Archive for the 'It’s All About Writing' Category
Lettuce anyone?
January 31, 2006 | It's All About Writing
It’s time to put your manuscript on a diet. Cinch your belt as tight as you can and let’s self-edit.
What’s self-edit? It means you eliminate all the fat, all the extra words that don’t move the story forward, and all the passive words bogging down your scenes.
REUNDANCIES are unnecessary words over describing an action.
The following are examples and if you look hard you’re bound to find several in your work.
• David pulled out the bench and sat down in the chair.
The word ‘down’ is unnecessary because that’s the only way David could sit.
• David jumped up. OR David stood up.
‘Up’ is unnecessary because, again, that’s the only way he could go.
• Melissa shrugged her shoulders.
I love this one because it eliminates two words, ‘her shoulders’. What else could Melissa shrug?
• Melissa loved to see David’s well-toned chest and how it tapered down to his narrow waist.
‘Well’ and ‘down’ go. The sentence should read;
Melissa loved to see David’s toned chest and how it tapered to his narrow waist.
The corrected version is cleaner and right to the point.
A few other examples are;
• Blue in color
• Climbed up the stairs
• Eased slowly
• Nodded his head
• Stomped heavily
• Stood to his full height
• Terribly bad
PASSIVE WORDS are used in our speech but should never be used in writing. You’re telling a story and must keep the action moving. These words are showing not telling.
• Is
• Might
• Seemed
• Started to
• Was
• Were
Readers want action therefore you must construct your sentences with powerful verbs.
The same reasoning applies to ADVERBS and ADJECTIVES. The following is but a small select and offer little to help paint a picture.
• A little
• Almost
• Even
• Just
• Perhaps
• So
• Some
• Very
• When
Most, if not all, adverbs and adjectives weaken your writing and need to be eliminated from your story.
PREPOSITIONS are not your best friend. Go through your work and highlight every preposition, including prepositional phrases. If you have an abundance you must clear them out to create stronger sentences.
THAT is a word we seldom need in a sentence. Its filler and a word you need to eliminate from your writing and your vocabulary.
The Best Tip of the Day;
Do a word search to discover how many times you’ve used a specific word. Reread your sentence and replace the overused word with something stronger.
Friday we’ll discuss dialogue. Until then…
Happy writing!
Sloane
Chapter Setting
January 27, 2006 | It's All About Writing
What the hell is that and where does this broad come up with these phrases?
Well, this broad will tell you what it’s not. Chapter setting is not the grace and charm you display as you lay your manuscript into yet another unsuspecting friend’s hands.
Chapter Setting is where you break the chapter and determine its best location within your manuscript.
As you well know, every adult book has chapters. You, as the author, get to decide how many there will be, how they begin and end, and the placement of each chapter. You, as the writer, have to create such an impact on your reader that they want to turn the page.
I had one chapter in Teddi Turns On that had 8,843 good, edited, words. My critique partners, Beth Anderson and Yasmine Phoenix, listened patiently as I read every single one of those words. Did I mention their eyes glazed over about half way through the diatribe?
“Too long?” asked I.
“Aahh,” they muttered between yawns and stretching.
I didn’t need the infamous 2×4 to get the hint.
We went through that chapter, line by line, scene by scene, to determine the best point to break. It turned out to be a logical scene where the chapter went from one point of view to another. Simple enough but there’s more to chapter setting.
Every chapter ending must make the reader want to continue, excite them enough to want to find out what happens.
Here’s a little sample;
Gina was tormented with indecision. She tossed and turned, twisting the sheets into a knot, until she finally rolled over and fell asleep.
Make you want to turn the page? Not hardly. Why should your reader go any further? Gina slept. End of story. The reader will probably toss your hard work into the fire and bitch about the $10.00 they wasted. Will they buy another book written by you? Not likely.
End every chapter with a cliff-hanger. You can’t? You’re going to let chapter 15 slide? Guess you don’t want to be published let alone aim for the best seller list.
How about a slight alteration to our example?
Gina was tormented with indecision. She tossed and turned, twisting the sheets into knots.
Better, not great, but at least it’s heading in the right direction.
In my humble opinion, the best ending is;
Gina was tormented with indecision.
Now your reader wants to find out what the indecision is and how Gina handled it.
Tease your reader. They’ll flip the page with the hope of discovering the resolution.
Surprise! You’ve taunted them again by inserting a chapter that doesn’t give the conclusion. Instead it’s a new chapter, in another character’s point of view, about a totally different phase of the book. The reader may have to continue for another forty pages to discover Gina’s outcome. And they’ll love you for it.
You must withhold the information from the reader. It’s the old carrot and horse thing. You can’t let go of the carrot until the timing is right.
This is the time in your novel writing to go through your manuscript and make sure;
• chapters are ended in the correct spot
• each chapter is a cliff-hanger
• chapter placement is timely to your story
I’ll be back on Tuesday with Tighten the Writing. Until then…
Happy writing!
Sloane
To Comma, or not to Comma, that is the question.
January 24, 2006 | It's All About Writing
Webster says a comma is a punctuation mark, used especially as a mark of separation within a sentence. Doesn’t that definition just clear it all up for you? If so, you’re lucky because it never did for me. Back to my Writer’s Bible, “The Elements of Style”.
Here’s the skinny; there are seven comma rules. We’ll take them out of order for simplicity.
1 – Dates are written as;
• Jan. 24, 2006.
• 24 Jan. 2006.
In the second example no comma is used.
2 – In a series of three or more terms with a single conjunction, the commas are placed as follows;
• I enjoy tennis, skiing, and books.
• Jason, Fred, and Esther went to the farm.
You can’t drop the last comma. I don’t know, maybe the Punctuation Police force you to repeat English 101 for eternity if you do.
The exception is if you’re writing a business name. The last comma is omitted.
• Jefferson, Clemmons, Blake and Company
3 – Use a comma before and/or after a proper name or place;
• “Hi, John.”
• “Hey, John, did you see the dog?”
• Munich, Germany
4 – A comma is inserted before a conjunction introducing an independent clause;
• She was in a situation which should have scared the hell out of her, but didn’t.
• In no time the airplane landed, and the passengers clapped with joy.
5 – Don’t use a comma to join independent clauses. If the clauses are grammatically complete and not joined by a conjunction, it’s the semicolon’s time to come out and play.
• It is nearly half past five; we cannot reach town before dark.
6 – Don’t break sentences in two. Meaning, don’t use periods when you should use a comma. “The Elements of Style” have the best examples;
• I met them on a Cunard liner many years ago. Coming home from Liverpool.
• She was an interesting talker. A woman who had traveled all over the world and lived in half a dozen countries.
The sentences don’t make sense as written. In both examples a comma should replace the first period.
If you want more dramatic effect in your sentence do the following;
• He yanked the cell phone from his pocket and punched in the number. The phone range. No one answered.
Don’t use the above example often in your story, it has a choppy effect and the editor won’t like it. Clipped sentences, as the above example, are more often used in dialogue.
7 – Enclose parenthetic expressions between commas. A parenthetic expression is a word, phrase, or sentence inserted in a passage to explain or modify the thought. Again from “The Elements of Style”;
• The best way to see the country, unless you are pressed for time, is to travel on foot.
In a nutshell here’s how it works for the author;
• The eight rules are standard and must be followed so you look like a professional writer.
• Beth Anderson taught me to listen to the flow of the words. Use the commas when you need the reader to pause and give them a little time to prepare for what’s next.
• Use common sense. As you apply the rules they will become second nature.
Next on our list is Setting the Chapter. I’ll be back on Friday to explain my technique.
Until then…
Happy writing!
Sloane
!?-.:; = ARGH
January 23, 2006 | It's All About Writing
“The Elements of Style” by Wm. Strunk Jr. and E.B. White is a must for any writer. I don’t get royalties on it, but I without it I won’t get royalties. I strongly suggest you buy a copy.
We all know a period is the mark at the end of a declarative sentence or an abbreviation and a question mark is used at the end of a sentence to indicate a direct question or inquiry.
But there are other punctuation marks which may be a bit confusing. Today we’ll try to clear it up.
The common usage of QUOTATION MARKS is in dialogue;
“Martin can you swim to the other side?” asked Leslie.
If the quotation is the direct object of a verb it’s preceded by a comma and enclosed in quotations marks;
Mark Twain says, “A classic is something that everyone wants to have read and nobody wants to read.”
The EXCLAMATION POINT is a punctuation used after and interjection or exclamation. Be sure to use it sparingly in your writing. It’s very jarring to see a multitude of ! on a page.
Not too long ago I had to review a category romance by an established author. The story was excellent, but the exclamation points drove me crazy. Every page in the first chapter had a minimum of fifteen irritating !. I was not a happy reader. Over-usage of exclamation points loses their effect and really piss off a reviewer.
APOSTROPHES show possession no matter what the final consonant;
Claus’s problem
Benny’s bicycle
Hers, its, theirs, yours, and ours do not need an apostrophe. But you do need the punctuation for;
somebody else’s dish
one’s livelihood
Be careful when writing it’s the possessive or it’s the contraction;
Its author is well-known.
It’s the hottest new book on the shelf.
PARENTHESES are used around a word, phrase, or sentence inserted in a passage to explain or modify a thought. The following examples are taken from “The Elements of Style”;
I went to her house yesterday (my third attempt to see her), but she had left town.
He declares (and why should we doubt his good faith?) that he is now certain of success.
In my writing I avoid all use of parentheses for two reasons.
• I don’t like the look of the completed sentence.
• I don’t really understand why a comma wouldn’t be used in example one.
To work around my dilemma, I rewrite the sentences to work with the punctuations I know and love.
A DASH is a stronger punctuation make than the comma and should also be used with discretion. It does give your reader a longer pause to gather their thoughts before you impart a pertinent phrase. Again from “The Elements of Style”;
Violence – the kind you see on television – is not honestly violent – there in lies its harm.
Using commas or writing as separate sentences doesn’t give the same dramatic effect as the dash. You must use it sparingly or the effect is lost.
Webster’s definition of the SEMICOLON was about as good as the horrid chop suey I made for dinner last Saturday. So it was back to “The Elements of Style” for a clear understanding;
If two or more clauses grammatically complete and not joined by a conjunction are to form a single compound sentence, the proper mark of punctuation is a semicolon.
Mary Shelley’s works are entertaining; they are full of engaging ideas.
It is nearly half past five; we cannot reach town before dark.
Both examples could be written as two separate sentences.
You can also use a comma in place of a semicolon if a conjunction is used;
Mary Shelley’s works are entertaining, for they are full of engaging ideas.
It is nearly half past five, and we cannot reach town before dark.
Romance writing is mood type writing. We are creating a world of love and beauty as it pertains to our hero and heroine. Therefore semicolons seem stark and/or jarring on the page.
Next up is the COLON. Sorry not the organ, which I understand much better. This colon thing is another form of punctuation I avoid as much as a drunk at a bar.
According to “The Elements of Style”;
A colon tells the reader that what follows is closely related to the preceding clause. The colon has more effect than the comma, less power to separate than the semicolon, and more formality than the dash. It usually follows an independent clause and should not separate a verb from its complement or a preposition from its object.
Incorrect
Your dedicated whittler requires: a knife, a piece of wood, and a back porch.
Correct
Your dedicated whittler requires three props: a knife, a piece of wood, and a back porch.
For me a colon means REWRITE.
The last punctuation mark is the comma. In my humble opinion this much used symbol deserves its own lecture. Tomorrow we’ll uncover the mystery; To comma, or not to comma, that is the question.
Until then…
Happy writing!
Sloane
Who Thought That?
January 20, 2006 | It's All About Writing
As promised today we’ll discuss the topic POINT OF VIEW, commonly referred to as POV, and what it means to your novel. Following are the frequently asked questions by new writers;
1. What is Point of View?
POV is the thoughts and five senses of a specific character. You can not write POV effectively if you don’t know your character. Hence the characterization sheets you did in Week One.
It also allows your reader to “get inside David’s head”. What the hell is that, you ask? Simple. For your reader to love (not like but love) your book and recommend it to others, they must feel a rapport with David. It can not be accomplished if you haven’t given David enough time to develop.
2. Why use a specific POV?
Doesn’t it seem you should be able to just tell your story and get on with it? Not have to worry about all this technical stuff? Here’s a heads up; readers today are savvy. They want to like your main characters, especially in a romance. They want to relate to your hero and heroine. Unless you show your characters to be living, breathing, beings, the reader will never be happy. For that fact, neither will a publisher, therefore no sale, therefore no readers. It’s your decision but if you want to sell you must master POV.
3. How do you determine who should have a POV in a specific scene?
This isn’t always easy to decide. You, the author, must choose whose POV you need to use at that precise moment in your story. Consider these points;
• Who has the most to gain in this particular scene?
• Who has the most to lose?
• Which character’s part of the story needs to move forward the most at this exact moment?
• Which character’s POV will be the most interesting to the story at this exact moment?
4. Length of POV?
As long as the scene warrants. Most, if not all editors, want to read a minimum of 500 words in a specific POV which is easy to accomplish in your edits.
5. What is Head Hopping?
One of my greatest, and funniest, mistakes when I first started writing was head hopping. It means each paragraph is in a different POV and very confusing to the reader. A good author controls this rotten phenomenon while writing. I correct it in my edits.
6. What POV can’t be;
It can not include lines such as;
The car roared to life and he peeled out onto the street, cutting off a delivery truck. David never
noticed the driver when he flipped him off.
A very dramatic way to write but if David can’t see the driver flip him off then it never happened or the scene is in someone else’s POV. Your POV character sees everything that occurs around him/her.
The POV character can not see the color of their own eyes or hair at that moment. Therefore she can’t think, “My green eyes have brightened at the sight of David.”
The POV character doesn’t think of their own name or the full name of their parents or friends.
Other characters thoughts cannot jump into the middle of your hero’s POV.
Consider how you think when you’re watching or speaking with someone. What is it you see, do, and think? It’s the same actions and reactions your POV character will have.
7. Correcting POV
We have finally hit on something easy. When I edit the first draft I mark the margin in whose POV the paragraph was written. Should I see, and believe me I do, a mix of POV’s in one scene I go back and rework asking myself the questions from above number three.
Many times it only requires changing a few words. See the examples below;
• Original which should be in David’s POV
David stared into Gwen’s eyes searching for an answer. Beyond this incredible desire to be in her, he
realized he really liked her. She was kind, funny, and intelligent. Her ability to discuss any topic
sensibly excited his brain, perhaps even more so than her scent and soft eyes sent his body into a
sex-driven frenzy.
• Corrected which now is in David’s POV
He stared into her eyes searching for an answer. Beyond this incredible desire to be in her, he realized
he really liked her. She was kind, funny, and intelligent. Her ability to discuss any topic sensibly
excited his brain, perhaps even more so than her scent and soft eyes sent his body into a sex-driven
frenzy.
• Original which should be in David’s POV
David watched through narrowed eyes, his mouth grim. A blue vein throbbed in his forehead and his
hands gripped his glass like a vice. Unmistakably, he was pissed watching Gwen enjoy herself with
another man.
• Corrected which now is in David’s POV
She could see David watching her through narrowed eyes, his mouth grim. A blue vein throbbed in his
forehead and his hands gripped his glass like a vice. Unmistakably, she thought, he was pissed
watching Gwen enjoy herself with another man.
Just a few word changes will bring the paragraph into the right POV and maintains the continuity of the scene.
Your work is to correct your entire manuscript to be sure you have all the correct POV’s within your scenes. If you have any questions, please insert them in the comment box and I’ll be happy to help you.
Monday we’ll work on punctuation. Until then have a great week-end,
Happy writing!
Sloane
Ernest Hemingway step aside
January 18, 2006 | It's All About Writing
because you’ve written the newest Great American Novel. Sorry to deflate your ego, but…
Welcome to Week Four. Pretty exhausted aren’t you after the writing frenzy of Weeks Two and Three. It’s not going to get any easier so sit back and grab a red pen.
Self-editing is one of the hardest aspects of writing. It’s now time to delete all those beautiful words full of your soul. Can’t do it? Won’t get published.
There are several steps in editing and not necessarily in this order;
1. Format
2. Spell check
3. Point of View
4. Punctuation
5. Setting the chapter
6. Tighten the writing
7. Redundancies
8. Passive writing
9. Syntax
10. Get rid of the crap
11. Line edit
We’ll take them in small groups to give each point proper consideration.
FORMAT
The writing industry has common format requirements. Most publishers want the submission in;
• Times New Roman or Courier. Both fonts are in 12 pt.
• Use a 1” margin on all sides.
• Double-space the entire text.
• Start each new chapter on its own page, one-third of the way down. The chapter number should be in all caps.
• Begin the body of the chapter four lines the chapter title.
• Indent five spaces for each new paragraph
I use Microsoft Word. All of this can be preset by clicking onto Format on your toolbar, from the dropdown list, click onto Paragraph. You’ll find everything you need to format successfully.
If you’re really new to all this and haven’t done the formatting before you typed your novel it’s easy to fix. Highlight the manuscript then click on Format and continue with the above directions.
You probably know the publisher you’re striving to impress. Go onto their website and print out their Guidelines for the Header and Footer requirements and any others not listed above.
SPELL CHECK
The writer’s best friend? No way. Spell Check is great for the basics but it can’t tell the difference between ‘buy’ and ‘by’. Later as you’re reading your work for the nineteenth time you’ll uncover words misused. At that time you’ll make the corrections.
After you’ve formatted the novel return to the toolbar and click on Spell Check. As it scans your work it will come up with incorrect spelling and phrasing. Be sure of what you want changed. Do not arbitrarily accept all the corrections.
I’ll be back Friday for Point of View. Until then,
Happy Writing,
Sloane
Are You Having Fun Yet?
January 10, 2006 | It's All About Writing
Writing is your chosen job and you need to make it fun. Flip on the stereo, dress up your writing space, do anything to bring out your creativity and keep you planted in your chair for hours on end.
Weeks Two & Three
Read your calendar to determine when you’ll have blocks of time to write. I need blocks of time, hours, or I get confused. I can’t work well with ten minutes here or thirty minutes there unless I’m editing. For me short spells are good for editing, otherwise I lose my critical eye. Write your schedule on the calendar, in red. You’ll feel more committed and will spot in an instant when you can work.
Maybe you have a fulltime job. It’s not so easy then. Author Judy Powell used to eat her lunch in her car, just to get away from her desk, and write. She had a kitchen timer set for her return time and was never late.
Judy’s habit may not work for you. If that’s the case then set your writing time, at least an hour, in the morning before you head out. Only do it if you’re a morning person otherwise you’ll have wasted an hour’s sleep. Maybe evenings are your creative time but you’re too tired and hungry after work. Eat a light dinner, clean up, and grab a short nap. Better yet skip the nap it’ll only add unwanted pounds.
Look, everyone has a real life with doctor appointments, grocery shopping, cooking, family, friends, and lovers. You don’t want to aggravate or alienate but you do have to put your career in prospective. Some things just have to wait. As an FYI, so can house cleaning and most laundry. So as far as friends go, they can probably live without you for two weeks. Explain what you’re doing and why. Inform them you and your phone are out of commission for two weeks, unless they die. You love them dearly but you must be selfish and think of yourself. Spread out your socializing until week four. If they are your friends they’ll understand. If they don’t….
Appointments, groceries, cooking, family, and lovers are another matter. Let’s discuss them individually.
Appointments – Either schedule them as far apart as possible or cram them into one day. You have the ability to grant yourself blocks of time to write.
Groceries – Stock up! Write a concise list and do one giant splurge. Yes, you may blow the budget but it will even up down the road when you don’t have to do an emergency run for toilet paper.
Cooking – Easy, either buy frozen ready made food, fresh with a far out expiration date, or cook up a storm during Week One, and freeze the extras.
Family – If you have children at home you’re time is going to be occupied with a gazillion things. All you can do is make a serious attempt to carve out blocks of time around their schedules. It’s okay if you take longer then the ten weeks to get your novel written. You have the ability to grant yourself that permission. If your children have moved out, tell them to get a life and leave yours alone for two weeks unless there is a grave situation.
Lovers – Not so easy. It’s important to keep them included in your life and not make them feel like they’re a bother. Studly’s cool on this. When we’re watching TV, I have my work on hard copy and do what’s necessary. This way we’re together during the evening and I can ask a question at halftime or he’ll bring up a short subject. Neither of us gets into anything deep, those topics are reserved for dinner. Not only are we together but we’re each doing what we enjoy. A huge Thank You to my Brazen Vixen pals for their insight on this area.
Now to the real fun.
Have your notebook with the outline and characterization list at hand. Remember you’ve written in the daily log section how many words you wanted to write? Go for it.
Turn on your computer, block out the world, and type. Don’t think about spelling, grammar, paragraphs, or anything else, just think about your novel. Consider this the outline your freshman English teacher would have hated. Pound it out. Let your words flow. Week four you’ll concern yourself with editing. Weeks two and three are strictly for writing. You’ll be surprised at how much more you accomplish in laying down your story when you kill your Internal Editor.
If you get stumped or tired, get up and walk around, grab a bottle of water, or a snack. Do not sit there and stare at your monitor. Maybe you need music, a break, exercise, and unless you want to turn into Waddling Wilma you’d better exercise. On a 9-5 job you’d have two breaks and a lunch time. Do the same with you’re writing. Hello! It’s your job.
And since it’s your job you will know and must adhere to quitting time. If you don’t, burn out. Nothing worse than a writer with nothing left to write.
Extra tips;
1. Keep pen and paper scattered throughout the house and car to write down those ideas/phrase
popping in your head.
2. Revitalize your creativity by reading outside your genre, walking, a movie, or my all time favorite –
eavesdropping at a restaurant.
3. Sit outside, anywhere, and commune with nature and your higher being. It may not be a bad idea to
thank him/her for your success.
Tomorrow we’re advancing into Week Four and editing.
Until then, Happy Writing,
Sloane
A Plan, a Plan, My Kingdom for a Plan
January 9, 2006 | It's All About Writing
Writing is a business therefore it’s essential for a writer to have a business plan. Something like;
1. I want to write a novel
2. I want to publish this novel
3. I want to promote my published novel
4. I want to live the life of the rich and famous
If the above list is what you want, then baby, you’re in the wrong business to achieve number four.
So let’s eliminate four and concentrate on the other doable goals. We’ll take each item over the next six days and blog about how to succeed.
I Want to Write a Novel
Let’s do it! Grab your calendar and a block of paper. Cozy up in your favorite writing spot with a beverage, because we’re going to be here for awhile.
When I’m done with my edits this week I have to start on the sequel. The new book will be 50,000 plus words. It will be pounded out over a period of time, edited, added, deleted, edited, and the cycle continues until the manuscript is perfect to submit.
I need to finish this new work in five months. Seems a long time, doesn’t it? NOT. The fact is writing and real life never seems to work well together. UNLESS YOU PLAN.
Got yourself comfy? Here we go.
50,000 words divided by 10 weeks equal 5,000 words a week. For a serious writer this is an attainable goal because some weeks you’ll do more and some weeks you’ll do less. These words will construct sentences and scenes you’ll delete, move around, or wonder why the hell you ever wrote them.
Week One
1 – Characterization
Write your characterizations of the hero, heroine, and important secondary characters. It will probably take one full day. The writer must know the history of their characters. Their past events are what make them be the people they are today. It is what has driven them to be honest, strong, or steal. You won’t know why your hero runs into the burning building to save the heroine if you don’t understand his history.
So how do you so this? Very easy, but time consuming. Don’t fudge on this. It’s too important to writing a novel that will impress an editor.
The stars need an extensive characterization. Following is the process;
• Park yourself at your computer. Each characterization will take several hours so relax and enjoy.
• Choose one of the lead characters.
• Imagine you are that person. We’ll use the hero for the example.
• Just type. Bang out his life starting at boyhood. Write in his voice. It’s amazing how your phrases will alter as he ages. Bring him up to the starting point of your novel. Include every detail no matter how unimportant it may seem. Let your mind run on and you will be him, living the high points of his youth and what drove him to the man where your story begins. You’re in his point of view. Did he pee his pants in third grade? What really happened? What did he see, smell, and feel inside?
Don’t worry about punctuation, grammar, or spelling. Just type. No one else will ever read your work.
Do this with your heroine as well.
You have finally finished your stars. It’s time to begin on your supporting cast. They’ll take much less time as they aren’t nearly as important. You don’t have to start in their childhood. Type up a brief bio, something similar to an obituary of a famous person.
2 – Outline the story
You don’t have to kill yourself over this but otherwise it’s like taking a road trip without a map. It also comes in handy when you write the synopsis.
You know there’s a beginning. Having done the characterizations will give you a head’s up on two important elements.
a. Starting your book at the important part, when your characters lives need to come together.
b. The ability to drop in back story at the appropriate times instead of flooding your reader with to much too soon. Drop Ins will actually move your story to the conclusion.
3 – Spiral Notebook
Buy a spiral notebook to record all the above info and also any great lines of scenes that spring into your mind. This is your daily log and it will keep everything together for reference.
On the inside back cover I’ve made columns as follows;
Chap # Wood Count 1st Edit Pgs
After my editor sends back the pages / scenes needing change I’ll add to the columns;
Chap # Word Count 1st Edit WC Pgs Final Edit WC Pgs
This practice helps me with the future books to keep my writing tight.
Starting from the back page and working in, I list all the high points in one line of the important characters back story for easy reference. Each character gets a page or two. I then write in the margin the page I’ve used that particular line of back story. You’ll be surprised at how much back story you don’t use because the characters actions will express it better than a cold fact.
Next is a section for lines or phrases to use somewhere. These are things I’ve overheard and am sure they’re too hot or cute to forget. All or none may be used in my WIP. The not used are moved into the notebook for a new story. When I do use one of these pearls, I write in the margin which page.
Leave two or so pages blank and begin your chapters. I write the chapter number and a heading for my personal reference on the notebook’s left-hand page. The heading helps me relocate a chapter if it’s not working in the original sequence. In the margin is the location. After the red line I write the events that must occur in that location. The right hand page is blank and saved for notes.
It looks like this;
Left-hand Page Right-hand Page
Bar John is alone at a table
Mary walks in & sits @ separate table
John is attracted & wants to meet Mary Increase tension/show what he sees-smells
My chapter section continues on until the outline is recorded. This procedure clearly shows me what’s crap and how to move the story forward.
The front inside cover is listed with my Rules. Such as;
a. Never use a comma before ‘and’, ‘but’, or ‘or.
b. Remember the tome of the characters and the book. If the character is light and funny from the beginning, keep it so. If the character is morbid or droll, I can’t have them start joking from page ninety on.
c. Keep the sexual tension high.
d. H/H can’t be apart for more then one chapter. They must think about each other in the ‘apart’ chapter.
Starting with page one in the notebook, create a daily log such as;
Today I want to write 1,000 on Amy’s conflict on her boyfriend dumping her.
By noting your day’s goal in the permanent ledger it keeps you focused. It’s also possible to track your accomplishments.
4 – Note on your calendar what needs to be accomplished daily. Remember it will be necessary for you to work around real life. You can always advance your progress if the world is being kind.
Write your daily to-do list so you can work on what’s important for that day. You can always change around the schedule if ideas are gushing forth. Flexibility is important.
Tomorrow we’ll take the actual writing of the novel in several steps.
Happy writing,
Sloane
A Goal in the Hand is Worth Two in the Trash
January 5, 2006 | It's All About Writing
It’s the New Year, 2006. Hard to believe we’re off and running with the holidays past us. So you probably drank enough champagne to make a wise man cringe and of course you made resolutions you broke just like the rest of us.
If you’re a promising writer, undoubtedly you’re positive this is the year. It sure could be but it’s all up to you. Just how were you going to make it happen? Have you thought of what you’ll do to make your dream come true? How? When, besides sometime this year?
GOALS…BUSINESS PLAN… These are the words you should be concentrating on this week. Sounds good, doesn’t it? Have you figured your goals or written a plan? It doesn’t have to be on the order of a Fortune 500 company. It has to be something that will work for you.
Is it okay if we use me as an example? Thank you.
My goals are;
1 – Edit my present book
2 – Write the second book in the series
Each of these works will be 50,000 plus words when completed. It ain’t never gonna happen if I just sit around and dream. Allow me to share how I approach this mind-numbing task.
I’m a daily to-do list and calendar freak. I like my life plotted and planned. Of course there has to be room for flexibility. By devloping an ADJUSTABLE plan I’ve got it made.
To work out a feasible system of accomplishing my two goals, I grabbed a legal pad and the calendar, which already has enough social commitments listed for year to make me weep, and parked myself in a comfortable chair.
We’ll lay out the schedule for each goal in two separate plans for easier reading.
Goal 1 – Edit my present book
This novel has twenty-four chapters and an epilogue. Each section has been printed because I work better with a hard copy. I study the chapters, one at a time, scrawling notes to myself all over the pages and any additional info in a spiral notebook. I can take a chapter with to pore over while I’m waiting for an appointment, a slow moving train, or anything else which has me sitting and doing zip.
I want this work done in a relatively short period of time, thirty days. By reading the calendar I know there are many days when editing just isn’t possible. Those days are marked in red for other writing tasks on the next book such as research, characterization, reading trade magazine, and so forth.
The doable days have listed a chapter number and a brief note as to what must be done to finish the edits. All Fridays are reserved to re-read that week’s edits and make any last changes.
So the calendar looks like the following;
Sunday January 8
No work today. Play with my granddaughters.
Monday January 9
Chapter 3
Bring in tour business somehow / change D’s business purchase to a tax audit? Would it work and simplify
Tuesday January 10
Chapter 15
T must confess credit card over extended / Move dialogue from pg 89 here
Wednesday January 11
Great sale at Carson’s!! If I finished my work I can reward myself!!!
Dentist at 2
Meet Lor for dinner at 7
Thursday January 12
Jesse here at 8 a.m. for her edits
Pick up C from school 3:15 – take along new RWR
Chapter 20
Embellish sex scene / needs more emotion – switch to hero’s POV
Friday January 13
No time to worry about superstition
Re-read three chapters and approve
Out with the friends at 7
Saturday January 14
No work today. Play with Studly.
Please note the chapters are not in sequence. To finish in the allotted time, I’ve selected the easiest chapters to final edit and saved the more involved for the end of my month. It’s a trick I do to reduce the load while I mentally work out those tough scenes that are driving me crazy.
My daily to-do list will embellish on the above such as;
This is the calendar entry;
Monday January 9
Chapter 3
Bring in tour business somehow / change D’s business purchase to a tax audit? Would it work and simplify
This is the to-do list;
1. read chap as is
2. check POV of D – is it all his?
3. embellish D’s anger through his actions
4. is C a big enough pain in the ass?
5. is the setting over described
6. check out tax audit info to be accurate
7. lunch at 1- no exceptions
8. walk around and do neck exercises in am & afternoon
9. check coma positions
It’s very important to treat your goal plan seriously. You need to work at your writing career with the same diligence as a fulltime yearly income job if you want to succeed. Let the machine pick up those calls, eat, drink plenty of fluids preferably water, take scheduled breaks. And above all, have fun.
Tomorrow we’ll talk about the goals for the new book and how it’s laid out. Until then,
Happy writing,
Sloane
Foregt the guy with the lampshade
December 22, 2005 | It's All About Writing
Characterization isn’t about the ass at your last holiday party everyone laughed at then dissected on the drive home. It’s the life of your hero, heroine, and all secondary characters in your novel beyond their height, weight, and eye color.
Let’s do a cast call.
Starring Roles;
Johnny the Hero
Liz the Heroine
Supporting Cast;
Fred – Johnny’s best friend
Pam – Liz’s best friend
Marge – Johnny’s mother
Walk-Ons;
Taxi Driver
Waiter
Hairdresser
Of the above group, the only roles needing a characterization are the stars and supporting cast. The Walk-Ons are too minor to worry about.
Beth Anderson spent many a long night explaining why writing a characterization is important. Since we don’t have forever here, I’ll crunch it down.
The writer must know the history of their characters. Their past events are what make them be the people they are today. It is what has driven them to be honest, strong, or steal. You won’t know why your hero runs into the burning building to save the heroine if you don’t understand his history.
So how do you so this? Very easy but time consuming. Don’t fudge on this. It’s too important to writing a novel that will impress an editor.
The stars need an extensive characterization. Following is the process;
1 – Park yourself at your computer. Each characterization will take several hours so relax and enjoy.
2 – Choose one of the lead characters.
3 – Imagine you are that person. We’ll use Johnny for the example.
4 – Just type. Bang out his life starting from boyhood. Write in his voice. It’s amazing how your phrases will alter as he ages. Bring him up to the starting point of your novel. Include every detail no matter how unimportant it may seem. Let your mind run on and you will be Johnny, living the high points of his youth and what drove him to the man where your story begins. You’re in Johnny’s point of view. Did he pee his pants in third grade? What really happened? What did he see, smell, and feel inside?
Don’t worry about punctuation, grammar, or spelling. Just type. No one else will ever read your work.
Do this with your heroine as well.
You have finally finished your stars. It’s time to begin on your supporting cast. They’ll take much less time as they aren’t nearly as important. You don’t have to start in their childhood. Type up a brief bio, something similar to an obituary of a famous person.
I took Beth’s method one step further to help me drizzle the backstory into my novel.
Below are the four easy steps;
1 – Print out each characters history.
2 – List all the highpoints on a separate sheet of paper. The order doesn’t matter.
3 – As you write your novel drop in a line or two of backstory at the appropriate time to enrich the action of your character. Use only the most important lines of their backstory. You know the rest and the reader doesn’t care.
4 – Cross off the line as it’s used and write next to it which page you’ve inserted it.
This method will help you build stronger characters with real motivation your reader and editor will love.
Sloane
