- Email me
- Nail Your Novel: books
- FAQ: I’m a new writer: which book should I read first?
- FREE Nail Your Novel Instant Fix: 100 Tips For Fascinating Characters
- My writing process: the picture tour
- Nail Your Novel: Why Writers Abandon Books and how you can Draft, Fix and Finish With Confidence
- Reviews of Nail Your Novel
- Who’s tweeting about Nail Your Novel …
- Writing Characters Who’ll Keep Readers Captivated: Nail Your Novel
- Writing Plots With Drama, Depth & Heart: Nail Your Novel
- Radio show
- Who am I?
Archive for December 9th, 2012
A publisher was interested so we had a meeting. In a creative, convivial afternoon, we brainstormed ideas. I took reams of notes. But in the end I did nothing they suggested. Not one thing.
They were right
At home I made a beat sheet (one of my all-time lifesaving revision tools, explained in Nail Your Novel). It had been a while since I’d read the manuscript. The beat sheet showed that too much of the first half was atmosphere instead of story. My esteemed colleagues were right that it was slow.
They were wrong
But they were disastrously wrong about how to pep it up. ‘Let’s have a character on the run, a threatening political movement in the wider world of the book, another sub-plot to keep characters busier’… All sorts of plot fireworks, all out of kilter and unnecessary. I knew the central character had a compelling major problem and that the action must come from that, not from a carnival of chaos around the edges.
So how did I fix the book?
As always, the best insight came from examining why I wrote the story the way I did – made possible by the beat sheet (left, with fortifying accessories). I included those slow scenes for a good reason – to introduce ideas and threats that would emerge later. I’d made them strange and intriguing, but I now saw they didn’t have enough momentum in themselves. They didn’t immediately generate interesting situations.
I’d known I was in trouble
I had even suspected they were weak, so I’d tried to solve it with false jeopardy. I confess I made the main character worry that nasty things could happen. I now clutch my head in shame – these extended periods of worrying were not jeopardy, they were nothing darn well happening.
I even realised this, and tried to atone by making the main threat bigger. In hindsight it creaked with desperation.
Agent and publisher were nice enough not to say any of this. Perhaps they didn’t notice or mind. Perhaps only I knew how bad it was, because I knew my desperate motivations.
Unpleasant as it was to examine my writerly conscience, the answers helped me decide what to keep, what to add and what to adjust.
Better. Stronger. Faster.
I returned with a leaner, stronger Life Form 3. A really compelling read, said my agent – not noticing it was actually longer. He didn’t give a hoot that I’d ignored his suggestions. He didn’t even remember them. Unfortunately the publisher’s imprint closed that month – so Life Form 3 was out in the cold again. But that’s another story.
Some writers hate it when editors, beta readers et al make suggestions. I don’t – I welcome them as oblique illuminations from the surface to the murky deep. And if you’re new to the writing game, or need to fit an unfamiliar genre, there’s much that a savvy editor can do to guide you.
But you mature as a novelist by understanding your own style and your individual ways – which includes how you handle your material and second-guess your own process. In a talk given at BAFTA, screenwriter, playwright and novelist William Nicholson said it’s the editor/producer’s job to tell you something’s wrong, and the writer’s job to find out what that is.
Before you act on revision notes, reread your manuscript and examine why you wrote what you did. This is how you stay true to your novel – and how you come into your own as a writer.
Thanks for the camel pic Loufi
In my next post I’ll discuss in detail how to add jeopardy to a story. In the meantime, let’s discuss –
Have you had detailed editorial advice on revisions, and how did you approach it? Do you appreciate it when editors chip in with changes they think would improve a book?
You can find my beat sheet in my book Nail Your Novel: Why Writers Abandon books and How You Can Draft, Fix and Finish With Confidence. A second Nail Your Novel is under construction – if you’d like information, sign up for my newsletter.
And – spoon tapping on glass – this week I had an email from CreateSpace telling me that demand for the print edition has been so high that Amazon placed a bulk order so they have enough stocks for Christmas. Who says indies are killing print?
agents, Amazon, authors, BAFTA, CreateSpace, deepen your story, editors, fiction, find your style, getting notes from an editor, having ideas, how to edit your book, how to edit your novel, how to write a better book, how to write a book, how to write a good book, how to write a novel, jeopardy, Life Form 3, literary fiction, literature, My Memories of a Future Life, novels, pacing, Plot, polishing, print edition, publishers, publishing, revising, Roz Morris, self publishers, William Nicholson, writing, writing a novel - Nail Your Novel, writing business, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, Depth & Heart
You are currently browsing the archives for Sunday, December 9th, 2012
Le tweet …. c’est chicMy Tweets
- AI, the Bradbury tradition and imagined futures – interview at One Giant Read May 3, 2016
- How do you become an editor? May 1, 2016
- ‘The lowest note in the universe’ – The Undercover Soundtrack, Tracy Farr April 29, 2016
- How to blend a parallel, allegorical fantasy plot into your novel April 24, 2016
- ‘To make art by the grace of other artists’ – The Undercover Soundtrack, Camille Griep April 22, 2016
- Masterclass snapshots: why it helps to construct your novel in scenes April 17, 2016
- What can an editor do for me? Discussion video at Indie Author Fringe 16 April 16, 2016