

Finishing a Book: How to Write A Good Ending

Today I want to discuss how to write a good ending to a story. Finishing a book can be tricky. As we’ve recently discovered in my post about plotting a novel, endings are part of a dramatic arc and a character’s emotional journey. Ideally, they return the character to an emotional point similar to where they were at the beginning of the story or to a slightly worse or better one. (The character has, of course, changed over the course, it’s just that they’re in a similar place in their arc.)

If you’ve structured your story well and woven in enough internal (with self) and external (with others/world) conflicts for the character, the ending should be fairly easy to write. That’s why, for some, this post will seem like a cop out. But there are others of you out there who may be struggling with finishing your book and wondering why your particular plot is proving so tricky to wrap up.

Finishing a Book: What’s Involved?

Emotional Closure

How does the character feel with this ending? Do they return to a new normal? Or are they still way off-balance? A character arc left with too much discord is unsettling.

Pacing and Timing

Does your ending come too quickly after the climax of the story? Does it drag on too long after the climactic action has finished? In most stories, the climax happens about 1/5th or 1/6th of the way from the end and then things wrap up fairly soon. If you saw my diagram in the plot post, you’d notice that the distance between points 3 and 4 is rather small.

Matching Tone

Part of this will stem from the “core emotional experience” you want your reader to walk away with. Is your book a place where you’ve created a fair and right and optimistic world? Or do you want to leave off on a pessimistic or unresolved note? Is your ending of the big-fireworks-silhouetted-against-the-sky variety or the quiet-yet-meaningful-moment-type? Both work, so do many things in-between. I would just make sure the ending matches the tone and voice of your story. Endings, for many reasons, put pressure on people and sometimes force them away from what they’ve established throughout a manuscript. If you’re feeling stressed by your ending, make sure what you’re doing feelings characteristic to the piece you’ve already written. It’s usually trying to do something that resolves too cleanly or not at all or otherwise doesn’t fit your characters or story that’s causing problems.

Include Enough Resolution

One problem I frequently see is an ending that gives the reader too little resolution. And I don’t mean a quiet-yet-meaningful-moment-type ending. Those are very effective when done well. I’m talking about manuscripts I’ve finished where I’ve felt the distinct urge to check for more pages hidden somewhere past the last one. The ending feels so rushed and unfinished that I simply can’t believe the author has chosen to finish the book at that point. This is often the case when a writer is leaving their story open for the possibility of writing a series. However, as I discussed in an earlier post about writing a series query letter, it’s always best to resolve the first story and make sure it stands alone, even if you’ve plotted out Book 2 through Book 22.

Finishing a Book Shouldn’t Be Hard

Endings are a delicate balance. Make sure yours comes at an appropriate time, isn’t too rushed or too drawn out, and matches the emotional, thematic, character and story tone that you’ve already established. I hear that many writers struggle with finishing their stories but, as I already said, I think that might be a symptom of something amiss in the greater manuscript. If you’ve got a story with a dramatic and emotional arc and you’ve chosen the right plot and characters, the end of that winning combination should be one of the easiest things to write. If you’re struggling, maybe go back to the middle and see if the problem isn’t hiding there.

Struggling with your novel’s ending? Get one-on-one, in-depth feedback on your manuscript when you hire me as a fiction editor. I’ll look at all of your novel elements and help you weave them into a satisfying conclusion.

Creating a Plot with Supertaut Tension and Stakes

Tension and stakes are two crucial elements to keep in mind when you’re creating a plot that will keep your readers turning the pages. A lot of stories flounder simply because the author hasn’t thought about raising the stakes for their characters or infused their story with enough tension. Let me quickly define both terms for you.

creating a plot, writing stakes — When your protagonist gets thwarted, that setback will ache for the reader.

Tension Defined

Tension is a feeling of unease. Something unresolved. It usually bubbles under the surface of the story. Sure, there is more overt tension that is contributed by plot, like the gang of roving vampires out for your sweet, sweet blood. But there also has to be tension in every paragraph, on every page, in every scene and chapter. The greater dramatic arc keeps readers engaged on a book-length level. Smaller tensions of characters and relationships are what connect the dots when you’re creating a plot.

Stakes Defined

Stakes are very closely tied to tension. We want to feel like our characters matter, like their choices are important, like they are always on the edge of danger. Stakes — what will or will not happen when you’re creating a plot, a character, a moment — are key to keeping tension high. If the author doesn’t think about writing stakes, there is usually low tension. Without tension, there are usually low stakes. Let’s explore both a little more.

Creating a Plot by Establishing Stakes

We’ve all heard of stakes, but where do they come from? What makes for compelling ones? Read on:

Personal Motivation

When a person wants something, they need to have enough motivation behind it to make it compelling. In other words, they have to really want what they want. If they do, it becomes important to the reader, too. When the character gets thwarted, that setback will ache for the reader. And they should get thwarted — nobody wants to read a story about a person who gets everything they want whenever they want it. First, we’ll start to care. We’ll want to see the character succeed. Then we’ll want to avenge them and smite their enemies! High stakes.

Choices… and Consequences

We want to read about characters who make choices. Maybe not always good choices. But the thing that makes choices seem important, that makes moments seem important, is the fear of consequence. All choices in your story should have consequences. Not After School Special consequences, mind you. Little Abby taking one sip of a wine cooler and ending up pregnant, in jail, and pumping gas (all at the same time, somehow) doesn’t count. I’m talking about real consequences.

Characters can’t take their choices lightly because they know they might burn bridges, get punished, break the law, ruin friendships, screw up in front of the cute boy, etc. They might make some good choices, sure, but they should make a bad one at least once. They should lose something important at least once. Each choice, then, gets a gravitas to it. High stakes.

Relationships

Relationships between people are never static. This is almost a repeat of the above, but characters do derive stakes in a situation from their relationships with others. When we add friendships, relationships, families, rivalries, enemies, etc. to the mix, involving people who want different things in different moments, the stakes should automatically get higher (more advice on writing relationships between characters).

So think of all the ways that you can find conflict in a relationship, in people’s wants and needs, in a scene. Whenever two people come together, the stakes should be pretty high. A group of great gal pals getting along swimmingly really doesn’t make for compelling fiction. Not even in picture books.

Creating a Plot by Establishing Tension

Now that you have a slightly better understanding of writing stakes (I hope), let’s move on to what stakes play into: tension. Here are the biggest sources of tension and areas where story tension needs to be high:

Beginnings

As I mentioned in my post on how to start a novel, beginnings are usually best when they start in the middle of action. Each of your chapters (and especially your novel’s actual beginning) should start in a way that puts us in a scene or situation so that the reader hits the ground running. A lot of people begin with description, character sketches, backstory and other “throat clearing” (as it’s usually called in the industry). There’s not a lot of tension in straight telling. Make sure your beginnings have impact and action, then layer in necessary information as the chapter and story continues.

Scenes

Scenes are full of people and people are full of complicated wants, needs, goals, desires and notions. They rub against each other and, more often than not, cause static. Or they should, if you want to keep tension high. I’m not saying you should have a book full of catfight scenes, unnecessary drama, people bitching each other out and otherwise shrilling at the top of their lungs. That’s exhausting to read. But every time you have two or more complex and fleshed out characters in a place together, they’re going to find ways to disagree or pursue different things.

And this is where tension is most often subtle. An offhand remark, a gesture, an action that shows a reader which side a character is really on, how they actually feel. The best dialogue has subtext worked into it — the stuff and deeper meaning that runs below the surface — and is truly an art form. If you read a scene in your manuscript and feel this nice, complacent pleasantness afterward, then your scene isn’t doing the work it needs to be doing.

Endings

Each chapter has to have at least one thing happen in it that furthers the story. It should show us something new about our characters or otherwise leaves us in a different place and with a different understanding of the story than we had when that chapter began. That’s why endings are so important, too. You’ve given the reader a great chapter/scene/paragraph and now there’s a natural pause. They could easily stick the bookmark in, wander off to make tea, turn on the TV … and never come back to your story. Life could get in the way.

Chapter endings are the worst, because they’re a natural stopping place. So don’t let your reader stop. It’s a careful balance. You don’t want to end each chapter on an insane cliffhanger and give your reader a heart attack every 10 pages. You have to leave the chapter on such a note that they must turn the page and start another chapter.

Is a character thwarted? Does a plot complication arise? Are there surprises? Will a scene get heated? Does the tension simmering underneath the surface finally break wide open? Work your chapter endings, or “buttons” as I call them, until even you, who knows exactly what happens next, want to read on.

Everything’s Connected

When you’re creating a plot, you have to make sure you’re mixing in character — that’s the alchemy that creates tension. When you’re revising, you have to keep all of these three things in mind because they are very closely tied together.

On Monday, I will tackle a book’s ending. That will then wrap up our main building blocks of the story — plot, character, tension, from beginning to end — and then I’ll start in on other writing mechanics like dialogue, description, showing vs. telling, all that good stuff. If you have any revision questions for me in the meantime, don’t be afraid to ask!

My fiction editing services will help you raise the stakes and keep tension high in your story.

Middle Grade Novel Outline

Many writers get stuck on plotting a novel. How do I know? I’ve seen thousands of plots, and very few that worked well enough to sell. Plot is one of the most important elements of any story, from picture book to chapter book to a middle grade novel outline to young adult.

Novels are quite the tricky kettle of fish. We’ve already talked about character, but characters mostly add internal conflict to a story when left to their own devices. They sit and contemplate how lonely they are, or how unpopular, or how much they want something exciting to happen. So what do we do? We give them external conflict: plot.

Plotting a Novel in Four Key Points

I’ve had the tremendous luck to study with middle grade author Lewis Buzbee in my MFA program. Not only is he a very talented writer but he’s an excellent teacher. This way of looking at plot is cribbed almost entirely from him, because I think it’s just that good. (But he often gives this workshop in person and, if you ever get the chance, do listen to him talk about it… my version will be a pale imitation.)

So, basically, what Lewis teaches and what I believe is that there are only four key points to a plot. This is that “dramatic arc” that you hear so much about. Some writing teachers subscribe to a “three act” structure, some like five acts, some like to choreograph your plot right down to what should happen in a story when. I think these micromanaging techniques miss the point.

Middle Grade Novel Outline: All Structure, None of the Gimmicks

Put whatever you want in your plot, run your characters through the story that’s in your imagination, but when you’re reading your manuscript over again or making a middle grade novel outline, make sure it adheres to this very simple arc:

how to write a novel plot, plotting a novel, novel structure — Memorize this little graph so you’ll know when to zig instead of zag in your plot.

Do you like my lovely drawing? I never said I was visually gifted, mind you. Let me explain what’s going on here, point by point:

Normal: This is your character’s baseline. At the beginning of a story, your character is usually their normal self in their normal circumstances (as much as possible). Something has probably happened to knock them off balance but they are making do. They might even be doing well. Even if they’re starting on their first day at a new school, they’re making a friend or two, they’re not completely failing their classes, they discover a magic shop where the owner seems very interested in them, etc. This leads us to…
The Rise: This, for the near future, is as good as your character is going to get. You want to spend some time, maybe the first quarter of your story, building relationships, exposing your character and their goals and motivations, creating a world and planting all the seeds of plot, story, theme and character that will be important later. If your story is longer, maybe spend only the first 1/5th or 1/6th here. Then get ready for…
The Fall: But things were just moving along so nicely! Oh well. We don’t pick up books to read about nice people in calm, tranquil situations. All that stuff that you’ve established in the first quarter, fifth or sixth of your story… screw it up. Things go from okay to bad, from bad to worse, and from worse to impossible. The character’s relationships get troubled, their goals and aspirations are thwarted at every turn, they make dumb decisions and have to deal with the consequences, etc. The very bottom of this point on the graph is usually the climax of the story, aka. when things seem hopeless or so bad that they can’t get any worse. Then, the character triumphs, and…
The Evening Out: No, not a nice night out on the town with a date. This is the getting back to some kind of equilibrium again. It shouldn’t be the same equilibrium because, hopefully, your character has changed over the course of their journey. It is a new normal, a new way of living and thinking and existing in the world of the story.

There you go. Now, you’ll notice that the graph outlines more of an emotional journey than specific plot points.

Focus on Character Emotions to Get the Most Out of Your Plot

Unfortunately, I can’t sit here and tell you all the things that must happen in your story. I don’t know. They have to be born from the character who’s starring in your book and the story that you want to tell. But take this four-point structure to heart and make sure that the plot you’re creating puts your character in roughly this emotional state over the duration of your story.

How you get them to these emotional highs and lows, to these particular experiences, is up to you, but make sure you’re massaging and revising your story into the above shape. It is the most effective and a great starting place, even if you do want to experiment later. (Here’s an idea about making your plot points irreversible and very important.)

In order to do this more effectively, you might want to outline. That’s right, everyone hates writing a middle grade novel outline or a young adult chapter by chapter breakdown. I know pantsers are going to hate this advice. But it’s worth at least trying, so you can see how you’re plotting a novel in front of your very eyes.

How to Write a Novel Subplot

Subplots don’t need to be quite as dramatic — the highs shouldn’t be so high, the lows shouldn’t be so low — and they don’t have to span the whole length of the book, but do make sure that they follow some semblance of this graph, too. Subplots are usually generated by secondary characters. Let’s say the plot of your book is American Pie-esque… a guy, Joe, trying to get laid before the end of his senior year in high school.

That quest will form the main plot. Let’s say, though, that he’s got a best friend, Sam, who can’t seem to stop getting laid, and he’s been hiding all his various girlfriends from each other.

Sam’s subplot is that he wants to simplify his life and get rid of some of his attachments. This subplot could interact with the main plot because Sam might try to pawn off girls on our hero Joe, for example, or one of the girls pretends to like Joe just so she can get back at Sam. So subplots usually belong to other featured characters in your story and have this same trajectory. The moments when they interact with the main plot should serve to move the main plot along.

Leave Room for Tension, Mystery, and Surprise

This brings me to my last consideration about plotting a novel. Readers like to be surprised, they like suspense, they like the unexpected. Your plot shouldn’t be so linear. That’s why I like using the emotional highs and lows of your story for guidance. For me, as long as you hit these emotional points, there’s a lot more room and flexibility for an interesting plot. Ally Carter, in a workshop I went to, talked about surprises. They’re characters and plot points that dig into the story you’re telling and spin it around, shooting it off in a completely different direction.

Make sure you’ve got key places in your story where a character or event acts like a bumper car and sends the story in a new or unexpected place. Let’s say Joe, our high school virgin, is about to ask his dream girl to the prom — where he’ll try to seal the deal — but she asks Sam, blissfully unaware of his Hugh Hefner tendencies. Now Joe is caught between his loyalty to Sam and wanting to save Dream Girl from Sam’s clutches. This creates a whole new wrinkle in the story.

Complications! Surprise! You don’t have to be zany for the sake of zaniness here, like I have been, but do try to keep the tension and suspense of surprise alive and well in your story.

Wondering what to do with your specific novel plot? Get one-on-one, in-depth feedback on your manuscript when you hire me as a fiction editor. I can look at your synopsis, a partial, or your whole novel to really drill into how you’re using plot.