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Posts Tagged critique partner
I did my first bookshop signing yesterday. Big landmark! It was a terrific day, lots of people (which was a relief). The local writing group came in force and one question came up time and again. ‘My manuscripts end up so long. What should I do?’
Many of their novels were tipping 150,000 words. One gentleman was turning out whoppers of 500,000 and knew he needed to do something about it. But what?
How long is too long?
Actually, length is not a question of wordcount. It’s about pacing. No book seems too long if the material has been handled well. A tome of 100,000 words will read like lightning if it is well paced. A novel of half the length will be a tedious trudge if the pacing is poor.
Of course, the book may be considered too long because of the market and genre. That’s a whole subject in itself. But let’s assume for today that you can have any length you like, so long as it is, like Goldilocks’s porridge, just right.
What is good pacing? It’s holding the attention of the reader. Plot revelations come at just the right speed. Not just plot, but emotional highs and lows, notes of comic relief, moments of growing tension. Well-paced novels keep the reader up past their bedtime.
A novel also reads smoothly if it is coherent. Whether it’s a simple story of two friends or a sweeping epic with seven protagonists and a plot that spans a century, it holds together as one elegant work. Like a well-designed room, everything has a place and it belongs. The material is under control. The more a reader feels the author has this authority, the more they will be gripped.
So when a reader, critique partner or editor tells you the novel is too long, they usually mean you need to fine-tune its coherence and pace. You need to make it a more compelling read.
Why do novels end up too long?
- the writer was having fun and went off at a tangent – nothing wrong with that, it’s part of the organic growth of the novel
- the writer found it was more difficult than they expected to get their characters from A to B – again, this is good and will make your novel unpredictable, organic and true
- – and most important – it’s almost impossible to keep control of coherence and pace while you are writing. You have to tackle these issues once you have the manuscript complete, and can see what belongs and what needs emphasis. (Some of the writers I spoke to yesterday were surprised by the concept of revising. Especially that revising was an essential, radically artistic process, rather than a quick brush-down for spelling tweaks.)
Take a break, then make a beat sheet
Readers of my book Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish With Confidence will be familiar with these two steps. To edit productively, you need critical distance. So take a break. Write something else. Lock your manuscript away until you’ve forgotten most of it. Most of us need at least a month, but the longer the better.
Then make a beat sheet. This is my ultimate revision tool. Before I start editing, I need a way to grasp the structure of the entire book. So I make a summary of each scene’s purpose – why it’s in the story, whether it advances the plot or our knowledge of a character. I use this to decide if I have scenes that aren’t necessary, or are in the wrong place or if they repeat other material.
When I start editing, I’m feeling my way. With each pass, I climb further inside the novel. I understand what every scene and character should do, and realise whether to emphasise or condense.
It’s as if cutting is like marathon training. To start with, I make light, obvious excisions. Repeated words, over-long descriptive passages, portions of scenes that go nowhere. By the end, which may be weeks or even months later, I’m hardcore. I’ll think nothing of reordering a whole sequence of scenes, downgrading a character’s role or merging them with another person. I will gladly let go of ‘darlings’ – scenes, descriptions, characters and plot developments that are there only because I like them, and not because they are needed. (I may have to add scenes too.)
Cutting is creative
Cutting a book can sound like a negative, dispiriting process – another reason why some writers find it difficult. In fact is creative, not destructive. Although the net effect is a tighter wordcount, we’re not throwing material away but discovering what’s not needed. It’s a process of refinement. I love it because it’s where the book develops its distinct personality and identity.
And… announcement! You may have noticed a new cover has appeared in the sidebar. Nail Your Novel: Characters is due for release in May, so if you’re interested to know more, sign up for my newsletter.
Thanks for the swordsmen pics CarrieLu
Do you like cutting your novels? Do you have any tips to add?
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- My kind of weird, my kind of wonderful – interview at Davida Chazan’s blog September 11, 2019
- How to outline a novel – post at Ingram Spark September 8, 2019
- 7 swift storytelling hacks for back story, description, dialogue, exposition, point of view and plot August 18, 2019
- The secret is out: 10 thoughts on nearly finishing a long-haul novel July 27, 2019
- 9 tips to nail dialogue – guest post at Ingram Spark July 8, 2019
- The ‘under-arrest’ test – how to see the holes in your story’s ending June 20, 2019
- Roger Ebert, Werner Herzog, Antarctica … and a manifesto for maverick creatives May 23, 2019