We've all been stunned and saddened by the horrifying events in Japan recently. Our hearts go out to so many who are suffering and who have lost so much. Everyone's thoughts immediately turn to how to help and contribute to ongoing relief efforts. There are many ways to support relief efforts that are sponsored by the writing community. I've listed a few below, along with some other organizations who are also working to help Japan in this critical time of need. I'm sure there are many more possibilities for giving and, if you know one you'd like to tell us about, just list it in the comments.

We hope everyone will find a way they can give.

AUCTIONS:
Kidlit4japan
Authorsforjapan
Write-hope
Writersfortheredcross

CHARITIES
Save the Children
UNICEF for Children
Shelter Box

OTHER IDEAS
Donate to the International Medical Corps through Groupon.
Donate to the American Red Cross with every Facebook or Twitter update you make this month.
Text “JAPAN” to 20222 to donate $10 on behalf of Save the Children Federation, Inc.
Text “4JAPAN” to 20222 to donate $10 on behalf of World Vision, Inc.
or find another legitimate organization with members on the ground in the Sendai area.

Janice Hardy is a busy lady.  She is the author of THE HEALING WARS series, from Balzer&Bray at HarperCollins, featuring the strong heroine, Nya, who has the ability to remove pain with a touch.

But the reason I wanted to feature Janice on our Follow Friday is because of her blog, The Other Side of the Story.  She posts daily on the issues we have all come to know and care about:  pacing, plotting, character development, editing, etc., etc., etc.  The blogs are all tagged by subject, so if you find yourself wanting to know more about outlining, you just click on the Outlining&Process link and it will take you to all of her posts on the subject.  She includes posts on submitting, publishing and marketing as well.  I’ve found the blog to be a very handy tool for sparking ideas and reminding myself of things I already know but may have forgotten in the course of revision.  (Raising the stakes!  Of course!)

You can find Janice’s blog here:  The Other Side of the Story

And her website.

And follow Janice on Twitter.

I love having new weapons in my revision arsenal, don’t you? Talia’s checklist is going IN. That’s some heavy firepower. I’ll be working one of those up as soon as I’m finished with my first draft.

To finish out our week on writing process, thanks to comments by PB Rippey and Anonymous, here are a few techniques I used to revise my novel:

THE MAP

My story is sort of a quest/journey so a map was a necessity. I drew this up on heavy posterboard. I checked and rechecked the distances, making sure that one week of travel on foot could actually get my characters where I said it could. Also, this helped me give shape to the overall geography. Gradual transitions from sea to mountainous regions became easier to track because of the map.

THE CALENDAR

This is pretty self-explanatory. My story happens over the course of 58 days. I know what happens on each and every one. My dad helped me map this out on posterboard, so I have a timeline for everything. (Thanks, Dad!)

THE CARDS

Oh, the cards! These I used for Macro changes. Cutting scenes. Following subplots and setting. Expanding on bigger story elements. It works particularly well for multiple POVs.

I purchased a stack of colored cards. I used heavy card stock, larger and sturdier than post-it notes.

Each chapter got a card. (All forty-five of them)

Each character got a color. (Two POV characters, so two colors)

I wrote out a chapter number and header across the top.

Below, I wrote the setting, plot and subplot.

I laid it all out on foam board.

Then, as I was working through my revision, I attached post it notes to scenes with ideas/changes that needed to be made. Post-its were great for this because I could move them around easily. Scenes bogged down with post its full of ideas needed the most work, obviously. I cut two scenes this way, transferring the information to post its that landed on other cards/chapters.

THE SPIRAL BOUND PRINT-OUT

This is how I approached line edits & finer points in the revision.

I had my manuscript (with my editor’s notes) double-side printed and spiral bound at Kinkos. On the cover, I wrote out the big ideas I wanted to tackle. Then I went through page by page and highlighted every single change on the hard copy as I made it on the computer.

I can’t tell you how satisfying it was to do this. Every highlighted slash was like a tiny victory. One step toward the end.

If I came to a comment I couldn’t tackle, I added one of those post-it flags and saved those for the end, or for when I was feeling particularly motivated.

I did several passes through my manuscript this way. For me, it helped a ton to see it printed out. To have something I could hold and make notes in and read like it was a real book.

A nice side benefit is that I have a stack of bound printouts of my manuscript that show—very plainly—the improvements I made with each pass. It’s sort of encouraging to see that stack now and then. Reminds me that it’s just about working and working and working.

You can see several of these techniques in play in the photo above. You can also see coffee and chocolate chip cookies. (And, if I’m being honest, wine later on that day.) Don’t’ forget those as you revise. It’s the small rewards that get you through.

A final thought: I’m amazed by how agile we need to be as writers. I just finished revising my novel and recently began drafting another. The shift is drastic. It’s going from charts and maps and notes to a blank page. To that flashing line on a word document that asks you what’s next? what’s next? what’s next?

What’s next for you?

I am currently smack dab in the middle of my very first editorial revision with my publisher for the book that is currently known as SPIES & PREJUDICE.   The editorial process has been a lot of fun.  It’s been very much a collaboration as far as what story arcs could be emphasized/expanded and what threads could be simplified or cut.  But as for making it work in the manuscript- that’s all on me.  Talk about pressure.

I think that’s the biggest difference between taking feedback from your critique partners, or even your agent, and doing a revision for a publisher-the pressure that comes with knowing that what you are writing is actually going to be on shelves.  There’s a sense of urgency, that you need to get it right it this time.  That you have to make it better before it’s too late.  But it’s exciting too, knowing that you are creating something that will wind up in the hands of real readers.  

  

I’m utilizing my revision checklist, and it is saving my butt.  Big time.  You can read about the revision checklist here.  Essentially it involves creating an outline of the finished manuscript in a chart form and then figuring out what scenes to move, cut or expand right there in the chart.  The chart is typically only 2-4 pages, and I find this much easier to wrangle than a 300 page manuscript.  Here’s a sample taken directly from my revision chart (the little x’s on the right mean the change has been made in the scene:

Chap. 9 Thursday

Dinner with Tyson Parks; Berry learns about father and Shauna; Tyson drinks Juiced and mentions Kennedy connections

Colin is Tyson x Shauna is nicer x Tyson is more dangerous x Make sex comments less adult x Mention Kennedy’s party x More about mother here x Sum up what we know so far through internal dialogue in conversation with dad x

For an extensive revision like this one, I don’t even open the manuscript file until after I have completed a fully revised chart; with all the scenes placed in their new order, outlines of new scenes included, and notes on what things need to change in each chapter.  For SPIES this process took two entire days, but at the end I had a roadmap detailed enough to get me through the entire revision.

Then it was just matter of execution, right?  

Right.

I still had to wrangle that 300 pound manuscript.  Even though I ended up keeping most of my scenes, I changed the placement of quite a few of them.  This created a continuity nightmare that I still haven’t quite recovered from.  Other scenes required complete rewrites to account for some plot threads that were cut and or to add new ones.  Some minor characters were combined.  Other characters got more airtime.  My college professor got a career change.  A major character got a name change.  What’s in a name?  A lot, apparently.  His name changed from Xander to Tanner, and with the name change came some surprising character discoveries.  Turns out that Tanner had a lot more to say than Xander ever did.

About halfway through I started to doubt myself, wondering if I was actually making the manuscript better.  On one particularly dark day, I was convinced I was making it worse. 

I think every big revision has one of those moments.  A day when the words don’t flow and everything has been so torn apart you wonder if you will ever be able to reconstruct a cohesive manuscript.  I got through this moment by reminding myself that just the day before I wrote a new scene which became my favorite in the book, one that perfectly represents who the main characters are and adds depth to their relationship.  But what really saved me was the fact that I already had a complete version of the revised manuscript mapped out.  I knew I could bring it all together, because I’d already done it in the chart.  I just had to trust the plan and follow through.

So I picked up with the revision the next day and started checking things off again.  I’m in the homestretch now, through the most significant changes.  I can nearly see the light at the end.

And it looks beautiful. 

I write terrible titles.  The worst.  Give me 80,000 words to write and color me happy, but limit me to one to five?  And I’m stuck.

We’re writing about process this week, thanks to PB Rippey’s comment on our ASK US post, and Anonymous’s comment about writing more specifically about our own. Because this has been a huge part of my process for the past several weeks, I wanted to write about titles.

My book is going to be published next year.  When I first started writing it, I called it UNTITLED CATHERINE HOWARD.  Original, yes?  Just like writing the first chapter, I can’t write a title until I know what the book will be like.  That’s what makes it so hard for me to start writing a book.  Without a title and a first chapter, what do you have?  Not much.

The first conference I took the book to, I threw on a title at the last minute before hitting print.  The title I chose?  CAT’S CRADLE.  I thought, Catherine Howard (Cat) gets herself into a mess of trouble – like she’s tied herself up in her own web.  Like a cat’s cradle.  I completely forgot that Kurt Vonnegut already wrote that title.  And as my critique-mediator pointed out, the book is narrated by someone else. 

So I changed it to CAT’S SHADOW.  My protagonist not only falls into the shadow of Catherine Howard, she also follows Cat like a shadow.  Clever, right?  No, boring. 

Somehow, even with such a dire title, I managed to score a fabulous agent in Catherine Drayton.  And she came up with a title that made me tingle and wish I were that clever:  GILT.  Because gilding covers something in a veneer of gold to make it look rich and beautiful – a bit like Cat.  And because guilt plays a major role in the development of several characters.

We sold the book with that title.  Announced it with that title.  And then it was pointed out that perhaps gilt and guilt were too easily confused.  This was driven home to me when I told a writer friend my title at the New York SCBWI conference and she said, “Oh, right, it’s one of those titles you have to explain.”   Not a selling point.

So I’ve been riding on the e-mail-go-round with my agent and editor for the past four months – circling faster and faster as we got more frustrated (and I got more desperate).  I don’t mind admitting that most of my ideas were shot down quickly:  too boring, too literary, too long, too archaic, doesn’t say anything about the book.  My family started suggesting titles like:  WE COULDN’T THINK OF A TITLE FOR THIS BOOK SO WE’RE NOT GOING TO CALL IT ANYTHING. 

I spent long car trips shooting ideas at my captive audience – my family.  I spent an hour on the phone with my husband while he drove back from a meeting.  I went through the manuscript.  Twice.  I read Tudor poetry and Catherine Howard’s letters and Shakespeare (though he didn’t write until 50 years after the action of the novel).   And it wasn’t just me.  My agent came up with ideas at the beach.  My editor, Kendra Levin, had long conversations with colleagues at Viking.  The Muses fired off titles in e-mails.  Other writer friends sent lists of key words.

We kept circling the idea that the Tudor court was a great, gaudy, glittering show – all bright colors and extravagant jewels and ostentation.  And then when my characters get there, they are consumed by it all.  Trapped.  We wanted a title that sparkled, but carried with it a hint of danger.

So last week, after a long discussion with Regina Hayes, Kendra came back to us with a title we finally agreed on.  The relief in our e-mails was palpable.  Not only do we have a book title, we may also have a series title (so maybe, just maybe, the next book won’t be so difficult).

And the first book is:  GIRL IN A DIAMOND COLLAR.

I'm happy.  

The YA Muses strive to make our weekly blog topics as interesting and helpful as possible. See, the best part of the blog is you. Every comment and new follower inspires us. Recently, with that in mind, we opened up the switchboard to ask: WHAT WOULD YOU LIKE TO SEE US COVER ON THE BLOG? Thanks to all of you who responded with questions and topic ideas. This week, we're combining two readers' requests into the blog theme.

PB Rippey said...
I can say that I really learn from the posts concerned with writing the novel, critique and revision, reading about what it takes to pull a novel together, the blood, sweat and tears involved. Very helpful. I would love to read more of the same---process

Anonymous said...
I am curious to know how the Muses are doing with their books. I really like it when you talk about your own experiences

Currently, I'm finishing up a manuscript with the hope of sending it out the first week of April. I'm lucky to have a few requests from people wanting to read the finished product, which should be incredibly motivating (and it is), but is also a bit intimidating. When this manuscript goes out in a few weeks, I'm determined to make the best possible first impression... and that gets me to the process part...

There's a secret, hidden part of my own personal writing process that I don't like to admit or talk about. I'd much rather write about all my successful writing strategies and plot devices, but I've learned from many, many past experiences that it is an integral part of the process and I can't avoid it. I also can't seem to relax and trust the fact it IS part of the process.

Ok, so I here I go... *standing up*

"Hello, my name is Donna and I'm a procrastinator."

It's been four days since my last writing session (wait, I think I'm getting that confused with confession). Anyway, here's what it looks like and maybe someone out there can relate:

Today is Saturday and I have time to write. Ahhhh...sitting down in front of the computer. Open manuscript? Not yet. Open facebook. Read. Post. Open twitter. Read. Open online news. Check email. Check celebrity fashions. Nice shoes. Shop for shoes online. Now, I'm ready to open the manuscript and get down to business. Cat jumps on desk. I tell cat to get down. Cat doesn't (repeat several times). Pet cat. Notice cat hair on shirt. I should really wash that. Do a load of laundry. Ok, back in front of the computer. Open manuscript! Look at word count. I need more words. Plot out wordcount on calendar beside my desk. Look at screen. Time for lunch. Ok, back in front of the computer. Now, I'm really doing it. Write a sentence. Read the sentence. Change the sentence. This is going sooooooo sllllloooooowwwwly. You know what would help? Listening to music. Go on ITunes. Look for song that I can't remember the title for... email fellow muse for title. Get title. Download song. Listen. Perfect. It'd sound even better with some good speakers. Shop for speakers online. They'll come in the mail in a week or so. I should check the mail. Walk to mailbox. Sun feels really good...warm. Sit outside and promise God I'll go inside and write when the sun goes behind that cloud over there. Ok, I'm back.

So is all of this bad for the process or just part of it? Who knows? Maybe, I'm not procrastinating. Maybe, it's something different. Natalie Goldberg, in Writing Down the Bones, calls it composting:

Our bodies are garbage heaps: we collect experience, and from the decomposition of the thrown-out eggshells, spinach leaves, coffee grinds, and old steak bones of our minds come nitrogen, heat, and very fertile soil. But this does not come all at once. It takes time (p. 14).

Whether you consider it procrastinating or composting, this part of the process is uncomfortable for me. In Anne Lamott’s wonderful book, Bird by Bird, she talks about the writer's attitude toward procrastination.

The problem is acceptance, which is something we’re taught not to do. We’re taught to improve uncomfortable situations, to change things, alleviate unpleasant feelings. But if you accept the reality that you’ve been given—that you are not in a productive creative period—you free yourself to begin filling up again (p. 178).

The truth is, writing (like me) isn't perfect and maybe that's just the way it's supposed to be. I'll leave you with one last thought from Anne Lamott before I get back to working on my manuscript (I really mean it this time):

Now, a person's faults are largely what make him or her likeable. I like narrators to be like the people I chose for friends, which is to say they have a lot of the same flaws as I. Preoccupation with self is good, as is a tendency toward procrastination, self-delusion, darkness, jealousy, groveling, greediness, addictiveness. They shouldn't be too perfect; perfect means shallow and unreal and fatally uninteresting.(pg. 50)