Revision Makes The Book

Jen K. Blom’s debut novel, Possum Summer, came out last spring…but it wasn’t easy getting to publication. And to get to publication, Jen had to have a solid manuscript…which is obviously never the first draft.

For some writers (myself included), the revision process is less enjoyable than writing the first draft. I’m excited to share some of Jen’s insight when it comes to editing your manuscript. Take it away, Jen!

Hey guys.

I'm here today visiting with Lorna about revising. That's right: the R word. And you're here to suffer through it with us! Well done!

I've written a lot of manuscripts over the years. But when I finally took "getting published" seriously, I had to re-examine my revising process. Before I'd taken it seriously, my revision process looked like this:

1. Finish first draft.

2. Sleep a night.

3. QUERY!

And that obviously didn't work. Because no matter how much I had read and read, and how much I'd learned in university (I studied creative writing and journalism) I couldn't send out a first draft and get anywhere.

That first draft method changed when I decided to work on POSSUM SUMMER (Holiday House, June 2011). I started a blog. I found other writers and we created a critique group. I then wrote the first draft in a month (in my defense, I travelled two hours on a train each morning and night, and so it was the perfect opportunity to do it. It's not like I'm some crazy awesome writer or anything).

Then? I set it aside. Although that killed me.

That's right. Set aside for over two months as I wrote yet ANOTHER attempt at fantasy (total fail!) and then came back to it. I learned how to revise with this book. Three different times, reading through and catching errors, lapses in logic, etc. I didn't exactly know what I was doing but the story seemed easier to me to look at now, now that I wanted to make it perfect. So I queried, and got an agent!

And we went out to ... silence ... until an awesome editor was interested! But the editor wanted things changed - things that made sense when she said them, but how could I miss those things, myself? She'd read the MS once and I'd created the darn thing, not to mention changed and revised it three times already! But I went back to the writing block and revised it according to what she'd said, making it so much better. Then? Another round of revisions. Then? One last one! Then?

OFFER! On a book that was already so much better and more meaningful, all from a couple revision changes. This little story of a first book getting published has a couple things in it for you, should you care to read further:

1. Not every book gets snapped up right away. (and that is a good thing)

2. Never, ever give up.

and lastly?

3. REVISION MAKES THE BOOK.

Here's what I've learned about revising, now:

- keep a notebook or an open file nearby while you're writing. When you're in the thick of your muse, you do not need to go back and flesh out something you realize you wrote wrong. Keep a list and go back.

- always, always give yourself some time in between writing the first draft and revising. You do not want to revise right away. Time will open your eyes, and time will show you where the problems are in your MS.

- Pay attention to the Five Senses: your characters don't just go through the pages. Pay attention to how they use all their senses: hearing, touch. Tasting, smell. This is important!

- does each character you introduce in your book as a secondary have an arc? The best books are well-rounded books, and the best well-rounded books are those where the satisfying thing is that everyone has a change.

- have critters for your revision process. I've found that other people are awesome readers, depending on the time I use them. I have two crit buds for the initial crap draft process, one for after the 2nd revision, and 3 for "the finished version".

Each one brings valuable insight and experience to the table - insight and experience that only they are capable of at that point in my process. I highly recommend this!

Don't despair when you finish book number 2, then book 3, and find that each is an entirely different revising beast. I'm here to tell you it's okay, and I'm here to say that it is normal. Keep a list and keep on plugging!

Just remember that a published writer is the one that didn't give up. And I would say, the one that kept revising.

Go you!

Visit Jen’s awesome blog and follow her on Twitter!

Road To Publication

After reading a Tweet from writer, Kaylie Newell, announcing that she sold her first book, I contacted her to discover what her journey to publication was like. In this interview, Newell discusses her writing and revision process to inevitable rejection, and finally, to publication.

LL: Hi Kaylie, thanks so much for taking the time to be interviewed!

KN: Thanks for having me, Lorna. It’s an honour.

LL: Congrats on selling your first book! What’s it about and when can readers grab a copy?

KN: My book is called A Death That Lingers. It’s a romantic suspense novel with a supernatural twist. My heroine, Josie is being haunted by her dead husband. And it’s not a Patrick Swayze, Demi Moore kind of haunting, either. He was a real jerk when he was alive. Being dead makes him even grumpier. And when Josie finds herself drawn to the sexy young police chief in her small Midwestern town, things get really interesting!

I don’t have a release date yet, but I’m guessing it’ll be late October or early November. Just in time to read during the spooky fall weather. It will be for sale in electronic format from the publisher’s website, as well as Amazon, etc.

LL: When did you first start writing this book? Did you have a writing routine?

KN: I started writing my book on Valentine’s Day of 2010 (I thought that would be appropriate for a romance novel!) I’d wanted to write a book ever since I was a little girl. Even though I had made up my mind to do it, the thought was still very intimidating. I decided I’d have a daily writing goal.

I bought a little dry erase board and put it in the kitchen. Every night before I went to bed, I’d write down my word count goal for the next day. I think seeing that goal the next morning every time I walked in and out of the kitchen, made it harder for me to fudge. Most days I’d write no less than 300 words. Not very much, but it added up little by little. On the weekends I wrote significantly more when I had the time (my husband and I have two little ones, so some weekends were easier than others). All in all, it took me a little under six months to write a 300 page novel. If I can do it, anyone can!

LL: What was your first thought when you read through the first draft?

KN: Relief! I was pretty worried the whole story would stink. That it wouldn’t flow, or make sense. It’s hard to get an overall picture of your book when you’re writing in little increments, so when I read through it the first time, I was happy all the puzzles pieces fit.

LL: Can you share your revision process?

KN: The revisions are actually my favourite part. It’s when the book really starts to shine and that’s a great feeling. I think I probably revise backwards, though. I’ve heard that it’s best to read through the first time and look at big things, like plot, character development, etc. Then work your way towards more specific things with each consecutive read through. Chopping adverbs, unnecessary dialogue tags, etc.

But it’s hard for me to see the big picture when I’m obsessing about awkward sentence structure. So I let my little mental editor do her thing, then when the writing is more polished, I can concentrate on the story. I went through A Death That Lingers six full times, and felt like I could have gone through several more. But for me, I had to choose a stopping point or I was going to drive myself bananas trying to make it perfect.

That’s one thing I’ve learned. What’s “perfect” for me one day, won’t look perfect the next. Eventually, you just have to have faith in the manuscript and send it out.

LL: What was the journey to publication like? How did you handle rejection?

KN: Wow. I’m having a surreal moment here. The journey to publication… Sometimes I have to remind myself that I actually sold my book! I’m still pinching myself. It was a long, hard road. I guess that’s the best way to describe it. Writing is something I’ve always loved and felt passionate about. Writing a book was a natural extension of that.

But that doesn’t mean every day was easy or enjoyable. Some nights I would cry myself to sleep (something my very loving and supportive family can attest to). Some days were exhilarating, others were exhausting. It was an emotional roller coaster.

Rejection is hard for everyone. I’m a naturally sensitive person, so in the beginning those rejection slips would devastate me. Put me into an emotional tailspin for days at a time.

Over time though, you realize that what they say is true. Writing is a subjective business. Not everyone is going to love your work. But that doesn’t mean your work isn’t good. It just means you have to try that much harder to get it in front of someone who does like it. Rejection isn’t fun, but it’s a part of writing. Look at it this way, the more rejection slips, the thicker the skin, the tougher the writer! And a tough writer can do anything.

LL: What did you learn about publication after getting that “yes” from Beachwalk Press?

KN: That’s a great question! The answer is I’m still in the process of learning all the magical ins and outs of this business. I feel like a babe in the woods. Luckily for me, I have a wonderful editor who I know will be a great teacher as well. I’m still learning about contracts, royalties, marketing, edits. The list is endless. But I read a lot about the business and that helps. I’m also a member of Romance Writers of America and its on-line chapter, RWAOL. I’ve met fantastic contacts there, some of whom have turned into great friends and critique partners. What I learn from them is indescribable.

LL: What are you working on now?

KN: I just finished my second book, a romantic suspense, about six weeks ago. I’m in the process of polishing it up. I’m also launching a romance blog with my critique partners on October 17^th. That should be a lot of fun.

LL: Any advice you’d like to share with aspiring writers, who are close to or in the process of shopping their first novels around?

KN: Don’t give up! The day I sold my book was one of the happiest of my life. But it didn’t happen quickly. Work through those rejection slips and keep sending your book out. Send it out to multiple publishers and or agents. And while you’re waiting, start your next novel. Join a writing group, make friends of other writers. They’ll understand first hand what it’s like to be sending your book out. They’ll be able to teach you so much and provide a shoulder to cry on when you need it. And they’ll joyfully help you celebrate when you get “the call”!

8 Questions For YA Author, Amanda Ashby

Young Adult author, Amanda Ashby, is yet another example of a writer who did not give up. It took six years for Amanda to get published, her first book being You Had Me at Halo. Here’s a closer look at Amanda’s journey from inspiration to publication.

Hi Amanda! Thank you so much taking the time to do this interview.

You’re welcome. Interviews are always a lovely distraction from work and as you will discover, I’m a girl who likes distractions!

We can all be guilty of getting distracted! As a writer who pushed through six years before getting her debut novel, You Had Me At Halo published, what kept you motivated and focused?

Honestly, the main thing that kept me motivated was the feeling deep in my gut that one day it would happen to me. I can’t explain where it came from (certainly not from my early drafts, which were hideous!) but it was there right from the beginning. Then over the years I used to take great hope in every small break through I had, like winning a competition or moving from form rejections to personal rejections or from getting partial requests, through to full requests.

What is your writing routine like?

It’s pretty shoddy! Like most writers, I’m easily distracted by the Internet (not to mention snack food, glittery objects, and the sudden need to clean the house). However, because I know what I’m like, when I’m working on a book I always set myself a word count to hit—normally about 2k—and then if I choose to spend the entire day being naughty, I’m forced to sit at the computer all night until I hit the words. Which, by the way makes me delightful to be around the following day!

Are you an outliner? How do you prepare before writing a novel?

I’m a pantser who longs to be a plotter so I spend a lot of time making notes and outlines that I’m doomed to never follow. I find the whole thing quite frustrating and get very jealous of writers who can do lovely outlines. However, I’ve sorted of accepted that my process is messy and so I just try and write my way through it.

What’s your latest book, Fairy Bad Day about? What was it like writing it?

Argh. For a light-hearted comedy, Fairy Bad Day was ridiculously hard to write. I wrote about two or three drafts for my agent and then it had about three rounds of revisions from my editor. In fact, the only easy part was the title!

What are you currently working on?

I’m revising the second book in my upcoming Middle Grade series, Sophie’s Mixed-Up Magic, about a girl who gets turned into a genie the day before she starts sixth grade.

What inspires you the most?

Books! I was a reader long before I was ever a writer and it’s still the same. I really love reading great books and every time I do, as well as getting wildly jealous that I didn’t write them, I’m also inspired to do a better job with my own books.

If you could have dinner with any writer, dead or alive, who would it be and why?

Jane Austen or Georgette Heyer, because I love humor in books and they were both the masters of it! Plus, they both seem like they would be very well mannered, which means they probably wouldn’t complain if I had a second helping of pudding.

Considering your journey from your first novel to getting published for the first time, can you share some advice with aspiring novelists?

Take time to find your voice! Voice is one of those strange things that we often ignore when really it is what will help make your books stand out in a crowded market. So don’t be afraid to write the story the way you ‘really’ want to write it as opposed to how you think you should write it.

I say this because for six years I kept coming up with all these weird paranormal romance ideas, but because I was trying to write regular romance novels at the time, I would carefully cut the paranormal elements out of each book (I really wish I was kidding about this but I’m not). However, when I finally had the idea of a dead girl who gets kicked out of heaven and sent back to earth in a guy’s body, I realized that there was no way I could cut it all out, so instead I finally embraced the voice that I had been trying to stifle for so long and I wrote the book in all of its glorious weirdness.

Oh, and it goes without saying but eat lots of chocolate. It might not make you write a better book, but I’m sure it will make you feel better!

To learn more about Amanda and her books, visit her website!

6 Ways To Deal With Rejection

A few weeks ago, I read a Writer’s Digest article called, “How To Turn Rejection Letters Into A Positive” written by children’s author, Sue Fliess. It was such an uplifting piece that I decided to contact Sue and ask her to share some motivational tips for anyone in the midst of pitching their manuscripts.

Here are some of Sue’s great tips to use rejection as a way to improve as a writer:

1. Save your rejection letters! Not only is it a great way to show the IRS you've been working (if you should ever have the misfortune of an audit), but it provides you with an 'editors-at-a-glance' reference to which editors sent you what. You should go through your letters of decline to see which editors sent you form letters, which showed interest or paid compliments, and which asked to see more from you. It's also a great way to open up in your next submission letter: "I know XYZ story wasn't a fit for you, but you had mentioned I could send you more of my work..." Persistence is effective.

2. How else are you going to improve your craft, but to know what you are doing wrong? Even if you think you cannot possibly improve on your impeccable manuscript, ask yourself these questions: Did I try everything I could to make it the best manuscript it could be? Did I try the suggestion from that one editor who, at the time, I didn't think knew what she was talking about? Revisit your critique group's comments. Maybe there is something in there of value that will change your manuscript for the better.

3. Rejection or redirection? Rejection is so subjective, that I prefer to hear the word rejection as redirection. Redirection letters sound less harsh. My story was not right for that editor, so she has redirected me. Now I will try another editor for whom I think it will be a good fit. I can't think of anything worse than selling your manuscript to an editor who is only half in love with it (though that doesn't happen often).

4. Rejection is tough. It's hard not to take it personally. But it is just business. It doesn't mean the editor doesn't like YOU, or even that she/he didn't like your story (unless you pitched it to her in the bathroom). Publishers reject for so many reasons and they simply don't have time to go into detail about why (some do, though). As long as you are confident you are putting your best work forward, just be patient until you find the right editor for your work. I once received advice from an author when I told her, "It just seems no one likes my story." She rebutted with: "No, you just haven't found the right editor yet."

5. Submit and write. Then submit some more and write some more. It's a game of odds. If you have one manuscript out there and you are biting your nails waiting for that “yes”, you're going to be disappointed. If you have six manuscripts floating, and are writing at the same time, you: 1) don't obsess with the one that's out there and the rejection letters that are coming in, and 2) you better your chances of someone saying yes.

6. I've found that living through the rejection part of my writing career has helped me in my regular life. I used to never be able to take no for an answer. I'm a marketer and a former publicist, so I was always of the mindset that I could convince anyone of anything. I remember convincing (though, looking back, it was more like badgering) a co-worker to go out to lunch with me. She was very busy, but we ate at this little dive in midtown Manhattan every Monday. She was too busy for lunch. But I needed my routine. I needed her to say yes. Finally, she stood up and said, “No. I'm not going. People don't say no to you very often do they?" And she was right. I was used to getting my way.

So receiving rejections without the chance to persuade or defend seemed so one-sided, so unfair. I thought I should get the chance to say, "But really, you just need to read it again and then you'll get it" or, "How can you say no when my character is so likable? Surely you need to rethink and pass it around your editorial table once more." But we don't get that chance, and we have to trust that the editor is not taking it for a valid reason, which is pretty much always the case. But rejection leaves us with a feeling of helplessness. We want to know WHY it didn't make the cut and if not, HOW can we get it right next time. And that's what your critique group is for.

Rejection is just part of the writing process. Accept it as such. Stop fearing it and use it to your advantage. I've come to realize that "no" doesn't mean I'm no good or I'll never sell anything ever again. It just means "not right now." And another way of hearing that is: "maybe later."

Sue Fliess is the author of children’s book, Shoes for Me!, with Marshall Cavendish Children's Books. A Dress for Me! and Tons of Trucks are both in development and due out next spring. Visit Sue’s website or follow her @SueFliess.

Kids Are A Tough Crowd

I wanted to write an animated children’s script for a while, so I brainstormed a concept for a new show. That progressed to a beat sheet for a pilot and eventually a first draft. It wasn’t seamless though. This was one of the most challenging things I’ve ever written.

For inspiration, I observed my four-year-old twin nephews whenever they watched their favorite programming: Dora the Explorer, Caillou, and Max and Ruby. They responded to color, voice, direct inclusion of the viewer, and sound more than anything else. The brighter the colors, the longer they paid attention. The greater the variety in pitch and voice, the more they turned their head to face the screen. They also widened their eyes whenever they heard sudden sounds. And, they really enjoyed it whenever the character (like Dora) directly addressed them. Example: Where do you think we should go next? The bridge, the apple tree, or the castle?

I knew I had to add certain elements to the script, but the writing was a different story. Every line I wrote made me panic. Is this too advanced for kids? Am I patronizing them? Is this entertaining enough? Will I sustain their interest? After I wrote the first draft, I decided it was not good enough for kids. I had to make it POP. After I sent my script to two readers and received helpful feedback, I realized three major things were missing that other children’s shows had.

Tons of Action

Writing for children requires a lot of action description. Every show my nephews watched and loved had tons of action. In my revisions, I included descriptions of action sequences, facial expressions, sight gags, etc.

Sound Effects

In animated scripts, you have more freedom to describe dramatic visuals with sound effects like a phone literally ringing off a hook. You could even have the RINGING phone BONKING the person on the head to get their attention.

Camera Direction

In live action writing, you typically don’t include camera angles. But in animated writing, showing camera direction means more interesting action to hold children’s attention. Using a SLOW ZOOM or a SMASH CUT in the telephone ringing sequence as the phone JOLTS the receiver off the hook breaks things up visually. Another element is capitalization. When I read animated scripts before my revision process, I noticed that the sound effects, music cues, and camera directions were capitalized to heighten excitement.

After I included these components in my second draft, I sent it to another writer who is naturally funny and a bit kooky (and I mean this in a good way). Her personality helped shape my script into something with just the right amount of silliness without being condescending. Writing an animated script for kids was a tough experience that I want to do again because as hard as it was, it helped me strengthen my visual storytelling skills.

8 Writing Prompts

If you’re feeling particularly stuck lately, try some writing prompts to help jog your brain over to Storyville.

Here are a few prompts that I’ve used as a warm-up before a writing session:

Write a 15-word sentence about the most vivid dream you’ve had lately.

You’ve struggled financially for most of your life. Your wealthy aunt has passed away and left you with six figures. In order to get the money, you must fulfill an obligation in your aunt’s will. What is it and will you do it?

Think of your favorite song and write the lyrics that usually stick to your head. Write a short story (about two paragraphs) using most of the words in the song and its main theme.

Write your favorite childhood memory, describing the setting, characters, and emotions in the memory.

You wake up in a wooded area with garden gnomes and animals standing over you, each planning a different way to kill you. Write this scene.

Write a letter apologizing to someone you bullied in your past. Include specific names you called that person and the most humiliating moment you put them through.

In the middle of the night, you receive a mysterious phone call telling you that something awful has happened to one of your friends. What is it and what are you going to do?

Choose a fictional character and pretend you have to “walk a day in this person’s shoes.” Write about it.

What To Look For In A Critique Partner

You’ve finished the first draft of your screenplay, novel, television script, or picture book. You know that it’s not “done”. Ernest Hemingway’s quote, “the first draft of anything is shit” keeps rolling around in your head. You know you need a fresh pair of eyes to go over your writing and give you feedback that will improve the first draft. I have a couple people I usually turn to when I need help with my revisions.

There were some readers in the past who didn’t quite offer much insight, but there are a couple (that I still go to) who always take their time and send me excellent notes. If you’re considering sending your manuscript to a reader, here are some questions you should ask yourself:

1. Is this person an avid reader? Those who read voraciously will have a better sense of story and structure, which will enable them to give you more substantial notes.

2. Is this person reliable? Sure, you might have a blast hanging out with them, but will they deliver what they promised? Does this person have a history of flaking out? If so, find someone else.

3. Is this person constructive and respectful? Even though this is your first draft, it’s still your baby. You spent a lot of time with this project and your characters, developing their world, and deepening your connection to it. I have found that those who understand and appreciate this connection are able to give more constructive feedback, remaining respectful of you as the writer.

4. Is this person insightful? It would be ideal to find a reader who understands narrative structure, and is also a naturally creative thinker. There have been several times when my readers would open up a new way of approaching a scene or character that got me out of a funk or helped me liven up something that felt too flat.

It may take a while to find a critique partner that suits your personality and professional needs, but hopefully, these questions will get you started on finding your story soulmate. And remember, you don’t have to take all their notes into account…it’s still your story after all.