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Posts Tagged ‘critiques’

Well, it was nice while it lasted, but it looks like I’m leaving the first draft behind for a while and heading back into revision land.

I think I mentioned here before that I’m a first alternate in Pitch Wars with FIRE AND EARTH. I got the revision notes back from my mentor on Friday and I’ve been digesting them for the last day or so. Some of them I completely agree with, but one in particular has taken me awhile to come around to. She says I started the story in the wrong place–by about eight chapters. Yikes. And then use some of the saved words to further develop the characters, side characters, and their goals and conflicts, as well as more showing of emotions.

But, you know, she has a point and what she identifies as the inciting incident may be a better choice than what I thought was the inciting incident. Now, I don’t know yet if I’m going to be able to delete all of that. There are some things in there I really do believe the reader needs to know to understand what’s driving the characters. But I’ve already identified–and cut–quite a lot that isn’t really necessary. I might be able to work in some of the rest later in the story.

I’ve got a lot of work to do on this. And I have to try to do as much as possible by the 20th, because where the story really starts will determine what the first 250 words are. Duh! (Also, you know, it’s just good form to have a completed ms for things like this just in case an agent makes a request.) Plus I need to write a 35-word pitch. I have about four possibilities right now and frankly, they all suck. This is not the part of writing I’m good at. I really like the description by a critique partner (thank you MattLeo) that trying to boil the story down to 35 words is necessarily like trying to decide which blind man had hold of the most interesting part of the elephant.

Plus, the reader critiques of THE BARD’S GIFT are starting to come in much earlier than I expected. (I was planning on the end of the month.) I think that’s good. It takes longer to read a story to critique it and I only sent it out on (I think) the 30th of December. I’m taking that to mean that the story kept them reading.

Back to work with a vengeance.

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Well, it’s that time of the year. Time to look back and see what was–or wasn’t–accomplished in the last year and declare goals for next year. I’ll do the first in this post and blog about next years goals in my next post, which will actually be next year.

The full post of my goals for 2012 is here.

Teen and Young Adult Fiction

   Writing goals:

  1. BLOOD WILL TELL was e-published during 2012. It’s original cover wasn’t very good, which I’m sure affected sales. It has a new and much better cover now.
  2. I did query MAGE STORM during 2012, but I currently have it torn apart for revisions with the help of a very thorough critique partner. I expect to give it another go in 2013. I believe in this story. Plus, I have at least three potential sequels for it that I’d like to write.
  3. SEVEN STARS, which is now titled FIRE AND EARTH, has also been queried. It got chosen as first alternate in Pitch Wars this month and I’m waiting for the feedback from my mentor so I can make revisions and see what happens.
  4. MAGIC’S FOOL will never get beyond first draft, I’m sorry to say. I learned in this year’s WriteOnCon that the age of my protagonist is poison. Too old for middle grade and not old enough for young adult. I can’t make him any younger, so I’ll give the story a rewrite as young adult, including material that was planned for the sequel (MAGIC’S APPRENTICE), possibly in 2013.
  5. Keep writing. This was an unqualified success. I finished three drafts of THE BARD’S GIFT, which is now ready for readers in a few days.

As for the personal goals, well, let’s just say I did better with my writing.

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Due to Christmas baking, sappy Christmas movies that I wouldn’t miss for the world, and, well, Christmas, I haven’t gotten much writing done in almost a week. Okay. Vacation over. It’s time to get back to work.

I still have to finish revisions to my short story that won an Honorable Mention from Writers of the Future a little over a year ago. It’ll need a new title, too, since I mean to give it another chance. This time, I hope to bring it to a much stronger action.

I also have to wrap up a few revisions to the start of MAGE STORM. THE BARD’S GIFT is ready for readers next week and I haven’t heard back yet from my Pitch Wars mentor (I’m first alternate) on FIRE AND EARTH.

That’ll clear the decks for me to start a new story in the new year. It’s looking like it just might be the weird Oz story, since that’s the one my subconscious keeps throwing up ideas for.

And, as incentive for me to get my act together, here’s what I found in my inbox this morning from Amazon:

E-mail from Amazon

E-mail from Amazon

 

That’s my latest story, “Becoming Lioness”, right at the top. *Happy dance.*

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Well, tomorrow is Thanksgiving here in the U.S., so it seems like a good time to think about all the things I have to be thankful for. Hard as things are sometimes, I realize I could go on and on, so I’ll confine myself to my writing.

I’m thankful for the critique partners that have helped and are helping me to hone my craft and make my stories better with every one I write.

I’m thankful for online writers’ groups that make it possible for me to connect with those critique partners and to learn and share information about the writing and publishing process.

I’m thankful for all the agents, industry professionals, and published authors who take the time to blog or podcast or tweet to share their knowledge with those of us still struggling.

I’m thankful for the incredible research potential of the internet which made writing my current WIP, an alternate history, possible and even reasonably easy.

I’m thankful to be writing in an interesting time with all of the new options available to authors.

I’m thankful for eveyone who has read my stories, but especially for the ones who’ve taken time to review them.

And, last, I’m thankful that last night I finished the second draft of THE BARD’S GIFT. It’s not done yet, but it’s closer than it was when I typed “The End” at the bottom of the first draft.

Happy Thanksgiving!

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Well, unless lightning strikes, it looks like I’ll be in revision mode for most of the rest of this year. Being more or less the three-quarter mark of the year, it’s a good time to make plans and set goals.

  1. MAGE STORM: I actually completed the revisions on this ahead of schedule. I’ve got one reader for the revised version and I probably need to look for one or two more. Then, of course, incorporate anything coming from the revisions that I feel is right for the story. I’m feeling really good about this one. So I’ll also need to go back over the query and synopsis. This one is likely to go out to agents again early next year.
  2. BLOOD IS THICKER: I’ve started the revisions to this one. This is actually the first round of revisions and in places it’s probably one of the roughest rough drafts I’ve written in quite a while. I wrote the first draft early last year and had a few alpha readers on it, but I haven’t touched it since last May (busy with the first draft of THE BARD’S GIFT). Now I need to read through it and incorporate as many of the revision notes as I can. Then I’ll be able to see what to do with it next. This is the sequel to BLOOD WILL TELL.
  3. Time permitting, I have a couple of short stories I might take a second look at. “Infected With Magic” is the short story that spawned MAGE STORM. It also got me an honorable mention from Writers of the Future. I won’t undertake another round of revisions on it, though, unless I can figure out a better ending. Endings are still my Achilles heel when it comes to short stories. I can land a novel no problem, but short stories, especially ones under 5,000 words, are just a lot harder for me. I’m more likely to take another pass at “The Seeker”. I’ve gotten some feedback on this one recently and I think I finally have a better idea of what I need to do with it. We’ll see.
  4. There’s also a novelette, “Becoming Lioness”.  I’m going to put this one up to my writers’ group in October. After I shine up whatever they find, I’ll probably e-publish it. It’s an awkward length for traditional publication and it’s already been to most places I’d be willing to send it. It just came back from the last one after 230 days on submission.
  5. Then it’ll be time to get back to THE BARD’S GIFT and get it shined up for the writers’ group to read in January. Fortunately, that one is a pretty clean first draft. It needs the usual (for me) things added to it–antagonists motives and a stronger presence of the antagonist, setting descriptions, etc.–but I think the draft will stand pretty well without major plot changes. At least until after I get a few reader reactions.
  6. If I just get an itch to start something new, I’ve got the outline for THE SHAMAN’S CURSE/MAGIC’S FOOL (I don’t know which title I’ll choose for the third time around) to play with.
  7. I also really need to use this time to set up a marketing plan for the things I’ve e-published. Something I really should have done first, I know. But I know me and I knew I wouldn’t do it without some skin in the game. Now that my head’s not completely in the first draft of THE BARD’S GIFT every time I sit down at the computer, maybe I can make some headway on this. I’m going to have to start laying out concrete, short-term goals to get it done. Marketing was never my favorite subject.

Well, that ought to be enough to keep me out of trouble for a while.

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Another new issue for my YA alternate history project. Do I go for authenticity or reader accessibility and is there any middle ground.

I put the first part of the first draft of THE BARD’S GIFT up for critique on one of the writers’ forums I frequent. The first response I’ve gotten back indicates that certain words are causing a problem. Interestingly enough, not the ones I would have predicted. There are a couple of jaw-breaker words that I expect to have to reconsider.

The story is set against the failure of the viking colony in Greenland. In places, I’m using the actual terminology that these people would use–hopefully with enough context and/or explanation to let the reader know what is meant. A cargo ship is a knarr, for example. Other terms, because of their similarity to English words, seem to be more of a problem.

So, now the question I have to consider is whether I stay with the actual historical term for accuracy or change to something more recognizable to a modern audience. And whether an alternate history ought to try to be as accurate as possible.

These aren’t problems I’ve faced with straight-forward fantasy. When I get to build my own world for a story, the only issues are consistency and not doing anything that throws the reader out of the story. Then again, maybe terms that are confusing because they look too much like English words with different meanings will throw the readers out of the story.

Well, it’s still a first draft. I’ve got time to figure some of this stuff out.

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Query letters are incredibly important and very hard. Your first introduction to an agent you hope will want to represent your work. As I struggle with revisions to my current query letter for FIRE AND EARTH, I thought I’d take a look at how it evolved. Fair warning, this is going to be a long post. And, at that, I’ve left out a couple of intermediate queries. There are currently six versions of this query on my hard drive.

This is what I started with back in November, five months before I actually started querying:

At seventeen, Casora has spent nearly all of her life either training to be a warrior or fighting in someone else’s battles. That’s the fate of anyone born with the mark of the berserker curse until they prove they can fight without losing control. The alternative to such discipline is exile for those who let the berserker out. 

Then her homeland is overrun by a fierce enemy and the young man she loves is killed in the retreat. This news reaches Casora just before she goes into battle. In grief and rage, she triggers the curse and goes berserk. When she comes back to herself, she’s filled with regret. Now she can never go back to help fight the invaders or even find out if her family is still alive. Instead, she becomes the leader of a band of teenage warriors with no options but to turn mercenary. They’re united by a hunger to avenge themselves on the marauders that destroyed the homes they can never return to. What she really wants is to find a cure for the curse and go home.

Eighteen-year-old Prince Tiaran is the youngest and least of the princes of a neighboring country. He’ll never be the warrior his two bigger and older half-brothers are, and they take every opportunity to remind him of it. When the raiders turn to attack his country, Tiaran knows he must take part in the fighting, but no one will take him seriously. His brothers exploit his desperation and gullibility to send him off on what they think is a wild goose chase.

Tiaran is on the wrong side of the walls when the capital city is besieged. Casora rescues him from certain death. Tiaran, by default the leader of the resistance, must rely on Casora to help him become the warrior he needs to be to save his kingdom. In helping him, she discovers knowledge that might help to manage her curse.

It’s just possible that they may be the answer to each others’ prayers.

Well, you shouldn’t expect the first one to be good. For one thing, there’s way too much back story.

By April, when I actually started querying, I’d brought it down to this:

Now that she’s lost it and gone berserk, seventeen-year-old Casora is doubly cursed and there’s no going back.

Born with the mark of the berserker, she’s been sent away to learn war craft. Those skills are no use when her home is invaded while she’s far away. She turns mercenary, leading a band of teenage warriors looking for the chance to avenge themselves on the marauders.

What she really wants is to find a cure for the curse so she can go home. When she prays for an answer, she’s told to rescue the youngest prince to find what she needs.

Tiaran, third prince of a neighboring kingdom, is considered more a scholar than a warrior, but he’s determined to fight for his home. When the raiders attack, he’s trapped on the wrong side of the city walls. Casora and her band are sent to rescue him. With the capital city now besieged, there’s no option but to keep him with them and teach him to be a warrior.

But Tiaran has something to teach them, too. It’s just possible that Tiaran and Casora may be the answer to each others’ prayers.

This query actually got a couple of partial requests, but then there was a long drought with nothing but straight rejections. My request rate was only about ten percent, so it was time for a revision. Version 4:

Born with the mark of the berserker, seventeen-year-old Casora has been sent away to learn war craft. When her native land is invaded, she’s not there to do the one thing she’s been prepared for all her life–to use those skills to protect her family and home. Learning that the young man she loves was killed in the fighting is the final straw. She releases her curse and goes berserk.

Now she’s doubly cursed, because she can never go home to find out what happened to her family. With no way to help the ones she cares most about, Casora turns mercenary, leading a band of teenage warriors looking for the chance to avenge themselves on the marauders. She prays for a way to cure the curse and gets a mystifying answer: rescue the youngest prince to find what she needs.

Tiaran, third prince of a neighboring kingdom, is considered more a scholar than a warrior, but he’s determined to fight for his home. When the raiders attack, he’s trapped on the wrong side of the city walls. Casora and her band are sent to rescue him. With the capital city now besieged, there’s no option but to keep him with them and teach him to be a warrior.

But Tiaran has something to teach them, too. It’s just possible that Tiaran and Casora may be the answer to each others’ prayers.

This query got sent out to half a dozen agents. The responses weren’t encouraging. But, I’d gotten a few positive responses on a pitch contest (more like an elevator pitch than a full on query pitch) that had a slightly different approach.

Start revising again. At every step along this process, I’ve sought other opinions on my query. I got a really good one, here and discovered that there’s still too much back story.

The next version is at least pared down to just Casora and Tiaran. Agents can find out about the mercenary band in the synopsis. Plus, have you noticed one line that stayed the same in all versions? Something about being the answer to each others’ prayers? It may just be time to kill that little darling, too.

The new query will look something like this (no guarantees it won’t be revised again . . . and again.):

When her country is invaded, seventeen-year-old Casora loses her battle against her berserker curse. Being a berserker turns her into a ferocious warrior, but that’s no help to her family when she must be exiled as a danger to everyone around her. She turns mercenary while searching for a way to tame the berserker so she can return home. Being sent to rescue Prince Tiaran gives her hope.

No matter how hard he tries, Tiaran will never be the kind of warrior his brothers are, but he still feels compelled to fight to defend his homeland. When the raiders attack, he’s trapped on the wrong side of the city walls. Rescued by Casora from his first disastrous battle, he learns from her that there’s more than one way to be a warrior.

Tiaran has something to teach Casora, too. He’s the only one who’s ever been able to calm her berserker rage. The only one who has ever called her curse a blessing. Together, they may be able to shake off the expectations of others and find a future neither of them ever dared dream of. First, though, they have to stop the marauders from destroying everything in their path or there won’t be any place for that future to unfold.

That’s it for now. I have query fatigue.

 

 

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Well, this is why I like to have multiple projects to work on. I can let THE BARD’S GIFT simmer a bit more, while I work out how to bring my main characters firmly together in a short amount of time and in just about one more chapter. I want it to feel like the end of the world to them when they’re parted, but I can’t spend half the book getting there. That’s a tall order and I need to do some more brainstorming on it.

Multiple projects are wonderful for this. I don’t have to lose productivity; I can just switch to something else–in this case, a bit of editing.

  1. I’ve had some ideas about that ill-fated science fiction story of mine, “Apocalypse Cruise”. I think maybe, just maybe, I can fix it–more conflict and a more satisfying ending. Actually, the ending won’t change. Just a bit more build up may make it work better. It’s worth trying, at least.
  2. Now that my critique group has had a crack at it and I’ve had time to digest their comments, I need to make the revisions to “The Music Box” so I can e-publish it next month. The main revision on this one will be to put back a bit of world building that I’d removed when I was trying to make it fit into a more (traditionally) publishable word count. Novellas are a tough sell, traditionally. If I e-pub it, I don’t have to worry so much about the word count. And it’s precisely the kind of story that should do well in that venue (romance, with only a slight fantasy element).
  3. I was beginning to think that the query for FIRE AND EARTH needed a touch up. The contest below, celebrating the publication of Wilde’s Fire, has provided me with some ideas on a couple of directions I can take to improve it for the next round.
  4. The contest has also given me an idea or two on how to improve the opening of FIRE AND EARTH.

By the time I work through that list, my subconscious should have thrown up some good ideas on how to get through this part of THE BARD’S GIFT. If not, then I’ll either:

  1. Skip ahead and write around it, for now. Not my preferred course, but it can be done.
  2. Or, do a little work on the first draft of my backup, MAGIC’S APPRENTICE.

Forward, always forward.

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Almost a month ago, I posted this set of priorities:

  1. Finish the revision to “The Music Box” and decide what to do with it.
  2. Get ready to query FIRE AND EARTH.
  3. Start THE BARD’S GIFT.
  4. Revisions to MAGIC’S FOOL.
  5. Prepare BLOOD WILL TELL for e-publishing.

I’m doing pretty well on these goals.

  1. I’ve finished the revisions to “The Music Box” and have it out to one reader. I’ll probably seek more readers at the beginning of the month, and then decide what, if anything, I need to change before e-publishing it. There simply isn’t any other market for a romantic fantasy novella. I’m also waiting to hear about a novelette, “Becoming Lioness”. It’s currently out on submission and I expected to hear back almost a month ago. Maybe that’s good news. If not, I’ll be e-publishing that one, too.
  2. I’ve now sent out nine queries on FIRE AND EARTH and gotten one request for a partial.
  3. I’ve started THE BARD’S GIFT, but only barely.
  4. I’ve just about completed the revisions to MAGIC’S FOOL. I’ll be looking for new readers soon.
  5. I haven’t yet done anything about preparing BLOOD WILL TELL for e-publication.

So, here are my current priorities:

  1. Keep querying FIRE AND EARTH.
  2. Complete the revisions to MAGIC’S FOOL and find a couple of new readers to see if I’ve solved the problem of the slow beginning. The revision should be complete by the weekend.
  3. Mark up the revision notes for the last segment of BLOOD IS THICKER. That’ll only take a couple of days at most. I’m not ready to actually start on the revisions, yet, though.
  4. Then I’m going to concentrate on getting BLOOD WILL TELL e-published. That’ll also involve getting way more serious about some marketing.
  5. And once all of that is out of the way, I can go full bore on the first draft of THE BARD’S GIFT.
  6. I’ll probably tinker with the first draft of MAGIC’S APPRENTICE during any slow spots on THE BARD’S GIFT.

That’ll do for at least the next month, don’t you think?

 

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I can’t over emphasize the value of critiques–both getting and giving them. They’re not only how we make a story better, they’re also how we grow as writers.

I’m starting to work through the critiques of MAGIC’S FOOL so the topic of how to make the best use of these critiques is very apropos.

Some critiques are like ringing a bell. They start an avalanche of ideas that makes the writer jump up and down shouting “Of course. Of course, why didn’t I see that.” Those critiques are precious. Sometimes you have to work a little harder for that same insight, but it’s just as valuable when you do see it.

Often a critique or a group of critiques will point out a problem that the writer isn’t aware of. After all, as the writer, you know all sorts of things about the story that didn’t make it onto the page and no matter how long you let it rest you can’t ever completely come to the story the way a reader would. If three or more people say the same thing, you probably ought to pay attention because there likely is a problem there. But, and here’s where things get interesting, it isn’t always the problem that the critiquer points out. It might be something deeper. Occasionally, it’s something much simpler that leaves me saying to myself something like, “Yes, but if I hadn’t been an idiot and cut this paragraph, that would have made much better sense and you wouldn’t have been confused.”

In this case, I’ve got an interesting mix of critiques. One reader says that I need an external antagonist. Another keeps asking me to show not tell and says the first half was slow, but the second half was great. Still another says that the story has potential, but lacks excitement. As a writer what am I to make of this? 

The first thing is to wonder if they’re all reacting to the same thing and just saying it in different ways. I think they are. I think what they’re trying to say is that they’re not feeling the protagonist’s problem, at least during some parts of the story. I haven’t done a good enough job of ratcheting up the conflict.

 And now I have at least some ideas of how to make my protagonist’s conflict much stronger. I’ll need more, but that’s what revision is all about. So, thanks to my great beta readers. It’s going to be a much stronger story when I’m through with this revision.

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