Laurie Halse Anderson's Notes
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YAY! NOW we are starting to get winter. I plowed a path to the cottage with my snowshoes and have the fire burning bright in the woodstove.
Off to scribble, scribble, scribble!
You?
First things first!
All of the creatures in the Forest wish you and yours a healthy and happy New Year!
For me, this has been the most unexpected, exciting decade a person could possibly enjoy. I feel like I've lived thirty years in the past ten, and that is a rather cool feeling. But I have been so deep in the work on my new book that I haven't given much thought to the fact that the decade is closing tonight.
What made me open my eyes?
WINTERGIRLS was named as one of the ten most influential books of the past freaking DECADE by the Chicago Tribune.
I NEVER saw that coming. I am utterly gob-smacked by the notion. (And incredibly grateful that one of my books would even be considered for such a list!) It stopped me in my tracks and made me take a good, hard look at the past decade.
Because you probably don't want to read all of this, I'll insert headings.
FAMILY
The most important changes have had to do with my family. My biological kids have grown up into outstanding women. They are by far the best accomplishment of my life, though I can only take a smidgen of credit; they did the hard work of growing up and figuring out how to make their lives rich and rewarding.
Ten years ago I was sorrowful about my fractured marriage. Eight years ago my first husband and I found a way to divorce peacefully. We decided to act like grown-ups and put our kids first. I will forever be blessed that we figured out how to become friends again, and stay family, and celebrate the fact that we both found partners that were right for us.
And then there is Scot; my childhood sweetheart, my Beloved Husband, and the builder of the most awesomest writing cottage in the history of Western literature. More importantly, he gave me two more completely incredible kids, who made space for me and their step-sibs in their hearts. AND he gave me the Creature With Fangs.
Did you like any of the books I've written since 2003? Then send your appreciation to my husband. He is my entire world.
In my journal ten years ago, I was worrying about the impending death of my mother. Because she was a Yankee hewn from granite, she lasted ten years later than I thought she would. Thank God. This year I was blessed to witness her cross over to the next world, and a few weeks later, my father-in-law. I miss them. We miss them. But it's all good.
FRIENDS
I am an introvert. Some would say a fairly pathological introvert. But for some reason I can't understand, my life has overflowed with friends who have enriched my life beyond the telling. I consider all of the readers who have reached out to me through email, on a social networking site, through old-fashioned snailmail, or who took the time to meet me at a bookstore I really struggle to make sense of this.I'll never figure it out, so let me just say thank you.
To all of you.
I am fairly adept at word-spinning, but the only way I can think of to explain how much you mean to me is to put my hand on my heart, bow my head, and say:
THANK YOU.
::runs downstairs to hang with family and look forward to the next decade::
MUSE
Yep. The Muse gets whopping heaps of thanks. I show how much I appreciate Her Presence by showing up to write every morning. Sometimes I draw. And I hum a lot.
And so it goes.
I really can't grok most of what has happened in the past ten years. But I am grateful. Crazy grateful.
I really appreciate all the minutes I've been given to love and laugh and make up stories.
Thank you, my friends.
All of the creatures in the Forest wish you and yours a healthy and happy New Year!
For me, this has been the most unexpected, exciting decade a person could possibly enjoy. I feel like I've lived thirty years in the past ten, and that is a rather cool feeling. But I have been so deep in the work on my new book that I haven't given much thought to the fact that the decade is closing tonight.
What made me open my eyes?
WINTERGIRLS was named as one of the ten most influential books of the past freaking DECADE by the Chicago Tribune.
I NEVER saw that coming. I am utterly gob-smacked by the notion. (And incredibly grateful that one of my books would even be considered for such a list!) It stopped me in my tracks and made me take a good, hard look at the past decade.
Because you probably don't want to read all of this, I'll insert headings.
FAMILY
The most important changes have had to do with my family. My biological kids have grown up into outstanding women. They are by far the best accomplishment of my life, though I can only take a smidgen of credit; they did the hard work of growing up and figuring out how to make their lives rich and rewarding.
Ten years ago I was sorrowful about my fractured marriage. Eight years ago my first husband and I found a way to divorce peacefully. We decided to act like grown-ups and put our kids first. I will forever be blessed that we figured out how to become friends again, and stay family, and celebrate the fact that we both found partners that were right for us.
And then there is Scot; my childhood sweetheart, my Beloved Husband, and the builder of the most awesomest writing cottage in the history of Western literature. More importantly, he gave me two more completely incredible kids, who made space for me and their step-sibs in their hearts. AND he gave me the Creature With Fangs.
Did you like any of the books I've written since 2003? Then send your appreciation to my husband. He is my entire world.
In my journal ten years ago, I was worrying about the impending death of my mother. Because she was a Yankee hewn from granite, she lasted ten years later than I thought she would. Thank God. This year I was blessed to witness her cross over to the next world, and a few weeks later, my father-in-law. I miss them. We miss them. But it's all good.
FRIENDS
I am an introvert. Some would say a fairly pathological introvert. But for some reason I can't understand, my life has overflowed with friends who have enriched my life beyond the telling. I consider all of the readers who have reached out to me through email, on a social networking site, through old-fashioned snailmail, or who took the time to meet me at a bookstore I really struggle to make sense of this.I'll never figure it out, so let me just say thank you.
To all of you.
I am fairly adept at word-spinning, but the only way I can think of to explain how much you mean to me is to put my hand on my heart, bow my head, and say:
THANK YOU.
::runs downstairs to hang with family and look forward to the next decade::
MUSE
Yep. The Muse gets whopping heaps of thanks. I show how much I appreciate Her Presence by showing up to write every morning. Sometimes I draw. And I hum a lot.
And so it goes.
I really can't grok most of what has happened in the past ten years. But I am grateful. Crazy grateful.
I really appreciate all the minutes I've been given to love and laugh and make up stories.
Thank you, my friends.
I've been thinking a lot about the past decade. Look for a post later today.
How was the last decade for you?
How was the last decade for you?
The Creature With Fangs Elfed yesterday.
My Beloved Husband Elfed yesterday.
Queen Louise Elfed yesterday.
And I did, too.
A most merry time, indeed!
Revision Tip #23
I rarely have the image systems of my books in mind when I start writing. But by the end of the first or second draft, some image (symbol for Eng lit majors) has cropped up and I realize that I can riff on that symbol throughout the book to tell the larger story. In a subtle way, I hope.
In SPEAK, it was the image of the tree. There was only one mention of it in the early drafts. When I realized the power of it, I wrote in all the art class scenes, and made the tree into a year-long project for her.
WINTERGIRLS was interesting. The first paragraph of the first draft of the book was this:
"The crows stalk me, wings folded neatly behind them, hungry yellow weighing my soft spots. They circle around me once, twice, three times, claws scarring the stone floor of the church.
I curl up on the frozen altar. They flutter close, black feathers filling my mouth and eyes and ears."
I really don't know where that came from; I just wrote it down, plus a bunch of other stuff. The reference to the "frozen altar" is what got me thinking about ancient religions and mythology, which in turn led me to ponder if there was a mythological story within Lia's story. Of course there was: the story of Persephone. That became a central image system for the book, with references to pomegranate seeds and the death that is winter, along with mother/goddess figure at her wits end, trying to pull her daughter back from the grasp of hell.
(For the record - that opening paragraph wound up migrating to page 264. It fits much better there.)
Is there a small detail in your draft that could be expanded into a central image system?
My Beloved Husband Elfed yesterday.
Queen Louise Elfed yesterday.
And I did, too.
A most merry time, indeed!
Revision Tip #23
I rarely have the image systems of my books in mind when I start writing. But by the end of the first or second draft, some image (symbol for Eng lit majors) has cropped up and I realize that I can riff on that symbol throughout the book to tell the larger story. In a subtle way, I hope.
In SPEAK, it was the image of the tree. There was only one mention of it in the early drafts. When I realized the power of it, I wrote in all the art class scenes, and made the tree into a year-long project for her.
WINTERGIRLS was interesting. The first paragraph of the first draft of the book was this:
"The crows stalk me, wings folded neatly behind them, hungry yellow weighing my soft spots. They circle around me once, twice, three times, claws scarring the stone floor of the church.
I curl up on the frozen altar. They flutter close, black feathers filling my mouth and eyes and ears."
I really don't know where that came from; I just wrote it down, plus a bunch of other stuff. The reference to the "frozen altar" is what got me thinking about ancient religions and mythology, which in turn led me to ponder if there was a mythological story within Lia's story. Of course there was: the story of Persephone. That became a central image system for the book, with references to pomegranate seeds and the death that is winter, along with mother/goddess figure at her wits end, trying to pull her daughter back from the grasp of hell.
(For the record - that opening paragraph wound up migrating to page 264. It fits much better there.)
Is there a small detail in your draft that could be expanded into a central image system?
All work in the Forest today will grind to a halt as we enjoy the ceremonial viewing of Elf. And we might even make spaghetti with maple syrup.
I got to thinking about my family's tradition of setting out rice pudding for the julenisse. Nisse have been around long before Christmas celebrations. English words that describe them as elves, or gnomes; I've seen "pixie," too. If properly cared for, nisse will watch out for your farm animals, your house, and your barn. If you don't take care of them, they will cause all kinds of mischief on your property.
Nisse are low-maintenance creatures. All they require is a bowl of rice pudding (risengrød) set outside your door or in your barn on Christmas Eve. We've always done this faithfully and I think our nisse appreciate it.
But as the sun was setting yesterday and I was lighting candles in honor of the solstice I realized that the nisse have been around a lot longer than Christmas celebrations. Ack! Have I been disrespecting the nisse all these years? They are ancient creatures... do they wait, forlorn, on the night of the winter solstice, their tummies grumbling, while the Big People go about their ignorant business? And when the pudding FINALLY shows up on Christmas Eve, do they call up the other nisse and complain?
So last night I put out rice pudding for them. And I will again on Christmas Eve. You can't be too careful with nisse.
Revision Tip #22
Are you sure that you've chosen the right point of view for your novel?
Take your favorite chapter and rewrite from a different POV; shift from third to first, or first to third, or if you are bold and way smarter than me, experiment with the second person POV.
Or.... (and.....) fool around with the tense structure. If your story is told in present tense, rewrite that favorite chapter in past tense. If you've written the whole thing in past tense, try out that chapter in present tense.
What's the point of all this mucking around? It helps you see your characters and the Story from a slightly altered perspective.
I got to thinking about my family's tradition of setting out rice pudding for the julenisse. Nisse have been around long before Christmas celebrations. English words that describe them as elves, or gnomes; I've seen "pixie," too. If properly cared for, nisse will watch out for your farm animals, your house, and your barn. If you don't take care of them, they will cause all kinds of mischief on your property.
Nisse are low-maintenance creatures. All they require is a bowl of rice pudding (risengrød) set outside your door or in your barn on Christmas Eve. We've always done this faithfully and I think our nisse appreciate it.
But as the sun was setting yesterday and I was lighting candles in honor of the solstice I realized that the nisse have been around a lot longer than Christmas celebrations. Ack! Have I been disrespecting the nisse all these years? They are ancient creatures... do they wait, forlorn, on the night of the winter solstice, their tummies grumbling, while the Big People go about their ignorant business? And when the pudding FINALLY shows up on Christmas Eve, do they call up the other nisse and complain?
So last night I put out rice pudding for them. And I will again on Christmas Eve. You can't be too careful with nisse.
Revision Tip #22
Are you sure that you've chosen the right point of view for your novel?
Take your favorite chapter and rewrite from a different POV; shift from third to first, or first to third, or if you are bold and way smarter than me, experiment with the second person POV.
Or.... (and.....) fool around with the tense structure. If your story is told in present tense, rewrite that favorite chapter in past tense. If you've written the whole thing in past tense, try out that chapter in present tense.
What's the point of all this mucking around? It helps you see your characters and the Story from a slightly altered perspective.
Good Solstice, everyone!
I feel like calling your main character Rudolph today. (Humor me.)
Revision Tip #20
Don’t make it too easy on Rudolph.
Your story should not be a tale of the desires of Rudolph. It should be the thwarted desires of Rudolph up until the very end, when finally, FINALLY, things go right, tho' not in the way he originally thought they would.
For every desire, there should be an obstacle. Every step on the path leads to another detour.
Review your manuscript and make sure that poor Rudolph runs into obstacles over and over again. You fiend.
Revision Tip #21
1. Record yourself reading your manuscript aloud. The whole thing.
2. Listen to it with your manuscript in front of you (I am most comfortable with the printed-out version at this point.)
3. Pause whenever necessary to make notes on what needs fixing. This is when I find repeated words, awkward phrases and dropped plot points.
4. After a marathon listening session, go back in and finish all the repair work.
I feel like calling your main character Rudolph today. (Humor me.)
Revision Tip #20
Don’t make it too easy on Rudolph.
Your story should not be a tale of the desires of Rudolph. It should be the thwarted desires of Rudolph up until the very end, when finally, FINALLY, things go right, tho' not in the way he originally thought they would.
For every desire, there should be an obstacle. Every step on the path leads to another detour.
Review your manuscript and make sure that poor Rudolph runs into obstacles over and over again. You fiend.
Revision Tip #21
1. Record yourself reading your manuscript aloud. The whole thing.
2. Listen to it with your manuscript in front of you (I am most comfortable with the printed-out version at this point.)
3. Pause whenever necessary to make notes on what needs fixing. This is when I find repeated words, awkward phrases and dropped plot points.
4. After a marathon listening session, go back in and finish all the repair work.
Beware of echoes and doppelgängers!
Maybe I am the only writer in the world who suffers from this bad habit. It makes me crazy. I do it in every blasted book, no matter how hard I try to be aware of it early in the process and avoid it.
I always create characters that are identical, both in their core characteristics and the purpose they serve in the book.
(I may have mentioned this earlier this month, but it is such a big pain in my writing butt, I must rant about it again.)
I spent all day yesterday and the wee hours of this morning extracting one of those characters from my book, and turning over many of his scenes to a different fellow who – I can now see with the blazing clarity of humiliating hindsight – should have been driving those scenes in the first place.
It was a bloodbath, I tell you.
How can you perform this radical surgery in your manuscript?
1. List all the characters.
2. Define – using only a few words – that character’s relationship to the main character.
Examples: comic foil, trusted friend, villain, complication, love interest.
3. If (like me) you have two or more characters that serve the same purpose, get out a magnifying glass and sharpen your scythe. Is it possible to have one of the characters take over scenes from the others?
Example: in the early draft of SPEAK, the character who is now called Heather was two separate girls. Each girl was a “sort of” friend of Melinda for a few months. Each friendship died. Their personalities were a bit different, but not in a strong enough way to affect Melinda’s interactions with them. By melding them together, the story was cleaner.
I am crossing my fingers that the work I am doing this weekend will have the same effect.
Maybe I am the only writer in the world who suffers from this bad habit. It makes me crazy. I do it in every blasted book, no matter how hard I try to be aware of it early in the process and avoid it.
I always create characters that are identical, both in their core characteristics and the purpose they serve in the book.
(I may have mentioned this earlier this month, but it is such a big pain in my writing butt, I must rant about it again.)
I spent all day yesterday and the wee hours of this morning extracting one of those characters from my book, and turning over many of his scenes to a different fellow who – I can now see with the blazing clarity of humiliating hindsight – should have been driving those scenes in the first place.
It was a bloodbath, I tell you.
How can you perform this radical surgery in your manuscript?
1. List all the characters.
2. Define – using only a few words – that character’s relationship to the main character.
Examples: comic foil, trusted friend, villain, complication, love interest.
3. If (like me) you have two or more characters that serve the same purpose, get out a magnifying glass and sharpen your scythe. Is it possible to have one of the characters take over scenes from the others?
Example: in the early draft of SPEAK, the character who is now called Heather was two separate girls. Each girl was a “sort of” friend of Melinda for a few months. Each friendship died. Their personalities were a bit different, but not in a strong enough way to affect Melinda’s interactions with them. By melding them together, the story was cleaner.
I am crossing my fingers that the work I am doing this weekend will have the same effect.
Sometimes people forget that I wrote PROM because it is not exactly a depressing book. In fact, it's pretty funny, if I do say so myself. (If I had dread, depression and death in all of my books, I would not be a healthy person!)
So it is with great joy that I announce that PROM has been nominated to the 2010 Popular Paperbacks List, in the "Change Your World or Live to Regret It" category!!
School Library Journal has posted their annual collection of Christmas Memories written by children's authors and illustrators. This year's essays were written by me, my buddy Deb Heiligman, Barbara McClintock, Lauren Myracle, and our National Ambassador for Young People’s Literature, Jon Scieszka. Enjoy!
Revision Tip #18
Are you stuck?
Have you tried all my plotting tips and dialog wisdom and adverb scorn and still you are stuck?
Try this.
1. Make yourself some comfort food.
2. Put on music that relaxes you.
3. Snuggle up in a warm, cozy place with a pen and a pad of paper.
4. Write a letter to your main character. Tell her everything that is worrying you about the story in general.
5. Pause to eat a bit. Make some tea or hot chocolate.
6. Pick up pen and paper again. Tell your character why you are specifically worried about her. Ask her what is going on in her life, in her relationships that you don't understand. Ask her advice about how to help her move forward.
7. Write down what she tells you.
8. If you can't hear her voice, then it is time to put that manuscript away for a while and work on a different story. But I am pretty sure you will hear the voice, so be chill and write.
So it is with great joy that I announce that PROM has been nominated to the 2010 Popular Paperbacks List, in the "Change Your World or Live to Regret It" category!!
School Library Journal has posted their annual collection of Christmas Memories written by children's authors and illustrators. This year's essays were written by me, my buddy Deb Heiligman, Barbara McClintock, Lauren Myracle, and our National Ambassador for Young People’s Literature, Jon Scieszka. Enjoy!
Revision Tip #18
Are you stuck?
Have you tried all my plotting tips and dialog wisdom and adverb scorn and still you are stuck?
Try this.
1. Make yourself some comfort food.
2. Put on music that relaxes you.
3. Snuggle up in a warm, cozy place with a pen and a pad of paper.
4. Write a letter to your main character. Tell her everything that is worrying you about the story in general.
5. Pause to eat a bit. Make some tea or hot chocolate.
6. Pick up pen and paper again. Tell your character why you are specifically worried about her. Ask her what is going on in her life, in her relationships that you don't understand. Ask her advice about how to help her move forward.
7. Write down what she tells you.
8. If you can't hear her voice, then it is time to put that manuscript away for a while and work on a different story. But I am pretty sure you will hear the voice, so be chill and write.
Wonderful news of positive change from GLSEN (the Gay, Lesbian and Straight Education Network)! After one year of their hard-hitting "Think Before You Speak" campaign, teens attitudes about anti-gay language have significantly shifted.
From the GLSEN website: "For instance, findings from a recent survey conducted by the Ad Council in 2008 and 2009 of teens aged 13-16 suggest that a higher percentage of teens in 2009 think that people should not say "that's so gay" for any reason (38% in 2009 vs. 28% in 2008) and a higher percentage also report "never" saying "that's so gay" when something is stupid or uncool (28% in 2009 vs. 18% in 2008).
"In the Ad Council's nearly 70-year history of creating campaigns to raise awareness and change public opinion and attitudes, we don't often see shifts of this magnitude in just over a year," said Peggy Conlon, president and CEO of the Ad Council. "We're looking forward to building on this success with a new series of PSAs and online tools that will help to further raise awareness and engage teens online."
Here is one of the videos that made the huge impact:
I adore Wanda Sykes. Just saying.
GLSEN is now started their second-year of education and awareness about the devastating effects of anti-gay hatred and language. Their website has information for parents and educators, along with all kinds of stuff you can put on your blog or website, plus polls, videos and lots more. Please take the time to check it out nd pass the word. (Thanks to School Library Journal's Extra Helping for the heads-up!)
Revision Tip #17
I keep thinking about the slightly different approaches Barry Lyga and I have to writing dialog.
I forgot to mention one part of that.
Your audience might affect your decision about how you structure dialog.
Many people are not sure who their audience is when working on the early drafts of their novel. Nothing wrong with that. But as you revise, you need to know who your reader is. The way you tell a story to olders teens will be different than the way you tell it to middle grade students. At least, I hope it would be.
My theory is that teen readers (ninth grade and above) have enough reading and life experience under their belts that they do not need as much visual action details accompanying dialog as younger readers do.
(This could also account for part of the difference between the Lyga and the Halse Anderson Schools Of Proper Dialog; Barry only writes for teens.)
The danger, of course, is that your middle grade (or younger) reader will get bored if you layer on the descriptive action with a heavy trowel.
Try this: Pull out only the action words from your dialog scene. Here's an example from a page I am working on now:
Character A speaks.
Character B gives reader visual description of Character A.
B speaks.
A reaches into sack and speaks. Hands apple to B.
B grabs apple, bites and speaks (note: he hasn't eaten for more than a day). Apple juice runs down his chin.
A removes hat, nods and speaks (introducing self)
B swallows, wipes faces on sleeve, speaks
A speaks
B speaks
A speaks
B chews and thinks
A speaks
I know - it's kind of boring to look at it that way, but by putting it under the microscope, I can make sure that the action details are an integral part of the story. They reinforce the fact that Character B is hungry, that he needs help, and that Character A might be a person he can turn to. It also balances a debt, because B helped A out of a bind in an earlier scene.
Bonus tip: since action in dialog scenes needs to be minimal and precise, it is a great opportunity to hone in on that perfect tiny detail that says volumes about the characters, setting, or conflicts at hand.
From the GLSEN website: "For instance, findings from a recent survey conducted by the Ad Council in 2008 and 2009 of teens aged 13-16 suggest that a higher percentage of teens in 2009 think that people should not say "that's so gay" for any reason (38% in 2009 vs. 28% in 2008) and a higher percentage also report "never" saying "that's so gay" when something is stupid or uncool (28% in 2009 vs. 18% in 2008).
"In the Ad Council's nearly 70-year history of creating campaigns to raise awareness and change public opinion and attitudes, we don't often see shifts of this magnitude in just over a year," said Peggy Conlon, president and CEO of the Ad Council. "We're looking forward to building on this success with a new series of PSAs and online tools that will help to further raise awareness and engage teens online."
Here is one of the videos that made the huge impact:
I adore Wanda Sykes. Just saying.
GLSEN is now started their second-year of education and awareness about the devastating effects of anti-gay hatred and language. Their website has information for parents and educators, along with all kinds of stuff you can put on your blog or website, plus polls, videos and lots more. Please take the time to check it out nd pass the word. (Thanks to School Library Journal's Extra Helping for the heads-up!)
Revision Tip #17
I keep thinking about the slightly different approaches Barry Lyga and I have to writing dialog.
I forgot to mention one part of that.
Your audience might affect your decision about how you structure dialog.
Many people are not sure who their audience is when working on the early drafts of their novel. Nothing wrong with that. But as you revise, you need to know who your reader is. The way you tell a story to olders teens will be different than the way you tell it to middle grade students. At least, I hope it would be.
My theory is that teen readers (ninth grade and above) have enough reading and life experience under their belts that they do not need as much visual action details accompanying dialog as younger readers do.
(This could also account for part of the difference between the Lyga and the Halse Anderson Schools Of Proper Dialog; Barry only writes for teens.)
The danger, of course, is that your middle grade (or younger) reader will get bored if you layer on the descriptive action with a heavy trowel.
Try this: Pull out only the action words from your dialog scene. Here's an example from a page I am working on now:
Character A speaks.
Character B gives reader visual description of Character A.
B speaks.
A reaches into sack and speaks. Hands apple to B.
B grabs apple, bites and speaks (note: he hasn't eaten for more than a day). Apple juice runs down his chin.
A removes hat, nods and speaks (introducing self)
B swallows, wipes faces on sleeve, speaks
A speaks
B speaks
A speaks
B chews and thinks
A speaks
I know - it's kind of boring to look at it that way, but by putting it under the microscope, I can make sure that the action details are an integral part of the story. They reinforce the fact that Character B is hungry, that he needs help, and that Character A might be a person he can turn to. It also balances a debt, because B helped A out of a bind in an earlier scene.
Bonus tip: since action in dialog scenes needs to be minimal and precise, it is a great opportunity to hone in on that perfect tiny detail that says volumes about the characters, setting, or conflicts at hand.
Yesterday was.... let's not go into it.
Today is here and that is all that matters.
If you are still shopping for a winter holiday, read "Cheese and Crackers Never Changed Anyone's Life" and then finish your shopping at Indiebound.
There now - wasn't that simple?
Congratulations to Melissa on this WINTERGIRLS video - the project earned her a 100 in her class.
Revision Tip #16 (yes, I know it should be 15, but yesterday really was something of a mess and it's easier this way. Do you remember the "Bruce" sketch of Monty Python? Remember how there was no Rule #6? This is the same thing.)
Where was I?
Right, Revision Tip #16
Revision is the perfect time to brainstorm.
Really.
Brainstorming is not a one-and-done part of the writing process. Not the way I see it. After that messy first draft, I usually have chapters that feel empty or out-of-place. I mentioned the way I use huge sheets of paper to organize my chapters. Here is another technique.
1. Identify the critical chapters in your novel. Which are the ones that contain The Really Big Stuff?
The Really Big Stuff chapters will usually be separated by chapters in which the action unfolds in a slightly less intense way. Think of your novel as a wide river that your reader needs to cross. The RBS (Really Big Stuff) chapters are small islands in the river. The other chapters are either stepping stones or bridges that get the reader from one island to the next.
2. List the Stones & Bridges chapters, then prioritize them by how alive they feel. What is the chapter that feels the most flat - the chapter (or chapters!) you are secretly wondering if you should cut?
3. Don't cut them yet.
4. There is no Four.
5. Brainstorm as if you were starting from scratch. For each of the flat chapters, dream up ten different ways the action could unfold. Go ahead - be outrageous. I dare you. Sometimes thinking way outside the box is what you need to jolt your writer brain into clearer storytelling.
6. (Please note; there IS a Rule Six, Bruce!) Pick one of the ten and just freewrite the chapter over again. How does it help the reader understand the characters better? How does it move the story forward?
7. Rinse. Repeat. Send me questions.
Today is here and that is all that matters.
If you are still shopping for a winter holiday, read "Cheese and Crackers Never Changed Anyone's Life" and then finish your shopping at Indiebound.
There now - wasn't that simple?
Congratulations to Melissa on this WINTERGIRLS video - the project earned her a 100 in her class.
Revision Tip #16 (yes, I know it should be 15, but yesterday really was something of a mess and it's easier this way. Do you remember the "Bruce" sketch of Monty Python? Remember how there was no Rule #6? This is the same thing.)
Where was I?
Right, Revision Tip #16
Revision is the perfect time to brainstorm.
Really.
Brainstorming is not a one-and-done part of the writing process. Not the way I see it. After that messy first draft, I usually have chapters that feel empty or out-of-place. I mentioned the way I use huge sheets of paper to organize my chapters. Here is another technique.
1. Identify the critical chapters in your novel. Which are the ones that contain The Really Big Stuff?
The Really Big Stuff chapters will usually be separated by chapters in which the action unfolds in a slightly less intense way. Think of your novel as a wide river that your reader needs to cross. The RBS (Really Big Stuff) chapters are small islands in the river. The other chapters are either stepping stones or bridges that get the reader from one island to the next.
2. List the Stones & Bridges chapters, then prioritize them by how alive they feel. What is the chapter that feels the most flat - the chapter (or chapters!) you are secretly wondering if you should cut?
3. Don't cut them yet.
4. There is no Four.
5. Brainstorm as if you were starting from scratch. For each of the flat chapters, dream up ten different ways the action could unfold. Go ahead - be outrageous. I dare you. Sometimes thinking way outside the box is what you need to jolt your writer brain into clearer storytelling.
6. (Please note; there IS a Rule Six, Bruce!) Pick one of the ten and just freewrite the chapter over again. How does it help the reader understand the characters better? How does it move the story forward?
7. Rinse. Repeat. Send me questions.