February 22, 2010

During the past year I’ve done more novel critiques than usual. Some have been so-so, some were very good, and a few have already sold.

What made the difference between the “very good” stories and the manuscripts that sold? In my opinion, it was the overall strength of the novels.

Often the “very good” book manuscript was strong except for just one area. Maybe there was no felt emotional connection with the main character, or all the dialogue voices sounded like the author’s voice. Perhaps the one weak area was lack of suspense despite beautiful prose, or poorly researched historical facts, or terrible mechanics.

Oops!

Often when I mentioned the trouble I saw, the writer emailed me back and said, “I knew that was a problem. I guess I was hoping you wouldn’t notice.” It’s better to listen to your gut feeling and assume if you know there’s a problem, others will see it too.

“Hoping an editor won’t notice” isn’t a solid marketing plan. Even if they had the time (which they don’t), editors aren’t in the business of fixing the story for you or teaching you how to write. That’s up to you-but what can you do?

Back to School

“Unless you’re working with an expert instructor, you need to be designing your own writing improvement program,” says James Scott Bell in The Art of War for Writers. “Work out a systematic plan to overcome your weak areas by setting up self-study programs.”

We all hope our novel’s strengths will over-ride the weaknesses, but you want your novel to be healthy overall, not just mostly healthy with one or two weak areas. If your physique were great except for flabby underarms, you would target that flapping fat with exercises and a program designed specifically for upper arms. In the same way, if your novel is weak in one or two areas, you need a specific exercise program to strengthen that area.

Make a Plan

For example, if your problem is dialogue that all sounds like the same flat voice, you might need a self-study program called “Creating Distinctive Voices.” Your study question might be: How can I create distinctive voices for each character, so distinctive that I can tell who’s speaking without any identification?

Here’s one plan, and you can adapt it for any area you want to improve:

1. Make a list of novels where you remember the characters coming through in their dialogue as distinctive. (accent, regional speech, slang, choppy vs. languid speech, hip vs. old-fashioned, formal vs. grammatically incorrect, straightforward vs. flowery speech, etc.)
2. Choose several of these novels and re-read them specifically for the dialogue. Keep your study question in mind as you read. Underline passages that do the job and then write a few scenes where you try to accomplish the same thing through dialogue. Don’t copy their words, but try to copy the technique used.
3. Buy some books on the particular writing problem you have and study them. There are good writing books available on every area of craft you can imagine. You don’t have to re-invent the wheel, nor do you have to submit stories that are weak in one or two areas.

In today’s economy, your stories need to be the cream that rises to the top. Ensuring that your novel is strong in every area is one way to do that.

July 8, 2009

The most common complaint I hear among writers–especially those who have published and are writing seriously–is that they no longer have enough time to read for pleasure. By the time the necessary writing, blogging, marketing, and studying is done, the day is gone.

Like most busy people I know, reading for pleasure is relegated to the end of the day after crawling into bed. If my eyes will still focus–less and less likely these days–I can’t stay awake for more than three pages. Reading for pleasure had almost become a thing of the past.

Until last week.

Enter the Playaway

Do you know about the nifty books-on-MP3-players called Playaways? I had never heard of them until last week at my local library branch. They’re recorded books, but not on CD like most audio books. They come on tiny MP3 players (weigh less than two ounces and are smaller than a deck of cards). Playaways feature both fiction and nonfiction, new titles and old classics. You check them out like books on your library card.

As it says on their website (where you buy or rent Playaways): “Welcome to Playaway, the world’s first pre-loaded digital audio player. Playaway is the easiest way to listen to a book on the go. Simply plug in the earphones and enjoy. No Cassettes or CDs. No Downloads. Just Play.”

If this interests you–but your library doesn’t have any Playaways yet–encourage your librarian to check their website before July 15. Until then, they are running a “buy two, get one free” deal.

Reading on the Run

Playaways have really improved the quality of my daily life. I know that statement sounds over the top, but it’s true. After being on the computer all day, my eyes are too strained to read for pleasure on my breaks. NOW I take my 15-minute breaks, put in eye drops, grab my earphones, and close my eyes. Someone with a beautiful reading voice reads a chapter or two of my favorite mystery or English novel.

I’ve also listened to the MP3 novels while doing dishes, sweeping, cooking, gardening, driving, and during my daily hour-long bike ride. I don’t mind the chores anymore–a miracle in itself–and I’m getting to enjoy my pleasure reading again.

Implications for Writers

Both adult and children/YA books are on Playaway now, so children’s authors can also keep up with their reading of new titles this way. I will be interested to see if “Playaway rights” shows up in my next contract. For sure, from now on I will be reading my work aloud before the final proofing to make sure the story sounds good out loud!

Time to fix my omelet for lunch. But first, let me slip that Playaway into my pocket. I’m dying to find out how that murder mystery ends!