This revision is going surprisingly well. I’m at the point where I know exactly what I want this story to do and how to get there, so this time around I’m enjoying the scene craft. Some people like to polish as they go, but I like to work in layers from the big picture down to the details. I find that a lot of the world building and character details come in while I take breaks between drafts.
Also, I wrote about my experiences as a writer of colour for the POC in Publishing mailing list. You can check out the October newsletter here.
Oh Jenny Han and “To All the Boys I’ve Loved Before”, thanks to you I’m having a crisis. You reminded me that how we see ourselves is not always how the world sees us.
I mostly live in my head. I’m in the worlds I’m creating or the work that I’m doing. It always surprise me when the world intrudes, and it means I’m also a walking disaster. I break things, and when people I know suddenly say hello, I’m often too surprised to do anything but squeak and turn away, embarrassed.
I was also a painfully shy child, and all my life I assumed that I was invisible. Somehow when I became ‘not so shy’ the second part never really left me. It’s often easier to feel invisible, because then I don’t feel cripplingly self-conscious. If I were invisible, I could act any way I pleased. Anonymity offers a strange kind of confidence.
But the truth is, I’m not as invisible as I always thought. I get so lost in my own head that sometimes I’m the one guilty of not paying enough attention. I have some amends to make.
- The Last Time I Lied by Riley Sager
- The Kiss Quotient by Helen Hoang
- I Believe in a Thing Called Love by Maurene Goo
- Hollywood Homicide by Kellye Garrett
- Six of Crows by Leigh Bardugo
- Hero by Samantha Young
- Monstress Volume 3 by Marjorie Liu and Sana Takeda
I wrapped up draft #3 of the gothic novel, and spent August getting organized for round #4. There are character and setting details that need changing, and that means pretty much reworking the entire thing. It’s daunting, but that’s what a plan is for.
CRAFT TALK TIME – Revision Tips and Tricks
So you’ve finished a draft or few. How do you figure out what needs changing? I picked up a few tricks that help with identifying plot problems. Some of these tricks didn’t work for me before, but they do now, so YMMV. Writing tips are just tools, and here are few you might want to add to your basket:
- For each scene write out the main Goal, Motivation, and Conflict. – This can help you identify what a scene is lacking (a sense of purpose, why it’s happening, or tension)
- For each scene write what happens Plot Wise and Emotionally. Both require movement. – If nothing changes significantly, then maybe it’s just an extraneous scene, or maybe you need to make the purpose of the scene clearer.
- Check your scene transitions – If you can describe your current scene in one sentence and then begin the description of your next scene with “but” or “therefore” you likely have a solid case of cause and effect propelling your story, hooray! A scene can be a complication (BUT), or result of a choice (THEREFORE). If your next scene can be connected only with “and then” it might be a random diversion or coincidence, and you should look twice at whether it should be there or if the logic needs fixing. A rule of thumb (not an absolute) is that coincidences that make the story worse for characters can stay, but coincidences that make life easier for characters should go.
- For each scene write down who makes the decisions – If you have a problem with character agency, this can help point out where it goes wrong. Too many chapters where the main characters are forced to act instead of choosing a course of action can signal a problem.
- Sleep on your problems – This is a weird one, I know, but I swear it works once you train your subconscious. Before you go to bed, think of the plot problem you’re trying to solve. By morning, or in a few mornings, you’ll probably have an answer or at least an idea of how to start tackling it.
- Figure out the major plot and subplots, and see where they are introduced and where they end — First In, Last Out (FILO) tends to work in an overall sense, mainly because the more important a subplot is, the more time it should take to resolve. It’s a good idea to check if you’ve resolved all your subplots. I’ve also heard this technique referred to as ‘nested conflicts’, because smaller conflicts are sandwiched between bigger ones. Simple Plot Example:
- Main Plot (Introduced chapter 1) – We must defeat the evil king
- Major Subplot (Introduced chapter 3) – But we need an enchanted sword that’s guarded by a dragon
- Minor arc (introduced chapter 5, resolved chapter 6) – Figuring out where that sword is hidden
- Minor arc (Introduced chapter 7, resolved chapter 9) – Assembling the gang to help sneak past the dragon
- Major subplot (Resolved chapter 23) – We get past the dragon and find the sword
- Main Plot (Resolved chapter 25 – end of book) – We do battle and defeat the evil king
Of course, figuring out where the story goes wrong doesn’t mean you can fix it, but it’s a start. There’s also a certain point when you’ve done all you can and don’t know how much else you can fix, when it really does take another set of eyes on your writing to get it better. There’s only so much you can do on your own.
Here’s another post about tackling revisions that I have bookmarked.
I’ve been reading a lot – maybe too much? Is that possible (my parents would say yes)? I’m one of those people that likes to binge watch several seasons of a TV series at once, so I’ve funneled that slightly obsessive bent into my reading list. (Hello procrastination!)
My goal was to finally get through my TBR pile. I am failing. I keep adding more books to the list. SEND HELP. I also think I’m going to have to cut back the reading until my next draft is done. I really need to focus.
- Iron Cast by Destiny Soria
- The Gentleman’s Guide to Vice and Virtue by Mackenzie Lee
- Tell me Something Good by Jamie Wesley
- MEM by Bethany C. Morrow
- The One You Can’t Forget by Roni Loren
- The City of Brass by S.A. Chakraborty
- Sweet Nothings by T. Neilson
- The Prince and the Dressmaker by Jen Wang (Graphic Novel)
- Moonlight on Nightingale Way by Samantha Young
- On Dublin Street by Samantha Young
- Trail of Lightning by Rebecca Roanhorse
- Beats Made of Night by Tochi Onyebuchi
- A Duke by Default by Alyssa Cole
- Rebel Seoul by Axie Oh