First-and-a-Half Pass Done!

Made it through to THE END of the romance rewrite this afternoon. Why am I calling it a first-and-a-half pass? Because so much of it turned out to be new material! I retyped the whole thing, even the scenes that came across reasonably intact, because I was hunting down passive voice and shallow point-of-view along with the deeper issues of wobbly plot.

Next week I'll read through the whole thing and figure out if it works now. Doubtless I'll find a few things to change, to say nothing of the fact that I'm 3,000 words over the maximum allowed for my target publisher. 3K will be quite easy to cut, though. In fact, I may already have chopped a third of that as I tightened and retightened the opening pages for the Genesis contest. I'm not sure until I transfer the pages back into Scrivener, where I've been doing all the writing since then. (I had to do the pages in Word to make sure I had the formatting correct all the way through.)

And then it's off to a few trusted critique buddies while I turn my attention to writing the workshop for May. I'm happy! :)

Revision Outline

As near as I can remember, I am currently working on my sixth novel revision. By the time I'd written my first novel, I'd figured out that an outline would be a huge help. Why did it take me so long to understand that the same thing would be true of revision?

In 2007 I spent most of the year revising one novel, and I'm happy with the result. The process, however, was like pulling hair out by the handful. I worked through from beginning to end, going back and forth as I discovered issues. For instance, realizing something needed to be foreshadowed, then searching out the best place to put in a mention earlier. Realizing I'd dropped a thread, and looking for places to tie them off later on without drawing undue attention. Or should this thread have become more important rather than dwindling? Back and forth, back and forth. Just keeping track of all this (in my head, of course--where else?) was headache inducing and there were days I simply couldn't face the mental gymnastics required.

Holly Lisle talks about a one-pass revision. I thought I was doing this, for the most part. But I was so bogged down I couldn't see the forest for the trees. Many days, I couldn't see the trees for the twigs and leaves in my face.

About a year ago Margaret taught a workshop at Forward Motion about using a revision outline. I could see that this method worked with what Holly had been trying to teach. Since then, I've taken Holly's How to Think Sideways online writing course (highly recommended, by the way!) and feel that the process has clarified for me.

I guess the proof is in the pudding, as they say. I've read through Chloe this past week using techniques learned in the Think Sideways class, and analyzed my scene list with all the insights I've learned since the last big revision. Today I deleted scenes (in outline form) that were either weak or misleading or pointless, and replaced them with ideas that add greater conflict and move the story forward more forcefully. I've still got about the last 20% of the outline to rework. There are several really lame scenes coming up that need to be reworked, but I think I've got the underpinnings in place to deal with it.

This is all going in Scrivener. Have I mentioned lately how much I love this program for Macs? One thing Holly teaches is something she calls The Sentence Lite, in which one tries to get to the central kernel of the conflict of the individual scene. This Sentence Lite is what goes on the front of my Scrivener notecards, but, being as they're virtual notecards, there's plenty of room on the *back* for additional details, such as what subplots are carried in this scene, what additional characters are present, etc.

This is giving me the best of both worlds. I used to simply write *about* the scene on the notecards, and then wonder why the scene, when written, fell flat. Well, some of them weren't really scenes, didn't have solid conflict, didn't do any thing that pushed the whole story forward. They had good information in them and were often needed to a degree, yet still fell short of the goal. Spending a bit of extra time to focus on the core conflict of each scene ahead of time helps me to clarify the path through the scene.

At least, that's the goal. I wrote the new first chapter to Chloe's story yesterday, then went back to the re-outlining today with a new sense of purpose. I have a much clearer vision of where this story is going, and what I'd like to accomplish with it. Having this version of an outline is energizing!

Writing Workshop--Thinking Sideways

A few weeks ago I signed up for a six-month writing workshop put on by multi-published author Holly Lisle. She's the gal who founded my writing home-on-the-web, Forward Motion, and I've been following her weblog A Pocket Full of Words for the better part of six years now.

I've watched from the sidelines as she's pitched novels, sold them, written them, revised them. I've watched the misses, too. The pitches that didn't sell, the books that were hard to write. I've seen the determination and drive that characterizes Holly and her absolute willingness to be transparent with us all. I've bought several of her writing clinics from Holly Shop, and while not every one of them has clicked with me for every project, I've learned a LOT from her in various formats over the years.

When she began brainstorming a full workshop, I was intrigued, though I wasn't sure I could afford to take it as the various price points were debated. When registration finally opened at just under $300 for the six month program ($47US payable via PayPal every month), I jumped at one of the few remaining seats. And I'm so glad I did.

How to Think Sideways has been worth every penny from the very first lesson. Holly started off by looking at the things that prevent many folks from giving their all in any circumstance, writing included. From there we began clustering, which is something I've resisted doing as I just thought my brain didn't work that way. It was hard at first, but because I loved Holly's recommendation of Scrivener so much, I decided to download the free trial of Inspiration as well. It's a mind-mapping tool that allows you to associate words in any number of ways. Not only words, but many can be swapped out for clip-art and photos, to grab ahold of the more visual part of the brain.

Using the skills we had begun to learn in clustering, our next task was to *call down lightning* in the form of three viable story ideas that we would be excited to write. If you've been reading much here, you'll know I've been struggling with this for several months. And while I don't currently have THREE solid ideas, I did come up with two pretty decent ones. The fourth week taught us how to refine those ideas into something we couldn't bear NOT to write.

(Yes, this is making focusing on Tempest a bit difficult, but I'm managing some words every week there, too!)

I'm really quite excited for the next few weeks as we take those ideas and learn how to transform them into novels. So far the experience has been better than I'd hoped for, and we haven't yet begun to touch on the core reason I, at least, signed up for the course.

The core reason? The thinking sideways part. Holly's good at convoluting and twisting the plots of her stories so that they are very hard to put down. If I can begin to learn how to do that, this course will be a total success. Right now, I'm very optimistic about the five months yet remaining.

She's currently planning on repeating this workshop, and I'd encourage anyone who wants to write tighter books to consider signing up.

Tempest is ready to roll

It's only been a couple of weeks since Tempest erupted in my brain with her sort of complete story synopsis. I tried to ignore her for a couple of days, thinking I knew best. When that didn't work, I jumped in with both feet. By the time I'd fleshed out what I knew of the synopsis, built a story world that allowed this story to live in it, then expanded the outline based on the story world (leap frog, anyone?), I found myself with a full, though nasty, culture and a handful of characters with their own ways of reacting to it. And a lot of random characters who may or may not come to play in a larger way.

Of course some of that original synopsis turned out not to be accurate, but it was surprisingly close being as I've never had a story start that way for me before this.

I have quite a full Scrivener file--high five to Scrivener!!--and plan to start writing the novel tomorrow.

You know how long it's been since I've rough drafted? Nano '06 (The Girl Who Cried Squid, aka Off Beat). Yeah, it's been awhile. I hope I remember how. I never intended to have such a large gap.

At any rate, here we go again...

Story Compost

The Matchmaker world needs to be quite complex for a couple of reasons. First, I can see several novels taking place in it, so there needs to be plenty to explore. Second, each novel should be 100-150,000 words. That's a lot of story, to the uninitiated. Longer than the average novel. Why? I figure if you're going to think at all, you might as well think big, and so this world and novel are being designed with the Luna imprint in mind. Luna is a division of Harlequin that features novels in a fantasy setting with a strong female protagonist and a romantic subplot.

The first draft of Majai's Fury (aka Marks of Repentance) came in about 93K, my longest ever. The re-re-revised version that is currently seeking its fortune is 101K. The matchmaker novels could/ should come in at one and a half times that.

Gulp. That's a lot of story. That's a lot of world.

I've been *seeing* this world for a couple years now, catching glimpses of Kaesa, the first heroine to have her tale set here. About a month ago I decided to focus on her story and see if I couldn't get her ready to write in just a few short weeks.

Insert maniacal laughter here.

I've followed my mind into whatever paths seemed to entertain it and possibly pertain to the Plan. I've played with mythical flying beasts and Yiddish matchmaking sites. I've downloaded Scrivener and created characters and twists and plot cards.

There are many layers composting in the Scrivener binder called Matchmaker. Trust me on that. There is a very cool story in there. Somewhere. But many holes remain. What I don't know is if the projected length of the project is messing with my mind or whether there's something else wrong. I'm pretty sure it's fixable, but I can't quite grasp the problem.

Metaphorically speaking, I've added layers of leaves and vegetable peelings and rotted hay to the compost. I've sprinkled it with water, and I can see the steam coming off the pile, so I know something in there is doing its job. I've taken the pitchfork and turned it over a few times. I've spread it out on the story seeds, but the sprouts are small still. Nothing can hurry growth. You can apply light and rain in the appropriate amounts--add a bit of fertilizer--but a strong story needs time to grow, to reach its roots into the good stuff in the compost and be strong and green and beautiful.

And the Matchmaker novel isn't ready to do that. Not this week, anyway. I'd welcome that flash of inspiration that would pull the threads together, but it seems it has to come to me--that going out and looking for it isn't quite working.

Enter Tempest, stage left.

She presented me with a complete, if skeletal, synopsis on Sunday and I've been trying to ignore her ever since. Today I gave up and created a new binder in Scrivener for her. It looks like her story should have no trouble coming in at 80-90K. I'll let it land there if it likes as I'm not sure it's really a Luna story anyway, though it meets the other basic requirements. I guess we'll see.

I hate abandoning projects, and I feel like I've been doing a lot of that lately. It does feel better when I tell myself that they're just composting. Let's see if I can convince myself.

Scrivener

If you're writing on a Mac, hie thee over to download the trial version of Scrivener. Seriously. There's a decent video there to show you why you need it.

Here's why *I* needed it! I often plot/ outline with physical 3x5 notecards, but I have issues with them. I like color-coding things, but committing to writing plot points on a green card is difficult. Green cards belong to the MC. What if I later I decide to write the scene from another character's POV? Then it should have been on a yellow card! Or even a pink card. You can imagine the dilemmas this causes. Seriously. I've sat and stared at the cards, afraid to commit.

Okay, so that's silly. I can just use white ones, and once I for sure decide whose scene it is, I can run a highlighter across the header to match the character. That helps, but I still lack space to spread them out at work.

And then there is the issue of what to do with the random bits of information that I'm not sure what scene it's going to belong in. I see a setting, but what will happen there? So really, I need to know quite a lot about the story before I pull out the notecards. And then...I may as well go straight to Word or Excel, eh?

Only the cells in Excel really aren't big enough for all the information I might want to have in them--notes for each scene. And sometimes they're a pain to rearrange. I've lost stuff doing that.

Back to Word. There each scene takes as much space as it needs. I can list the POV character, the setting, etc no problem. But there still is that random stuff that might become a scene if it found the right other information to collide with.

And with the matchmaker, I've gone round and round in Word and Excel and was pulling out the notecards a couple days ago (in desperation!) when I remembered that I now have a MacBook.

You'd think I couldn't forget such a thing. I've overcome much of the learning curve and am no longer panicking every five minutes that I don't know how to DO whatever it is I'm trying to do. (That's now reserved for like once a day!) But with the remembrance that I now use a Mac, I remembered that Holly Lisle uses Scrivener. (Ha. You thought I'd never get to the point.)

So I asked around a bit and then downloaded the trial version this morning. By the time I'd gone through the tutorial I had a bit of a headache. So much information! But then it was lunch break and I went for a long walk, came back, and decided it was time to see what would happen when Matchmaker met Scrivener.

I think they're in love.

First, importing files from Word is easy-peasy. (And they're still there in Word, too, should I need them in that application.) Scrivener arranged things fairly intuitively. I only moved a few things to new locations, and it was easy to do. So on the left of the screen, it's like an organizational tree program. There's tons out there, several of which I've used from time to time and quite liked. But this does more.

It has a virtual corkboard with 3x5 notecards! :D And because I am not actually wasting notecards by changing my mind later what color I want them (lame, I know...), I can randomly type whatever I want on a given card, and change it later.

Each card has three *levels*. There's a title, which shows in the tree down the left side. Then on the actual card itself, below the title, is enough room to write a decent synopsis of the scene (about the same amount as on a physical card). BUT, for all the little details, you can add them basically behind the cut. All of these can be color-coded and rearranged to my heart's content.

Which is cool. At the moment, I'm resisting the urge to title the cards in my outline section of the file, though of course I've labeled them in the character section. I'll save the title slot for numbers when I have them the way I want them. But one synopsis section simply says *picnic*. Because I think one scene will take place on a picnic. But I have no idea what will happen there that is significant, and I don't know if it will be early in the story or late. But for now, I have a card for picnic. Later, hopefully, one of the other cards with some other random word will decide it wants to hang out with the picnic card, and I'll combine them. Eventually, I hope, I'll have 80-90 cards with actual scene synopses on them.

The few cards that I know for sure belong to the beginning of the story--ones where characters meet each other, I've tinted light aqua. I've reserved pale yellow for middle scenes and pink for climax/ending scenes, but I haven't used any of those yet.

A person can easily write the entire novel in Scrivener. (Exporting back to Word is just as easy as importing, for the final formatting and such.) I think it would be especially cool for folks who write scenes out of order, because you can rearrange all the scenes simply by moving their cards around. So far I've always written linear, but this setup loosens the cells in my brain a little and makes it okay to play. I don't know if I will, though!

So, after one day, I'm really excited about some of the odds and ends that are stuck to my virtual corkboard and how I might arrange them and add to them. I've still got quite a ways to go to have a full and complete plot, but it's really looking positive at the moment!