The Vision Thing

eileen-blog200x200As the author of Sacred Economics: The Currency of Life, and as one of the three cofounders of Muse Harbor Publishing, it falls upon me to articulate The Vision Thing. This project landed in my inbox because my life’s work focuses on the exploration of new ways for people to be in healthy relationships with one another, and – by extension – with the larger living world that connects us all.

Perhaps it’s a happy accident, but we at Muse Harbor consider ourselves to be equals. We love each other unconditionally, and we treasure our personal friendships. Above all, we each honor the crazy, flawed, wonderful, brilliant, amazing, creative and unfathomable beings we are. We’re learning how to rely with gratitude upon the unique skills and talents that each of us offers without defining whose skills should be worth more. For us, being in a healthy relationship means the love will always matter more than the work; but when it’s time for work we serve each other as well as we possibly can. We do so because we’ve come to realize we need each other if any of us are to thrive.

Being in a healthy relationship also means we’re dedicated to serving you—our authors and readers—so you can get the most out of what we’re co-creating. We want our writers to be able to afford to keep on writing, and we want our readers to be able to access as many books as they care to read. Our low prices and high author payout rates have been designed to serve that purpose. We trust that if our writers succeed and our readers enjoy their books, we’ll do just fine.

When we sign a new author we do so because we love the material. We’re acknowledging that we trust in the author’s vision and ability to refine it, and feel confident we can add value to the project. And whenever you purchase a Muse Harbor book, know that we’re committed to ensuring you’ll be getting a book worth reading.

Our favorite motto remains: “No fun, no do.” We strive to discover if the trust, friendship and openness we’re fostering in our new business model will birth a higher degree of excellence than does the decaying corporate model, which thrives by provoking fear and stress in people to induce greater productivity…but at what price? Perhaps joy, passion and gratitude will prove better fuels for the engine of human creativity over the long run.

We’ve made it our mission to build a safe harbor for authors, yet we’re conscious of the fact that we’ve plunged headlong into the oceanic abyss of a new business model without protective gear, so drowning remains a distinct possibility. We don’t pretend to have all the answers for what makes a successful company, or what compels a reader to select this book over that one. But we do love to tackle new challenges, so testing this kinder, gentler business model makes waking up every day a joy for us all (at least most of the time!)

I hope these words have helped illuminate what we’re attempting to do. Perhaps, if nothing else, they may move you to check out the books we’re currently offering. For some time now we’ve been searching for a pithy way to describe who we are, and what we hope to achieve. How about this: “Buy a book; save an author. Buy two books; support a new paradigm.”

You can find more of Eileen Workman’s posts on Reality Sandwich

..

Facebooktwitterredditpinterestlinkedinmailby feather

Good Writing, Bad Advice

rules-header-full

A notebook for fiction writers and aspiring novelists. One editor’s perspective.

Next post • See Index


Good Writing, Bad Advice.

My name (once again) is Dave Workman. I’m a developmental (content) editor IRL. I’m also an author. Over the years, I’ve accumulated a bit of knowledge that may help new writers beginning a long and often arduous (although hopefully rewarding) journey. Might I impart any significant pearls of wisdom on this page? I offer no assurances. Nobody in this business—in any business—can guarantee success. Finding a publisher is sometimes more luck (sadly) than skill. Good timing rather than dedication. Sometimes it’s who you know. Sometimes it’s who your daddy knows. Success is a subjective son-of-a-bitch with a chip on one shoulder and a crazed twinkle in its eye.

But knowing how to write well can’t hurt. And knowing a few basic rules along the way can definitely ease the process. Success may be elusive, but for an unprepared or apathetic writer, success is probably little more than a fuzzy daydream.

Do you know the Numero Uno, Most Common, Most Discouraging, and the Tragic Likely Outcome of all novel writing endeavors? It’s not finishing the book. Losing interest or losing your way, losing your nerve or losing your religion. It’s fear of success or fear of failure or fear of wrestling all those words into place, from “Once upon a time…” to “The End.” And if you can overcome those fears and finish a manuscript (even a first draft!) you’re already closer to success than most.

 Finish the book. That’s Rule #1.

In this and subsequent posts, I’ll attempt to reveal what many publishers seek in terms of a desirable manuscript, although—bottom line?—it’s very likely a polished, professional and unique voice. Yes, voice. A publisher (or agent) is far more likely to accept an uncanny voice over a complex, complicated or convoluted plot structure. Lock two characters in a closet, give them exceptional dialogue and quirky or witty personalities worth exploring, and a publisher will likely consider that manuscript over a done-to-death story about brain-sucking aliens attacking Las Vegas. (Although if your aliens have quirky, well-constructed personalities, a publisher will take a close look as well.)

But let’s face it—only so many finite plot-lines exist in literature. They’ve all been covered ad nauseam. Boy meets girl. Boy loses girl. Boy is eaten by giant squid. (It’s been done.) But a unique voice is yours alone. Exclusive. Inimitable. Priceless. For a writer, creating a unique voice by infusing excitement, passion, eccentricity,  pathos, wit and charisma (or all of the above) into a distinctive character can be money in the proverbial bank.

Okay, enough preamble. Although I do have one significant bit of advice to share: Don’t listen to anybody (and certainly not to me) if the advice doesn’t resonate. Go with your gut. Go with your own instincts. By all means, listen selectively to proffered advice—accept feedback when it’s constructively given—although I suspect some 80-90% of what you hear won’t work for you. However, that remaining 10-20% might may prove priceless. So do keep an open mind! (See Confronting Criticism.) Remember, success is as much about breaking rules as following them. If it feels right, crayon outside the lines. I think Gandhi said that. Maybe not.

To illustrate, here’s a true story. This one still gives me nightmares. I still wake up cringing.

The most single, most horrific, most god-awful perverse piece of advice I’ve ever encountered occurred during a week-long writers’ conference in Southern CA. (And while a writers’ conference can be a wonderful, magical, scintillating experience… again, be careful who you listen to.)

One evening, a panel of “editorial experts” bequeathed their brilliance to a capacity filled auditorium of eager, fledgling writers. An attendee stood and asked a panelist a question, and in doing so happened to mention that her nearly-completed novel filled some 360 pages. About 90,000 words.

Without a moment’s preamble—without a speck of empathy or a grain of intelligence—the so-called expert replied, “It’s too long. Cut twenty thousand words.”

This Expert of Knowing Everything While Knowing Nothing had no clue about the nature of the story or its genre, or of the writer’s level of craft, the tenor of the book. Simply “cut it.” The writer was, of course, crushed. And I have never forgotten my frustration over that absurdly idiotic remark.

Should anyone tell you to arbitrarily cut (or add) pages without otherwise knowing your story—it’s intent and purpose—smile politely and walk away. I’ve read too many manuscripts that feel truncated and unfinished… only to discover that the writer had been previously advised to “cut, cut, cut!” without further direction or counsel. In desperation, many writers blindly begin hacking all the style and nuance from an otherwise excellent story.

Think of a novel as a living, breathing person. If I feel that your story needs to lose a bit of weight, I’ll not advise you to remove its liver or stomach or left arm. The process is to shrewdly exercise your book—trimming adverbs, adjectives and excess verbiage like so many bloated fat-cells. Eliminate scenes or chapters that do nothing for the story but flatter your ego. Prune those sections carefully, little by little. Or feed it more Skittles, should the opposite be true.

I acknowledge that the above-referenced workshop occurred before the Age of e-publishing. Stricter rules applied once upon a time (although stupidity didn’t count back then, either). And I continue to hear agents and editors and the so-called “people in the know” advising writers to cut or add pages, to alter a manuscript in order to satisfy some personal itch or the guidelines of a publishing system that no longer exists.

The biggest problem today? Since the emergence of e-books and self-publishing (around 2008-ish), the industry remains in flux. No one’s certain of the new rules yet. But in this rapidly changing paradigm of 21st century novel writing, here’s my best advice: Trust yourself—and hone those basic skills of storytelling in the (somewhat paradoxically) simplest, yet most exciting voice you can muster.
.


.
Next post • See Index

.

Facebooktwitterredditpinterestlinkedinmailby feather

Santa’s Pick to Calm Holiday Stress?

book6Awakening Into Perfect Peace is This Season’s Ticket to Ahhhhs
“Awakening Into Perfect Peace” author teaches how to be drama-free anywhere.

New Mexico, CA (PRWEB) November 20, 2013

This season, a new book could actually bring more happiness than Santa Claus.

Awakening Into Perfect Peace: Reflections on Freedom from Suffering, by Dr. Ralph Huber teaches readers easy-to-use tips to make themselves happy, for life. Helping someone free themselves of life’s personal drama, confusion and Holiday stress might land that gift-giver a permanent spot on Santa’s “nice” list, making everybody happy.

On Sunday, November 24, 2013, Unity Santa Fe, New Mexico will host a book signing for Communications Expert and Author Dr. Huber’s new book, “Awakening Into Perfect Peace.” Dr. Huber will be answering questions from his new book, based on his popular course and workshop of the same name.

Dr. Huber’s book is packed full of easy paths to inner peace.

Readers of these life-transforming tips will learn to see and understand frustrations in a brand new way, free themselves from suffering, allowing calming “Ahhhhs” to replace stressful situations.

Dr. Huber asks, “Do you want to experience a life filled with confusion and drama by resisting life’s unfoldment, or do you want to experience a life of clarity and peace that comes from welcoming all of life – as it is?”

In these powerful and simple life lessons, readers will discover:

 

  1. A powerful process to move from suffering to peace
  2. How resistance to ways life unfolds is a roadblock to perfect peace
  3. An access to peace through a grateful heart
  4. How to embrace “what is” to enhance your relationships with yourself and others

 

Dr. Huber believes that inner peace is achieved through the path of least resistance, which is often the simplest path to take. “Most of life’s conflict is self-inflicted,” says Huber.
Amanda Creighton, executive producer of the film, Within Reach says, “Ralph Huber is one of the great minds and hearts of our times. Awakening Into Perfect Peace serves as a fertile ground for self-actualization.”
Awakening recently launched on 2013’s International Day of Peace from Muse Harbor Publishing. It can be found on Amazon.com and museharbor.com.

Ralph Huber’s professional background includes educator, corporate trainer and vice-president of a New York based management consulting firm that offered services to major communication and retail industries. He is currently a member of Hummingbird Community in northern New Mexico and serves as board president for the Unity Church in Santa Fe. Ralph holds a Ph.D. from New York University’s Department of Communication Arts and Sciences. He has an affinity for Advaita, Zen and Christian Mysticism.

An engaging, inspirational speaker with practical “happiness” tips that benefit any reader, listener or viewer, Dr. Huber can be reached for further interviews, including Radio, TV, Print, Online Blogs and event speaking engagements, by contacting Margaux(at)museharbor(dot)com.

Friend Dr. Huber on Facebook and visit his book event this Sunday, November 24, 2013 at 11:45 a.m. at Unity Santa Fe, 1212 Unity Way, Santa Fe, New Mexico 87506. For information on Huber’s personal coaching and seminars, visit www.awakeningintoperfectpeace.com.

Muse Harbor Publishing, based in Sea Ranch, CA, was founded in 2011 as an organization of “writers helping writers, in service to our readers.”

 Facebooktwitterredditpinterestlinkedinmailby feather

Inner peace in a traffic jam?

book6Popular Author/Speaker Dr. Ralph Huber Teaches Radio Morning Commuters 3 Easy Steps to Inner Peace
“Awakening Into Perfect Peace” author teaches how to be drama-free anywhere.

Santa Fe, New Mexico (PRWEB) September 16, 2013

Inner peace in a traffic jam? Absolutely, says Dr. Ralph Huber, author of the new book “Awakening Into Perfect Peace,” launching on International Day of Peace, Saturday, September 21, 2013 from Muse Harbor Publishing. Communications Expert and Author Dr. Ralph Huber is bringing to radio bite-size nuggets of his popular course on how to become free of personal drama, confusion and stress with a new platform of easy-to-use tips for listeners to follow, even if they’re behind the wheel.

Dr. Huber’s course teaches how to find freedom from life’s emotional roller coaster, and shares practical steps from his new book, “Awakening Into Perfect Peace: Reflections on Freedom from Suffering,” which is featured onhttp://www.awakeningintoperfectpeace.com.

Dr. Huber asks, “Do you want to experience a life filled with confusion and drama by resisting life’s unfoldment, or do you want to experience a life of clarity and peace that comes from welcoming all of life – as it is?”

In these powerful life-lesson sound bites, listeners will discover:

  • A powerful 3-step process to move from suffering to peace
  • An access to peace through a grateful heart
  • How resistance to the ways life unfolds is a roadblock to perfect peace
  • How to embrace “what is” and enhance your relationships
  • How to Use His Successful “In a Clutch” Personal Mantra: ROAR

 

Dr. Huber says, “Turning my seminar and book exercises into radio tips helps me to reach people who may find themselves in common, stressful situations, such as traffic jams.”

Listeners of these life-transforming tips will “behind-the-wheel” calming exercises and empowering mantras to free themselves from psychological suffering, find resonance with their true peaceful nature, and avoid destructive temptations to argue with life “as life is”; even while they’re bumper-to-bumper.

Dr. Huber believes that inner peace is achieved through the path of least resistance, which may also make it the simplest path to take.

Amanda Creighton, executive producer of the film, “Within Reach” says, “Ralph Huber is one of the great minds and hearts of our times. ‘Awakening Into Perfect Peace’ serves as a fertile ground for self-actualization.”

Ralph Huber’s professional background includes educator, corporate trainer and vice-president of a New York based management consulting firm that offered services to major communication and retail industries. He is currently a member of Hummingbird Community in northern New Mexico and serves as board president for the Unity Santa Fe. Ralph holds a Ph.D. from New York University’s Department of Communication Arts and Sciences. He has an affinity for Advaita, Zen and Christian Mysticism.

An engaging, inspirational speaker and a communication visionary, Dr. Huber can be reached for further Radio, TV, Print and Online interviews or event speaking engagements, by contacting Margaux (at) museharbor (dot) com. Friend Dr. Huber on Facebook, and visit Muse Harbor Publishing for more information on his upcoming book launch signing on Sunday, September 22, 2013 at 11:45 a.m, at Unity Santa Fe, 1212 Unity Way, Santa Fe, New Mexico 87506. For information on Huber’s personal coaching and seminars, visithttp://www.awakeningintoperfectpeace.com.

Muse Harbor Publishing, based in Sea Ranch, CA, was founded in 2011 as an organization of “writers helping writers, in service to our readers.”

 Facebooktwitterredditpinterestlinkedinmailby feather

Where to Start (Part 3)

rules-header-full

A notebook for fiction writers and aspiring novelists. One editor’s perspective.

Next post • Previous post • Index


Getting Down To It.

So maybe you’ve tried writing a few short stories. Or you’ve started a novel, cranked out a few pages or maybe a few chapters, but you’ve found the process… difficult. A bit daunting. Overwhelming. So let’s boil the process down to the bare bones — and perhaps get a better feel of what writing starting a novel is all about. So, for the moment, let’s forget about developing any sort of writing style, about pushing through writer’s block and other down-the-road potential obstacles, about winning that Pulitzer or interviewing with Oprah. For the moment we’ll stick to the preliminaries.

I’ve mentioned this before, but it’s worth repeating: There’s no single, best, one-size-fits-all approach to beginning a novel. Some first-time novelists simply plop themselves down in front of a notepad, a typewriter (because those still exist!) or a PC and begin to peck out a first line, and then another. And another. You’re starting out cold turkey, ready to bang out 300 or 400 pages without a second thought. You’ve got a story to tell and, by God, you’re going to tell it. Because if that’s your style, your intent, go for it! Writers have been writing first novels by the seat of their pants (some of those efforts destined to become best-sellers) for hundreds of years. You can’t argue with tradition.

Or maybe you’re a perfectionist. You’ve been planning your novel for months or even years — getting yourself mentally prepared, but not quite ready to, y’know, do the deed. You’ve read every How-To writing book ever published, and you’ve memorized Strunk & White. Maybe you’re on your way to a Ph.D in creative writing. (Is there such a thing?) You’ve crossed your proverbial I’s and dotted your perennial T’s and only now, locked and loaded, are you ready to dare tap out those first few sentences.

Either way, realize that this brazen new millennium offers new and exciting (or new and terrifying, depending upon your POV) approaches to prepping, drafting, writing and selling a novel. The Internet has changed the way we gather and research information, interact with other writers to learn a few trade secrets or swap stories, tips and secrets — Reddit’s r/writing sub for example, or NaNoWriMo, Writer’s Digest, Writers Helping Writers, Inkitt or Wattpad — and how we find agents, editors and publishers. New emerging (or emerged) markets such: Audio, ebooks, flash-fiction and fan-fiction Websites and how-to apps proliferate. Total strangers will tell you what to do, how to do it, and will occasionally rip you and your work to pieces with the joyous dexterity of a seasoned serial killer. Emotionally drained, you’re left to wonder, Am I really a horrible writer? Or is that new best friend and critic of yours just some rando psychopath? Sometimes it can be hard to tell. But refer again — and as often as necessary — to Rule #3. Write to please yourself. I call it my self-inflicted sanity rule.

Not to mention that you’ll come across people like me; well-meaning souls who harken our presence and thrash about with an austere sincerity (or else an utterly false pretense) eager to share our fabulous secrets of fame and fortune like so many boardwalk carnival barkers. (Another rule of thumb: If somebody’s asking you to pay for their unsolicited time and advice, think twice, fact check their credentials and don’t be afraid to run screaming into the night.)

Because, basically, writing a novel can be a lonely, isolating endeavor, and trusting oneself is paramount. Your guess about what makes a best-seller is as good an assumption as anybody else’s best guess. So, yeah, relying on your own intuition and common sense is a safe bet. If you get stuck or lost along the way, sure — it’s okay to seek advice or second opinions. (Also see: Confronting Criticism.) But always remember that you’re captain of your own ship. If you find yourself sinking, it’s okay to swim for shore. But if you can weather the storms and make it to port, there’s no sweeter feeling. The first time you see your very own ISBN and/or Library of Congress PCN — few other thrills can compare. Because publishing a book feels very much like landing on the moon or skiing the Matterhorn. For anyone staring morosely at a blank screen, contemplating tapping out those first few pages, just be aware that the long journey ahead can be well worth the effort.

And if you don’t try, you’ll never know for sure.

So perhaps it’s time to explore that proverbial Yellow Brick Road. So let’s cut to the chase, bury that wicked witch and skip forward. (Cue the Munchkins!) Because whether you’re contemplating beginning a novel or you’ve already started a first draft, here’s what I consider to be an essential first step. Optional, yes, but essential.

Give yourself permission to engage in a bit of introspection. A little self-analysis. Ask yourself a few basic Why? questions. Don’t worry, it’s painless. Ain’t nobody’s keeping score. And there are no wrong answers. But understanding your core motivation for writing is, I suspect, more important than you may realize. For instance:

• Why have I chosen to write this particular narrative?

This is the easy question. Because any consideration short of I really don’t have a clue is acceptable. Writing for the sheer joy of writing is a completely acceptable answer. Writing to make a moral or social or philosophical difference is acceptable. Writing to quiet that incessant static buzz between your ears is acceptable. What’s static after all but a frequency looking for a receptor? Writing may be that receptor. Many writers find that writing fiction quiets the brain, fills a void, provides meaning to an otherwise vacuous life. All valid reasons to begin writing. But not having a clue will only get you so far. A page or two. A chapter or two, before you realize it’s time to move along. To find another source of fulfillment. Sure, give yourself credit for trying, but perhaps your better suited for a different sort of creative endeavor? A less emotionally demanding adventure?

• What’s my story about?

Because if you don’t know, readers probably won’t know (or care) either. (Also refer to What’s Your Intention?) Maybe you love reading fantasy, and you’re enamored with fire-belching dragons. However, sitting down to write about fire-belching dragons, but without any further consideration, won’t get you far. Not to mention that fire-belching dragons are the rage these days. Yours must be different, unique and—well, either plot- or character-driven. (See below.) So presenting a new take on an old tail tale, will be essential. I strongly suggest knowing your story before you begin to write.

What do I risk by writing this (or any) book? Is it worth the price?

I’m no shrink, nor do I play one on TV, and I expect no Freudian answers. But are there risks writing a book? Yup. A risk of disillusionment, disapproval and disappointment, for starters. Losing touch with friends and family. Losing months or perhaps years of your life while staring at a computer screen (and wondering who’s going to pay the G&E bills). Most of us will face a buttload* of rejection, and sometimes repeatedly. Most of us who begin a novel — and brace yourself — won’t finish. Of those who do finish, a majority will not find a publisher. Of those who do, a majority will not make a sustainable living. Not trying to be a total bummer here—but those are the risks we learn to accept.

Maybe you’ve heard of the old Aspiration, Inspiration, Perspiration philosophy of novel writing? If not, here’s the gist:

Aspiration is about having a desire and ambition — the eagerness — to write a particular story. Maybe it’s based on family history or a newspaper article or an old movie you once saw, and intend to improve upon. Maybe you’ve read a thousand fantasy novels and thought, I can do that! But having a specific goal in mind can be crucial to boy your joy of writing and your success.

Inspiration is simply another word for your creativity. Every chance you get, consciously or subliminally, your brain is concocting clever scenarios about this and that and some other thing. What if this happens? What if that happens? What would happen if…? Meaning, you’re comfortable concocting clever, witty characters in well-conceived settings (or realms), and then giving them something exciting, profound and memorable to accomplish or survive.

Perspiration is perhaps the most challenging of the three. Perspiration is all about your ability to persevere, page after page after page. Day after day, night after night. It’s about excusing yourself (not always, but often) when you’re friends are knocking back tequila shooters down at the Disco. It’s about potentially isolating yourself from friends and families for months or years, and about accepting criticism (when valid) and about pushing forward despite reservations and self-doubt and either the fear of failure or fear of success whispering furiously in the back of your brain. (Also see Fundamentals.)

But enough with the negativity already! Back to the fun and frolic of telling a good story.

As previously discussed, most story ideas begin as a snippet of thought or a fragmented concept, perhaps a random daydream or a tasty soundbite thrown your way from mass- or social-media. Maybe you’ve piled on additional, if nebulous, ideas as well. Once you have a basic story in mind — either a partially considered, loosely threaded beginning, middle and ending in mind, or simply that aforementioned inciting incident — it’s up to you to expand upon those concepts into an eventual, fully-formed novel.

Do realize that no set rules exist for proceeding. If my last few posts feel unhelpful or cumbersome, no worries! (And this is as close to a disclaimer as I’ll come.) But since every writer’s brainwaves, intuitions, coping skills and experiences are unique, I’m unlikely to speak with either eloquence or efficacy to every novice writer. So take from me what you will, disregard the rest and Google your way toward any number of variable alternative sources. The great thing about the Internet; There are a million different sources and resources awaiting your arrival. (Then again, the terrible thing about the Internet is: There are a million sources and resources out there.) So choose well, Pilgrim!

As previously mentioned, one can simply sit down (with a note pad, a typewriter or PC) and begin to lovingly craft a vision, such as writers have done for centuries; word by word, page by page, and scene by scene. But if blindly charging forward into the fray isn’t your style, no worries! Some writers mull their stories for months or years (it’s a kind of creative procrastination) waiting until they feel the moment is ripe. So if you consider yourself a creative procrastinator, or else suspect your impending story as being only half-baked, I offer a few suggestions that may (or may not) help you with a little forward momentum. For instance:

The Outline. Yes, I’ve already mentioned the potential value of outlining —but I shall continue to do so. Because it’s a valuable tool. And if you’re having trouble beginning, creating an outline (refer again to Where To Start: Part 2 if necessary) can jump-start those creative processes. And understand that while your outline can can begin as little more than quick notes on a notepad or bullet-pointing a potential story line—some writers may choose the more formidable option of tacking index cards to cork board, marking major plot points on a chalkboard; even employing flowchart type graphics. (If this, then that.) Others will voice-record their thoughts.

A final word about outlining. One not need outline an entire story from beginning to end. Most writers starting a first draft may have only a funny notion or how their novel will end. Some have no idea. But it’s okay to outline one or two chapters (or scenes), catch up and then begin to outline another few scenes or chapters. I do suggest, however, that if and end game presents itself, even if vague or uncertain, take the time to outline those thoughts. Once you have an ending in mind, it’s far easier to continually maneuver your characters toward that specific (or moderately certain) goal line. You’ll make fewer mistakes, take fewer wrong turns and very likely produce more relevant or profound characters, since everyone will know where they’re going and how to get there (or die trying!).

The Synopsis.

While your outline allows you to essentially expand various story ideas, a synopsis is, conversely, an encapsulation. A summary. If you’re able to define your plot in a page or two or three, you’ll begin to better understand the crux of your novel. Maybe your exciting sci-fi alien encounter is really a love story. Or your tale about two army deserters in a terrible war is basically a story of finding courage. A schoolyard tale about bullies and weaklings is ultimately a story about building unlikely friendships. So a synopsis can be a quick-glance guideline or as a daily reminder of where your story’s heading. (I’ve known a writer or two who’ll take a synopsis to their monitors. Every morning, it becomes both a prompt and a testament.

If creating a synopsis seems frivolous or overwhelming (and it may) take a deep breath and try this: What’s your favorite novel? See if you can write an synopsis about that book, without the pressure of summarizing your own words. Practice synopsizing a few novels and perhaps abridging your own work may feel far less daunting.

For example:

.

Amidst the rumble of an approaching Civil War, we find Scarlett O’Hara, the spoiled, teen-aged daughter of a wealthy Atlanta plantation owner, caught in her own giddy social bubble. Scarlett is clueless about the meaning of life, or the value of honor—although as the war rages, she discovers newfound courage and an inkling of character. Briefly married, she is quickly widowed by the calamity of war. Shortly thereafter, Scarlett’s beloved plantation, Tara, falls victim to the advancing Union army, and she must decide between her love of the land and her dedication to friends and family. She falls under the spell of a rebel blockade runner named Rhett Butler. The two are unsuited, but soon after the war’s end, she weds Rhett not for love but rather for his brash charisma and wealth—his ability to save Tara from the ravages of a lost war. However, their happiness quickly spirals into bitterness and remorse—and Scarlett ultimately decides that saving her home, Tara, is more important than saving her marriage. Still, she gathers the strength to hope for a brighter future.

Sure, it’s a sketchy synopsis, and incomplete (for instance, no mention of Ashley, of Melanie, or of Scarlett’s children), but it carries forth the deep core of the plot. Now, what about your story ideas? Can you define its heart and soul—even before you write word one? Discovering the essence of your unwritten novel can prove useful—and the sooner the better. Finding the essence of your story is so crucial that it’s now a rule.

Rule #11: Get acquainted with your story. Find your core elements. Because the more you know now, the fewer pages you’ll trash later.

Oh, and don’t delete your synopsis after you finish a draft or two. Agents and editors and publishers will ask for it. (At least I’ll ask.) Your synopsis can serve as your literary calling card, whence you submit your manuscript to agents or publishers.

An expanded synopsis. (Optional.) A synopsis is a synopsis is a synopsis—but like an outline or a draft, you’re constantly creating room for growth and improvement. As your plot coalesces, ain’t nothing wrong with updating your synopsis as well. Add a little padding, either before you begin to write or as you begin your first draft. It’s okay to use your synopsis (or outline) as a fluid primer or blueprint. It’s perfectly okay to update your synopsis—so feel free to add another 5 or 10 or 20 pages, exploring any newfound ideas. Make mistakes. Think fresh thoughts. Re-evaluate. Leave blanks. Every time I finish a synopsis, even a first draft, I find myself with a few dozen gaps where I’ve typed [IDEA TO COME]—and yes, again in bright, bold red—before moving along to those ideas that are freely flowing. Trust that every idea you need will arrive—and in its own damn time. Writing a novel is funny that way.

PS: If you’re one of those people loathe to leave a blank space, who must write every word precisely in chronological order, who must pen every thought with unwavering exactitude, striving for immediate perfection, my advice is this: Get over yourself. In fact, it’s even a rule. Rule #100: Get over yourself.**

Why? Because there’s no such animal as perfect writing. Certainly not while writing a synopsis or first draft! Even polished and ready for publication, there’s no single solution—no perfect sentence or perfect page or perfect chapter in a perfect book. Every word we write (or don’t write) is a subjective impulse. Writing Harold hated his dance classes rather than Harold disliked his dance classes won’t bring your novel any closer to Nirvana.

Perfection is an illusion—a Siren singing sweetly on the rocks of self-importance and ultimate disillusion. We do the best we can, and we also finish the book.

Character Profiles (Arias). Some writers choose to visualize their major characters (specifically their protagonist and antagonist) before they begin to draft out a story. They feel that by creating this sort of personal bio, they can better hone the creative process and even help characters deal more logically or realistically with your plot. I’ve known writers who’ll look for digital images of real folks in the hopes of better establishing a more familiar (and hence believable) entity in their own minds. Such intense scrutiny isn’t necessary—but it can’t hurt, either. For certain writers, depicting these people can help establish both a physical and emotional bond, even if most of these characteristics and physical attributes never make it to the page. The purpose of the literary aria is simply to help the writer’s vision.

I believe that some readers appreciate in-depth revelations of a character’s physical description, emotional band-width and various personal qualities. Others prefer to deduce such visual and emotional characteristics for themselves. So creating elaborate physical descriptions are obviously a matter of choice. For instance consider the somewhat pithy:

Marshal Dusty Yates stood at the edge of town, watching the sun rise. Yates had seen more evil in the last few days than most men would see in a lifetime. He absently brushed his fingers against the pistol holstered against his thigh and wondered if he’d live long enough to see sundown.

Or, conversely, the more detailed:

Marshal Dusty Yates, six foot, three inches of pure, mean Texan, stood grizzled and hungover at the edge of town, watching the sun rise. A hard-edged, ruggedly handsome man, Yates had seen more evil in the last few days than most men would ever see in a lifetime. He absently brushed his fingers against the smooth pearl handle of the Colt Peacemaker holstered against this thigh and, with a deep sigh, wondered if he’d live long enough to see sundown.

Both versions paint an adequate description of our hypothetical lawman, so a writer’s choice of embellishment is simply a factor of a specific writing style.

Where were we? Oh, yeah — so when you’re ready, you’ll begin writing your book.

First Draft. Like an outline, your first draft is a basic tool. Yes, you’re in actual writing mode (feels good, doesn’t it?) but at this point, most writers are still feeling their way forward, working out the kinks, proceeding cautiously and with the knowledge that the first draft or two are still incomplete, inaccurate and far from complete. You’re filling out your bullet points (or discovering new ones!) and you’re introducing readers to your story line—either teasing them with your plot’s imminent arrival or dropping us down the rabbit hole with sudden ferocity.

By the way, fiction is often viewed as being either plot-driven or character-driven.

Plot-driven novels are usually about events or obstacles (a plane crash, a war, an invasion of aliens or zombies or mumps) that take readers through a crisis or a series of dramatic situations, before dropping them, or at least the survivors, at the other end. In plot-driven novels, the plot or story-line is paramount and typically overshadows both your protagonist and antagonist. Characters in plot-driven novels are typically (not always, but often) quickly-sketched and auto-focused on the problem(s) at hand. Personalities and character-arcs are often externalized, as opposed to internalized. If you think of a plot-driven as pieces in a chess game, the plot would be the all-powerful queen (or king, take your pick) and the various characters are merely the pawns. Examples would be Jurassic Park (or virtually any Michael Crichton novel), The Da Vinci Code,

Character-driven novels instead focus on the fictional people who gradually evolve during circumstances and events that serve primarily to shape or change their lives. Your book’s primary focus isn’t what’s happening, but rather what’s happening to whom. Plot structure may feel little more than a series of random (and not necessarily overtly dramatic) events, but how your characters act, react and respond is your key ingredient. The so-called coming of age and heroes journey tales, love stories and tales of self-discovery are typically considered character-driven. Novels like Ulysses, About A Boy, The Great Gatsby and The Joy Luck Club are good examples.

And yes, occasionally a novel will provide sufficient plot- and character-driven elements. Titanic (the film) and Armageddon (ditto) are good examples of that near-perfect mix of a riveting plot and carefully crafted, well-developed characters. So are books such as The Godfather, Game of Thrones, the Harry Potter series and The Hobbit.

But now, back to the basics…

When writing your first draft, you’re either concentrating on establishing and building your plot (plot-driven) or else introducing and developing your major characters (character-driven). You’re adding the essentials; setting scenes and adding nuance—although at this stage, you’re likely focusing primarily on major story elements. This doesn’t mean you can’t embellish and add depth to your characters or sup plots, but by the time you finish your first draft, it may be filled with holes and excess wordiness, blunders and missing scenes and half-developed characters.

In fact, first drafts sometimes, most times, almost always, look like (to coin a phrase) dog shit.

It’s this realization of elusive perfection that will often freak-out many a novice writer, who’ll often and erroneously expect ‘an almost sterling’ appearance of one’s completed first draft. So don’t sweat it. Subsequent drafts, like coats of varnish, will gradually improve your book until you are appropriately thrilled with the results.

Second Draft. Your subsequent pass will be editing content and/or adding additional depth and nuance to your characters and/or honing your plot. You’re augmenting your prose with colors and sounds and smells, deleating excess verbiage and honing both dialogue (conversations) and internal monologues (deep, inner thoughts). You’re revealing nuanced character traits and subtle innuendo, perhaps including new twists and turns and, if appropriate, cliff-hangers. With your first draft complete, you’ve already built a creature of muscle and bone, but now you’re adding frizzy blonde hair and freckles and one unlaced hi-topped Keds. You’re “putting the red on the apple” as they say.

By the way, my use of  ‘Second Draft’ phase encompasses all other—third, fourth, fifth, thirty-ninth, etc.) drafts… until you feel your story feels complete.

Not all writers are alike and not all drafts will be alike. Some writers will craft one polished page a day—or so go the rumors—and rarely if ever revisited or redraft those finished page. If such a system works for you, great! For most of us, the redrafting and editorial processes can prove to be an arduous and difficult process. (But still fun, mind you.) You’ll see your prose improving with each pass.

Also, don’t view redrafting your manuscript as a strict, chronological process. I probably rework and edit my first 50-100 pages a dozen times, my middle second half as much and my lase few chapters—which I usually discover somewhere in the middle of my story—a few times. I often skip chapters and randomly work on troubled spots, so I bounce around various scenes and chapters at will, wherever my brain cells decide to take me.

After I’d finished my first novel’s final draft, for instance, I revisited a few early chapters, deleting one and adding several others — scenes that better suited later chapters and my grand finalé. Again, there’s no one way to write a novel. No singular approach. Each of us has varying procedures and practices. Once you find an editorial style that works for you, stick with it. (No matter how many well-meaning critics tell you otherwise!)

The Stick-it-in-a-Drawer Phase. Seriously. Put it away for a week or a month. Try to forget that you’ve ever written it. Me? I use that time to begin contemplating a new book. Or else OD on old movies…because that works too.

Polishing. Time’s up! Read your story again from a fresh perspective. Read, tweak and polish each page. Cut every uncertain or unnecessary word that doesn’t want to fit, un-garble every phrase that feels plodding or slow. Fill in the gaps…even if that means adding new scenes or chapters. Trim threads from the tapestry. Be sure every aspect belongs. Speed up the action or, when it doubt, truncate or eliminate the morass. If you feel something reads slow, don’t assume it isn’t. If you think it’s clunky, your readers will think so too. Oh, and kill your darlings.

And there’s your finished novel. Piece of cake, right?

– – – – –

* Buttload = 126 gallons of wine. Seriously. A butt is an antiquated but authentic unit of measurement.

** Rule #100. Unless, of course, this particular procedure works for you. Some writers (I believe Arthur C. Clarke was one, although I may be mistaken) would write a single perfectly structured thought (whether it was a paragraph or a page) before moving on. A single draft, thoroughly polished, chronologically stable, even stunning, from beginning to end. If it works for you, awesome! Ignore this rule! However, if you find yourself hovering maniacally over an incomplete thought for a week, a month, or a year, unable to push forward even a line or two—yeah, learn to love the blank space. Jump ahead and return when the mind is ripe. (And pity the poor wordsmith who lived before cut&paste!) But trust yourself. Trust the future. All good thoughts will come in time.

.


Next post Previous post • Index

.

.

Facebooktwitterredditpinterestlinkedinmailby feather