This post first published on September 20, 2016. We hope it helps you with your #NaNoWriMo2017 novel revisions! ~ Dani G. Photo by Ron Bieber  © 2006   ( Flickr ) I used to find it difficult to move on to writing the next chapter of a book until I had the previous chapter down solid. I used to write a draft, read it, then revise. Then I’d read the revision, feel something was still missing, and revise again. Thus began an endless loop of revisions, pursuing the illusion of a perfect chapter but making little progress on the book. What’s an obsessive writer to do? I’ve always refused to start with an outline because it makes me feel inhibited. My characters are unruly, and after just a few pages we’re wildly off-track. So I started my current novel based on a synopsis and a list of “things that might happen,” which I believed was a smaller time investment. But when I began revising each chapter ad-nauseum, I knew I was not saving time at all. Then I learned...

Photo by Cara Lopez Lee I suspect that fellow writers will appreciate the idea of starting a New Year not with a goal to start something new but to finish something old. I’ve been writing a novel for several years. No matter how diligently I move forward, something always needs fixing. I’m not talking about some phony excuse to procrastinate, but actual problems: a conflict falls flat, a character feels one-dimensional, dialogue is missing, dialogue is redundant, internal life is absent, internal life is excessive and now momentum is absent...another draft, and another A couple of months ago, I took a painting class with my sister. We each created our own interpretation of the instructor’s sample creation: a moon shining through flowering branches. At one point, while I tried to create a tunnel-like sensation of moonlight, I kept going over one section that wasn’t quite working. The teacher took one look and said, “Stop. You’re going to ruin it.” I knew what she meant. I was...

Photo by Cara Lopez Lee My husband and I are selling our Denver, Colorado home at the same time I’m revising my novel. I can’t help but notice parallels. Let’s look at a few: 1) Staging my house: A real estate agent told us it might take two weeks to repair, repaint, de-clutter, and clean. It took five weeks, more than twice what we expected. Revising my novel: Last August I hoped to finish my novel revisions by February. That would have been six months. It’s August again, and I won’t be done until October. That’s fourteen months, more than twice what I expected. I’ve always believed, “Everything takes twice as long as you expect.” Since “twice as long” is what I expect, sometimes I double that. 2) Staging my house: While de-cluttering our house, I began deciding what to keep and what to throw away for our move to Ventura, California. I recently watched a video about the book,  The Life-Changing Magic of Tidying Up , by Marie Kondo. Here’s my favorite of her tips...

In yesterday's post , I talked about how good TV shows can help writers develop their story's beginning. Today, I'm concluding with a short talk on how those same TV shows can help writers develop their "commercial breaks" in fiction. What are fiction's commercial breaks? Chapter and scene endings. Just like TV writers need to hook viewers to keep them waiting through commercial breaks to see what happens next, fiction writers need to write riveting chapter and scene endings so that readers will want to flip the page to the next chapter or hurdle their eyes over white space to rush to the next scene. Make those commercial breaks count... In The TV Writer's Workbook: A Creative Approach to Television Scripts , writer Ellen Sandler states that a scene needs a narrative structure and that this structure contains three interconnected elements: the setup (beginning), the power switch or turning point (middle), and the arrow (end). The arrow is wha...

Two things I almost always comment on when editing a client's manuscript are a story's beginning and chapter/scene endings. When I comment on these two story components, I tend to discuss TV shows and make the suggestion that we borrow what successful shows do and apply it to our novel writing. Today, I'll offer insight on how TV shows can help you develop your story's beginning. In the beginning... We all know how important a story's beginning is. Because a story has a beginning, middle, and an ending, some writers start their story at the very beginning, meaning, they use their first chapter to set us up with who the main characters are, where they live, and what they do. Toward the end of that first chapter, we might get a hint of conflict. Many times, especially in early drafts, we don't. When you consider the reader of said first chapter, that would be a problem. William Rabkin, in his book, Writing the Pilot , states that "what you're doi...

This post was first published here on November 27, 2013. Prior to the invention of the Internet, writers holed up in their attics, alone and palely scribbling, fantasizing about an elusive publishing contract. They spent sunny afternoons deep in the bowels of libraries flipping through the card catalog and paging through thick reference books. Scribes developed callouses on their fingers. They sported perpetual ink stains from writing draft after draft on paper they wadded and tossed in bins. They longed for someone, anyone, to talk to about their passion. They were isolated introverts with impossible dreams, often in desperate need of a critique group or at least someone to help with plot snags or elusive titles. Then some smarty pants invented the electric typewriter, which led to the personal computer, which led to the Internet. Writers were able to research from the comfort of their living rooms while still in their bathrobes. They could draft and revise a hundred ti...

Some might read the title and say, "But editors write and writers edit. What are you talking about?" Yes, I know they do both; however, writers need to understand that not all editors write when it comes to their editorial services. And knowing this, and researching accordingly can help the writer get the exact services he or she needs. As an editor, I have a site where I talk about my philosophy of editing, state the type of editing I do, and offer prospective clients the opportunity to read what past, current, and repeat clients have to say about my services. I explicitly state what I do on the site: I edit . Prospective clients go there and they know what I am about. When I talk to these prospective clients, I give them my spiel, much of which is expressed on my site. My goal as an editor is to help the client develop the strongest project he or she can. In my evaluations, I try to talk about what I see in their works in a way that teaches the writers, that gives t...

As you read back through your story looking for ways to improve it, stop and question each set of multiple modifiers. If all they provide superficial detail, as many such word sets do, reconsider their usage. Because if you let them, they can provide a window to deeper characterization. All you have to do is climb through. Let's say the first set you come to says that your character has “long stringy orange hair.” In your first draft, that visual image was enough—the movie of story was unreeling in your mind, you saw the character, you took notes. By applying three modifiers your subconscious suggested that this character's hair was a detail worthy of further consideration. In this draft you have an opportunity to do just that—and in doing so, uncover deeper meaning. Long. Stringy. Orange. It is unfair of you to ask your reader to sift through your verbiage to arrive at meaning. How is she to know what is the most important information if you as author don’t? Try paring tha...

Last post from me, I wrote about developing your writing style and offered a few tips to help you on your writing journey. Here are more tips to consider when you get before the page with the idea of revising your work to heighten the STYLE of your work. 1. Check your VERBS. Do this for two things: to have active voice in your writing and to create strong verbs. Readers expect to see ACTION in your story. They want the characters to perform, to act – not necessarily be acted upon. When characters perform the action, we have active voice. When the characters are acted upon, we have passive voice – which is seen with the use of “to be” verbs. Let’s say Stella is the main character of a story. If we write, “Stella was killed by the angry mob,” are we doing passive or active voice? If you thought “passive,” you’re right. We could make this a stronger statement by writing, “The angry mob killed Stella.” Look for “to be” verbs and “have” verbs in your writing; if you can find strong, more me...

Time to revise, and then edit. What actually is the difference between the two? Join authors here who will tell you that and so much more.