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Have you ever filled in one of those questionnaires that’s supposed to tell you what your ideal job is? Whenever I did, I usually found them desperately disappointing – but then they probably weren’t meant to send people to precarious, impractical occupations like writing. Except that one day, I filled one in that did. And it did it with one excellently judged question: ‘do you value the strange’?
Not only did this prove there is only one job I’m really fit for, it also summed up what drives me to write.
Today I’ve been invited to Writer.ly, who asked me to describe how I develop my novel ideas. Expect a lot of head-scratching, thinking, running, shopping – and writing of notes that no one will ever see but me. Come on over… and tell me if you also value the strange …
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Scratch that; they weren’t just tricky. They were a forensic slog.
I’d already checked everything that affected the central plot events – journey times, important dates and so on. But that was months before. Not only that, there were countless niggles I hadn’t realised would alert an editor’s eye. It was amazing what I didn’t know about my own book. How many hours had passed since the hostages were taken? On what day did the characters meet the mysterious man? She questioned every plot beat, flashback and nightfall.
Sitting down to answer that exhaustive list, I felt like Arthur Dent when he lamented that he couldn’t get the hang of Thursdays.
Thankfully my timelines held, give or take a minor snag, but I learned my lesson. Ever since, I’ve been fastidious about them.
Timelines are mainly invisible
Unless you’re writing a time travel story or a novel with condensed action, timelines are mainly invisible to readers. Like plot and character arcs, they’re the unseen looms of the storyteller’s art. And this means writers often don’t realise they need to take control of them. Until they face an editor’s interrogation.
You’ll be astonished what editors – and readers – will call you on. Is it possible for Joe to have recovered from his broken leg enough to climb a ladder? Are those characters in two places at once? How can that scene be back story if the event hasn’t happened yet?
If you take control of your timeline, you’ll find it much easier to know if your plot is plausible, and to sort out the hiccups.
Here are my tips.
If the timeline drives the story, you might want to design it before you start writing, or sketch out the main markers – historical events, calendar landmarks. Some writers use year planners, but a sheet of A4 is just as good.
You might also want to verify possibilities that require precision – such as travel. (And if you’re writing time travel you need to be very precise.)
Otherwise, be casual. You can decide these details in revision. If you stop and fret every time you need to write ‘last night’ or ‘next June’ you’ll probably get paralysed by indecision. Write something magnificently vague such as ‘the other day’ or ‘soon’, and sail on.
Before you revise
Now get serious about time. Before I revise a manuscript I analyse the first draft with an exercise I call a beat sheet. Essentially it’s an at-a-glance summary of every scene. You can make it on paper or a spreadsheet, and one of your columns is reserved to record when the scene happens.
As you summarise each scene for the beat sheet, notice if you’ve made a point about the date, time or event, and record it in the timeline column. If you haven’t, leave it blank.
Also write in if a deadline has appeared – for instance, 20 minutes before the bomb detonates. If your plot includes a race against the clock, the timing often needs to be worked out to the minute. With the beat sheet it’s simplicity itself to write the timings against plot events and check they work.
Then fill the blanks, deciding what will be plausible for those sections of the story. Perhaps the precise date isn’t important and you can bracket them together as ‘summer’, to ensure your weather descriptions are consistent. Or you might decide you can enhance the action by setting it at Christmas or even a time that corresponds with a newsworthy world event – whatever suits you.
But when those editors and beta readers quiz you on your story’s plausibility, you’ll have the answers ready. Painlessly.
The beat sheet is my go-to method for revising my novels’ structure, plot and character arcs. It’s explained fully in my book Nail Your Novel: Why Writers Abandon Books & How You Can Draft, Fix & Finish With Confidence.
Do you have problems keeping track of time in your novels? Have you found a solution? Share in the comments
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You’ll have seen the posts here about my blog series the Undercover Soundtrack.
Over the years, the posts consistently repeat certain bare essentials, both for reaching the writing mindset and creating a good story. Here they are, and whether you write with music or not, we all need them.
To enter the zone
In front of us is a keyboard and a screen, or maybe a pad and pen. Whether you’re putting on a soundtrack, closing the door on your favourite silent space or seeking the anonymous corner of a coffee shop, the first step is to find a way to delete the outside world.
Start the time machine
Whether we write gritty memoir or the most extravagantly invented fantasy, we need to harvest our emotional memories. Many of our scenes, dilemmas and storylines are drawn from feelings we had at important times with family, friends, loved ones.
To keep the pace
Stories aren’t static. To keep the reader gripped, we need to generate a sense that the world of the story is changing all the time. For me, music is a useful reminder, because music does not stand still. There may be a new instrument snaking into the mix, a new variation on a theme, a creeping, evolving harmony. If this is going on in my ears while I’m spending time with my book – whether I’m musing or typing – I find it keeps me up to the mark – pushing for ideas that give this forward pressure.
We’re getting more musical now. A song is not unlike a well-told tale. It creates a territory of familiarity – a pattern we recognise of verse and chorus. Then we have the second verse – familiar, but not the same because the background is more dense or the lyric more intense. The second chorus is usually more substantial than the first, and even if it has the same lyric, it packs more punch. And on the song goes, seeking a climax.
For all its variation, a song is tightly disciplined. It develops by adding only what belongs. As story writers we can splash about in ideas, locations, settings, characters and events, but the more they align with the home territory (or exquisitely contrast with it), the more they will seem to belong in one piece.
In a piece of music, there might be a breakdown, where most of the elements are subtracted, perhaps leaving only the drum track or the melody at great distance. Breaks are important for a reader too; perhaps a campfire scene, a time out from the pressure to let the reader breathe before the tension comes flying back.
To calm the inner editor
Novels are huge and often daunting. Getting from beginning to end requires persistence, and we always find our confidence tested. Many of my Undercover Soundtrack guests report that music is an essential companion in this. It helps us believe more in ourselves, our story, our characters, our world – and in our ability to finish.
How about you? What essentials would you add? And if music isn’t your aide of choice, is there something you use to get a novel finished?
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I have a friend who is French, and despite years of living in England, he uses a vocabulary that is sometimes unintentionally hilarious. He became a legend when he referred to a top-down convertible as a ‘topless’ car. (I am so looking forward to the SEO results of this first paragraph.)
I’m currently reading Jonathan Safran Foer’s Everything is Illuminated, and one of the narrative strands is in the voice of Alex, a Ukrainian who speaks very little English.
In an attempt to seem more educated and impress the hero, Alex is, as he himself would put it, ‘fatiguing his thesaurus’. In his account, people sitting around a dinner table or at the wheel of a car are ‘roosting’. If something is nice or good, it’s ‘premium’. If a character is standing still they are ‘reposed’; annoyed is ‘spleened’. Alex’s choices are often unintentionally ridiculous, and he has no idea of their appropriateness or connotation.
This creates various literary effects in the novel, which I’ll come back to if you’re curious. But actually, a lot of writers – across all types of fiction – choose words that make their action or characters unintentionally ludicrous or comic.
In times of trouble
This particularly seems to happen with dramatic moments.
In a fight, the heroes might be ‘whacking’ and ‘walloping’. A vulnerable character might get their hand ‘squashed’ under an attacker’s boot, or ‘bounce’ down the stairs. These words might be accurate, but they have a comic ring that ruins the atmosphere. In a scene where a much-loved character is found murdered, there will be ‘blood-splattered’ walls. (Try this instead from Thomas Harris’s Red Dragon: ‘Bloodstains shouted from the walls.’) Someone discovers the body and lets out a ‘squeal’ or a ‘squeak’ – which sounds jolly instead of appalled.
This might happen for a number of reasons. Quite a few of my clients are merry souls even though they write dark stories. Or they’re trying to make a description dynamic, but in their vigour they pick a word that has gusto instead of menace. Or they’re trying to be accurate about what’s in their mind’s eye – after all, blood probably does splatter and spurt from a slashed artery. The trouble is, it sounds slapstick.
In prose, words suggest pictures and atmosphere just by their shape and sound. Those beginning with ‘s’ seem to be especially risky – I can’t count the number of times I’ve seen unfortunate appearances of squashed, spattered, squatted, squirmed and squelched.
Ear and eye
To control our text fully, we need to develop an ear for the mood suggested by a word, and for how it looks on the page. This is different from the way they might work if you were describing the scene to friends, who would have your personality and vocal delivery to disguise the odd inappropriate word. Similarly, you might be led astray if you read a lot of scripts instead of prose. Screenwriters don’t have to be so sensitive to these subtleties. They are presenting instructions for an experience that will come to life in other media.
But on the page, you are creating the actual experience. Your word choice is your tone, the personality behind the scene, the theme music, the lighting. We have to examine these qualities every word we use, both its sound and its shape. Look at that Thomas Harris line again, about a gore-splattered room: ‘Bloodstains shouted from the walls.’
In Everything Is Illuminated, the word choices appear oafishly comic, haphazard; mangled, even. As with all well-executed tomfooling, this belies a great deal of skill. Each odd word has been chosen by the author with great care, with an eye and ear for the grace of a sentence, for how jarring or surprising it might be, and to encourage us to think of what it might really mean. And this clumsiness also gives the narrator a great transparency; he is so unaware of other connotations his narrative has a quality of charm and honesty.
Choose synonyms with care.
Do you have trouble picking the right synonym? Do you have any examples of writers whose descriptions hit the spot for you – or don’t? Let’s share in the comments!
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This post is a tad late as I’ve had an oversubscribed weekend, first hosting a workshop at the London Author Fair and then teaching at the Guardian selfpublishing masterclass. In all that whirl I’ve met a lot of writers and would-be selfpublishers and thought I’d share some of the advice I gave most frequently.
1 Whether you intend to go indie or not, learn about selfpublishing
- then you’ll know how to weigh up the value of a publishing deal. As well as the money (which usually won’t cover the time you spent writing), a publisher offers editorial guidance, copy editing and proof reading, cover design as appropriate for the audience, print book preparation, publicity using their contacts and reputation, print distribution.
As I’ve said in this blog post, all of that is services that indie authors do for themselves. Some (not all) are easy to source and manage. Some can’t even be priced, like the publisher’s reputation. But if you have tried to produce a quality book yourself, you’ll have a realistic idea of the value a publisher adds – or whether you can do well without them.
Some of that value might be emotional – the confidence that everything has been done properly and a sense of validation. These may not be as guaranteed as you think. There are always traditionally published writers who sell enough to be looked after well by publishers, and others who decide they are better as indies.
But the more you know about selfpublishing, the more you can assess a publisher’s value as a partner.
2 It isn’t either-or.
Whether you start as indie or traditionally published, you won’t always stay that way.
Traditionally published authors might leave their publishers (or be dropped) and go it alone. They might reissue their backlist or publish in co-operatives with other authors. Indie authors might begin on their own, then strike a deal. Some do all of it concurrently (hybrid authors), choosing what’s best for each project. Some publishers are experimenting with partnering deals – a different beast again.
There are also rights that are much better exploited with help – particularly translations. A few months ago I was emailed by a literary scout because a Spanish publisher was curious about My Memories of a Future Life. If anything more transpires I’ll blog about it (you bet I will), but these are opportunities I’d welcome a publisher for. (Any other offers, I’m all ears!)
Publishing and selfpublishing is now a spectrum. Most writers will zip up and down it, according to where a project fits.
3 Selfpublishing your first book
Don’t be in a rush! Although modern selfpublishing tools let you revise and tweak a naive edition, you cannot edit your reputation.
Most first-time writers map out a schedule for publishing their book, but don’t appreciate how long it will take them to work through issues found by the developmental editor. With first books I often recommend extensive changes and rethinks, or find the writer needs to grasp a technique better – but they’ve already made a plan to get the book onto Kindle in just a month.
What makes it worse is when they see their writer crowd posting on Facebook or Twitter about rattling through their drafts, launch dates etc. I have three things to say about that:
1 These writers might be well practised and on their umpteenth book
2 They might be fibbing (surely not)
3 They might be about to release a book before it’s fit to be published.
I said this yesterday to my Guardian masterclass: when you’re making a schedule for publication, think of your first book as your training wheels. Until you’ve had the editor’s report you don’t know how much work your manuscript needs. For subsequent books, you’ll work smarter, you’ll have a sharper technique and you’ll be able to gauge how long everything will take. But don’t make a timetable for your first book and then discover you haven’t left enough weeks – or months – for a thorough edit.
And this: don’t be swayed by someone else’s schedule. Find the schedule that fits you.
Thanks for the pics, Official US Navy Imagery, Joanna Penn and London Author Fair
What advice would you give to the 2014 writer? Let’s share in the comments
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I see a lot of manuscripts by writers who tell me they’ve been honing their book for years, sometimes even decades. Often these are first novels, slowly maturing as the writer feels their way – not just with that story’s material but with all the controls of their writing craft, and the influences they’re absorbing from other fiction they read. Even their idea of what kind of writer they are might change.
And quite often, I can see these phases in the novel itself, like a Frankenstein monster. In some paragraphs the narrator sprouts a personality, and starts to present a humorous view of proceedings that wasn’t in the narrative before. Sometimes the plot events or dialogue abruptly switch to the conventions of a different genre, or the writer’s vision for the characters seems to change from tragic to dreamy.
When I flag them in my report, the writer usually says that the line or section came from an earlier version, or they were unsure whether to include it or not.
Mood to mood
It’s inevitable that we’ll write or edit in different moods from one day to the next. That’s fine; we’re not machines, after all. And we often get our best revelations from messing and experimenting. But we don’t want to develop a patchwork of tones.
One of the many things we must do as we edit is to create an even tone to give the reader a consistent experience – or at least make sure we don’t change it unintentionally. That doesn’t mean we can’t create characters who are contradictory or multifaceted. Or narrative styles that are flexible and supple. But we must watch out for the moments when our narrative veers too far from variety and we have slipped into a different version of the book.
This is difficult to spot. If we’ve been working on a book for a long time, we’ll have got used to assembling it piecemeal from bits we like. As we read through, we know what it all means and we don’t realise when we’re giving the reader an unwanted mental gear change. We become tone deaf to our book.
We need to edit with an awareness of this moment. If at any point we catch ourselves making a mental hop to process a sentence, this could be because its tone doesn’t quite belong.
This kind of editing is usually only possible in the late stages of the novel, when we’re happy and have stopped experimenting. It isn’t until then that we have the coherent vision of our work, the deep knowledge of what we are trying to do, and therefore the certainty to feel when something fits and something doesn’t. Or, indeed, the strength to let go of the parts that don’t fit – the evergoing purge of darlings.
But if you learn to recognise the shadows of former versions of your novel, you’ll give the reader a smoother ride.
Thanks for the pic petsadviser.com
NEWS If anyone’s in or near London, I’m teaching in the one-day Guardian self-publishing seminar, along with Joanna Penn, Orna Ross, Ben Galley and Polly Courtney. Funnily enough, most of them have been or will be guests on The Undercover Soundtrack – except for Joanna, who writes to the sound of rain. I’m working on her to write me an Underwater Soundtrack. I’m teaching the module on print books, and other modules include marketing, formatting and using social media.
Back to tone! Do you have problems with your novels shifting tone? How have you solved them? Let’s discuss
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‘I like Nail Your Novel,’ said Lauren Orbison to me on Twitter recently (which was nice). ‘But you now need to write Nail Your Second Novel. It’s tough sometimes to get back to writing after finishing something.’
I understand what she means. First novels are usually written over many years. We might put more time, work and learning into it than we ever dreamed we could put into one project – short of actually rearing the next generation. Then suddenly, the novel’s done, it’s out and we’re wondering: how did I do it?
I’ve certainly felt like this. One minute, I’m stealing time to be with a book that has become as familiar as an old friend, refining to get the depth and finish I want. No other phase for me is so rewarding. I’m understanding my material. I have a book, for sure, at last. It reminds me of when I was at plays at school. In the final rehearsals we’d be adding refinement on refinement, amazing ourselves at how inventive we were being. The shambolic months were behind us.
Then it’s over. On the one hand, my novel is out in the world as a finished piece. Readers might be asking what’s next (bless them). And what have I got? Something much rougher, perhaps – to me – offensively so.
This, I think, is what Lauren is talking about. Some writers find it blocks them completely.
I’ve learned the way to deal with this is to get another novel to a confident state before the mature one sets sail. I know that if I get to the end of The Mountains Novel and I haven’t got a serious contender for Next Novel, I will be severely fretful and will rail at the muses for abandoning me. But The Mountains Novel will need periods of enforced rest after each draft and that’s when I’ll get developing the next one. Could be The Flying Novel, The Venice Novel, or – as I’ve had a few other ideas arrive – Someothernovel entirely.
So far, so good.
But what if you’ve completed the one novel you’ve spent years on, and you haven’t started incubating another? What if that first idea started so long ago that you’ve forgotten how you ever got it?
Or what if you have ideas but they don’t excite you? I have various plots I’ve thought of, but I don’t feel moved to write them. I’m missing the ingredient that will make me want to quarry them – because I haven’t found the theme or idea I want to take to them. They’re clay without a soul.
First of all, if you’re feeling so emptied, you can’t create. Go and stoke your imagination. Your first idea probably came to you out of the blue, while you were following something you were interested in. So read books and do things just because you want to, no ulterior motive of research. You can’t force yourself to have a great idea any more than you can will yourself to fall in love. But you can flirt with things that could bite back (in a good way).
If you’re still frustrated because you’re not actually ‘working on’ something, make this period of exploration into a project. Set yourself a target to read x number of novels, y number of non-fiction books, or have a brief sabbatical at an evening class so that you feel like you’re completing something. Think of it as an appointment with your muse. If you’re really desperate, read something you’re guaranteed not to like. The chances are, you’ll rile yourself so much you’ll be bursting ideas in no time.
And next time, don’t wait until the first novel is over before you work on the second. (There’s plenty more about developing ideas in Nail Your Novel, whether you’re on debut tome or umpteenth…)
Well that’s my method. Have you finished a novel and found it hard to get on with the next? Perhaps you have a steady stream of works in progress… Let’s share in the comments!
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Whatever kind of fiction we write, most of us want to give our prose that extra flair and sparkle. How do we learn to do that? How casual can we be while still looking ‘correct’? When is prose powerfully poetic and when is it purple, stodgy and even ridiculous?
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I have a friend who is a graphic designer, and he’s as adept with words as he is with images. Recently he said to me: ‘I don’t know how you get a book finished. I have all these ideas but my imagination’s like a rope that frays into too many ends.’
(You see what I mean? He should definitely write.)
‘Do you make notes?’ I asked.
‘Yes, but when I look at them they’re dry and dull.’
Aha, my friend. You’re making the wrong kind of notes.
The wrong kind of notes?
Years ago, I used to keep a dream diary. I found it a few months ago and expected the entries would be indulgent nonsense, without the meaning, resonance or early-morning mind that makes a dream a good experience. But no; in those fragments the experience came back, just as odd and wondrous. Now I’m not going to bore (or scare) you by quoting one here, but what I will tell you is why they still worked.
They were written with a dream-head. They captured experience as well as logic and explanations.
What’s this got to do with making notes?
In Nail Your Novel (original flavour), I wrote that you should keep your earliest draft. If a scene has lost its sparkle, look back at the first time you had a go at writing it. Yes it will be shambling and embarrassing, blurted onto the page. But it will also contain emotional language, straight from the things you were feeling as you discovered it. This is the freshness and immediacy that can disappear with editing, or when you try to refine, get formal or explain.
It’s also the quality that can disappear when we write notes after a brainwave.
So when I write down an idea, I make sure I include this raw response. I write them as a stream of consciousness, like a dream. Because that’s what comes to me first: the certainty of what I want the reader to feel. If possible, I’ll also keep a talisman that will allow me to replay it again, and indeed might have been the initial inspiration – a scene in a book or a film, or a piece of music. (We know all about that here, with our Undercover Soundtracks.) There will be practical elements too, so it’s not complete gobbledygook – eg ‘man sees woman in coat that’s just like his wife’s, assumes it’s her and follows her’, but those look dry when you read them in isolation.
Stories are emotional. You want to make sure your notes help you remember the impact that made you so excited, as well as the hows and whyfores.
Do you find your ideas have dried up and died when you read your notes? Do you have any tips for keeping it? Let’s discuss!
Psst… My second novel Lifeform Three is coming very soon. It’s a fable in the tradition of Ray Bradbury. If you’d like to hear as soon as it’s released, sign up for my newsletter. If not, as you were :)
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What is too long?
In commercial publishing there are accepted lengths for books, ranging from 70,000 to 100,000 according to genre and audience. These conventions are created as much by the economics of distribution as reader preference, but they are pretty entrenched and can be dealbreakers. And if you’re self-publishing a monster epic in print, you might start to understand how paperback costs escalate as those pages pile up.
Too long for who?
You’re right. A book should be the length it deserves. As a reader, that’s what I want. As an editor, that’s what I strive for. And here’s the good news: I usually find when I tackle a manuscript that there’s enough redundancy to fillet the wordcount easily and painlessly. When I edited My Memories of a Future Life for publication, I found I’d been a bit generous and meandering. My ruthless eye took it from 152k words to 102k. Yes, with all the important story elements still intact.
So before you sacrifice a subplot, extract a much-loved set of characters, look at this list. It might do all the cutting you need.
1 Have you crammed too much of your research in? You need a lot of research to get comfortable with a subject, geographical area, historical period or life situation, but you don’t need all that in the book. And I see a lot of writers who can’t decide what to leave out. Or they’ve got carried away inventing atmospheric details, and have brought the story to a standstill (like my friend in the picture). Whenever you’re introducing details for this reason, consider whether the story has stopped for them. Choose just a few to make your point, and keep the rest for deleted scenes to delight your fans – seriously, you will make good use of this material and it’s never wasted.
2 Examine your descriptions for extraneous adjectives and adverbs. Often writers pile on several when one will do – ‘thick black hair’, ‘brilliant bright moonlight’. Sometimes they use a simile when a more exact verb would be crisper – ‘he threw panicky punches like a child’ might be better as ‘flailed’. (It might not be, of course. Fiction isn’t like instructions for plumbing a washing machine. Sometimes the luxuriant description suits your needs.)
3 Throat-clearing before the meat of a scene. Sometimes a writer seems to be warming up before they get to the important part of a scene. They might footle around with unnecessary details and internal dialogue. Of course, you don’t want to neuter all the atmosphere and panache, but ask yourself if you’re stating points we’ve already grasped, or if you could wind the scene forwards and start further in.
4 Watch for dialogue that is going nowhere. Often, characters dither and chit-chat before their dialogue gets interesting. Can you start at that point and still keep it natural?
5 Make your characterisation scenes do double duty. Scenes that display character traits, attitudes and relationships are very necessary, but they can be static. Can you incorporate them in a scene that also pushes the plot forwards?
6 Take out all the back story (don’t panic; we’re going to put some of it back in). Writers often cram in far too much back story. Like research, you don’t need to display nearly as much as you’ve prepared. Consider what the reader needs to know at each stage of the story and what you could reveal in more dynamic ways – eg scenes where characters bond by sharing a confidence.
7 Make a beat sheet. This is – and probably always will be – my pathfinder through a novel. Briefly, it’s an at-a-glance plan of the novel that shows the entire structure and the emotional beats. It has lots of uses, but if you need to shorten a book it will show where scenes are repeating parts of the story that you’ve already covered, or scenes that could be spliced together and achieve the same purpose. It’s explained at greater length in Nail Your Novel (original flavour)
NEWSFLASH This Wednesday I’m speaking at the GetRead online conference, which is all about marketing strategies for writers. Other speakers include authors Joanna Penn, James Scott Bell, Bella Andre, Chuck Wendig, Elizabeth S Craig, Barbara Freethy, MJ Rose, Therese Walsh, the literary agents Rachelle Gardner and Jason Allen Ashlock, book marketing experts and entrepreneurs Dan Blank and Kristen McLean, industry commentator Porter Anderson, and senior figures from Goodreads, Wattpad and Tumblr. It’s online, so you can join from your armchair. More here (and in the meantime, wish me luck – I had no idea it was so big!)
Back to important matters….
Do you have any tips for cutting without sacrificing story elements? Have you had to hack several thousand words out of a novel? Let’s discuss in the comments!
adjectives, adverbs, authors, back story, editing, editing tips, entertainment, fiction, Fix and Finish With Confidence, how to cut a novel, how to edit a novel, how to write a book, how to write a novel, language, My Memories of a Future Life, novels, polishing, publishing, research, research for a novel, revising, Rewriting, Roz Morris, self-publishing, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel
I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘The moment of making the first sound or writing the first word is special’ – The Undercover Soundtrack, Pete Lockett April 23, 2014
- How to write a novel: following the strange – guest post on Writer.ly April 16, 2014
- ‘Road trips require a soundtrack; so do some novels’ – The Undercover Soundtrack, Linda Collison April 16, 2014
- How to make an audiobook using ACX April 13, 2014
- ‘A trickle of notes can flood your thoughts with broken things’ – The Undercover Soundtrack, Warren FitzGerald April 9, 2014
- An easy way to make your plot plausible – control your novel’s timeline April 5, 2014
- ‘Tragedy and loss are cornerstones of my story’ – The Undercover Soundtrack, Anne Allen April 2, 2014
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