Category Archives: Writing Process & Routine

Join Wordsmith’s Live Writing Sprints on Twitter: #wssprint

cElissaField What we love about writing: constantly changing corner office view.

cElissaField What we love about writing: constantly changing corner office view.

Do you use word counts, hourly goals or other motivators to reach your writing goals? April is a great month for joining in any of a variety of writing challenges. Wordsmith Studio brings them all together with weekly writing sprints, every Friday in April.

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Join Hourly Writing Sprints Every Friday in April

Along with a fabulous group of writers, Elissa Field is a Founding Member at Wordsmith StudioYou may know I am a founding member of Wordsmith Studio, an awesome group of writers and artists who share craft resources and support each other throughout the year. We celebrate each other’s writing, keep each other going, and laugh a lot. This month, we are celebrating our 4th anniversary.

My part of our month-long celebration has been planning and serving as a moderator for all day writing sprints, live on Twitter every Friday in April. Look for camaraderie, motivation and some seriously smoking keyboards with hourly writing sprints, each Friday from 11am-11pm EST.

How #wssprint Works

The live sprints take place on Twitter. Follow #wssprint , or find via @WordsmithStudio  or @elissafield. (If you’re a Wordsmith member, we repeat some tweets in Facebook, as well.)

Beginning at 11 am EST, sprints start with a kick-off tweet on the hour. Write or edit for 45 minutes, then share your success — word count, page count, plotting solution, a favorite line, whatever — using #wssprint at :45. We take a break for 15 minutes (time to chat, share, ask questions, invite a friend, cheer each other on), then start again at :00, up until 11 pm EST.

Optional Prompts

Every hour, there is an optional writing prompt.

The prompts are great — more than 13 a day. I am a huge fan of novel prompts shared by Donald Maass in 21st Century Fiction (highly recommended for building depth, power and tension, when building or revising a novel), so we share some from him. Here is a favorite – you can see why I think he’s awesome.

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Sarah Turnbull (@thesaturnbull) and I wrote the prompts that aren’t credited to Maass, based on writing advice that has impacted our work. There are also photo prompts and ones coordinated with challenges our members are working on (see below).

But there are no rules. No prompts required. Lots of our writers are editing, rather than writing. Use the time however gets you going. Most say it’s just nice to feel like someone else is writing or editing with you.

Do take time to say hello, while you’re there.

What Goals Are Writers Working On?

Some of our participants are using the sprints for organized writing challenges, such as Camp NaNoWriMo, Poem a Day Challenge, A to Z Blog Challenge, or the monthly 500-word-a-day challenge (#AprWritingChallenge this month).

But most — including our Wordsmith Studio Goals Group or visitors from Writer Unboxed and Binder subgroups — are using sprints to keep going with existing goals.

I am using sprints to keep moving from draft 9 to draft 10 of my novel, Never Said. The first week, I finished transcribing handwritten scenes, incorporating new work and changes into the draft. Some writing sprints are chance to anchor scenes with more developed setting, now that I’ve fully developed character and plot. Sometimes I’m working on nonfiction, writing for education or editing for clients.

We’re all jumping in to inspire each other.

Oh, No. I Missed It!

Not all of our participants write along with us “live” — jump in to use the sprints whenever it works for you. You can scan #wssprint to find the prompts and share your success any time. Or, visit previous #wssprint days via Storify. And, considering the success this month and when we ran Fridays Are for (Spooky) Writing last October, be sure to follow @WordsmithStudio for sprints we run in the future.

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How About You?

What challenges are you working on in your writing this week, or what strategies help you reach your goals? We’d love to hear from you — share your thoughts or links in the comments.

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If you like this blog, be sure to click the WordPress +follow button, or follow via email or Bloglovin options in the sidebar. You can find me on Twitter @elissafield or on Facebook.

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Wordsmith Studio Blog Hop: Writing Challenges, Successes & Strategies – Part 1

I love this sign from Atlantic Center for the Arts, which comes on the heels of a sign asking the public not to venture beyond a point where the center is reserved for artists. c Elissa Field

I love this sign from Atlantic Center for the Arts, which comes on the heels of a sign asking the public not to venture beyond a point where the center is reserved for artists. c Elissa Field

I’m joining in Wordsmith Studio’s 3rd Anniversary Blog Hop, today — responding to a great Q & A about my (recent) writing challenges or successes, and the tools, strategies or resources that help me succeed.10634351_10100112304388454_1141723537_n

Being a little funny, there, calling it a “great” prompt, as I was actually the one to write it. This is the third week I’ve hosted the WSS blog hop for writers, for our anniversary month.

I encourage you to go over and check out the hop. You don’t have to be a member of the writing group to join in. Do jump around and read the various posts. Particularly this week — it would be great if you shared a post with your own writing challenges and your tools or strategies for success. I’ll post links to the hop down below.

But not yet. First, here’s the interview.

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Q & A: My Writing Challenges (or Successes) and the Tools, Strategies or Resources That Help Me Succeed – Part 1

1) What are you currently working on?

My work is split between my business (freelance nonfiction, writing & editing), my Masters (writing and research related to curriculum & learning) and fiction. I occasionally write short stories (have a had a few published, a couple awards — small fry), but spend most of my time on novels. I work toward literary fiction, or what is referred to as crossover or book club fiction — literary fiction with commercial appeal.

I am working on a novel called Never Said (it was nicknamed Wake elsewhere on the blog). It trines between the U.S., Ireland and the Middle East, with one couple’s love affair unraveling a tension of what it is to live “without war” in an era when war touches everything.

As tools go: I use Outlook to block out time for business, masters and fiction, and to keep to do lists with weekly steps that help keep me moving forward in all 3 goals. I share goals with friends and with a life coach, to organize my goals and keep me accountable.

2) In recent past, what was your greatest joy or greatest challenge?

I have been impatient to complete this novel — but it was challenging, as it was the first one I attempted where the idea wasn’t that clear when I started writing. I knew the main characters and understood an essential tension, but had to go deep into research to understand the international context, and then deeper into character to develop the motivation and parallel stories that drive each.

Badge for my personal 2015 challenge with this novel.

Badge for my personal 2015 challenge with this novel.

It’s easy to get impatient when you feel like you should be able to have finished by now (twice, I thought I was revising a final draft), but as I work on this 8th draft, it is obvious that I had to work this long to understand the story that I had only sensed in the earlier versions. A fast version would have “worked,” but wasn’t compelling. Being willing to pull up and start over let me find the real story. And, of course, hard work teaches valuable lessons.

The greatest joy is that I love the newer material.

As resources go: 2 books on writing offered some good tools for targeting and addressing weak areas in my narrative or characters: Ann Hood’s Creating Character Emotions, and Donald Maass’s Writing 21st Century Fiction: High Impact Techniques for Exceptional Storytelling

3) What challenge are you working through now?

Time is always an issue — especially right now, as I restarted my business and am busy with my kids — so any time delays are aggravating. I had a tree fall across my windshield 2 weeks ago, so groaned over the time spent getting it fixed. Same goes for lags in technology, or time spent marketing for work.

It’s not just about having time to write every day, but wanting those writing hours to be end-zone-level productive.

Transitioning between drafts means that I am pulling successful scenes from several documents in Word to build the new draft. Last summer, on the last draft, I did this simultaneously in Word and Scrivener; Scrivener has won me over, so I may be assembling this draft just in Scrivener. Although it sometimes slows me down to have to set up all the preferences, I like the ability to see each scene as a discreet piece in Scriv. Much of my writing in recent months involved re-envisioning existing scenes — the ‘notecard’ view helps me locate, compare or replace previous versions, and to readily sort scenes that will be re-ordered in the final draft. The challenge, though, when working from multiple drafts is staying organized.

As tools go: I believe in Scrivener enough that I’ve include a link to their site in my sidebar. If you don’t know much about the software, click the picture here to check it out (if it takes you to a “buy” page, click the banner for the homepage for more about…). They are generous in offering a 30 nonconsecutive-day free trial, which allows you a lot of time to play with it before having to pay.

Buy Scrivener for Windows (Regular Licence)

4) For work you are just planning or starting, what challenges or growth are you expecting or hoping to encounter?

I’ve drafted novels and met with agents face-to-face before, but this will be my first foray into blind querying. I’ve practiced pitching and spitballing at conferences and workshops in the last year, and gotten an agent’s feedback on a query draft.

As for strategies: It’s worth noting that attempting to draft a query or plan pitches and log lines during different face-to-face activities with peers and agents is part of what helped me know when I didn’t have a clear sense of the story. Writing pitches and queries ended up being a great strategy for understanding my narrative structure.

5) What have successes or challenges in your work (recently) taught you?

Well, the thing I just mentioned. Having come from a literary background where these things aren’t brooded on as much as word choice and such, I was surprised how important plot structure, narrative arc, suspense and other elements more typically suited to screenwriting have been, as tools in my revisions.

As resources go: the sign at the top of this post was from a workshop I participated in last January (Blue Flower Writers Workshop at Atlantic Center for the Arts), where Ben Percy was the clearest I’ve heard in talking about structure and suspense, even in literary writing.

6) What obstacles or challenges have you not been able to overcome, or still frustrate you? Is there a “magic wand” you would invent to solve this problem?

Yes, I want Hermione’s time turner — to be able to use the same hour to address multiple priorities. It’s not that I don’t have the time. Keeping time to write (fiction) every week is a nonnegotiable for me — I am stubborn in crafting the rest of my life around it, even while running a business or when I teach full time. But I still get frustrated to not be done yet.

As tools go: A magic wand that pulls the story straight out of my head would be great. As strategies go: here are other posts I’ve written on time management strategies for writers.

To Be Continued…

There are 2 more questions to the Q & A, asking how I would define a great writing week and what specific tools and strategies help me succeed. Those answers are long enough that I’m going to let them be a second post.

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How About You? Join in the Blog Hop!

What successes or challenges are you working through, and what tools, resources or strategies help you succeed?

I’d love to hear your answers in the comments.  Better yet, if you are reading this 4/29-5/4, join in the blog hop by using the linky tool below.  Visit the initial prompt, with all 8 questions and more explanation of “how to hop,” on Wordsmith Studio’s site: Writers’ Homecoming Blog Hop – Week 3.

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Click here to enter your link and view this Linky Tools list…

If you like the idea of more blog hops, let me know, as I may host them in the future on this site.

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If you like this blog, be sure to click the WordPress +follow button, or subscribe via email or Bloglovin options in the sidebar if you don’t have a WordPress account. You can find me on Twitter @elissafield or on Facebook. I love to connect with readers and writers.

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Writers’ Homecoming: Participating in Wordsmith Studio’s 3rd Anniversary Blog Hop

Persistence. Stole some writing time in an empty science lab while at a school today. With a limping keyboard no less. What is community? The coffee brought to me by a neighbor.

Persistence. Stole some writing time in an empty science lab while at a school today. With a limping keyboard no less. What is community? The coffee brought to me by a neighbor.

If you’re a regular reader here, you may know how much I value my writing community. I am way overdue sharing some of the great interactions I’ve had with new writing friends at writers’ conferences and workshops over the winter, but today is all about jumping in to participate in a Writers’ Homecoming Blog Hop to celebrate the 3 year anniversary of my fabulous group of writing friends, Wordsmith Studio.

What is Wordsmith Studio?

10634351_10100112304388454_1141723537_nWordsmith Studio came together 3 years ago on the heels of one of the best challenges I’ve ever seen online: poet Robert Lee Brewer’s April Platform Building Challenge. Every day for 30 days, each of us learned about how to make the most out of a different social media tool in building platform (that is, readership and genuine connection). We learned not just how to blog, but how to create authentic interaction with readers and other writers. How to participate in comments on others’ posts and encourage comments on your own, to create authentic dialogue. Likewise, how to understand the formats of Twitter, Facebook, Google+, Pinterest and more to, again, create authentic connection through each of those venues.

Since then, the group has created a formal affiliation. We have a website with weekly posts and member bios. We have a Facebook page with numerous smaller offshoots (there’s an events page for this month’s anniversary activities, and subgroups — my favorite is the Goals group, where we trade our monthly goals and cheerlead each other through successes and pitfalls). Wordsmith Studio is on Twitter, hosting 2 weekly chat sessions (#wschat), as well as other periodic activities, like wordsprints or live events. These are where I participate most, but we have members who are more active in other venues, like Google+ or Pinterest.

The group is formal enough to have a process for joining, and is administered by a 6-member Advisory Group (I am one of the 6 members; we each serve for 2 years).

We have been glad to add in new members over the years, whose writing interests have broadened us well beyond our initial platform building challenge. Our group has seen several book releases, through traditional and self-publishing routes. Our writers share expertise on drafting, revision, conferences, querying, signing contracts, readings, publication, promotion… and blogging, photography, graphic arts, crafts, fine arts, music and much more.

That said, we are above all supportive of each other. We have diehard founding members who have been active the whole 3 years, and many more who we have seen come and go as other life’s priorities take them away and bring them back to us again. Someone is always apologizing for having been absent, but we’re just glad to see them again and to catch up on what they’ve been working on.

Which is what our “homecoming” theme is about, this month.

What is Homecoming? And What is the Blog Hop?

We celebrate each anniversary with events that help us rekindle any skills we want to work on and renew any connections that have drifted apart over the past year. We get to know each other’s work and current goals again… And we get to know new members, who may wonder how to get involved (it’s easy — just jump in).

As part of our Homecoming events, I agreed to lead the kickoff of our group’s first official blog hop. To participate, read the instructions here at the Wordsmith Studio site.  Or use the Linky Tool at the bottom of the post.

Worry you missed it? The Homecoming Blog Hop takes place every Wednesday this month. Look for a kickoff post each Wednesday, then you can participate anytime through that Sunday.

My Homecoming Interview

Running manHere are my answers to this week’s optional interview questions:

1) Are you a WSSer (a member of Wordsmith)? I already answered this one above: yes, I’m a founding member of Wordsmith Studio. I really value some great friends I’ve made through the group… and really miss a few members who are no longer active!

2) What medium/genre do you work in? I make a living writing nonfiction (freelance writer/editor, and a teacher), but my focus is fiction. I occasionally write short stories (have a had a few published, a couple awards — small fry), but spend most of my time on novels. I work toward literary fiction, and am also inspired by the intensity of young adult and the intrigue of mysteries, and that kind of energy seeps into my work.

3) What’s the name of your current project (ok multitaskers, give us your main one)?  I am working on a novel called Never Said (it was nicknamed Wake elsewhere on the blog). It trines between the U.S., Ireland and the Middle East, with one couple’s love affair unraveling a tension of what it is to live “without war” in an era when war touches everything.

4) What is your favorite detail, sentence or other bit you’ve written lately? My main character was grabbed from behind as she dashed away down a street in a scene I wrote this week. At the time, her mind was unraveling, it was late at night, and the street was full of carousers, so you assume she’s being attacked. There is this awesome, immediate tension when she realizes it is actually the taciturn, armed man protecting her lover, who she does not realize followed her out into the night. I didn’t mean to write it that way, but the physicality of the scene managed to increase suspense and bridge an emotional storyline. All this year, writing has been like that. If you’ve read any of my prior posts on revising this novel, you know that there have been at least 2 drafts where I thought I was almost done… but each time, I am so grateful that I pushed myself further, knowing I did not yet fully understand the story. I feel the texture and layers in scenes now, in ways I did not in those earlier drafts. One of the biggest a-ha moments that steered me in the right direction was when I started to distance myself from the main character and let her get down and gritty, as I wrote about in Writing Character: Say the Things We Never Say.

My current challenge... or threat.

My current challenge… or threat.

5) Any obstacles or I-hate-this-chapter moments? I would roar like a T-rex to say this adequately: I hate that I work so slowly. I met with Ben Percy in January at Blue Flower Arts Conference and finally spilled out my frustration: I’ve had a novel almost done before, with agents who had asked to read a full… and never made it that last 10% to cross the finish line. His advice was to just set a 30 day deadline, break it into words/day and threaten that I’d have to eat a dirty sock if I don’t make it. I have legit excuses (just finished 3 classes for my masters, plus client work & am a single parent), but that’s not it. I write 10-40 hrs a week, even with that workload. And I write fast. So I don’t know if I am too much of a perfectionist, or just slow in fitting the whole thing together, but I am routinely irritable about wanting it done, now.

6) What’s the biggest thing you’ve learned lately from your writing?  Interestingly, as a ‘literary’ reader and writer, the biggest things I’ve learned lately have to do with plot structure, screenplays and suspense.

7) In what ways do you hope to grow in the next 6 months/year?  I’m moving on to stages of how to market. I’ve been drafting queries and gotten feedback from an agent. I want to have a full draft done soon, and then on to beta readers or I may find a private coach or mentor to work one-on-one. Then time to query.

8) In what ways do writing friends and communities help you do that? I am as much of an introvert as any writer, but I have learned more and grown more by interacting with other writers than I would have alone. It can be lonely work, so it’s powerful to be able to shout out, “I hit my word count goal for the day,” and have someone cheer you on. Time is always limited, but it’s worth stoking those friendships and building these communities, because you can’t wait for the day you wish you had a writing group or friend to share work with — it takes time to find people and build connections. While I talk about Wordsmith here, some of the writers in my network are people I first met in Poets & Writers’ Speakeasy forum 10 or more years ago. It’s worth the time it takes.

How About You?

Please do click through to the Wordsmith Studio 3rd Anniversary Homecoming Blog Hop. Jump in and connect — write your own answers to the questions above or otherwise let us know what you are working on. You do not have to be a Wordsmith member to participate. Here are some options:

  • From 4/8-4/12, you can join this week’s Blog Hop using the linky tool.
  • If you are reading this later, just share the link to your post in the comments beneath the kickoff post.
  • There will be new blog hops each Wednesday this month. Follow Wordsmith Studio or me to see links when those posts go live.
  • To find out about more Wordsmith Studio activities, follow the group website, Twitter or Facebook using any of the links above (you can ask to join the group via the Facebook site – mention you heard about it here).

Linky Tool for the Blog Hop


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If you like this blog, be sure to click the WordPress +follow button, or subscribe via email or Bloglovin options in the sidebar if you don’t have a WordPress account. You can find me on Twitter @elissafield or on Facebook. I love to connect with readers and writers.

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Writing Prompt: Develop Setting – Inspired by Colson Whitehead on New York City

copyright Elissa Field; repro w written permission only

copyright Elissa Field; repro w written permission only

I am a very visual person — I think in pictures — so writing setting is perhaps the last aspect of storytelling that I worry about. In writing a story set in India, details crept into every line without me thinking about them. I knew the exact color of shadows, the moment a bird would flush out of dry brush. A lot of writers can relate to this, especially if their drive to tell a story is inspired by place.

But that’s not always the case. In Friday Links for Writers: 3.21.14 , I quoted Anne Enright from a bit of advice where she said, “description is hard.”

Describing setting can be a powerful way to engage readers, conjure up surprising sensory details, reveal character, add resonance to a scene, develop internal and external conflicts… but it has do so in a way that moves the story, and that fits the voice and character(s)’ point of view.

Continuing the series on Novel Revision, today’s post shares a prompt for developing an important setting in your story, making it work to build character, motion and greater resonance. While many details may have come about in a first draft, midlevel revision is a great time to revise for ideas that were not yet clear in your first vision.

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Find a Place to Stand

Anne Enright’s advice was: “Remember that all description is an opinion about the world. Find a place to stand.”

This is a great starting point for thinking about setting: begin by knowing your character(s)’ point of view and seeing your setting from where the character stands.

Colson Whitehead on New York

Some of you may know I am working from my family’s house outside New York City at the moment, and felt the impact of this year’s anniversary of 9.11.01 in that context. On the anniversary, Jodi Kantor shared on Twitter a link to Colson Whitehead’s beautiful article from the New York Times that ran November 11, 2001.

As a New Yorker living in the city as it recovered, Colson wrote not directly about the event, but about what defines one’s connection to and identification as being from the city.

Read it because it’s beautiful — and because we’ll use it as our prompt. (Read it now, or in the prompt below: The Way We Live Now: 11.01.01)

The First Brick in Your City

Colson says, “You start building your private New York the first time you lay eyes on it.” Anyone who’s spent time in New York knows what he means by “private New York,” as everyone comes to define their own sense of the city — a city so large that any of us sees it only in pieces.

But isn’t that true of each character’s response to setting?

In the paragraph that follows, Colson lists a handful of ways a person might have experienced their first moment in the city.

Freeze it there,” he says; “that instant is the first brick in your city.”

There is so much about writing setting that can be taken from his words. The point of details in your novel is not to inform a reader of what to see and do when visiting the place; you are not a glorified camera taking a picture for the reader. What matters about the places in your story are the ways your character(s) perceive and respond to them.

In Colson’s essay, each example of a newbie arriving in New York City presents a character you can view clearly in your mind, despite being limited to the details of a single sentence. They are details of setting, but they clearly define the interaction of people within that setting. The details involve objects, structures, qualities and even the kinds of actions and thoughts a character has within that setting. A detail could be as mundane as holding a piece of paper or a communication between friends, but the detail is not left vague. “The phone rang,” could happen in any city, but Colson made the same detail of a phone call place-defining, as: “there was some mix-up in the plans.”

Prompt for Developing Details of Setting

So let’s turn his essay into a prompt for your own writing today.

Interpret this for whatever you are working on: a novel, a short story, a poem, a detail in your memoir, a detail in an essay, details fleshed out for a travel piece, or start something new.  You won’t be recreating Colson’s format; you’ll just use the prompt for generating details in whatever scene you imagine.

  1. Read Colson Whitehead’s The Way We Live Now: 11.01.01
  2. Have in mind the place you will write about, thinking of it first as it is in the story’s present. Tip: Have in mind a specific place. For existing work, this will be an important location in your piece. For new work, be sure to have a single place in mind before writing. While Colson writes about a city, yours could be any kind of a place, real or imagined.
  3. What is the “first brick” in your character’s experience of this setting? Be vivid. Be true. Likely part of your backstory, what first memory comes to mind as the moment he/she began to define their own private version of their place? Freeze there. Think, then write where it feels revealing.
    • What emotion attaches to that first brick? Awe? Horror, pain, fear, injury…? Joy, excitement, beauty, anticipation, faith…?
    • What details attach to that first brick? Think of the stub of paper with a new address in the hand of the New Yorker arriving at their first address, or the limited view of a toddler in a carriage.
    • What actions or motion are involved? Are there details of arrival, communication, cross signals, movement? Are there broad sights or limited senses?
    • What does your character want (or think they want) in that first moment? This may be very different — distorted, more basic, more naïve — than later in the story.
  4. Moving through your story, how does your character continue to build their definition of the setting?
    • How does that first brick define the setting for your character?  Does it leave a ghost of emotion through later events? Does it start memory on solid or unstable footing? Do regrets haunt, long after, no matter how much success follows? Do later moments never live up to the first glow? Is there a sweetness the character carries from that first memory that lends forgiveness or blind faith in later experience? or..?
    • Does your character (or do you) come to measure later scenes against that first experience, or is it nearly forgotten as others take priority?
  5. Options for how this might create tensions, conflict development or structure in your story – where you might take it next:
    • What other “bricks” of memory, detail or experience define the setting for your character? Does this possibly suggest a structure for story events?
    • In what ways do these details define your character’s “own private” setting? Is your reader aware of a contrast between that private vision vs. other perspectives?
    • Do different characters perceive contrasting “private” versions of the setting? Does this lend structure, tension or just details to scenes? Would these different perspective ever cause missed understanding in dialogue between characters?
  6. Going beyond a single scene, how could you use this different private viewpoint to add details of how characters dress, what they carry, how they speak or what they do?

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What About You?

Are you working on setting this week? Did you use this prompt or what other inspiration helps you envision your setting clearly? Several of my friends work in photography or other media — how do you reflect on setting in your work?

Let us know how your work is going in the comments. Feel free to share a link to your own post, if you want to share an excerpt or other writing.

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If you like this blog, be sure to subscribe using WordPress’s follow option or via email, or the Bloglovin button in the sidebar. You can find me on Twitter @elissafield.  I love to connect with like-minded readers and writers!

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Today’s Work: Sharing a Scene from Never Said

Running man

Some of you may know that I participate in a variety of writers’ groups online, which has been fabulous company and motivation as I pound through novel revisions this summer.

Novel Revision Process

I haven’t been posting about my writing process as often as I did last year, but regular readers may know that part of my obstacle is that I’ve taken on a daunting but very thorough revision process: rather than just continue tweaking draft 4-5, which I’d worked on through the winter, I am fully retyping the current draft. It has been an extremely effective process… but s-l-o-w, in the sense that it’s August 1 and I only have 24, 700 words in (last winter’s ms was 176,000).

What has been particularly exciting about the process is it has benefitted from the concentrated power of scenes written later in my understanding of the story, and I’ve been really excited, in particular, about the layer of meaning that have come about from expanding viewpoints.

I have been sharing about this regularly on Twitter (#SumNovRev), within Facebook groups and during daily writing activities at TeachersWrite! but have posted little about it here.

Sharing an Excerpt of the Work in Process

Teachers Write 2013 ButtonThat said, today I am sharing an extended scene from the last third of my novel in progress, Never Said. (I shared a short excerpt from this as part of Gae Polisner’s Friday Feedback; revision to this scene was prompted by character description activity on Kate Messner’s blog for TeachersWrite.)

About the Excerpt

Michael Roonan is an elusive main character as the novel takes place at a point in his life when he appears resigned to his own death despite the community around him absolving him from blame. He goes along with his best friend’s insistence that he go on the run, but there’s the unspoken undercurrent that he doesn’t disagree with the man who is after him (Sean).  This excerpt is from Sean’s POV, but really is lead up to the reveal of secrets Roonan has been keeping all along.

I’ve written before about how I like to play around with POV, writing from several different viewpoints as I discover a story. This antagonist, Sean, was a fun surprise, as he had insights I hadn’t thought of.  (Writing in Process: Using Alternative Voice to Understand Internal Conflict).

 

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Excerpt from Never Said

(The following is an excerpt from an unpublished novel. Do no copy or use without express written permission from Elissa Field.)

Sean saw the back of Michael Roonan’s head from a distance, across the thin stream that split the village center.  Mick turned toward the marketplace on the other side of the stone bridge. Wind lifted his hair and Sean saw his face in full profile. Definitely him. His hair was heavy, coarse with the filth of a man on the run. It calmed his anger to know Mick ran, no matter what he’d said. His hair grown out like the mane of a horse, so unlike himself.

Unrecognizable from the man he’d last met on the jetty south of Wicklow, when he’d watched Mick dive off the stern of a trawler, knowing he was avoiding the Garda whose lights flickered fierce off the roofs of their cars, parked in jackknifed formation at the entrance to the docks. Sean had grinned at him, unseen: They’re not for you, Mick. It’s a body washed up against the headwall. Coppers wandered bored as farm dogs, no hints yet if it were a murder or just a ferry jumper or a man washed overboard. So tedious, waiting on coroners.

He followed the intermittent bob of Mick’s head beyond the concrete breakers, carried far south by the inlet currents. He might have drowned, another body to be fished out, but sputtered out of the surf along the strand amid coarse grasses and weekend strollers. Sean watched him collapse. Waited. Mick pulled himself to sit facing out to sea as if what chased him was yet panting in the frothing waves. Not behind him in the car park, where Sean  leaned back for a smoke. A think.

Shells or stones – he couldn’t see from this distance – rattled in the waves with a sound like dried bones. Mick’s hair was buzzed military-short, then. More stark than months Sean had seen him reported, imprisoned in isolation for all the players who wanted him dead.

This little man. Hunched along the shore line, thin thread of light blazing brilliant beneath the oyster shell gradations of the sky.

Water and sand fell from his shirt when he stood. He brushed kelp from his shoulder. Otter of a survivor. One summer in Ridell, there’d been one of the younger brothers – he was sure it was Mick –pulled in an undertow jumping off the tower at Blackrock. The black shadow of his head, like the back of a turtle or a skate, pulling deeper and sideways along the Irish Sea bottom that would be exposed, smelly with the decay of exposed mussels and whelks at low tide. Sean was the one to dive for him, a bolt through the current, wrenching him to the surface. Clear vomit of seawater sprayed over his forearm as he held the boy’s chin in the crook of his elbow, rolling onto his back, the boy buoyed on his chest as he waited out the current to let them go. The little brother’s head gagged and sputtered and cried, gasping for air. Struggled to get free, to swim, not knowing all you could do is relent and float until the current gave you up. “Easy,” he’d told the top of the boy’s head, fixing his face to the sky. “Look, there. See the gulls? How many is that?”

He was sure it was Mick. The Roonan son who covered his ears at the high engine whine of his father passing in a race, even as others took pictures or shook their fists to cheer.

There was no rush. Wait him out.

Mick’s head was down when Sean came upon him, nearly dried, on a bench along the roadside not quite into the adjoining village. Mick said, without looking up, without surprise, “How is it going for you, Sean? I’d heard you were out.” It was barely discernible: the faint shift of posture to check peripheral vision, clear enough one wolf to another, to be certain Sean was alone.

“You killed Stephen.”

There was a long silence. Cars passed, their headlights bilious green in the odd fog come in from the sea. That color got to him, always – color of the dead boy in the canal – and he wanted to shake Mick, to shake the whole world, the way Man and Ulster vibrated in the high-revved videos of Gerry Roonan at 200 miles per hour. How did Mick take this for granted? How did he not know how lucky he was, for what he had? Him and Stevie: they’d be famous racers, just like their da. What hate makes you blow that all apart? For what? Not even a cause.

Mick turned fully to him, no avoidance in his eyes. “I killed Stephen.”

“What the fuck, Mick. Can’t you even deny it to me?.. Why? Why would you do that to your own brother?”

Roonan didn’t answer that. Not yet. “How did you know?”

“I watched you. I saw you do it, you stupid fuck. Watched… I saw him…”

Both were in it, then. Graphic memory. Two men, brothers to Stephen in different ways, watching from opposite sides as the universe sucked inward on Stephen then exploded infinitely outward. The only two to have seen it plainly, true. Night stills for them as it does in sacred moments, letting damnation seep in.

“Why the fuck did you do it?”

A man climbs fully inside his eyes when come upon his truths. Sean knew as he stared into Mick’s face waiting for an answer: it was there. Mick was walking around inside it as if visiting an old room, testing what was remembered, what was broken, what was new. He wanted to punch him, deflate silence by crushing his head like a collapsed football. Fury at such deliberation, such unhurried reflection. Michael was a big man now: past twenty-two Sean guessed, strong from pulling nets on the trawler, taller than Stevie would have been. He’d heard stories of Roonan crushing an undercover cop’s head against a rock to stop the man from beating an informant. He’d heard rumors of his calm shadow in a doorway being enough to scare off provo gunners.

“You need to run, Mick.”

The man’s eyes rose to his face, but he was not there. Somewhere else, some other time, and a chill went through Sean. Remembering the boy in the hedgerow, when Rodgers hit the tree. Sean and Stevie and Mick were the first to the body, the racer’s attached hand still opening and closing in a fist, as his severed arm was further down across the road. The man’s eyes met their three faces through his visor, pleading for help. Mick would have been just eight when he heard that first gasping groan of a body giving up life, and his father’s road racer had passed them just after, front wheel lifting in the air at the surprise of finding Rodgers’ spent machine broken apart across the road, then whining away up Perry’s Hill.

He did not give away the gun tucked into his waistband. Did not acknowledge he could pick up a rock or that broken sign post just feet away and bash his skull. Could have done it then, that evening, as the high pressure sodium lighting came on over their heads, lighting them in a glow as if good friends reminiscing before walking home from the pub. He said as if he had yet to make a plan, so Mick had the benefit of a warning: “You need to run, because I’ll have you dead for it.”

Mick had stood. His feet were bare, having kicked off his white rubber fishermen’s boots when they filled like anchors with the sea. He looked up and down the street like an animal dropped from a car, dazed and recalibrating for home. He took a step toward the street to read a sign, he looked back to the car park where he calculated Sean’s car was parked. “I know you will,” he said to Sean. “But I won’t run. Not when you come.” Mick met the man’s eyes, held them to be certain Sean understood, and he’d walked off slowly in the direction of the main road.

If you want to share your feedback in the comments: 

If anything resounds with you, do click “like” or leave me a comment to let me know what you liked — it’s hard and lonely work, so I will love you forever for any encouragement. Seriously. Of course, the impact may be lost a little,  since this piece is from 2/3 through the book, and some details may reference earlier chapters (for ex: “hedgerow” is a frequent reference to where the boys stood when watching Roonan’s father race motorcycles) — but still, find kind words to let me know if any of the scene didn’t work for you and why.

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What About You?

What are you working on this week? Are their aspects of your writing process or writing community that help you get it finished?

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No so much a selfie as sign of how bad the glare on the laptop screen can be. c Elissa Field

 

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Writing Process: How to Write on the Beach

No so much a selfie as sign of how bad the glare on the laptop screen can be. c Elissa Field

No so much a selfie as sign of how bad the glare on the laptop screen can be. c Elissa Field

One of the best parts of being a writer is supposed to be our ability to do our job from anywhere.

It’s true: I remember getting an assignment while on vacation with my family at a resort in Mexico. I wrote and submitted the piece while lounging in the most gorgeous cabana beneath bougainvillea overlooking the infinity pool with a swim-up bar.

My beach writing this summer: 2 novel manuscripts in print, laptop and a pair of flamingos guarding editing supplies.

My beach writing this summer: 2 novel manuscripts in print, laptop and a pair of flamingos guarding editing supplies.

Likewise, as a mom with sons home from school for the summer, I don’t want to spend all of my novel revision hours holed up beneath my laptop while the boys are stuck watching TV complaining about just what a drag their mom is.

(What unfair irony: I’m researching motorcycle racing in Northern Ireland or writing about a furtive flight into Havana or a photojournalist lost on assignment in Syria… while my boys see just me staring at a laptop. You get my quandary.)

So it is that I spent much of June writing with my boys at the beach.

Today’s post is a pictorial “how-to”, as it turns out there are some tricks to being successful at writing on the beach.

Enjoy your day, wherever you write!

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The Basics

tree topsThe best advice for getting any writing done on the beach is similar to advice I’ve shared in Motivation to Write: Keep Writing While on Vacation.

It’s a twist on staying focused to write at home: you’re still removing obstacles and distractions, setting goals, and working in a format that keeps you productive.

1) Bring your work in a format that is conducive to actually getting something done.

Just like writing on the subway or anywhere else on the go, you have to think through your current writing goal and the format that makes that goal most portable.

Beach writing is great for generating new work — whether longhand in a journal or on a tablet or laptop. The clarifying environment loosens up many writers’ creativity, as might a run on the beach.

Since my goal this summer is novel revision, I use beach time for read-through revisions. For this, I bring a full, printed, bound copy of the manuscript.  Of course I have a pen for writing edits, but have found a highlighter most useful — I highlight just the words that are working and focus on those when typing revisions. I don’t bring my whole editing kit of colored pens, post-it notes, etc., though. I keep it simple.

My novel, Never Said, was mistaken to think this would be a vacation. c Elissa Field

My novel, Never Said, was mistaken to think this would be a vacation. c Elissa Field

But, whoa — that binder is bulky and messing with my tan lines.

If I weren’t working on a full read-through, I might take a short printed section (or a short story). Or, I’ll address working on a laptop, below.

2) It’s not Survivorman…Take only what you need

You can tell the locals on our beach because they carry the least gear. I know: you’re heading to this exotic workspace and all the “seasonal” aisles at the store suggest you need floaties and an umbrella and special blankets and a cooler and…

Get past the marketing frenzy. It’s the same drill as if you were getting writing done at home: you have to limit obstacles and distractions. The more you schlep to the beach, the longer it takes to just get going.

Option 1:  The calmest form of beach writing is if you’re staying at a resort, in which case: casually walk to the pool or neatly raked private beach with your writing materials. Use the towel they give you, the chair adjusted for you, and drink they bring you. Write your work, then leave everything there; they will clean up after you. Return to your room for a massage and nap, dine in the nice restaurant. Repeat. One added obstacle: time needed to brag and Instagram pictures of the waiter bringing you snacks

Option 2:  Sometimes you’re on vacation or staking space at the beach for an entire day. Fine, then recruit your little minions (aka family) to carry a cooler with drinks, lunch, an umbrella and all you need to be comfortable all day.

office equip bonus shells 2Option 3:  For every other beach trip: take just the basics to be comfortable for 2 hours. Even your beer won’t get hot without a cooler for two hours. Stop complaining, just sip faster.  You need: you, sunscreen already applied, a chair (yes, it keeps you off the sand), a towel, your work, a drink. If you can’t carry it all in one trip, you’re carrying too much.

Okay, fine… Here are a tropical writer’s tricks to take a drink that does not require a cooler. (Some of these assume it’s ok to have adult drinks at your beach. I will not come to bail you out.)

  • That’s what frozen drinks were invented for. Margarita, daiquiri. Mix, then refreeze so they melt more slowly. (Don’t get loopy while writing: frozen margarita mix by itself makes a great beach drink.)
  • Freeze your nonalcoholic beverages (water, lemonade, juices) but make sure to do it in BPA-free bottles.
  • Make a great beach “sangria”: Near fill a water bottle with frozen berries or frozen sliced peaches, mango or papaya. Top with half juice (or even lemonade) and half chardonnay.
  • My favorite beach drink is a 50-50 shandy of Peroni and Pellegrino sparkling limonata. Semi-freeze the limonata to keep it cold, or float with frozen berries or a chill-cube.
  • Freeze grapes to use as ice cubes in nearly any drink. They don’t dilute the drink as they melt. Or, freeze cubes of margarita mix, lemonade, juice or whatever you will be drinking, and use those to cool your drink.

Dealing with glare.

No so much a selfie as sign of how bad the glare on the laptop screen can be. c Elissa Field

No so much a selfie as sign of how bad the glare on the laptop screen can be. c Elissa Field

No matter what the ads say, it is harder to read a laptop screen in bright sunlight. But it is manageable. The glare in this selfie of me was cured with a simple tilt of the monitor.

  • Turn up the brightness on your monitor. Most laptops are set to dim brightness when unplugged in order to conserve battery power, so you need to turn this up manually (on my Dell, that’s a combination of Fn+F5). This does reduce your battery life, so close unneeded apps. Save battery power for the manuscript by reading email or Twitter on your phone.
  • Wear sunglasses. Well, duh. Polarizing colors will serve you best. A hat won’t do it.
  • Target what you work on. Glare will be hardest on fine-tune editing work, like commas and spacing.  The least effect will be on typing in new material. Do your fine-tuning at home and use beach time for new writing or read-through’s.
  • Edit in print. Easiest adaptation is to go old school and use beach time for handwritten edits on a printed draft. My best beach work has included rewriting a scene in longhand or highlighting the best text to keep in a novel in process.

Dealing with sand

Despite best efforts, I was typing with sandy hands.

Despite best efforts, I was typing with sandy hands.

Heh. Good luck with that. I distinctly remember the day, my first year in Florida, when I gave up ever having no sand in the carpet in my car. It’s just a reality of the beach.

Some tips for managing sand intrusion into your work:

  • Nothing precious. My print copy of my novel has a bit of permanent sand in its binder. Another draft has a wet splash from a  morning by the pool. They’re working drafts. Honestly: a little water or sand is nothing compared to the red ink, post-it notes and highlighter scarring their pages. I can live with that. Just another badge of courage.
  • Swim last. I don’t swim until after I’m done working, which helps with sand management as my towel and I are dry, attracting less sand.
  • Oops. Flipped my laptop and binder into the sand. No damage though - it dusted off.

    Oops. Flipped my laptop and binder into the sand. No damage though – it dusted off.

    Have a safe seat for your laptop. I carry a separate bag where my laptop stays unless I’m working on it, and an extra towel to rest it on, in a safe place out of direct sun. I don’t leave it unattended while out swimming for hours; I don’t bring a laptop on days I’ll be distracted for long stretches with that kind of activity. (I also don’t leave it in the car as police say beach parking lots can be targeted by thieves who figure beachgoers left purses and wallets in the car.)

  • Only out when you need it. Don’t let sand or water be an obstacle (or you’ll get no work done), but have alternatives so you only need the laptop out for certain work. I leave the laptop in a covered bag while working on a print draft, and use my cell phone rather than the laptop for tasks like checking email, my website or Twitter.
  • Select your seating. While I used to sit picnic-style or lay out on a blanket or towel, a beach chair raises you off the sand. I use a lightweight, adjustable one that folds to carry backpack-style. My boys keep their splashing and gear away from my work area and we don’t settle in right next to someone’s digging dog.
  • Avoid wind. It doesn’t just blow the sand – it makes you squint and wrestle with your work. Enough said.
  • Go resort-style. No one said the beach has to be off-roading. Even if you are not staying at a hotel, resorts often let you rent a cabana or lounge chair for the day, which certainly civilizes the experience. Some of my local friends have paid for a beach/pool membership at local resorts. Sitting poolside gets you off the sand altogether.

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How About You?

What strategies do you use to write in unusual locations? I wrote about the beach, but I’ve heard friends with awesome solutions to writing successfully in traffic, in the grocery store, or… How about you?

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Motivation to Write: Keep Writing While on Vacation

Traveling or entertaining company over the holiday weekend? Here’s a popular post with strategies to keep going with your writing goals while on vacation. Enjoy the 4th!

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Finishing the Novel: Daily Task of “Getting it Done”

Celebrating the first days of summer writing at a French café. c. Elissa Field

Celebrating the first days of summer writing at a French café. c. Elissa Field

 

Ah, blissful! After a demanding spring of teaching, summer has arrived — and with it, long days of novel revision. As often as I post about Novel Revision Strategies, one of the biggest strategies is how to manage time to get the most out of time to write.

Today, this had me reflecting on the strategies that help writers work long days on novel writing or revision to successfully reach writing milestones but not burn out or kill energy for the work.

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1)  Purge all those distractions.

If I were only going to write for 30 minutes before going to a day job, this step would be considered a distraction. But, on days when you plan to write or revise all day, there’s only so far you can ignore other tasks (trust me, I’ve pushed it). Here’s a quick cycle I let myself run through to remove distractions before writing:

  • Get refreshed. For me, it’s coffee. For some writers this might be push-ups, a quick run or walking the dog.
  • Keep it clean. Allow a quick 5-15 minutes to make a pass at household tasks. Picking up after the boys, dishes, laundry — whatever handful of things keeps the house going. Generally, this fits in while coffee is brewing. Sometimes I use “count to 10” for this: pick a random number like 10, 20 or 25 — and quickly knock out that many of something. As a parent, this step usually involves cleaning; another writer might need this time to schedule an oil change or other kind of maintenance. Or be so lucky as to be able to skip this one altogether. Jealous.
  • Follow up for 10. We all hear warnings to stay away from email, social media and other distractions. But look, we take time to build important connections – so while I agree it’s important to write first, I give myself 10 minutes to tend the fires I stoked the day before. I don’t tend client projects here; those I schedule other times in the day.
  • Know your plan. Whether you have a written to-do list or a general idea in your head, have a sense of your writing goals for the day, with all materials on hand.

Everyone good? Kids busy with an activity? Somebody fed the cat? Nothing is on fire? Then hunker down.

2)  Write. One hour (or two). Uninterrupted.

For the work I’m doing today, 1 hour works. You might rather 2 hours. Whatever your number, it’s pure writing time.

Somewhere in the fidgeting above, I will already have in my head what the morning’s work should be. This week, the goal is to get as far through a complete read through (and revision) as possible. I’m working from a printed draft, so I will have shot that print job to the printer in 100-page chunks while checking email or some other menial task prior to writing. Yeah: no “I couldn’t write because I spent my hour fixing a printer jam or replacing print cartridges.”

No chat. No email. No phone or text or social media. No pausing for drinks or bathroom. If you’re a clock-watcher, use the timer on your cell phone to remove that distraction. Fall purely into writing for one straight hour.

Ding.

3)  Time for a break.

When I’m draft-writing, I write for hours on end, as long as the ideas are flowing. For revision: blocks of time. In the breaks in between, I might be revisiting some of those same tasks from morning’s distraction purge. Check the kids. Switch the laundry. Walk the dog. Get a snack. Another coffee. A phone call. Short tasks from other areas of my to-do list.

Again, I’m not a proponent of staying away from social media, so I would check Twitter, Facebook or my blog. I might share an accomplishment from the morning — connecting with other writers working on their goals at the same time is a great way to keep yourself going.

But I aim for a break to be 30 minutes, not longer. Sometimes it’s just a stretch, refill coffee and…

4)  Back to it.

Lots of successful writers will say their complete writing goal for a day might be 2 hours’ work. For me, during summers away from teaching, my aim is 4 hours on a short day, but as long as 8-10 hours for a full day of writing or revision. I get there by repeating these 2 hour blocks of work.

Do I have to stick with the clock? Not precisely.

Using time blocks helps structure the day and keep you honest – both in your discipline and the need to stop for breaks. But the day’s goals may dictate more organic work-blocks: retyping chapters one and two might fit neatly into one hour, or might prompt a sidetrack into research over the actual date the TSA was started. Maybe that block will be 1.5 hours, and maybe another block will be just 30 minutes, since it involves an intensive re-evaluation of my character’s inner motivation that requires a breather for reflection afterward.

I don’t stop to a factory bell if I am in the middle of something. Likewise, sometimes a task goes more quickly — or is more draining, so you need a break sooner than expected.

Having minimum or maximum time blocks can help you stay on track. If I planned to write an hour, I’ll push myself to keep going if it’s been less than 45 minutes. If I planned an hour but keep going off on tangents, I might control this by stopping if it goes past 2 hours.

Are you working at home with family? Honoring time blocks also helps to manage that temptation to get lost in writing and forget a promise you made to take kids to the pool or go out to dinner with your partner.

5)  Break up the work

To achieve 8 and even 10 hour days, I’ll keep repeating breaks and time blocks to stay refreshed but productive throughout the day.

Time blocks also help to create natural shifts in the work.

For me, this might mean 4 hours on the novel, then 2 writing for my blog or clients, or to work on submissions. Or I might break it into hours for revision, versus hours for research or drafting new material. Shifts in work help keep you from burning out.  I use a color-coded Outlook calendar to keep a visual of the time needed and available for each, throughout the week.

Benefit of learning to write on the go: my "office" view for the afternoon.

Benefit of learning to write on the go: my “office” view for the afternoon.

You can also shift location. This morning I have certain work (like this post) that has to be done on household wifi. But I’ve packaged afternoon revisions so I can take them with me to the beach, which allows me to honor time with my boys. Flexibility in where you work is a great strategy for buying time to write.

6)  Celebrate an accomplishment.

Keep yourself going by celebrating a milestone. Intrinsic rewards can be something as simple as flipping through all the editing marks you’ve made on a printed manuscript or reviewing your word count for the day. One friend kept tally of her word count on her mousepad at the end of every day.

Make it social by sharing this. Lots of us keep each other going by posting our day’s milestones to Twitter or a goals group with writing friends online. Some share their word counts on NaNoWriMo software during challenges throughout the year. Tell your partner or your kids. Build in a fun reward, like a festive drink or night out with friends.

Or… yes, there are days when the “celebrate” step is replaced with “chastise.” Do reassess goals for the following day if a milestone wasn’t reached or new issues came up.

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What About You?

What time strategies do you use to reach your writing goals? Am I alone in trying to work 8-hour writing/editing days (I doubt that)? How do you keep yourself both refreshed and moving toward your goals?  Or, post a question if you think readers here could help you solve your writing-schedule challenges.

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(c. Elissa Field, no repro w-out written permission)

(c. Elissa Field, no repro w-out written permission)

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Novel Revision Strategies: Retyping the Novel Draft

At work on novel revisions. c. Elissa Field

At work on novel revisions. c. Elissa Field

 

This week, along with spending time with my boys for their spring break, I am working full days on novel revisions. The first 2 days, I was writing new material and then integrating all new “add ons” into the existing draft, then printing it out. Deep breath. Then, yesterday, I decided to try out a whole new strategy for novel revision.

First off, as with other posts in my Novel Revision series, this is a revision strategy intended for a mid-level revision. That is, at least one complete draft has been accomplished (more about that below). If you want other ideas about novel revision, click this link for a full listing of posts in the series or look for links at the end.

If this novel revision strategy doesn’t work, you’ll hear me cursing. But, so far, I can see merit, so let’s try it out.

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Stage in Revisions

The novel draft I am working on has held together as a novel for at least a year and has gone through several revisions to develop the internal and external conflicts, so that I have my permanent story line in place. The characters are fully developed. It is at the revision stage of working together scenes from multiple revisions, purging out weak portions from early drafts, and working toward smoothing out what will be a final version (prayers skyward).

Where did this approach come from?

Within recent weeks, two writers I follow each shared this piece of advice, here in a tweet by Alexander Chee:

By coincidence, I had just heard the same strategy in this New School interview with Anthony Marra, whose Constellation of Vital Phenomena I’ve been reading (look for link to my review of Constellation below):

At about 7:30 into the interview, Anthony answers a question about how he came upon the narrative style of the award-winning novel, in which there are no minor characters.

Explain the Revision Strategy

In sharing how the style came about, Anthony explains his writing process this way:

I retype everything.  That is sort of my revision method: just retyping and retyping. I’ll print out a draft as soon as I’m finished and put it down in front of the keyboard and go back and retype the whole thing…  This process of retyping, I feel like it’s the way some painters paint the same landscape again and again because… you start seeing it more through your memory than through your eyes…”

Wait, What?

Tell me you didn’t say, “retype the whole thing.”

I know. Isn’t “retype the whole thing” the great nightmare we all have of what would happen if the computer crashed, losing all but that one print copy?

Do the math: Type 30 words a minute? Maybe you’re lucky and type 60 or even 100? Yeah, divide your novel’s word count by that. Starting from scratch on all those finished pages – you’re staring down the long road of WEEKS worth of typing.

As the groan ebbs, the more patient writer inside — the one who genuinely wants excellence — toys with the idea, thinking, “What might I fix more authentically if I were typing this manuscript in from scratch?”

My Manuscript Tests it Out

My novel draft is in a good place for this kind of revision.

  • I want to read the whole thing through.
  • I want to make major revisions to resolve differences in voice that come from working on a novel over a few years’ time.
  • I’m willing to drop any scene or sentence or word that isn’t working.

This is a great point to be recreating the story on a blank page, rather than just tweaking an existing draft.

And I type nearly as fast as I think. It may be faster for me to retype what I like than to mark up a draft and have to go back and implement those changes, knowing they still won’t perfectly fit with neighboring text.

So How’s It Working?

Two days into this approach I’ve typed in 6,993 words (or 19 pages) which is essentially the first chapter (or first chapter and half).

Pros

Retyping has been a great approach for this section of revisions, as 1) I needed this part of the novel perfected to submit as writing sample with a couple applications, and 2) the existing draft was made up of a handful of draft options.

Retyping went very smoothly. I typed in the first 4 pages exactly as they were, as I’ve revised them several times, although I discovered some obvious sentence errors in a couple places. I then cherry-picked 4 old scenes to rescue just key details and wording. Then I typed in, nearly verbatim, a couple recent drafts, which are closest to my intent with the narrative voice.  There was one small chunk that I cheated and used copy-paste to transfer. Sue me.

There were several pages of text I willingly dropped. In particular, it was good to see those “explainy,” psychology-heavy sections from early drafts falling behind on the cutting room floor. This is why I wanted to use this process. I kept only the best wording — only wording that felt strong enough to be worth typing again.

Cons

It does take a bit of time. I did the math but refuse to accept it would really take me 219 days to retype this thing. I’d like to claim faulty division and tell myself I can do it by May. (Update in June: nope, not finished by May. I haven’t given up the approach, but did not have time to devote to it while busy with students the past two months. Getting back to it…)

Have issues with your eyesight? I don’t normally but would empathize with anyone who does, as I injured my eye last month, which has made my vision more sensitive, and it is a little demanding on vision to go back and forth between the print draft and on-screen draft.

Worry about losing one of those darlings you slaughtered? I have a longstanding practice of saving a “cuts” document for anything I delete from a draft, because I can just cut it and paste it there. With this retyping process, I technically still have a record of those lost words as I have the printed draft, but, in order to move quickly, I was not clearly marking the printed text to keep track of words or sections I chose to exclude while typing. Keeping colored highlighters on hand would help with this: highlight one color for deleting and another if you are thinking to move something to another part of the manuscript.

Ah, typos. For anyone who’s already gone through a draft correcting dropped letters, misspellings, capitalizations or dropped words, this is the little nightmare: retyping exposes you to a whole fresh round of typos. I’m sure that writers using the retyping method just address those on the final version, or aim to do their best correct them with each round. < Note the irony of typos in that line? Point made.

Overall

Definitely, I see a value in this revision process, so will keep it in my toolbox, although I don’t know that it will become my one and only process.  I’ll post an update over the coming weeks to see if I stick with this process through the whole draft.

My biggest concern, overall, is that it is very tempting to make drastic revisions when retyping. This could be good — it lets you release those outgrown darlings readily — but that also means that the current revision can only be as good as I am on the day I’m retyping any revisions. Although, just as easily, one could tune out and simply type what’s there without real revision. I’ll let you know how it goes.

Update 6/8/14: I can’t update with a fabulous success story, as I went back into the distractions of teaching for the 2 months since that post, so have not made it far through the manuscript. However, I did finish reading Anthony Marra’s novel (look for link to my review, below), which I praise for its clean narrative and ability to accomplish a complex narrative structure. The strength of his narrative control is a nod in favor of his revision technique. I’ll update again as I move ahead with long revision days now school is done.

Read more about Marra’s A Constellation of Vital Phenomena in my June 7, 2014 review.

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How About You?

Are you at work on revision? Have you tried this strategy? Or, what strategies do you recommend? Feel free to share links to your own posts if you’ve written about your own favorite approach.

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Blake and the Irish cow. c. Elissa Field, request permission for use

Blake and the Irish cow. c. Elissa Field, request permission for use

More from my Novel Revision series:

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Writing in Process: Using Alternative Voice to Understand Internal Conflict

Running manOne of the great things about my online writing community is the way we keep each other motivated, often in ways we don’t expect.  Last week, I shared how it had motivated me to re-set my 2014 goals after I shared a brief excerpt of Wake and gotten feedback that pushed me to think, to have confidence and above all, “Keep going.”

My 500 wordsToday’s post is sort of Jeff Goins’ fault, as the day 19 prompt at his 500 words challenge was to write in another voice. So it is I spent the day evaluating a process I have been going through in deepening internal motivation of a novel character.

This post serves as follow up to several novel revision articles posted over the past year. I’ll include the relevant links to individual revision steps for anyone looking for more on the revision process.

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Revision in Process: Internal Motivation of a Main Character

Throughout my series of posts on Novel Revision last summer (this link takes you to all posts on Novel Revision, or find links to individual skills within this post), I revealed how deeply I felt the need to push my main character, Carinne (Revising a Flat Character).

Motivation for the male protagonist, Michael Roonan, was clear from the get-go. He’s killed people; guilt and loss compel his self-castigation. But, in early versions, Carinne’s written motivation was only that she was getting out of a bad marriage and she fell in love with Roonan.

Expressive eyes of Gerard Butler. (celebs101.com)

Expressive eyes of Gerard Butler. (celebs101.com)

Truth: as I wrote about in Can Literary Fiction Be Hot, the romantic element is often the most compelling and memorable aspect of fiction that sticks with us.  Still… My gut told me there had to be more to her motivation than “failed marriage” and “he’s hot.”  Kind of lame motivation, right?  Too thin, too predictable, too linear.

Many of my novel revision posts have shared the ways I’ve challenged my own understanding of Carinne and character motivation because, one way or another, my gut told me that I knew something more about her than I had written.  (Did you pick up on that when I distinguished her “written” motivation, above?)  But I needed to go deep to put it into words, and part of that included distancing the character from my own experience.

copyright Elissa Field; all rights reserved, no repro without written permission

Father and son. copyright Elissa Field

The eye-opener was in an exercise I completed (October Challenge: Raising the Stakes on Character Motivation), where I kept assessing and re-assessing stakes for the internal conflict of the main characters.  For Carinne, the written stakes were only whether she raised her son alone or if she could get her lover back with her. Then I realized it wasn’t her own stakes that drove her, but those of the little boy, Liam, she had conceived with Roonan.  The driving motivation to go find Roonan had to come from a place beyond romance — she was off to find him so that her son would not grow up without a father.

Along the same time, I wrote last summer that I had come to understand a crucial backstory for Carinne that distances her from myself.

This is something I have not written about, but have felt deeply in the year and a half since a young photojournalist went missing on assignment.  His last tweet — from a birthday celebration with friends — and the pride in photographs he shared in his online portfolio — have stuck with me as an eerie, disembodied voice over the months his parents and sister worked through international channels to discover what happened to him.  As much as the news speaks of military or civilian losses, lost journalists has been a major piece in international affairs of the past 20 years.

The thing with this novel I am writing is, it has to do with why people get involved in violent international affairs. Roonan became a murderer while doing everything he could to avoid involvement in paramilitary activity in his family’s Irish border town. Carinne meets him years after the violence, finding the ghost of the man. A failed marriage is not her motivation; I quickly wrote that out of the early draft.  Carinne came to life for me last summer when I stopped apologizing and making excuses for her and let her behavior be entirely contrary — then let the missing reporter be the loss that drove her chaotic behavior.

True Revision Can be Messy

Danger Book May Bite c. Elissa Field

Danger Book May Bite c. Elissa Field

I began last summer’s revision-series with a post titled Work is Messy, Book May Bite.

What a mess new motivation makes of a draft, but slowly the 2 internal storylines have been laying themselves out clearly in parallel to one another, as the external conflict brings the story to resolution that genuinely resounds with meaning, as Carinne unites father and son.  Yeah, okay: it can be romantically hot, too, but the resolution now resounds on a more universal level.

I once watched my stepmother unravel a month’s worth of knitting to correct a missed stitch in a complicated fisherman-knit afghan, and I couldn’t believe the patience and insistence on perfection it took for her to do that.  Taking apart this main character, Carinne, has felt like all that unraveling — pulling the whole novel apart and putting it back together.  But I knew in my gut that it wasn’t “there” yet.  I love the characters and their story, but I just knew that the resolution of an international conflict could not be just romantic happily-ever-after. The little boy was symbolic of something in the opening, and he had to be the core of the resolution, as symbol of something greater for the novel to resound.

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The Work in Process

That’s a lot of thinking out loud.  How does it play out?  One approach that brought me closer to understanding the mother’s motivation was to write scenes from the child’s perspective.

In final revisions, I’ll be deciding between a close-omniscient or alternating third person narrative structure, which means I am not yet sure if I will keep the boy’s voice or just let it inform the mother’s perspective.  But, for the sake of sharing a piece of the writing process, here is the scene I shared at Gae Polisner’s Friday Feedback last week.

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Excerpt from Work in Progress, Where the Wolves Find Us (nicknamed Wake)

Context:  This excerpt is from a rough draft rethinking an opening scene from the son, Liam’s, perspective. The novel opens with the mother (Carinne) finding her son burying something in the back yard. As Carinne is in the process of washing mud from his hands, he asks, essentially for the first time, if his father is dead.  This becomes the inciting event; by the end of the chapter, Carinne is searching for the missing father.  The drafted scene below is from a long riff that came out when I took time to see “life with his mother” from Liam’s perspective. What would he see, hear or feel, growing up with a mother isolated and obsessed with missing people?

His mother’s shoulder was warm against Liam’s back, the water glittering beneath the sink-light as she sudsed his hands. He clapped his hands so bubbles sprayed and he tracked them, her voice murmuring in his ear as each iridescent orb floated up and sideways and down, each at its own rate so that his eyes measured them as if racers toward a finish line. Plik! Hope. Plik! Each popped, no matter he’d resisted the urge to touch them. Each, in its own path, flicked a mini explosion of its membrane and ceased to exist in the vacant spans of light.

Carinne’s voice reached a pitch – Liam’s feet had kicked dishes stacked in the sink – then went silent, replaced by the constant curt voice of men and women from the television playing in the next room. News. Always the news, and he hated it.

He patted suds onto her cheek. She took it as a joke, laughing, her eyes smiling at his.  He hit her again,  harder, wanting it to stop: the man chopping news into his head.  An airport. A warning. A plane stopped along a runway. Heads talking. The plane. More heads. A fire truck.  She would look: study the stream of words at the bottom. Flip three channels forward, pausing on each. Each, more news. Then back.  Even she didn’t care, he could tell. She took in what was happening the same way she studied the noise of trash men arriving for the blue bins or the neighbor’s garage door motor starting: look to the noise, see it for what it was, and disregard it as not affecting them.  But most hours of the day, he could not make her change the channel.  “Just let me see what’s happening overseas,” she would tell him, “Then we’ll change it.”

She corrects him now, “We don’t hit!” gripping his hands together in her own as if for prayer. He twists his head away and pulls his hands. “Hands are not for hitting,” she recites.

He says very quietly, as if to an unseeable friend, “I hate the news.”

She lets go, relieved. The smack makes sense, as it hadn’t a second ago. He leans into her shoulder, his dried hand reaching along the back of her neck to where her hair is softest, her baby again. “I hate it, too,” she says.

She will change the channel, this time, but he doesn’t believe she hates it. The firemen spraying foam on the plane by the runway did not interest her, but other times she has watched the same repeating footage, over and over.  A black uniformed policeman being interviewed in a mist of rain, dark clouds rising behind him.  A white SUV driving between sand-colored buildings in a cloud of dust behind a reporter cloaked with a checkered scarf. Over and over, she might watch these. Study the images to the corners of the screen. Study faces blurred in the background. Over and over. Then flip channels in hope to see the same scene from another angle.  Not notice the stack he’d made of his cars: three tall, now four, his eyes widening, willing them not to topple.  His mother frozen silent, remote clenched in her hand. Sometimes tears. He hated it as she did not. So easily, she could have flipped to another channel. Thomas the Train. Even Dora.

“I hate the men,” he said once.

She had turned away from him like she did when he broke something and she was mad even though she said she wasn’t.  “Never hate the men,” she said.  She left the room, crying and trying to hide it from him, as if these men were her own friends, her family, as the empty house of the two of them showed no sign of.

Have Feedback?

Of course this piece is in draft form and out of context, but constructive feedback is welcome.  I am on the fence whether it is helpful to actually use the child’s voice, as I think it would be tough for a toddler to carry the opening voice of an adult novel. Would you try to use his voice, or just let his insight inform the mother’s POV?  Hmm.

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What About You?

Are you revising fiction this week?  What challenges do you run into or what has worked well for you? If you’ve also been sharing your work or revision strategies, feel free to add your links or comments below.

Are you exploring issues of conflict or stakes in a character you are writing?  What challenges or obstacles do you find?  Or, what tactics have you found that get you more authentically or deeply into your characters’ motivation?

For more posts on this site related to character development:

Done. Done. Chickie approves. cElissa Field, repro w permission only

Done. Done. Chickie approves. cElissa Field, repro w permission only

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c. Elissa Field

c. Elissa Field

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Christmas Shopping for the Writer in Your Life: 40 Top Gift Ideas Writers Really Love

Since September, this has been the hottest hit on my blog. If you’re shopping for the writer in your life (or want to pass on hints for those shopping for you), check out this list of 40 gifts a writer would genuinely love and appreciate.

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Living With Books 06: Books Are Spooky, Too

Decorating for Halloween with my boys this weekend has me looking back on the 6th edition of Living With Books: Books are Spooky, Too, on great ways to use books in decorating for Halloween.

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Writing Process: Where Do You Write?

writing ct 1-

One of the cheery questions that writers seem to like trading experience about is, “Where do you write?”

There are those who are passionate café writers. There are those who post long reflections on their experience writing at a weeklong or month-long retreat where trees block view of the closest human being. There are those who write on subways. There are those attending conferences this summer who will imagine long hours writing in the Adirondack chairs on a grassy mountainside.  There are those with full fledged home offices or equally meaningful cubbies with small totems that inspire them to write.

One of my most productive places to write, ever, has been sitting in bed in my house, which is that kind of new construction where the master bedroom is huge and airy, on the second floor with a bay window looking over treetops so it feels like sitting in a treehouse. Chi moves so well through that room that I am neither bored nor distracted.

More often, as single mother, I am in the corner of the sectional sofa in the family room in the middle of my sons’ action, so I won’t someday hear them in therapy saying their mother spent their childhood with her nose in a laptop locked away in her room. I’ve written in other busy places: conferences, courthouses, schools, train stations, airports.

I’ve written in spectacularly beautiful places — on a cliffside balcony looking over the Mediterranean in Positano, Italy; in a beautiful hotel room; at famously photogenic beach. Few places are as beautiful as that empty chair in the picture with this post, where I am sitting right now on the sun porch of my mother’s house in Connecticut, looking out over her gardens as she and my son weed.

ard na sidhe blogBeautiful places and busy places have often left me with ideas to write from. My current WIP began with an image from a gorgeous mountain lake in County Kerry, Ireland.

But, ironically, my philosophy about “where to write” is the same as my philosophy on buying notebooks or pens for writing: the best writing places are equivalent to or more boring than the writing you’re doing. If you’ve ever had writer’s block, then never buy some heirloom-gorgeous writing journal because you’ll be too afraid to write a wrong word in it. I’d rather a boring composition notebook, any day.

As beautiful as this seat is in my mom’s sunroom, I’ve spent more time photographing it and writing about it than working through the list of revisions I’m supposed to be making.  As we get ready to drive back south tomorrow, I’m sure I’ll lament leaving this beautiful location many times. But the truth is, it does me well to dip in such beauty and then retreat to the quiet where the words I need to work on are the main attraction.

As a final thought, I think the best writing seats have good chi — air flows readily so your ideas feel free to unravel — yet are not in the main line of that energy. For example, that seat pictured in the window demands the action of looking out onto the world, in the traffic flow of the main door. In reality, these last two weeks, I’ve written better when snugged into the sofa set back in that same room, with a similar view and still in hearing of all the house’s activity, but sheltered behind the main traffic and action.

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What About You?

Is your writing space important to you as you write, or are you portable in your work? Do you have rituals, like favorite quotes or icons on your desk, or other ways your writing space gets you going? What would you change, if you could? What would you recommend writers look for or avoid in a good writing space?

If you’ve posted about your writing space in the past, feel free to leave your link in the comments.

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Novel Revision Strategies: “Hit List” of 6 Things to Edit Now

Baby pictures. A glimpse into harsh revisions occurring with my poor Wake, last week. (c. Elissa Field, no repro w-out written permission)

Baby pictures. A glimpse into harsh revisions occurring with my poor Wake, last week. Classic: either move this with a happy star to the next chapter — or cut it and pillage for single words/details to keep. (c. Elissa Field, no repro w-out written permission)

If you’ve read my last several posts, you know that I’ve been sharing the varied processes I’ve been going through in daily revisions to my novel.  If you want to read other posts in the series, a list of links is at the end, below.

As I’ve said before, my novel draft is in mid-process revisions. That is,

  • I am no longer drafting the novel: the full story is written from opening through final scene, including external conflict, internal conflicts for key characters, settings and the major scenes, and all the research is completed.
  • On the other hand, I’m still making decisions and answering questions about what I’ve written, addressing inconsistencies, moving large sections around, or deleting, and rewriting.
  • Just as I’m no longer drafting, I’m also not editing at the sentence level, yet, as I will during final revisions. I may correct word choice, sentence structure or punctuation as I notice them, but I’m still in a more “construction” phase than the final process of polishing to send to an editor.

I say this to recognize that there is a point between mid-process and final revisions, where it helps to be able to run through a series of steps to test for common errors — and that is the point of today’s post.

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A Hit List of 6 Steps to Apply to Target Weaknesses in a Draft

Finishing the middle process and approaching final revisions is a good time to consider some common errors that editors, agents and other pros report finding in novel drafts submitted as “finished.”  One of the reasons this stage of revision can be such a concern is that a writer may have a blind spot to errors that editors and agents find obvious.

The hit list below offers 6 practical steps that can help you target and fix weaknesses remaining in your draft. Inspiration comes, in part, from the advice for writers posted on the submissions page at the Pirate’s Alley Faulkner Society’s prize for fiction, but also from resources like “query tips” on Twitter, other articles from editors and agents, and my own experience.

1. Run Spell Check

This one sounds obvious. Of course: check for misspellings or errors in capitalization. But also watch for inconsistent spellings of proper names you invented – spell check won’t catch these unless you add them to its dictionary. Did you ever change names of characters or locations? It’s a common error to not catch all inconsistencies before submitting.  Read for misused homophones, which spell-check might not catch. Yup, we all swap out there/their/they’re, etc., when typing fast. Beyond spelling, check grammar and punctuation — use the best spell-checking tool available to you. For example, if you have both Scrivener and Word, use the spell-checker in Word. It’s smarter. Lastly, the skimming nature of bouncing through your document with spell check can also help you notice other subtle issues — for example, consider “overused words,” below.

2. Bad Phrasing and Passive Tenses

Use your software’s search tool to target lame word usage.  You can target passive word choice by searching “there is,” “there are” and “there was/were.”  Search helping verbs and -ing to avoid overuse of vague or passive verb constructions.  I’ve heard at least one pro say it’s a newbie error to use constructions with “become”/”becoming.” For example, “He became scared,” rather than, “Fear ran through him.” An odd example of stilted/passive wording mentioned by the Pirate’s Alley Faulkner Society was overuse of the word “the.”  They say (link below) that one non-winning novel submission to the Society’s contest in 2012 “used the word ‘the’ 10,001 times. At least half could easily have been eliminated.” To make the point, they revised sample lines to show how wording could have been more vivid. Searching any of these words might help target where the usage is fitting or where it might be written more effectively.

3. Overused Words or Images

We all have certain words or images we overuse — do you know yours? Skimming during spellcheck may increase your awareness. If not, listen for them as you reread or ask a beta reader to notice them for you. Often, these can be unexpected. For example, I was surprised to find I’d used “horse” 47 times in this draft which is not about horses. Only 4 scenes required a horse and the random mentions took their power away (why all the horses? It’s an autobiographical misfire as my family has horses in our background – while my characters do not).  If you have a particular mood or image in mind as you write, you could find it overly pervasive. Some of my overused words, for example, were dark, silver, memory, shadow and light. They are key mood words, but I needed to use them in the most powerful moments, not, um, everywhere. Overused words create vagueness rather than meaning, so targeting them is an opportunity to seed more powerful detail. “Sitting in darkness” is one thing; “sleeping in the cold shadows of a hedge along the drive” moves the story and conflict, not just mood.

4. Is it Over-written?

In early drafts, it’s easy to write reams of words that aren’t yet anchored in the specifics of story details you didn’t yet know. There and in other places, if you suspect a sentence or paragraph is too wordy or not serving a purpose, use a highlighter to mark only the words that matter. Could you edit to just those? What if someone asked you to post a line to Twitter?  If you were limited to 140 characters, what words would drop out?  At the same time, highlighting key information can help you avoid deleting an important detail. Let’s say it’s tempting to delete a cringe-worthy scene from a early draft — highlighting any key information revealed by that scene (“a gun was stored on the top shelf”) will help you make sure to save and relocate it to another scene, so you don’t create an inadvertent hole in the story.

5. Target Dialogue

Personally, I write full conversations between characters during drafting, but delete all dialogue except the lines with power during revision.  Dialogue problems are a common issue to keep drafts from succeeding.  Advice for revision includes reducing wordcounts and improving story flow by removing unnecessary dialogue tags. Other advice from pros suggest editing for pompous speeches or voice that does not ring true, or excessive reliance on lengthy dialogue for information dumps. Unless dialect is key to your story, avoid overuse of phonetic spellings and spacers (“I, like, well, um, really,” she paused..). Every line of dialogue should cleanly, clearly carry its weight to activate the story; weak dialogue kills.

6. Senses Should Sing

Writer Donna Gephart recently shared the advice that 80% of the brain’s perception is related to sight (read her mini-lesson as part of Teachers Write! here). Awesome. Except that may mean that writing is overly preoccupied with details related to eyes and unnecessary sight direction. “He turned and looked toward the dock. The boat was on fire,” is a great example of unnecessary sight direction. Better: “The boat was in flames.” The reader doesn’t need to be told the MC turned and looked. Target “looked,” “turned,” “saw,” “glanced,” and other directions related to eyes, and consider whether they’re really needed. What is really revealed, and is there a better way to reveal this?  And go beyond sight details.  Where could you add detail from the other 4 senses — especially in places where you want to pull a reader deeper? Use sensory details that develop character (name 3 things the character would notice that no one else would) or move the story.  Remove details that are clichéd, assumed or reveal nothing about the character or story.

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Links to other posts from my Revision Series are at the end of this post.

For more on common novel errors:

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How About You?

Do you consider your WIP to be in a drafting stage, in mid-process revisions, or are you polishing to submit for publication?

Do any of these 6 steps ring true for you? Have you tried a similar approach, or do you have a trick of your own to share?

What “common errors” do you worry most about? Or, do you worry about having a blind spot and not be able to notice errors? (Which hints at my next hurdle: the importance of getting feedback from beta readers…)

Best wishes to you, wherever you are in the writing, revising or publication process.

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Novel Revision Strategies: A Day’s Work in Pictures

novel revis 7-9

sols_blueIf you read Monday’s post (Novel Revision Strategies: Printing for Read-Through), you know I am using a printed draft for this stage of novel revisions.

Today’s post is a photo diary of what morning work looked like — as waffles with the boys shared space with ruthless edits on this draft.

“Failure is not an option”?

Successful launch, Kennedy Space Center. c Elissa Field, repro w permission only

Successful launch, Kennedy Space Center. c Elissa Field, repro w permission only

Go “where’s Waldo” to find the NASA slogan on my coffee mug: Failure is not an option.

Even as writing and revising drafts is all about failing over and over again? Yeah, I still love that mug’s inspiration. I bought it on a trip to Cape Canaveral with my rising-7th grader when he was in 4th grade. Ever wondered about the explosive launch sequence pictured on my blog’s masthead? That was taken on the same trip — a re-enactment of the control room for a successful Gemini launch. We’re in that control room when writing, and the mug reminds me to never stop.

Novel writing is launching into the risk of failure, the surging insistence that it will go well. The rocket will launch. Risk embraced.

Or, go with Samuel Beckett as inspiration: “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.”  Drafting and revising is all about getting something down. Being willing to fail as well as we can, then trying again, even failing again — but failing better. In that sense, the mug would say, Giving up is not an option.

So, here’s where that has gotten me in the past couple days…

These are probably my favorite revision pages:

Done. Done. Chickie approves. cElissa Field, repro w permission only

Done. Done. Chickie approves. cElissa Field, repro w permission only

This is what less happy pages look like:

Messy revision

Ohhh… that looks painful. Chickie is staying out of it. BUT, check-marks show the changes have been made in the new computer draft. Work goes on. c. Elissa Field, repro w writ-permiss

If you read the captions, you see the range of changes going on.

The top picture shows pages from the opening scenes of my WIP, which are ready to go — marked “done.”  I also signal “done” in the computer document by changing that text to blue. Yup, plain text: that leaves you vulnerable to being cut.

The second pictures shows a scene that has been outlined with highlighter to say it will be kept (although not “done”), with corrections marked. Where I still have questions to answer, I wrote them on the blank page above to make sure they won’t get lost.

Apparently I was not mean enough to take a picture of pages with entire scenes X-ed out, but they are there. I do paste deleted text into a “Cuts” document… just in case.

The colored highlighter is an example of what I mentioned in yesterday’s post about using color codes to mark key scenes or characters.

Here’s the color key:

color key

This is the key on the first page — so far I’ve been marking the text that will be kept with a highlighter for the main character it relates to. Being able to visualize this helps, as this edit is all about getting the final structure in place, then seeing what’s missing.

Creating a Style Sheet – or, um, Lengthy To-Do List:

Revision checklist-

Every hour or so of reading, I go back to the computer draft to implement the changes. I’ve been checking corrections off to keep track of what’s been done, and also gathering this chapter-by-chapter task list of questions that need to be resolved. So far, it includes facts to resolve, like names, family names, locations, dates — as well as plot details that have changed between drafts and need to be made consistent.

If you want to read more about creating a “style sheet” to manage your novel, check out this post by literary agent Rachelle Gardner: Create a Style Sheet for Your Manuscript .

A Party so Wild it Needs a Bouncer – Enter the Outline:

Outline as Bouncer
Really, most of this mark-up on the draft took place yesterday. I came back to it this morning knowing I was still swamped in some choices. I had a clear list of scenes in my head, and knew the order I need to shift them into. As clear as it was in my head, with the story changes that took place between drafts, I need to keep track of the order of important reveals and progression of internal and external conflicts.

Enter the Bouncer, tough guy outline watching over the WIP’s shoulder above. Yes, it looks a bit techie — I am used to throwing Word tables together to manage info, so that works for me.

The Bouncer outline works like this: like velvet ropes deciding who will be allowed into an elite club, if a scene is not on this list, it won’t stay in the draft.

As much as writers chat about whether to “pants” or “plan” I believe fully in a hybrid of the two. In order to finish this outline, I had to analyze my understanding of the story. It reminded me of a couple scenes not written yet, and helped me better analyze how to get the right tension and resolution at the end. Mean as he looks, the list makes my job so much easier.

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How About You?

It’s been great to read comments from readers about their own process for revising — share yours as well?

Rather than revising, are you focused on writing new material? It was also great to connect on Twitter today, as Wordsmith Studio writers hosted wordsprints. Check out the hashtag #wschat to find writing activities each week.

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Novel Revision Strategies: Printing for Read-Through

2nd printed draft 2

Cheers! I’m celebrating a little milestone on my end, as I made it far enough through all those chaotic novel revisions over the last 2 weeks (Novel Revisions: Work is Messy, Book May Bite and Novel Revision: Revising a Flat Character) to be able to print a full novel draft again on Friday night.

Little celebratory dance. Cheers. Now time to get back to work.

Printing the draft feels like an accomplishment — so neat and finished-looking in its binder. But it is just a milestone before the next step of revision.

Each day I work on novel revision and engage in conversations with others in the same process, I notice there are specific techniques that writers use to manage the complex work of novel revision.

While we all probably do most of our drafting and revision on the computer, there are specific strategies writers use in revising from a print copy.

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When Do You Print?

The first time I wrote a novel draft, I printed copies all the time — I think I had a 4-foot high stack of at least 12 different drafts. But I’ve come to hate the messiness and waste of paper, so rarely print these days.

With my current WIP, I didn’t bother printing until I had my first complete, holds-together draft. In particular, I was going on a 3-week road trip, so printed to have the draft to take with me when a computer wasn’t available. There is a picture below of the draft I worked with last summer.

Even with changes, I haven’t bothered to print it again over the winter, because so much of what I was doing was outside the manuscript — character and story development, and writing new scenes. If I wasn’t going to work from the printed draft, there was no point in printing (caveat: other than to have a backup).

I knew it was time to print again when the next step of revision was to read through to see how things held together and test for the ordering of scenes in building the story structure. I’d already completed any petty tasks (ran a spell check to catch distracting corrections) and had pasted all pending material into the draft. I was no longer actively writing new material — I thought I’d filled all the “holes” and was ready to read for what worked, what was missing, what needed chopping, what needed moving.

For me, this will be an intermediate read: I expect big moves with this revision. I’ll have to chop scenes of motivation that were replaced by a new backstory. I’ll be merging or chopping duplicates where I’ve written the same scene more than once (not uncommon for me, as I keep “hearing” different perspectives or detail to a scene). And I’ll be making big choices about structure: I’ve written a handful of scenes from different character perspectives, so need to make a choice to structure multiple viewpoints or convert those scenes to something the MC would have known.

Others may print when they are ready for line edits or sharing with beta readers. I may be doing line edits in some places (polishing verb tenses, fixing/adding transitions, perfecting punctuation and word choice), but mostly I assume I’m not there yet. That will be the next print and read-through — which will hopefully be soon.

What is the Process of a Printed Read-Through?

Other writers use a neater process than I do. Ann Hood has said that she writes for 2 hours every day in a relatively linear order and begins the day’s writing by revising her work from the day before. When she has a completed draft, she prints it off and carries it to a local coffee shop where she goes all the way through the draft marking her edits.

Revision checklist-Similarly, young adult writer Alissa Grosso shared her process in this post for Teachers Write! last week, describing how she reads through a printed draft, marking all corrections in red ink.  She said it takes her about 4 days. She then makes the noted corrections on her computer draft.

My process is similar, with the exception that I use more than just pen in marking changes (see strategies, below).  So far, I’ve made it about one-quarter through, in one day.

  • In places where the text is polished (the opening is essentially done), I’m doing a close reading, noting decisions that need to be made (a date, a year, a city name, the name of a background character) and scrutinizing word choice.
  • In nearly-there sections, it’s time to insert any missing quotation marks (I’ve become minimalist in not typing them during initial writing, but they’ll be needed in submitting).
  • If you’ve read any of my quick drafts, I sometimes draft loosely, allowing almost stream of consciousness in details and thought; now, as I decide which scenes are working, I’ll be editing together the sentences that will stick. (That’s a burdensome approach, but it seems to avoid the overwriting that can come about when first getting to know a story.)

I will probably begin implementing changes into the computer draft before getting all the way through the read-through. Other writers finish all reading/notations on the full draft before going back to the computer.

If you’re going to make the changes on the computer anyway, why waste time with a printed draft? Read on to see some of the visualization strategies the printed draft allows.

What about really messy drafts?

Honestly: I printed this copy off completely ready to cut scenes apart and shuffle them like cards if that’s what it took to envision how they best fit in the storyline. We do that with student writers in workshop, sometimes, when their ideas are good, but the writer needs the ability to kinesthetically shuffle their sentences and paragraphs into a more powerful order. In my case, the linear telling of the story needs adjustment to control when the external and internal conflicts converge and reveal, for resolution.

That ability to visualize and physically move text around is a main advantage of printing a draft. On page 72 of her book Real Revision, writer Kate Messner shares Darcy Pattison’s “shrunken manuscript” technique. Kate shrinks font to the smallest size, single-spaces and minimizes margins so an entire novel manuscript can be printed on few enough pages to lay out across the floor of the living room. Shrunken to this scale, it’s possible to see the “big picture” of entire novel in a single view.

What do you look for, when viewing this big picture? Where are characters introduced? Where does the inciting incident occur? When is information revealed? Where do internal and external conflicts converge? Resolve? Where are there holes? Or, are there too many scenes happening to slow the action down? Do reveals happen too early or too late?

Some Technical Strategies for Printing

The shrunken novel approach gets us into interesting territory. We’ve all been taught that finished manuscripts should be submitted in 12 point classic fonts, double-spaced, with a 1″ margin.  A full-length adult novel can take 200 pages to print. But, for revising, forget those requirements: when printing for revision, use strategies that help you see and work with your manuscript.

Condensed drafts left you visualize more per page, in a less cumbersome draft. Over time, I’ve come to prefer working with drafts in 10 or 11 point font (closer to book text), and in 1.5 spacing, rather than double. (Set yours to a comfortable size: yeah, I can relate to having difficulty with small text up close.)  I customize to narrow margins (half-inch at left, top and bottom), but I leave a full inch at the right. On drafts where I planned to write lots of comments, rewrite scenes or plan research, I’ve left a 2-inch right margin; otherwise, I use the blank backsides for comments.

Play with the look of the page. You may notice in the picture above that I printed “2 pages per sheet,” creating a book-like layout. Tech-specs: I used 10 point, Times New Roman font. Spacing is 1.5, with half inch margins. Using landscape layout, I used the Word option to print “2 pages per sheet,” which is equivalent to columns, but without fit issues. This book-like layout has been easy to read, condensed, and with enough room to work with the text.

Display or print in different formats. Similar to the note above, simply printing in a different font (go from TNR to Calibri, or the other way around) can help you see your manuscript with fresh eyes. An extreme version of this comes from the fact I seem to notice typos more once I’ve posted to my blog. Using that, I’ve saved sections of text as a draft post (not published), and viewed it on my blog to spot revisions.

Scrivener or Word? You can print directly from Scrivener (“compile to print”) but I compiled from Scrivener to Word, then tweaked the manuscript in Word before printing. Word allows more control over margins, printing layouts, fonts, etc., and you can preview before printing so you don’t waste paper.

Working with my WIP's first draft, summer 2012. c. Elissa Field

Working with my WIP’s first draft, summer 2012. c. Elissa Field

Pen, pencil, highlighter…or all those fancy flags? If you are visual, go all in. Both as a writer and a teacher, modeling for students how to take control of their reading, I am all for using color and tools that take control of your draft:

  • Back to Kate Messner, with her shrunken manuscript spread on the floor, Kate uses colored Post-Its to mark key moments, characters, props and reveals in the manuscript.
  • With my draft last year (in this picture), I used large, tabbed Post-It flags to mark chapters, with room to write summary of the chapter or list pending questions. Smaller flags marked key scenes. Color helped signal different characters and conflicts.
  • In my current draft, I am reading with different colored highlighters, so I can highlight my favorite wording and key scenes or details. With these highlighted, I can make clearer decisions about the sections I will cut. I can rescue important details from scenes being cut. I can make clearer choices about which wording to use when merging a scene I’ve written more than one way.
  • If you don’t use highlighters during your review, you can use the trick we teach kids in writing workshop: write your corrections in ink, then use highlighter to mark comments once you have implemented them into the next draft. A good way to keep organized and know where you left off in your work.

color keyDon’t take my word for it… Check out this picture-diary of how I use colors and other strategies as I get to work with this manuscript in Tuesday’s Novel Revision Strategies: A Day’s Work in Pictures.

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What About You?

What revision strategies have worked for you?

Do you have specific strategies for print revisions, or do you do most of your revisions on the computer? Or what questions do you wish someone could answer about revision?

I’m debating a post on using Scrivener software — do you have questions (or feedback) about it?

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Motivated to Write: 12 Tools to Get Writing, Now

Day One - Begin

The bottom line with all writing advice is you have to get started. Write first thing in the morning, while coffee brews. Block out time to write on your calendar. Set word-count goals or write in 3o minute sprints. The bottom line on all of these is: get started.

While lots are taking time off to vacation this month, thousands of writers from all ranges in experience are committed to write every day in July or even the whole summer, to get this thing (whatever their writing project may be) done.

Whether you are a joiner, jumping in to share your daily accomplishments in a public forum, or are going it alone in classic writerly isolation, here are 12 online resources get you motivated to write every day.

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1.  Online Writing Forums & Challenges – motivation, camper-style

Camp-NaNoWriMo-2013-Lantern-Vertical-BannerThe most well-known forum at the moment is Camp NaNoWriMo, which began July 1. The July “camp” is an off-shoot of the Office of Letters and Light’s original project to “write a novel in 30 days” during National Novel Writing Month (November). NaNoWriMo gets writers going with site software for tracking daily word counts, counting down to reach a total wordcount goal. Traditionalists may balk at the thought, but the site attracts a full range of experienced and newbie writers who find the site’s ability to turn daily writing into a trackable accomplishment with peers cheering you on just plain fun. (Yes, NaNo has had lots of “real” books published.) NaNoWriMo is especially good motivator for a new project, but “rebels” (those who’ve already completed a novel draft, or are researching or…) abound, with rebel forums and guidelines for setting project-specific goals.

Teachers Write 2013 ButtonMore forums and daily challenges:

  • Teacher or Librarian? Teachers Write is a vibrant “writing camp” hosted by a slew of adult and young-adult authors, currently running (through summer) with daily prompts, Q & A with authors, community and feedback.
  • Is your writing goal to “build platform” (audience) for your writing? Robert Lee Brewer’s Platform Building Challenge from April 2012 is the most comprehensive resource I’ve seen for expanding competence in all social media formats. Click the link to go to day 1 – and check out Wordsmith Studio, an ongoing writers’ forum that arose from the challenge.
  • Blogger? If your goal is to post every day, join Liv, Laugh, Love’s July Bloggers’ Challenge which offers daily prompts and a Facebook forum to gain audience.
  • Poet? Try Our Lost Jungle’s February 2013 Chapbook Challenge for a month of inspiration to write daily poems and organize a chapbook.
  • Submitting for publication? Try Our Lost Jungle’s  May 2013 Submit-O-Rama with daily inspiration, goals and resources.

camp writingAm I participating in any of these forums? I used the 2012 Platform Challenge last year, I’m a Founding Member of Wordsmith Studios, I’ve participated in Teachers Write, and I’m a rebel at Camp Nano (find me here). For testimonial on how online interactions impacted the day’s writing, check out Tuesday Writes: Camping with Friends at NaNoWriMo.

2.  Use Good Prompts

Cynical about prompts? Not all prompts provoke insightful writing or help you advance the conflict of your story.

Of all the prompts I’ve ever encountered, I think literary agent & author Donald Maass rules. He occasionally tweets them from as a numbered list, as shown below. Follow him (@DonMaass) or his hashtag #21stCenturyTuesday for more. Below these tweets are links for more from Maass, as well as a recommended resource from Ann Hood.

More Maass prompts:

Another of my favorite books to prompt novel inspiration is Ann Hood’s Creating Character Emotions . Read about it here: Writing Character: Sometimes the Work is Messy.

3.  Time & Word Count Motivators

Lots of writers motivate themselves with daily milestones. Ann Hood has built a career by writing 2 hours every day. Others aim for a word count goal. Writers with a deadline set this by dividing the number of  needed words by the available writing days.  Others may aim for 1,000 or 2,000 words — adjusted to whatever their normal, productive word count would be.

  • Written? Kitten!  Just for fun, to feel a sense of accomplishment for, say, every 100 words you write, you have to click and check this out. Every time you type 100 words, you’re rewarded with a kitten. (I’d forgotten using it, once, until I was transferring text from an add-on doc to my WIP and found it ended with the sentence, “If I keep typing, any word now a kitten will appear.” Meow.)
  •   750 Words This site takes its inspiration from the practice of writing morning pages recommended in The Artist’s Way. The site keeps a bowling card style score for each day you write, with double points each time you hit 750 words (equivalent to 3 pages) per day. Unlike the Kitten, you have to provide your email address and log in.
  • Timed Writing. Finish reading this first. Then log off the internet when writing, to blog the temptation to surf during writing time. Some writers use more forceful options: check out Mashable’s 6 Apps That Block Online Distractions So You Can Get Work Done.
  • For more time-management strategies, go to the January Challenge, below.

4. Strategies for Getting Started – or Finished

In January, I hosted the January Challenge… Check out the strategies below for ways to manage competing priorities to accomplish your writing goals – from writing daily to applying to residencies or increasing submissions.

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What About You?

What writing goal are you working on this month? Are there resources or forums that help you stay motivated, or are they a distraction for you? (Despite this post, I find resources both “helpful” and “a distraction,” so balance between networking and hermitsville.)

Feel free to share goals, prompts or links to your own articles on similar themes in the comments.

And, best wishes with whatever your goals this month.

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Tuesday Writes: Camping with Friends

camp writing

sols_blueI’m antsy today. Got a few things done. Wrote a couple thousand words. Fixed my printer. Waited for my son to be done with my laptop. Shared a friend’s article online. Decided this Irish man on Twitter has amazingly expressive eyes. Debated saving a picture of him onto my Pinterest, thinking of my main character Roonan, then felt a bit stalker so nixed it.

In the middle of that, yes: I wrote a couple thousand words. It’s a good day: I’m busy with revisions and they are going well enough that I see the light at the end of the tunnel. I’ve had small breakthroughs at every turn. Big improvement over last week (Novel Revision: Work is Messy, Book May Bite or Revising a Flat Character).

Prompts are Everywhere

When a novel is rabid inside me, it seems prompts are everywhere.

I read the first line of Neil Gaiman’s new book ( The Ocean at the End of the Lane ), which starts, “I wore…” and I’m prompted to start a chapter with a simple sentence, active verb, simple statement. I read the 3-step prompt shared at Tuesday Quick-Write and all I hear is, “Make your character say she has a problem.” I know she does — but make her say it. ITunes flashes a reminder and now the “problem” scene starts with Carinne in the car and The Killers come on the stereo. You can’t ride with armed men, listening to The Killers and not admit you have a problem. So the scene spills out. Carinne’s inner conflict slips into her perception of the external conflict and the readers get hint of what she’s hiding — what would motivate her to go along with these men.  …It raced up in her chest, this anger she’d never owned before. It was a problem.  She would have to face it. No excuse now. No one telling her not to talk. In the night, her mouth close to Roonan’s collarbone, his mouth against her ear saying her name, no one was telling her to stop. No one told her not to talk about Danny. No one said, “Not now. Let it go.”…

Nice (not that little snippet, the whole scene). Twenty minutes of writing and I have one big chunk that weaves an original scene together with Carinne’s newly drafted internal motivation.

So take a break. Notice the Instagram pic of that Irishman with the amazing eyes. Oh, look. His friend posted pic of a silky golden retriever’s head thrusting in a car window. And we’re off again… They’re in a field with sticks of peat stacked 3 by 3 in small pyres every few feet, circling around them, Roonan woken by the nose of a silken retriever, a happy scene yet she reacts with terror…

Enough with Instagram. So, check for friends who registered at the site for Camp NaNoWriMo. Sure, okay, I’ll log on, too. Account asks for a synopsis of my novel. Seriously, do I have time for this? Type-type-type… Next I know… Wasn’t I just saying I was beginning to stress over writing the query? Here it is, nearly done:

Michael Roonan’s best friend would do anything to save him from the man bent on killing him, but Roonan himself thinks death is fair end to the guilt he carries for lives he has ended. Except, facing death, Roonan suddenly sees only beauty in the world. In the moment he meets traveling American, Carinne Browning — herself clearly at odds with her mother or her husband — he sees chance to borrow and recreate what his parents had, the one thing he would have wanted to experience before the end of life: to be in love with a wife. Five years later, after the day she watched Michael Roonan shot down in a Dublin park, Carinne is faced with the question from the child born of that affair: “Is my father dead? Is he buried in the ground?” Tracking down Michael Roonan means unraveling the secrets that led him to a life of violence, as well as the painful mystery that compelled her to bond with such a man. The crossing of their lives unveils how deceptive memory can be, and how life’s biggest choices — even those impacting the outcomes of wars and history — can be born of personal fears and mistaken perceptions.

As much as I tease myself for being antsy today, it’s sometimes just that hyper energy that gets the work written.

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Writing with Friends

All of this is to say, as much as I value all the reclusive time I spend writing alone, there is a powerful value in a circle of writing friends and the interaction that brings.

I decided to join in with some friends who are participating in Camp NaNoWriMo this month. I’m a camping “rebel” in that I already have a finished novel draft well over the 50,000 word goal (Wake is heavy at 145,000 words right now, with a good 30,000 destined to get chopped) — but I’m among those using the camaraderie of the camp to keep motivated and share mini-milestones as I go. I’ll drop it if it’s a distraction, but will keep cheering on my participating friends.

With the same group of friends (Wordsmith Studio #wschat on Twitter), I’m participating in an online discussion of writing craft July-September, using two books: Donald Maass’s  Writing the Breakout Novel and John Gardner’s classic On Becoming a NovelistWith a different group, I’ve been sharing in daily writing prompts at an online “writing camp” for teachers, called Teachers Write.

I know what I’m doing with my revisions this summer — I’m working through a series of tasks that aren’t in any forums online. They’re what I know needs to be done; I could do it alone.

But there is power in community, and I’m glad to be “camping out” with writing friends this month.

Check out tomorrow’s post: Motivated to Write: 12 Tools to Get Writing, Now

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What About You?

What communities — online, in person or otherwise — do you write with?

Do you have set goals you are working toward? What helps prompt your ideas, or do you wish you had more sources of discipline or inspiration?

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If you like this blog, be sure to subscribe using WordPress’s +follow option, or via email or RSS feed. I love to connect with like-minded readers and writers!

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How the January Challenge Arose from Freelance Writing

Day One - BeginI began this month by proposing the January Challenge (finish something, start something, improve something, then evaluate & plan where to go next) not because it was the logical way of doing things but because, for many of us who are writing, each of our goals shares our attention with multiple competing tasks.

If we want to start that novel revision, we first have to finish this project for our day job. If we want to get started with story submissions, we first have to finish revising. As I addressed in 15 Strategies for Finishing Work  last week, much of what we do involves time management of competing priorities.

It just dawned on me to say:  I learned this cycle by freelance writing. 

Considering the interest many of you expressed when I blogged about day jobs, today is a reflection on why the finish-start-improve-plan cycle is so important to making progress as a writer.

Most of my freelance jobs evolve into long-term roles, with enough work and pay to become my sole client. Still, others involve sporadic projects with clients not sure of their own goals, projects too small to be substantial income, or even an occasional client who was slow to pay. For anyone considering freelancing, know that continually stoking the fire for new work is part of the weekly task list.

So it was from freelancing that I learned the overall writing skill: that a productive writing business involves constantly feeding the 4-step cycle of finishing, starting, improving and planning.

It’s illogical: why do I put finish before start, or before plan?

This week I covered a friend’s 4th grade class one morning and, as I presented her lesson on the animal lifecycle with the circular cycle of egg-chick-chicken-egg… I was reminded why I list finish before start.

Yes, on day one — like that “START HERE” space on a board game — you begin with “plan” and “start.”  But there’s only one “start here” space on that gameboard, and most of us are not really on day one of our writing.

Most of us have a half dozen or so projects floating (overlapping writing and family and clients or day job, etc. projects) so taking a valid, productive step forward with our writing involves getting something else finished and out of the way, first.

I can get started with submitting my writing, but maybe I need to finish revision first. I can start with revising my novel, but I need to finish last week’s day job project first. I can start an idea for a novel, but maybe I needed to clear away holiday-vacation emails from clients first. I can start with my big project (the literary magazine) this week, but needed to finish last week’s grading and semester planning first.

The Key: Stoking All 4 Steps of the Cycle

What is most important is this single concept: once these 4 steps rotate into a cycle, notice the overlap of planning your next steps, finishing remaining work, and starting something new.

Before you even finish one project, you should have been evaluating and planning for the next project you will be starting.  My husband was a pharmaceutical rep and, in sales, they referred to this as “pipeline.” You have what you can finish today, but have already planned and seeded what you will do next, with your next project ready in the pipeline.

In freelancing, this meant I had already been marketing for new clients before I approached the end of a project. In fiction, it might mean having short stories submitted to literary magazines then start work on revising that novel while you’re waiting to hear back. It might mean, as you head toward finishing that novel draft, thinking ahead to what will be needed to connect with agents — maybe anticipating summer writing conferences or learning how to write a query.

A Little of Each, Every Day (or Week)

Although I set up the January Challenge to address one step of the cycle for each week of this month, I kept my freelance business going by addressing all 4 steps of the cycle every week, if not every day.

Every week I had a task list of steps needed to complete a current project. I evaluated and planned what was needed for that publication, as well as where the next job would come from. I scheduled steps to get the next project going (if with the same client) or took marketing steps to keep the pipeline fed.  I improved the functioning of my business (sent invoices or reorganized or tweaked my (now offline) website). A little of each, every week, kept the machine constantly fed and moving productively forward.

In truth, particularly when I became a mom, the economy crashed and other personal challenges made life more complicated, it was applying all 4 of these steps that has brought about my most successful moments. On the job or scrambling with kids or working to finish writing — attending to all 4 steps keeps progress moving forward.

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write start badgeThis Week: Begin Something

That said, this week of the January Challenge will focus on Starting Something New (link takes you to next week’s launch).  In the meantime, think of a project you need to get underway to accomplish an important goal in 2013.

What do you have to begin in 2013?

Remember, this is a group challenge and we’d love to hear how it is working for you.  What goals do you need to take on (this week, this month or sometime this year)?  What strategies work for you? What obstacles keep you from getting started?

If you join in, we’d all love to hear how your challenge progresses: write about it on your blog (use the January Challenge badge if you’d like); include link to this original challenge, and be sure to come back here and share your link with us.

Be sure to check out the Week 2: Start Something launch later this week!

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October Fiction Challenge 4: Where and How Do You Write? – Part 1

A perfectly good workspace: the desk in my office (notably, with a box open for shipping off my fried laptop). To my Hawaiian friends or fans of The Descendents, the print on the wall, bought by my parents in DC 20 years ago, hung on the wall in the family’s HI house in the movie.

Today’s post continues a series of responses to October Writing Challenges posed by fellow bloggers.

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To catch up on October’s Writing Challenges:

If you join in, post your links in the comments!

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Today’s post returns to the great 30-question list featured in Herding the Dragon’s 30-day challenge, to address Part 1 of the theme, “Where and How Do You Write?”

Day 5.) Where are you most comfortable writing? At what time of day? Computer or good ol’ pen and paper?

We have an expression in our family — “Don’t poke a sleeping bear” — and this question is provoking me to rant over how frustrated I’ve been without a laptop since its meltdown in July. I am an adamant laptop writer.

Pen and paper is fine. Early on, my first mode of writing was a fountain pen and a cheap composition book (I’ve had tons of “fine” leather journals, but find something freeing about not having to live up to the cover). I liked fountain pens because they flow quickly, removing one more level of resistance — but over time (and surely in response to all the complications parenthood adds), I’ve simplified to “any pen on hand.”

Two interesting observations about writing by hand:

  • I learned in education classes that the physiology of writing something by hand records it more deeply in your memory. In this sense, if I’m in the car or on the run, the simple process of dashing something down (even if I never read it later) makes me more likely to remember the idea when I am back to a computer. Brain research shows this is particular to the wiring of eye-hand coordination and handwriting; typing and dictating do not have the same effect.
  • I was mortified as a teenager to have one of my writing notebooks passed around between tittering family members. Perfect cure to this is that my handwriting has evolved to something nearly illegible, as if only I have the spy decoder for transcribing it.

I have two main complaints about writing by hand. One is that I have come to hate paper in general, as it piles in drifts that are hard to relocate, get damaged or lost, and no one seems to read. Spoken as someone who once knocked a cup of coffee into my notes drawer while vacuuming.

Worse than this is the inefficiency of it. I was able to continue full days of revising my WIP over the summer, while traveling after my laptop died. I marked editing notes on a print copy, wrote new sections in a notebook, used flags and highlighters and… yes, I got a lot done. The wastefulness is that I now have to double that effort, as all those notations have to be typed in.  The greatest limit most of us have is time, and I’d rather type something once than have the same effort take my attention twice.  It’s hard to be stuck typing last month’s changes when you want to move on to the new thoughts in your head.

Overall, the computer is more organized and faster. When drafting, I work rapidly in what I call an “add on” document, writing sections out of order, not worrying about spelling, capitalization or punctuation. Quick keystrokes fix the conventions.  I then work with two documents open at once: I copy draft sections from the “add on” document, pasting only those I want to use into the actual draft document, fixing order, chapter/section breaks, etc. as I go.  To keep orderly, I switch the text I’ve used to blue in my add on document, so I know what I’ve used.  I’ve started using Scrivener, which is fabulous for tracking themes, getting perspective, reorganizing, and making revisions.

Where I am adamant about using a laptop is that a desktop computer is frustrating in allowing you to work in only one place. I have an actual office in the house — with a computer on a real desk, with files, bookcases and everything — but it kills productivity to only work there.

I write at all hours of the day and especially like being able to sit next to my boys, wherever they are, and not have my writing keep me isolated from our daily life. I don’t mind the desktop during my disciplined work time (in the morning after the boys are at school, before leaving to teach my afternoon classes), but prefer the lucid flow of ideas I get late at night, when I don’t want to be here at the desk. My favorite place to write, at any hour, is sitting in bed, as the light and energy in my room are like an airy treehouse.

When traveling, I write anywhere — but I am not generally a cafe writer.  I’m too curious for that. When I’m out, I’m watching and listening, not writing. That’s actually one of my greatest weaknesses when attending conferences or workshops: I’m easily distracted. Look! Squirrel! Yeah.

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Where and how do you write? Have you tried Scrivener, or have you wondered if it is an effective tool for novel writing?  Share your experience — or links to your own responses to October challenges — in the comments.

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