Revision and Seeing the Big Picture- Part II and a Giveaway!

In last week's blog, Rebecca Petruck shared how she created an overall plan for revising her soon to be released book, Steering Toward Normal. In this second post, she discusses what to do when the thinking is done. Rosi Hollenbeck, one of my newer but very faithful blog followers, won last week's critique from Rebecca. Don't despair--Rebecca is offering it again!

Once I had journaled about my characters’ WHYs and the theme, I drew a map of what needed to be added to or changed in the book. I didn’t map the entire book again, I only charted the new or different things that needed to happen. I also did a plot clock of the entire book, just to have it in my head, but once it was done, I didn’t use it much. The map was my constant reference point—written in pencil and with post-it notes for easy updating, moving around and reminders as I went along. (In the photo: purple notes are info that needed to be added somewhere; orange are new/revised scenes; green are additional notes from critique partners.)

I can’t emphasize enough how important this planning period is and how much time and heartache it can save you. If you have three weeks to revise, it may seem crazy to take an entire week to THINK about the revision, but the writing goes so much faster when you do. Especially if you only have three weeks to revise, know what you’re going to do before you do it.

Then, it’s all about making sure the dominoes line up. I wasn’t a slave to the plan—small things changed, were moved around, one whole scene was cut unexpectedly—but generally, I had the big picture.  

In a way, a novel is a logic problem: If - Then. Every scene, chapter, act and novel must have an If - Then. In WIRED FOR STORY, Cron calls it the action-reaction-decision, which I think is brilliance on a stick. If - Then focuses on plot. Acton-reaction-decision focuses on character. To quote Cron, “Stories are about how we, rather than the world around us, change. They grab us only when they allow us to experience how it would feel to navigate the plot. Thus story is an INTERNAL journey, not an external one.”

Character and plot are Siamese twins. We must have plot to navigate so that we can experience how it would feel, but we only care about plot in how it reveals a character’s experience and feelings (her reactions). When I critique, all I’m really asking of the story over and over is WHY? To quote Cron quoting Julian Barnes (nesting doll!): “Books say: she did this BECAUSE. Life says: she did this. Books are where things are explained to you; life is where things aren’t.”

It’s tempting to think you can use an editor’s letter, notes from a critique partner or marked-up pages as a checklist and just get started, but that’s likely to result in a choppy manuscript and kind of misses the point. For one, your reader may comment that a scene doesn’t work, but it’s not really that scene. It’s that the scene three beats before wasn’t set up properly. You can revise the pointed to scene ten times, and probably none of them will be right because of the wonky early scene. Critique notes, even from an editor, are not a to-do list but a series of arrows saying, “Something’s off here; make it better.”

More importantly, every revision is an opportunity to re-imagine your novel. Use notes from your reader to really think about what you want to say with your book, then take the time to say it even more effectively than you already have.

Which brings me back to my thesis that you need a rest period between drafts. As you write, you have to get so close to the moment to write each scene, it can be difficult to see the big picture. The rest stop lets you shift your focus, like with those magic-eye pictures, so you can pull back and see what you’ve got. I have been surprised as heck by some of the stuff I learned about myself and what I was REALLY writing about—and I think that’s an excellent sign. If you can surprise yourself, it’s likely you’ve hit something deep and true that will resonate with readers long after the last page.

********

Thanks, Rebecca! I hope that between my break from my manuscript and your suggestions, I'll come up with a new vision for Half-Truths!

Rebecca is again offering another giveaway. You can win either a 10-page critique from her, or a copy of WIRED FOR STORY. 

Here are the rules:

• Post this blog on your social media site of choice OR become a new follower of this blog and I'll enter your name once. 
• Post this blog on two different social media sites OR become a new follower of this blog AND post it on a social media site and I'll enter your name twice.
• Either way, leave a comment with your email address (if you are new to my blog) with what you did. 
• Winner will be drawn on Monday morning, August 12 - so get those entries in!

Rebecca Petruck is a Minnesota girl, though she also has lived in Louisiana, Mississippi, New York, England, Connecticut and, currently, North Carolina. A former member of 4-H, she was also a Girl Scout, a cheerleader, and competed in MathCounts. She reads National Geographic cover to cover. She is represented by Kate Testerman of kt literary, and her first novel, STEERING TOWARD NORMAL, will be released by Abrams/Amulet Spring 2014. Please visit her online. 

Revision and Seeing the Big Picture- Part I and a Giveaway!

Some of you have already met Rebecca Petruck (either on-line or in person), my writing coach who is helping me shape, hone, and revise Half-Truths. In this blog and the next, Rebecca shares her own revision journey.  I am currently following Rebecca's advice on letting my manuscript rest while she reads my entire manuscript. 

When I posted a photo of my revision map on Facebook, Carol invited me to write a post for her blog. STEERING TOWARD NORMAL will be released by Abrams/Amulet Spring 2014. I received my editor’s letter and marked-up pages March 2013, with the final due by June. But let me back up a little.

I’m a big believer in the benefits of letting a manuscript “rest." I can’t say enough how important it is to take a real break from a story—the kind of break in which you write something else. Even if your deadline means you can only let the MS rest a few days, take those days to write a short story, fan fiction, even type chapters from a favored author’s book—anything truly separate from your novel. Your brain needs to be entirely turned to the off position re: your story in order to be able to see it new again. Critique partners are hugely helpful in this, too. Anyone who gives you fresh insight into your work is a keeper.

I didn’t let myself read STN again until I received Howard’s notes. I wanted to see it through his eyes. Afterwards, I didn’t let myself do any work on the actual manuscript until I had thought everything through and had a plan. (This is harder than it sounds—jumping in is easy.)

I’m not an outliner, but I am organized. I had a three-month window and broke it down into, you know, three’s. :) One month for planning, one month for writing, one month to tweak per notes from my critique partners. One month for planning may seem like a lot of time with a deadline fast approaching, but that time to think through what I wanted to do was ESSENTIAL. It saved me from being slowed down by a bunch of false starts and misdirections.

I had a list of sixteen questions from WIRED FOR STORY by Lisa Cron that I used as starting points. I journaled about the four major characters, and brainstormed a B-story that ended up being so exactly what the book needed I couldn’t believe it took me eleven drafts to figure it out. (Thank you, Howard, for asking about Diggy’s friends!) The questions that resonated most with me ended up being: “When and why was his worldview knocked out of alignment?” “What does he HOPE will happen (vs. what does)?” “What is his ‘aha’ moment?”

I tend to think of early drafts as heart-and-gut writing. If we’re lucky, and if we can stand it, this is the time we write something about the world we believe deeply, even (especially?) if we’re not aware of it. Later drafts are the terrain of the analytical brain. What IS the theme? What can I do to make it pop more? Do these scenes speak to it? Do these characters learn it, get hurt by it, care? WHY?

Theme is one of those things you can’t think about while you write, but you must think about between drafts. It’s that thing so important to you, you wrote a NOVEL. Yet is a classic Catch-22—if you think about theme too overtly while writing, your story is likely to be didactic or simply bad. But you can’t ignore it either. Every story has to have a POINT. Even so-called “light reading” or humor books—the ones that rise to the top anyway—have a clear theme, sometimes as simple as “Life is ridiculous and then we die.”

Next week, Rebecca will return with advice on what to do once the thinking is done.

Meanwhile, she is once again generously offering one of two giveaways. You can win either a 10-page critique from her, or a copy of WIRED FOR STORY. Here are the rules:

• Post this blog on your social media site of choice OR become a new follower of this blog and I'll enter your name once. 
• Post this blog on two different social media sites OR become a new follower of this blog AND post it on a social media site and I'll enter your name twice.
• Either way, leave a comment with your email address (if you are new to my blog) with what you did. 
• Winner will be drawn on Monday morning, August 5 - so get those entries in!

How many writing coaches agree to meet you at
Whole Foods Market in Wilmington, NC?
Rebecca did!

Rebecca Petruck is a Minnesota girl, though she also has lived in Louisiana, Mississippi, New York, England, Connecticut and, currently, North Carolina. A former member of 4-H, she was also a Girl Scout, a cheerleader, and competed in MathCounts. She reads National Geographic cover to cover. She is represented by Kate Testerman of kt literary, and her first novel, STEERING TOWARD NORMAL, will be released by Abrams/Amulet Spring 2014. Please visit her online. 

When the Teacher Becomes the Student PLUS a Great Giveaway!

My most recent book is Teaching the Story: Fiction Writing in Grades 4-8. Although intended as a teacher's guide for upper elementary and middle school students, I draw upon it when I teach writing classes at Central Piedmont Community College. 

I was looking over this week's class on Creating a Character and found my instructions for students to write "fast" by revealing their characters through their

    F-  Feelings

 A-  Action

 S-  Speech 

     T- Thoughts

Besides teaching, I am also deep into the second draft of my historical young adult novel, Half-Truths. I am fortunate to have Rebecca Petruck as a writing coach; she consistently pushes me to reveal who my characters are. 

Rebecca & I recently talked shop
at the Whole Foods in Wilmington, NC

In my opening chapter I had written a scene where Lillie, my protagonist, overhears her grandmother's employers arguing with one another. I had written:  

“What’s going on?” Lillie asked. 

“Missus Dinsmore is fussing at Mr. Dinsmore like usual,” Big Momma said, fanning herself with her apron. “Telling him that while his grandchildren are visiting he’s got to get his nose out of his books and stop playing around with his glass thingamajigs.”  

Rebecca commented, "We don't have much from her other than to be present and watch what's happening. I want her reaction to things, her interpretation of the world around her. This is her chapter, so we need to get to know her more. [I want to see more] of Lillie's internal experience."

I could have slapped myself "upside the head" (as a character in my book might say). I had forgotten the "T" in FAST. In fact, there wasn't much "F" (feelings/emotion) in this snippet either!

Several rewrites later, this passage now reads:

 In between claps of thunder, Lillie heard bickering coming from the other side of the kitchen wall. “Mr. and Missus Dinsmore fussing again?” Lillie asked. Missus Dinsmore was always acting better than everyone else.  But Lillie had overhead enough arguments to know that she could be as nasty as a barnyard dog.

 Big Momma fanned herself with her apron. “Missus Dinsmore be reminding him to get his nose out of his books and stop playing around with his glass thingamajigs while his grandchildren are visiting.”  Lillie knew exactly what Big Momma was talking about. A few times Mr. Dinsmore had invited her into the library to look at the different colored glass pieces displayed on his shelf. Cullet, he called it. Leftover glass from factories he’d worked at as a boy. Missus Dinsmore didn’t appreciate her husband’s glassmaking stories the way Lillie did. 

I thanked Rebecca for helping me to instill more internalization in my story and she wrote back: 

"I think calling it internalization isn't really correct because it is a very active connection with the protagonist--we are in her mind, trying to process the world, understand the why of things. That's where the story is for us, much less so than the actual stuff that happens." 

Along with providing helpful insights into my manuscript, Rebecca encouraged me to read Wired for Story by Lisa Cron, retyping sections of other books in a similar genre, and reading when the Show, Don't Tell rule may be broken. 

I have learned a great deal working with Rebecca from her critiques as I write, revise, and write again. (Here is a helpful handout from Teaching the Story that demonstrates the revision process.) Her suggestions reminded me of to Lorin Oberweger's handout on Deep Point of View that was part of the Your Best Book packet. And a recent post on Janice Hardy's blog, also offered excellent advice on how to include internalization in your story.

Since Rebecca is such a wonderful writing advocate and coach, she is providing this week's giveaway! She is donating either a ten-page critique of a middle grade or young adult manuscript, or a copy of Wired for Story-winner chooses. I am so pumped about Rebecca's giveaway offer, that I'm giving you TWO chances to win.

• Post this blog on your social media site of choice OR become a new follower of this blog and I'll enter your name once. 
• Post this blog on two different social media sites, OR on one site on two different days, OR become a new follower of this blog AND post it on a social media site and I'll enter your name twice.
• Either way, leave a comment with your email address (if you are new to my blog) with what you did. 
• Winner will be drawn on Saturday evening, February 16th- so get those entries in!

Good luck to all of you and if the winner chooses a critique from Rebecca, get ready to grow your writing and revising skills!