Blog Hop - My Writing Process

 
I'd like to thank Michelle Hauck, prolific blogger, contest runner (she's running a mini contest right now!), and newsletter writer, for inviting me to join this blog hop. Check out her post here:

Michelle is also the author of Kindar's Cure, and a contributor to the anthologies Winter's Regret and Summer's Double Edge.

 



For those new to the blog hop, the idea is this: Each contributor to the hop will answer 4 questions about #mywritingprocess, then invite 3 more bloggers to contribute. Learning about how others work is interesting and also a source of new inspiration and ideas.

SO, here's my writing process:

1) What Am I Working On?
I'm editing two manuscripts - one which has been complete for about 8 months but has gone through 3 very dramatic rewrites, and another which is in its first draft revision stage. The first is EXQUISITE SENSES, a YA Thriller with light sci-fi elements. Leila and Dane learn they have extra sensory talents just as they're launched on a cross-continental rescue mission after Dane's mother. They battle old family enemies and their own personal demons in order to save all of their lives.
The second is an MG Adventure with light sci-fi, untitled, about a young boy who gets bionic legs when his own are amputated.

2) How Does My Work  Differ From Others of its Genre?
I have yet to read about stem cell biology as a source for plot in YA speculative fiction. It's a fascinating subject, ripe with ideas. I love the process of taking very real science and asking the question what if? The concepts I write about are so close to being reality they're really only a decade or less away - so my work could possibly be contemporary before long!

3) Why Do I Write What I Do?
As a kid, one of my favorite authors (among many) was Madeleine L'Engle - spec fiction writer extraordinaire. So I guess one of the reasons I write what I do is because I loved reading her work and then dreaming about it endlessly. I couldn't get enough. Now I want to write like her. 
Later, ironically, although I dutifully studied Bio, Physics, and Chemistry in high school, none of those classes caught my attention - I basically just showed up, had no passion. But now, I am back to my younger self - completely fascinated by cellular and molecular biology and quantum physics. I'm in love with the process of taking a theoretical concept and throwing it off a cliff, adding people and narrative as it flies.

4) How Does Your Writing Process Work?
My writing process reflects the fact that I have two young children!  I write when I can - before my children wake up, when my toddler is napping, after my children go to sleep. My amazing husband often takes over on the weekends so I can string together a few more hours in the day to really dig in.
Usually I muse about a book subject for a little while, then outline it, then let it marinate until I can't stand it anymore and I have to start writing it down. I take notes everywhere - spare pieces of paper, on my iPhone. I try to keep them consolidated, and try to do a streamlined recap every now and then, as new ideas alter the flow or fix plot holes. Because I cut my writing teeth as a reporter, I write quickly - used to crushing deadlines!! But I am still new at creating novels, so I edit pretty deeply.
I also have to plot my characters and their arcs by hand - somehow I think better for my people when I write them longhand before I type them.

Now I get to invite three other bloggers to hop on!

NEXT WEEK:

Rebecca Waddell:

By day, Rebecca works for the beautiful county of San Luis Obispo, but writing is her true passion. Between working on her middle grade and young adult novels, she enjoys dabbling in short stories and poetry. Her motto is: "If I don't write, untold numbers of fictional characters will die!

She writes a poetry blog that is well worth your time: www.ReflectionOfFaith.wordpress.com

Follow her on Twitter: @GloWolf143

Kathryn Howes:
Kathryn is a writer, mother, blogger, former physical therapist, and guinea pig groomer, among many other things. She writes a hilarious blog about mothering, raising readers, and writing.

Here's where you can find her: http://www.kateywrites.wordpress.com
 Follow her on Twitter: @kateywrites

Lea Dickson:

Born and raised in a small, Scottish village, Lea had no plans to drastically change her life. Then at twenty-two, she married her high school sweetheart, graduated from college, and moved to Texas where she decided some kids were needed to complete the madness!

She loves MG and YA and hope to one day join some of her favourites on the bookshelf.

Here's where you can find her: cobalt714.wordpress.com

Follow her on Twitter: @cobalt714

#PitchMadness Lessons Learned

First, let me say a HUGE congratulations to those who earned the 60 slots in the agent round. Well done, writers, WELL DONE. So happy for you!

For those of us who didn't make it this time: you've heard it before, but I'm going to repeat:
Don't. Give. Up.
(I say that as much for myself as everyone else). It's tempting to feel fatally discouraged, but,
Don't.
Just Keep Writing, Keep Querying.

As we all know, the #PitchMadness feed during the slush read was a treasure trove of good advice, but sometimes hard to follow because there were so many other conversations happening simultaneously.

L.L. McKinney - otherwise known as @Tangynt - graciously agreed to distill some of her thoughts for us.

Before I get started, want to be clear that anything said is my personal viewpoint on the matter. I am no expert of final authority in any case, and my opinions are my own.

1) What were the top 5 problems/weaknesses you saw in pitches?

Vague phrases or terms that don't give the reader a sense of the story. Saying the character has to face evil, defeat darkness, will risk it all, discover mysterious pasts or secrets tells the reader nothing. This goes for saying someone's world was turned upside down/rocked, or their lives will "never be the same" as well. These describe almost every book ever written in some way. Trying to be mysterious often results in being unclear, confusing, or downright boring. Details set stories apart. 

No mention of the stakes. What does the character have to lose if they don't take action? Saying a character must solve a mystery, uncover a truth, discover what it means to be loved, unlock their past, is only part of the equation. That's the setup, and people tended to stop there. Follow through! Tell the reader WHY all of this happens.They why is often the draw.

Too much/little information. Everything in moderation and all of that. The pitch is to hook the reader and provide a glimpse of what the book is about, not tell the whole story. Manuscripts are complex things with colorful casts, complex plots, and interlocking subplots, but all of that cannot be squeezed into a pitch and folks shouldn't even try. Pick the MAIN conflict and goal and focus on that. The rest will be revealed when the book is read. On the flip side, there's a balance to these things and not giving enough info is just as bad as packing it in too tight. Refer to the previous statement about trying to be mysterious.

Rhetorical questions. Sometimes they work, most of the time they don't. Especially if said question is put to the reader in a "what if you/your" phrasing. "What if you met the love of your life one night but didn't get his name or number?" Firstly, I know exactly what I would do, so ends any mystery about it all. Secondly, this isn't about me, it's about this character, who I now know nothing about.

This meets That pitches. Comparisons are great, don't get me wrong, but if I've not read the book or seen the show/movie, I have no idea what to think of a manuscript. Using widely known stories for comparison will help. Some agents/editors auto-reject if a current worldwide bestseller is used, say The Mortal Instruments meets The Hunger Games. This doesn't bother me personally, but to avoid said auto-reject try substituting a popular story for one that's well known. Buffy meets Thunderdome for instance. Both are well known, but neither are part of any current trend fever.

2) Top 5 problems/weaknesses in first 250?

Passive voice. The ball was thrown: passive. He threw the ball: active. It can be taken further with verb choice. He hurled/chucked/lobbed/tossed/flung the ball.

They were standing in the hall: passive. They stood in the hall: active. Verb choice, they milled/gathered/congregated in the hall.

Research passive and active voice to get rid of the former and better utilize the latter.

Telling instead of showing. Saying a character is scared, or embarrassed, or angry doesn't pain a picture for the reader. Show them trembling as they crouch in a corner, heat branding their face while they can't make eye contact, or their fingers curl into fists as their jaw clenches around a curse.The same works for setting. "It's cold" should be icy temperatures biting exposed skin or eating through layers of cloth.

Vocabulary unique to the world or story that isn't explained. This was a big thing with fantasy and science fiction stories more than others. Made up words and such is totally fine, but without context clues to help the reader understand what's going on/being said, the story may as well be written in another language altogether. That goes for steampunk and such as well.

Prose in need of tightening. The internet is full of lists containing ugly/fluff words unnecessary in writing. They take up space and slow the pace. For instance: 

"She blinked her eyes as she backed away from him, certain that he was the one who killed those other women."

"She recoiled, certain he'd killed those women."

The sentence is physically shorter and reads quicker.

Info dumping was another issue. This can cover a lot of things, but I'll focus on two that cropped up the most, in my opinion: Lots of description, and background information.

Personally, I don't need a paragraph containing every detail of the character's appearance on the first page. Hair color and length, eye color, height, weight, etc., work that stuff in as you go along, and those aren't the important bits in this moment. Give me a name, gender, where they are, how old they are, and who they're with. Those last two can even come a little later, but not too far.

Keep in mind how any time taken to describe something or someone is time taken from the action. Imagine watching a movie, and it's getting good. You're on the edge of your seat, attention rapt. Then the person you're watching the movie with pauses it to point out/explain something about the character, or the setting, or how this guy is like this because blah-blah-blah happened to him in the past. 

I've gone into full blown melt-your-face mode on people for pulling me out of the story/world with stunts like that. Am I going to miss anything without their explanation? Is the information they have to share that important right now? Half the time the explanation given is something like "But I want to make sure you understood what was going on so you wouldn't miss the big picture." Thanks, but I got it.

3) Since we learn so much about our own writing when critiquing others, did you have any special "aha" moments that made you want to go back and edit something in your current WiPs?

Nothing in particular. I tend to go back and look for everything I mentioned and more when editing because--whether folks like to admit it or not--all ten of those issues crop up in first drafts. I'm sure I have loads of unique vocab I haven't properly explained, passive voice, or prose that needs tightening and what not in my current WIP. Rounds of editing and revision help smooth  that out.

4) What was your favorite part of doing the slush reading?

Saying yes. And not just yes but omg, this right here, pick it pick it PICK IT!

THANK YOU so much for your time, @tangynt!!

About L.L. McKinney:

Fantasy is my first love, particularly urban fantasy. There’s nothing like imagining the impossible happening right here at home. Though science fiction is a close second.

Very close.

About me, let’s see, I’m a freelance writer, a published poet, and a core member of Novel Clique, a writers group that meets weekly here in the Midwest. I’m also a member of YA Lit Chat, and an affiliate member of the Oklahoma Writers Federation, Inc. via Midwest Pen and Ink. So many groups and clubs, almost makes me sound social, doesn’t it?

What else, I live the single life in Kansas, surrounded by more nieces and nephews than I know what to do with. I write for the joy of it, and when it is time for my voice to be heard, God will provide the means.

He always has.

Guest Critiquers Announcement

Getting ready for #PitchMadness?
Planning to be part of the next Twitter pitch party?
Think you might sign up for an agent pitch session at the next conference you attend?

Don't wait until the last minute to get your pitch in order. There's always a good reason to have a good pitch for each ms you're querying.  I even think it's a good idea to have a working pitch for WiPs -- keeps you focused.

I'm excited to tell you that for 3 days this week, we'll have the benefit of some amazing guest critiquers looking at our pitches.
Each guest will critique 10 Pitches - the first 10 to post on his or her day.



Wednesday: @SC Author
Thursday: Amy Trueblood (@atrueblood5)
Saturday: Michelle Hauck (@Michelle4Laughs)

Here's how this works:

1) Post your pitch in the comments section.  Tell us your genre: YA, MG, or NA. And for reference, tell us your ms title.
2) The first 10 to post will get a critique from the guest critiquer of the day. After our guest leaves feedback, I hope others will leave feedback as well - the more the merrier.
3) Use the "reply" button to do this rather than making a new comment - I am hoping that will help us keep the feedback organized and easy to follow. Just to be sure, reference the ms title you're critiquing to minimize potential for mixup!
3) As always, please keep your feedback constructive, not mean.

Wednesday Critiques begin at 11am EST. Not before.


For those of you specifically prepping for the upcoming #PitchMadness Clue Edition hosted by Brenda Drake, Sharon Johnston, Summer Heacock, and Rebecca Weston, the contest rules and info are HERE .

See you soon!

Trying Too Hard

I really truly do not want to sound like an old fart. But Miley? On last night's American Music Awards?

 Trying WAY too hard. Way too hard.

I get the imagery, symbolism, all the other attempts at artistic representation. The other words for "cat", the fact that it sticks out its tongue, the message she's trying to send to the "establishment", all of it.

But.

Seriously. If you have to go to such extreme lengths to make a point or get attention, isn't something off?  

I know, I've already Tweeted and Facebooked this, but I figured I'd make the trifecta with a post since I've neglected the blog so long.

What I was thinking as I watched the winking Universe kitty was, first of all, the song itself (Wrecking Ball) is decent and fun, sort of anthem-y, and Miley's voice is so strong, why did she want to distract from that power she held all by herself?

And I was also thinking, this is exactly the problem I am having with the first line of my WIP.

I am trying too hard.

But I feel driven, because my first line is really humdrum. I mean, REALLY. The definition of "meh".
And I just haven't been able to come up with anything better.
And I want to send out a new query.
So last week, I took a terrific query writing Webinar (WD : Beyond the Query, with Jennifer Laughran, whose blog is linked on my sidebar) and got some great advice for query writing. So THIS week, armed with a freshly edited query letter and some new (good, I think) edits on the first 10 pages, I am back in the first line trenches.
Argh.

But it's still just dogging me, and I write a new one a day, which a little crazy. (!!!).

Maybe I just need to let it sit, marinate, and stop trying to wink at the universe.  
Yah, right.
I'm too hyper to meditate on it for long, but Miley does give me pause (paws) .....  (sorry, couldn't help it)

Writerly Tip #6: Prune Them and They Will Grow

Too true.
At the very beginning of my querying process, an agent told me my ms was too long. I had to cut at least 40-thousand words. 
It hurt, hurt, hurt, but the truth was, (And I secretly knew this) the cutting was a healthy, good thing. 
What she told me was, cut the first 50 pages. You probably don't need them. Actually, what she said was, you the author needed to write those first 50 pages because they helped you get to know your characters and their backstory. But the book itself, the story itself, really doesn't need them.
And of course she was right.
I cut the first 50 pages, bleeding profusely as I did, and discovered a better book within.
I love what Whedon says because it reminds me of the wisdom of the First 50 Pages rule. Plus, he's right.
I've done that before too - when I found myself looped endlessly in a scene trying to make it make sense, I finally cut it and tried something different.
Tada!!!!!!!
For those of you who garden, this analogy may work: prune them and they will grow.
Thanks to Buzzfeed for the list of 24 quotes from famous writers from whence this quote (and the inspiration for this post) comes.'