Nancy: Is That a Book on Your Wall?

There comes a time in every story’s life when, in order to grow up into a book, it will undergo revisions. And just as my writing process has evolved over the years and tends to require variations based on the needs of each book, so too has my revision approach changed over time. One constant, though, is at some point, I need to look at the story differently by literally changing its appearance.

I’ve used the standard tricks over the years. Change the entire manuscript to a different font. Color code each POV or type of scene/action occurring. Print out the document in hard copy. For my current revision  fiasco project, I needed a new trick. Cue the music of worlds colliding as I realized I might have just the right tool sitting in the toolbox I used for my “day job” career.  In that career, I managed projects creating business proposals made up of multiple volumes of information, sometimes with hundreds of pages in each volume. These proposals had strict margin, font, and formatting requirements; included graphics, tables, and charts; and usually had page limitations per volume as well.

Teams would write, revise, and review the documents online, but by the time we got to our first round of document reviews and revisions, it was time to hang that puppy…er, proposal…on the wall. It’s such an industry-standard practice that companies with enough capital (and interest in investing in the department that brings in the business) install rails on the wall that are sized to slide 8.5×11-inch pages in and out of them. And it’s such an important step to get the big-picture visual of the proposal’s progress that if the CEO walks into a war room (the affectionate name for conference rooms where teams work on these projects) and does not see the proposal on the wall, someone in my position could get fired over it.

In other words, multi-billion dollar companies take this tool seriously.

I’m not suggesting there’s a lot of cross-over between what works for such companies and what works for novelists. I’m just willing to look far and wide for ways to get through the #E(*@+%! revision process. It’s that kind of thinking that gets you a wall full of a book manuscript and a spouse sleeping with one open in case you’ve really snapped this time. Continue reading

Michaeline: What fresh genre is this?

Choosing a genre can be heartwrenching if your story doesn't quite fit.

Choosing a genre can be heartwrenching if your story doesn’t quite fit.

I’m deeply suspicious of the writing tool called “genre”. My favorite book in the universe combines romance with gender politics, politics in general, mystery, thrills, and both science fiction and SFnal realism . . . and I might be missing a few genre-type areas. If Lois McMaster Bujold had tried to pare her fiction down to some sleek genre archetype, I think she would have quickly gotten bored and stopped writing. And from a purely selfish viewpoint, that would have been a tragedy.

Genre is a tool, though, and can be useful in shaping your story. But more importantly, Continue reading

Nancy: Secondary Characters Are People, Too

Humans are (for the most part) social creatures. We live, work, and interact among other people every day. To be believable, primary characters in our novels should live in worlds with other people, as well. Hence our need to build worlds for them that include secondary characters.

But filling out our stories with secondary characters isn’t as simple as randomly dropping in the wacky best friend or meddling mother or curmudgeonly boss. Secondary characters aren’t window dressing to make the primary characters’ lives look well-rounded.

Secondary Characters - Why Am I Here

Like every other aspect of a book, they should serve the story. We should be able to answer the question, why is this character here? In addition to looking pretty, or ugly, or menacing, each secondary character should do something: enhance the plot, underscore the theme, complicate the protagonist’s life, all of the above – something that wouldn’t happen if that character were taken out of the story. So what happens if you’ve created a convenient friend or foe or foil for your protagonist, but other than convenience, that character accomplishes nothing in your story? Continue reading