Tag Archives: first draft

Don’t Revise – Plot the Next Novel!

Craft & Skills Editing Ideas & Plotting 1 Comment

In my previous post, Know Your Story – 5 Simple Steps, I talked about creating a scene-by-scene outline from your first draft. The purpose of this exercise was to see the story’s structure. Structure included the shape of the plot itself and whether the scenes were structured in a balanced manner with a focus on exposition, action, dialogue, and reflection. I still recommend doing this to familiarize yourself with what you actually wrote as opposed to what you thought you wrote.

This is especially important if you’re writing a series because every book needs to build on the previous one. So, know what you wrote but don’t revise it just yet. PLOT your next book first before you begin revisions.

There is a theory out there not to write the next book in the series before the first one is accepted by a publisher. That’s silly, for so many reasons. Today, we have the option to self-publish. Even if a publisher accepts Book 1, that is not a guarantee that they’ll want Book 2. That depends on sales. But my main reasons for finishing a series, with or without a publisher are: a) I have momentum, a writing style and my characters and I understand each other well. There is no guarantee that I can pick up that vibe in the future; and b) the story is in my head, as is the character’s voice and a series is but one longer story to me. I have to write it; and c) I have publishing options and if a publisher publishes Book 1, and not the rest, I can build on whatever momentum I have and release the rest of the series.

But why plot the next novel before revising the finished one?

The future devils are in yesterday’s details!

I know an author who wrote the first book which was accepted by a publisher. In the throes of edits and final copy, the author set to work on the next book. Now, this author had ideas for the rest of the five book series and it was on that basis that the publisher bought the series. But, she didn’t have them plotted out. She didn’t need to because the concept and her writing were strong enough. The problems began when she created a more detailed outline for the next book. Details, information, actions, clues – all the things that could have foreshadowed and been used in the second book had not been included in the first book. She had written herself into corners or didn’t have the necessary tools for her characters in the second book. Creativity took on a new meaning and it was a challenge, albeit a doable one.

That is why I recommend outlining the next story before you revise the current story. Know the key plot points such as the beginning, the climax and the end. Jot down some ideas of how the protagonist and antagonist will arrive at the climax. What tools will they need? What characteristics will they require? Does the setting need to be described more richly so there aren’t any convenient contrivances? Are the subplots and relationships strong enough to sustain in the next story? Is this story’s world, and the characters rich enough to continue the melodramas and keep tension in the next novel?

When revising a story set in a series, the questions and story problems aren’t confined to the single novel. They affect the entire series and most importantly, the first book sets the stage, so make certain that the stage is set well, with enough detail, information and tools so that you don’t write yourself into a corner.

Always remember that the future devils are set in yesterday’s details!

This is Only the Beginning

First Drafts Jo Schneider Outlines The Writing Life The Writing Process No Comments

What do I do once the first draft is finished?

Finishing a rough draft is no easy task, and it should be celebrated. So do something fun. Have a drink. Eat some cheesecake. Go to a movie. Go for a run. Whatever makes you happy. Give yourself the satisfaction of being finished for at least five minutes. Then you can move on to the real fun.

I’m an outliner. This does not mean that my first draft resembles the outline I made before I started. In general, things start to go off the rails at the midpoint of the story, and it often goes downhill from there. So by the time I’m finished, the last half of my book is a sometimes delightful, sometimes horrifying surprise.

If I’m not on a tight deadline, I’ll let the first draft sit for at least a week. Work on something else. Preferably something different. Some short fiction, or edit a different piece. Read a book from an author I love. Cleanse my pallet.

I don’t know about anyone else, but if I write a rough draft in a hurry (which I prefer, because creating is more difficult for me than editing so I use the rip-the-Band-Aid-off fast approach) I’ll actually forget things I wrote. So it’s kind of fun to go back a week or a month later and re-discover what happened to my poor characters that I hadn’t planned the first time around.

Once I’m ready to jump back in, I put a notebook in front of me and read through my first draft. You can also do this on the computer, but I still prefer paper and pen. I write down any number of things, including:

  • Things that pull me out of the story
  • What I think my theme is and what sticks with it and what doesn’t
  • Specifics on characters (eye color, height…because even if I have a wiki I don’t always look at it)
  • Parts that work
  • Parts that don’t work
  • Where the story slows down
  • Where the story is rushed

In the margins if the file (I use Word) I will make more specific notes. Things like:

  • How to fix a slow/rushed part
  • Where I might need humor
  • Plot ideas I have for revisions
  • Specifics on how to fix a scene
  • My most often typed note is: “Either use this or take it out.”

My first drafts are often bloated with little clues that lead nowhere, so I mark them as I go through so I can, as I said above, either use them or take them out. Because for some reason readers don’t love fruitless details.

Once I’m finished with the read through, I go back to my outline and change it to match what I have. Then I figure out what sort of hybrid I need to come up with between the original and what I have, and then I start again.

I prefer to use two monitors when possible, because I start with a blank document and then copy and paste from the original to the new one as I go.

While the process is less than perfect, it works for me. Does anyone else have a process they love that hasn’t been mentioned? Let us know!

 

Organizing Critique Comments for Implementation

Critiques First Drafts Rewriting The Writing Process No Comments

Guest Post by Susan Forest

You’ve chosen beta readers from more than one source who understand your genre, you’ve given them your best work so they don’t correct flaws you know about, and you receive their feedback. But how do you organize the feedback, process, and implement it?

Knowing how to effectively deal with feedback will greatly help and improve your manuscript and will turn beta readers into fans.

First, it’s helpful to receive your feedback, when possible, in both written form (line edits and/or written comments) and verbal form. A nice protocol is to invite your three beta readers over for snacks or out to a restaurant for coffee and dessert. This is not only a way to thank them, but to bring them together by a specified deadline, to give feedback.

During this meeting, ensure you set a tone of professionalism (it’s not just social) and take notes without interrupting (except to clarify misunderstandings). There is no point in taking up time explaining what your story was supposed to say—if they didn’t get your message, that’s feedback, too.

When I get home from such a meeting, I first organize my comments into two types: line edits and global revisions. The line edits are easy to get through fairly quickly. Here, you can clear up typos and small wording or sentence changes that you agree with. You can ignore the occasional edit that is clearly wrong, or at least, wrong for you.

Sometimes, a line edit your beta reader gives you includes something bigger: a place where the reader was confused, where their comment has implications for several places in the manuscript, or where the comment gets to deeper thematic or character arc issues. Make a note of these, and add them to your second type of comments: global revisions.

By doing line edits first, you accomplish something important to the book, improve your novel, and give yourself a sense of achievement—and staying positive about your novel is critical, especially in the face of multiple notes to make changes.

The global revisions, especially on a longer work such as a novel, can be daunting. Begin by putting them all into a single document (perhaps in point form), and reduce their number:

  • Delete any repetitions. But remember: if all three of your beta readers pointed out the same issue, it’s probably valid.
  • Delete any changes you’re not going to make. Perhaps your beta reader isn’t really your audience (if he or she doesn’t read or understand your genre, they might be off base), missed the point of your story, or—although you respect their point—you simply know: this is not a change you’re prepared to make. Hey, you’re the author, and this is your book.
  • Don’t try to please all tastes. If one reader wants you to make a certain change, a second gives you the opposite advice, and the third doesn’t want any change at all, remember that by trying to be all things to all people, you can edit the passion out of your story. Follow the critique of the reader whose vision is closest to what you are trying to achieve.

Next, phrase all comments in the positive. You can’t do anything with a negative comment. For instance, even if you agree that the comment, “Don’t make your protagonist weepy and weak” is valid, it can’t be implemented until you change it to “Angela should stand up for her own position in her relationship with Greg.” That is something you can work with.

Then, find out where (in which chapter and scene) you want to implement the change. In the above example, you might decide that Angela will tell Greg she intends to buy a cat in chapter 2, scene 1; choose the restaurant in chapter 9, scene 5; and demand he pay half the rent on their apartment in chapter 15, scene 4.

In some instances, a comment will be implemented in only one place in the book. In other cases, several different examples will find their way into different parts of the book (as in Angela’s example, above). In still other cases, the same detail will be applied to multiple places in the book. This could happen when you want to ensure rats are ubiquitous in your medieval fantasy.

Create a new copy of your manuscript (Angela and the Rat, v. 2.0) and insert the points you want to change at the top of each scene. You might want to use a different font for these notes, just to be sure the point doesn’t accidentally slip into your text. Now, instead of an overwhelming list of changes to make, you have anywhere from 2-5 points at the beginning of each scene—and some scenes will have no changes at all. This is much more manageable.

Revise each scene. You are likely to discover as you go through that some revisions simply won’t work. You might have thought you could slip in a reference to rats in chapter 3, but to do so turns out to be awkward and derails the point of the scene. No problem. When you’re revising chapter 4 you might find a more natural place to put it—and, if you already intend to refer to rats in 2-3 more places, you might not even need the chapter 3/4 reference.

You may find that implementing a change in one part of the book spawns other changes, such as the domino effect of logic and motivation, or a cool new idea that enriches and deepens your text.

And, when you have finished all the revisions (like the guy taking the wheelchair apart and putting it back together who discovers he has a handful of nuts and screws left over), you may find there are some revisions that somehow just never made it into the new draft. Do you really need them? Maybe. If so, go back and find a place to put them in. Or, maybe you don’t actually need them.

Read the entire manuscript again. This not only allows you to catch inconsistencies the revision process may have introduced, it gives you a chance to put your finger on the pulse of the book as a whole, so you can see how the build and flow of plot logic and emotions work together. This step has the added benefit of pumping up your enthusiasm for your novel: it is better! Revision worked! And, it wasn’t as painful as it first appeared.

It is a truism that, with rare exceptions, first drafts are not very good; that fiction comes to life under revision. It is also true that coming out of a meeting with your beta readers with a wheelbarrow full of suggested improvements can be daunting and depressing—so much so, it can be hard to even look at your creation again. By winnowing the comments down, rephrasing them with positive wording, and dividing them up into small, workable batches, you can really make use of their power, and come away with a vastly improved draft: one you are proud to send off to potential markets.

 
Susan writes SF, fantasy and horror, and is an award-winning fiction editor for Laksa Media. Her novel, BURSTS OF FIRE, will be out in 2019, followed by FLIGHTS OF MARIGOLDS. She has published over 25 short stories, contributes to When Words Collide, and has appeared at many international writing conventions. https://fineartemis.wordpress.com.

Conquering First Draft Fear: How to Proceed with the First Round of Revisions

Choice Editing First Drafts Kristin Luna Rewriting Self-Awareness Self-Motivation The Writing Life The Writing Process No Comments

You’ve done it! You’ve written the first draft of your book! A very merry congratulations to you, and you deserve a beer. Maybe even a vacation. At the very least, a trip to the gas station to buy three packets of candy. If you feel proud of yourself, you absolutely should. If you don’t feel very proud of yourself, then congratulations again, that just means you’re a writer.

Any good writing website or book worth its salt will tell you your next step is to revise the sucker. Yes, you must do this step. Yes, everyone else hates it, too. Some books or fellow writer humans will advise you to put the book down for a set period of time to let it “rest,” like a good yeast bread needs a good rise. Unfortunately for your book, it doesn’t keep getting better in that resting period like bread does. No, no. It’s still the piece of crap you left a few weeks ago. So instead of the story rising like bread, think of it this way: YOU’RE doing the rising. You walked away for a few weeks and grew wise enough to rise above the piece of crap you made in order to come to a place where you can look past your subjective love of the story and objectively say, “Ah yes, indeed, this is a piece of crap.”

That might sound a bit dreary, but I know you. *winks* I know you because you’re a writer like me, and although you see what you’ve written as a piece of crap in front of you, you still love it and will do the work necessary to make sure it’s a remarkably great piece of crap instead of just a regular, old piece of crap.

First, may I just confirm what you’ve already been feeling? Yes, it’s hard. It’s going to be difficult at times. But let me reassure you as well: if you’ve already written the first draft, you can certainly complete these revisions. Not only that, you can do it in less then ten years. Maybe even less than five. If you’re lucky and ignore all of your adult responsibilities, a month.

Let me tell you the secret of doing revisions. You’re going to be surprised, because you’ve already learned this lesson when you were writing the first draft.

Ready?

Here it is.

You make yourself do them.

Just like you made yourself sit down and write when you didn’t feel like it, when you didn’t feel inspired to do so. You get yourself in the zone however you did when you were writing. You sit down with your cup of tea. You put on the music that gets you going, and you do it.

Everything else is just details. Should a comma go there? Is her hair dark brown or more of a medium brown? Do I italicize internal dialogue? Is the book long enough? Will people like it? Will I ever make it through all these stupid edits?

All of those fears and questions? Just the details.

Keep yourself focused on the big task in front of you: Just. Do. The. Revisions.