Posts Tagged editing

A Case for New Beginnings

By on September 5, 2022   /   Articles, For Writers, Writing  

Writing Excuses is in its 17th season!

For years now I’ve listened to a podcast called Writing Excuses. It’s a show that focuses mainly on writing technique, and it’s hosted by a plethora of veteran authors, one of whom is the very talented Brandon Sanderson. A few seasons back, Brandon made a comment about deleting the early chapters of a manuscript and rewriting them completely (in fact, Brandon talks about this often and even includes many of the deleted scenes on his website).

As a writer who barely scrapes together enough time to write a first draft at all, the idea of deleting entire chapters was (okay…is) pretty terrifying. All that work, all that setup, all those precious words just…gone. 

I have beginnings on the brain this month largely because I’m a middle school teacher, and September is a month of beginnings. New classes, new students, new Spongebob Squarepants socks. As I think about it now, there have definitely been school years that could’ve used a better introductory chapter. Life, of course, doesn’t allow us to delete and redraft, but as a writing technique this is something I’m warming up to.

Maybe you’re like me — balking at the thought of trashing entire sections of a manuscript. With that in mind, I’d like to make a case for new beginnings by highlighting a few authors who aren’t shy about laying their work on the chopping block.

The 10% Rule

In his book, On Writing, Stephen King recalls early advice from an editor that suggested his second draft should be 10% shorter than the first. The idea that much of editing is deleting transformed King’s writing and helped propel him to the success he has today. Writer and editor Erin Whalen digs into the details of this strategy on her blog, and it’s definitely worth a look.

Short Chapters

Another wildly successful author who’s recently branched out to middle grade is James Patterson. In countless interviews and articles about his craft, Patterson’s notoriously short chapters are often highlighted and pondered. So much of what gives Patterson’s books the punch and the pace they have is his willingness to sometimes say as little as possible. The underlying mantra here is not too dissimilar from my own mindset when I have to stop by a fellow teacher’s classroom on my way out at the end of the day — get in, get to the point, and get out!

 

Murder Your Darlings

This is perhaps one of the most well-known ideas where writing and editing is concerned, but just to be clear, no one is advocating for actual murder here. The phrase, which has taken various forms and been attributed to several different authors (William Faulkner among the most famous of them), centers on the idea that sometimes deleting the things most precious to us is the best way to advance a story. There are, of course, exceptions to this rule (Margery Bayne at the writing cooperative does a great job unpacking this idea more fully), but the takeaway for me, both as a writer and as a human, is to edit objectively. Getting swept up in the emotion of something is a surefire way to keep stuff around that probably needs to go, whether it’s chapters in a manuscript, junk in the attic, or toxic people in my life (but just to reiterate, actual murder is bad).  

The writing graveyard isn’t as scary as it sounds!

Whether you’re writing a new book or just starting a new season in life, a willingness to remove the unnecessary and even start over entirely is profoundly helpful. I’ve already got a few chapters in my new manuscript that need to go, and thanks to techniques like the writing graveyard, I don’t necessarily have to toss anything permanently (though I suspect some of it should definitely be tossed permanently). 

Best of luck as you embark on new beginnings this fall, and feel free to drop other editing strategies in the comments. Happy writing!

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Interview With Middle-Grade Editors of Angelella Editorial

By on December 16, 2018   /   Articles, Book Lists, Fiction, For Writers, Nonfiction  

For today’s post, we asked the editors of Angelella Editorial five burning questions about middle-grade books.

Angelella Editorial  is a community of highly skilled editors, specializing in but not limited to children’s literature. We focus on the craft, career, and community of writing and look forward to helping you craft your storytelling magic. Here’s what they have to say.

  1.   What are your top three favorite middle grade fiction/nonfiction books from 2018?

Marissa Graff: Amal Unbound by Aisha Saeed, Night Diary by Veera Hiranandani, The Science of Unbreakable Things by Tae Keller

Diane Telgen: Regrettably, I haven’t read as much MG as I would have liked this year, but I really enjoyed the skillful weaving of stories in The Parker Inheritance by Varian Johnson, the clear-eyed look at various social issues in Breakout by Kate Messner, and the off-the-wall humor of The Mortification of Fovea Munson by Mary Winn Heider.

Denise Santomauro: The Parker Inheritance by Varian Johnson, The Mortification of Fovea Munson by Mary Winn Heider, Louisana’s Way Home by Kate DiCamillo

Jenn Bailey: Charlie and Frog by Karen Kane; The Assassination of Brangwain Spurge by M.T. Anderson; The Collectors by Jacqueline West

Jay Whistler: Young, Gifted, and Black: Meet 52 Black Heroes from Past and Present by Jamia Wilson, Journey of the Pale Bear by Susan Fletcher, Lucky Broken Girl by Ruth Behar

Kate Angelella: Having just had a baby and amidst growing this business, I have not had much time for free reading this year. But a few of my all-time favorites: Dani Noir (aka Fade Out) by Nova Ren Suma, The Graveyard Book by Neil Gaiman, A Mango-Shaped Space by Wendy Mass, and Goodbye Stranger by Rebecca Stead.

 

  1.   What is your favorite thing about editing middle-grade novels?

Marissa Graff: Middle-grade novels are misunderstood as being simple to write, especially when compared to YA. Rather, I think the author has a much more difficult task in conveying heart and age-appropriateness, all while respecting the audience’s savvy and perceptiveness.

Diane Telgen: MG allows for more kinds of complexity, both in content and structure, than most people give it credit for. One thing I particularly enjoy is that the tone of MG often tends to be more open and less cynical than works for older readers, and that makes for a refreshing read.

Denise Santomauro: Young people in this age range are old enough to engage in a deep way with challenging topics, but still have a sense of wonder about the world, which is what makes working on stories for them interesting and fun. Characters in MG dive deep into complex social and emotional situations while going on adventures and finding magic and whimsy in the everyday. It’s exciting to help authors balance all of these elements.

Jenn Bailey: When kids start reading MG they are entering a time in their life when they are less self-absorbed and far more curious. They are looking at the world, seeing what it has to offer, and finding their place in it. I love how open they are to experiences that dwell beyond what they know, even when it comes to what kinds of stories they will read. This makes editing middle grade stories delicious. Nothing is really off the table (as long as it stays PG) and it is a time where authors can weave in Big Ideas and take risks in style, approach, and content. It is a chance to awaken wonder in readers and reawaken wonder in ourselves as we write, and edit, for these kids.

Jay Whistler: I love that middle-grade kids are still at the age at which they haven’t figured out how to manipulate people and lie the way older teens and adults have, so the books are more honest and raw. There is a vulnerability in the main characters that you don’t see in YA because the MC still hasn’t figured out how to put up those walls yet. I like being able to help authors navigate that.

Kate Angelella: There is a rawness about this age that has always appealed me. Young people in this age group are experiencing life in all its fullness–joy, sorrow, grief, excitement, and heartache included. Honesty and emotional truth are paramount when creating an authentic voice for this age range. A good MG book will allow the adult reader to travel back in time to that time in their lives in a way that leaves them feeling almost breathless, and will allow the MG reader to feel as though they’re not alone.

 

  1.   If you could have lunch with a middle-grade author, who would it be and why?

Marissa Graff: Lauren Wolk, hands down. I read Wolf Hollow and Beyond the Bright Sea back-to-back and scrambled to see what else she had written or what was coming out next. Her characters have such believability and life to them, as do her settings. The worlds she creates are these perfectly sculpted packages she delivers to her readers in a way that makes you swear she was watching the stories as they happened. I also love that she delivers messy endings. The characters get what they need, but not necessarily what they want at the novels’ outset.

Diane Telgen: Can I have another lunch with Philip Pullman? While studying in England, I actually attended a group lunch with the author of my favorite MG series (His Dark Materials). I could have stayed past dinner time listening to him talk about the power of poetry and how he builds worlds.

Denise Santomauro: I would love to spend a few hours with Kate DiCamillo. I love pretty much everything she writes. She infuses so much heart and courage in her stories and isn’t afraid of delving into challenging topics, which leads me to believe that we would have an amazing conversation and become best friends.

Jenn Bailey: I would love to cruise the Costco aisles, eating free samples with John David Anderson. I discovered him a few years ago and have since devoured everything he has written. He pairs funny, trope-busting, quirkiness with great heart and honesty. And he’s comfortable in multiple genres — fantasy, contemporary, scifi. I will never forgive him for writing The Dungeoneers before I could (as if I could) but I will always love him for Ms. Bixby’s Last Day. Speaking of last days, if I could have lunch with somebody who is dead I’d pick Terry Pratchett. Always Terry Pratchett. I’d eat out of a dumpster for Terry Pratchett. But I’d bring John along with me.

Jay Whistler: There are almost too many to name. I love Julie Berry’s ability to switch genre and age level and voice, to sound as if she is writing as a plucky preteen in Victorian England in one book and then a persecuted religious heretic during the Inquisition in the next. Then there’s Katherine Paterson, who has managed to navigate a changing landscape of children’s literature over her nearly fifty years of writing. How does one stay relevant to that age group, when one’s original audience could almost be grandparents now? Or Lois Lowry, or Diana Wynne-Jones, or Terry Pratchett. I could go on. Just too many.

Kate Angelella: Neil Gaiman, without a doubt. I would love to explore the wonderful weirdness that is his brain. That said, I am always a little afraid to meet the people whose worlds I’ve inhabited for so long, and in such a personal way! I’m always afraid that knowing who they are personally will shade the way I read their books.

 

  1.   How do you get a sense of the voice and character in a middle-grade novel?

Marissa Graff: When a voice can translate from words on a page to sounds in my ear, I know a writer has nailed the voice for their narrator or characters.

Diane Telgen: I love that MG often allows for a distinct narrative voice, in addition to the voice of the characters, and thrill to a confident narrator who can draw the reader deeply into a new world. As for character, it’s their emotions and actions, as well as their dialogue, that show me who they really are.  

Denise Santomauro: Unique voice is most apparent for me when it’s clear the author has fully fleshed out the character. A character who has a past, desires, dislikes, hopes, opinions, emotional responses, etc. will guide the voice and the way a character moves through the story.

Jenn Bailey: When I know exactly what that character will say (I don’t mean verbatim) and how they will say it before I read it. Voice and character — a great pairing — because I feel they support, enhance, and inform each other.

Jay Whistler: I read this question differently than my colleagues did, and I saw it as wondering how we, as writers, find that sense of voice for writing middle grade. So I answered it that way. This probably seems obvious, but volunteering in a classroom or library is a great way to be around that age group and see what is important to them, how they talk, how they behave, how they interact with one another and with the adults around them.

Kate Angelella: This may sound a bit strange…but when I can imagine myself in the character’s shoes, when the character is so real to me that I can move through their story as them, I feel as though that’s the moment a writer has conveyed voice and character successfully.

 

  1.   What advice would you give someone who is looking to hire an editor?

Marissa Graff: Request a sample edit, a few pages where the editor gets to know your writing and you get a sense of the value of their feedback. It’s an investment and you want to make sure it’s worthwhile. I think most writers are surprised at how valuable the feedback of a good editor really is. I also think a good editor shows you how to employ techniques going forward so that you learn deeply for all writing going forward.

Diane Telgen: I agree with Marissa that a sample edit can be useful in deciding whether you’ve found the right editor. I’d add that working with an editor requires an open mind-set. If you see a critique as just someone telling you what’s wrong, it can feel crushing when you see comments and corrections littering your pages. But if you approach a critique as a chance to learn and grow, to try new things, it can be amazing. Remember, we provide feedback because we have confidence you can make your writing better.

Denise Santomauro: I’d echo everything Marissa and Diane said, and add that I think it’s important to examine where you are in the writing process and read the editorial options carefully to determine the most useful type of edit for the manuscript in its current form. I’d also recommend taking a break from the manuscript after you send it off to an editor. Taking time away provides the necessary distance needed to be able to have a fresh perspective on the work when you get your editorial letter.

Jenn Bailey: Difficult to think of anything to add to the wonderful advice of my colleagues. I think Denise really hits on something by encouraging writers to know where they are in their process, and know what they will need from an editor, before jumping in. I realize that may sound counterproductive to getting folks to hire us, but it isn’t. We really want you writers to succeed. We want you to launch on your publishing adventure, but you have to be ready. So write your first draft, give it some revision, share it with your critique group, and when you are ready for that one-on-one deep dive into your story, that push that will make your story the best it can be, look us up.

Jay Whistler: My colleagues have covered a lot of the same points I would make. But I think it doesn’t hurt to reiterate that you must be open to having someone go through your story with a fine-toothed comb. While it might seem as invasive as having someone rifle through your underwear drawer, remember that editors are truly looking to help you make your story as strong as it can be. Professional editors have a reputation to uphold and want to help you on your journey to learn and improve your craft.

Kate Angelella: Yes, to all of the above! Be sure you get a sample edit, be sure you get a contract, and be sure you feel connected to the editor in some way. The reason we offer clients a glimpse of our editors’ favorite movies and TV shows on our website is to offer potential clients a way to connect with our editors outside of their own work. One of the very first things Kyle and I connected over, way back when he was a client of mine, was our love of Buffy the Vampire Slayer and the TV show Pushing Daisies.

Writers, did you know that Angelella Editorial is offering a 10% discount on all editorial services this holiday season? For more information about the editors of Angelella Editorial and the work they do, click here and here.

 

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So, Where Do YOU Write?

By on June 10, 2016   /   For Teachers, For Writers, Writing  

I’m a fulltime caregiver these days, but I’m also a writer and an editor. Lately, with the help of a home care companion, I’ve been able to get away a bit more, and sometimes when I get away, I can do my job.

I was remembering the Happy Holidays post here on the Mixed Up Files in December, in which we shared pictures of ourselves doing what we do as writers wherever we do it. That inspired me to take you on a little tour of some of my favorite places to get stuff done.

Many authors I know write in cafes and coffee shops to get away from distractions. I understand this. I’ve tried it. I drink coffee or tea, and that makes me really hungry and I always respect the no outside food rules, and then I end up buying (and eating) something I didn’t need. Ugh.

I often prefer to stay at home, but when I do get away, it usually looks something like this. I almost always end up making my huge bottle of iced ginger tea and grabbing a bag of trail mix and some chocolate, and heading to one of three favorite places.

The Library

Yup. I go to the Library. I’m a retired school librarian, after all; it’s a lot like home anyway. There are three branches of my wonderful regional library almost equidistant from me. Sorry, no photos – I’m not a big selfie-in-the-library taker. But here is a link to their webpage, because all the branches of Sno-Isle Libraries rock.

I love writing in the library. I take my earbuds because it is always noisy – in a good, distracting way. If I can’t get a table, there is always an easy chair somewhere, and I can work in my notebook or edit paper pages. I’ve learned to take multiple tasks with me so that I can pick which one best fits the conditions when I’m there. I used to take just one thing to do, and if it didn’t fit the available opportunities, it felt like time lost.

I know not every writer works this way, but I always have multiple things in my bag besides my current largest project now, and I know that every free moment gives me a chance to make something of whatever I’ve got with me. When I get stuck in the library, I love to wander to the local history shelves and browse for new ideas and information for future stories. This counts as (blissful) work for me!

The Beach

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No computer here. Just paper pages, editing pens, and a secure document box to hold them when it’s windy. Don’t forget the beach towel, and the same big bottle of tea and some snacks.

While I can become “distracted” by birds and boats and all the activity of the world around me, it’s a distraction of peace, and the calm helps me to focus more deeply on my task.

I also take a book and relax with it when the day’s work goal is met.

The Sunroom

On a recent cloudy, drizzly day, I dressed for the weather, packed my lunch in a cooler, and headed… downstairs.

Sometimes when our home care helper comes, I don’t feel like leaving home. Those days, I run away to the basement, to our sun room. This lovely space sat lonely for a time, home for over-wintering plants and HUGE spiders, but I’ve recently reclaimed it. When I walk in, my pulse rate drops and my heart begins to sing.

On a recent day, I raced out between rain showers and planted some starts and worked some garden beds. When it started to rain seriously, I headed inside to add edits to more pages of my manuscript. Doesn’t every author dress like this to write?

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Mostly, these days, I don’t have big blocks of time to lose myself in the work I love so much. I make time, snatch moments, come to the page if even for a few minutes, or paragraphs, wherever I can. When I do have a chance, these are my favorite places to get away and write.

Where do you write? Where do you feel most productive?

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