Writers in the Storm

Everyone knows what I call the 10,000 foot edit – it’s the content/developmental edit – it’s looking at your story from a plane, to spot the plot mountains and canyons that need to be fixed. Genre no-no's? Unsatisfying ending? That night with the weasel scene?

Everyone knows about ground level edits – copy/line/stylistic edits that look at sentence structure and grammar – they’re small, but important.

We all know those two edits are critical.

But there’s another edit that is very seldom talked about, that could take your manuscript from good to sold.

I call it the 5,000 foot edit. It’s the edit for EMOTION. I don’t care if you’re writing a romance or a legal or espionage thriller; if you don’t have a solid bedrock of emotion in your book, you’re not going to have readers. It’s what they come for!  Think of your favorite author. Why is he your favorite? I’ll bet right up there with plot, is the emotion. If we don’t have emotion, the reader won’t care about your character. And that’s a story-killer.

Have I convinced you? Okay, let’s move on to how to do this thing.

In a book, regardless of genre, the character has to grow, right? So you need to follow the character’s arc, and be sure it happens in a timely, logical fashion. It’s okay if the character grows in fits and starts, or even if they progress, then back up a few steps. As long as their character arc doesn’t look like this:

A problem I've seen (and had) is that the character seems bipolar, going from laughing to angry to loving in three paragraphs. For emotion to be satisfying, it has to be deep. Take those three paragraphs, and dig deeper. It doesn't mean you have to turn three paragraphs into three pages - sometimes a visceral hit and a one sentence reminder of the emotion will do:

This is from my RITA winner, The Sweet Spot:

The red flowers had some brown edges, and looked a bit bug-eaten. She’d planned to stop at Wal-Mart and pick up a bouquet on the way to the cemetery, but . . . Her stomach settled a bit. “These are Benje’s flowers. He’s not going to care about a few bugs.” She headed for the tool shed, to find her clippers.

I added a sentence of dialog that added emotion - a reminder to the reader of an emotional memory: working in the garden with her child (the child she's going to visit in the cemetery). See?

No matter what genre you're writing, not all scenes are action. If they are, you're going to wear out your reader in no time. It'll be a fast read, but also, unsatisfying, because in action, you can only show flashes of emotion - like paint splattered on a canvas, rather that brush-stroked on. You need what Dwight Swain, in his book, Techniques of the Selling Writer (a 'must have' on your craft shelf, IMHO) calls a 'sequel scene'.

A quiet scene, where the POV character can reflect on what just happened, and compare the results to his world-view. These are the scenes that move him along his growth arc. You can only do that by getting deep into the emotion - because that character's flaws in his world-view usually come from damage in his childhood: abuse, neglect, or even over-indulgence (poor little rich kid). And that's emotional. Be sure you're plumbing all that good stuff.

Ease into the sequel scene, naturally. You do this all the time, in your own head. This is from a Women's Fiction my agent is shopping now:

And yet, nothing had been different last night than the zillions of other times she sat in a group, alone.

Except maybe her.

I'll leave you with a Donald Maass-type (more must-have books for your craft shelf) homework lesson of where to edit for emotion :

• Find 5 turning point scenes. Laser focus the emotion. Go deeper.
• Find 5 small, quiet scenes. Laser focus the language.
• Use turning point scenes to plot a graph for your protagonist, showing their progression on their growth arc - is it logical? 
• First line/page – better be the best work you’re capable of.
• The End – make it satisfying, using all the above.

So, Faithful WITS Readers, have I convinced you to use my 5,000 foot edit? Do you have any edits strategies to share?

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About Laura

Laura Drake is a city girl who never grew out of her tomboy ways, or a serious cowboy crush. She writes both Women's Fiction and Romance.

She sold her Sweet on a Cowboy series, romances set in the world of professional bull riding, to Grand Central.  The Sweet Spot won the 2014 Romance Writers of America^®   RITA^® award in the Best First Book category.

Her 'biker-chick' novel, Her Road Home, sold to Harlequin's Superomance line (August, 2013) and has expanded to three more stories set in the same small town. The latest, Twice in a Blue Moon , released in July.

In 2014, Laura realized a lifelong dream of becoming a Texan and is currently working on her accent. She gave up the corporate CFO gig to write full time. She's a wife, grandmother, and motorcycle chick in the remaining waking hours.

Twitter  Facebook

I’ve always been a behind-the-scenes kinda gal. In my corporate life, I was happy writing and planning and letting someone else be in the spotlight. For those WITS readers who know me on social media, you know I joke about being a troll, happy in my dark cave.

So imagine my reaction when I found myself in a “what do we do now” discussion with a handful of women’s fiction writers over the fact that we were about to become associationless.  And then the somewhat unanimous decision was made that I would be the founding president of a new association (they claim I wasn’t fast enough stepping back; I claim they pushed me forward).

It’s been almost three years since a group of five writers moved forward to launch the Women’s Fiction Writers Association. In January, I hand over the presidency to some other poor schmuck lucky volunteer. And that, of course, has me reflecting back. And thinking ahead. So I thought I’d share a few lessons I’ve learned about myself and about stepping out of my comfort zone. And while you may not be looking at starting an association, I’m pretty sure all of us struggle with that comfort zone bubble in one way or another or one point or another.

1) Your reserves go deeper than you think.

I’ve never shied away from hard work. But I also never dreamt how much time and creativity and effort and heart starting an Association would take. Every decision was new and would set a precedent. I was either going on the books as the founding president who launched an Association that filled an important niche in the publishing industry, or I was going down as the founding president who tanked an Association that could have filled an important niche. Every time I thought I was out of new ideas or the ability to step up when needed, another burst would surface.

What did I learn? When pushed to the limit, there’s always more inside if you have the passion for what you’re doing. If you’re struggling to find the give-a-shit to continue, then maybe it’s time to either take a break or change direction. Last year I walked away from a project, not because I didn’t care about it but because I just couldn’t find the reserves to push past the hard times. But, it never entered my mind to stop writing even as the rejections piled up or walk away from WFWA when I felt tapped out.

2) There’s a great big, supportive world outside of the cave.

There’s safety in the cave, for me and my ideas. I can share with a couple of people I trust but the rest of the world, nah, they can stay outside. Then WFWA happened. Suddenly, I had a bunch of people poking into my cave wanting my time and energy. Members of the Association had expectations. But here’s the kicker, those same people wanted to give back.

What did I learn? Writing may be a solitary undertaking, but it doesn’t have to be – nor should it be – lonely. Once you find your writing tribe, they will support and encourage you. They will become the people you can turn to, who will understand why you’re heartbroken over an imaginary person and why you agonize over a comma. Don’t get me wrong, having the support of your family is awesome, but they don’t understand that far away look that takes over when you’re deep in a plot hole. This crazy trip down the publication brick road wouldn’t be nearly as easy or as much fun without my writing buds.

3) The deep end of the pool is kinda fun.

There was no wading in with WFWA. I didn’t get to start in a trial position to test out my abilities or time commitment. The floaties were yanked off my arms and I was pushed into the deep end (I’m telling you, they pushed!). I may have dog paddled around a bit, but I stayed afloat. More than stayed afloat actually. The Association went from 100 members the first day we “opened” to over 700 by our second anniversary.

What did I learn? When you jump in to the deep end, without floaties, there are no guarantees that you won’t get a mouthful of nasty water. But if you keep dog paddling, you’ll soon figure out your rhythm and that’s when the magic happens. If I’d had a chance to think harder about what was coming my way, I probably would have convinced myself that I wasn’t up for it.

4) It’s okay to be proud of your accomplishments.

I’ve always been the one happy to cheer for everyone else but reluctant to be in the spotlight. I hated birthday parties as a kid—still do, and not just because of the frightening number of candles that would be needed. Watching WFWA grow into a thriving community has been incredibly rewarding. When I look at what we started with and where we are today, I’m amazed.

What did I learn? I’m equally amazed when I think that I had a part in making WFWA what it is today. And you know what else? It’s okay to feel that way. I don’t have to apologize for being proud of my accomplishments. I don’t have to justify the time I spend writing or putting in the volunteer hours on WFWA. I chose to pursue a career as an author. And the work I put in to that end is something I should be proud of.

5) “I can’t” is no longer an option.

Remember when I said I probably would have convinced myself that I wasn’t up for the challenge? Yeah. That. Taking on a challenge like founding and overseeing a non-profit was way out of my comfort zone. WAYYYYYYYY out there. I had my doubts early on. Until one day I realized I am doing it; and I’m not failing spectacularly, not even mildly.

What did I learn? If you believe in what you’re setting out to do, you’ll find a way to do it. You’ll find the reserves when you’re too frustrated or disheartened or tired to know what comes next; you’ll turn to the people who support and motivate you; and you’ll push through the doubts because you can do it.

I admit to still having troll-like tendencies. The urge to retreat into my cave is overwhelming at times. But I also know that there’s no going back in there, at least not for more than a quick regroup. I’ve grown from this experience and I’ve earned that I can do what I set my mind to. Next on the agenda … become a debut author. And write the next book!

I want to hear from you … what experience(s) pushed you out of your comfort zone and what did you learn about yourself?

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About Orly

After years of pushing the creativity boundary in corporate communications, Orly decided it was time for a new challenge. Three women’s fiction manuscripts later (plus a handful of picture books), it’s safe to say she’s found her creative outlet. When she’s not talking to her imaginary friends, she’s reading or at least trying to ignore everyone around her long enough to finish “just one more paragraph.” Orly is the founding president of the Women’s Fiction Writers Association. She is rep’d by Marlene Stringer, Stringer Literary Agency LLC.

Orly's debut novel, The Memory of Hoofbeats, will be released by Forge in 2017.

You can find her on Twitter at @OrlyKonigLopez or on her website, www.orlykoniglopez.com.

Heather Webb

Back in April, I wrote a post on good and bad writer advice, what to listen to, what to ignore in the daily toils of a writer’s life. Since then, I’ve been thinking about this more—specifically, the toils of post-publication, instead of the road to publication and they’re different. Vastly. Both in our understanding of the industry and our experiences, from that first book sale to the next.

What I’ve learned could, well, fill a book so I wondered if other authors felt the same way.  It turns out they did, and they were happy to share. Below, I asked each of them this question:

Looking back, what’s one thing you wish you had known about the industry before you were published?

"I wish I had known more about the publishing process and marketing. Most of all, I wish I had understood that no publisher would ever care as much as I do about a book's success, and that the book is still my responsibility after the rights are sold.”
—Kerry Schafer, author of THE NOTHING series

“I wish I had known that it would get harder, not easier! I wish I had spent less time moping over rejections and appreciated those quiet invisible moments of writing without any expectation or deadline. I wish someone had said: 'Slow down. Enjoy this time. You will never have it again!’”
—Hazel Gaynor, NYT bestselling author of A MEMORY OF VIOLETS

“I wish I had understood that publishing is largely a business driven by convention, rather than data. I keep searching for logical reasons behind decisions, for the data accounting for the outcomes, and rarely find it. There are so many unknowns about what determines success and failure that it drives me a little crazy. Okay, a lot crazy.”
—Sonja Yoerg, author of MIDDLE OF SOMEWHERE

“Publication always felt like the end of some long journey and my writing life would be complete, if only I could get just get there. Pre-pubbed authors talk about it like it's the Emerald City. It's more like Munchkinland. It's so much more work to be published than not, which was unexpected.”
—Kate Moretti, NYT bestselling author of BINDS THAT TIE

“That the success of a book can be about the book but is often about something that we can't control.”
—Ann Garvin, author of THE DOG YEAR

“Fame and fortune will not happen overnight....if ever! But success is how you choose to define it, and appreciating the little things along the way will make you a much happier person. Even if you never make the New York Times Bestseller list, simply having a core group of devoted fans is tremendously rewarding!”
—Andrea Lochen, author of THE REPEAT YEAR

“I wish I would have known to be a stickler in terms of really understanding the publishing house's marketing plan for my debut novel and what really needs to be done BEFORE a book is published in order to make a splash. In this market, you have to do much of the leg work yourself PRE-publication -- as in social networking the hell out of it, and being on top of everything. "Out-of-the-gate" is so important and planning strategically is key for take-off and generating excitement.”
—Lisa Barr, author of FUGITIVE COLORS

“One of the things I've found most difficult -- and I think more female writers than male writers find this challenging -- is insisting I be paid fairly for my work. How many of us have been told, especially of late, 'The industry has changed. It's the author's job to (fill in the blank) draw a crowd/promote your own work/build a platform/drum up buzz via social media....' Every one of these things can translate directly as 'work more for free.'

"Authors are often expected to be marketers, travelers, public speakers, publicists, schedulers, etc. And, without question, the harder one is willing to work at each of these tasks the more the other industry professionals laud you. And yet. AND YET. There comes a time and a place -- and I think that time and place is different for each of us, and a moveable target at that -- when we give away so much of our time and energy 'for free' in the hopes that it will translate into future sales that we deplete ourselves.

"There is ... there must be ... a gracious way to say without any apologies or trepidation, 'Thank you for inviting me to XYZ (be it speak/read/teach/etc). I would love to be a part of your event and appreciate your championing of my work. My fee for such things is $. If that is doable for you, please let me know what dates would work best and we can further the discussion.' But holy shit: I've never had more trouble getting such a sentence past my lips. I feel like I will be perceived as greedy, vain, too-big-for-my-britches, high-on-myself, snooty, blah blah blah. For what? For asking to be compensated fairly for my time and energy, like every other employee in the world?”
—Ellen Urbani, author of LANDFALL

“I wish I'd known how to let go of things that are beyond my control. As a matter of fact, I'd still like to know that. Anyone have the secret?”
—Greer Macallister, USA Today bestselling author of THE MAGICIAN’S LIE

“You need a tribe! I floundered a bit in the beginning - asking for blurbs, finding the right bloggers, and zeroing in on the best grassroots marketing, re-inventing more than one wheel, I am sure! And I was often tempted to give in to self-doubt. But then I found my tribes ... namely the Women's Fiction Writers Association AND of course, the TALL POPPIES and there is no more floundering.”
—Amy Impellizzeri, author of LEMONGRASS HOPE

“I wish I had known that one day I WOULD publish. Three young kids, a freelance writing job, a sick mother, a sick mother in law, and little sleep because night time was the only time I had to write. I wish I had known, after yet another rejection, and wanting to kick my computer all the way to Montana, that one day it would work, and all the hours and tears would be worth it.”
—Cathy Lamb, author of WHAT I REMEMBER MOST

“If I had known that years of hard work and dedication wouldn't automatically move my career forward, I would have taken chances with my writing years earlier.”
—Marin Thomas, author of THE PROMISE OF FORGIVENESS

“I wish I had known that being published means that when you are walking your dog in the woods, wearing your husband's flannel shirt, sweatpants with grease spots, sporting a bed-head because it's THE WOODS for God's sake, you will inevitably meet a stranger who will say, 'Are you that author?' And you will learn to leave the house in much better condition from that moment on!”
—Molly D. Campbell, author of KEEP THE ENDS LOOSE

As for me, I wish I’d known my measure of success would constantly shift. That success is like a fog; cool and damp on your skin—you can feel it! Yet you can’t contain it, you can’t hold it, and it doesn’t keep you warm at night.

Having a book published or two, or seven, isn’t really the only goal. Recognition and awards and big lists, industry respect, reader admiration—these are just as much a part of the standard of success, at least for me, and they change with each and every book. This makes for a lot of pressure I place on myself, and it works against me. So I’ve learned to celebrate every victory, to work hard to be present and content with each work I create. That’s what this is really about at its essence, this winding road of fiction-writing—creating something meaningful.

This is what I wish I’d known: The success is in the creating, the doing, the believing.

Those of you who are published, what have you learned that you wish you’d known when you began writing? Those yet-to-be published, what would you still like to know? How has your journey changed over time?

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About Heather

Heather Webb writes historical novels for Penguin and HarperCollins,which have been translated to three languages and have been featured in the Wall Street Journal, Cosmopolitan magazine, France magazine, and Reuters News Book Talk. BECOMING JOSEPHINE follows the life and times of Josephine Bonaparte set to the backdrop of the French Revolution, and RODIN’S LOVER released Jan 27th, chronicles the passionate and tragic story of Camille Claudel, sculptor, collaborator, and lover to the famed Auguste Rodin. A FALL OF POPPIES releases in 2016.

Heather is also a freelance editor and contributor to award-winning writing sites WriterUnboxed.com and RomanceUniversity.org. She is a member of the Historical Novel Society and the Women’s Fiction Writers Association.

Twitter: @msheatherwebb