craft – Page 5 – Julie Liddell Whitehead

Facts About Planning to Write

I struggle with a particular problem whenever I start a new project–planning vs. writing.

Planning sounds good, right? We plan for trips, plan for our day, plan for retirement. Why is “planning to write” so deadly to some writers?

Because “planning” isn’t actually writing–and therein lies the rub.

I am by nature a planner. I planned out all the classes I would take for my MFA before I even embarked on the six years it took for me to finish my degree. I plan meals, workdays, life events. I don’t deal very much in serendipity–just seeing what happens when I don’t follow a plan.

But planning to write is not the same thing as actually writing. You can plan out what you want to write and how you’re going to write and when you are going to write, but when you’re done–what have you accomplished to the goal of writing your book (or article or term paper or life story)?

Nothing.

Whereas, if you just sit down with a blank page and start typing, that same amount of time planning could have been spent generating a page of prose (or poetry, whatever your flex is) however imperfect it might look to a trained eye.

That’s where I am right now with my nonfiction project. I have found myself reading the manuscript I already have and inserting scenes I PLAN to write to go in it. This tendency, along with my realization that I’m going to have to find a new entryway into my story since I won’t have the previous 200+ pages of exposition/description/action I now have in the work, I find myself nine days into October with nothing new actually written. And that’s not good.

How to get over it? For me, no other way works except jumping into the cold water of my manuscript and swimming for my life. If I just stick my toe in the manuscript, I will get scared and never get into it and make it all it can be.

So today I will write instead of plan. It’s the only way anything ever gets done. Write today.

Next Stage

So all of the writing contests that I’ve already entered closed on September 30. Some have already undertaken a review of my manuscript, some will probably start reviewing on Monday, and others may not get to it for a long time. So what am I going to do in the meantime?

I’ll get busy on something else.

Waiting around for publishers/agents to get back to you is rough. You check your email every day. several times a day, to see if you’ve heard from anyone. Or you check QueryTracker and Submittable multiple times a day. Or you resist the urge to write follow-up emails asking if they received the manuscript.

Keep resisting. No one wants to be pestered. What you need to do is keep writing. On something else.

This method works on several levels–1) You distract your mind from the constant drumbeat of “I haven’t heard anything yet; what is taking so long?” 2) You have a fresh store of enthusiasm for the new project that may have been simmering in your mind for a while now. 3) You actually accomplish something in the waiting period, besides driving yourself crazy over the finished project.

Am I done with Hurricane Baby? Maybe not. I have two people who agreed to read Hurricane Baby but said they couldn’t do it right then when I was looking for feedback for these contests. So one has gotten back in touch, and I sent the manuscript to him just for kicks. Another lady from my summer workshop had agreed to swap manuscripts with me but didn’t think she would have a complete draft until December. So I will get back in touch with her then and see if she is ready.

Why am I doing that? If Hurricane Baby isn’t picked up in its current form, having another batch of feedback by the first of next year will enable me to revise again to get ready to enter another string of contests that open in the first three months of the year. Remember: writing is a long game. Persistence pays off.

So I have started another project in the waiting. I will keep writing here weekly to discuss different craft ideas, to update you on Hurricane Baby’s progress, and maybe to discuss the new project. We will see. But I hope you hang around for more ideas, insights, and if-not-this-then-that about the writing life. Stay tuned.

Asking For Help

I recently sent Hurricane Baby as an entry in to an open call for manuscripts and one of the items requested in the call was a list of published authors who might support the book’s publication with a book blurb. I thought it was awfully early in the process to be asking that question, but I sat down and thought: whom should I ask?

It’s a question that can come up at any point at the manuscript selling/publishing process, and it’s a way for the publisher or press to get an answer to another question about you as a writer–who do you know that supports your work so unreservedly that they would be willing to lend their name to its publication?

I immediately had an answer to the question because I had workshopped and read parts of Hurricane Baby in my MFA program, and I emailed three of my instructors to ask if they would be willing for me to put their names down for that list. Each one has their own relationships with the writing community and have published books in their respective fields, and each one is intimately familiar with my work due to having served on the thesis committee for my degree. I also wrote down a couple of other names in case any one of those three felt they could not help me support the book.

It’s a good idea to develop relationships throughout your literary community (whoever might be included in that catch-all term) because so much of this business depends on your ability to form good relationships. You need to be able to form relationships with those editing your work. reading your work, and marketing your work. You need to be able to trust that every part of your team wants the same thing you do–for your work to succeed.

But we writers are often a crochety lot. We have assorted hangups, opinions, and neuroses about our work and about other people’s work. (Roxane Gay is famous for cultivating nemeses as well as supporters). It can often feel impossible to communicate with other writers–we may feel left out of the club for any number of reasons. But that shouldn’t stop us from trying to have relationships because every writer needs a supportive community of other writers–be they mentors, classmates, internet buddies. or simply friendly faces in your particular crowd.

How did I go about asking? I emailed all three and simply explained what the press wanted, and would they be willing for me to list their names as possible blurbers for the work? Within forty-eight hours, each one had returned an email expressing their support. One even said he appreciated being asked! So that was good. I will also email the other three on my list who are a little less familiar with the story to see if they could also be resources if when the time comes for blurbs, any one of those three had to back out.

Other more established writers may have different ideas about asking for support. But my main message is this–it is easier to ask people you already have relationships with to support you than to try to invite people you barely know into your fold. Just my two-cents worth.

So How Do You Do It?

How do you take on a long project and stick with it to completion? Good question.

One way to NOT do it is to talk about it too much. I try to reserve my initial enthusiasm for the project by keeping it under wraps. I actually started revising Hurricane Baby in January of this year but didn’t blog about it until much later. Why? Because I was afraid that I would lose enthusiasm for it if I talked it out too much, exposed too many of my ideas to scrutiny before they were fully formed.

Another way to keep the enthusiasm strong is to think about it in terms of craft and process instead of results. I used to find myself so carried away with the future of a project that I lost sight of the project itself. This phenomenon happened to me with this manuscript as well, which is why I abandoned it for a bit in April and May–I thought too much about where I wanted it to publish and who I wanted to pitch it to that I forgot I needed to spare my creativity for finishing it first.

Another way to keep the enthusiasm is to limit the project to something achievable. If you set out to write the Great American Novel, I guarantee that somewhere along the line you will freeze up because you will realize that the project is not living up to the hype you have put on it in your mind. I set out to write a series of short stories that were linked by Hurricane Katrina. I limited it to twelve stories. Only after finishing that initial plan of those twelve did I allow myself to think about how I could make it longer and bigger and more extensive.

As you get further into the story and the initial enthusiasm begins to wane, then it’s time to think about enlisting an accountability partner. For me, having a deadline is a blessing because it means I cannot take off too many days from writing or dawdle too long over any one particular story problem. And having someone eagerly waiting to read what you’ve written can be a boost to your productivity in that the audience is no longer just you–it’s someone else whom you are now accountable.

Just a few suggestions that have helped me sustain energy to stick with this project and finish it.

Editing Slowly

I am still doing edits to Hurricane Baby, making comma and quotation mark changes throughout the document. I’ve discovered the limits of search-and-replace edits–you can insert as many errors as you fix this way. Now I am down to the reading the entire document again stage of proofreading. Finding all the periods that need to be commas and vice-versa. Correcting the backwards quotation marks throughout. Trying to make sure the right character names are attached to the correct dialogue.

I hope next week to be able to report on the newest revision direction once I get feedback from another beta reader, someone who can tell me what is working on a deeper level than maybe the ones who’ve read it so far. I think the next edit will not involve huge revisions but probably smaller, sentence-level deepening of character motivations and making areas that I feel are clear and understandable even more so.

It’s all important when it comes to getting the attention of an editor–characters, plot, story, grammar, arcs, climaxes, denouments, endings–they all fit together to make or break a book, and what I need to know is what more needs to be done. Hopefully I will find out this week. Wish me well on my journey!

Proofing

So now I am at the nitpicking stage of writing–correcting commas, passive voice, etc. etc. One of my readers said I used passive voice too often. So I did a daring exercise–I ran a total find-and-replace that deleted all instances of the word “HAD”.

It worked.

I’m putting all my sentences into active voice with that one deletion. Often it came out cleanly without needing to change the sentence at all. Other times I had to work out the new tense of the action verb that it preceded. But I will be on the lookout for this in manuscripts from now on.

So in checking all my prose I am correcting grammar and rewriting sentences and doing all those tiny, tiny tasks that make a manuscript look professional and polished. I work on one chapter a day, passing the time until my last reader gets back with me with feedback on the story as a whole.

After I hear back, I will hopefully pull the manuscript apart again and make improvements and make it even better. And I think it can be better. I’m under no illusions that what I’ve done is the best I can do. But I may have done the best I can do for this story now without more input. So I am looking forward to that.

Hard-Won Knowledge

Well, something interesting happened yesterday. I have always been a very particular writer. I write it out and don’t finish a piece until every word is as good as I can make it–the first time I write it. I am used to turning out very clean copy in a first draft and not having to revise. I’ve never been one to subscribe to the “crappy first drafts” mode of writing–where you just get a bunch of stuff on the page and sort it out later.

But yesterday I did exactly that on this fiction project. I was writing one of the last stories and wanted to get everything down that was in my head about this scene, but I realized halfway through that it needed more attention than I was giving it–I was “telling” a lot in summary when I needed to be showing it in scene.

But I just kept plugging along and finally finished what I could do that day. I went back and read it and made a big cut, and immediately the scene felt a lot better. Now I need to go back and put in the scenes I was summarizing. I have never really been able to revise my own work–I think it’s all good until someone tells me otherwise, then I can see how to fix it. So I think yesterday was a step forward for me as a writer in that I know I have to fix it and know what I have to do to fix it. Instead of just thinking it’s wonderful from the get-go :).

So today’s craft tip–go ahead and write the garbage. At least sorting through it later will help you separate the recyclable from the trash and find the treasures within that you didn’t notice at first. I’m awfully late to this awareness, but I’m glad I finally have it. Happy writing!

Protecting Characters

I have fallen into a peculiar trap I don’t think I’ve ever made for myself before. I have three characters whose stories I am trying to write more of, give them a voice–Holly Seabrook, Cindi Edwards, and Tommy Hebert. I suddenly don’t want anything bad to happen to them in the endings of the books.

I never felt this way about characters in the first drafts. And where I have let other characters experience consequences, I haven’t taken a lot of thought about it. But suddenly I’m very protective of these three.

I think I’ve gotten over it with Tommy, who is one of the new characters I am spinning out his story from bit player to major player. And his girlfriend Cindi I am thinking I just don’t know very well yet. And I feel a lot for Holly because of what she is going through in the story. But I think I need to remember three things:

Number One: I am not dealing with real people. I am dealing with figments of my imagination. If I were writing about real people, it wouldn’t be fiction. But one of the goals is for everyone to come off as very real, so I suppose I’ve fooled myself into thinking that as well.

Number Two: I am not chronicling real events. The book is based on a real event–Hurricane Katrina–but everything thing else is fake. Invented. By me. I am master of the domain. Don’t like what happens when I get through writing it? I have a delete key for a reason.

Number Three: Static characters are boring characters. Change has to come. They have to come to earth-shattering realizations. They have to see things fall apart and somehow rebuild them. So we will stay invested in their stories.

So that is what I am going to be working on–how to think about my characters as characters in a book instead of the living, breathing people I’ve come to think of them as. And that’s going to be interesting.

Downslope

So I feel like I am on the downslope of drafting the last three stories. I know what I plan to do in them, and unless I have somehow misjudged the characters and they surprise me in some way, I should have no trouble rounding out the final few scenes I have to do. I am still waiting on other beta readers to send me comments, but I am satisfied with the changes I have made so far.

I am going to continue to revise and edit up until August 1, when I will switch manuscripts with another writer I have connected with in my workshop this summer. Then I will revise based on her feedback and start submitting to presses in mid-September.

I am really excited to hit this part of the drafting/revising process. I don’t know as the process has been very orderly, but it has worked so far to take the stories in some unexpected directions and that is always good. I will keep you posted on my progress in the coming weeks as usual! Thank you for reading.

Story Continuity

I have been having fun writing the new installments of Hurricane Baby and cleaning up what I call “continuity problems”. Since I am adapting a huge mass of already-written material to a new purpose, I have to watch for continuity problems.

These could range anywhere from calling a character a wrong name to putting someone in the wrong place at the wrong time. For example, one story had been set between Thanksgiving and Christmas. And I didn’t realize that until I was doing yet another read through and realized that it couldn’t be set during that time because of changes to the timeline occasioned by the new stories I’ve written and other changes to the timeline of the book itself.

How to solve? I’ve started keeping a list that consists of when each event happened and what it was. So if Lelani announced she was pregnant in early January, if she went into preterm labor in the sixth month, the baby would be born in June. If, if, if. Asking a series of If questions make the dominoes of the story fall into place with minimum disruption.