Writing the Query Letter - Key Point #1

As promised, we're going to do a series of posts on writing the query letter, including examples of query's that worked. Eventually, I'll post my query as well and we can dissect it together.

To start with, there are tons of references on how to write a query, and I've read them all, but it never really seems to make it easier to write one. The problem is effectively summarizing the hook of your story, making it eye catching, without being overly flamboyant or non-professional. In fact, that word professional, is the key in writing your query. The agent wants to know that you are a serious writer, understand professional demands, and can adhere to them. We've all heard of the queries written on pink paper or with cursive font because the author wanted to "stand out." Unfortunately, those tricks will make the author stand out . . . in a bad way!

Key #1: Be professional at all times.

This excerpt comes from the Guide to Literary Agents Blog.


ON PROFESSIONALISM:

"The first thing to think about when you sit down to write a query letter is that, in a lot of ways, it’s similar to writing a cover letter for a job application. You’re addressing your letter to a person who’s never met you before, and who sorts through hundreds of such letters a day. This crucial first contact is your chance to demonstrate that you’re smart, professional, and interesting. The way to convey those traits is through the tone and content of your letter. The tone should be professional, specific and engaging—never general, overly familiar or abrasive. Make sure your letter is well written and grammatically correct. And make sure to include all of your contact information, including your mailing address, phone number and e-mail address.

"These suggestions may sound obvious, but you’d be surprised how many letters I get that leave out vital contact information, start out with 'Hi Mollie—' instead of 'Dear Ms. Glick:', or include unprofessional phrases such as, 'You’ll probably just throw this letter out like the other agents have.' Occasionally, I get a letter written in a lighter, more humorous tone, and that’s OK—as long as the letter reflects the kind of book the author is querying me about (i.e., a humorous nonfiction book or funny novel) and it still includes all the information I need to know. But if in doubt, stick with a professional tone, and include a one- or two-line quote from the book to give the agent a taste of its voice.

"Like a cover letter, your query letter should be no longer than a page. It should include your contact information, a salutation, a paragraph describing your book, and a paragraph explaining why you’re the perfect person to write that book. Lets take a closer look at each of these components."

- Excerpted from the article "Write a Killer Query Letter: How to Hook an Agent," by Mollie Glick, in the 2010 Guide to Literary Agents.

More coming as we examine this in depth. Having written several queries, some that worked, many that didn't, we'll look at my letters and examine for strengths and weaknesses.

What Agents Hate to See in the Slush Pile

I found this interesting article on the Guide to Literary Agents blog, an excellent writing resource, and one of the few blogs that I subscribe to. The topic was Agents and the Slushpile: Ten Reasons they Stop Reading, and I thought I'd share it with you.

Here are the top 10:

10. Overdone description that doesn’t move the story forward
9. Spoon-feeding the reader what the character is thinking
8. Having the characters address each other repeatedly by name, as in, “John, let’s go!”
7. Introducing a character with first and last name, as in, “John Smith entered the room.”
6. Beginning a story with dialogue
5. Opening with a cliché
4. Yanking the reader out of the action with backstory
3. Not giving the reader a sense of place or where the story is going
2. Characters are MIA until bottom of page 2
1. Telling instead of showing

Lots of these are items we've discussed in our Ten -Point Revision Strategy. Lots of great points we need to keep our eyes on.

An incredibly short post today, but an important one, one that I'm trying to integrate into my head, heart and soul. It's all based around a quote I heard recently, don't recall where. As I was going back to make a few changes to my opening chapter, searching to find the key sentences to make that chapter come alive, the quote jumped back into my head, and somehow, it all made sense.

Now I won't say that this simple quote solved all my problems with the chapter, but I do think it helped me to focus and what may have been missing.

Here's the quote:

Live Your Life Out Loud.

You may have seen this one before. I certainly won't claim credit for it. People use it refer to everything from creating the life you want to getting tattoos and nose piercings.

But for writing, it suddenly resonated with me. Don't be timid. Don't be afraid. Be big and bold and out there. Create big scenes and big characters and big situations. Not bombastic, but not withheld. Let go of the inner critic and just write. Or perhaps . . .

Write Your Novel Out Loud.

Don't be afraid. Just do it.

Hmmmm, words for thought. Time to get back to writing. Please send me your thoughts on this.

Again, too much time has passed since I last posted. All for good reasons though. The research on my new novel is mostly completed and the outlining process has begun. I'm also in the process of forming a record label with my wife and "other brother from another mother." So my time has been sapped.

I've gone back and am re-evaluating my first few chapters of the prior manuscript, looking to see if I can make them even better.

Along those lines, I found this advice over Feed Blitz and thought I'd share it with you all.

This is titled, "Advice on Revising From Your Peers," and falls nicely in with my Ten Point Revision Strategy. Let me know your thoughts on these pearls and if you find this useful.

"As you work your way through each scene in a novel ask yourself:

• What is happening in this scene?
  
• Why is it important?
  
• Is it believable?
• What is the conflict? Who wants what, and who or what won’t let them have it?
• What does this scene contribute specifically and integrally to the plot? How does it drive it?
  
• Can it be cut, partially or completely, and not effect the plot?
• Can the integral part of the scene be folded into another scene, and the rest eliminated?
• When does the scene occur?
• Would the plot be better served if you moved the scene to another place in the unfolding of the story?
  
• From whose point of view is this scene experienced?
• How does this character contribute to the plot? Can another character do it so you can eliminate this one, or combine the two into one character?
• Where is this person?
• What is the POV character in the scene doing?
  
• What is he/she feeling emotionally about what’s happening in the scene?
  
• What is he/she feeling emotionally about things outside the scene?
• What is he/she seeing? Hearing? Touching? Even smelling and tasting?
• Can you exchange “he said”s and “she said”s with action?
• Can you exchange passive verbs with active ones?
• Can you exchange adverbs (“ly” words) with action?
• What does each paragraph within the scene contribute? Can it be eliminated?
• What does each sentence within the scene contribute? Can it be eliminated?

How're You Doing with Your Writing?

Busy, busy, busy.

Got lots of things popping around in the hopper right now.

The trick, I've found, is to stay obsessively organized when multiple projects are working.

My novel is currently being read by an agent in New York. Please cross your fingers for me, and I'll do the same for you when yours is ready.

I've done a lot of work on query letters, short synopsis, and full synopsis. We'll talk more about that stuff in later posts.

In the meantime, I've been outlining and researching the next novel. Love that part. More posts to come.

So, while I'm waiting to get to all that, how're you doing with your writing? I'd love it if everyone who pops on over to this blog, dropped a little comment on where you are in your writing, what's working and what's holding you up. We're all in this together!

Writing the Novel - Which Font is Best?

This is a question I get asked a lot, and as simple as it seems, it can create a lot of confusion.

What is the best font to use for my novel?

The simple answer is to use whatever works for you, is appealing to your eye, and most importantly, easy to read.

The more involved answer is that agents do have preferences. They don't want anything flashy or creative or flamboyant. Beginning writers often try to play with different fonts as a way to express their individuality or creativity. Nothing screams out amateur greater than this. The font is not where you will stand out to an agent, it's the writing. A flamboyant font is enough of a red flag for agents to toss your manuscript into the trash.

What agents want is a professional looking (and reading) manuscript that follows strict format. They also want a font that is easy to read.

Originally, I wrote in Courier because I was told it was the most neutral. I've since switched because the spacing between the letters creates too many pages for the word count. After speaking with Robert Dugoni, I now use exclusively, Times New Roman, and have since learned that this is a very commonly used, accepted font with professional writers.

Other basic fonts should be acceptable, but the beauty of Times New Roman is that the page count you'll get using this font is nearly identical to the page count for the finished product. In other words, my novel at 102,000 words is 454 pages, just as it will appear when printed (or close to it.)

Save the standing out for your writing. When it comes to font, it's best to blend in with the rest.

The Final Read Through

Happy New Year, everyone. I hope you all find this year to be happy, healthy, and successful.

I'm back from my research trip and have volumes of material socked away in my mind for location, people, culture, texture. There's nothing like going someplace fully with the intention of researching for a novel to help you see all the little nuances you'd miss as a tourist.

Traveling has set me back a bit on writing here, which I plan to rectify this year. Look for an update at least once a week as my novel is completed, goes off to the agent, to the publisher and beyond. I'll keep you all posted on all the tricks and tips I learn along the way.

The other set back was on the goal of finishing the book by 12/31. I'm a touch off, but not too bad. Which brings me to the all-important subject of today's post: The Final Read Through.

After going through the whole novel, following the Ten Point Revision Strategy we've discussed, there's still one, immensely important task to do. The Final Read Through.

In order to do this, you must get some distance from the book. Many authors suggest putting the book into the desk drawer to let it cool. For me, the trip to Turkey was perfect. I didn't bring my computer, I didn't work on anything else. I didn't read novels or book or magazines on writing. I let my brain cool. With that, I knew that when I got home, I'd be able to re-approach the novel with fresh eyes.

The goal of this read is to really check for language flow. By this time, after completing the Ten Points, character should be solid. Premise should be like a rock. Major description, flow, pace, all of it should be where you want it. With this read, you're just trying to see how the book. . . reads.

I make little changes to sentences. One thing I really try to do is to limit the amount of times that I back into a sentence. An example:

Sitting on the back porch, Doug reached for his glass of wine.

That phraseology is called, backing into a sentence. the subject is Doug, the action is reaching for the wine, the first clause is purely descriptive.

Now there's nothing wrong with occasionally backing into a sentence. The grammer is ok, and it's nice to use this phraseology to break up the constant; subject-verb sequence. But it can be over done. Check your writing. Occasional is ok, too much is too much.

I also focus on length of sentences, which usually tend to be too long. For the most part, shorter is better. Keep the book moving along with well clipped sentences.

Word selection we've already gone over with the Ten Points, but here again is an opportunity to make sure each word is really working for you. Saying exactly what you want it to do, as powerfully as possible without the need for modifiers to strengthen it.

I'm on chapter 8 of this read. Hopefully I'll be done by next week.

Then it's off.

I'll keep you posted.

Getting Back to Revisions - Rewrite or Start Over

Time to get back to revising.

Heard from my writing group in a fillet session, er. . . constructive criticism session. Actually, they were quite kind and actually very complimentary, which was unusual. Must have been the wine.

But their comments brought up one very important point that's worth discussing and getting your thoughts. Rewriting or Starting Over.

Before we get there, let me explain. My current novel is actually a revised version of a revised version of an earlier work. Essentially, I took concepts and basic plotlines from an earlier work and deconstructed the novel, re-concepted the plot and characters, wrote new story arcs for each character and wrote a new outline for the new story. I did however make one major mistake that has come back to haunt me over and over, which is the title of this post.

Whenever possible, in order to save time, energy and writing, I reused some of my old book parts. At the time, I thought I was being clever. If I could reuse a chapter here or a plot line there, make some minor changes, I'd make my writing faster. Turned out to be wrong.

Here's the problem. In reusing some of the old stuff, I ran into a few instances where the character motivation for doing a certain thing was actually no longer valid. Since I wanted to reuse the part, I simply changed the motivation in my current form, thinking it would solve the problem, but it didn't, it created new problems.

Let me give an example. In my first version of the book, after the police come to the lab and my hero and his research partner make a daring escape, they go back and meet at the hero's apartment. At the time, this was crucial, because my hero desperately needed to do something with their research project and time was of the esscence. It had to be done right then. Afterward, they went on the run before the police found them at the apartment. Are you following this?

In the new version, after they escape the police I decided they would still go back to the apartment and do the same repair of the research project. The problem is, the reason they desperately had to do it before, no longer existed. Now, they just did it, to which my entire writing group could only ask "why?" And my answer? Well, there really isn't one, is there. My characters did it because I was lazy and wanted to keep some old scenes rather than rewrite them. Seemed like a good idea at the time.

I violoated one of my own ten immutable laws of revising: Know each character's motivation.

My advice then, when confronted with a similar situation in your rewriting, is not to reuse old scenes. Rather, it's always best to rewrite them. When you rewrite them in the flow of your current writing, the character's motivation is more organic from the story, not contrived by the author just to be able to reuse some segments. And this is the key lesson from this experience. Each action that the character performs, each motivation, has to be organic to the current book. If you're going to reuse some scenes, make sure that the motivation and action still makes sense in your current writing. If there's any question, it's probably best to just rewrite it.

I'm doing that now. Fortunately, I'm very near the end of the novel, and this is a quick fix for me, but I'm going through each line, making sure that any old vestiges from the last novel still make sense now, that the reasons are organically grown from the current state of the characters.

Then I'll be done and it's off to the agent!

We'll write about query's and synopses then.

I'm Back!

Wow! Hard to believe so much time transpired since my last post. But it did.

In case you were wondering, I've been fine. In fact, your great comments of encouragement and the growing number of readers who've found some value from this blog keep me motivated to keep on going forward.

Over these last three weeks, I simply took a break. After completing the novel and waiting for my writing group to come back to me with their final recommendations (which will happen this Thursday) I decided to take some well-deserved time away from writing or writing about writing. Instead, I focused on The Ripple Effect, which has been incredibly busy of late.

But with my writing group meeting coming later this week, soon I'll be launching back into the novel. And with that, I'll begin updating here again as well.

I intend to finish our discussion of outlining. And with the novel just about ready to go back to my agent, I thought I'd write about the all-important query letter and the extremely difficult novel summary. Both essential topics if you hope to get published.

Please keep your comments coming. It's nice to know that all of my blabbering may actually be helping some body.

Back to the updating and novel after my meeting Thursday!

Revising the Novel - Word Count

Before we delve deeper into our subject of outlining, I wanted to share what I've learned about a very commonly asked question.

How long should my novel be?

The answer is not "long enough to tell the story." While that may be what we all would love to hear, the truth is publishers and agents have very specific guidelines for novel length depending upon the genre. As I've said before, my work is mainstream fiction, a medical thriller, so that's really all I'm qualified to talk about. If you're writing a romance, or horror, or sci-fi, or literary fiction, you should refer to a good reference book for the answer to that question, like the Writer's Guide. If you're writing a thriller or other mainstream fiction, this is what I've learned. Understand that my goal in writing is publishing and establishing a career, not a whimsical fairy tale of life as an author.

For a first time author, your book length should be 90,000 to 100,000 words, which is about 450 pages. Strict. No more, no less. While you may tell the world's greatest story in 175,000 words, and it may become a huge best-seller, it will be awfully hard, as a first-time writer, to get an agent to look at a book of that length. It may happen. If your writing is so undeniably fantastic, you may be able to hook that agent. And if you are an undeniable talent, your agent may be able to convince a Publishing House to buy your book. But the odds are stacked against you.

Publishing Houses do not like to take chances and invest big dollars into first-time authors. They're very conservative. So what you need to do is follow their guidelines, play their game. They're the ones setting the rules. Once you're as big as Ken Follett you can break the rules and unleash your 1000 page tome. Not now.

So how many pages is 100,000 words?

Obviously, that will depend upon the type and size of font you use. What I recommend, from what I've learned in discussions with agents, is Times New Roman font, 12 point size. Courier is also an accepted font by agents but Times New Roman is the best, and here's why.

The spacing of Courier font adds length to your manuscript. So while the word count may be acceptable, the number of pages is increased. With my manuscript, at 106,000 words (I know, I know, still too long, I'm working on it. Got the Ten-Point Revision Strategy at my side) the page count was 560 pages. With Times New Roman, it is 477 pages.

What this means is that with Times New Roman, your number of manuscript pages is approximately equal to the number of printed pages in an average book. This makes for an easy guide to determine your novel length.

In general, the formula comes down to the average text has 10 words per line, 25 lines per page for a total of 250 words per page. This is comparable to the word count of a published novel.

So while the romantic, walking through the garden, following your lovely muse response to the question would be; "write until the book is finished, not one word more or less." In reality, this just isn't true. It's fine, if you really don't care about publishing. But the honest, business-like, non-romantic, but infinitely more practical advice for a first-time writer, is follow the rules. 90,000-100,000 words for mainstream/thriller fiction. It shows professionalism on your part, writing skill, knowledge and will greatly increase your chances of actually getting your novel read.

Writing the Novel - To Outlne or Not to Outline

Some debates can't be settled with the passage of time.

When it comes to writing, the question I'm asked more than any other is; do I outline?

And the truthful answer is, it doesn't matter whether I outline or not, what you really want to know is; should you outline?

It seems that very little can rile up as much contention, debate, anger and anxiety as this one very simple question. Should I outline?

And the answer to that can only be: Yes, if it works for you. No, if it doesn't.

How's that for a vague way to start a new series of posts?

For some reason, outlining seems to be this mysterious process, knowledge hidden by reclusive writing gurus, kept in secret, protected from the eyes of the rest of the world. Or else it seems to be this amazingly tedious, painful, arduous process, like a scientific experiment, that can only performed in one precise way to get the proper results. If done incorrectly. . . BOOM! The whole novel explodes in a silty smoke of disaster.

Neither of these perceptions are true. Outlining is simply that, outlining. A guide. A short "high points" guide to what the novel is about. A road map to where the novel is going. There is nothing mysterious or scientific about it. There is no right or wrong way to do it. It just is.

Good, now that we're past the philosophy of outlining, let's get down to the nitty gritty. The real deal. How to do it.

Of course, the answer to that last statement will be as varied as there are writer's, and that's important. You need to find a system that works for you. You may try several outlining systems before you find what works in your hands, with your brain. But eventually, you will find that system.

Or not.

Tess Gerristen, the best-selling author of ten billion books doesn't outline at all. She never has, never will. I've asked her about this and we'll talk about her views, my views and other views as we move along through this segment of posts.

We're going to explore all aspects of outlining. And we're going to do it without an outline.

Revising the Novel - Nearing Completion

Autumn is almost upon us.

My favorite time of the year, I love it when the temperature cools, the leaves change, the sweaters come from storage.

And my novel is finished. Or will be.

My goal was to finish my final revision by the end of August. So far I'm near my target. I have, what, five days left. Hmmm, I'm on page 320 of 478 in the revision and I still need to remove 6,000 words or about 20 pages.

As I'm going through the book, I try to keep the Ten Point Revision Strategy in mind (for those who've asked, I have already written the Ten Point Revision Strategy as an article and submitted it to Writer's Digest and The Writer. I'll keep you posted on the results). Each day, before I write, I re-read the ten points, trying to concentrate on what each point really means in terms of what I need to accomplish. Character Motivation. Dialog tightening. Word Choice. And especially, Ending Chapters Earlier.

I continue to find the strategy to be useful for me, and as I get closer and closer to finally completing this draft, I'm taking the time to really focus in on each of these points.

I believe, in the end, the writing is sharper, tighter and more dramatic than ever. I hope you'll find that to be the case for you as well.

As always, please send me your feedback/thoughts on the Ten-Points.

I think we'll start an outlining section next.

Revising the Novel - Intention

When I first started this blog, my original intention was purely to get my thoughts on the revision process down on paper to help me with my current work. I wanted to use this as a think pad, a guide book, to direct and focus my thoughts on what I needed to do.

The results so far, based on your feedback, has been greater than I ever expected. Thanks to all who've written with your encouragement and thoughts.

Now the reason I mention all this is that my intention directed my actions, and those actions led to results, perhaps even results I didn't anticipate.

That's a powerful statement and one that needs to makes its way into our writing. Knowing the intentions of your characters, in each scene, can be a vital tool to drive the drama and power of your writing. I mentioned this earlier in the Ten-Point Revision Strategy under "Know your Character's Motivation," but it's worth exploring deeper.

I don't know about you, but when I write, I often like to get into the feel of writing, the cadence, the appearance of the words on the screen. I have scenes set that I know are necessary to move the story forward; plot oriented scenes that bring conflict and drama. But quite honestly, I don't often step back and ask myself a simple question, "What does each character want out of this interaction/situation?"

Think how powerful those words are. From the main character to a bit player, the story will change if you spend some serious thought on what each character really intends to happen in that scene.

Say you have a big scene happening in a restaurant, I don't know, a meeting between two lovers on the verge of divorce. This is their last stab at trying to stay together. They arrive in different cars and flip their keys over to the valet. Now, in this scene, the valet obviously has little importance in the lives of our characters. But say for example, that you wanted to have the valet say something, just a sentence in passing, to build the scene. How can this affect the story?

If the valet is miserable at his job, just wasting his time away, pissed off that his big audition at the Broadway musical was a bomb, his demeanor, body language and sentence may be very different than if he's had a brand new baby boy and his wife is home waiting for him.

A minor character for sure, but it's easy to see how his one sentence, based on his intentions, can have a dramatic impact on our lead characters, setting the scene for their meeting. Say the valet is a snippy twit, sarcastic and angry as he takes the car keys. Now compare that to a happy, bubbling new daddy, spreading joy and love with every word. How could that impact the moods of our main characters as they step into the restaurant?

Now, I've just described how a bit character's motivation can impact a scene, imagine if you spent the time to really think about each of the main character's motivations as they enter the restaurant. There's a big difference between the male lead dying to get back together with her because she's the love of his life, and just going through the motions because he's head over heals in love with a waitress at the very restaurant at which they're meeting.

Character Intention. Motivation. Spend the time as you're revising each scene to make sure that you know exactly where each character is coming from.

Novel revision update

Thanks to everyone for your kind comments on this blog. I'll keep it, trying to publish 3 times a week until we all get our revisions done, and beyond.

Right now, however, I'm recovering from some abdominal surgery that has me laid up on the couch.

We'll get right back into the meat of our revision strategies next week, when I'm a little farther down the road of recovery.

In the meantime, please send me your suggestions on topics you'd like to see covered in the pages of this blog.

Upcoming topics include:

Plot structure
The heroic quest
outlining, yes or no
character arcs
story structure
how to research
theme
drive the story forward
querey letters
novel synopsis

Please send me your suggestions for topics you'd like covered.

Revising the Novel - Best Word Choice or Big Guts and Belly Fat

Just finished a meeting of Mimi's Boys on Thursday night (don't worry, my bruises will heal) and a very important lesson came up.

Best word choice.

Now, I've already touched on this subject in the Ten-Point Revision Strategy, but it came up again in a way that was slightly different, and my writing was to blame.

In one scene, I have my character, the ER Department Chairman, a rather big man (or Jabba Browne as one of my group members calls him) lean back in his chair and rest his hand on his stomach. In that sentence I said something to the effect of "leans back and rests his hand on his large gut."

Doesn't necessarily seem like the that should be the focal point of a long discussion, but believe me, it was.

As we'd discussed before, each word, every single word, that we commit to paper (printer) has to be exactly what we wish it to be. It must convey exactly what we want it to convey. But more importantly than just conveying information, it has to be entertaining. After all, isn't that the point? To entertain? That's what reading is. Certainly reading a novel, particularly a thriller.

Les, one of Mimi's Boys, stated emphatically that we have to strive to make each sentence as entertaining as possible. That' right, our responsibility isn't just to write an entertaining book, but to make sure that each and every sentence in that book is entertaining in and of itself.

To be honest, I hadn't ever thought of it that way before. But he's right.

We can't rely on 2nd or 3rd tier adjectives or descriptors or cliches to finish our sentences. There are no "throw away" paragraphs, or sentences or words. Each word must count. And we need to make sure that each word conveys the information we need it to in as entertaining a way as possible.

Case in point, my large gut.

Sure it emphasizes Dr. Browne's large mass, but is it said in as entertaining a way as possible?

Les jumped all over that one, giving me his sly, one eyebrow raised look that states so clearly, "you can do better than this." And again, he's right. With effort, we can all remove these rather efficient but bland modifiers and interject some personality, some deeper level of description, some humor and some entertainment.

It's a lot of work. It means going back over the novel, word by word, sentence by sentence, and continually asking yourself, does this say what I need it to say? Is there someway I can write this better? More descriptive, more original, more entertaining?

In the margins, Les crossed out my large gut and interjected, "placed his hand on the roll of fat above his belt." Damn if that isn't better. More descriptive, certainly more original and even slightly humorous.

Do you agree? Do you feel that each and every word/sentence has to be polished as much as possible for maximal entertainment? Send me your thoughts.

Now I'm going back to work. I'll bet there's quite a few large guts in my novel that could stand being replaced by some rolls of belly fat.

Revising the Novel - Just an Update

Just an update today, as I try to finish this revision of my novel. I can feel my agent's breath on the back of my neck, steaming up my computer screen, prodding me to get this done. Remember, part of my idea for this blog was to share what I've learned about writing, but also to share all the steps along the way of having this book published. The good and the ugly. Today counts as the ugly.

My momentum was great a little while back, but has been ebbing recently. Have any of you noticed this before? Sometimes, when you take a break from writing, even just a couple of days for travel or other reasons, it becomes very difficult to get back in to it? I haven't touched the book in over a week, maybe two. For no good reason, other than I stopped while I was traveling. Now it just sits there like a lump of coal waiting for me turn it into a diamond.

Part of my distraction is that the music site is doing so well and really taking off. (The Ripple Effect, www.ripplemusic.blogspot.com) I'm spending too much of my novel writing time instead working on music reviews or contacting bands. I'm being contacted by record labels, PR Firms and bands everyday, asking us to look at their new albums. We've even got our first internet radio show scheduled for tomorrow night. All of that of course is fun. (for those of you who like music but don't like hard rock/punk/metal, you may enjoy the Sounds of Summer Special we posted, songs for your summer bar-b-Q's) Working on the 101st revision of this novel sometimes isn't quite as much fun. Particularly when I've decided that the motivation of a major character needs a bit of tweaking, which means more revising.

The other portion of my distraction comes from the atrophy of writing muscle memory. I wrote about this before (Writing and the Muse). In order to be a successful writer, it requires discipline and practice. It becomes like being a great athlete. The more you do it, the better you get. The easier it is for the words to flow, but just as important, the easier it becomes to just do it. Get yourself in front of your computer (typewriter, pad of paper) and write. That's why I wrote about how important it is to write everyday. Choose a time, sit down and write. No distractions for that time period, and no excuses. Just write. With my travel, my writing time got disrupted and now those muscles have atrophied. They're lingering, twitching slowly.

But I can do it. I've got my Ten Point Revision Strategy positioned on my desk, I'm going to re-read my points to refresh my memory and then jump back in.

A more intelligent, hopefully helpful post will come next time when we start talking about outlining. Now off for some character tweaking.

Revising the Novel - Writing Groups part 2

Continuing on with our discussion of writing groups and a long answer to the simple question, should I join one?

5) Committment of members. It's not easy writing, reading, meeting. it requires time and dedication. We meet every month, but at times, like right now when a member is gearing up for the Maui Writing Conference, we meet every two weeks. Everyone must be committed to this. The goal is to help each other succeed.

6) Your writing. In addition to the writing group, you must commit yourself to learning your craft. You can't rely on the group to "turn" you into a writer, nor to make mediocre writing, spectacular. A group is a useful tool, a fine-tuning instrument to prepare your writing for broader readership. It isn't, in and of itself, a substitution for classes, courses, reading and studying. You still must learn your craft.

7) Your fragility. Writing is not a career for the fragile. You're not here for the ego strokes, so if you decide to really commit yourself to writing, park your sensitivity at the door. Good or bad, not everyone will like everything you write, sometimes they're wrong. More often than not they're right.

8) Your filter. Your job is to take the critique and filter it through the mesh of your own certainty. You're the only one who knows what you're trying to do. If two people read something and one likes it, one doesn't, it comes back to you to decide if it's good or not. Opinions vary. If you love it, have the balls to keep it. If it always bothered you a little, then cut it. But if you send it to your group, and everyone agrees that a certain part is weak, or trite, or cliched, or just plain dumb, odds are it is. Keeping then would be an act of egotism. If the group hates it, it probably needs to be redone.

Now, you may wonder why this post is filed under my Revising the Novel section. It doesn't appear to be as directly related to revising as the Ten Point Revision Strategy or the Know Your Theme posts. But it is.

We'll get there next time.

Revising the Novel - Back to Theme part 3

I've been amazed at how powerful thematic thinking could be. To me, theme was always a nebulous term, something I searched for (or made up) in high school literature classes, trying to place meaning into a story that I didn't necessarily think had meaning. But now I've changed my mind completely. Theme is a powerful, provocative tool. Now don't get me wrong. If used incorrectly, too heavy-handed, didactic or pedantic, it will kill your story, slog it down with verbiage and your strong desire to "make a message." But used correctly, it can enhance your story, elevate it, give it substance or as Stephen King calls it, resonance.

Here's how theme can benefit your story:

1) Once you've identified your theme, which you'll usually find in the changes (or lack of changes) in your major character or characters throughout your novel, it gives you a powerful focus for your revision. My story is about a scientific/medical experiment, a cool one at that, but my theme is really the growth that happens in my hero. With this in mind, I now have a pinpoint focus on the story I need to tell. All extraneous scenes can be cut, scenes that don't move my story forward and lead to this conclusion. Maybe a few scenes need to be added, scenes that are necessary to properly set up the conflicts and changes my hero will go through. Again, I'm not talking heavy stuff here. The vehicle through which my hero's change occurs starts off as a subplot to his getting the experiment started. But as the story progresses, and he battles with forces trying to stop him etc, that subplot re-emerges and becomes crucial to the finale. A powerful demonstration of how his research has changed him, while showing him in action, using that very research project.

2) With your concept of theme in hand, you finally know what your novel is about. This is huge when you come to trying to sell your book. As I mentioned earlier, during my discussion with Robert Dugoni, when he asked me what my book was about, I stumbled on endlessly about minor plot points and incidental characters and complications. That is what my plot was about, but not my book. I can't tell you how much I struggled with this. When I was writing queries, I was near incoherent in trying to get across my story. How was I supposed to reduce 450 pages of boiling plot into two paragraphs that were interesting enough to get the agent's attention? Theme. That's the answer. Remember, you book isn't about your plot. Your plot is a vehicle to tell a story. Your story is your theme.

After babbling on to Robert for what seemed like hours (I do believe kingdoms rose and fell in the time it took me to stumble through my plot) Robert politely nodded and said, "So your story is about a doctor, driven by the suicide of his brother to complete a research project, only to find that in the end, it leads to his own redemption as he learns to forgive his past."

To which I could only reply, as intelligently as possible, "Um, yeah."

Now, how embarrassing is it to have a complete stranger, someone I've known for less than an hour, turn around in just a few moments, and tell me what my novel was about far more coherently than I ever could? Robert is exquisitely tuned into the concept of theme. As an expert story-teller, he can sift through the detritus of subplots and characters and drill down to the root of the story. That's what makes his writing so effective. That's why he's a best-seller.

So, now armed with Roberts digestion of my novel, I went back and took a deeper look. Suddenly, my book made sense to me. It wasn't about the research (as cool as it is) or the villains trying to stop it, or the murders, or the political intrigue, or the manhunt, it was about one lonely, self-isolated guy, living in a world of hurt, searching desperately for salvation, believing he'd find the answer locked in a musty old basement laboratory, when in reality, the answer always rested within his own family and forgiveness.

Sounds like a better story to me.

The Ten-Point Revision Strategy - #10 Move the Story Forward

In the end, this is what it's all about.

Move the Story Forward.

Everything we've discussed so far, each of the previous 9 points, have all been aimed at this goal. Keep the story moving, keep the reader involved, or to paraphrase, Elmore Leonard, cut out the parts that readers skip.

Sometimes, in order to be true to this principle, we have to be cruel. In this current revision, I've cut out two of my favorite scenes, what were in my mind grand displays of my writing, because quite honestly, they weren't necessary.

In one scene, my hero has just finished a grueling Grand Rounds conference to get his research approved. In this scene, I have him working with a nurse, Mary, repairing a head laceration on a construction foreman, while he and the nurse discuss the Rounds. I loved that scene. It showed my hero in action, being very competent in the ER. It showed Mary's enthusiasm, and therefore all the hospital's support staff's, for the project, and the construction guy's random comments added a quick touch of humor into a scene that normally wouldn't be funny. I loved that scene.

There was only one problem. It wasn't necessary.

I'd already shown my hero in action in the ER, in a much more tense, character revealing scene. Chapter One to be precise. I'd already alluded to the fact that the hospital was abuzz over this pending research project. And as cute as the construction guy was, he was not a part of the story. In the end, after careful analysis, I realized that the only new bit of information the scene revealed was that the research project was being sent to a Bioethics Committee meeting for another review. This meant that our hero only had 48 hours to show results of his project before the Bioethics committee would cut him off.

Now that's a big point. Adding a time deadline always adds drama and tension to the story. We've got to get something done and we've got to get it done now. But I didn't need a 5-page scene of my hero sewing up some guy's head laceration to show this.

So I cut it.

I took that one simple necessary paragraph and inserted it into a brief memory flash our hero has while he's speeding in his car to his lab. He's got to get his work done because. . . And now the car is in motion, describing through movement, so the story is launching forward while I reveal this one point.

I hated to do it, but I think you can see just from this description that it makes the story better. The reader doesn't want to see another ER scene, they want to see the experiment. The whole book so far has been leading up to the moment this research begins, why would I want to stick another chapter in there, acting as a roadblock to what the reader wants?

Move the story forward. Kill off your favorite writing if it isn't doing that. Cut out the parts the reader's skip.

P.S. For those interested, I've taken the Ten-Point Revision Strategy and created an article for Writer's Digest. I'll let you all know when it's published. But in the meantime, keep moving your story forward.

The Ten-Point Revision Strategy - #9 Shorten as Tension Increases

This little tip is a must for thriller writers.

Shorten as Tension Increases.

By shorten, I mean shorten the length of sentences, shorten the length of words used, shorten the paragraphs. Essentially, shorten anything that can be shortened.

This is a neat tip, because it's not just referring to the act of writing, but how that writing looks and is read on the printed page. Shortening the sentences as the tension is mounting creates a staccato feeling for the reader, a bop, bop, beat that automatically makes them read faster. Using shorter words and shorter paragraphs, intensifies this effect, so as you story is moving faster, so is the reader's eye and hopefully the reader's heart.

Here's a quick example from Robert Dugoni's best-selling The Jury Master. In this scene, our hero arrives home to find his house ransacked, his cat Bud running across the kitchen.

"Sloane looked down at the broken plate at his feet, which a moment earlier had been on the leaning stack amid the contents of his cupboards. Bud had apparently been standing on the stack, licking at a puddle of syrup that had overflowed the counter. That explained the shattered glass. It didn't explain the destruction. That thought came simultaneously with the sound.

Soft footsteps behind him.

Too slow to turn, Sloane felt something hard slam against the back of his head."

Notice the pacing. Two fairly long sentences, establishing scene, placing the hero. Then it gets fast. Shorter sentences. A one sentence paragraph, then POW, the violent conclusion.

Reading this passage, you can't help but get swept up in the pacing as the tension builds.

Shorten as the Tension increases. As I'm doing now.

To get back to writing.

My book.