Monday, August 31, 2009
I was doing a journaling exercise to try to get to the emotional core of a scene I needed to rewrite, and lo and behold, using first person present caused the whole thing to LEAP into focus, sharp and bright. I was stunned. For many reasons. Not the least of which is that I have never even considered present tense as a tool in my writerly toolbox. Just never occurred to me. Probably because I’ve heard so much about how many readers don’t like it. Ah well. For that reason alone, I wish I could ignore this revelation I’ve had. But I can’t. Because it makes the story better.
I was also stunned because usually my muse is better about parceling out the hints in a timely fashion. I would be a tad peeved at her for this late breaking development IF I wasn’t so happy that it’s cracked that story egg wide open. Scenes that I was struggling with now write themselves, issues of the heroine getting lost in the milieu have disappeared. Excess words are falling away and the story lens is somehow now permanently set on closeup. Honestly, I am like a 13 year old girl with her first crush—my WIP is all I can think about 24/7. I am well and truly obsessed, cannot stop thinking about it, and pretty much want to schedule frequent makeout sessions with it.
Yes, we writers are odd beasts.
So this is a good lesson to me. I think from now on, whenever I’m beginning a book, I will make myself write the first few scenes in all the possible tenses and POV combinations to see what shapes up.
So that was my weekend. How about yours?
Friday, August 28, 2009
In the meantime, I thought I'd include some updates and news about Nathaniel Fludd, Beastologist.
I just found out from my publisher it's already gone into its second printing! Not bad for not even being technically out yet.
However, it does appear the book is shipping from both Amazon and B&N now, even though the pub date is a month away.
The book was also featured in a Publisher's Weekly write up about "Ology" books. Very fun.
Also, I will be signing books at the Barnes and Noble in the Woodlands, Texas. Here are more details in case you live in the area.
And lastly, I think it's probably time to post a first chapter! Can't believe I haven't done that yet! Since blogger doesn't have the feature of page cuts, the link will take you to a separate blog page.
Here's hoping you get lots of writing done this weekend!
Thursday, August 27, 2009
1. Think about WHY someone will want to buy your book. Why will they be willing to shell out $18 for it.
2. The mss is too similar to other novels she's worked on, or too similar to others ones on the market.
3. She doesn't know who the reader is for this book. Need to have a reader in mind, know who you're writing for.
4. The writer seems like a really difficult person to work with. (Warning: she googles writers before acquiring their work! Be careful what you post to your blog and FB account! No griping, no bad-mouthing, no oversharing.)
5. May love the concept, but can't connect to the voice.
6. Submitting too early-before a book is truly ready to be read by a professional in the industry. Don't waste your one shot.
7. A project that will not stand out on Random House's list.
And in a cool little update, Nathaniel Fludd, Beastolgist is now shipping on Amazon!
Wednesday, August 26, 2009
*I* also need to not get overwhelmed by all the players.
These are more than simply walk ons, but not true secondary characters. And there are a couple of traitors hidden in there, so they need to be on-screen enough that the readers don’t feel cheated when their identities are revealed.
So as I was staring bemusedly at the mss page, trying to decide how to make all these people stand out—for both myself and my readers—I came up with this little system that I thought I’d share.
I took a 3 x 5 index card for each character and put their name on the top: Baron Geffoy
Then I picked three characteristics for that person: jovial, opportunistic, nurses grudges.
Then I added a hidden core to that person, that was the core motivation for both his personality traits and actions: impotent
Next I listed a handful of dominant physical features that would help me key into that character, but that would also act as tags to help anchor the reader in that character: pale read beard hides a weak chin, blue eyes watery from too many evenings spent drinking wine, barrel chested.
Last, I listed two or three mannerisms that this person used: stroking his beard, shifting eyes, rocking back on his heels
I was surprised by how much this helped me get everyone straight in my mind, and helped delineate them on the page. Especially since, at face value, many of them had similar characteristics. For example, many of them were arrogant, as nobles often are. But I learned that one of them was arrogant and dismissive, while another was arrogant and calculating, which totally informed how they interacted with others and helped me nail their speech patterns.
It also helped be sure that all the information I divulged about these characters went to building a cohesive impression.
So anyway, I thought I’d pass that trick along in case anyone else was struggling with a similar problem.
Tuesday, August 25, 2009
By sharing our convictions, it is like offering a piece of ourselves to our readers
Part of the joy of reaching our dreams is helping others reach theirs.
She writes because she cannot dance.
The difference between an editor and a critic:
An editor is not judgmental,
Critic probably is.
Separate the writer from the editor, and the editor from the critic. Then dump the critic.
A lion is made of the lambs he has digested.
When you learn to trust yourself, you'll know how to write.
Her first drafts are a "bullion cube of a book", then she stretches it into a full length book.
Like adding layers of clay to a wire foundation.
She gave us permission, permission to write, to make our own rules.
Writing=giving power to thoughts.
Show up, slow down, let ideas percolate.
Pay attention to what you love, hate. Be ready for serendipity.
Tell the truth.
Let go of the results.
That final one has been a biggy for me in the last couple of years, so I really enjoyed having her reinforce that.
Tunnel below the obvious and come back with what we know to be true.
Write about the things we are morally certain about.
Monday, August 24, 2009
So there you have it, commenters Eight and Two (Dave Johnson and Erica) email me with your snail mail addresses and I will get those ARCs out to you this week!
Thanks so much for entering everyone!
In other news, I got the first page proofs for Theodosia and the Eyes of Horus last week and have been diligently working my way through them. Honest to god, I swear that the Convoluted Sentence Fairy has visited this manuscript and sprinkled it with a few of the most tortured, serpentine sentences on the planet. Seriously. Who wrote those??
Once I get those out the door (this afternoon) I will dive back into my dark YA with my full attention. Except for blogging. I'll save some of my attention for that. :-)
Friday, August 21, 2009
In her talk, Anica emphasized that dark books are the perfect place for teens to experience some really dark things. It's a safe place to learn and to become aware.
She really helped convince me that there is absolutely a place for dark books in teens' reading material. Now, of course as a teen, I knew that and gobbled up those kind of books. In fact, in high school I carried around a copy of my mom's Fear of Flying (a very racy book, back in the day) just for the shock value, although I never read it. I think it was too boring for me at the time. So much for racy. :-)
But as an adult, I tend to keep one eye to being responsible--the kiss of death in YA. This talk reminded me how I need to be true to my teen self, and throw my parental self right out the frickin' window. Yep. That splat you heard was my parental self hitting the pavement. Ha!
From Anica Rissi:
YA is always in the moment, often in first person so the reader can feel the immediacy. Never looking back.
Simon Pulse only handles YA, mostly older YA, 14 and up or 16 and up.
She defines commercial as having the broadest audience possible, which I thought was a terrific definition.
Teens live online.
Personally, she loves edgy, she loves dark, and she loves big mistakes. YA is all about figuring out who you are and what you believe.
Mistakes have consequences and working through those consequences make for a great book.
Loves books about girls making wrong choices and going farther and farther down that bleack, heartbreaking road. Needs cathartic release of those kinds of reads.
Likes books with a big ol' honkin' HOOK, something that everyone "gets" upon hearing about it.
Also loves Quirky Humor and Dark Humor, as well as Paranormal.
Looking for emotional truth. Also likes to explore faith as an identity issue.
What does she see on the horizon?
Thursday, August 20, 2009
She did not disappoint. She gave a great talk, one that really resonated with me. Again, she did a great job of showing us how her childhood shaped the writer she is, with stories of living in a dilapidated, crumbling Victorian, with a mother who, when Holly asked if vampires or werewolves would get her, answered, "Probably not." I loved that. Holly's mother also warned her not to astral project because it would leave her body empty for too long and who knew who might take possession of it. Seriously, is it any wonder this woman writes fantasy??
Some highlights from her talk:
All writing is in conversation with what came before; we all build on each other.
We don't want to reinvent the wheel, want to build a whole new wheel.
Kid's books are a genre-less genre; we can write about anything we want
Literature lets s put on the mask of being someone else.
Fantasy actualizes metaphor. In fantasy we can talk about human emotions in a different way, blameless
However we do have to watch our metaphors because they do have such power.
Numinous - makes one tremble with awe, and fascinating
Horror = an essential wrongness with the world
"All novels are fantasy; some are just more honest about it." Gene Wolf
"Without the supernatural and divine, something is missing." Gene Wolf
(That last one seems to totally encapsulate my writing experience.)
Closed fantasy - the magic is hidden
Open fantasy - the magic is well-known and an acknowledged part of the world.
Day logic and night logic
Day logic - rules are spelled out, acts almost like science
Night logic - more intuitive and less reliable outcomes
Plots in fantasy have a slightly different structure than realistic fiction. (This is worth it's weight in gold, for anyone who writes fantasy. It's something I've done intuitively, but never had anyone acknowledge in terms of plotting before. Very cool.)
In fantasy, there are two stories in addition to the emotional journey.
There is the fantastical plot (dragons attacking the kingdom)
And there is the human plot (king's wife having an affair with his brother)
It is the interaction between those two plots that drive the story; the way they interact creates the resonance.
Isn't she brilliant?? (And she's also gorgeous!)
Wednesday, August 19, 2009
Books are a lot like that. Luckily, I've been so danged busy, I haven't really even thought about the impending reviews for Nathaniel Fludd, Beastologist. Until my editor emailed them to me. The first one is from Kirkus, always a nail-biter!
When his parents are declared lost at sea in 1928, ten-year-old Nate is sent to live with a cousin, who whisks him off to Arabia to watch the fiery death and rebirth of a phoenix. In this series opener, Nate learns he is heir to a long tradition of mapmakers and beastologists, people who study animals thought to be mythological or extinct. He acquires a gremlin friend, Greasle, and proves himself worthy of the Fludd family compass. The series has a promising premise and this first installment is well paced and complete, although tantalizing loose ends will frustrate readers who will want to know NOW about the missing letters, the mysterious thief and the actual fate of Nate’s parents. Playing freely with historical detail and using traditions of English boys’ adventure stories and colonial clichés about Bedouin culture, this American author has crafted an exciting tale. Straightforward sentences, chronological narrative, short chapters and Murphy’s plentiful black-and-white illustrations make this appropriate for middle-grade readers looking for a series to grow with.From Kirkus? I'll take it! This is only the third book of mine they've reviewed, they ignored the other five. And it is certainly the best review I've gotten from them. Of course, I cringe a little at the 'colonial cliche' bit, but I'm trying to shrug it off. These books travel the globe, trying to give kids a taste of geography and the cultures and traditions associated with those geographies. And they're short books. I like to think of the portrayal as more of a snapshot...an introduction, if you will.
And then yesterday, from School Library Journal:
Gr 3-5–This is a solid start to a new series. Ten-year-old Nathaniel Fludd’s parents have been off on an adventure for three years and are now, in 1928, declared lost at sea at the North Pole. Thus begin Nate’s own escapades as he goes to live with his Aunt Phil A. Fludd in Batting-at-the-Flies and learn the family business of mapmaking and beastology. Even though Nate has always resisted adventure, he now finds himself meeting an extraordinary talking dodo bird and talking gremlins, and he and Aunt Phil fly to Arabia to oversee the birth of a phoenix. When his aunt is taken by the Bedouin, Nate must summon his courage to protect the phoenix and save her. The story is packed with adventure and mythological creatures. Children who love fantasy, myth, exotic settings, and even a little dose of history will relate to Nate as he discovers his inner hero and carries on the Fludd family tradition. The characters are strongly developed and the period illustrations done in line, including some of Nate’s own sketches, enhance the tale. A quick and enriching read that will appeal to a wide variety of children.–Jane Cronkhite, San Jose Public Library, CAI love how this reviewer got that Nate was struggling to find his inner hero. Spot on! And of course, I'm pleased as punch she thought the characters were strongly developed--no small feat in only 18,000 words!
And now, because I feel like I've been talking about my writing process so much that I've neglected readers, I'm going to give away an ARC for Nathaniel Fludd, Beastologist. If you are a book blogger, a librarian, a teacher, a parent, or a rabid reader of kids books (I think I got everyone!) just leave a comment in this thread to enter. Be sure I have a way to contact you if your name is drawn, either your blogger profile or a link to your website/blog. To enter the drawing, simply post a comment in this thread. The contest will run until Sunday night (Aug 23) and I'll announce the winner Monday morning! Good luck!
Tuesday, August 18, 2009
Yes, there IS a third Theodosia book, and it's called THEODOSIA AND THE EYES OF HORUS. It will be out in April of 2010. That's only seven short months away! ::ahem::
Here's the cover copy, for those of you dying to know what happens next.
Being able to detect black magic isn’t all tea and crumpets—and when you’re Theodosia Throckmorton, it can be a decidedly tricky business! When Sticky Will drags Theo to a magic show featuring the Great Awi Bubu, she quickly senses there is more to the magician than he lets on, setting in motion a chain of events she never bargained for.
Meanwhile, back at the Museum of Legends and Antiquities, Henry is home for the spring holidays and makes an accidental discovery of an artifact alchemists have been hunting for centuries. Soon, every black-cloaked occultist in London is trying to get their hands on it.
Further complicating Theo’s life is her grandmother, who is determined to give her ex-beau a proper funeral, and the head of the Chosen Keepers’ insistence that Theo work with her nemesis, Clive Fagenbush (who still smells of boiled cabbage and pickled onions). Toss in a disgruntled mut, Sticky Will’s newfound career goals, as well as further meddling by the Arcane Order of the Black Sun, and you have another rollicking adventure as Theodosia and her friends are pursued in a race for one of the most guarded ancient secrets of all time.
And in other news, THEODOSIA AND THE STAFF OF OSIRIS is now available in paperback!
So there you go. You now know everything I do!
Monday, August 17, 2009
So I added more words, trying to make it clearer, and then they just got swollen and soggy and bloated. Blerg.
Part of the problem is that in addition to juggling about four old drafts, I’m also juggling the historical plot (which is based on true situations, so I am compelled to get it somewhat right) the political backdrop against which my story takes place, the main historical and political figures and what they are doing within the scope of the story, THEN my heroine and how she moves within that framework. Clearly, it’s pretty easy for her to get lost in all that.
So I did what I always do when I get stuck—pulled out my craft books. This time I picked up Donald Maass’s THE FIRE IN FICTION, which I’ve talked about before. I remembered that he had said something about scene turning points, and I went back to read about those and ended up re-reading half the book this morning.
I ended up finding just what I needed to help focus and shape the scenes. In fact, what I ultimately did was create a personal checklist for my scenes. Now, I say checklist, but what I really mean is more of an exercise that helps me really get into the skin and heart of my character as I write the scene. I thought I’d share it with you here. If you like what you see, you should definitely go buy Maass’s book!
Scene Focus Sheet
What is the purpose of this scene? (Why is it in the book? From an author standpoint, what do I need to happen here?)
What does the POV character want?
What is the exact moment that things change for your character during the scene?
In that moment that the change occurs, how does the POV character change? What does that change feel like to her?
At the moment things change for your character, note two or three visible or audible details that she experiences in that moment.
Reminder: Everything else in the scene either contributes to or leads away from those changes.
Create three hints that the protagonist will get what she wants.
What are three reasons to believe that she won’t?
What are five details of the scene setting? Quality of light, temperature, smells, sounds, texture, prominent objects. Ideally, these should be external, observable details that only your character would find of particular interest or notice.
And that is the key that’s unlocked a number of scenes for me this weekend, to anchor me in that one moment of time that the character was feeling, and feel her internal shifts as well as the play of light against her face and the solid wooden table under her hand.
Color me happy!
Saturday, August 15, 2009
R.L. LaFevers's THEODOSIA AND THE LAST PHAROAH, the fourth book starring the 11-year-old with an impressive knowledge of ancient Egyptian artifacts and a gift for nulling curses, in which Theo returns to Egypt, gets caught up in the machinations of competing secret societies, and edges closer to answering the questions surrounding her own birth, again to Kate O'Sullivan at Houghton Mifflin Harcourt, by Erin Murphy at Erin Murphy Literary Agency (world).
I cannot even say how absolutely thrilled I am to be working with Kate, The Best Editor EVER, and Houghton Mifflin on another Theo book! Color me one happy girl!
Friday, August 14, 2009
He also told the amazing story of his triumph over a whole host of childhood traumas and ill treatment, at the hands of both individuals and The System. Heartbreaking stuff, and an ultimately uplifting illustration of how our writing and stories grow out of the devastation of our childhoods.
He also said something that helped my entire YA manuscript snap into focus. He talked about kids being trapped by circumstance, whether rich or poor, and having choices made for them.
And I went, Yes! Choices being made for them! That's it! And things began to coalesce around that. Frankly, that one session was worth the price of admission.
Thursday, August 13, 2009
I do promise to report back in more detail once my brain begins functioning again. In the meantime, Mary Hershey's done a great recap of our trip over on Shrinking Violets. If you're still hungry for something to read, I interviewed Maggie Stiefvater for the Enchanted Inkpot yesterday.
I'll be back soon, with some degree of coherency. I promise...
Friday, August 07, 2009
My writing spot is a rocking chair in a little corner in the living room. There is great mojo in this space, the exact spot where I read hundreds, perhaps thousands of stories to my kids. Not to mention held them, hugged them, rocked them to sleep.
Now I would fit more comfortably in my sons' laps than they in mine, but I can still feel the echoes of all the living that has gone on in that spot. All the joys and sorrows of our life have seeped into that one corner. Sometimes, when I'm deep in the throes of writing, I'm sure I can feel all those fully lived moments wafting up at me, the rich, heady essence of my life, captured in a chair in the corner of a rather unspectacular living room.
This corner of the living room has a panoramic view out over our property, down through the valley, out across the small town where we live to the wide ocean beyond. I can watch clouds scuttling back and forth across the horizon, much as my thoughts do with a plotting or character quandary. This vista is helpful in reminding me to take the long view as well as the short. To think of community as well as the immediateness of the personal. It reminds me of how vast life is, but how fleeting, too, as I watch a hawk swoop in for the kill, or a bold coyote slinking around at high noon.
Even the palm tree is ripe with symbolism, sprouting from a lone palm date dropped by some wandering bird the first year we moved in, a reminder that even the biggest things start small. All in all, it is a perfect embodiment of perspective, both for life and writing.
And on that note, I'm off to the conference today! I won't be blogging again til Tuesday, when I'll report back on all the gems of wisdom and buckets of inspiration I've acquired!
Thursday, August 06, 2009
In this YA I've been working on (for years!) I've really vacillated back and forth about how much my heroine should trust/suspect one of the other characters. I swear, I've written is six times, switching back and forth each time.
But today, after having not looked at the mss for about six weeks, it became embarrassingly clear: put the d@man vacillation on the page. Idiot. Gawd. It took me two years to figure that one out. Sometimes we really can't see the forest for the trees...
The good news is, the six weeks away from the mss have really helped bring things into focus. It's very clear what must stay and what must go in this current round of revisiting.
Of course, I am saving everything I cut, just in case I change my mind again...
Wednesday, August 05, 2009
Just as you don’t take newborns out too early to expose them to gawd-knows-what kind of germs and contagions in crowded public places, so should you protect your work. Yes, even your early crappy work, because buried deep in there somewhere is the seed of the writer you’ll become. The tiny green shoot of your voice or your unique style. But the thing is, you might not recognize how precious it is yet, and the last thing you want to risk is ruining it before it’s had a chance to flower. (And honest-to-gawd, could I mix any more metaphors in there!)
Protecting means a number of different things. For one, it means being very careful of who you choose to show your work to, and even more importantly, how much to heart you take early feedback.
You always need to ask yourself if these readers/critiquers are really people whose opinion you value. Do your reading tastes align with theirs? Are you impressed by the work they share? Or is there some less tangible hook your hanging your respect on, such as they’re published, or got a personal rejection from a super star editor. Even if those things are true, that doesn’t mean they are the best person to give you feedback that will help your work become the best possible version of itself.
And you know what? The stronger and more unique your voice or artisitc vision, the more this applies to you. I shudder to think of all the critiquers I've personally worked with who would have told Audrey Niffenegger that time travel was dead, or that you 'weren't allowed' to jump around in time like that, or that the age difference was too icky. I've heard numerous editors speak at conferences, saying they can tell when a mss has been so heavily critiqued as to leech all the life out of it.
I do think there is a place for “hard truths” critiquing, but you need to be darn sure of the people handing out the critiques.
But protecting the work also means being mindful of whose advice you listen to, and maybe even more importantly, when you listen to it.
I have known writing teachers who give brutal feedback to their students, arguing that harsh critiques are nothing compared to the realities of rejection in the publishing world. Which is somewhat true, but I would also argue that teachers have a responsibility to encourage, rather than simply discourage, which is what we have market realities for. Other teachers have claimed that if writers are that easily discouraged, then they had too flimsy a dream to begin with.
I cannot fully express how much I disagree with that. No one has the right to stomp on your dreams. Dreams are fragile things, more fragile even that newborns, and to expose them to overly harsh eyes too soon is the creative equivalent of infanticide.
So don’t do it. Protect the work.
Even from me.
Oh sure, all this stuff I talk about here is shared with the best of intentions, but it is only my opinion and my process; it is not (by any means) holy writ. Many, many brilliant writers write their brilliant books without doing a single thing I’ve ever talked about. The stuff I share here is simply what I’ve found helps me write the kind of books I like to read, and nothing else.
If I wrote different kinds of books, adult books, say, or literary books, or memoir, I'd have an entirely different set of guidelines and craft tools that I used. So please take all my advice with a grain of salt.
Better yet, only embrace the stuff that resonates with you; that sparks some faint aha! deep within, or gives you the sensation of a puzzle piece falling into place.
Please, please, please don't clutch all these rules and suggestions in your hot little hand as you try to write your first or even second discovery draft. Hell, I can barely even spell when I'm writing a discovery draft, let alone juggle all the things I talk about here. If the stuff I talk about makes you doubt yourself or your story, or begins to take away some of the pleasure you get from writing, then stop now! This simply means that these are not the lesson your process needs right at the moment.
So be gentle with yourself and the demands you place on your early work, okay? Once you feel you’ve hit the wall of your own limitations, then it’s a good time to seek out other input.
Tuesday, August 04, 2009
My first email this morning was a copy of a tear sheet from Scholastic Parent and Child Magazine. Nathaniel Fludd is being featured! Very cool to wake up to! (Did I also mention that Nathaniel Fludd was a Junior Library Guild selection? Can't remember if I did or not, but that's always a huge honor.)
Today I am diving right back in to my medieval France fantasy. I want to finish it this month or die trying. And since it involves assassins, I now have the expertise to carry out that threat. :-)
I'm also all a-flutter trying to get organized for the SCBWI National Conference that begins this Friday. Seriously, I am so excited about this, you'd think it was my first time going! It's not, but apparently I really really need it, becaue my muse is doing a happy dance. Of course, it doesn't hurt that it's also four days with my bff, Mary Hershey, and even four straight days isn't enough for us to catch up on all the stuff we need to catch up on. And it's not like she lives in Alaska, either. She's only fifteen miles away. But there's something about a four day sleepover at a hotel that is very conducive to shared confidences and heart to heart talks.
The only (tiny) cloud on the horizon is that the conference falls on my younger son's birthday. In fact, it tends to do that rather frequently, so when he was younger especially, that determined whether or not I would attend any given year. But this year he is going to be twenty, long past the time I need to worry about such things. Or so he assures me. Of course, being a mom, it still pricks at me a bit, but I'm taking him at his word.
I had promised someone more posts on how to use spreadsheets, but I'm going to have to put that off until next week due to all the aforementioned stuff I need to juggle in the next three days. But I will get to it, I promise!
Our electricty was supposed to be off all day today so they could upgrade equipment nearby, but that was called off last night. What a relief to have power all day!
Off now to make good use of it!
Monday, August 03, 2009
Typos and misspellings
Weak words, especially verbs
Wordy sentences (This is my Achilles heel. Bet you couldn't have guessed that...)
Adverbs (Although I must state I have a great fondness for adverbs. But the strong, expressive ones, not weak ones. Although sometimes I think those work for flow and balance.)
Echos (The same word showing up two or more times in rapid sequence. However, sometimes there really is no other word you can use, though, so you're stuck.)
Look for “to be” or was or were, see if stronger verbs could work there. (My rule of thumb is to keep the "to be" (or gerund) form of the verb if the action is continuous or ongoing. So, for example, He was walking across the street, then tripped. Which implies he tripped WHILE crossing the street. As opposed to, He walked across the street. He tripped. Which implies he tripped after he'd crossed the street. If that is the nuance of meaning you're going for, then keep the "was verbing".)
Part of this is fueled by my own experiences. The VERY day my first book came out, it got an absolutely vicious, savage review. One that not only made it clear what they thought of the book, but wanted to ensure I never picked up a pen and tried to write again.
The truth is, they almost succeeded. To say I was crushed is an understatement. Luckily I’d sold two more books before the review came out or it would have been doubly hard.
But of course, we learn more from mistakes, and they force us to grow stronger. So I doubled down in trying to do two things: one, see my own work more objectively and two, improve my craft.
For me, all this analyzing is a vital tool--perhaps the only tool I know of--that allows me to gain some semblance of objectivity over my own work. It doesn’t guarantee that everyone will love it or that it will speak to all readers, but if I go through these checks and balances, then I know that at least in some regards, it is solid.
However, sometimes my gut tells me to ignore one of these questions. Or to do something anyway. And sometimes I'll go with my gut. Or sometimes these very questions that are my lifeblood with one manuscript, will feel constricting with another. Then I toss them aside, write the mss the way I want to, then put it aside to gain some distance. And I mean, I really put it aside. To my saintly agent's dismay, I have at least two or three mss that are finished, but stewing in a drawer waiting for me to decide how to tweak them one last time.
Also, perhaps most importantly, these same things that work for me might not ever work for you. In fact, they might paralyze you. In that case, tiptoe away as fast as you can and ignore everything I say. I'm dead serious about that. That simply means my process is not your process, not that either one of us is wrong.
I do worry a bit because I know blogs are supposed to be entertaining, and I don’t entertain, I inform. But I am sorely lacking in skills with which to entertain you. I’m not intrinsically funny or live a particularly interesting life. I do have a finely honed sense of the absurd, but mostly in regards to politics or personal morals, and those areas are probably best for me to avoid in my public persona. :-) So you’re stuck with inform. But that's okay because I figure anyone who was looking for something different left here a loooong time ago. :-)
Now for the last of the revising posts....