Writers in the Storm

Writers in the Storm welcomes debut author Debbie Herbert, sharing writing tips on how different types of journals can help you with the initial story, emotion, and even writer's block. And Debbie has generously offered a copy of her debut novel, Siren's Secret, to one lucky commenter. Thank you, Debbie.

by Debbie Herbert

I bet most of us as a child kept a diary that was leather-bound and could be locked with a tiny key (to keep out nosy siblings).  I got hooked on diaries after reading The Diary of Anne Frank.  I loved how she viewed it as her best friend.   Every year my new year’s resolution was to write in my diary every day.

Yeah, you guessed it, about mid- February that diary started having more blank pages than written entries.  And every day was the same old thing – I got up, ate breakfast, went to school, blah blah blah.

Skip ahead a few decades.  I decided I wanted to try writing again and used a journal as a way of easing into a daily writing practice.  But my entries were no better than elementary school ramblings – they contained long lists of things to do, how tired I was from working so hard, blah blah blah.

For inspiration I read Anais Nin.  Ah, now there’s a woman with an interesting life.  But the idea of journaling a la Nin as a literary masterpiece was daunting and promptly shut down my creativity. I eventually learned to be gentle and realistic with my expectations.

The following types of journals and notebooks have helped me over the years in my writing journey.

1.     The on-the-run notebook

I suspect most writers have a portable notebook they carry around.  In mine, I jot down anything that catches my eye or my fancy:  character names, street names, dialogue, bits of description, word plays, puns, etc.  Recent tidbits I’ve written down include: Smut Eye Grill, Fat Girl’s BBQ, Grassbusters lawn care, Booger Hollow Road, Lullwater Street, and the list continues.

2.     Dream journal

I’ve been on and off again with this over the years.  Currently, I’m back on it after attending a dream journaling workshop at RWA13.  I don’t often cull much writing material from dreams, but when I do they are humdingers.  The premise of the first book I sold was based on a dream.

If nothing else, recording dreams will make you more conscious of symbolism, which makes novels so much richer and layered. You can use a free, online dream journal at: www.dreamjournal.net to record your dreams and enter keywords about them.  Over time, you can track your dream’s themes, characters and settings. Also at the site you can read other’s dreams which can provide story ideas.  I read one poster’s dream about a Wiccan Beauty Pageant.  That could make an awesome story!

3. Lists as entries 

My favorite journal device.  I compile such lists as perfume descriptions from women’s magazines and other rich, sensory descriptions. Other types of lists can be more thought-provoking, such as: things that irritate me, things I fear, my bucket list, top twelve milestones in my life, or my top ten fantasy dinner guest list.

4. Writing Tips Notebook

At the start of RWA '13 a fellow writer friend, Mia McKimmy, gave me and Sherrie Morgan a leather-bound journal that has a drawing of a calligraphy pen and the words ‘Just keep writing’ on the cover. I love this notebook and it goes with me now to every RWA meeting and conference to record useful writing information from various speakers.   I also use it when I read or hear a quick tip about writing.  It keeps my craft notes all in one place and has a good ‘feel’ to it.

A recent example of my latest recorded writing tip came from author Cindy Dees after one of those random, serendipitous twitter exchanges.  Cindy had followed me and I followed her back.  That same day, my RWR magazine arrived featuring an interview with Cindy. I tweeted how much I loved the article and mentioned how impressed I was that she wrote 20-25 pages a day.  I mentioned how as a new Harlequin writer, I struggled keeping up with my daily word count goals.  Here’s what she wrote back:  “Don’t worry about upping your word count. Update the intensity of emotions. The word counts will rise as you do bigger emotions justice.” Isn’t she fabulous?  And it’s so true. I wrote it down so I’ll be sure and remember.

5. Book notebooks:

Personally, this isn’t a technique I employ that often, but so many writers do, I had to mention it.  Some enjoy specific WIP notebooks where they have dialogues with their characters, ask ‘what if’ plot questions, and journal other story elements.

6. Traditional/Emotional Journals

I believe writing through a stressful time in your life is not only helpful, but as a writer you can reread entries at a later time and cull the emotional record to incorporate in scenes.

Beyond writing, lots of people use journals for self-development and insight.  One method that has been around since the 1960s was developed by a psychotherapist, Ira Progoff, and is trademarked as an ‘Intensive Journal’ method.  You can read more about the method online and even take a workshop.

Diaries can also be useful in overcoming writer’s block.  Novelist Virginia Wolf recorded in her diary about an internal censor that hampered her writing.  Later, in an essay on ‘Professions for Women,’ she described the censor and how she crushed it.  Other writers have used their journals to hash out their fears causing writer’s block, or entered into a dialogue with their own internal critic/censor.

Experiment and see if using one of these journal devices helps you become a better writer, or if it adds joy to your writing.  Unlike writing novels where I have to be strict about word count goals, I give myself permission to only write in these journals when I’m in the mood.  These are strictly for fun and to help me with specific areas . . . or when I want to word play and write really bad poetry.

Do you use journals or notebooks? I’d love to hear how you incorporate them into your writing.

Debbie Herbert writes paranormal romance novels reflecting her belief that love, like magic, casts its own spell of enchantment. She’s always been fascinated by magic, romance and gothic stories.

Married and living in Alabama, she roots for the Crimson Tide football team. Her oldest son, like many of her characters, has autism. Her youngest son is in the U.S. Army.  Unlike the mermaid characters in Siren’s Secret, she loves cats and has two spoiled feline companions. When not working on her upcoming book, Siren’s Treasure, Debbie enjoys recumbent bicycling and motorcycle riding with her husband.

A past Maggie finalist in both Young Adult & Paranormal Romance, she’s a member of the Georgia Romance Writers of America. Debbie has a degree in English (Berry College, GA) and a master’s in Library Studies (University of Alabama).

Debbie's debut novel, Siren's Secret, will be released by Harlequin Nocturne in November and is available now on pre-order:
http://tinyurl.com/l2wmld9

Do you hear the excitement building here at Writers in the Storm for the rollout of our new guest blogger on Wednesday? Did we mention he's sponsoring a contest for our readers, too? Oh, did I just give you a clue? How about another? Laura Drake has been working long hours preparing the bonus (did I say "the"--how about six?) that will be delivered to your inbox in just two days.

By Janice Hardy, @Janice_Hardy

If you Google “book doctor” you’ll get pages of folks willing to analyze your book and tell you what’s wrong with it. While this might be a helpful option for some, not everyone can afford to pay for this type of advice. But never fear, because with a little objectivity (and a plan), you can give your novel a checkup all on your own.

One of the reasons a good book doctor is so successful, is that they look at a story without all the emotional baggage us authors bring to our own work, and can analyze the critical elements of good storytelling. (We love our words. Our words are perfect, aren't they?)

The first step is to look at your manuscript as if you've never read it before. This can be hard because you do know your story, so let it sit for a month or two before taking a hard look at it. That will give you some distance so it's not fresh in your mind. And be ruthless. Pretend you paid good money for this book, and you want it to be worth every penny. What's not working?

Ask yourself:

Is the Tone Consistent?

Tone helps hold a novel together, like a soundtrack playing in the background. It tweaks the emotion at the right moment and nudges the reader toward what you want her to feel. If you’re writing a light and funny romance, your book had better be light and funny. Long angst-ridden passages probably aren’t hitting the right vibe and might need to go.

• Does the opening scene convey the tone of the novel?
• Is that tone consistent?
• Does the imagery and word choice reflect this tone?
• Does the tone change over the course of the novel? Should it?
• Does the tone enhance individual scenes to bring about the desired impact on the reader?

Is the Theme Clear?

Theme is the unifying force of a novel. It's what the book is about, and without it, a story can feel shallow at best, pointless at worst. Themes are what keeps a reader thinking about the book long after she's put it down.

• What is the theme (or themes)?
• Are there examples of this theme throughout the novel?
• How does the theme deeper the character arcs?
• Is the theme stated clearly in the opening chapters of the novel?
• Does the theme tie into the resolution of the novel?

Is the Plot and Structure Solid?

Structure holds a novel together. Each scene should move the story and plot forward, building on each other to form a cohesive novel. It's not just a series of dramatized moments from someone's life, but characters making choices that affect them and others.

• Does every scene have a goal and consequences if that goal isn't met?
• Is there an inciting event within the first 30 pages (or 50 for longer books) that puts the protagonist on the path to the rest of the novel?
• Is there a moment at the 25% mark where the protagonist makes the choice to pursue the story problem?
• Does something happen in the middle of the book that changes how the story problem is viewed?
• Is there a dark moment or setback at the 75% mark that sends the protagonist into the climax?
• Is there a clear "win" for the protagonist at the climax? Something she has to do in order to succeed?

Are the Stakes High Enough?

Stakes make or break a story, because if the reader doesn't care if the protagonist wins, she doesn't keep reading. Low stakes is a common problem with stories that aren't quite making it but the author isn't sure why. If the protagonist can walk away from the problem and nothing in her life changes for the worse, then the stakes aren't high enough.

• Will the protagonist's life change for the worse if she fails to achieve her goals?
• Are the stakes big enough to be worth the reader's time?
• Do the stakes affect the protagonist personally?
• Do the stakes escalate as the novel progresses?
• Are the stakes clear from the beginning of the story?
• Are their stakes in every scene? (doesn't have to be the same stake)

Is There Enough Conflict?

Conflict is an often misunderstood word. It's easy to assume it means fighting, but conflict is just two sides opposed to the same goal. It can be adversarial (bad guy wants to nuke the city, good guy wants to stop him) or friendly (sister wants to win the race, brother wants to win the race). It can be different approaches to the same goal between friends, or even conflict within oneself.

• Is someone or something opposing the protagonist in every scene?
• Is the bad guy working against the protagonist?
• Are there personal beliefs in conflict?
• Are there philosophical differences that cause the protagonist trouble?
• Is it ever too easy for the protagonist to achieve her goal?
• Do coincidences work to aid the protagonist instead of hindering her?

Is There a Strong Narrative Drive?

Narrative drive is the force that moves the story along. It's the reason the characters do what they do and makes the plot feel as though it's going somewhere and not just wandering aimlessly.

• Does the protagonist have a plan of action?
• Is the motivation for that action clear?
• Is there a story point to every scene?
• Is that point clear from the start of the scene?
• Is the protagonist making decisions that change how the story unfolds?
• Are there story questions dropped throughout the story that readers want answers to?
• If you took the scene out, would the plot change?

Is There Tension?

Tension works on micro and macro levels. It's the big face-off between hero and villain, or it's the small nail-biting moment waiting to see if one character notices something. It's what makes a reader stay glued to the page to see what happens next.

• Is there tension on every page? (A reason the reader keeps reading)
• Is there tension between characters? (good and bad)
• Is there tension between characters and the setting?
• Are there moments when the protagonist is relaxed? (if so, how can you shake her up?)
• Is there an unanswered question in every scene?
• When one question is answered, does another take its place?

Are There Character Arcs?

Like plot moves the story, character arcs move the theme. Characters typically grow and learn something over the course of the novel and are changed forever by this experience. No growth can leave a story feeling flat.

• What does the protagonist learn over the course of the novel?
• What lie is she telling herself/does she believe at the start of the novel?
• When does she realize it isn't true?
• What does she want most of all as a person?
• Does the external plot facilitate her achieving this personal desire?
• What is she most afraid of?
• When does she face this fear?

Are the Characters Fully Formed?

Characters are the souls of the story, and the more developed and real they are, the more drawn in to the story the reader will be. People are flawed and wonderful at the same time, with layers and complexities that often contradict each other.

• Are the characters flawed in ways that affect their decisions in the story?
• Do they have virtues that affect their decisions in the story?
• Do they have contradiction beliefs?
• Do they have backstories that have shaped the person they are now?
• Are those backstories relevant?
• Are the motivations plausible?
• Are the characters fully formed people or clichés or stereotypes?
• Do the characters have different approaches toward things?
• Are the supporting characters as developed as the main characters?

Does the Dialog Sound Natural?

Stilted dialog can stop a story cold or make it feel melodramatic and cheesy. Good dialog captures the essence of real life conversations without the awkward pauses and interruptions that actually happen.

• Do the characters sound like real people?
• Does each character have a unique voice and style of speaking?
• Is there any "As you know Bob" dialog that info-dumps or tells that should be cut?
• Do characters use language suitable to their status, age, or cultural situation? (for example, five-year-olds don't typically sound like college professors unless there's a reason)
• Is the dialog actual conversations or just two people stating information at one another for the readers' benefit?
• Are they telling each other things they already know?
• Are there empty dialog phrases slowing the pacing down? (pointless small talk)

Is the Setting Developed?

A well-develop setting and world helps draw the reader in and immerses her in the story. A badly developed setting or world leaves her confused and frequently jarred out of the story.

• Does every scene start by grounding the reader in the setting? (where applicable)
• Is the setting clear from the start of the book?
• Are there enough specific details that show the setting, or is it too general for a clear picture?
• Does the point of view character share her thoughts and views on the world around her?
• Does the setting or world make sense?
• Are their people interacting with the world or is it just a backdrop?
• Is too much focus spent on the setting descriptions?

Is the Pacing Working?

Pacing is the speed at which the reader learns information. Longer sentences slow the pace down, shorter sentences pick the pace up. Dialog (internal and external) typically reads quicker than description and stage direction. Too fast can be exhausting, while too slow can be boring.

• Is the pacing consistent with the genre?
• Does the pacing speed up during major plot moments?
• Are there waves of fast and slow pacing throughout the novel?
• Is the pace quick enough to keep readers reading?
• Are there any slow spots?
• Are there any spots that are too fast and the reader has trouble absorbing the information?
• Are there any spots that encourage reading skimming that should be revised?

This is only a small sampling of possible things to look at, but they should give you a solid plan for examining your novel for trouble spots.

What things do you look for when you're evaluating a manuscript?

Janice Hardy always wondered about the darker side of healing. For her teen fantasy trilogy THE HEALING WARS, she tapped into her own dark side to create a world where healing was dangerous, and those with the best intentions often made the worst choices. Her books include THE SHIFTER, BLUE FIRE, and DARKFALL. She lives in Georgia with her husband, three cats and one very nervous freshwater eel. You can chat with her about writing on her blog, The Other Side of the Story, or find her on Twitter @Janice_Hardy.

Janice is presenting her "It's Showtime! Show, Don't Tell" workshop at the SCBWI Southern Breeze WiK Conference in Birmingham, AL on October 12. Non-SCBWI members are welcome to attend.

Mark your calendar for next Wednesday. Writers in the Storm is gearing up the fanfare for the launch of an exciting new feature. To celebrate there will be bonus posts--and more.

by Erin Brown

You’ve slaved for months, years—perhaps decades--to finish your manuscript. You’ve tackled all-nighters, tear-your-hair-out rewrites, grueling self-imposed deadlines. You’ve grappled with creative juices that either flowed until you were drunk with brilliant narrative or dried up to leave you parched, devoid of inspiration, sobbing onto your keyboard.

You get my drift. You’ve poured your heart and soul into this baby of yours. You’ve reached the point when you want to start submitting to agents or self-publish.

Of course I might be biased, but based on fifteen years in the business, your manuscript and chances at success will only improve if you have an editor review your manuscript so that it’s grammatically clean and the plot, characters, pacing, description, dialogue, and narrative are up to par.

Remember that you don’t get a second chance to make a first impression with an agent or your readers.  The writers that dig in their heels and decide not to hire or listen to their editor usually never make it out of the starting gate.

So what happens when you get it into the hands of an editor—whether it be a freelancer (like moi—the best kind, of course) or an editor at a publishing house (wow, also fabulous and just like me—at least in my past Manhattan life)? You couldn’t be happier! Finally, someone to tell you how wonderful your writing is! To affirm what you’ve known all along: that your novel/memoir/epic saga/brilliant tome will change the literary world as we know it.

But what happens when you get back the editor’s notes (insert ominous music here)?

“Hey! This isn’t what I signed up for—there’s red all over this damn thing! She’s rewritten half of chapter one! She wants me to completely get rid of the elfin king/swashbuckling sidekick/sickly grandmother/omniscient narrator/the last half of the book!”

This is a travesty and not what you signed up for, right?

Wrong. This is an editor’s job. To make a manuscript the best it can be based on years of experience, knowledge of the industry (hopefully, if you get a good one), and their honed skills of enhancing storytelling and writing.

More often than not, how a writer works with their editor makes all the difference between a good final product and a bad one. This relationship is what separates a smart writer from a—ahem—not-so-smart one.

You must have faith in your editor, in their knowledge, in their experience. If not, what’s the point of having an editor? And yes, you do need one. Everyone needs one, even the most brilliant writers, and the smartest writers embrace what their editors do for their books—which is to make their “baby” that much stronger.

Whether the manuscript comes back to you covered in red (and early in a career, most do, so don’t fret!) or if there are a few simple, but significant suggestions here and there—these edits are made in order to make your book better.

Even if you simply hire a freelance editor to clean up your manuscript in terms of grammar so that you don’t embarrass yourself when you begin the submission process, it’s almost always advisable to get someone (not a family member or friend) to review your work. And usually hiring an editor to give advice on content is even more valuable.

Here are the steps to getting the most out of your editor:

1. Throw your ego out the window.

Once you’ve written ten bestsellers, then you can pooh-pooh your editor’s suggestions (however, if you’ll read some of these bestsellers later in the career of an “Author with a Big Ego,” you’ll find yourself asking, “Sheesh, didn’t this guy have an editor?” Yes! But he didn’t listen to his editor because Mr.-Fancy-Pants-Author-Who-Got-Too-Big-for-His-Britches thought he knew everything. He didn’t.

*Note: please feel free to appreciate my double pantaloons cliché.

An editor exists to strengthen “your baby,” not tell you that you’re fantastic. You have a wife or husband, and eventually a publicist, to do that.

2. Once you’ve picked yourself off the floor after reading the edits and suggestions, dust yourself off, embrace the revision process, and get to work.

Once you begin revising and/or incorporating your edits, you will find that ninety percent of the time, indeed, the changes are strengthening your work.

You’ll experience, “Damn, why didn’t I think of that” moments. The reason you didn’t? Because a fresh set of eyes is essential. You’re too close to the work to see the flaws and what is needed to take it to the next level.

3. Learn from the editor’s changes and suggestions.

Feel free to ask “why” and “how” so that you’ll be able to give your future manuscripts a stronger self-edit. You will learn from the edits, and in the next go-round, there won’t be as many. Keep in mind, however, that even the most prolific writer needs revision work . . . and the smart ones know and welcome it.

4. It’s okay to question your editor’s suggestions if you feel very strongly about something.

You can stick to your guns in certain instances, but pick your battles. Working with a freelancer, it’s your prerogative to ignore every piece of advice they give you (although a waste of money), but in the case of an editor at a publishing house—the one that bought your book—it’s not advisable to lock horns in combat over every change.

Why? For one, your relationship with your champion at the publishing house will sour. Two, if your editor is reputable (choose wisely, my friend), they probably know what they’re talking about and your manuscript will only get better. And three, no one likes a pain-in-the-ass writer who thinks he’s all that and a bag of chips.

The most amazing and successful authors I’ve ever worked with are those who accept revisions and edits (not blindly, but because they recognize the worth of the revisions) and then embrace the revision process.

***

If you find an editor and follow these steps, I can almost guarantee that your manuscript will be exponentially stronger after a round (or two or three) of revisions. Smart and successful writers embrace their editor and recognize them as both their cheerleader and partner in the process of making a book the absolute best it can be.

A smart author has to check their ego at the door, put faith in their editor, but still be strong enough to know when to pick their battles. Allow your editor to guide and help you to be the best writer you can be. Chances are, you’ll take “your baby” from good to great.

So, it's your turn. Have you had a good experience with an editor? Have you ever considered hiring one on your own?

About Erin

Erin Brown is a professional editor and has worked for almost a decade at several large New York publishing houses.

She began her publishing career at HarperCollins Publishers, where she worked in virtually every genre, including mystery, romance, literary fiction, women’s commercial fiction, and non-fiction. She was privileged to work with numerous bestselling authors including J.A. Jance, Bruce Feiler, Elizabeth Peters, Jerrilyn Farmer, Lawrence Block, Carolyn Hart, and Mary Daheim. She was also part of the fabulous St. Martin’s Press team as an editor with the Thomas Dunne Books imprint. There, she enjoyed acquiring fabulous debut novels and editing such bestselling authors as Carole Matthews, Madeleine Wickham (a.k.a. Sophie Kinsella), Homer Hickam, Robin Pilcher, and many more.

After almost a decade in New York City, Erin and her husband returned to their hometown of Austin, Texas, where Erin began a thriving freelance editorial business with her website www.erinedits.com. Although she often misses the chaotic hustle and bustle of Manhattan, she is now free to concentrate on what she loves the most: working directly with aspiring authors to get their work into the best shape possible before submitting to agents and houses.

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