Dear O'Abby: Any NaNo Tips?

 Dear O'Abby,

I'm not sure if less people are doing NaNo this year or what, but I haven't seen much about it anywhere.  maybe it's just my own lack of attention on social media or something...  The death of Twitter seems to have made finding a community of writers online more difficult.

But I digress...

I am doing NaNo this year, and I'm feeling okay about what I'm writing, but I'm wondering if you have any tips to help me finish out the month?  It feels like I have a long way to go before I hit that 50K.

Best wishes,

NaNoing

Dear NaNoing,

Now that you mention it, you're right.  I haven't seen anything about NaNo anywhere either.  In fact, it wasn't until I saw this email that I realised it's well into November and I haven't offered a single NaNo tip here.  My bad!  I could blame it on the fact I'm not doing NaNo this year (too close to the end of a book to make it worthwhile), but I didn't do it last year either, and was way more aware.

In terms of tips, my best one is to just keep writing.  If you get stuck on a scene or a plot point, just write yourself a little note, skip that section and move on to a point where you know what needs to happen.  You can fill in the blanks later.  I use this approach all the time because often, after writing those later scenes, it's easier to know what needs to come before it.

Another tip I would give is not to stop to research anything.  It's far too easy to fall down an internet rabbit hole and lose hours of writing time.  If there's something you need to look up - a word in another language, the rules of beer pong, the title of a song you can't remember but know is perfect to be playing at the school dance - again, leave yourself a note and come back to it later.

Most of us have a limited amount of time to write and need to fit NaNo around other things like a day job, school, family.  If you can take a day off from any of this and just write, that's great.  Use that day to bulk up your wordcount so if you have a day later in the month where you can't write, it's not going to cause you undue stress or derail your progress.  

I also usually recommend people bank extra words early in the month while they're fresh and the book is new and exciting and you can't wait to get into it.  But it's kind of too late for that one...  I hope you did it anyway!

And those are my biggest tips.  I've had some very successful years doing NaNo, but also some very unsuccessful years.  If you don't make it to 50K, you're not a failure.  You've still started a book and some words are better than no words.  You're never going to finish a book during NaNo, so just take whatever you have written and keep going until you have.  Even if it takes you until the next NaNo to get there.

Good luck!

X O'Abby

Tackling the Dreaded Synopsis - Part Two, and Call for Submissions!

Last week, we covered the basics of synopsis writing. This week, as promised, we're going to get into the mechanics, using an example from a book most of us are very familiar with. Now take a deep breath, limber up your typing fingers, and let's get synopsizing! And keep in mind, if you'd like your synopsis critiqued on this site, the submission instructions are below.

Where do I start? Do you use an outline? If so, start there! Flesh out each scene from your outline's descriptions, focusing on the main plot, into no more than a paragraph each. Many scenes will require only a sentence, some paragraphs will summarize more than one scene, and some scenes won't require summary at all (focused on a subplot, character description, etc.). Once you have all the relevant scenes fleshed out, start connecting the dots: make sure going from Scene A to Scene B, all the way to Scene Z, makes sense in the context of your central plot. Then revise the language until it flows well.

If you don't have an outline, make a list of scenes from your manuscript, in order. Summarize each scene (you don't have to do this in great detail, just enough so you can explain what happens in your central plot in each scene). Then connect the dots and revise the language.

Some pointers

• Use third person, present tense, active voice, regardless of what you used in the manuscript.

• This isn't required, but it helps orient the reader if you put each character name in ALL CAPS the first time you use it. This makes the name stand out to the reader.

• ... but no more than 4-5 named characters in the synopsis. For everyone else who isn't as integral to the main plot as those 4 or 5 characters, describe them by their relationship to the main character or the plot. For example, in a synopsis for Harry Potter and the Sorcerer's Stone (the book we'll be working with below), the only named main characters should be Harry, Ron, Hermione, Voldemort, and Quirrell. There are obviously many other important characters in these books, but for the purposes of this book, everyone else can be described rather than named (Harry's aunt, the headmaster of Hogwarts, etc.). 

• Start at the beginning. Weave in a brief description of the setting, the time period, and any other details necessary to orient the reader, and then get right into the main character and his/her 'ordinary world,' in order to lead into the inciting incident in the next paragraph.

• Lead right into the inciting incident. What happens to propel your main character into action? You should get into this as soon as possible after describing your main character's 'ordinary world.' What changes?

• Follow the Hero's Journey (explanations here) or Save the Cat (here) or any other plotting structure you used for your manuscript, and run through every important point that gets your hero from the ordinary world, to the inciting incident, to deciding to act, to trying and failing, to trying and succeeding, to ultimate victory/failure.

• Give away the ending and all plot twists!

An example

Here's the synopsis (by an anonymous poster) from the Wikipedia page for Harry Potter & Sorcerer's Stone. This summary wasn't written to accompany a manuscript submitted to an agent, but let's pretend it was. I'm going to include my comments in bold/brackets throughout. Then, I'm going to rewrite this synopsis so it conforms more closely to the guidelines we've discussed (focusing on the main plot, limiting the number of named characters, etc.):

Original Synopsis with Comments:

The most evil and powerful dark wizard in history, Lord Voldemort, murdered married couple James and Lily Potter but mysteriously disappeared after failing to kill their infant son, Harry. [THIS IS BACKSTORY. WEAVE THROUGHOUT THE SYNOPSIS, BUT DON'T LEAD WITH IT] While the wizarding world celebrates Voldemort's apparent downfall, Professor Dumbledore, Professor McGonagall and half-giant Rubeus Hagrid place the one-year-old orphan in the care of his surly and cold Muggle uncle and aunt, Vernon and Petunia Dursley and their spoilt and bullying son, Dudley. [TOO MANY NAMES AND TOO MANY DETAILS ON BACKSTORY BEFORE GETTING INTO HARRY'S STORY. ]

For ten years, living at number Four Privet Drive, Harry is treated by the Dursleys more like a servant than a member of the family and is forced to live in a cupboard under the stairs. [THIS IS WHERE THE STORY REALLY STARTS. MAKE THIS THE FIRST PARAGRAPH, WITH SOME DETAILS FROM THE OPENING PARAGRAPH SPRINKLED IN] Shortly before his eleventh birthday, a series of letters addressed to Harry arrive, but Uncle Vernon Dursley destroys them before Harry can read them, leading to an influx of more and more letters. To evade the pursuit of these letters, Vernon first takes the family to a hotel, but when the letters arrive there too, he hires a boat out to a hut on a small island. [THIS IS TOO MUCH DETAIL FOR A SCENE THAT CAN BE OMITTED OR SUCCINCTLY SUMMARIZED TO GET TO THE INCITING INCIDENT, WHICH IS HARRY RECEIVING HIS HOGWART'S LETTER]

It is Harry's eleventh birthday and at midnight, Hagrid bursts through the door to deliver the letter and to tell Harry what the Dursleys have kept from him: Harry is a wizard and has been accepted into Hogwarts School of Witchcraft and Wizardry. [THIS IS THE INCITING INCIDENT, AND SHOULD BE PRESENTED EARLIER] Hagrid takes Harry to a hidden London street called Diagon Alley, where he is surprised to discover how famous he is among the witches and wizards, who refer to him as "the boy who lived." He also finds that his parents' inheritance is waiting for him at Gringotts Wizarding Bank. [TOO MANY DETAILS, WE DON'T NEED ALL THESE NAMES. WE SHOULD BE ON OUR WAY TO HOGWARTS BY NOW] Guided by Hagrid, he buys the equipment he will need for his first year at Hogwarts and as a birthday gift Harry receives a pet owl from Hagrid (which he names "Hedwig").

A month later, Harry leaves the Dursleys' home to catch the Hogwarts Express from King's Cross railway station. There he meets the Weasley family, who show him how to pass through the magic wall to Platform 9¾ [LITTLE DETAILS LIKE THESE ADD A LOT OF COLOR. PLATFORM 9 3/4 GIVES THE READER AN INDICATION OF THE KIND OF MAGICAL WORLD WE'RE IN. KEEP DETAILS LIKE THESE, BUT KEEP THEM SMALL], where the train that will take them to Hogwarts is waiting. While on the train, Harry meets two fellow first years, Ron Weasley, who immediately becomes his friend, and Hermione Granger, with whom the ice is a bit slower to break. Harry also makes an enemy of yet another first-year, Draco Malfoy. Draco offers to advise Harry, but Harry dislikes Draco for his arrogance and prejudice and rejects his offer of "friendship". [DRACO ISN'T IMPORTANT ENOUGH IN THIS FIRST BOOK TO EVEN INTRODUCE]

At Hogwarts, the first-years are assigned by the magical Sorting Hat to houses that best suit their personalities. While Harry is being sorted, the Hat suggests that he be placed into Slytherin which is known to house potential dark witches and wizards, but when Harry objects, the Hat sends him to Gryffindor. Ron and Hermione are also sorted into Gryffindor. Draco is sorted into Slytherin, like his whole family before him. [KEEP THIS MORE VAGUE. IF ANYTHING SHOULD BE KEPT HERE, THE ONLY IMPORTANT DETAIL IS HARRY AND HIS FRIENDS ARE SORTED INTO THE SAME HOUSE, WHICH AIDS IN THEIR GROWING FRIENDSHIP AND LOYALTY TO EACH OTHER]

Harry starts classes at Hogwarts School, with lessons including Transfiguration with Head of Gryffindor, Minerva McGonagall, Herbology with Head of Hufflepuff, Pomona Sprout, Charms with Head of Ravenclaw Filius Flitwick, and Defence Against the Dark Arts with Quirinus Quirrell. [NONE OF THIS DETAIL IS NECESSARY, THOUGH QUIRRELL SHOULD BE INTRODUCED] Harry's least favourite class is Potions, taught by Severus Snape, the vindictive Head of Slytherin who seems to loathe Harry. Harry, Ron, and Hermione become far more interested by extracurricular matters within and outside of the school, particularly after they discover that a huge three-headed dog is standing guard over a trap door in a forbidden corridor. They also become suspicious of Snape's behaviour and become convinced that he is looking for ways to get past the trapdoor. [WAY TOO MUCH DETAIL. CUT DOWN TO ONE SENTENCE]

Harry discovers an innate talent for flying on broomsticks and is appointed as Seeker on his House’s Quidditch team, a wizards's sport played in the air. His first game goes well until his broomstick wobbles in mid-air and almost throws him off. [SUBPLOT. NOT DIRECTLY RELEVANT TO THE MAIN PLOT, EXCEPT FOR THE NEXT SENTENCE, BUT CAN BE CUT WAY DOWN] Ron and Hermione suspect foul play from Snape, whom they saw behaving oddly. For Christmas, Harry receives an invisibility cloak from an anonymous source and begins exploring the school at night and investigating the hidden object further. He discovers the Mirror of Erised, in which the viewer sees his deepest desires becoming true. [IRRELEVANT SUBPLOTS]

Thanks to an indiscretion from Hagrid, Harry and his friends work out that the object kept at the school is a Philosopher's Stone, made by an old friend of Dumbledore named Nicolas Flamel. Harry is also informed by a centaur he meets in the forest that a plot to steal the Philosopher’s Stone is being orchestrated by none other than Voldemort himself, who would use it to be restored to his body and come back to power. When Dumbledore is lured from Hogwarts under false pretences, Harry and his friends fear that the theft is imminent and descend through the trapdoor themselves. [THIS IS A GOOD PARAGRAPH. PRESENTS THE STAKES WELL AND EXPLAINS WHY HARRY AND HIS FRIENDS WOULD PUT THEMSELVES IN DANGER]

They encounter a series of obstacles, each of which requires unique skills possessed by one of the three, and one of which requires Ron to sacrifice himself in a life-sized game of wizard's chess. In the final room, Harry, now alone, finds Quirrell, who admits that he had tried to kill Harry at his Quidditch match against Slytherin. He also admits that he let a troll into Hogwarts. Snape had been trying to protect Harry all along rather than to kill him, and his suspicious behaviour came from his own suspicions about Quirrell. [I WOULD LEAVE OUT THE SUBPLOT ABOUT SNAPE UNLESS YOU'RE WRITING A LONGER SYNOPSIS. FOR 1-2 PAGES, IT CAN GO]

Quirrell is one of Voldemort's followers, and is now partly possessed by him: Voldemort's face has sprouted on the back of his own head, hidden by his turban. Voldemort needs Harry's help to get past the final obstacle: the Mirror of Erised, but when Quirrell tries to grab the Stone from Harry his contact proves lethal for Quirrell. [A LITTLE MORE DESCRIPTION HERE SINCE THIS IS THE CLIMAX OF THE BOOK] Harry passes out and awakes in the school hospital, where Dumbledore explains to him that he survived because his mother sacrificed her life to protect him, and this left a powerful protective charm on him. Voldemort left Quirrell to die and is likely to return by some other means. The Stone has now been destroyed. The school year ends at the final feast, during which Gryffindor wins the House Cup. Harry returns to the Dursleys' for the summer holiday but does not tell them that under-age wizards are forbidden to use magic outside of Hogwarts. [THIS IS A CONFUSING ENDING. END WITH A SENTENCE THAT'S RELEVANT TO THE PLOT, NOT SOMETHING THAT LEADS INTO FUTURE BOOKS]

Rewritten Synopsis

Ten-year-old HARRY POTTER lives with his aunt, uncle, and cousin, who treat him more like a servant than a family member, and force him to sleep in the cupboard under the stairs. Harry can't remember his parents, who died when he was an infant. He mostly keeps to himself, avoiding his cousin's bullying and his uncle's unpredictable wrath. But when strange things start happening around Harry, including his sudden ability to converse with a snake, and an influx of letters addressed to him flood the house, Harry realizes he's part of something bigger than the only world he's known.

Then, on Harry's eleventh birthday, a huge, good-natured man shows up with another copy of the letter, despite Harry's uncle's attempts to destroy all of them. It's Harry's acceptance letter to the Hogwarts School of Witchcraft and Wizardry. The man explains that Harry is a wizard, and in fact, his wizard parents were murdered by the most evil and powerful dark wizard in history, LORD VOLDEMORT, who disappeared after failing to also kill Harry as a baby. Harry is shocked to learn he is famous among the inhabitants of the wizarding world, who refer to him as 'the boy who lived.'

Soon afterward, Harry leaves his aunt and uncle's house to attend Hogwarts. On the train, he meets RON WEASLEY, the fun-loving youngest son of an established wizarding family, and HERMIONE GRANGER, a brainy know-it-all who is the only witch in her family. When they arrive at Hogwarts, Harry, Ron, and Hermione are all sorted into Gryffindor House, the House associated with bravery and loyalty.

Soon after starting his lessons at Hogwarts, which include subjects such as Transfiguration, Potions, Charms, and Defense Against the Dark Arts, Harry and his friends discover a huge, three-headed dog standing guard over a trap door in a forbidden corridor. None of their professors will tell them why the dog is there or what it's guarding, but that doesn't stop Harry and his friends from sneaking around the school at night, having a horrifying run-in with a troll, or using Harry's newly-acquired invisibility cloak to spy on their classmates and professors.

Eventually, Harry and his friends learn the hidden object is an ancient artifact called the Sorcerer's Stone, which gives the bearer eternal life, and in turn, near-limitless power. Harry soon realizes the plot to steal the Stone is being orchestrated by the disembodied Lord Voldemort himself, who plans to use it to return to his body and resume his evil reign. But Lord Voldemort must be using someone on the Hogwarts grounds to acquire the Stone for him. Harry and his friends initially suspect their dour Potions professor, who has a history of associating with Voldemort and despises Harry for unknown reasons, of being his helper.

Then, the headmaster is lured from Hogwarts under false pretenses. Left unprotected, Harry and his friends fear the theft of the Stone is imminent and descend through the trapdoor themselves to guard it. They encounter a series of obstacles, each of which requires unique skills possessed by one of the three: Hermione must solve a difficult puzzle, Ron sacrifices himself in a life-sized game of Wizard's Chess, and Harry must use his newly-discovered flying talent to retrieve the key to the final door. 

Behind that door is not the Potions professor after all. It is PROFESSOR QUIRRELL, the Defense Against the Dark Arts professor. He admits he is one of Voldemort's followers and is now partly possessed by him. In fact, Voldemort's face has melded with the back of his own head, and has been hidden all year by Quirrell's omnipresent turban. Voldemort needs Harry to get through the final obstacle and retrieve the Stone for him. Harry is able to get the stone, but when Quirrell tries to grab it from Harry, the physical contact proves disastrous for both Voldemort and Quirrell. Because Harry's mother died to save Harry, she left a powerful protective charm on him and Voldemort cannot touch him, even through someone else's body. Voldemort vanishes, Quirrell is injured but no longer possessed, and the Stone is destroyed.

The school year ends with a feast, during which Harry and his friends are honored for their roles in saving the Sorcerer's Stone. Harry returns to his aunt and uncle's house for summer vacation. This time, though, Harry goes with the knowledge that he is a wizard and his real life is at Hogwarts with his friends. And no one, not even his awful family, can take that from him.

Here are some great resources on synopsis writing:

• PubCrawl blog (this is my go-to resource on this topic)
• Marissa Meyer's blog
• Jane Friedman's website
• The Miss Snark archive (includes dozens of synopsis critiques)

And now, here's your chance to have your synopsis critiqued on this website! Fill out the form here, or email your 1-2 page synopsis to me at operationawesome6@gmail.com, and I'll post one critique per week. Thanks for participating!

Tackling the Dreaded Synopsis - Part One

Here's an increasingly common scenario. An agent has had your partial or full manuscript for several weeks, and you finally get a long-awaited email from her. Your heart pounding, you open the email. "Can you please send me a synopsis?" she asks.

Or you just found out about a contest you know you want to enter. The contest judges will be deciding which entries move on to the agent round based on a query letter, the first page/chapter of the manuscript... and a synopsis. The entry deadline is tomorrow. Your query letter and the manuscript itself are word-perfect, edited, beta-read, and revised. But can you write a great synopsis in 24 hours?

In this post, we'll discuss what a synopsis is (and isn't), how synopses are used by agents and authors, and the basic requirements for writing a good one.

Next week, we'll go through the mechanics of synopsis writing, and I'll post an example of a synopsis that works.

After that, I'll be critiquing your synopses - we'll add a form to next week's post so you can submit!

What is a synopsis? A synopsis is a summary of your manuscript's plot. It details the entire main plot arc (including the ending) and also mentions the most important subplots and characters. It doesn't include many character or setting details, and also doesn't include dialogue, metaphors, or detailed descriptions. Think of it as the blueprint for a house. You don't need to show the tablecloths and chandeliers, but you'd better make sure the dimensions of all the rooms are accurately represented.

Why does everyone hate writing synopses so much? Because it's hard! You've spent months (maybe years) writing your book, weighing every word, stressing over character arcs, settings, and plot points. Now you have to condense tens of thousands of words into a couple of pages? It's definitely daunting, but it's doable.

How is it different from a query letter? I like to think of a query letter as 'teasing your story' and the synopsis as 'telling your story.' It may not sound like a huge difference, but think about it: With the query, you want to say just enough to entice an agent, to excite her so much about your story that she just has to request pages. You don't want to give away the ending in a query - you want to end on an uncertain note, a cliffhanger, with the action or decision your main character will have to choose. You want to hook the agent, but you don't want to reel her in. On the other hand, with the synopsis, you're reeling her in by telling the entire story.

Why do agents and contest judges want synopses? An agent might be reading your full manuscript, but also have 100 other fulls to read. If she starts reading and knows right away she likes your voice, your writing, your characters, and the concept, she may request a synopsis so she can get a 'cheat sheet' for the plot without having to read the entire manuscript. It's a way for her to confirm the plot isn't going to go off the rails in the middle or end of the manuscript, and that you can sustain momentum throughout the book. Same with contest judges - they often have hundreds of entries to pore over. A synopsis helps cut way down on reading time.

How long does it have to be? The most common requests seem to be 'no more than two pages' and 'no more than five pages.' I've always started by writing a five-page synopsis, and then cut it down to two pages. The opposite works just as well. Once you've got both, you're ready to go, and can comply with a request for either a short or long synopsis.

What formatting should I use? Use the same font/size as your manuscript (12-point Times New Roman, etc.). For the five-page synopsis, double-space and indent paragraphs. For the two-page synopsis, you can single space and add a space between paragraphs instead of indenting.

What parts of my manuscript do I need to cover? All of it! Well, okay, that's not exactly true. You need to set the scene, introduce your main character, and run through the entire main plot. All of the significant events (and characters) from the main plot need to be included. Subplots and secondary characters can be included if they are directly relevant to the main plot. And you MUST give away the ending.

How many characters can I name? Rule of thumb is no more than 5. More than that, and it starts getting difficult for the reader to keep track. For all other characters, you can refer to them using their relationship to the main character (for example, John's brother, Mary's teacher, etc.).

Do I need comps, word count, genre, a bio, etc.? Nope. Save those for the query.

Does the writing have to be stellar? Why not? This is another opportunity to show the agent or contest judge that you've got the chops. Write your synopsis like you're answering the question, "What happens in your story?" You want that answer to be colorful, intriguing, and complete, and for it to showcase your writing abilities.

My book has a great twist at the end. I can't possibly give it away? Too bad. If an agent has requested a synopsis, then he wants to know how the plot of your book progresses, and that necessarily includes the ending.

When should I write my synopsis? I usually write my synopsis when I'm about halfway through the first draft of my manuscript (note: I do create broad outlines before I start writing, so if you're a pantser, you might prefer to wait until the first draft is done). Writing a synopsis while I'm writing the book lets me know whether the plot is working. Is there a clear through-line for the main plot? What's missing to connect Points A, B, and C? Does a character appear in the first chapter of the book and then isn't heard from again until the 50% mark? A synopsis helps you see the forest for the trees - you can make sure your main plot is working while you're writing the draft. Besides, after you're done editing the manuscript and sweating over the query letter, it's nice to know you've already got a draft synopsis waiting in the wings!

Got questions about the 'Tackling the Dreaded Synopsis' series? Feel free to ask, or start a discussion, in the comments. And tune in next week for more on the mechanics of synopsis writing, a sample synopsis of a novel 99% of you will be familiar with, and the official call for submissions!

Editing and Polishing: Time to Add Some Ellipses!

EDITING and POLISHING

Back in July, I tackled the topic of how I do my first revision in a brilliant and witty piece entitled Cooling Periods and Paper. Sorry if my description raised your expectations higher than the piece actually warrants, but there are no refunds.

Editing and Polishing is the topic of the month, and I will say that past that first difficult revision, I rather enjoy editing. It's my chance to nitpick and shine up each sentence, add in some extra ellipses just for drama ...

I'm kidding, guys. Don't add extra ellipses. But they are fun ... and dramatic ...

It is the time when I look at aesthetics, though. I see if there are unwieldy blocks of exposition or pages of dialogue without time for a reader to catch his breath. I might tag a sentence for solitary confinement.

Because I can.

I'll check for overusing my poetic license, adverbs, and starting sentences with conjunctions. Because ... kryptonite.

And, honestly, by this time, I'm also editing and polishing my query letter. I've done my due diligence, had several pairs of eyes look the manuscript over and give me a green light. Mostly, I'm just a little bit sick of looking at it myself. I know every crossed t and dotted i in the whole darn thing.

So this is when I start emailing my query to my friends to see if anyone bites. If they respond sounding more confused than excited, then I know I need to go back to the drawing board.

How do you polish? Is it something you mainly outsource or something you handle personally?

Beta Readers

Do you ever look back on yourself from the early days of your writing journey and just think, "Aww... I didn't know a thing back then!"
I remember when I first decided that I would make a real effort towards getting my work published. I knew it would be important to have other people read my book and give me feedback, but I had no writer friends at the time. So I put out an open call on Facebook, and sent it off to a few friends, my little sister, and my grandmother. Grandma, who pretty much only reads mysteries, never made it past the first chapter of my New Adult contemporary.

This is my grandma. I will love her forever for introducing me to Agatha Christie. If you need a beta reader for a cozy mystery, she's your woman.

The feedback from most of my friends was "This is really great! It's like a real book!" You can imagine what that did for the ole ego.
So, like the overeager fool I was, I started querying. Fortunately, I also got involved in the writing community on Twitter, and discovered the importance of having both critique partners and beta readers.
A critique partner is exactly what it sounds like: a partner. Usually there is an exchange of work. Critique partners are people who write and are familiar with the publishing industry. You don't feel guilty about nagging them over and over about your first paragraph because they get it.
But what about a beta reader?
As the "beta" part implies, a beta reader is not your first pass reader. A beta reader should be reading the most polished version of your manuscript, one that has been edited several times and already been seen by your critique partners. Don't waste your beta readers on picking up typos (though I always tell mine to mark it if one jumps out at them). Have them read your manuscript as if it were a book they picked up off the shelf.
Find beta readers with expertise in the areas of your book that stretch you, and have them help you make those scenes more realistic. For example, my sister is in her fourth year of vet school, so she helped me immensely with the vet clinic scenes in the book I'm currently querying. The book I'm working on right now is set in the area of upstate NY where I went to elementary school. I don't know what it's like to live there as an adult. So when I'm done, I'll reach out to one of my friends from elementary school on Facebook and ask her to evaluate that aspect of the book. Beta readers are great tools for developing diversity in your work as well. Be bold! Write that character with a different race, sexual orientation, or socioeconomic status than your own! Then have a beta reader (or two!) from that group help you with accuracy and sensitivity.
Beta readers are a valuable tool in the editing process. When you receive feedback from one, thank them graciously. And don't forget to include them in the acknowledgements when you finally get published!

After I initially wrote this post, I read an article in the October 2015 issue of Writer's Digest on beta readers. It's by Amy Sue Nathan, and it really goes in-depth on the topic of finding and keeping beta readers. I'd really recommend it to anyone interested in learning more!

First Revision: Cooling Periods and Paper

First Revision

For July, we're talking about the dreaded first pass of revisions on your recently completed manuscript. Revision and I have a love/hate relationship. I love it when the fruits are immediate and beautiful; I hate it when I can't seem to get something right and I feel compelled to go back to the drawing board. After the celebration period (Yay! I finished another book!), I print out my manuscript and sit somewhere super comfy and far away from my computer. I put a pen on the table beside me, so it's accessible but not itching to be used.

My first pass is for finding overall structural problems or shallow characterizations or setting inconsistencies. I may find a grammatical or punctuation error, or a typo, in this process, but that's not what I'm looking for. I'm looking for the things that make that typo look like a tiny almost-pimple in comparison.

Printing out my manuscript is key. It helps me visualize my story as a real book. It is easier to see errors on paper than on the screen. And it is easier to get comfortable, which goes back to helping me visualize my story as a book. When I read for pleasure, I'm curled up on the couch, so that's how I read my own book during this first pass. I want to enjoy my book. That's the objective. And if something hitches me, takes me out of that enjoyment, that's a red flag. I pick up my pen and draw out a solution in the margins.

As tempting as it is to drop everything and fix that structural problem right then, I wait. I read through the rest of the book as if I have already made the change, and mark any other places where the new story element might clash with what is already there. In the margins, I mark the necessary changes.

After this read-through, I note on the last page my impressions:

• How does this story's ending leave me feeling?
• What do I think of the main character's behaviors? Are they relatable and believable, and do I approve of them?
• Does the ending feel natural or contrived? Did it take some work to arrive there or was it predictable and too easy?
• What major alterations must be made? What's my plan of attack for those problems?

I set it aside again and give myself time away from the manuscript, just to mull it over. It is rare for me to get a breakthrough while sitting at my desk. I get inspiration through living my daily life, so setting the manuscript aside and letting it cool, so to speak, is essential to my process.

After the cooling period, I pick it back up, and take it to the computer. I find the page numbers with the most red and start implementing my plan of attack. 

I always enjoy learning about other writers' processes, particularly revision. How do you tackle that first revision? 

First Draft: A Process of Evolution

FIRST DRAFT

For June, we get to talk about the glorious first draft phase of writing a novel. I love first drafts! Until I hate them. But today, I'm just going to write about the fun part: beginning.

The sparkly new idea begins like a flower, a bud full of possibility. I wait for it to open a bit before I sit down to write, but as soon as I can see the unfolding of petals, I begin.

My bud looks like a title and a main character with a challenge, so I have a big job ahead of me. I have to flesh out the setting (my kryptonite), other characters, and their full character arcs.

I begin with Save the Cat beat sheets. That's my initial pre-writing. Usually, I have to do this more than once because the first one isn't completely right. It takes me a while to put those pieces together. At the same time, I allow myself to have some fun with character dialogue, as I mentioned in my Pre-writing post last month.

By the time I have these snippets of dialogue and a beat sheet, I have a pretty good idea how my story is going to go. I'm excited. I'm filled with the sense of mission that goes with a new project.

Following my beat sheet/outline, I start at the beginning. I try to follow the advice of The First Five Pages by avoiding passive language, starting with a lead-in to the main conflict, and keeping a feeling of forward motion.

But beyond that, I let myself go a little bit. I have my beat sheet within easy access but I am not its slave. It's my servant. I let the dialogue take me to places the beat sheet wasn't quite prepared for, and I edit the beat sheet as I go. I'm more of a pantser at heart.

About midway through the novel, I hit my crisis. The best way for me to describe this moment is to use a running analogy. During a race of 3 miles or longer, there is a wall. Pushing through that wall is the hardest part of the race, but if I just stick it out, the wall is behind me and then comes euphoria, the runner's high. I feel the same thing once I've worked through the plot issues, the character inconsistencies, or the general malaise of being almost done. On the other side of that wall is the feeling of completion.

The in-between-the-wall portion of my first draft writing is the time I get up from the computer. I have to sit at the dining table staring off into space, or think about the big picture while I shower. I have to let it simmer until the flavors magically merge into something wonderful.

And when I type the final words of the final chapter, it feels amazing. I post it to facebook and twitter and celebrate with ginger ale. And I don't even look at it again... for a while.

Because the time for revision will come, and it will come all too soon. Then I'll see all the flaws afresh. But for now, I just get to enjoy the creation of something that didn't exist before, something that I willed into being.

That's my first draft, baby!

How do you first draft?

Pre-Writing: Getting Into Character

PRE-WRITING

For May, our OA Writing Tips topic is Pre-Writing. How do you get ready to write a novel?

When I first started writing, I didn't know pre-writing existed. I dove in, head first, and felt befuddled when I bonked my head on the bottom of the pool. Through the years, I've begun to appreciate the idea of pre-writing. My favorite way to get ready for a big project, and the one I'm going to talk about today, is...

Getting Into Character:

So, taking a leaf from Twilight's Stephenie Meyer--who wrote her first book beginning with the intense emotional dream she'd just had: a conversation between a girl and a vampire about how much he wanted to kill her and how hard it was for him to refrain--I like to begin by writing a conversation between two or more characters. This gives me an idea who my main characters are, and why they are at odds with each other. It immediately establishes the main conflict, each character's main motive, and the justification each will use to feel like the good guy in the conflict.

This comes naturally to me because I often feel the impulse to open a new scene with dialogue. It's counter-intuitive for me to do what the experts say and begin by setting the scene. In my mind, it's the conversation that means the most. This type of pre-writing works with my natural inclination and gets the creative juices flowing.

Even if the conversations won't ever feature in the finished novel, they put me firmly in the heads of the characters I'm going to be leading on their wild goose chase of adventure, woe, and resolution.

How do you pre-write?

Look for answers from the rest of the OA gang throughout the month.