In the Blogosphere: 4/26-5/21

“In the Blogosphere” is a series, which lists links to writing-related blogs I’ve stumbled upon throughout a given week (usually).

It’s been a few weeks since I did one of these posts.  As I’ve mentioned, it’s been busy, busy, busy.  I’ve been saving posts, but I haven’t been sharing them—how inconsiderate of me!

RESOURCES

This oldie but goodie post is from John Robert Marlow’s Self Editing Blog, and it deals with something I’ve seen a lot of lately: bouncing eyeballs.  Many writers—especially those writing young adult lit—have eyes and jaws and stomachs (and such) doing all sorts of things they couldn’t possibly be doing.  And while expressions like “she rolled her eyes,” “his jaw fell to the floor,” “his stomach dropped to his knees” are simply that—expressions—idioms—they can sometimes be jarring to the reader, and it is recommended by many that writers avoid using such phrases.  Marlow’s post does a great job of explaining why.

I mean, this is an eye-roll according to Morfland of OpticalFantasies.com!

And, my absolute favorite example of this comes from when I attended book doctor Bobbie Christmas’s class at the 2008 Southeastern Writers Association conference.  Christmas said she was editing a romance novel, and one of the lines read, “Her eyes were glued to his crotch.”  If you think about that image—the literal image—that can definitely take you out of what I’m sure was supposed to be a hot-and-heavy moment!

But I digress. 🙂

In this post, Paulo Campos of yingle yangle suggests using film to expand your use of body language.

WRITING FOR YOUNGSTERS

Since I write YA and am a recovering high school (and middle school for one year) English teacher, I have a soft spot for all things kids’-lit related.

In her guest post on the Guide to Literary Agents blog, Jewel Allen offers some tips on writing middle-grade lit kids will dig.

To swear or not to swear?  Andrea Brown Literary Agency’s Mary Kole discusses this very question in a few posts over at her blog, Kidlit.comHere is the first of those posts.

LOGLINES & YOU

In the quest for representation, I have discussed queries and pitches and loglines a lot with other writers as well as here on the blog.

Over at Writer Unboxed, Kathleen Bolton explains why you need to be able to boil down your novel to one or two sentences.

Curtis Brown Ltd’s Nathan Bransford concurs.

Here, Bransford tells you just how to do that.

Perfect your pitch! (Yes, Kyle, this pic is for you. Sadly, though, I have no idea who this player is. Sorry - I'm trying, though!)

PEP TALK

And what would the writing world be without pep talks?

Over at TotallytheBomb.com, YA author Jamie Harrington uses Rick Astley to keep us going when writing gets tough.

Sick of Nathan Bransford yet?  Get over it!  Here, he ‘splains that willpower is the greatest strength a writer can have.

Seekerville’s Camy Tang gives some ways one can balance writing and, well, everything else in life.  Stress not—it *can* be done!

PLATFORM

What’s this whole platform thing everyone’s talking about all the time?  Well, YA author Jamie Harrington will tell you.  She did a great little series over at her blog.  A must-read/view for all writers.

If You Missed the SWO LIVE CHAT . . .

. . . you weren’t alone.

For those new to the blog, I just had to move my online writing group from Ning to Grou.ps, and the new network is buggy: I tried to send a reminder about the chat to all SWO members today to no avail (I found out that feature has been defunct the last two days—grr!), one of my regular attendees couldn’t access the network at the time of the chat, as well as a host of other wonky things with the new site.

Eeeeeeeeh - the site is buggy, Doc!

Overall, I’ve been impressed with Grou.ps.  After all, it can’t be easy for them to accommodate the Great Ning Exodus of 2010.  They have a tech support group for administrators, which has been helpful to me, and they seem to be actively taking care of buggy things as people report them.  However, don’t mess with my chat!

I suspect they’ll have all the kinks worked out before the May chat.  (I hope! I hope!)

THE GIST

If you missed our chat on revision and rewriting tonight for whatever reason, here are the highlights:

  • Re: Revision & Rewriting: What’s Your Process & How Do You Know When to Stop?
    • We discussed a method of editing I use: editor Bobbie Christmas’s “Find and Refine Method” as outlined in her out-of-print book, Write in Style: Using Your Word Processor and Other Techniques to Improve Your Writing
      • In the book, Christmas discusses how to tighten your writing and lists words and phrases you can search for within your manuscript to quickly find the problematic areas—all using your word processor’s “find” function (i.e., passive verbs, adverbs, certain words and phrases writers often overuse, etc.)
    • One member mentioned a CD called Writer’s Mind, which is designed to engage patterns of your own EEG and stimulate your creativity
    • We talked about reading your manuscript aloud
      • Doing this not only makes others think you are strange, but it also enables you to catch spelling/grammar mistakes as well as pinpoint problematic syntax, etc.
    • We touched how allowing space/distance between yourself and your manuscript is key
      • If you are too close, you’re not going to catch as many errors—your brain kind of fills in missed words, etc.
      • We debated how much space one needs—how much distance—and this, of course, is subjective
        • Some felt sleeping on it and revisiting the manuscript the next day was sufficient
        • One person suggested you not live, touch, or breathe the MS for at least a month before editing
        • Some mentioned sending the piece to beta readers and working on something else to get your mind off said manuscript
          • By the time the betas have read it, you should be sufficiently recharged

    Make like Michael Strahan's front teeth, and get some space between you and your MS!

  • This led to a discussion about beta readers—Re: where to find them and how to know if you can “trust” someone to give you constructive feedback
    • Some places suggested to find beta readers included: listservs, online writing groups, writer friends you make at conferences, etc.
      • One of my favorite comments of the chat: “Beta readers = fellow writers. Avid readers. Not Mom, Not Dad. No one you’ve slept with.” 🙂
    • Re: How to know if the betas are going to be any good
      • We pretty much agreed that it’s a crap shoot
      • You want to be on the lookout for someone with a “good eye”
        • You might establish this by getting a feel for the person through e-mails, chats—get to know them—see if they’re a good fit—research them.  THEN, make your decision.
        • One member said he has his betas complete a questionnaire so he can elicit constructive feedback—a very interesting way to guide the beta reader to focus on whatever you need them to focus on!

You could also pick up a beta at a pet store for, like, a dollar.

  • Re: How to know when to stop editing
    • We pretty much said it can be kind of a gut thing
    • My rule:  When you’ve revised so many times that you hate yourself—and your manuscript—and you feel like you might physically die if someone made you look at it again, then you *might* be done . . . but you should probably still have someone else look at it at that point.  Get that distance we mentioned.

Rappers from the '90s have surprisingly good advice for revising. (It was a toss up between this and one with "Stop - Hammertime" spray-painted on it.)

  • Re: Miscellaneous
    • We discovered that the new chat has awesome—but random—emoticons that we just stumbled upon
      • For example, by typing “(rain)”, a raincloud appears in place of the words—WHA?
      • This distracted us several times.
    • We discussed light versus edgy YA, as a few of us learned we had been hearing similar comments from agents about our MSS.
    • Marice decided she’s going to host a writing conference at her place Down Under. 😉
    • I invited myself to Australia, Los Angeles, and Macon, Ga.

Now, it’s your turn.  Anything to add to the conversation?

Writing Tips: How to Write Full Time & Stay Sane–Installment III

How to Write Full Time and Stay Sane is a series that offers advice to full-time writers about how to stay productive and in good spirits.

Much later than promised, here is the third installment of this series.  In writing it, however, I have decided that, instead of this being just a three-part series (as originally planned), it will be an ongoing series.  As I learn to write full time and stay sane (or attempt to do so, anyway), I so shall share my tricks with you.

Corner of the Sky

First of all, I’m using the title of a Pippin song that’s now stuck in my head (here’s a rendition of it as performed by the Jackson 5 = awesome!) to say: you need to set aside a place where you can work.

Little brat that I am, I recently got a brand new office in my new house 😛 , but if you’re not as spoiled as I, your “corner of the sky” could be a favorite chair, a side of the bed, or place at the kitchen table.  (Although, I recommend an upright seated position; otherwise, you’ve got procrastination written all over you.)

True, that was one of the tips we gave to fifth and sixth graders needing help with study skills the year I taught middle school, but it applies.  I’m much less productive if I’m all over my house or lounging on the couch with my laptop than if I’m at my desk.

Find your own place—one safe from your parents/spouse/kids/pets—and you’ll be much more apt to focus.

**Ooh!  I just got another great song in my head with lyrics that apply to this section—The Secret Garden’s “The Girl I Mean to Be.” (Musical theatre references?  No?  Okay…moving on…)

Don’t Let It Get Stale


At the 2008 Southeastern Writers Association conference, one of my favorite presenters, Bobbie Christmas, taught (I believe) a three-day workshop.  Each class, she made us sit in a different seat, on a different side of the room, next to different people.

The method behind her madness, she said, was that breaking out of your comfort zone gives you a different perspective, and our writing needs new perspectives in order to stay fresh.

The Type-A in me tends to cringe at breaking out of a routine when we’ve worked so hard to establish one, but Christmas had a point.  Although it’s important to establish a place of work so that you can get into “work mode,” writing is a creative process, and sometimes you need to modify your regimen in order to get the creativity flowing.

So, in all your planning, schedule an “off campus” writing day at least once a week.  Go to Starbucks—Barnes & Noble—your local library.  Indulge in a latte and let your fresh surroundings inspire you.  Even if 99% of what you write that day is drivel, 1% of it might be the kernel you were looking for to start a new manuscript or spin your existing one on its end.

As well, getting out of the house does wonders for your psyche.  Just when you forgot other living, breathing humans exist, there they are, interrupting your writing by yelling at the barista, hitting on the college girls next to you, talking about cheating on the SATs…giving you all kinds of material.

Speaking of Other Humans…

Pierce and Dean Pelton of Greendale Community College with GCC mascot "The Human Being."

Talk to other people—preferably those who understand you and your field.  As writers, we need to share our experiences with others who can best understand them—so we know we’re not nuts.  (Or, if we are, at least we can find solace in the fact that others are nuts, too.)

This is the aspect I have felt to be lacking most since I started writing full time because, without coworkers, writing can be a lonely existence.  I need to be able to bitch to someone who understands, to bounce ideas off a buddy, to ask questions about the industry, etc.

There are a whole host of things you can do to remedy this:

  • Writing groups. I’ve been pushing this a lot lately.  People serious enough to commit to a writing group certainly understand you.  There is a level of professionalism there—camaraderie.  They want feedback, you want feedback.  They have the same fears/grievances/joys as you.  Embrace that.

If there aren’t any writing groups in your area and you’re too lazy busy to start one of your own, the Internet has some great options:

  • E-mail. If you’ve met people at a writing conference and exchanged cards or e-mails—doink!—chat them up!  This isn’t rocket science.  Writers are some of the nicest, most approachable, most willing-to-talk-to-you (no matter what your stage of writing) people I’ve ever met.

If you’ve made a connection, follow through with it.  Don’t be afraid.  I can’t tell you how many times I’ve met someone at such a venue, followed up with an e-mail, and the person responds: “I’m so glad you decided to write!”

I’m not trying to sound corny here (it’s just happening!), but why are we surprised when people follow through?  In the words of Andy Samburg’s character in I Love You, Man, “He gave you his card.  It’s an open invitation.”  We have to stop being so afraid to take chances and just make stuff happen.  Nine times out of ten when I’ve done that, it’s worked out more positively than I could have imagined.

  • Blog comments. If you find yourself without business cards from writers, check around the blogosphere.  Comment on blog posts you find interesting.  The more you put your name out there—particularly if you have something worthwhile to say—the more Web friends you will develop.  (I’m always thrilled when I get comments on my posts or e-mails as a result of reading my blog or Web site.  Others are as well!)
  • Facebook. Plenty of writing groups/authors’ fan pages are just a search away on FB.  These are breeding grounds for other write-minded folks.
  • Twitter. This one is, perhaps, the most valuable of all.  I was previously a “skeptwic,” (is that a thing?) but I have been converted in the last month.

TONS of writers, literary agents, editors, and other publishing industry peeps hang out on Twitter—day and night.  Not only do they have hilarious things to say on a regular basis, they also offer free writing tips, answer questions, and more.

Whether or not you want to jump on the Twitter train, it’s a great way to stay on top of the writing world as well as network with professionals.

For example, one of my favorite things right now is #YALITCHAT, a weekly writing discussion hosted by YA author Georgia McBride.  This, along with other “Twitter parties” similar to it, happens weekly, and in it, several of the industry’s top agents and authors answer as many questions as they can, within usually an hour.

Here’s a link showing more of these hashtag parties for writers.

  • Online writing groups or forums. I currently belong to two such groups on Yahoo! (TeenLitAuthors and YARWA), one stemming from #YALITCHAT on Twitter, and I’ve started my own (which is associated with my writing group here in Harrisonburg, Shenandoah Writers).

These are great places to get advice, vent, network, and most are password-encrypted as well as membership-required, so you know it’s a secure forum and you’re not just posting everything out there in cyberspace.  (I will be posting more info about Shenandoah Writers Online soon, so stay tuned—and I hope you’ll consider joining!)

Lastly, Talk to Humans Who Love You

And if your family can't help you, maybe they can strangle you. (Pic courtesy of http://www.awkwardfamilyphotos.com)

As I said, writing can be a lonely business.  Even if you make a ton of cyber friends, you “meet” with writers on iChat or Skype, and you have 500 followers on Twitter, that can’t always replace people IRL, so don’t forget to hit up your family and friends.

Although these people might not know what you’re talking about when you discuss “platform” or “urban fantasy,” they still love you and most will still listen to you vent about things when the need arises.  As well, they will support your decisions, whether they fully understand them or not.

Even if you’re writing schedule has you keeping vampire hours, take some time out of your week to tell Mom and Dad what you’re up to.  In most cases, it will make you feel better just to hear their voices, and when they catch you up on what’s been happening in their lives, it might be just the downtime your brain needs to stay on top of your writing game.

You Have a Question? I Have an Answer: Rewriting & Editing – What’s the Difference?

“You Have a Question?  I Have an Answer” is a feature that answers real questions from real writers.

Q: What is the difference between rewriting and editing?  To me, rewriting sounds like starting with a new, blank page.  Editing is going through and proofreading, making sure that plot sequencing and continuity work, and making sure that everything makes sense and remains engaging throughout the work.  Clarification there would be helpful.                                               -E.B.

A: When agents and others in the writing and publishing industries mention rewriting, they aren’t necessarily talking about starting with a clean slate.  I mean, sometimes they are, but not always.

These two terms are used somewhat interchangeably because they tend to be intertwined.  In fact, I would say rewriting is actually the umbrella under which editing falls because you almost can’t have one without the other.  However, I suppose it depends what kind of editing you mean.

The rewriting umbrella can save you from a downpour of rejection.  Yes, I'm a dork. :)

The rewriting umbrella can save you from a downpour of rejection. 🙂

Line editing is more like proofreading. When line editing, you go through, line by line, and check for grammatical, spelling, punctuation, and formatting errors—and generally, that’s it.

Copy editing takes the aforementioned into account (what good editor doesn’t notice those things?), but this is where you look at everything as a whole and focus more on character, plot, cohesiveness, sequencing, etc. Chances are, if you are wired to do either of these things well, you probably cannot completely shut off your grammar/spelling/formatting switch when you’re trying to focus on the piece as whole, and that is how these two become intertwined.

Rewriting is something that happens whenever the writing transforms.

You almost can’t have one of these without another (unless you scrap the whole thing and begin again at page one) because if you find that you need to alter something with plot sequencing or character, it’s usually not just a matter of changing one word.  You fix those things by weaving in new details in various places of your novel, and you omit what doesn’t work. Any time you tighten a paragraph or clean up a sentence, your original manuscript becomes something else—transforms into something better.  Translation: You are rewriting.

One example of something that toes the line between editing and rewriting is replacing passive verbs with active verbs.  Say you notice that you’ve used mostly passive verbs throughout your manuscript.  If that’s the case, you must rewrite because those are countless opportunities for revision.

Let’s take a look at a very basic example.

She is drinking the tea.

This is a passive sentence in that we’ve used a passive verb form here (present progressive form, for my grammar nerds out there).  We can do a number of things with this sentence, but even using an active verb can transform the writing.

She drinks the tea.

OK, so here, we’ve kept it in present tense, and we’ve cut down a whole word.  If you’ve got a manuscript chockfull of is/are/was/were, cutting down on just that one word per sentence will add up big time.  Paring down word count is definitely a transformation.  Depending on how much you cut, it can mean the difference between an agent asking for pages or rejecting your query.

But this sentence is kind of boring.  Not as much of a transformation as I’d like to see, as it doesn’t give the reader much of an indication about the character.  We could certainly use a better verb to convey something more—even if that’s all we change.

She slurps the tea;  She sips the tea;  She downs the tea;  She gulps the tea;  She ingests the tea;  She swigs the tea;  She guzzles the tea.

And so on, and so forth.  But you get the idea: One verb can mean the difference between proper and boorish.

Each of these verbs does something more than the original sentence, and—though it may be painstaking to some—it’s these kinds of decisions that make the writing clearer and cleaner.

To me, if you’re putting that kind of time and care into your editing (as we all should be), that goes beyond just editing and fits more into the category of rewriting.

I hope that answers the question!

Resource:

This book changed the way I write and edit.

This book changed the way I write and edit.

My favorite editing book—in fact, it changed the way I write and edit—is Bobbie Christmas’s Write in Style.

Christmas’s patented “Find and Refine Method” provides lists of words and phrases to put into Microsoft Word’s “Find” function to make for speedy editing.  If you follow her suggestions throughout your entire manuscript, adding, omitting, and revising where necessary, your writing improves 100%. 

Unfortunately, it’s out of print, but you can still get it here.