Megan

Apr 04

Arthur was not harmed in the capturing of this photo

I hear people talk about writer’s block all the time. I’m familiar with it. I’m sure you are familiar with it too. But as I work on my edits, I’m realizing that there is a worse block out there – editor’s block.

Writing is fun. You are creating a new world, creating new characters, making something new. Editing seems to be the antithesis to creating. Instead of making tons of new things, you are taking away from your creation. Sure, you are taking away to make it better, but it’s hard to see that while neck-deep in the editing process.

The dreaded cuts

No one wants to cut words they’ve spent countless hours writing. This is one reason why it is so important to focus on getting the story down in the first draft and waiting to fix the writing until the second, third, fourth, etc. draft. Why spend countless hours perfecting one sentence when you may end up cutting that entire scene?

Even if you aren’t cutting well-crafted prose, you may still find cuts difficult. And this is where I’m at in the process. I am making cuts to scenes I felt attached to when I wrote them but now I see that they don’t fit in with the natural flow of my story. When you are in the midst of writing, things seem like they fit. But the writing process takes longer than the reading process; you are likely to forget details or even characters, leaving loose ends and contradictions. In rereading your story, you might realize, like I did, that the plot starts to deviate from the original plan. Some deviation may be good – it can mean that the story does not naturally flow the way you originally planned. But with deviation comes reworking of the plot, and with reworking comes cuts, including character cuts in some instances.

Splicing and dicing

A coworker of mine was recently in a television show. When it aired, she was shocked to see that several sentences were spliced and edited into one sentence. Unless you had been there during her interview, you would never have been able to guess where and how the cuts/edits were made. Well, guess what? Sometimes you have to do the same thing with your writing. And this is where things get really scary. I can deal with making cuts here and there, but when you start moving around large chunks of text, cutting some things, inserting half of a scene from chapter 12 into a part of a scene from chapter 2 and another part from chapter 7, the editing process can seem daunting and a bit frightening. I think this more than the cuts is where my editing block really stems from. Once you start changing the structure, you are really committing to the edits. You are committing to the changes in the story. And you are committing to the new plan you devised for the plot.

Overcoming editor’s block

Of course, editing doesn’t have to be scary. Here are two tricks to get you through the process:

Save every version – I have drafts 1.1 and 1.2 as well as 2.1 and I just started 2.2. Whenever I make any big changes, I save a new draft. This way if I change my mind, I can go back to a previous draft. This may seem like commitment phobia, but I see it as smart. You never know when you might decide that a scene or character or setting actually does work. Each rewrite changes the story, and something that didn’t work in one draft could end up working perfectly in a future draft.
Just dive in – Obvious, right? But this takes a lot of guts. You know what though? So does being a writer. And sadly, part of writing is editing, so if you are serious about your dream, then you have to take the plunge. You just may end up loving the end result. Need a little motivation? Check out this post by Alexis Grant on How to Find the Guts to Take a Leap.

Do you suffer from editor’s block? Do you have any tips on how to conquer it?

For more on editing, check out Andrea Mack’s blog post over at MiG Writers, Revision is All About Taking Risks.

Apr 01

Inside Out, by Maria V. Snyder

Rating: 4.5 out of 5

(Summary from GoodReads)

Keep Your Head Down. Don’t Get Noticed. Or Else.

I’m Trella. I’m a scrub. A nobody. One of thousands who work the lower levels, keeping Inside clean for the Uppers. I’ve got one friend, do my job and try to avoid the Pop Cops. So what if I occasionally use the pipes to sneak around the Upper levels? The only neck at risk is my own…until I accidentally start a rebellion and become the go-to girl to lead a revolution.

I’m a big fan of Maria V. Snyder. I loved the Study Series and was a bit shocked when I learned about this series because the worlds are so very different. Whereas the world in the Study Series lives in the realm of fantasy books, Inside Out is more in line with sci-fi. Despite the different genres, Snyder has succeeded yet again in creating a rich world full of characters you quickly fall in love with.

The book is pretty faced-paced. I read it in one weekend. Had I not been in the middle of a move, I probably would have read it in one sitting. Right from the beginning of the book, you sense the urgency of the story as Trella wakes up to the rush of water and only just escapes the pipe she was sleeping in. And from then on, the movement of the book continues. Although the setting is more or less static – a giant metal structure with thousands of people enclosed inside – you never feel that the narration is constrained.

The world of Inside that Snyder has created is intriguing and very detailed, not that I would expect anything less from her. She manages to turn this small world into a complex system, turning something as mundane as the pipe system into a key feature of the environment.

Her characters are also complex and interesting, each with their own series of flaws, including Trella who not only has many flaws, but comes to understand them and grow as the story progresses. And laced through it all are series of betrayals, but you cannot hold them against the characters because once you understand the motivation behind their betrayals, you realize that they are only human, acting as any human would. Snyder’s ability to make her characters human is one of the things I most enjoy about her books and I think she shows growth as a writer in this area when compared to the Study series (not that the Study series was lacking in this department).

While on the subject of character, Inside Out is told in first person, and I’d say that Snyder has done an excellent job capturing the voice of Trella. I really felt I knew who she was and nothing sounded out of place. If looking for a good example of first person narration, you should definitely give this book a read.

My only complaint, a complaint I have with a lot of books, is that elements of the ending became a bit confusing. Fight scenes prove time and time again to be difficult to write. But with this being the only real weakness of the book, I’d say Maria V. Snyder has created a successful, well-written book definitely worth reading.

As a side note, Inside Out had some similarities with Across the Universe. If you enjoyed Across the Universe, you should give Inside Out a read. I promise you won’t be disappointed.

Mar 30

Meditation is all about clearing the mind and focusing your thoughts. So does it have a place in a writer’s toolbox?

The other night I was having dinner with an acquaintance who spent the last 7 months traveling around the world. He was telling me about this 10-day meditation retreat he did in Tibet. And what he got from the retreat? He said it made him a better (faster) computer programmer because he learned how to focus his mind.

This got me thinking. When I sit down to write, I often find my mind wandering every which way. That’s the curse of our super connected, internet-crazed society. There’s so much going on you don’t know where to look. So would meditation help me to stay focused on my writing? Or would meditation actually be a hindrance?

When I write, I have to let my mind wander. That is part of the creative process. I wander in and out of the plot, pulling at bits that work and don’t work. But I also feel my mind drifting to things like what to make for dinner or how nice the sky looks today or what will happen next in that book I’m reading.

I’ve decided to try an experiment. For the next month, I will devote time every day to meditation. Originally I thought I would do it before falling asleep, but that’s when I do my best brainstorming. Instead I will do it after work – a nice way to calm me down. Of course, since I don’t really know how to meditate, this might be slow going and I may need more than a month. But a month seems pretty doable. Being as I am in the editing stage of my writing, the part I always dread, this might actually be the best time to give this experiment a try. What do you think? Do you use meditation to help your writing? Or do you think writers should have minds full of ideas circling all around competing for attention?

Mar 27

Ask yourself: does your scene require the super zoom lens or will a wide-angle do the trick?

I’m still on the subject of description, mostly because my WIP needs more of it to really come alive. Description is particularly important for my WIP because the main character has been sent to a new world. Everything is new and so she is really taking in her surroundings, trying to get a grasp on this new world and how she fits into it. But how do you determine when you need more description vs. when less is more?

To describe or not to describe…

I read a great post on kidlit.com the other day about mimetic writing. In her post, Mary looks at situations where lots of description are necessary and situations when excessive descriptions are less appropriate. Basically, if there is a situation where the characters would be likely to notice things, then by all means, throw in some description. But if they are in a high action scene, description would not only get in the way of the flow of the prose, but it would be out of character. Who stops in the middle of running for their life to notice the different types of trees or the chipped paint on a fence? Not many people.

The line that really caught my attention in her post was “If your character is paying really careful attention to someone or something, vague description just isn’t going to cut it.” This could not have described my MCs situation more. And that is when it hit me that I really needed to pump up the description to make the story more real, especially since it’s told in 1st person.

Now, there will be times when high action scenes could call for more description, just as their could be times when detail may be less relevant in a scene where a character is paying close attention to things. For example, if a character is running for their life, they may be paying attention to their surroundings to try to find a place to hide. Or if they are in a fight, they may be watching the movements of their advesary very carefully. Likewise, a character who is paying close attention to someone they are interested in may not be interested in describing everything the person is wearing. If it is the hair or eyes or hands that have attracted the person, they would not necessarily care about the type of shoes the person was wearing, or the smells in the cafetaria. Description for the sake of description is never a good call.

Description can add a lot to a story, but writers have to use common sense when adding it and ask: is this description necessary? Will it add to the story? Will it take away from the flow of the prose? Does it make sense? If your character is from the slums, would they recognize a designer handbag? Would the stuck up socialite care about the color of the bums hair? Not only can description help create your world, but if used smartly, it can also provide insight into your characters. Description can be a powerful tool when used correctly.

Mar 25

Prisoners in the Palace, by Michaela MacColl

Rating: 5 out of 5

(Summary from GoodReads)

London, 1838. Sixteen-year-old Liza’s dreams of her society debut are dashed when her parents are killed in an accident. Penniless, she accepts the position of lady’s maid to young Princess Victoria and steps unwittingly into the gossipy intrigue of the servant’s world below-stairs as well as the trickery above. Is it possible that her changing circumstances may offer Liza the chance to determine her own fate, find true love, and secure the throne for her future queen?

Meticulously based on newly discovered information, this riveting novel is as rich in historical detail as Catherine, Called Birdy, and as sizzling with intrigue as The Luxe.

First, I want to thank YA Book Shelf for turning me onto this book (and holding a giveaway which I won). You should check out the blog to see Melissa’s review of the book and an interview with Michaela MacColl. While you’re there, you may want to check out other book reviews/interviews on the blog. It’s a great place to go to learn about books you may have overlooked in the bookstore.

I really enjoyed this book. Historical fiction can be tricky. You need to provide enough historically accurate information and detail to be true to the time period, but you also want to be able to add in some creative liberties. It is really a fine balance to get just the right mix while keeping the story engaging and fun to read. I think MacColl has achieved this balance beautifully.

The main details of Victoria’s childhood are more or less accurate. The main character, Liza, is fictional. But MacColl has drawn Liza based on historical realities – specifically the options available to a penniless orphan, regardless of her birth. By showing us Victoria as a child, the future queen of England is transformed into a vulnerable human being, not the untouchable Queen we are more likely to think of her as without the help of this book.

MacColl turns all of her characters into complex people. You could argue that this is because most of them are based off of real people, but sometimes it is harder to make a real person seem real because you have to get behind the person they are on the surface and show who they are underneath the facade. Through doing this, MacColl also exposes many of the harsh realities of life in the 1830s.

I would say that the one thing you often see in historical novels that was missing from this one was a lot of description about the clothing and architecture. But in truth, I don’t think the book lost anything by having a limited amount of these elements. Sometimes I find that historical novels tend to go into too much detail about clothing and architecture and furnishings instead of focusing on the story. MacColl makes you aware of the time period through the social classes, speech, and plot elements, not through pages and pages of description, and I found this refreshing.

The final thing this book does that I love is that it has made me want to learn more about Queen Victoria. I think that is a sign of a successful historical novel – when you are dying to learn more. If you know nothing about Victoria, know tons about her but want to know more, love historical fiction, want to learn about history without feeling like you are learning, or just looking for a good read, then I recommend giving this book a shot. It is a fast, exciting read and truly is a novel of intrigue and romance.

Mar 22

As I’m editing my novel, the thing that keeps jumping out at me is the need for more and better description. Having just finished Lauren Oliver’s Delirium, which uses amazing imagery, this task seems incredibly daunting. If you’ve read Delirium, you’ll understand why I feel so intimidated. But seeing how Oliver achieved this, I feel like maybe there is hope for me yet.

Importance of Description in your Writing

Writing without description often leads to boring prose. It leaves your reader in the dark. Description doesn’t just help the reader see what you are seeing, it brings your writing alive. Think about listening to a t.v. show without watching it. Now think about the old-timey radio shows from the pre-television era. The difference is that the radio shows were full of description. They had to be to bring the story alive for the listener. Television shows do not need to use description – they are expecting you to be watching and listening. Now think about applying this to your writing. Without good description, you may as well be listening to a chase or fight scene on t.v. without actually watching it. No fun for you, and no fun for your readers if they are left in the dark.

How to write description

The other day over on Dark Angel’s Blog there was a post on description. In the post, Sherry talks about something she has dubbed “info-dumps.” This is where the writer literally dumps all of the description in one big lump. Check out her post for examples of good description vs. bad description.

The main take-away from Sherry’s post is to subtly weave description into the prose. As a writer, you may write a dump for yourself. I do this all the time. For example, in my notes I may write: Mistress Abbot is overweight and short, like a teapot. She wears little kitten heels and pastel sweaters that make her legs look like sausages and clash with her bright red hair, always coiled up on top of her head in a tight bun. She has a stern expression. However, in my prose I would be more likely to dab bits of the description in throughout the prose. Example: “The clicky-clack of Mistress Abbot’s heels reverberated down the hall and moments later I saw a flash of red hair as Mistress Abbot waddled in like an overstuffed turkey.” Turkey’s are large with thin legs – this calls to mind the tiny, disproportionate heels. The waddling also calls to mind someone who is overweight. You are left with a pretty good image of Mistress Abbot, but the reader still has enough room for their own additions to the image, which I think is important so that the reader can take things they are familiar with and attach them to your descriptions. If the reader can’t imagine it, they aren’t going to get it no matter how descriptive you get.

Do you have tricks for writing description? Do you find it difficult? Are you an info-dumper?

Mar 18

Delirium, by Lauren Oliver

Rating: 4.5 out of 5

To avoid the wars that plagued the pre-cured world, the government in Delirium has come up with a cure for the ultimate disease, love. And Lena Holoway, a 17-old girl living in Portland, Maine, is eagerly counting down the days until she is cured. But then as she enters the summer before her cure, a series of events cause Lena to start questioning not only the strict rules of her society, but, as she becomes infected by love, even the cure itself.

If you loved Matched, you should definitely check out Delirium. Like Cassia’s world in Matched, the government in Delirium chooses your mate, the number of children you will have, your job, basically every facet of your life. Unlike Cassia’s world, the government in Delirium goes one step further. They remove the ability to love, and with the removal of this emotion, they gain even more control of their citizens. With the loss of love, you also lose part of your identity.

When you think of the initial idea behind this book, it seems like it could become a bit trite. But as the story evolves, you find yourself drawn into this world, empathizing with the characters, feeling their pain and their ultimate loss. Oliver has taken a seemingly simplistic concept and created a rich work.

Her characters are equally rich. They are each motivated by their own complex issues. As you learn more about each character, you discover their true depth, and you want to see them succeed.

The writing was also a pleasure to read. Oliver’s use of imagery was magical, creating rich descriptions in ways I never could have thought of, but which so perfectly described things. It was like candy for my senses.

This book is a must read, especially for fans of Matched. As a bonus, while not as dark, Delirium, is also a great void-filler for those Hunger Games fans out there still feeling empty by the ending of the Hunger Games Trilogy.

Mar 11

XVI, by Julia Karr

Rating: 5 out of 5

(summary from GoodReads) Nina Oberon’s life is pretty normal: she hangs out with her best friend, Sandy, and their crew, goes to school, plays with her little sister, Dee. But Nina is 15. And like all girls she’ll receive a Governing Council-ordered tattoo on her 16th birthday. XVI. Those three letters will be branded on her wrist, announcing to all the world—even the most predatory of men—that she is ready for sex. Considered easy prey by some, portrayed by the Media as sluts who ask for attacks, becoming a “sex-teen” is Nina’s worst fear. That is, until right before her birthday, when Nina’s mom is brutally attacked. With her dying breaths, she reveals to Nina a shocking truth about her past—one that destroys everything Nina thought she knew. Now, alone but for her sister, Nina must try to discover who she really is, all the while staying one step ahead of her mother’s killer.

Let me start by saying that I LOVED this book. I loved it so much I couldn’t put it down. That’s right. Instead of enjoying the comfortable, fully reclinable, first class seat I got upgraded to on my flight to Rome, I taped my eyelids open and devoured this book. And I didn’t even care that this meant I would have nothing else to read the entire trip or that I would start my trip half-asleep. Nothing mattered except finishing the book and finding out what was going to happen.

Karr has created a dystopian society that seems completely plausible. While some of the elements in Suzanne Collins’ world from the Hunger Games trilogy seemed a bit far-fetched, the sci-fi, futuristic, dystopian elements of Karr’s world seemed very likely. Children had tracking devices installed in them at birth; listening devices were used to hear conversations; society was split into tiers; and women were treated as goods, something that has never fully left our society and could very easily come back.

As a book for teens, I applaud Karr’s courage. Sex in YA books is controversial, especially when the main subject of the book is sex. But the way Karr explores this theme is thoughtful. She does not come out and say teenagers should be sexually active. In fact, Nina is horrified at the thought and the characters who are past 16 but have chosen abstinence are applauded. Karr seems to be encouraging more the necessity in thinking through your actions, rather than chiding or encouraging sexual behavior, an important lesson for teens.

Of course, the book is not just about sex. It is full of mystery, corruption, romance, and suspense. Karr creates captivating characters, including Sandy, Nina’s ignorant, but lovable, best friend. The reader cares for the characters and wants to see them come out on top, an element that is almost always necessary for a successful book. And when coupled with her impeccable world building, this really is a must read.

If you are overly sensitive to discussions of sex, this may not be the best book for you, but I challenge you to give it a shot anyway. And if you are not overly sensitive to sex in books, definitely give this a read. You won’t regret it.

P.S. This is a great crossover book too, meaning adults should not be ashamed to get caught reading it.

Mar 06

The Maze Runner, by James Dashner

Rating: 4 out of 5

The Maze Runner begins with main character Thomas waking up in an elevator. He can remember nothing about his life, except his name. When the elevator opens, he finds himself in a world filled with about 60 teen boys. These boys have created a society in their world, sustaining on agriculture and supplies that show up weekly from the elevator. As Thomas starts to integrate himself into the society, he becomes frustrated by the secrets surrounding this world, and by the fact that some boys claim to recognize Thomas. When the first girl arrives only a week after Thomas’ arrival, the rest of the boys grow suspicious of Thomas, and it is up to Thomas to figure out what is going on and how they can escape the nightmare that has become their lives.

I tried reading this book a while ago and had a hard time getting into it. But I decided to give it another go. If for nothing else, I love trilogies and really wanted to find a new one I could get behind. And I’m glad I gave this book a second chance.

Dashner not only creates an engaging, different world, but he also creates a new, believable language. The voice of the characters is authentic and, once you get used to it, engaging. And the plot contains just the right mixture of mystery, action, and friendships to keep the reader wanting to know what will happen.

As a main character, Thomas is very likable. He worries that he has a dark past, but that doesn’t matter to the reader when we are shown his empathy towards others and his desire to help. Thomas is a true friend, despite whatever evil deeds might be lurking in the shadows of his unknown past. In addition to Thomas, the other characters are given dimension, each having a likable quality mixed with their own set of flaws.

The Maze Runner would serve as a nice companion book to William Golding’s Lord of the Flies. Whereas the society in Lord of the Flies disintegrates with the loss of adults, the boys in The Maze Runner show that society does not have to disintegrate and suggests that an ordered society may just be part of human nature. It could make for a very interesting discussion to read the two simultaneously.

And now for what you all want to know – should you read this book? Yes! I highly recommend this book and I cannot wait to read the rest of the trilogy.

Mar 01

I am well into the editing stage and part of me hates everything, but a small part of me sees potential. There just might be something worthwhile in this manuscript.

In conjunction with my read-through, I am continuing to write every night. If there are scenes I think I missed, or areas that need to be elaborated on, I write them out in 500-1300 word chunks. They may not go into the final story, but by writing these, I am continuing to process the information, to see where I can go with my story. Plus it keeps me writing.

I owe the writing while editing in part to 750words.com. I wanted to complete their 1-month challenge, which I did. But it is also really nice to try things out on a clean piece of paper, to test scenes and ideas without having to commit to them. And, when I am ready to start doing my real edits, I will have some potential content to add into the story.

It is actually pretty refreshing, the amount of new material I am coming up with by writing while reading. I have discovered scenes I didn’t know existed. I am flushing out relationships I didn’t imagine. I am making the world all the more dynamic. And I love it.

I don’t know why I never thought of editing this way before, but so far, it is really working for me. I know that I don’t want to add too much more content to the manuscript. I am already right around my word limit, but by creating the new content within a second document, I have the freedom to keep or discard anything I want. Regardless of what I keep or toss, the insights I glean from the new scenes are something I will always have. The depth I am adding to the story will only improve it.

What do you think? Will writing new scenes while trying to read through my first draft distract me from my initial evaluation, or will it help me to produce a stronger story? Have you ever used this method?

← Previous
1
…
7
8
9
10
11
…
19
Next →

Page 9

Editor’s Block

The dreaded cuts

Splicing and dicing

Overcoming editor’s block

Book Review Friday – Inside Out

Can meditation make you a better writer? – The Meditation Experiment

Description and Edits – Continued

To describe or not to describe…

Book Review Friday – Prisoners in the Palace

Writing Amazing Description

Importance of Description in your Writing

How to write description

Book Review Friday – Delirium

Book Review Friday – XVI

Book Review Sunday – The Maze Runner

Editing my First Draft