Question or Problem from a writer...

This one came from a comment earlier this week and I thought it a great thing to consider for everyone here...

I'm afraid I'm losing my focus in my rewrites. Sometimes I just want to put my hands over my ears and eyes and shut out all the advice and critiques and explanations ... and just write. MY WAY. The way I used to.

My book started out as an inspirational romance with some mystery. Now, I'm totally rewriting it to pull out the Christian message and beefing up the mystery. I wonder if I'm doing the right thing. I can't even remember why I thought that was a good idea. I really don't know how to find out if I'm doing the right thing. Maybe it's time for me to put this one away and go to something different. Except I really have a passion for this book. I just don't know . . .

In the case of this writer, it is the same that many other writers face all of the time. There is a constant need to change and if you aren't careful, the change will create an entirely new story, and certainly one that you might not want to have.

This writer actually has the answer in her problem. It is a matter of focus and really stopping to think. This is also part of the reason why I stress that a writer needs to be a plotter not a pantster. That focus this writer is forgetting can be equated to a thesis statement in non-fiction writing. What is it that you intend to get across to the reader? If you had to sum it all up into a single sentence, what is the message you want the reader to leave with. In the case of inspirationals, that should actually be even easier.

Once you have established that, write it down and put it next to your computer or over your desk. As you do your revisions, keep glancing up at it. You might have something that would seem to fit at that point in your story, but if it isn't heading you toward your "thesis" it simply is not to be included. I don't care how good the scene might be, it doesn't go in. Save it for another story.

As far as following the lead of your critiques, this actually has two potential problems. The first is that maybe your writing is lacking that thesis early on. If the reader isn't getting it, then all critique will be out of context and often contradictory. Make it clear early on in the story! If we can see the internal conflicts of the characters and how each of them will work to assist the other, we might have it. Remember though, if you don't have a conflict, you are simply out of luck.

Now the second problem could be how you are approaching your critiques. If you are just handing it to someone and saying, "tell me what you think," you are opening yourself up to a big mess. With any writer I work with, the first thing I ask them when they hand me a story is "what do you want me to look for." By doing so, this targets my critique.

My writers at Greyhaus know just this. If they send me a project, they will often give me guidelines. "Scott, I know that I am having a problem with the villain, but ignore that for right now, what I need is the internal conflict with the hero only."

The problem most writers have with any larger piece of writing is that we only see things in the smaller context of the page we are on. We forget that there is so much before or after it. It is normal, but constant reminders will help you.

Off to a swim meet now.

Scott

When Your Plot Becomes Too Much

Romances are about relationships. The central focus is on watching the hero and the heroine get together and over-come all of the obstacles in their way.

Women's fiction is about the female journey. It is an exploration into the female psyche to allow readers a chance to understand their own lives.

I bring these two points up because with both of these genres, the goal can be lost if the emphasis on the plot is too extreme. If a writers focuses too much on the action and the things that happen around the characters, the goal is lost.

I listened to several authors in Orlando that did just that. I read it in submissions on a daily basis. If, when you tell someone about your book, you focus primarily on the plot elements of the story "and then they, and then they, then this happens..." there is a pretty good bet that the story is now plot driven and the relationship or character focus has taken a back seat.

Please note that I am not saying a story can be without action and movement. In fact, it should be present. But it cannot be the driving force.

This is a problem that really happens in a lot of different genres. In historical, if the writer is obessessed with the research, the story is lost. In paranormal, fantasy, futuristic, sci-fi and urban fantasy, if the world building is so extreme, the relationship is lost. And of course with mystery, suspense and thriller, if the case becomes more important, then the relationship becomes lost.

The key is to determine going in what your story is about. If you want to make it a straight thriller or suspense story then go for it. Move that romance to a secondary line and run with it. But reverse it if the romance is key.

I am reading an inspirational right now where it is about the inspiration and seems to be missing the romance. I am 3/4 of the way through the book and there has never once been any mention of a change in how the characters view each other. Heck, I'm not even seeing an element of "wow, I didn't see that in him before." In this case, the writer, I believe, focused so much on the inspirational message (it was about forgiveness of those that left and then returned in bad shape), that the relationship is gone. At this point, I would almost feel as if adding a relationship now and suddenly they want to get married would be a bolt out of the blue. It would almost be as if the hero and heroine decided to get married after they met each other in chapter 1. It just doesn't work.

So, what is the focus of your story? Is it up front for all to see, or have you shuffle it to the back.

Scott

Watch Your Overly Descriptive Language

Writers are told to make sure to paint a picture for the reader, to draw us in, to use your senses when describing. This is correct. However, one thing many writers seem to miss is that too much ruins everything and you end up with forced writing.

I honestly think many writers have been told to be more descriptive, so they end up placing that description in every paragraph. When a character walks into a room, the "turn on description" kicks in an suddenly it is as if we are examining every nook and cranny of the room. To add to this, the writer has added all of the other senses, trying to get across the feel of the fabric, the smell of the wood... you get the idea. Simply too much.

Along the same lines, think about what your objective is for that description. We don't describe things for the sake of description. It is there for a purpose. Is it to set a mood? To get a point out about a character? If this is the first time we meet the heroine and she is a small town farm girl, what will her kitchen look like? The description is what adds the depth to the character!

I pulled a paragraph from Bronwyn Scott's Untamed Rogue, Scandalous Mistress to demonstrate just this:

Crispin jumped down from Sheikh and tossed the reins to a groom who'd come running from the stables the moment he' been sighted. He mounted the wide steps to the front door, taking in a moment at the top to survey the park spread out around him. The place looked the same as it always had: the lawns neatly manicured, the hedges that bordered the gardens impeccably trimmed, flowers blooming when and where they should. He chuckled to himself. Even nature in late winter obeyed Peyton and Dursley Park was clearly Peyton's domain; well ordered an peaceful.

You will note that we have just enough description of Dursley Park and that the ultimate goal is to show the perfection in the building. Nothing out of place and everything runs like clockwork. The groom was there as predicted, plants in order, etc. Now in the case of this one, a writer could have gone over the top and really ruined the pace of the writing. For example.

Crispin jumped down from Sheikh and tossed the reins to a groom who'd come running from the stables the moment he' been sighted. The groom clearly had been in the middle of another project considering he was covered with chocolate covered mud and his hair was tossed around on his hair as if he had been shocked by electricity. He mounted the wide steps to the enormous front door with the ornate carvings of mahogany and glass. Crispin ran his fingers over the door, feeling the smooth finish and warmth of the home. He paused briefly, turning around and taking in a moment at the top to survey the park spread out around him. The smell of the winter morning bombarded his senses, chilling and warming him at the same time. He could smell the fires of the home burning, a comforting campfire smell similar to what he had experienced as a little child with his brothers. The place looked the same as it always had: the lawns neatly manicured, looking like carpets of emerald green, the hedges that bordered the gardens impeccably trimmed creating a perfect barrier between the pathways of rust brown and the perfecton of the grass, flowers of a full rainbow that provided a full feast for the eyes in every shade, blooming when and where they should. He chuckled to himself. Even nature in late winter obeyed Peyton and Dursley Park was clearly Peyton's domain; well ordered an peaceful.

See what I mean. Simply too much and fortunately, Bronwyn knew what to include and what not to include.

A good practice is to take one of your paragraphs where you start describing things and then track how much you packed into that description. At the same time, track which of the senses you seem to be hung up on. Are you relying on adjectives and adjectives? Find a pattern and then reduce it.

Remember, the idea is to bring us into the story, not give us that microscopic view of everything. Sometimes too much will ruin it all.

Scott

Greyhaus Wants Series Romance - But What Does That Mean?

I am actively acquiring Series romance authors. For those of you writers that love Category romance as much as I do, Greyhaus might be the place for you. With that said, I want to make it clear to the writers exactly what I am looking for.

I am actively acquiring for ALL Category lines. Whether it is for Harlequin or Silhouette, I am looking for writers that have a passion to writer for these lines.

Many authors seem to believe that writing category romance simply means you are "training to do real writing." This is far from the case and these are the authors I am not looking to acquire. I am looking for those writers that understand what it really takes to write for these houses.

One of the lines describes writing category as doing a really big story in a really little space. This is tough! In other words, take a 95,000 word story and put it in a small space. Not an easy task, but this is what makes a strong category author.

The other thing that I am looking for (that also makes a strong cateogory author) is the ability to produce. I am looking for authors that know their line, can produce multiple stories in their line and, at the same time, find a way to make the story unique. Which brings me to a big point in what I am looking for.

I had the chance to meet with several of the series editors while in Orlando and they were all saying the same thing. They want writers that are not just copying what is already out there. Sure the lines have specifics, but they want someone who can give them something special.

I am also looking for someone who is in this for the long haul. I don't want "one hit wonders" or writers that "meet their contract and then become divas." Commitment is what we want.

If you are already published in series you are also welcome at Greyhaus.

Series writing is fantastic! If you love it as much as I do, come by and visit.

Scott

Making the Right Decisions

The publishing industry is always full of choices. Successful authors have found the ability to see the different paths in front of them and always (or at least most of the time) to choose the right path. The problem though, is that many authors simply make poor decisions. Why is this? I honestly think writers simply aren't paying attention or simply aren't thinking.

Let's go back to some of my posts before Orlando. I kept screaming to authors to make sure you signed up for the right appointment with an editor or agent. Yet I saw many people not doing that. their decisions were based on their dreams and wishful thinking, not so much on the reality of their writing. Sure these writers pitched, and I am sure many of the editors and agents told them to send something, but in reality, nothing is going to happen. They simply chose poorly.

Now that Nationals are over, many writers are going home and will likely start making poor choices due to the at adreneline rush of the conference. You're excited and likely not thinking. You might have had a great project to work with prior to Orlando, but now, are getting ready to throw that idea out and dive into this "new project that you heard would be a hit." Again, a poor choice. Time and time again, professionals say to not follow trends, and yet, you all will.

Making the right decision isn't just a problem the unpublished and unagented authors have. Published authors decide to start new projects and new genres and all the while ignoring the following they have with their current work. Agented authors that might not be published yet, also tend to make poor decisions. I spoke to several agents this weekend making the same comments. "I have an author starting a new project even though I don't think it is right. I've told them not to, but..."

I think you get the idea. But fortunately, there is a solution that WILL work. Stop and think. Listen and don't be hasty.

Don't go and rush into new projects just because it is a trend.

Listen to what professionals are really saying. Don't try to find a way that your project is the "exception to the rule."

Stick to your goals, but make sure the goals are realistic and achievable.

Truthfully examine your own writing. Sometimes the problem stems from not having a realistic assessment of your own skills and styles.

In the end, the simple solution is to think.

Scott