I'm thrilled to announce that I met my November writing goal today, completing the second draft of my current work-in-progress. I must say, the experience taught me a lot, since I've never revised a novel before. In case it proves helpful to others struggling with revising an unwieldy first draft, here are the key lessons I learned:
Know thyself. I am a terrible procrastinator, I'll admit it right now. (Or maybe later.) I set myself a deadline to complete this revision during the month of November. I got through a little more than half the novel and hit a big fat brick wall. The wall didn't move for a good two weeks or more. On Black Friday, after stuffing myself with leftover pumpkin pie, it occurred to me that I had three days left in the month and few other demands on my time. I figured out that if I averaged seven chapters a day, I could still meet the goal; this seemed entirely feasible. I got re-energized (why else do we procrastinate, except that we love the mad dash towards the finish line?) and made it happen.
We all have our strengths and weaknesses as writers. If you're honest with yourself about what they are, you can leverage the former against the latter to avoid your own pitfalls.
Don't give up. Churchill said it best - doesn't he always? "If you are going through hell, keep going." I think he was probably referring to WWII, or possibly the Boer War, but regardless, the adage works here too. While it's not quite as traumatic as war, revising your writing tends to be hellish more often than not. Difficult choices present themselves. I want the work to be phenomenal, but am I going the right way to get there? This is the question.
That big fat brick wall I hit? In the first draft, I'd written some chapters in first person and some in third person. I had to make a narrative choice and stick with it. Guess who deeply questioned that choice just over halfway through the second draft? I agonized for a good two weeks before deciding, "What the hell," and telling myself to just get on with it. If the end result sucked, well, I'd just proved to myself I could take massive amounts of writing and make titchy subject & verb tense changes throughout it. I could always do it again, but I wanted to finish this draft first, maybe to see how it went, maybe just because I'm stubborn, maybe a little of both. By the end of the revision, I felt like I'd made the right choice after all, and even developed cogent-sounding arguments as to why my narrative choice better supported the story. (At least, I'd like to think they sound cogent.)
It's rough, no doubt. When you care this much about something, a bad roadblock can make you question the entire project, and it's tempting to walk away and start anew. I think the key is to not give up midway through your decision; carry it through to the end before you determine if it's unworthy. It's dangerous to try and judge only part of the picture.
Identify the issues before you start fixing things. Granted, things will pop up along the way, and you should address some of those too. But you already know what huge, glaring plot holes you blithely skipped over on that first go-round, or that you were going to have to do some serious web-surfing to write accurately about raising goats in Greece, or what have you. Hopefully, you had at least two or three readers provide you with feedback, and you've read it through yourself (resisting the urge to launch into revision right then, which is so hard, isn't it?). I actually made a list of the issues I wanted to fix and the questions I had to face, so I could approach them more effectively. I'm definitely more of a pantser when it comes to the first draft, but I think the more structured & organized approach to the second draft is what got me through it.
Plan on a next draft. We tend to put a lot of pressure on ourselves when we write. (Go ahead, call me Captain Obvious.) You don't have to make it perfect right now, just better. Knowing this helped me a lot. I confess I took refuge in focusing on the technicalities for much of this draft, except for changing and dropping a couple parts of the plot that just didn't feel right - and that I felt capable of fixing there and then. If I ran into something that was still too overwhelming to tackle, I left it for the third draft without even a twinge of guilt. I stayed plenty busy fixing other massive problems, the ones I'd planned on dealing with. Like my mom says, "Eat the elephant one bite at a time."
30 November 2009
08 November 2009
somewhere between a sigh and a growl
I'm not sure what that noise would sound like, but it's what I'm making right now. Or rather, I keep alternating between sighing and growling, because like I said, I don't quite know how to combine the two. Suggestions?
There are several reasons for my frustration and crankiness, most of which I won't go into here, but one thing that's been bugging the hell out of me is my internal struggle over 1st vs. 3rd person POV in my current WIP.
When I wrote the first draft, I was just focused on getting the words on paper (or the computer screen, whatever) and I wrote some chapters in first person, some in third, as the mood struck me. There was not a lot of thought involved; I just wrote instinctively.
So one of the questions that's preoccupied me for the last year, since I wrote the first draft, is which POV to use. I felt like the story needed a consistent narrative approach. I ended up going with first person, largely because the protagonist undergoes such an emotional/mental journey as she goes through the plot conflicts. She transitions from anti-hero to hero, and during her journey, she makes some choices that most people would probably respond to with a well-deserved "WTF?" So I felt like the first person would heighten the reader's sympathy with her while supporting the tension between her (at times admittedly unreliable) perspective and the rest of the world.
Then, yesterday, I reached the halfway point in my first round of revision. I finished 25 of the 50 chapters (yay!), and felt great about how the story was going. I decided to take a little break, do some stuff around the house, and then read a bunch of articles about writing/revising/character/plot/POV.
That last bit was, I realize now, perhaps a mistake. Okay, definitely a mistake. I read some articles discussing 1st & 3rd-person narration, and the debate I thought I'd settled for myself just raged right up again. Except at this point, I'm halfway through making the novel a consistent POV, and nearly 30,000 words in is really not when one wants to be questioning one's narrative choice.
So, y'know. Little irritated. Part of my frustration is that it seems a lot of writers consider first person to be an "immature" choice of narration, which made me question myself and get all insecure about my writing abilities. But as Nathan Bransford says (not in the linked post, but often), if it works, it works, and I think as long as I'm aware of the possible pitfalls of 1st-person narration - and, even better, avoiding them - it may still be the right choice for this story.
So I'm going to press on with the 1st-person narration, finish the revision, and then go back and reread it carefully and critically. Hell, if I really feel the need, I can always go back and revise the entire book with 3rd-person instead (and won't that be a treat). It could be a useful exercise, and really, it's not like I'm on a particular deadline. I just hoped to get the novel in query-worthy shape sooner rather than later.
But ultimately, the important thing is that the story's told right, and told as well as possible. So if it takes an extra draft, I'm sure the extra work would only improve it. (Sigh. Do I sound constructive? I feel... tired. But I'm trying to convince myself to think positive anyway.) I was already planning to put it through at least two more rounds of revision, so an extra, massively long exercise in POV might not be too much of a detour. We shall see.
In the meantime, once more unto the breach, dear friends. Time to tackle the second half. If you have any thoughts on the pros & cons of 1st or 3rd person, I'd love to hear them!
There are several reasons for my frustration and crankiness, most of which I won't go into here, but one thing that's been bugging the hell out of me is my internal struggle over 1st vs. 3rd person POV in my current WIP.
When I wrote the first draft, I was just focused on getting the words on paper (or the computer screen, whatever) and I wrote some chapters in first person, some in third, as the mood struck me. There was not a lot of thought involved; I just wrote instinctively.
So one of the questions that's preoccupied me for the last year, since I wrote the first draft, is which POV to use. I felt like the story needed a consistent narrative approach. I ended up going with first person, largely because the protagonist undergoes such an emotional/mental journey as she goes through the plot conflicts. She transitions from anti-hero to hero, and during her journey, she makes some choices that most people would probably respond to with a well-deserved "WTF?" So I felt like the first person would heighten the reader's sympathy with her while supporting the tension between her (at times admittedly unreliable) perspective and the rest of the world.
Then, yesterday, I reached the halfway point in my first round of revision. I finished 25 of the 50 chapters (yay!), and felt great about how the story was going. I decided to take a little break, do some stuff around the house, and then read a bunch of articles about writing/revising/character/plot/POV.
That last bit was, I realize now, perhaps a mistake. Okay, definitely a mistake. I read some articles discussing 1st & 3rd-person narration, and the debate I thought I'd settled for myself just raged right up again. Except at this point, I'm halfway through making the novel a consistent POV, and nearly 30,000 words in is really not when one wants to be questioning one's narrative choice.
So, y'know. Little irritated. Part of my frustration is that it seems a lot of writers consider first person to be an "immature" choice of narration, which made me question myself and get all insecure about my writing abilities. But as Nathan Bransford says (not in the linked post, but often), if it works, it works, and I think as long as I'm aware of the possible pitfalls of 1st-person narration - and, even better, avoiding them - it may still be the right choice for this story.
So I'm going to press on with the 1st-person narration, finish the revision, and then go back and reread it carefully and critically. Hell, if I really feel the need, I can always go back and revise the entire book with 3rd-person instead (and won't that be a treat). It could be a useful exercise, and really, it's not like I'm on a particular deadline. I just hoped to get the novel in query-worthy shape sooner rather than later.
But ultimately, the important thing is that the story's told right, and told as well as possible. So if it takes an extra draft, I'm sure the extra work would only improve it. (Sigh. Do I sound constructive? I feel... tired. But I'm trying to convince myself to think positive anyway.) I was already planning to put it through at least two more rounds of revision, so an extra, massively long exercise in POV might not be too much of a detour. We shall see.
In the meantime, once more unto the breach, dear friends. Time to tackle the second half. If you have any thoughts on the pros & cons of 1st or 3rd person, I'd love to hear them!
02 November 2009
Revision's still, deep waters
In the last two days, I've revised eleven chapters of the novel I wrote during last year's NaNoWriMo. Technically speaking, that puts me more than 20 percent of the way through Round 2, which is a lot better than, say, zero percent of the way, or even ten percent. It's important to celebrate these milestones.
I'm starting to get a little nervous, though, because I know the real work is up ahead. It sort of feels like digging around in the yard and not quite knowing where the water line is, just that it's there. One of these days soon, I'm going to reach a certain point in the story and all this force is going to be unleashed.
So far, the revisions mostly involve making all the verb tenses consistent, tightening up sloppy or redundant writing, and smacking the occasional passive voice into action. A lot of it has centered around changing the chapters I wrote from a third-person POV into first-person. (I'm sort of glad I have no idea whether I wrote more chapters in first or third person in Round 1.)
But I worry that I'm taking refuge in technicalities. When I revise my poetry, I tend to get in there with both hands and tear it apart, move words and lines around, pull lines out and write 10-line exercises based on them to get at what I really meant, reassemble the lines and stanzas in different orders - in short, I rip my heart out, play hacky-sack with it for a while, and then put it back in place better-than-new.
Since I've spent a lot more of my life on writing and revising poetry than I have on fiction, I feel a lot safer during the poetry process than I do right now. Don't get me wrong; I go through plenty dark nights of the soul when I'm revising my poems, but y'know, they're just so much shorter than a novel. There's that stage of revision, right before it all comes together, when the entire thing turns into a royal, absolute mess. Then, like pulling the right thread in a cats-cradle, somehow it all magically ties together in a neat, ordered, beautiful way.
When we're talking about a 62,000-word rough draft, though, that absolute mess starts sounding a whole lot messier. In my imagination, it takes on downright scary, Titanic proportions. I know there are plot holes lurking like icebergs, just waiting for me to run into them. I also know I'm going to have to add some word count at some point, for this to be the length of a proper novel, and so far all I'm doing is tightening up the words.
Of course, one of the keys to good writing is for every word to matter, so I don't stress as much about adding to the story. If it's there, it'll come out; if not, it'll just be a short book. Better to be short than to have a lot of useless blather. My hope is that filling in those gaping plot holes will add to the length, too.
I keep telling myself I can make this entire first round of revision about the technicalities, if I want to, and then go through and read it more for the storyline. I can just keep segmenting down the necessary aspects of revision until they're in more manageable pieces - poem-sized, if you will.
But I've never labored for too long under the delusion that I really have control over my writing. Isn't that why we write? The words demand we write them, and we serve as their channel as best we can. Here's hoping I lose some of this control soon, and the story takes over.
I'm starting to get a little nervous, though, because I know the real work is up ahead. It sort of feels like digging around in the yard and not quite knowing where the water line is, just that it's there. One of these days soon, I'm going to reach a certain point in the story and all this force is going to be unleashed.
So far, the revisions mostly involve making all the verb tenses consistent, tightening up sloppy or redundant writing, and smacking the occasional passive voice into action. A lot of it has centered around changing the chapters I wrote from a third-person POV into first-person. (I'm sort of glad I have no idea whether I wrote more chapters in first or third person in Round 1.)
But I worry that I'm taking refuge in technicalities. When I revise my poetry, I tend to get in there with both hands and tear it apart, move words and lines around, pull lines out and write 10-line exercises based on them to get at what I really meant, reassemble the lines and stanzas in different orders - in short, I rip my heart out, play hacky-sack with it for a while, and then put it back in place better-than-new.
Since I've spent a lot more of my life on writing and revising poetry than I have on fiction, I feel a lot safer during the poetry process than I do right now. Don't get me wrong; I go through plenty dark nights of the soul when I'm revising my poems, but y'know, they're just so much shorter than a novel. There's that stage of revision, right before it all comes together, when the entire thing turns into a royal, absolute mess. Then, like pulling the right thread in a cats-cradle, somehow it all magically ties together in a neat, ordered, beautiful way.
When we're talking about a 62,000-word rough draft, though, that absolute mess starts sounding a whole lot messier. In my imagination, it takes on downright scary, Titanic proportions. I know there are plot holes lurking like icebergs, just waiting for me to run into them. I also know I'm going to have to add some word count at some point, for this to be the length of a proper novel, and so far all I'm doing is tightening up the words.
Of course, one of the keys to good writing is for every word to matter, so I don't stress as much about adding to the story. If it's there, it'll come out; if not, it'll just be a short book. Better to be short than to have a lot of useless blather. My hope is that filling in those gaping plot holes will add to the length, too.
I keep telling myself I can make this entire first round of revision about the technicalities, if I want to, and then go through and read it more for the storyline. I can just keep segmenting down the necessary aspects of revision until they're in more manageable pieces - poem-sized, if you will.
But I've never labored for too long under the delusion that I really have control over my writing. Isn't that why we write? The words demand we write them, and we serve as their channel as best we can. Here's hoping I lose some of this control soon, and the story takes over.
01 November 2009
of miscellaneous mind
I've got an amalgam of thoughts jostling each other for space right now.
First, as I delve further into the writing Twitterverse, I keep coming across articles on common topics. One is what-you-should-be-Tweeting or how-to-be-a-successful-Twitter-writer or whatever. Here's my opinion:
Just be yourself.
It's a lot like writing; it's important to speak with your authentic voice. There seems to be a lot of advice to advance your personal brand and be professional and useful and whatever else people want you to be. Apparently people don't want to know what I'm making for dinner or that I'm entertained by my cat snoring. Those people would be well advised not to follow me.
Granted, I do think you should learn from the things that annoy you in others, and not do them yourself. Learn from the things you admire in others, and adapt them to your own strengths.
I like to know both the professional and personal side of people I follow on Twitter; it's much like enjoying a well-developed character in a book. If you're only showing your professional side, you come across as pretty flat. Be a real person. There's only one of you. Tell me who you are.
Granted, I think a key to this is to try and have a sense of humor about it. Whether on Twitter or in real life, genuinely self-absorbed people are just boring. But random glimpses of others' quirks remind me of the notes struck by a really good poem, when I'm grateful to realize just how universal my individual perspective really is.
So, that's my little rant about "how to act on Twitter". In other news, while the rest of the writing world is launching into NaNoWriMo with all the frenzy that writing a novel in a month deserves, I'm throwing myself into NaNoEdMo rather like a dive into an icy pond. In other words, I'm editing the novel I wrote during last year's NaNo. I attempted the same project in May, and got through five chapters in two weeks. This morning, I got through those five chapters again, and yes, through chapter 6 as well. (Hooray! Progress!) Here's hoping that being unemployed will keep me swimming through the murky waters of revision.
Since I'm working on this project, a lot of the links posted by my tweeps are serving as helpful reminders on the craft of writing. I hope they help you too. The agent/publishing/marketing-related links will come later.
My sincere thanks for links and/or writing the actual articles: @inkyelbows, @megancrewe, @motjustes, @ElizabethSCraig, @Quotes4Writers, @AdviceToWriters, @benwhiting, @mystorywriter, @david_hewson, @WritersDigest, @brianklems, @jessicastrawser, @MFAConfidential, Jon Morrow and Stephanie Perkins.
Tips from a master of writing. From @MFAConfidential: Flannery O'Connor's take on the tenets of craft. http://ow.ly/15YolZ
From psych major and YA author @megancrewe: What makes a good story? http://j.mp/3gOhzY
From Elizabeth S. Craig's excellent blog: Different characters have different perceptions. http://short.to/v7hu
From crime writer Andrew Taylor: Getting the Plot Right. http://bit.ly/10vwGX
From Jon Morrow: No one but you is an authority on your writing. http://bit.ly/r3nK3
To become a better writer: Intense, focused practice. http://bit.ly/1NpapO
He's absolutely right about the Facebook/Twitter trap. From @david_hewson: Keeping your writing alive - even when you're not writing. http://ow.ly/x71i
From @brianklems: 4 Tips for Choosing the Right Word. http://ow.ly/xmw7
I'm not quite sure how I ended up on the following blog, but I enjoy the irony of her digressions as she talks about how important it is to stay focused on your plot. Irony aside, good tips on self-editing:
http://naturalartificial.blogspot.com/2009/10/scarf-weather-answers-part-eleven.html
First, as I delve further into the writing Twitterverse, I keep coming across articles on common topics. One is what-you-should-be-Tweeting or how-to-be-a-successful-Twitter-writer or whatever. Here's my opinion:
Just be yourself.
It's a lot like writing; it's important to speak with your authentic voice. There seems to be a lot of advice to advance your personal brand and be professional and useful and whatever else people want you to be. Apparently people don't want to know what I'm making for dinner or that I'm entertained by my cat snoring. Those people would be well advised not to follow me.
Granted, I do think you should learn from the things that annoy you in others, and not do them yourself. Learn from the things you admire in others, and adapt them to your own strengths.
I like to know both the professional and personal side of people I follow on Twitter; it's much like enjoying a well-developed character in a book. If you're only showing your professional side, you come across as pretty flat. Be a real person. There's only one of you. Tell me who you are.
Granted, I think a key to this is to try and have a sense of humor about it. Whether on Twitter or in real life, genuinely self-absorbed people are just boring. But random glimpses of others' quirks remind me of the notes struck by a really good poem, when I'm grateful to realize just how universal my individual perspective really is.
So, that's my little rant about "how to act on Twitter". In other news, while the rest of the writing world is launching into NaNoWriMo with all the frenzy that writing a novel in a month deserves, I'm throwing myself into NaNoEdMo rather like a dive into an icy pond. In other words, I'm editing the novel I wrote during last year's NaNo. I attempted the same project in May, and got through five chapters in two weeks. This morning, I got through those five chapters again, and yes, through chapter 6 as well. (Hooray! Progress!) Here's hoping that being unemployed will keep me swimming through the murky waters of revision.
Since I'm working on this project, a lot of the links posted by my tweeps are serving as helpful reminders on the craft of writing. I hope they help you too. The agent/publishing/marketing-related links will come later.
My sincere thanks for links and/or writing the actual articles: @inkyelbows, @megancrewe, @motjustes, @ElizabethSCraig, @Quotes4Writers, @AdviceToWriters, @benwhiting, @mystorywriter, @david_hewson, @WritersDigest, @brianklems, @jessicastrawser, @MFAConfidential, Jon Morrow and Stephanie Perkins.
Tips from a master of writing. From @MFAConfidential: Flannery O'Connor's take on the tenets of craft. http://ow.ly/15YolZ
From psych major and YA author @megancrewe: What makes a good story? http://j.mp/3gOhzY
From Elizabeth S. Craig's excellent blog: Different characters have different perceptions. http://short.to/v7hu
From crime writer Andrew Taylor: Getting the Plot Right. http://bit.ly/10vwGX
From Jon Morrow: No one but you is an authority on your writing. http://bit.ly/r3nK3
To become a better writer: Intense, focused practice. http://bit.ly/1NpapO
He's absolutely right about the Facebook/Twitter trap. From @david_hewson: Keeping your writing alive - even when you're not writing. http://ow.ly/x71i
From @brianklems: 4 Tips for Choosing the Right Word. http://ow.ly/xmw7
I'm not quite sure how I ended up on the following blog, but I enjoy the irony of her digressions as she talks about how important it is to stay focused on your plot. Irony aside, good tips on self-editing:
http://naturalartificial.blogspot.com/2009/10/scarf-weather-answers-part-eleven.html
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