MANUSCRIPT MAKEOVER: Revision Techniques No Fiction Writer Can Afford to Ignore
"The Writer" magazine selected MANUSCRIPT MAKEOVER as one of the "10 Great Writing Books in 2008."
Elizabeth Lyon:
-- Bestselling author of 6 books for writers, over 65,000 sold
-- Independent book editor since 1988
-- Founder of Editing International
To visit Elizabeth Lyon's website, click here.
Elizabeth Lyon has published six books for writers.
Manuscript Makeover: Revision Techniques No Fiction Writer Can Afford to Ignore
Nonfiction Book Proposals Anybody Can Write
A Writer's Guide To Fiction
A Writer's Guide to Nonfiction
The Sell Your Novel Tool Kit
The National Directory of Editors & Writers
Yes, these are Elizabeth's legs! The "Legs Lyon" shot is part of a fundraiser for a writer's group.
THE INTERVIEW:
ML: In Chapter One of MANUSCRIPT MAKEOVER, you address inauthentic prose.
How can writers check their WIP's for this faux-voice?
EL: Assume you have written in a “faux-voice” because early drafts mostly spring from a writer’s mind not gut. One way is to reread a draft slowly, intentionally putting yourself into the mind, body, emotions, and spirit of your point-of-view character. As you read, pay attention to what reactions, viscerally and emotionally, you experience as that character. Chances are they aren’t on the page. Additionally, follow the emotion back.
What I mean is that if your character reacts with anger, ask why.
Then ask why again, and again. Why else?
You want to get to the deepest levels of motivations and causes for the reactions of a character to make them fully authentic. Does everything you discover end up on the final page? No. But once you know that, for instance, your character is not only angry at her partner for not keeping her up on the leads and evidence in a case but that her anger is also at herself, and that she has always felt insecure about her
skills, holding back from her personal power, you begin to get at the truth of your character.
Where did all of these reactions come from? The past.
ML: How would you recommend writers develop an authentic voice?
EL: Practice what I’ve described above, which I also call “harvesting the emotions,” and use riffing. Riffing is a technique where the writer gives her/himself an assignment, such as exploring an emotion that comes up in a scene, or describing the environment using the unique language, personality, and worldview of the character—and writing whatever comes to mind and heart. The idea is to keep riffing, staying within the key, melody, and form of music (i.e. tone, assignment, and genre) but to run free with your character’s whole persona. The idea is also for the writer to stop cens
oring and give free reign to what emerges. When you’re done, select the writing to keep and then reread it, asking yourself what else the character might have felt or remembered. Ask yourself what in a particular place of a story your character feared, loved, loathed, and denied. These techniques and questions will lead you into a deeper and more authentic connection with your characters. Guaranteed.
3. ML: In your chapter on the five-stage structure, you explore common problems endemic to each stage. What are some typical flaws specific to crafting story problems?
EL: One common mistake is to create a problem that does not have stakes high enough to hook the reader for the duration. For instance, the hero seeks a better job. Well, so what? Why is that important and something a reader should want to read about, care about. In fact, a lot of times the story problems may be absent. How can this be?
Writers often get wrapped up in action, in conveying the movie in their minds, and the characters become two-dimensional actors. Short-term problems seldom have the gravitas to hook readers. They may be “filler,” such as the problem of oversleeping and getting to work late or trying to decide what to wear today or wondering if there will be an e-mail from so-and-so. Filler doing no work, creating no conflict and not providing a good answer to “So what? Why should I care?” that can be deleted! Ask if a problem is sufficiently important that readers will understand what will be lost should the protagonist fail to reach that goal. Even more important, what is the psychological problem that defines the story and is that present, clear, and important? The psychological problem will have its origins in some trauma in the past and will produce a “hole in the soul,” a need that is universal such as identity, love, respect, friendship, or freedom. The psychological problem will be to fill this deep need. It can supply a story problem that operates within any scene and allow for some problems of lesser weight because of the gnawing desperate need going on inside the POV character.
4. ML: What recommendations do you have for writers who think their plot is clichéd?
EL: Brainstorming in a relaxed, quiet and unrushed place with a group of other writer friends will help a writer leap out of the cliché box. Take notes. Use the question “what if” to get at possibilities not thought of when creating the first ideas for the plot. Again, don’t criticize or censor what comes out of everyone’s mouth. “Hey, what if your protagonist was actually born on a parallel planet to Earth and was switched at birth with a mother from Earth?” It can be nixed later since the writer is working on a mainstream thriller, not sci-fi or fantasy. Clichéd plots arise from hasty choices, grabbing an early idea and running with it.
5. ML: What are the advantages and disadvantages of single POV and dual POV’s?
EL: The best choice between one and two viewpoints often depends on genre and not just an author decision. For instance, dual POVs are common, often expected, in category romance. Two viewpoints means that both characters are equal in importance and that the storyline and psychological story of both are intertwined, mirrored, or highly related. A single viewpoint means that the protagonist is the one character who is developed fully. In either choice, the author’s obligation is to offer unique, believable, and in-depth characterization.
Disadvantages of one point-of-view are that your character must be present to reveal events. Other characters are known through the viewpoint of the protagonist, who is limited to what he or she knows and observes. A reader can become bored by the singular voice and viewpoint. The story may seem too simple. Disadvantages of dual viewpoints include inadequate characterization of the two POVs, an absence of character chemistry, or a tendency to develop a rhythmic pattern that shifts from one to the other with too much predictability.
6. ML: What 
are three occasions when you think flashbacks are effective? Please elaborate.
EL: After a set-piece, a big dramatic scene, a flashback can help to deepen characterization and fill out background. Flashbacks can be effective for almost the same reason deep into a novel and just before the build up to the climax, at a point commonly called “the darkest hour.” At this time, the hero or heroine will typically be at a loss for how else to reach the story goal and resolve the story problem introduced at the beginning of the novel or memoir. In fact, the protagonist may be on the verge of giving up or in a situation where action is impossible due to sickness, imprisonment, or another reason.
A flashback in which the protagonist realizes the way his or her weaknesses have contributed to setbacks and failures, based on reviewing a past event or events, can then empower the protagonist to neutralize the weakness, rely upon strength, and mount the final fight.
7. ML: Chapter 16 addresses what is a pain-in-the-brain for most writers, query letters and synopses. Could you share some specifics regarding the composition of the two-to-three paragraph synopsis that goes in the query letter?
EL: Use paragraph one of the synopsis principally for characterization. Also establish setting, time, story problem/situation, and story goal. Present your protagonist and other characters as unique and dimensional. Offer some snippet or sentence about the significant past and what universal need the character yearns to fill. If you can, work in a weakness and strength. Make sure you show a three-dimensional character.
In paragraph two, summarize the story arc, putting emphasis on character-driven actions that lead to turning points. You only have room to hit the big scenes. Work in details about the antagonist, what’s at stake, and what makes your story unique.
Continue the story summary in paragraph three and make sure to tie it up with a return to the protagonist and how he or she was changed (the inner psychological story) by the end.
You’ll need to leave out a lot of subplots and mentions of minor characters—and perhaps some major characters. Minimize the number of names in these paragraphs and stay away from too many “blow by blow” statements, meaning, “and then this happened, and then this.” If the struggle drives you to the brink, instead of writing your query synopsis in 3 paragraphs, write it in one. Seriously. Sometimes one gets you off the hook of the blow-by-blow recounting of events and forces you to give a coherent summary of the primary story and its impact on the protagonist.
ML: Elizabeth -- Great responses! Thank you. I am impressed with MANUSCRIPT MAKEOVER. I bet our blog guests would like to know more about what you cover in this how-to book. Here's the Table of Contents:
Introduction: Preparing to Revise
Part I: Style Speaks
Chapter One: Inside-Out Revision
Chapter Two: Outside-In—Simple Revisions
Chapter Three: Outside-In—Advanced Revisions
Part II: Craft Works
Chapter Four: Revise for Genre
Chapter Five: Whole Book—Five-Stage Structure
Chapter Six: Whole Book—Journeys and Less Common Structures
Chapter Seven: Movement and Suspense
Chapter Eight: Time and Pace
Part III: Characterization Endures
Chapter Nine: Viewpoint
Chapter Ten: Character Dimension and Theme
Chapter Eleven: Character-Driven Beginnings
Chapter Twelve: Character-Driven Scenes and Suspense
Chapter Thirteen: Character Personality and Voice
Chapter Fourteen: Character-Driven Narration
Part IV: Marketing Pays
Chapter Fifteen: Copyediting
Chapter Sixteen: Queries and Synopses—Polishing for Marketing
Now -- It's time for you all to take advantage of having Elizabeth Lyon here to answer your questions.
One lucky person who posts a comment or question to the blog today WINS a copy of MANUSCRIPT MAKEOVER from me.
Another lucky person who posts today WINS one of my six LECTURE PACKETS.
We may have additional winners. I will donate one Lecture Packet for every 25 people who post today.
Elizabeth will drop by the blog several times this afternoon. She will respond to people who post by 5:00PM Mountain Time.
TO BE ENTERED IN THE DRAWINGS -- POST TO THE BLOG BY 8PM MOUNTAIN TIME.
Check back at 8:30PM Mountain Time to see if you are one of our winners.
Here's your chance to probe Elizabeth's brain. Enjoy!
See you on the blog. :-)
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|121.220.202.xxx |2009-11-18 11:20:34 Anna Hackett - So much information
Hi Elizabeth and Margie --
Thanks for such a great post packed with so much great information. I love the point of immersing yourself in the mind, body and emotions of your character.
I'll defintely be checking out Manuscript Makeover!
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|63.253.251.xxx |2009-11-19 00:23:15 Margie Lawson - Hey Anna!
Anna --
I highly recommend MANUSCRIPT MAKEOVER. It's a keeper!
So are you. ;-)
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|63.227.63.xxx |2009-11-18 12:41:29 Jeanne Stein - EL Interview
Nice interview. I'm filing it away for future reference!!
Jeanne
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|68.238.49.xxx |2009-11-18 13:34:58 Luanna Nau
Informative and timely interview. Thank you! I'm revising as we speak, and the reminder to dig deeply into my character's emotions, and not go with the first idea, is just what I need.
Luanna
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|63.253.251.xxx |2009-11-19 00:26:10 Margie Lawson - Hello Luanna --LUANNA --
Thanks for chiming in. Happy revising!
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|32.178.145.xxx |2009-11-18 13:39:12 Barbara Edwards - I've got to get it.
I plan to buy the book on editing my own work. sounds like what I need.
Barbara
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|63.253.251.xxx |2009-11-19 00:28:50 Margie Lawson - HELLO BARBARA --Barbara --
You'll use Manuscript Makeover. It won't get dusty. :-)
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|99.196.32.xxx |2009-11-18 13:41:47 Nancy Naigle - Makeover!
Oh my gosh -- great topic and perfect timing for me.
Thank you so much for sharing this information AND for bringing awareness to these great tools.
Nancy
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|63.253.251.xxx |2009-11-19 00:34:28 Margie Lawson - HELLO NANCYNancy --
Happy revising to you too.
Chat with you SOON about the Immersion Master Class!
Hugs.............Margie
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|75.128.203.xxx |2009-11-18 14:03:09 Edie Ramer
What a great interview! As I was reading Elizabeth's answer about "the psychological problem that defines the story," I got an idea for my book and scribbled a page of notes for a future scene. Loved the answer about flashbacks, too.
I want this book! I'm off to read more about it now.
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|63.253.251.xxx |2009-11-19 00:37:53 Margie Lawson - HELLO EDIE!Edie -
Woohoo! When your idea hit -- I bet you had a visceral response!
Hugs..............Margie
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|172.132.82.xxx |2009-11-18 14:05:37 Jennifer Faye
Thank you ladies for sharing this info. Great interview! I'm definitely looking forward to getting the book. This all very helpful at this point in time as I am revising like crazy. *G*
I see in the opening chapters you have revisions divided between simple and advanced. Since I'm in a revisions frame of mind, could you tell us a little about what you classify as simple and what constitutes advanced revisions?
Thanks so much!!!
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|24.22.42.xxx |2009-11-18 15:58:29 Elizabeth Lyon
Hello and thank you for your comments, everyone. To Jennifer's question about what I classify as simple vs. advanced revisions, I think of simple as "wordsmithing" and "advanced" as demanding digging deeper into your character. For instance, the changes you can make easily are these: (1) varying your types of sentences--finding out your unconscious pattern that you tend to repeat such as too many simple sentences or convoluted complex sentences--and structuring sentences intentionally, for style and impact (2) Using all parts of speech for sentence beginnings; again, not relying upon habit where you overuse nouns or pronouns, for instance, or slather on gerund phrases. Of course you may want to repeat a type of sentence beginning for style and impact. (3) You most definitely want to devote one or several revisions to simple changes that yield tremendous increases in impact. For instance, one-word sentences wake readers up and focus the sound, meaning, and reverberati...
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|172.130.63.xxx |2009-11-18 18:53:22 Jennifer FayeThanks for sharing. I do have varied length sentences, as well as a couple one word and two word sentences sprinkled in for seasoning/intensity. *G*
One more question, how do you feel about varied length chapters, especially in a series cont book? As I'm revising, chapter endings are moving down the line. Sometimes what feels like a natural chapter ending comes sooner than other chapters, making it a much shorter chapter .
I really need to get your book and read it. *G*
Thanks so much!!!! I love reading all of your comments.
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|67.39.251.xxx |2009-11-18 14:18:33 Peg Cochran
Thanks for another wonderful interview!
Do you have any tips on pacing, Elizabeth? If you receive critiques that your pacing is too slow, are there steps to take in revision to identify why and how to solve the problem?
Thanks!
PS I got my library to order your book!
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|24.22.42.xxx |2009-11-18 16:14:03 Elizabeth LyonPacing and Peg--I'm still on alliterations. To pick up the pace, start with your sentence types. Cut compound sentences in two. Make sure that the first sentence raises a question that pulls the reader into the second sentence to learn the answer. "She looked up and frowned." (what does she see?) "And now she knew what to do." (what does she decide?)
Find overly long sentences and use them for when you want to build a big crescendo of action leading to a big emotion. Don't use the overly long sentences for blathering.
Find places where the author is telling information and revise it to become an observation by your POV character and lace it with opinion or passion. For instance, "The sun rose over the fir-topped ridge, painting the clouds in flamingo colors." (So happens that is what I'm looking at out my window.) Well, duh. So what? Here's the same description from a character with attitude: "Another sunrise. Another day like all the rest. Shelley sta...
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|72.128.81.xxx |2009-11-18 14:23:53 Brenda Nelson-Davis - Manuscript Makeover
I have "Manuscript Makeover" and it is one of the most helpful books on writing I have. I've reread it a dozen or more times and I refer to it all the time.
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|63.253.251.xxx |2009-11-19 00:44:50 Margie Lawson - HELLO BRENDA -Brenda --
Smart. MANUSCRIPT MAKEOVER -- is one of those how-to books you reference again and again. :-)
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|209.151.127.xxx |2009-11-18 14:43:52 Diana Cosby
I agree, immersing yourself in the mind, body and emotions of your character is essential. Thanks for the excellent post. My sincere best to you on the MANUSCRIPT MAKEOVER!
Diana Cosby
Romance Edged With Danger
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|74.36.216.xxx |2009-11-18 14:44:54 Ash K.
FANTASTIC interview. Sounds like I'll be adding a new book to my shelf soon!
I am particularly interested in reading the material on using flashbacks. I hadn't thought of using the technique to emphasize the blackest moment. As soon as I'm done here, I'm heading straight for the manuscript.
Thanks, Elizabeth, for the sneak peak and hugs to Margie for sharing all this with us!
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|24.126.57.xxx |2009-11-18 14:47:15 Tracy Mastaler - Great information!
Hi Elizabeth and Mar-G,
Thank you for the great interview and insight on manuscript revision. My question for Elizabeth concerns overwriting. (Stop giggling Mar-G!)
Elizabeth, I have a tendency to overwrite--too many descriptors that sometimes veer to purple prose. Oddly, I used to be an underwriter (not of the insurance variety!) and overcorrected. Looking for that Goldilocks technique that helps me get it just right!
Thanks for being here on Mar-G's blog! Thanks, Mar-G!
Tracy
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|24.22.42.xxx |2009-11-18 16:23:57 Elizabeth LyonTracy, have you thought about undertaking? Purple prose along with heavy purple drapes apparently make a lot of grieving people comforted.
Your assignment is to get out that red pen and make yourself put a scalpel slash through every adjective and adverb. Or, of course, just delete them on your document. Then, on the adj/adverb-free document, go back and read. Not satisfied with your naked noun? Replace it with a noun that is yet more descriptive. The "faux-suede puffy armchair" becomes "the recliner," for instance. Still not what you need? Then add a characterization-laden phrase. "Steve hit the recliner and jacked up his tired feet as soon as he got home from work. He hated when Maddie walked into the room and said, "In hour puffy chair again, I see." She knew his buttons--lazy, fat, old."
Most adverbs have verbs that can do the work better alone. "She playfully stroked a long strand of her hair." "She teased him by stroking a strand ...
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|24.126.57.xxx |2009-11-18 21:03:22 Tracy Mastaler - Believe it or not!Elizabeth,
Thanks for your advice. And yes, I did consider undertaking as a career! But I'm not big on purple, and it's not my color! And that was before the days of the show Six Feet Under which would have totally turned me off of the idea anyway! However, I have slept overnight in a funeral home before. Kind of creepy!
I like the idea of writing naked (while fully clothed---okay, well, maybe in pajamas!). I could really pick up my productivity if I didn't dwell on each word as I tried to slog along. And it's so much easier to add than to kill the horrible darlings after they've invaded the page! Now we're back to undertaking...
I'm sure you're book will be helpful to me. I have a follow-up question, if I may. About how long do you recommend for the process of a manuscript makeover assuming that the manuscript is basically solid when it's finished?
Thanks again for the advice, Elizabeth!
Tracy
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|98.229.51.xxx |2009-11-18 15:12:58 Iris Alderson - Manuscript Makeover
It isn't often a book comes along with a title that intrigues me.
The title alone is enough to make me want to rush out and buy a copy.
If what's inside is as intriguing as the title, this book certainly sounds like an invaluable tool for any writer to have on his or her bookshelf.
Can't wait to read it.
Iris Alderson
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|24.22.42.xxx |2009-11-18 16:25:38 Elizabeth LyonThanks, Iris, and all of you who have said you'll dash out and get a copy of MM. In The Writer article (Dec '08) where the book was selected as one of the 8 Great Writing Books of the year, the reviewer described it as "perhaps the most comprehensive book on revising fiction." I'm so proud of it, as you can tell, I consider it my best book.
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|98.215.59.xxx |2009-11-18 15:17:54 Claranne Perkins - Manuscript Makeover
Thank you Elizabeth and Margie for this timely interview. I'm in the mist of revisions of my current wip and the information you shared today is very helpful. I especially appreciated the information on the use of flashbacks, because I tend to use them. What interests me most about my characters is how they developed their foibles.
My question is how do I know I've overused flashbacks or that the flashback scene has gone on too long? Right now, I'm just using my gut. Most of the time that's "okay" with me because I can normally trust my gut instincts, but I do like delving into the past of my characters and can probably stay there way past the interest of the normal reader.
Any help you can provide would be greatly appreciated.
Claranne P
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|24.22.42.xxx |2009-11-18 16:33:10 Elizabeth LyonClaranne, you're certainly not alone with a heavy foot on the flashback pedal. By flashback, I would include paragraphs that narrate about the past, snippets of re-created dialogue and narration, and full-fledged filled-out flashback scenes. Flashbacks stop the present story momentum and force the reader to reorient to background. The risk in losing momentum is that you leak energy, lower suspense, and have less dramatic intensity once you get back to the present. On the other hand, if you know you've got your readers by the short hairs, and they will stick around to find out if Stan and Miriam will end their argument before the Nazis arrive to drag them away to a train, then you have your ticket to do a flashback.
In lieu of flashback, consider working past info into dialogue between two characters so that it becomes a part of the present story without loss of momentum or suspense. What if one character needs to share what happened in the past but the other character isn't listen...
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|24.22.42.xxx |2009-11-18 16:37:45 Elizabeth LyonIt's 8:30 PST (I'm in Oregon). To let everyone know, I'm got to walk my borderline collie. By doctor's orders, my walk needs to be 45 minutes to an hour. I had spinal fusion, T 12 through the tailbone, five weeks ago and this is step one of my rehab. I couldn't stand without pain much less walk an hour for decades prior to surgery. Now I'm free of that pain. Yay. So I'll check on the blog in an hour.
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|71.2.214.xxx |2009-11-18 15:31:40 Ginger Duran
Fabulous information! Thanks, Elizabeth & Margie! I was particularly interested in the query letter and synopsis information--that's my big buggaboo.
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|24.250.206.xxx |2009-11-18 15:48:30 Lis'Anne Harris - Dual POV
Dear Ms. Lyon,
Thank you so much for agreeing to answer questions. The following point jumped out at me and now I'm a tad worried.
"...tendency to develop a rhythmic pattern that shifts from one to the other with too much predictability."
We're constantly told no "head hopping." The way to solve this and still get both POVs would be to switch back and forth for each subsequent scene. Now I'm worried that perhaps my POV switches are predictable. Thinking back, I know I have many scene changes, yet the POV remains the same. Is this enough to keep the dual POVs from becoming predictable?
Also, is it acceptable to do a clear head-hop in the middle of a scene between the h/h when it's very important to know what they both are seeing/feeling right then, like in the middle of a love scene? Sometimes when you end the scene with only having heard one POV throughout then start the next scene having to flashback into the other character's feelings for the prev...
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|24.22.42.xxx |2009-11-18 18:20:14 Elizabeth LyonLis'Anne, good questions. I see I need to clarify. You're right on "no head hopping." Places to change viewpoint are at the end of a scene, section, or chapter, or in the middle of high tension or opposition, in which case, you want to use a hard scene break (* * *) or change to another chapter.
You're also correct that some scenes work best head hopping from paragraph to paragraph and love scenes are a perfect example. However, it's tricky if the rest of your story does not have this kind of intense POV changing. For instance, in a mainstream novel (and not a mainstream romance), later in the novel when the reader knows the characters, a writer might have a love scene where a lot of emotions are brought to the surface (in other words, it's character-driven). Instead of shifting paragraph to paragraph, I would use a soft scene break (no asterisks) and change points of view, but to make sure that you've given enough development to the first POV and find a good breaking spot...
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|24.250.206.xxx |2009-11-18 19:10:55 Lis'Anne Harris - Dual POVThank you, Elizabeth. I feel much better. I believe I've written my POV changes in a thoughtful and compelling manner.
P.S. I hope I win your book from Margie and/or Margie's lecture packet. I sure could use them both and the wonderful lessons contained therein. :-)
Lis'Anne
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|24.250.206.xxx |2009-11-18 15:52:29 Lis'Anne Harris - Question Continued on Dual POVOops! Continued:
...previous scene, it's too late. Am I making any sense?
Any help you can give me would be great! Thank you!
Lis'Anne
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|70.246.100.xxx |2009-11-18 16:10:12 Wendy Q. - Thanks!
This interview couldn't have come at a better time for me. I've been struggling with my manuscript for several months and reading this has given me new motivation and hope! Can't wait to read more in the book! Thanks sooo much!!
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|207.81.108.xxx |2009-11-18 16:54:03 Janet Kerr - Revisions
Hello Elizabeth Lyon,
When is a good time to start revisions (after 1st Draft?) and once started "Where do I begin?"
Thanks for your information. I look forward to your books!
Janet Kerr
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|24.22.42.xxx |2009-11-18 18:39:31 Elizabeth LyonYou know, Janet, every writer develops her own method. There is much to commend writing fast and getting a skeletal draft done and then returning to the beginning and filling out the story through multiple revisions. At least that method thwarts the tendency of some writers to never finish the whole draft.
Other writers seize the inspiration and write 3-4 chapters, then stop, do a lot of outlining and character development outside the chapters, and then revise those 3-4 chapters and continue on, perhaps revising lightly on a chapter just finished on a prior day before moving on. This technique helps to get you warmed up and immersed again in the story before you stare at the blank page and continue on.
Yet other writers "have to" revise each chapter as they write it many times before they release themselves to move on to the next chapter, and do the same. Intense revision after each chapter. The danger of doing this method is polishing too much, getting cement to harden a...
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|68.164.105.xxx |2009-11-18 17:13:54 Karen Graffenberger
Thanks Elizabeth and Margie for posting about this new book. It certainly sounds as if it covers the whole realm of editing a manuscript. I'll be buying a copy. I agree with the idea of really getting into your character's head. Digging deeper is something I have to remember to do.
Karen Graffenberger
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|98.232.213.xxx |2009-11-18 17:14:08 Jenna Burke - ideas?
Do you have any advice for how to turn a well researched, detaled plot into an actual novel? I find when I have it all drawn out, the urge to actually write it fades.
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|24.22.42.xxx |2009-11-18 18:46:40 Elizabeth LyonAs you might have guessed from my answers, I believe that all novels are, should be, character driven. You may have a plot, but what motivates your character? Get deeply into your heroine or hero such that you care as much about that character succeeding in the plot and in his/her emotional/spiritual fulfillment in life as you do for your children and yourself.
Also check within to see if fear is getting in the way of the plunge. My guess is that most of us fear starting and have to make ourselves venture into the actual writing. At least I have had to tell myself that I'm writing a stick-man draft, even though when I'm writing my rough drafts, I am writing all that is coming to mind at the time. I tell my critique group friends it is a stick-man draft as well so that I escape embarrassment before my peers, imagined of course. All this to leap over the fear of my self-criticism really and the thought that I might not be able to write well.
I am also a big--change that, BIG--beli...
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|161.254.5.xxx |2009-11-18 17:20:13 PatriciaW
Sounds like another good craft book. Looks like Sections II and III might be useful to read even before the first draft. Then Section I for revision and maybe a review of the other two, before polishing up and moving on to Section IV.
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|75.173.73.xxx |2009-11-18 17:22:26 Sherri M - Helpful Stuff!
Gem-studded interview. Thanks!
The part that really spoke to me was about getting to "the deepest levels of motivations and causes for the reactions of a character to make them fully authentic."
I'm working through this very issue in my current WIP and have been struggling with it. (I'm new to novel writing.) At certain sections, I would tell myself to "bring in more emotions here." I just wasn't sure how to accomplish that. Thankfully, Elizabeth, you've explained this tactic in a way that will allow me to dig in a little deeper. Now in addition to saying "bring in more emotions here," I'll also "ask why, then ask why again, and again."
I NEED your book!
Sherri
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|161.254.5.xxx |2009-11-18 17:24:00 PatriciaWGlad to see the Snowflake is now a software package. I couldn't wrap my mind around it when I tried it, but that was years ago when my craft level was a bit lower. I may take a look at the tool again, but either way, WFFD sounds like a good craft book.
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|68.93.98.xxx |2009-11-18 17:54:46 Ashley C - Thank you
Thank you both. Great interview. I just ordered Manuscript Makeover. - Ashley
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|205.188.117.xxx |2009-11-18 18:06:04 A J Hawke - Timely Blog Post
Thanks for such a timely blog post. I am about a third through MANUSCRIPT MAKEOVER. It is so rich with information that I need to move to the next level with my novel that I am reading and re-reading the material.
It is great to read the answers to the questions in the comments.
Each one has been my question.
Now on to THE SELL YOUR NOVEL TOOLKIT which will be my next read.
I appreciate all the hard work it took to put such books together.
Blessings,
A J Hawke
ajhawke.blogspot.com
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|24.22.42.xxx |2009-11-18 18:55:04 Elizabeth LyonYou're certainly welcome, everyone. A.J., regarding moving on to writing those all-important marketing manuscripts, the query and synopsis, know that they require tons of revision too. I know one writer who spent 40 hours on a one-page query. That seems a bit excessive, but the point is that you're in a competition for agent attention and they have A.D.D. attention spans. I've been in an agent's office where I was allowed to watch her, and a second reader, go through the mail (it was all postal at that time). Ten seconds was a frequent amount of time before a decision. Thirty seconds usually brought a request for seeing a partial.
It's awful, really. If you can get to a marketing conference where you pitch directly to agents and editors, you'll get about a 60% request rate to see at least a portion of your manuscript. I consider a great query letter as one that gets a 30% request.
Usually, we writers need to market our novels before they are ready--and we don't know that they ar...
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|96.228.145.xxx |2009-11-18 19:15:10 Rosemary Rothacker - Another Tool For My Arsenal!
Two weeks ago, I attended the Tampa Area Romance Author's retreat and our guest speaker was Amy Pierpont from Grand Central. She offered critiques of our first 500 words and my WIP was among those she chose.
After the session, I asked one of our published authors for her take on Amy's comments, and she agreed that I might have started in the wrong place. We discussed the plot of my book and she thought the initial conflict needed strengthening. Later that day, a group of us plotted together and based on everyone's suggestions, I'm changing the starting conflict in my book.
Because I took Margie's Digging Deep seminar and also have her Empowering Characters Emotions lecture packet, I feel confident I can up the stakes for my characters without a major rewrite.
Now I can add one more tool to add to my aresenal- Manuscript Makeover!
Thanks Margie and Elizabeth!
Rosemary
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|99.33.193.xxx |2009-11-18 19:34:50 JETaylor - Thank you!
Elizabeth - thank you so much for the content of this interview and to Margie for the great focused questions.
Considering it is Nano writer month and I've heard varied opinions on the process - I wanted to pose a question on how you feel that whole write a book in a month lends itself to the process?
Do you agree with the whole premise of just get the first draft on paper and then going back to polish - or do you feel writing should be iterative and taking more time in the development while writing is a more desired approach instead of rushing to get the story out? Do you see benifits of each side of the coin?
Thanks,
JET
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|24.22.42.xxx |2009-11-18 19:49:52 Anonymous
NaNo is terrific. Hot writing a novel in a month, with a constant support group cheering you on, pushes writers beyond so many of the Siren calls to not write, not finish. You can take any hot draft and then work the clay to get the sculpted work.
Perhaps the other side of the coin is that some plots and genres lend themselves better to NaNo than others. Even if you ordinarily write historical literary mysteries, why not take the NaNo challenge and write a category mystery. The more we practice, the faster we improve. I personally think writing nonfiction also improves fiction skill (conciseness, brevity, organization) and vice versa.
By the way, apologies to the group that I didn't realize the character count limitation and thus wrote long answers that were cut off.
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|65.122.164.xxx |2009-11-18 19:51:01 Sam - Why why why why why
I like the suggestion to continue asking why, again and again. In the Quality Assurance field (my day job), the "Five Whys" technique is commonly used as a tool for root-cause analysis. Although we call it "Five Whys," we really mean, "Keep asking 'why' until the answers stop providing new or valuable information." It seems like such an easy technique, but it's incredibly powerful in uncovering the root cause of a broken process... or a character's motivation.
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|68.186.161.xxx |2009-11-18 20:13:57 Jennifer Tiszai - Excellent!
Wow! This sounds like a must-have book for my writer's shelf. I love the advice to keep going deeper. That's something I have to keep reminding myself.
Thank you, Elizabeth, for answering the questions--almost a lecture in itself, and Margie for letting us know about such a great resource.
Jennifer
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|96.228.145.xxx |2009-11-18 20:39:16 Rosemary Rothacker - The Writer Magazine ArticleJust wanted to add that I just read your self-editing checklist in The Writer Magazine, Elizabeth. What an awesome amount of information you provided in that article. Thank you!
Rosemary
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|24.22.42.xxx |2009-11-18 20:57:53 Elizabeth LyonBy the way everyone, I want to explain the Legs Lyon photo in Maggie's interview and put a plug in for the non-profit I'm supporting. There is a writer's haven on the northern Oregon coast, an historical log cabin house, two stories and a basement. It's on a hill facing the Pacific Ocean with a view of a lake out the east. I have written more pages in the seclusion and beauty of this haven than anywhere.
The problem with the house is that it is not accessible for anyone with walking or stair-climbing disabilities. So the organization, Oregon Writers Colony, decided to do a "bare all" writer's calendar. The reason to get this, even though you may not live in Oregon, is that the photography is exceptional, the design and art outstanding, the photos whimsical and sensuous, and the messages inspirational for any writer. You can see more and order at http://www.colonyhouseaccesscampaign.org
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|71.236.248.xxx |2009-11-18 21:37:01 Kristen G. Johnson - Thanks
I just wanted to send out a thank you to Elizabeth and Margie. I'm so overwhelmed with revisions right now and trying to get my head wrapped around them feels like climbing Mt. Everest. But the encouragement of books and blogs like yours gives me hope that I'lll make it. Now to get back to it!
Thank you!!
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|69.171.160.xxx |2009-11-18 21:39:06 jmrhine - excellent
I've been a fan for years, so I hope I don't sound like I'm gushing, but what you say really rings so true every time. The longer I'm a writer, the more often I forget the "early stuff" I learned early and need to remind myself of, like making sure just because I know why a character does or says something that it is equally apparent to a reader who doesn't know the character and story backwards and forwards like I do. Thanks so much for all of this wonderful insight.
Joan
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|97.112.85.xxx |2009-11-18 21:44:13 Lori - Psychological Problem
Hi Elizabeth and Margie,
You stated in your interview that characters need a psychological problem such as friendship, identity, love, or respect. Is this the dreaded theme we hear so much about?
Lori
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|24.22.42.xxx |2009-11-18 22:35:56 Elizabeth LyonI see that when I answered an earlier thread about problem, need, and theme, it was in a portion where my verbosity cut it off.
I think of "theme" as intellectual and something you've got to state for an agent or editor in your query or pitch. But when you're deep into writing your story, it is the protagonist's yearning that is central, later to be translated into a thematic statement. These yearnings are universal needs. We all have them all and life is a kaleidescope (sp?) of changing needs. But each novel or memoir should reveal one primary need and therefore have one theme. The presentation can be nuanced or obvious.
see next thread . . .
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|24.22.42.xxx |2009-11-18 22:38:23 Elizabeth Lyoncontinuing . . .
What often happens is that we writers begin stories thinking, or assigning, a need to our protagonist only to finish our first drafts and discover that a different one emerged. I once started a story where I thought I was writing about "karma" with the theme--"as ye sow, shall ye reap." But upon rereading it, my protagonist was screaming "I want to belong. Where is my tribe?" Guess what, sometimes the universal need that emerges in our novels happens to be one that the author has seriouslyl grappled with in his/her life.
I don't think of it as the "dreaded theme" but rather as a deep connection with the protagonist that you later make presentable in a thematic statement.
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|24.28.141.xxx |2009-11-18 21:47:37 Bob Stewart - Fiction vs. nonfiction
Hi Liz
So glad you're perky after your surgery.
Quick question: Other than the obvious that one is true and one isn't, could you take a moment and define the difference in writing technique between fiction and nonfiction.
I've often been told they are different, but have yet to truly underststand why.
Keep on trucking.\
Bop
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|24.22.42.xxx |2009-11-18 22:44:27 Elizabeth LyonThanks for the well wishing, Bob, though paleeasee, it's Elizabeth.
Creative nonfiction, commonly used in memoirs, replicates many of the techniques of fiction. There are scenes, sequels, big scenes, dialogue, and a story arc based on both an exterior (plot) problem and on an interior (psychological) need. Same deal as fiction.
Of course, creative nonfiction, as memoir, will always have a singular, first-person POV. It may also have, though not necessarily, more narration where the author is exploring what the events mean to her or him, and possibly tying some experiences to actual people, places, and events.
see next thread . . . .
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|24.22.42.xxx |2009-11-18 22:47:18 Elizabeth Lyoncontinued . . .
Creative nonfiction writers face the constraints of what really happened as well as where memory fails them. Those who feel comfortable with more fabrication may write a story that can't be distinguished from a novel. Other writers will take the other extreme and not even create dialogue unless it was written down in a journal or recorded. In writing memoir, a multiplicity of events or conversations or people present can interfere with writing the strong through-line. It's awfully difficult to discern what to leave out for the sake of the clear story arc and theme. Fiction writers aren't so constrained.
Also, memoir is always going to represent contemporary mainstream or contemporary literary. As you know, fiction genres have no limitation.
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|24.22.42.xxx |2009-11-18 23:19:03 Elizabeth Lyon - nonfiction vs fictionAnother distinction between nf and fic: Sometimes, memoirs have islands of re-created scenes amidst a sea of narration and commentary, while fiction has islands of narration amdist a sea of scenes.
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|4.242.171.xxx |2009-11-18 21:51:48 Barbara Rae Robinson
I love Manuscript Makeover. I'm rereading it again as I work on revising a manuscript I have a request for. It is a goldmine of information. Thanks, Elizabeth, for writing such a detailed and helpful book.
P.S. I live in beautiful Oregon too.
Barb
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|74.192.167.xxx |2009-11-18 21:59:25 Ginger Calem - Fantastic Interview!
This interview is fantastic and comes at the perfect time for me. I'm editing my ms and going crazy because I'm resisting. Thank you for the tips and great advice. I feel energized again.
Elizabeth, we've met before in Surrey and I've taken your workshops and your master's class there. I've never failed to learn from you...thank you for sharing your expertise.
ginger
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|24.22.42.xxx |2009-11-18 22:50:04 Elizabeth LyonBarb, Ginger, thanks for the compliment. Where in Oregon? And I sure missed Surrey this year. For everyone who hasn't heard of this conference, I consider it one of the best in North America. Check out www.siwc.ca. It takes place in the third week of October in Surrey, BC. It's a large conference, which means it is great for marketing and learning. Three-quarters of the literary agents are from the US. Somehow, the Canadians know how to put on a thoroughly professional conference and yet have a helluva a good time. None of the US Calvinistic anxieties.
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|24.22.42.xxx |2009-11-18 22:55:02 Elizabeth Lyon - On ReversalsThough you haven't asked, I want to make sure you all know about and use reversals. We all have the tendency to develop a scene or whole story in a direction that we consciously or unconsciously have heard or read before. We learn through imitation. But then, you need to strike out and be original.
For instance, the emotions are building from concern to worry to anxiety to fear and then what? Total calm confidence, a surge of courage that banishes any thought but taking the needed action, no matter the consequences.
Or, the love scene. The foreplay is picking up hot and heavy, the sweet promises perfume the air, and she stops kissing him, sits, up and slaps him. Why? I donno. Multiple personality? A reversal.
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|209.191.209.xxx |2009-11-18 22:07:29 Barb Schlichting - How-to blog
Great interview! I sure learned a few things!
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|68.43.119.xxx |2009-11-18 23:09:12 Carol Burge - Thanks for Sharing!
Wow, such great tips and advice. I loved all of the suggestions, but I especially liked the tip on faux-voice or inauthentic prose. Getting into "character" is sooo hard for me sometimes. Also, I'm still trying to find my voice, so hopefully this technique will help. Can't wait to try it.
Elizabeth - I'm so looking foward to getting The Manuscript Makeover. I know it will be a great help and #1 in my how to/craft books library.
Margie - Thank You for enviting Elizabeth to your blog today so she was able to share all her wonderful techniques with us!
Muuaahhhh!
(Oh, by the way, awesome legs, Elizabeth! Woo-hoo! )
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|75.53.90.xxx |2009-11-18 23:17:43 Cari G.
Fantastic interview. I'll definitely be picking up a copy of Manuscript Makeover. I never considered putting a flashback scene at the darkest hour point. But for my current WIP a flashback scene would really work and add some power.
Thanks for such a detailed, informative interview, Margie and Elizabeth!
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|63.253.251.xxx |2009-11-19 00:17:49 Margie Lawson - Hello Everyone!HELLO EVERYONE!
Thanks for posting your comments and questions. Looks like you all had a great day while I was working.
ELIZABETH --
I appreciate your in-depth responses. I'm sure others learned from your specific feedback too.
EVERYONE --
I'll post the WINNERS at 8:30PM. I'll give away a copy of MANUSCRIPT MAKEOVER - and TWO LECTURE PACKETS.
Thanks again for being here!
All smiles..............Margie
www.MargieLawson.com
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|71.229.171.xxx |2009-11-19 02:25:15 Mark Stevens - Timely
Very helpful. Good combination of messages and supportive vibe. I'm in the final two weeks before sending sequel to my agent and need all the help I can get to strengthen and improve. Again, thanks. And my absolute biggest regret of the year was missing Margie's RMFW workshop....and since I was the one that booked it, well, it really hurt!! Cheers, Mark
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|24.22.42.xxx |2009-11-19 03:00:53 Elizabeth LyonMargie--everyone who said hello--thank you one and all. I thoroughly enjoyed responding and wish you grand success with your writing. You have also inspired me.
Elizabeth
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|64.207.39.xxx |2009-11-19 03:51:02 Margie Lawson - THREE WINNERS!HELLO EVERYONE!
We have THREE WINNERS!
THE WINNER of MANUSCRIPT MAKEOVER is:
. . . . . . . . . . LIS'ANNE HARRIS!
Lis'Anne - Please send me your mailing address. I will order Manuscript Makeover from Amazon and have it sent to you.
THE TWO LECTURE PACKET WINNERS ARE:
. . . . . . LUANNE NAU. . . and . . . JOAN RHINE!
Luanne and Joan - Please contact me and let me know which of my six Lecture Packets you would like. I'll send them to you as e-mail attachments.
E-mail: Margie@MargieLawson.com
Thank you to ELIZABETH LYON for sharing her time, expertise, and passion for writing. Elizabeth's commitment to excellence is evident in MANUSCRIPT MAKEOVER -- as well as in her detailed responses to questions.
Elizabeth - I hope to meet you someday!
All smiles..............Margie
www.MargieLawson.com
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|64.207.39.xxx |2009-11-19 04:23:40 Margie Lawson - How-to Author Series SKIPS December!HELLO EVERYONE!
We will soon be immersed in the winter holidays! One week until Thanksgiving. Three and a half weeks until Hanukkah . Five weeks and one day until Christmas.
In six weeks and one day -- we'll be into the NEW YEAR!
My How-to Author Series is SKIPPING DECEMBER. We'll dive in again on the last Wednesday in January. Mark your calendar for January 27th.
The authors I lined up for my How-to Author Series in 2010 are guaranteed to stretch your brain cells. You'll see the schedule posted on the home page of my web site in December.
Enjoy your holiday season!
All smiles...............Margie
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|24.250.206.xxx |2009-11-19 04:24:33 Lis'Anne Harris - Woohoo!OMGosh! How awesome! Thank you, Margie. I can't wait to read Elizabeth's book!
Hugs,
Lis'Anne
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|72.177.27.xxx |2009-11-19 16:26:36 Kaye George - THANKS!
Wonderful interview and it sounds like a super how-to book! Thanks, Margie!
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|68.238.49.xxx |2009-11-19 17:41:43 Luanna NauWow, thank you, Margie! I can't wait to get another of your fabulous lectures!
Cheers,
Luanna
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|69.29.77.xxx |2009-11-20 13:25:34 Ann Marie - Great pig picture advice
I'm in the throes of NaNoWriMo, and what you say about revising gives me strategies for the next stage. So much of what i read about it is sort of paragraph level fixing that doesn't address the overall mood or thread of the story. Thanks!
