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‘Behind the Writer’s Curtain’ Category

  1. How to Rewrite a Novel: Step Four

    August 14, 2016 by Diane

    hand opening red curtain on white.

    Rewriting a novel is like sitting on the edge of a pool. The water’s cold. You can dive right in, get the discomfort over with, splash around to warm up, and then lose yourself in the steady stroke of limbs through water.

    Or, like me, you can hang out on the edge while the sun bakes your skin and your feet turn into prunes.

    Welcome to week five of my novel rewrite.

    This is how rewriting my novel looked:

    I attended an outdoor concert with a Meetup group from The Sierra Club. The club turned out to be a bunch of lively women, ages sixty and up, and a grizzled guy who may have been a sea captain. Another guy, wearing a goofy beach hat, stood around grinning like babies do when they have gas. I sat in my low-slung chair behind a woman in a sleeveless blouse who shaded her eyes with one hand, cutting off my view of the stage with her underarm flab. Occasionally, she dropped her arm, so my view became a vision of Michael Jackson–if Michael Jackson was middle-aged and fifty pounds overweight and stuffed into black leather pants–strutting and doing that pelvic bump, while a four-man horn section dipped and pivoted like the backup for The Temptations.

    After three songs, I folded up my chair and left.

    The next day, I went swimming. The pool was packed. I swam laps in the shallow end. The woman sharing my lane trudged back and forth in hiking boots, talking on her cell phone the entire time. One hundred dollar hiking boots. In chlorinated water. And a cell phone.

    Some days, I stood in the middle of my room, thinking.

    Had I stumbled once again onto Resistance Highway? Or was this non-writing activity actually accomplishing something?

    Well, a little of both.

    I was noodling loglines.

    It’s part of my action plan for rewriting a novel. I had arrived at:

    Step Four

    Write a logline.

    What’s a logline?

    It’s a sentence that describes the novel, and answers the questions:

    Who is the protagonist?
    What does the protagonist want?
    What’s at stake?

    Ya gotta know the who, what, and why-bother, otherwise, how can you rewrite the dang thing?

    So, I contemplated. I gnawed on ideas. I engaged in other activities. And then I took a hike with my niece, who was on a whirlwind visit through town.

    We talked writing. She wanted to know what my novel was about. I launched into a lengthy description and ended with an exasperated, “I just wish I knew what’s driving my protagonist!”

    And my niece said, “It’s funny, we wonder what our characters want, but we’re the ones making it all up.”

    We’re the ones making it all up!

    D’uh. Head slap.

    All I needed to do was pick something, and go with it.

    Write ten possible loglines. Twenty. Twenty-five. Whatever. Then PICK ONE.

    Jump in the pool.

    Stuck? Or Avoiding?

    Sometimes, we get stuck in our writing, and need to occupy ourselves elsewhere so the idea we’re searching for can swim into our consciousness. But there’s a fine line between taking time away, and staying away because the water’s too cold.

    That’s where those vows come in handy. You know, the ones that start: I promise to show up for my writing every day, no matter what.

    So, how do you know what side of the line you’re on?

    Look for signs of resistance.

    I know I’m in resistance when I start doing what comes easy, rather than what comes hard, like rewriting. “I’ll just answer a few emails. Shuffle papers. Blog.”

    I know I’m in resistance when I force myself to write, and I lose track of time.

    But If I force myself to write, and resent it, I know I need to go back to noodling. Nothing wrong with that.

    At least this time, I recognized the highway, and hitched a ride out. I was digging through some boxes of books in storage, looking for some good reads to bring on my vacation, and found a copy of Sell Your Story in a Single Sentence, by Lane Shefter Bishop. A whole book about how to write a logline! Had my intuition guided me to that box? Could be.

    I read the first few chapters. Jotted down a rough idea. Refined it. Refined it again and again and again, eliminating excess words, homing in on the want, the stakes, until…Bingo! I had my logline.

    Is it the perfect logline? Maybe, maybe not. But it’s something I can work with.

    Onward, to Step Five!

  2. How to Rewrite a Novel: The First Three Steps

    August 7, 2016 by Diane

    hand opening red curtain on white.

    In junior high school, I had a math teacher who was part hipster, part geek. He wore white dress shirts, skinny black ties, black glasses, and always had what he referred to as “a plan of action.” I don’t recall what his plan was, or what action it required, but a plan of any kind appealed to my need for control.

    When I write a novel, I plunge in without a plan of any kind. I’m like a detective on a mission of discovery, following a character to see who she is, what messes she gets into, how she gets out of said messes, and how she changes as a result. It makes for an exciting first-draft experience.

    Then—groan—comes the rewrite.

    Here’s where a plan of action would come in handy. My “plan” in the past has been to read through the manuscript, rearrange parts willy-nilly, make a mess of the whole thing, and stuff it back into its cardboard Kinko’s box.

    I have no clue how to tackle a rewrite. Oh, I’ve read books galore on what’s needed plot-wise, character-wise, theme-wise, and every other wise. I’ve strapped on my monster backpack like Cheryl Strayed in Wild, weighed down by all the knowledge I’ve crammed in, and forged ahead on the long trail to rewriting glory, stumbling down roads many have gone before:

    • Resistance Highway
    • Distraction Detour
    • The Avenue of Doubt
    • The Street of Avoidance
    • The Rearranging Roundabout
    • A pit-stop to ask for directions
    • The Valley of the Critic
    • What looked like Plot Paradise but was really a pothole
    • Recharge Vista Point
    • Busyness Boulevard
    • Quitting: a dead end

    On I’ve stumbled, hither and yon, ending right back where I started: with a pack of knowledge and a manuscript snipped into pieces and stuffed into a cardboard box.

    Not this time.

    This time, as I rewrite my novel behind the writer’s curtain, I’ve got a plan of action. I’m mapping the journey step by step. Starting with the first step.

    Are you ready?

    (Drum roll, please)

    Step One

    Set the manuscript aside.

    Whaaat? That’s a step? 

    Believe it or not, it is. A step back. We need the perspective, and our writing needs some breathing room.

    What do we do while it’s breathing? Well, we can do any of these fifteen writing exercises, or work on another writing project, or catch up on our reading, or tackle any of those household chores we’ve put off—if we haven’t already done them as a way to avoid rewriting that novel.

    When the month is up (or whatever time we’ve allotted), we’re ready for:

    Step Two

    Read the manuscript.

    Oh, this is just too easy.

    Not really. When we hunker down and read the thing we might find ourselves groaning, or thumping our forehead with the flat of our palm, or throwing the pages across the room, or eyeing the paper shredder.

    But at least we know where we are on the map. We have some idea of how hard the journey might be. And we start thinking about getting the tools we need to sally forth. Which brings us to:

    Step Three

    Pack yer gear.


    You know, the stuff we need for the trip. Here’s a list:

    First aid supplies: supportive family, friends, and blog readers to prop us up

    Maps: Blake Snyder’s Beat Sheet, or whatever plotting device we choose to use. Guides, like books, experts, and internet sites to provide the details we need to flesh out the story.

    Food: whatever sustains us when the going gets tough, like inspirational quotes, and treats.

    But let’s not load ourselves down, or spend too much time packing. After all, we’ve got miles to go before we submit.

    This time, I’m better prepared. I’ve read my manuscript. I’ve spent time delving into additional research. Now, with Beat Sheet in hand, I know where I am, and which direction leads to the Land of Publishable Novels.

    Off I go!

    Stay tuned for more action plan steps as I report from the trail.

  3. Rewriting: Making the Commitment

    July 24, 2016 by Diane

    hand opening red curtain on white.

    When we commit to a thing—a relationship, a project, a way of life, a new habit—there comes a time when the road gets rocky. There comes a time when we want to walk away, call it quits. “It’s too hard!” we say. “I can’t do it! This isn’t what I expected!”

    Those statements may be true, but unless the relationship/project/action is a threat to our mental or physical well-being, commitment means staying engaged, no matter what.

    Rewriting a book is like having a relationship with a person. You get acquainted, you check for strengths and weaknesses, you get feedback from others, and you either walk away or take the relationship to the next level.

    But first, you meet.

    The project begins

    Someday, I want to publish a book. The book I publish might not be the one I’m working on now, behind the writer’s curtain. Similar to marriage, if we’re lucky, we land the right guy or girl the first time we date. But usually, it takes a few practice relationships before we develop the skills to forge a lasting bond. It takes dating some bozos before we attract the best match. But that doesn’t mean all those clowns are a waste of time. No! We learn something new with each relationship.

    I accept that this novel might be the practice one. I’m sharpening my skills. And it’s good to take the pressure off, knowing this is a learning experience. Once I mastered that mind-set, that I’m showing up every day, putting in my hours or minutes or whatever time I eek out to learn this craft of rewriting, then all that’s required is for me to make the effort.

    So, I carve out three days—Friday, Saturday and half of Sunday—to devote to my rewrite. First up: read the whole thing.

    As I read, I try not to futz. I resist the urge to straighten the collar and flick lint off the tie and pull up the socks. I just read.

    It’s been at least six months since I’ve looked at my manuscript. Plenty of time to have an unbiased viewpoint. Plenty of time to conclude I need to toss at least half. And not wince at the thought.

    “Okay, it has a pleasing voice, there’s something interesting here, but the front end needs work.”

    I’m able to make this assessment without cringing because I’m not in the throes of first love anymore. The rose colored glasses are off. With time, I’m able to see the flaws as a reader would, not as a writer. And that’s what we’re doing in this first reacquaintance with our manuscript. Reading as a reader.

    So far, so good.

    The project stalls

    After checking out my novel, it’s time to start dating.

    When dating, we get to know each other. We get a closer look at what this person is all about. What is this person’s history? Is there a turning point in their life that affected them? What crises has this person been through, how do they deal with problems, and how evolved are they?

    It’s the same when looking at our manuscript.

    We’re looking for structure, for character arcs. We’re looking for plot points or beats or whatever method we’re using to shore up our story. This is the getting-to-know-you stage: Is there a foundation here, a story, or is it a series of incidents with no conflict? We wouldn’t settle for a boring relationship. A reader won’t settle for a novel where nothing happens.

    At the dating stage, we might need to lower the bar. This guy isn’t Brad Pitt, this girl isn’t Angelina Jolie, but hey, they’ve got a beating heart, right? And they’re decent, and successful on some level, and worth spending time with.

    Well, this novel of mine has a beating heart, but it’s faint, somewhere in the middle. And it’s not bad; I mean it’s not like a third-grader wrote it. The voice is strong at times, and there’s sorta a story in there somewhere, and it’s successful in the sense that I got a first draft down. That’s something, right?

    But first, I need to know what this story is about.

    “Well, it’s about this beatnik who…”

    “It’s about…”


    Trouble. I’m in deep doo-doo. I can’t get a handle on what the piece is about. I ponder. I rack my brain. I bang my head on the desk trying to shake something loose. A premise.

    “Maybe I should choose one of my other novels. One that’s a whole lot clearer.”

    Week one, and I’m ready to throw in the towel. Surprised? Not likely. If you’ve been reading my blog, you know that I’m a self-confessed commitment-phobic. The act of agreeing to do anything permanently makes me feel like I need to breathe into a paper bag.

    But wait…I vowed to commit to finishing this rewrite, right? Last week I blabbed it to the world. Or at least to sixty people.

    “Maybe they’ve forgotten,” I tell myself. “Maybe I’ll hang up the Gone Fishing sign and go outside and play instead. They’ll never know.”

    These are the thoughts that rattle around my brain. As they rattle, no premise breaks loose.

    The project resumes

    And then comes this reminder…

    It doesn’t have to be perfect. Just choose something. Anything. You can always rework it. Like a sculptor with clay, you keep at it until the shape comes through. Look at this as practice, not like you’re writing The Great American Novel.

    And just like that, the pressure is gone. Poof!

    Like any good relationship, rewriting a novel takes effort. It takes willingness to stick it out during the easy times and the rough, because—surprise, surprise—it ain’t all smooth sailing.

    That’s where vows come in—a reminder not to walk way.

    So, in the spirit of taking that final step, I am officially inviting you to witness my joining of self to novel. Gifts will be accepted after the ceremony.

    I, Diane, promise to show up at the writing chair every day, even when I don’t feel like showing up, even when I’d rather be reading, or eating a chocolate truffle from See’s, or cleaning my refrigerator. I promise to remind myself how I love writing, though at times it feels akin to having my toenails peeled back. I promise to honor the process, reminding myself that all writers get stuck and want to give up, that we’re all constantly honing our craft, trying to become the best writers we can be. And I promise to respect my work, even when it stinks—especially when it stinks—because it’s part of becoming a better writer.

    Takeaway this week:

    Do you have a project you’re committed to doing? Try writing your own vows. Post them as a reminder. Make a ceremony out of it; invite family and friends. Insist on gifts.

    Okay,  maybe not gifts.

    Just chocolate.