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Saturday, 02.04.2012 |
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| The First Five Pages |
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Product Details
Notes
PART 1: Preliminary Problems
CHAPTER 1 - PRESENTATION
a manuscript from an unknown writer may sit for 6 months before it's opened
it is then read by an intern or assistant who looks for a reason to dismiss it
carefully research the appropriate agent or editor to contact
check similar books to yours, look in writers' guides, ask people
tell the agent or editor why you are contacting them in particular
send a small envelope with a one-page query letter and SASE by FedEx
do the signature confirmation, if it's signed, it might be read immediately
print your manuscript on 8.5"x11" standard 20-pound bond white paper
do not use high gloss or hole-punched paper, print on one side only
do not bind it, that it for screenplays not for books
make sure the paper is not worn, it shouldn't look like anyone else read it
even tiny folds in the corners will predispose the editor to reject it
use black ink and a 12-point font, err on the side of too big if you have to
don't use lots of different fonts or bold, italic, underlined, or caps
don't use fully justified margins or crop marks
don't use a dot-matrix printer, or a low ink cartridge with lighter text
use double spacing, and one-inch margins
new paragraphs should be indented, as should dialogue (normal tab amount)
start halfway down the page at the beginning of each chapter
do not put line breaks between paragraphs
don't put artwork or illustrations in the manuscript
don't say anything about what "rights" you are offering
don't put a copyright notice on every page, it's excessive and annoying
watch out for a misused or overused question mark
also be careful of the exclamation point and any parentheses
avoid overuse of foreign, fancy, vulgar or graphic prose
avoid cliches, especially in the first sentence and on the first page
CHAPTER 2 - ADJECTIVES AND ADVERBS
don't overuse adjectives or adverbs
a string of adjectives or adverbs makes each of them less powerful
too much description assumes the reader has no imagination
most adjectives or adverbs are common ones, so they're cliche
the commas in between can actually slow down the overall pace
look for multiple adjectives or adverbs and remove all but one
ask yourself which one is the strongest or the most unusual
don't modify an unusual noun or verb with an extra adjective or adverb
replace existing adjectives and adverbs with more unusual ones
strengthen your nouns and verbs so they don't need any modifiers
pretend that someone will give you $100 for every word you cut
occasionally use an analogy or metaphor to replace an adjective
be more specific in descriptions rather than using adjectives
notice when an adjective is redundant, you know it by context
CHAPTER 3 - SOUND
prose can be technically correct but rhythmically unpleasant
poor sentence construction confuses the reader, they have to re-read it
this can happen if the sentence is too long or too short, not well divided
the comma may be used poorly some of the time, leading to problems
the semicolon connects two ideas that are distinct but closely related
the colon clearly offsets a point, or replaces the phrase "that is"
the colon should also be used before listing items
the dash is less formal than the colon
the dash is also used to offset an afterthought or clarification in a sentence
remember that the hyphen is one mark, the dash is typed as two marks
parentheses are similar to dashes but more formal
they can offset a clarification but they should be used less frequently
another problem with sound and rhythm is related to echoes
repeating character names, he or she, or unusual words too often
in prose, avoid too much alliteration, and especially avoid rhyme
resonance is the overall rhythm of short and long sentences
outside readers are better at finding problems with sound
ask them to tell you where things sound wrong or it gets confusing to read
read your entire manuscript aloud to hear the sound more clearly
most problems with sound can be fixed by cutting the offending words
aim for complexity of thought but simplicity in expression and prose
reading is a cumulative experience, echoes affect readers subconsciously
the full names of characters should only come once or twice at the beginning
after that, use the first name only and use he or she when appropriate
try focusing on a single paragraph for four hours and making it sound great
read poetry and learn about sound and rhythm by analyzing it in detail
CHAPTER 4 - COMPARISON
comparison includes analogy, simile or metaphor
good use of comparison allows you to cut excess description and make it tight
a cliche comparison indicates imprecision or laziness by the writer
a lack of comparison can keep the reader from connecting emotionally
he may understand the content intellectually but not feel compelled to read on
too much comparison can hide the content under flowery prose
use comparison to draw a clearer picture of a difficult or significant idea
don't put more than one comparison on a page, don't do it just to sound nice
avoid common or cliche comparisons, be creative here
make sure your comparison relates to the underlying idea and expands it
look for places where the description is confusing or lacking
also if the overall feel is bland or dull, it might need comparison to add color
comparison slows down the pace, so make sure it is necessary
watch out for mismatched comparisons, match the words to the idea
focus on specificity, get down to the core of what you're trying to describe
use specific names for items instead of the general category noun
reading is both entertainment and education, readers want to learn something
don't use fancy words in your writing unless you would use them in speech
at the same time, try to constantly increase your vocabulary for the future
knowing more words often lets you choose a shorter, more concise word
a powerful comparison can replace an entire paragraph of description
practice coming up with multiple comparisons and brainstorm creatively
look for places where you want to describe something with greater precision
CHAPTER 5 - STYLE
overstyled text is usually self-indulgent, the writer thinks they're adding flair
some style is necessary, like the first person viewpoint of a deranged character
great style can actually complement the underlying message and theme
misused style can make the writing feel forced or exaggerated
it can also make it feel like the writing is about itself rather than the ideas
the writing can be too noticeable, it can get in the way of telling the story
the reader feels like the writer is writing for himself, not for the reader
style is subjective, so only look at consistent feedback from many readers
ask yourself what's more important, your writing or the story
you want the reader to get engrossed in the story, not be impressed by words
the reader should turn pages and not notice your style, it shouldn't be in the way
great stories should be at the core of even literary writing
the style should complement the story, not fight it, it should match the feel
try reading your story out loud, see if the style is relaxed when it's spoken
to change your style, try changing the lengths of sentences
combine short sentences or divide long sentences to alter the rhythm
try making the style opposite of what it is, if it's minimal, make it descriptive
some common mistakes by professors:
1) overly argumentative approach, like the book is one long argument
2) convoluted prose, expressing ideas in a roundabout way rather than direct
3) focused on accuracy and thoroughness rather than reader interest
watch out for redundancy or repeating the same idea with a minor twist
writing is about contrast, use short and long sentences together effectively
style is based on inspiration more than many other aspects of writing
try letting go of your style, telling your story aloud, it may create a natural style
try writing in the exact opposite style of what you currently have
pay attention to the dialogue of your viewpoint narrator to figure out his style
PART 2: Dialogue
CHAPTER 6 - BETWEEN THE LINES
most editors get 20 manuscripts every day and get paid $18k per year
skim your pages, there shouldn't be too much or too little dialogue
use identifiers or attributives like "he said" or "she said" properly
don't have long sections of dialogue without any breaks or action
pay attention to the rhythm and pacing of the dialogue and breaks
watch out for journalistic dialogue, where it feels like a news article
use identifiers just enough so the reader know who's talking
if possible, try to use no identifier at all if we know which character is speaking
journalistic dialogue is often at the end of a descriptive paragraph
instead of letting the characters talk, it's like a news report with quotes
try rewriting a scene with twice as much dialogue, or half as much dialogue
experiment with adding more breaks or fewer breaks and look at the pacing
CHAPTER 7 - COMMONPLACE
commonplace dialogue includes all the greetings and boring conversation
watch out for extraneous dialogue that is just used to ramp up to conflict
cut any dialogue that doesn't move the story forward or add tension
no matter how great your plot is, your prose must be strong to carry it through
avoid the step-by-step feel, where you document every unimportant detail
don't write dialogue like real life conversation, which is clipped and repetitive
always remember your intention for a scene and make the dialogue fit
CHAPTER 8 - INFORMATIVE
a big mistake is thinking that modern readers want boring realistic dialogue
informative dialogue is telling the plot without getting the emotional connection
don't let a high concept plot override the importance of interesting prose
make sure the dialogue reflects the natural motivation of each character
don't use dialogue just to convey backstory or plot information
let your characters say things they want to say, even if it affects your plot
don't use dialogue to state things that both characters already know, this is fake
don't have characters say something that others would see, like an injury
forced dialogue can be detected by the phrases "I know" and "remember"
try writing a scene while pretending the reader already knows everything
see if the dialogue is more natural, then convey the backstory in other ways
also try pretending the characters know everything that's going to happen too
now they have no agenda to discuss, so what might they talk about?
try ignoring the plot and put your most interesting characters together
see what they might say to each other naturally, how they would interact
CHAPTER 9 - MELODRAMATIC
identify melodrama in your dialogue objectively, see if it's constant or varying
look for dramatic moments, and make sure there is a buildup or an arc
look at an entire sequence of dialogue and make sure there is contrast or an arc
sometimes the most dramatic moments are best with quiet subtle dialogue
be careful with romance and love scenes, don't push it over the edge
watch out for cheesy description of setting, and overuse of exclamation points
another type of melodrama is the hard boiled mystery with the snappy lines
domestic melodrama can also be over the top if it goes on too long
try rewriting a dramatic scene by conveying the drama without dialogue
practice understatement, let the reader sense the underlying drama
play against the grain, complement high tension with subdued dialogue
try replacing a ranting monologue with a single action that tells it all
CHAPTER 10 - HARD TO FOLLOW
don't overuse dialect or slang, this can be detected by overuse of apostrophes
make sure the reader know who is speaking at any point, use identifiers
any confusion on the part of the reader should be intentional
it's hard to catch these problems in your own writing, so use outside readers
different readers actually pronounce words differently in their head
exclusive dialogue is when characters talk about stuff the reader doesn't know
if you want to use dialect, focus on the choice of words and mannerisms
rather than trying to spell words to represent dialect, capture the tone of voice
ask readers if there are parts they don't understand due to exclusive dialogue
maybe the reader forgot something earlier, make it clear even if it's repeated
PART 3: The Bigger Picture
CHAPTER 11 - SHOWING VERSUS TELLING
readers like to make a text their own, let them figure things out without telling
showing events allows for a certain amount of ambiguity and interpretation
this allows the reader to make it more personal, and more interesting to them
readers may even come away with a different meaning later in life
great books are as much about what readers bring to them, not just the facts
showing events lets a reader experience them, rather than just being told
you want the reader to enter your world and be immersed in it
writing, unlike music, has many other forms that are factual, like textbooks
so creative writing has to distinguish itself by using dramatic scenes
when translating a plot description into an actual scene, choose the events
don't show every boring detail, look for the most important dramatic events
choose the most interesting tension-filled dialogue and actions
by the end of the scene, the reader should have learned about the characters
telling can be used to show the narrator's personality and viewpoint
it also allows you to quickly summarize less important information
look for places where you have too much description, these could be shown
also when you first introduce characters, they might be described too much
let the reader meet the characters as they enter the scene for a purpose
if there is a flurry of events, make sure it isn't overly summarized or told
if there is too much backstory or slow description, try showing the events
now when it comes to dramatizing the scene, look for the most important parts
figure out which details are the most dramatic, and the most relevant to the story
replace dry, synopsis-like text with actions that engage the reader emotionally
look for ways to build an element of ambiguity left to the reader's interpretation
think about all the possible interpretations that readers might come up with
consider possible hidden symbols and underlying themes in the scenes
when describing setting, try to show details that reveal the description
stating facts is different from telling, telling forces us to specific conclusions
state interesting facts about the setting, and let the reader make the conclusion
a common error is to summarize conversations instead of dramatizing them
try introducing new characters solely by their actions, without telling anything
ask readers what they think of your characters, different responses is good
evoke the mood of a setting by description rather than telling us the mood
when a character talks about another character, it reveals their prejudices
CHAPTER 12 - VIEWPOINT AND NARRATION
don't switch between first, second, and third person narration
don't switch between viewpoints except at clear breaks, like chapter breaks
make sure viewpoint switches are integral to the story and not arbitrary
make sure the viewpoint character only tells what he would naturally know
don't let a viewpoint character say what others are thinking, he wouldn't know
each viewpoint character should have personality and a distinct voice
the reader must feel strongly about the narrator, either like or dislike
a reader who is emotionally compelled is way better than one who doesn't care
ask yourself which character can offer the most compelling viewpoint
who is the most interested or the most opinionated, who has the most flavor
if you feel compelled to switch viewpoint, maybe your original choice is wrong
you can let your viewpoint character guess what someone else is thinking
this introduces ambiguity, which is good, and it's more accurate
study viewpoint and narration in the classics and learn from them
rewrite a scene with different facets of a character to see the effect of viewpoint
try changing a scene to first person, second or third person
CHAPTER 13 - CHARACTERIZATION
be consistent in referring to a character by first name or last name only
don't use stock or cliche names like John Smith, or too exotic names either
watch out for high concept plot that lacks characterization
avoid cardboard cliche characters like the mad scientist or Russian spy
don't introduce too many characters at once, it's hard to remember or keep track
make it clear who the main protagonist is by using appropriate viewpoint
don't introduce extraneous secondary characters who serve no purpose
it's hard enough to remember all the main characters, don't name minor ones
try to come up with a tight unique character description, not just average
try to make the reader care about your characters, make them compelling
try not to have an unsympathetic protagonist unless they are really developed
make sure character names are consistent with their background and race
the action of the plot should serve to further the growth of the characters
try to have a stock character do the opposite of what's expected or cliche
if you have to introduce a bunch of characters, focus on a few first
if you're taking the reader into a new world, give them a character to guide them
it's easier for a reader to remember an unusual looking character
think of a unique attribute for each character, based on looks or demeanor
or give a unique bit of character history that keeps the appearance ambiguous
like a pattern in the character's life, or something they were known for in the past
don't just describe a character, indicate the reaction by the viewpoint character
or describe a character by how others would commonly react to him
think about what makes a character intriguing or captivating to others
constantly look for interesting character traits or habits in real life
CHAPTER 14 - HOOKS
don't just have one great intro line, maintain the hook throughout
use the hook to establish character, voice and narration
the job of the hook is to set the tone for the book, even if it's quiet or subdued
remember to use a hook at the end of a section also, to bring the reader back
it's not just the last line, it's the cumulative events leading up to the break
don't quote your first line in your query letter, it's not just about marketing
make sure the hook is integral and relevant to the story, not just catchy
also match the intensity of the hook to the rest of the book, not overexcited
don't use dialogue as an opening hook unless you really know it works
think of every paragraph as a hook, start and end strong so it propels the reader
CHAPTER 15 - SUBTLETY
subtlety is the mark of a good writer, if it's not subtle, it may feel inflated
like when the writer beats the reader over the head with repeated details
when you underestimate a reader, you alienate him
build your confidence in both yourself as a writer, and in the reader's skills
usually if it's not subtle, something needs to be cut
you have to figure out what to cut, what is extraneous or excess
look for places where you are being too obvious, or too repetitive
see if your foreshadowing is too overt, if the clues are too easy
to fix it, write the clue in less space, make it cryptic, or move it farther away
the farther away the clue is from the event, the more subtle it will be
hold back on revealing too much of the plot right away, control your pacing
allow for some ambiguity or unresolved issues for the reader to ponder
see if any scenes are too complete, maybe they can be cut to leave questions
ask yourself if a reader would want to read your book multiple times
think whether they would pick up new things in the second reading
try rewriting an excessive scene in a minimalist way, less is more
CHAPTER 16 - TONE
tone is the voice behind the work, the driving intention behind sound and style
tone is more about the overly personal, wise-ass, or annoying narrator
examples are if your tone is too sarcastic, witty, intimate, serious, or mocking
think of what tone is appropriate for the story, if it's nostalgic or carefree, etc.
generally it's better to lean towards more subtle tone rather than obvious tone
experiment with writing in the opposite tone of what's expected
think about the natural tone that your protagonist would have in speech
conversely, think about the intentional tone you want the narrator to have
CHAPTER 17 - FOCUS
is the writing doing what it's supposed to do, not just being pretty
it's normal to have to edit to stay on track, the creative mind naturally wanders
but once you've explored a tangent, you need to decide if it fits in the end
one example of focus is starting the book with a theme that comes full circle
if it's done well, it will surprise the reader, but then make them feel it's right
it can be done by relating the start and end thematically, or in repeated words
focus should be maintained in smaller segments too, like chapters or sections
look at each chapter and make sure it has its own complete arc
it doesn't matter how long each chapter is, the length is determined by the arc
an unfocused manuscript has a "rambling" feel, with unresolved characters
another problem is weak beginnings and endings, because they aren't planned
if you reached the end through some tangent, editing is crucial to bring focus
no matter how good the writing, if it doesn't serve the story, it must be cut
you can save any scenes though for other projects, so the writing isn't lost
check that each character comes to his or her own natural conclusion
check that any big events are integral to the story and resolved by the end
look for points where you went off on a tangent or monologue by the narrator
see if these ramble on, or stray from the point of the story
look carefully at the opening, make sure it focuses directly on the main ideas
sometimes you settle into your natural style, voice and narration later on
if so, you need to carefully edit the beginning to match the final voice and style
don't go overboard with focus, allow for some spontaneity and ambiguity
look for any mixed paragraphs that cover more than one topic, divide them
in general, check your intention and make sure your writing follows it
CHAPTER 18 - SETTING
choosing a great setting can say a lot in a subtle way without telling
make sure there is a clear setting for every scene, even if it's briefly described
at the same time, don't slow down the pace by overdescribing the setting
one option is to spread out the description of setting over many pages
intersperse relevant aspects of the setting with dialogue and action
settings are like characters, make important ones memorable, others brief
don't be afraid to keep changing settings, even if it spans the country or world
bring settings to life through tiny details that can also be symbolic of the theme
think of minor flaws or irregularities in the setting, like character description
consider all five senses, smell, sound, lighting, the touch of objects or walls
pay attention to climate if it directly affects the story
have the characters interact with the setting, touching objects, handling climate
one option is to let the setting interfere with a character or conversation
try to let the setting actually contribute to the events or story directly
use the details of the setting to make an impression on the narrator
maybe the narrator can use comparison or metaphor to reveal the mood
watch out for settings that are there but never come to life, just normal objects
train yourself to look for detail in settings in real life, notice unusual details
decide consciously what kind of impression you want to make with the setting
now think if any of these details can influence a character or scene
try rewriting a scene in a different setting and notice the effect
this is a good way to get creative ideas when you're stuck on a scene
CHAPTER 19 - PACING AND PROGRESSION
pacing requires holding hundreds of pages in your head at once
you have to figure out if large sections move faster than other large sections
after you read your manuscript too many times, you lose perspective
so ideally, you need to notice the pacing on a fresh read, after a long break
this area is hard to self-edit, so ask readers where the story lags or rushes
to evaluate pacing and progression, read the whole book closely in one sitting
if the pacing feels slow, try to appeal to others and not just to yourself
raise the stakes, build narrative tension in the action, events, and dialogue
notice if you're taking too long in between key points in the story
don't use too much telling, replace slow description with dramatic scenes
if the pacing feels fast, watch out for plot-driven novels with no depth
dialogue also accelerates the pace, so try adding more exposition for balance
progression is different than pacing, it's about whether you achieved something
readers want to feel like there was a point to the ending, something changed
notice any lack of plot or character development, or lack of focus
think of building small points of progression along the way to maintain interest
draw out the suspense in key scenes, let the readers work and sweat the tension
don't underestimate the reader and assume they won't get the complex story
quick short paragraphs may be symptoms of too-fast pacing
fast pacing is only bad if it feels like we're missing stuff in the story
practice by taking one page and expanding it into a 10-15 page story
then take an entire story and try condensing it down to a single page
if you write by instinct without an outline, look for alternating fast and slow points
make sure there is a clear progression in the story events through editing
EPILOGUE
your biggest resource in getting published is other people
the business of writing is social, even if the craft is not
build a network that can give you feedback on your writing
they can also pass along information on the publishing business
and they can end up being referrals or endorsements
would you still write if you knew you would never be published? |
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