Archive | How I Write RSS feed for this section

How I Write: Macro editing, Me, and Light bulbs

By on August 4, 2010 in How I Write

(Check out Ansha’s blog for a list of participating writers!)

I have to be honest. It took me a long time to understand macro editing. I mean, it’s so much easier to line edit. It’s very concrete to look through my writing for weak verbs, over-used words, weak chapter endings, typos…etc.

I’d read phrases like adding emotion, inner and outer conflict, three-act structure, goal/motivation, pacing – and I wasn’t quite sure what to do with them. At some point, a light bulb flickered on inside my brain – and I got it.

As I just started macro editing, I’m going to share what I’ve done so far.

1. I let my story sit for 6 weeks while beta readers took a look. Then I read it and took brief notes of obvious stuff that needed rewriting. I also added smiley faces for parts I liked.

2. I wrote a few drafts of a query letter and the synopsis to be revised later. This helps with plot holes.

3. I wrote a new beginning with a stronger hook to tie in to my story goal.

Story Structure

4. I wrote a one-line description for each scene. I separated my scenes into the three-act structure. I took Alexandra Sokoloff’s wisdom to heart. I checked to make sure I had opening tension introducing the story goal. I checked for the Act II midpoint climax or big twist. I checked for increasing tension up through the climax. Her blog is a must read.

5. I plugged my story into the nine point grid I read about on query tracker.

At this point, I know parts need to be rewritten. Sentences cry out to be beefed up and rewritten. But I’m not doing anything yet.

 6. And this next step is new for me. I have a 4×6 index card for each scene. And here’s what’s on them.

  •  mc’s goal
  • action taken
  • opposing force
  • Outer (point of change)
  • Inner (point of change that corresponds to the outer)
  • Suggestions: (Here I write down suggestions for what I’m missing)

And so far, a lot of my scenes are missing the inner conflict, which means the emotion is weak. Geez!

This is where I’m at now. I do know the next few steps I’ll take.

7. Rewrite the big scenes that need to be changed.

8. Rewrite according to the index cards.

9. Rewrite according to my notes from my read through.

And there you have it – my long learning curve with macro editing. Is there anything I missed? What works for you? And I hope I’m not the only one who once thought revisions meant line editing. (Feel free to lie to make me feel better.)

Comments { 15 }

How I Write: Boxing match of the century: Revision vs. Writer

By on July 28, 2010 in How I Write

Announcer: Hello folks and welcome to today’s exciting event. In one corner is the Writer, and in the other corner, Revision. 

 Crowds go wild.

Announcer: It’s been six weeks since the face off when the writer left the ring. You heard it right, folks. But the Writer is back and in top shape. She’s been training for this night for over a month. Let’s see if she’s got what it takes.

Revision curls its pages and glares at the writer. No words are needed.

The writer chews on peanut MnMs, then cracks her knuckles.

Announcer: The bell rings and the match has started. Writer jabs to the right and leaves a gaping hole in the middle of the manuscript.

 Revision curls over, gasping for air.

 Revision: You’ll never fix me now. Your line edits won’t make a dent.

 Announcer: Writer doesn’t give in to Revision’s trash talk. Instead, she attacks. She cuts and pastes and rewrites. She trims and tightens. She checks each scene for goals and motivation. We’ve never seen such action from our Writer. Revision is folding under the weight of sensory details and strong verbs.

Crowds throw red ink pens at Revision.

Announcer: Writer backs away, exhausted, her fingers limp, her eyes crossed from the strain. Does she have the strength to make this a knock out? But wait, folks. Revision is back on its feet.

Revision flaunts the typos, overwriting, and forced emotion.

Writer wobbles on her feet.

Announcer: This is not looking good for our Writer.

Crowds quiets. Everyone bites their fingernails while clutching onto their favorite novels.

Writer: Help!

A murmur spreads through the crowd.

Announcer: By golly, folks. Three crit partners have stepped into the ring and hold up our Writer by the arms. They whisper and point and then leave the ring. Writer stands tall and with one last KAPOW, the Revision crumbles.

Our Writer is the winner!!!    

Statement in Newspaper of play by play plan of attack by Writer:

Take a 4-6 week break from your manuscript. Then print out and read through.

Macro Edits:

  • Goal/motivation
  • Inciting incident
  • Three-act structure
  • Big twist in middle
  • Plants and payoffs
  • Emotion
  • Tension
  • Time line

REWRITE and repeat as needed.

Micro Edits:

  • Strong verbs and nouns
  • Dialogue
  • Sensory details
  • Internal thoughts
  • Micro tension in each scene
  • Description/setting

 And that’s it, folks. That’s how the Writer defeated Revision. Writer is open to any tips or suggestions.

 (Check out Ansha’s blog for a complete list of participating writers!)

 

 

 

 

Comments { 18 }

How I Write: Muddled middles and motivation.

By on July 21, 2010 in How I Write

I feel really bad for the “middle”. It has a bad reputation. Seriously, it must have a huge guilt complex. And I don’t blame it.

The middle will make or break your novel. (No wonder we curse it so often.)

If you craft your novel well, the middle is the part where readers give a contented sigh and race to the end with their fingers gripped on the ereader device book. If you have a saggy middle – a reader just might close the book.

I’m a plotter. So when I’m writing I have motivation to finish because I know where I’m going. I’m excited to see how everything unfolds and to reach the climax. But when I’m plotting I struggle with the middle just like pantsers who are writing through the middle.

What I think makes a good middle: (or Act II)

  • plants for later payoffs or revelations
  • main character hunting down false clues or trying to reach goals, and they make mistakes
  • introduction or furthering of the inside character arc
  • disasters and complications
  • plot points and information that push the story forward
  • developing relationships

The middle middle: the big twist, reversal, huge revelation; the part where the reader gasps and the story takes off in a whole different direction.

  • real clues and plot developments
  • increased stakes in the outer and inner plot
  • everything goes wrong
  • payoffs from earlier plants
  • any subplots or separate storylines start connecting
  • devastation and the main character’s dark moment
  • mc makes plans

After the middle, the story heads into Act III and the climax.

There you have it. I find motivation through the middle by constantly asking how I can make it bigger, better, more suprising  – while moving the plot forward.  

Do you struggle with your middles? And what aspect of the middle is the hardest? How have you learned  to perfect your middles? (Srsly tell all because I’m stuck in a middle right now.)

Comments { 16 }

How I Write: Killing flies (or finishing a first draft)

By on July 16, 2010 in How I Write

Okay, I know, I’m two days late. My blog was being switched over to a new host. I didn’t mind though because I wasn’t sure what to say. Until a fly buzzed across the room.

So far, in the blog series on writing, I’ve covered everything I do before I write a first draft. I create the idea, plot, outline and all that good stuff. (Scroll down and you’ll find the posts. Sorry I’ve been at the ocean all day and I’m exhausted.)

Because I do all of the big plotting beforehand I didn’t want to repeat myself. I have no secret method or weapon that pushes me through the first draft. I don’t often get stuck because I get all the sticky stuff out during the plotting part. I hit my walls then.

When I sit down to write a first draft, I set goals: 1-2 thousand words a day and 5 thousand words a week. And if I go over – great. I write in order from the beginning to the end. If I have to stop to replot, I do. And then I jump right back into it.

I guess I can’t end the post without explaining about the flies. I hate flies. All kinds of flies. But especially big black buzzy house ones. I swear they are possessed. I try and kill them, usually with my shoe; and if I miss, they come back and dive bomb me. Totally freaking me out. So, I go on the hunt. I grab my flop and follow the bugger through out the house, swinging wildly until I kill it. And I always kill it. I’m always the victor. I never give up.

And that’s how I finish my first draft. Relentless. Driven. Fingers to the keyboard.

(My method of exterminating house flies was mostly foolproof - until my son tried to follow in my footsteps, except he used a 2 inch thick book and broke a window.)

Do you have any tips or top secret methods to finishing a first draft? Or tell me about the insect you hate the most and why. Let me know I’m not alone.

Comments { 13 }

How I Write: Dissecting frogs (or starting a new story)

By on July 7, 2010 in How I Write

(click on banner for all participating writers)

And what a timely subject for me. (Stars are aligning as I write.)

Sorry, I’m not going to give you in-depth details on what I normally do. I can say that so far, I’ve done the usual – the idea, researching, plotting, outlining.

But I’m not starting to write. I refuse to jump into a new story without bringing new skills to it. I want to figure out how I can improve.

My weakness? Structure and pacing (And yes, I’ve read great craft books, but, somehow, that doesn’t always translate.)

So, this time around, I’m choosing middle grade stories and dissecting them like a seventh grader would a frog in science class.

 

How to dissect a story:

  • Pull out your scalpel, and throw your head back for your best maniacal laugh.
  • Jot down what happens in each chapter as you read.
  • After reading, break the story into: Act I, Act II, Act II climax (big twist), Act III, story climax, resolution.
  • Record major plot points or clues.
  • Record the logline (found in the front of the book).
  • Record what you did and didn’t like about it.
  • Wipe the bloody ink on your lab coat and toss in the wash.

Four books have passed across my laboratory table. The next two are waiting nervously in a spare room. I could tell you the amazing things I’ve learned but it probably won’t do you any good. You will learn best hands-on.

Check out Alexandra Sokoloff for the break down of story structure. After all, I’m following her suggestion.

So, how do you start a new story?

Comments { 25 }
Follow Me