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Revision Tip #7 – fully developed characters

Characters who are important enough to interact with your main character regularly need to be multi-dimensional, not flat.

What is a flat character?

One that only has one set of attributes, who always has the same kind of emotional response to situation. Check the words you use to attribute a character’s speech; if s/he is always sneering or whining or laughing, then you might have a problem. Multi-dimensional characters have different facets to their character. Even the bad guys have good moments, and the good guys can be jerks sometimes. What is interesting are the circumstances that make a person act slightly out of character.

Unreliable teen narrators (like Melinda in SPEAK) make this harder on the author, especially when writing in the 1st person POV. The narrator is still maturing and has a limited scope and understanding of the world. It is helpful to craft a few scenes where the reader can assess more about the situation than the narrator does.

If your character is a chord instead of a single note, your story becomes richer.

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Revision Tip #6

Today we have a guest blogger, our own near and dear Bookavore. She manages a bookstore now, and has had some kind of bookselling job ever since she turned 16. Bookavore reads twice as many books in one year as I do in 10, so I consider her my in-house book expert.

She recently wrote a post about two things she is sick of seeing in books, particularly YA novels: sloppy writing in regards to race and two-dimensional characters. It’s called "In which I get frustrated and plead with authors." You need to read it right now. But brace yourself. She doesn’t pull any punches.

What do you think about her ideas?

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Revision Tip #5 & love from Missouri

This one might seem obvious on the surface, but writers are very good at rationalizing and can come up with all kinds of logical-sounding reasons why they should ignore it.

Three words.

What. Happens. Next.

Stories are supposed to flow like a river, not remain still while your character treads water neck-deep in a pool of exposition. One of the fun things about revising is figuring out how to make the story move forward while slipping in those little bits of backstory that contribute to the reader’s understanding of the character.

For me this often winds up being a pacing issue.

Yesterday I was working on a chapter that had three scenes in it. Scene #1 transitioned from the previous chapter. Scene #2 was rather lengthy, but interesting, I thought, even though the main character was mostly observing the action around him, and that action (while based on fascinating historical evidence) only had a little to do with the larger Story of my character. Scene #3 was short short, because I blathered on so long in Scene #2.

The first option was to break off Scene #3 into its own chapter. I tried that, but it didn’t work. The chapter that was weighed down with Scene #2 was a big snore. I tried cutting out Scene #2 completely. Nope, that didn’t work either – the reader and character need to see what happens in it.

Just before I went to bed I figured out how to fix it. I’m going to trim back Scene #2 and add one element that has an emotional connection to my character. That will make the first half of this chapter move swiftly (I hope) and build the tension leading up to Scene #3. In that last scene, I’ll have the room to craft both the external and internal conflicts, and lay the groundwork for the transition to the next chapter.

Does that make any sense? Neil Gaiman mentioned this concept in a more elegant style (sigh) on his blog yesterday. (Scroll down to his response to the first reader’s question.)

Emily wrote asking when I was going to publish a book about the writing process.

Answer: As soon as my publisher asks me to. That’s why all these revision tips are wrapped up in fifty layers of copyright protection and guarded by my dog. (But if you are a teacher, feel free to use them in your classroom.)

In other news. TWISTED is a nominee for the Missouri Gateway Reader’s Award (along with two other books that Superintendent Daniel Freeman of Montgomery County School District in KY feels are not suitable in his high school: DEADLINE, by Chris Crutcher, and UNWIND, by Neal Shusterman). The Gateway Award is aimed at high school readers.

Missouri extended even more love my way by nominating CHAINS to Truman Award list (sorry, don’t have a link yet). This one is for middle school/junior high readers.

Thank you, Missouri!


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Revision Tip #4

Never ask loved ones or blood relatives to critique your manuscript. They can read it, but only with the understanding that their job is to cheer you on. Their only responses shall be "That’s great, honey!" or "Wow! Now I know why you’re so excited!" or "I am so proud of you!"

If they say "You spent all that time locked in the closet and this is what you produced?" you are allowed to burst into tears. (I do not encourage full-blown temper tantrums complete with banging head against floor, but I understand that sometimes they are necessary.)

You need peers – people who are also writing and who read a lot – to give you a decent critique of your work.

Rule of thumb: don’t ask loved ones to read your manuscript and don’t ask critique buddies to pick up their socks.

EDITED TO ADD: Several of you commented that if your loved one is a writer, s/he can offer extremely helpful critiques. I agree. That works in my family, too. But I think it is rare. My tips this month are written with new NaNoWriMo participants in mind and I am guessing that few of them have a loving, in-house, qualified critiquer.

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Award Lists & Revision Tip #3

Santa’s elves arrived in the Forest early this year!

They brought the news that WINTERGIRLS has been named a Publisher’s Weekly’s Best Book of the Year, Kirkus’ Best YA Books of 2009, Booklist’s Editor’s Choice of 2009, the 2010 Texas Tayshas High School Reading List and nominated to YALSA’s 2010 Quick Pick List! It has also been nominated to the 2011 Grand Canyon Reader Award by the very nice people in Arizona, who were kind enough to nominate…


CHAINS as well, on the Tween List for the Grand Canyon Reader Award.

Each one of those lovely lists feels like another filled stocking in front of the fire!

REVISION TIP #3

Many people struggle to find a way to look at the larger picture of their novel. They can line edit a page or take a chapter to their writer’s group, but managing the unwieldy novel is hard.

Here is what I do.

1. Get the largest piece of paper you can find. I go to an art supply store and buy an enormous artist’s pad for this task.

2. You need to carve out three hours of concentration time. Turn off the internet and phone. Loan your dog and children and partner to nice people who will return them fed and watered after the the three hours. Chain off the driveway so delivery trucks and friendly people who don’t understand what you mean when you say "I’m working" can’t drop in.

3. On one of your massive sheets of paper, list every chapter in your book. Describe the action in the chapter in one sentence.

4. Now prepare a separate action list. (This one will take up a couple of sheets of paper. (Did I mention that you ‘ll need to clear off the kitchen table for this? And maybe the floor?) This list will break down each chapter into the scenes. Keep it brief! F. Ex.: "MC (main character) drops homework in fish tank. Fish die. MC hides them in flower vase. Mother sees them and flips out."

5. (This is the fun part) With a colored pen or pencil, go through the detailed chapter list and make notes about the emotional arc of your MC and the important secondary characters. Also, make sure that changes in mood are properly motivated, and that conflicts are set up. You might use different colors to represent different plot elements.

6. The threads of your novel are laid out in front of you. Step back and study it. Do your characters have reasonable emotional responses to the actions in the chapters? Do the building levels of conflict appear in the right order? (I often move scenes around at this stage.) Which scenes and/or chapters can you completely remove from the story without affecting anything else? What characters can you eliminate? Do you have any characters that can be combined because they serve the same purpose in the story. (I do this a lot.)

7. By the end of this process, your papers will be covered with notes, stickies and lots of colored arrows.

8. Sit down with the giant map of your novel and apply the changes to your manuscript. I like to do this on a hard copy first, then type in the changes.

9. Don’t forget to unchain the driveway and let your loved ones back in.

Dang, this is a long blog entry. Still with me? Questions?