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Posts from the ‘Editing fiction’ Category

Month In Review (September 2013)

Writing Teen Novels has reached the end of its ninth month of articles for 2013 from this year’s line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.

Writing Teen Novels contributor Elizabeth Wein is attached to two novel writing retreats in November, 2014 with Novel Writing Retreats Australia.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for September 2013

Using Movies And TV As Inspiration For Novels by Beth Revis

First Person Versus Third Person Narration by Bernard Beckett

Language In Teen Novels by Diane Lee Wilson

Writing Dialogue In Novels by Monika Schroder

Writing About Violence And Physical Harm In Novels by April Henry

Using A Notebook To Store Ideas For Novel Writing by Paul Volponi

My Favourite Author Of Teen Novels by Elizabeth Wein

Embracing E-Books by Amy Kathleen Ryan

Writing Believable Teen Characters by Lish McBride

Life As A Published Novelist by Andy Briggs

Plot Structure In Novels by Kate Forsyth

On Getting A Novel Published by Pauline Francis

Working With My Editor by Stephen Emond (graphic novelist)

On Research For Writing Teen Science Fiction by Sam Hawksmoor

On Prologues And Epilogues In Teen Historical Novels by Carolyn Meyer

On Revising A Novel Manuscript by Kashmira Sheth

A Page-Turning Plot = A Character-In-Action (Secrets Of Narrative Drive) by Sarah Mussi

Writing Dialogue In Teen Novels by Laurie Faria Stolarz

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‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

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Writing Teen Novels
www.writingteennovels.com

Working With My Editor, by Stephen Emond (graphic novelist)

I had a friend ask me, when I was working on Happyface, if I disliked having an editor. He couldn’t imagine someone telling him what’s good and what’s bad in his writing. I could see where some people would have issues with that. I’m not one of them. It would take a certain level of confidence that I’ve never mustered to assume that what I’ve written is the best it can be. I’ve only had great editors and I consider it an important advantage to my writing.

The books of mine you’ve read would not be the same had I worked on them alone. My editor (Connie) is great at taking what tends to be a rather personal work and finding the broader strokes of it. I’m often amazed at how she takes something I’ve written or pitched, and somehow understands me enough to say “I think THIS is what you’re trying to do here,” in a way that maintains the spirit of my words but also adds a laser focus to it. I see why I chose that, and how to burrow in deeper.

Meetings with Connie can also be like therapy. We’ve had very long conversations about my work (who else is going to listen to me talk about my fantasy lands for 3 or 4 hours?) where she can take away all the excess, all the extraneous ideas and pieces and really get at the core of what it is that I care about, what the story really is, taking it all apart and rebuilding it from the scraps.

Sometimes it’s rough. Sometimes I get pages of notes that pick apart every other sentence, she wants to cut half of the stuff I just know is good but it doesn’t fit. The truth hurts but she’s always right. Sometimes it takes me a day or two to realize it.

Stephen Emond - Lemons comic

My first draft of something can see  close to half of it cut. Essentially saying “THIS stuff is good, this stuff over here is just okay. Let’s cut that stuff and make it as good as the best parts.”

More than a few times, I’ve gotten notes like “Ew! This part is creepy!” or “Definitely cut this section.” I flush red for a few seconds and start deleting, glad those parts didn’t get any further.

When you’re writing 60,000+ words it gets very hard to see things objectively. At some point it all blends together, the good and the bad, and it just exists in it’s own world. There are times I just have to rely on someone else to read it and be honest with me. Connie reads my words over and over and over, always making interesting notes and comments. Sometimes she just knows the right questions to ask to get my mind rolling: “Why did you choose this setting? Why is this character here?”

Of course, not everyone has an editor at a big publisher to lean on. Find someone you can trust who can really be truthful and conversational and elevate your work, and who won’t butter you up and say the nice things you secretly or not-so-secretly want to hear. A good editor is completely indispensable.

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Stephen Emond’s author website: www.stephenemond.com

Stephen Emond’s bio page

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United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

HappyfaceWinter Town     GlowShades of Earth: An Across the Universe Novel (Across the Universe)Hold Me Closer, Necromancer

Writing Teen Novels
www.writingteennovels.com

Month In Review (July 2013)

Writing Teen Novels has reached the end of its seventh month of articles for 2013 from this year’s line-up of novelists from the United States, the United Kingdom, Australia, Canada and New Zealand.

Thank you to all the contributors, to everyone who has been reading the articles and those who have connected with Writing Teen Novels on Facebook, Twitter, Google+ or Tumblr, or via Novel Writing Quotes on Facebook or Google+.

Articles for July 2013

Why I Write About Children In Times Of  War by Monika Schroder

Plot Is The Backbone Of All Page-Turners by April Henry

Writing Teen Novels With Timeless Appeal by Diane Lee Wilson

Writing Suspenseful Novels by Amy Kathleen Ryan

Handling Novel Writing Deadlines by Paul Volponi

Mistakes I’ve Made As A Novelist by Bernard Beckett

Writing Teen Novels About Pilots And Flying by Elizabeth Wein

Techniques For Overcoming Writer’s Block by Beth Revis

Finding The Right “Voice” For Your Novel by Carolyn Meyer

Pacing A Novel by Lish McBride

Creating A Realistic Story World by Andy Briggs

Plotting A Novel by Laurie Faria Stolarz

Working On My Novel With My Editor by Sam Hawksmoor

Narrating Your Story In A Lean Style by Kashmira Sheth

Writing Prophecies In Fantasy Novels by Kate Forsyth

Structuring Novel Chapters by Stephen Emond (graphic novelist)

Researching For My Teen Historical Novels by Pauline Francis

Maintaining Suspense Throughout Your Plot (Secrets Of Narrative Drive) by Sarah Mussi

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‘Month In Review’ Updates

For more articles on writing novels you can check out Writing Historical Novels and Writing Novels in Australia.

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Writing Teen Novels
www.writingteennovels.com

The Good Thing About Bad Writing, by Lish McBride

As much as we hate to admit it, not every word we write is gold. Some of them wouldn’t even qualify as a precious metal. We all have off days and no matter where you are on the publishing spectrum, you’re still learning. One day you’ll write twenty pages of what you’re sure is the Best Thing Anyone Has Written, Ever, only to read it the next day and realize it’s total drivel.

Sometimes the “total drivel” response is just that little critic voice in your head. Ignore that voice. There are plenty of people on the planet ready to line up and tear apart what you’re doing. I see no reason why you should actively help them. Other times, though, it’s not the voice. Some pages just don’t live up to their potential and they have to be cut.

Don’t cry over this. Editing, cutting, slashing and burning are natural parts of the process. As a writer you are like a sculptor, cutting away at the blank marble until something wonderful emerges. But I want you to listen, my writer friends. The next thing I’m going to say is very important. Don’t throw everything away. Even bad writing has its purpose.

This is especially true for you young writers out there. You might never do anything with that heart-felt poem about your feelings. You might never do anything with that ‘zine you made with your friends, or the Harry Potter fan-fiction you just wrote. That’s okay. Keep them anyway, because you’re going to grow up and get old and maybe grow a moustache and learn how to play bridge. It’s a natural part of the cycle.

You’re going to forget some things about being young. Not everything. The big things stand out. Some of you, like me, will actively try to forget some of them. This is why keeping your writing is so important – it’s a snapshot of the teenage you. (I can’t take credit for this idea. I read it in Gail Cason Levine’s writing book and honestly it’s some of the best advice ever.)

There are other good reasons to keep snippets around. Sometimes you can salvage things. It’s like a mechanic having a yard of junker cars. Sure, the engine is shot, and it won’t move, but the carburetor is almost brand new. So you pull that sucker out and put it in something else. You can salvage your stories, too. Maybe you have a good line in there or a great character. Yank them and put them in something better. I have a history of stealing characters out of short stories and putting them into other works. My character Ashley is an example of this at work.

There are times, too, when you look back on a dud story and realize that you suddenly know how to make it work. One good overhaul and that sucker will shine like gold. I have a few duds in my pile that I have hopes for.

Lastly, they’re good benchmarks for you. I don’t like competing with other authors. I think it can create a toxic environment and honestly, it’s just not a good thing to do to yourself. I could go crazy trying to battle some of my writer heroes with words. Especially since some of them have had whole lifetimes to become awesome and I’m just getting going. I do, however, compete against myself. I don’t need to write a short story better than Mark Twain. I just need to write a short story better than the last one I wrote. There are days when I look at old stories that I’ve written and I think, “Okay, so I’m not great, but I’m better than that. My writing is so much clearer than it used to be. If I work hard, it will be even better tomorrow.”

It’s fun to watch yourself grow as a writer.

Homework: Dig something out of your pile. What element sticks out as a keeper? What can you do with it? If you don’t have a pile, start one.

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Lish McBride’s author website: www.lishmcbride.com

Lish McBride’s bio page

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United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

Hold Me Closer, NecromancerNecromancing the Stone     GlowCleopatra ConfessesHurricane SongDeadly Little SecretThe Girl Who Was Supposed to Die

Writing Teen Novels
www.writingteennovels.com

Month In Review (May 2013)

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Editors: Working With You To Make The Best Book Possible, by April Henry

My first book was published in 1999, so I’ve had a lot of experience working with editors. In fact, I’ve had five of them, plus an unknown number of copy editors and proofreaders. The amazing thing is that, in my experience, each editor has a different approach. What one editor is passionate about may not even be on another editor’s radar screen.

My five editors

My first editor loved characters who were quirky, whacky or eccentric – and if she felt they weren’t quirky, whacky or eccentric enough, she often asked for them to be enhanced. Sometimes her comments were cryptic. I still remember staring at one notation scribbled in a margin. It said, “Pump up the mystery!” I had no idea how to do that and I was too scared to call her. I’ve since learned that just as an email sometimes lacks the emotional nuance that would allow you to completely understand a message, so too can editorial letters and hand-written notes. A simple phone call can go a long way toward making things clear for both writer and editor.

My second editor was a legend in the business. She was in her 80s and everyone loved the idea that she was still working full-time. Dozens of famous authors had been edited by her over the course of her long career. I think she worked right up until she died. Her editing was much more broad-based and she wasn’t nearly as much of a detail person as my first editor was.

My third editor was famous for being able to write an 11-page editorial letter for a 12-page picture book. He used brown stickies to mark changes he had pencilled in green on the manuscript. One draft I got back bristled with so many stickies it looked like a porcupine. For Christmas that year, I gave him a brand new green pencil, figuring he had used one up on my manuscript. One thing I learned from him was that sometimes when an editor asks for a specific change, he or she may be right that something is wrong. However, the writer can often make a different sort of fix than the editor requested and still come away with both parties happy.

My fourth editor writes thoughtful editorial letters that I dread. Why? Because she is skilled at finding flaws I haven’t noticed. Flaws that require lots and lots of thought before I can fix them.

My fifth editor is both a big picture editor and someone who notices the smallest details. She’s pointed out words I tend to overuse - words I wasn’t aware of until she had checkmarked three or four uses of the same word in a single page. Once or twice, she has questioned the veracity of things I write, asking if it’s really true or possible. I welcome that. So much fiction, especially mysteries and thrillers, is riddled with errors about police procedure, weapons or investigative techniques.

The process of editing

Editing used to take place on paper, and you, the editor and your agent would send bulky manuscripts back and forth. I still have some unused manuscript boxes in my basement. They fold up neatly and have a little tab you insert into a slot. It’s probably the equivalent to holding onto a buggy whip. Now manuscripts get emailed as attachments, to be read by agents and editors on e-readers, and to be edited by line and copy editors on computers and then emailed to you with tracked changes. Many editors will still print out a paper copy and mark that up, at least to a degree, although I wonder if that will change as a generation who started on paper retires.

Line editors may make suggestions as to how to burnish the story and are big picture people. Copyeditors are more focused on the details. For example, they make sure that a character who has blue eyes on page 19 does not have gray eyes on page 319. They know the difference between flout and flaunt. They do a certain amount of fact-checking, making sure that, for example, you don’t spell Cheez-Its incorrectly. Oddly, I have had the same freelance copyeditor work on several of my YA books even though they were put out by different publishers. In a further twist of fate, she grew up in Portland, where I base most of my stories.

Both main editors and copy editors have saved my bacon many times. It’s hard to see your story clearly: you always need at least one more set of eyes.

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April Henry’s author website: www.aprilhenrymysteries.com

April Henry’s bio page

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United States (and beyond)

   

United Kingdom (and beyond)

   

Australia (and beyond)

The Girl Who Was Supposed to DieGirl, StolenShock PointThe Night She Disappeared    ResponseHappyfaceA Coalition of Lions

Writing Teen Novels
www.writingteennovels.com

Great Teen Novels Are Edited, Not Written: Refining Sentences, by Jack Heath

My last few posts have been very general. Today I’d like to be extremely specific.

There are 52 drafts of my first book, The Lab, saved on my computer. That’s how many tries it took me to get it right, and frankly there are still some things I’d like to change.

This might seem excessive. But let me show you the process I go through for each sentence.

Dess saw that there was a car driving around the corner.

If we already know that the story is viewed through Dess’ perspective, we don’t need to say that she saw it. We can just say that it happened, like so:

There was a car driving around the corner.

This is still a weak sentence. It contains boring “stop words” such as “there,” “was,” “a” and “the”. It needs to be shorter.

A car was driving around the corner.

Down to three stop words, but it’s still too long.

A car drove around the corner.

That’s about as short as I can make it without losing any information. Now I have to work out how I can convey more detail without increasing the number of words.

“Drove” is a weak word in this sentence, since the reader already knows that’s how cars move.

A car screeched around the corner.

Better. Now we have a sense of how fast it’s going. But we still don’t know what kind of car it is.

A Lamborghini screeched around the corner.

Okay. Now we know how much it costs, and therefore something about the driver.

Let’s compare our new sentence to the original sentence:

Dess saw that there was a car driving around the corner.

See the difference?

There were about 10,000 sentences in The Lab. I had to repeat this process for every single one of them. That’s why I have those 52 drafts, and it’s why editing is the most important part of the writing process.

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Jack Heath bio page

Jack Heath author site: www.jackheath.com.au

The LabThird Transmission (Six of Hearts)Money RunHit ListSparkTreasure IslandRikers High

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