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Whole mss critique or chapter at a time critique?

I went to Idaho this weekend for a Novel Revision Retreat.

Whole mss critique. One thing I like about the Novel Revision Retreat is that it is set up to get feedback on an entire novel.

Upper Mesa Falls, Henry's Fork, Snake River, Idaho. Near the location for our Idaho retreat.

I understand why critique groups do this type of schedule and I’m not discouraging it. This is valuable feedback, especially for line editing.

However, a full novel critique is also essential. Here, you look not so much at how well a chapter looks but how the story plays out over many pages. This lets you look at narrative arc, emotional arc, pacing, gaps in the story, continuity issues and so much more.

Indepth Feedback.The second thing the Novel Revision Retreat does is give you in-depth feedback on your entire novel. We cover about 8 areas of writing a novel, everything from characterization and dialogue to pacing. Then, there’s a group session in which the group discusses each novel in turn for how well the novel performs on the current topic. In depth feedback is invaluable. The number of group sessions allows some trust to build up and for a certain honesty to evolve. Certainly, the writers don’t agree with everything said in a group, but at least they’ve heard three different opinions.

In-depth feedback on a whole novel – it’s the best thing about the Novel Revision Retreat. You can do the same thing by agreeing to critique a whole novel from each member once a group. Or maybe you need a special critique group just for novelists. I’ve been a member of a special novel critique group. We have only four members, and have agreed to critique 2 full novels from each member each year. In reality, we usually just do one from each a year. But even if it was 2/year, that’s only 6 novels I’ve agreed to critique. It’s a workable solution to the need for a whole manuscript critique.

Visit Our EBOOK STORE!

How to Write a Picture Book. Ebook, immediate download. $10.

Well, the book is out. If you haven't yet ordered yourself a copy there are a LOT of buying options available.

Amazon UK is carrying it now, and it can be gotten through independent bookstores everywhere, with more to come.

CLICK HERE FOR A FULL LIST!

Some people that have already gotten their hands on the copy started sending me pictures of themselves with the book. Granted, it's a little unexpected, but I'm digging it!

Below is a picture sent to me by my pal Erik.



Cool pose, no?

Yes it is.

So cool in fact that I used it for reference when sketching up a chapter illustration for book 2 (which is hopefully due by the end of the year).



Will Erik be flattered? A little weirded out maybe? Call his lawyer and see if he has a case? All of the above along with an glass or warm milk to help him sleep at night?

Only time will tell I suppose.

GET YOUR COPY TODAY!

Steve

Here's a little sample chapter from the upcoming book which is released on March 20th.

Hope you enjoy!

Steven







THE PROMISE

The long white hallway on the fourth floor of the Fairchild Medical Center was mostly empty and rather quiet. Occasionally a nurse or a doctor walked by with their head buried in a set of papers on a clipboard, their shoes clicking against the tile floor with every step. It was night, and with visiting hours coming to an end, most everyone, patients and family alike, had either drifted off to sleep or returned home. On an empty bench near the end of the hallway sat ten-year-old Tommy Jarvis. Too short to reach the floor, his legs swung back and forth over the edge of the bench. His hands rested softly on his lap as he twiddled his fingers quietly, trying his hardest to think about anything other than this place. Behind the door to his right are his mother and father.
For almost a year now his mother had become progressively sicker. At first the trips to the doctor were for small things like high fevers or sore throats or pain in her joints. In the last few months, the trips were more frequent. She was admitted to the hospital three weeks ago, and it was here that she remained. Every night like clockwork his father left him and Nicky with Auntie Carol and go to visit her. On the weekends – like today – he would bring them along. Nicky might be too young to really, truly understand every nuance of what was going on, but Tommy believed the young boy understood the basics of the situation. Their mother was sick, and she wasn’t going to get better.
She was dying.
No doubt Nicky couldn’t make total sense out of the concept of death, but he knew that a time would come very soon when he would never see his mother again.
Tommy looked up as the door to his mother’s room opened; his father stepped out with a sleepy-sad Nicky pulled tightly against his chest. He looked in Tommy’s direction. “Hey buddy…how are you feeling?”
Tommy didn’t know quite how to respond. The idea of summing up everything going on in his head seemed like a task more impossible than anything he had encountered in his young life. He saw no point in trying.
Chris Jarvis gently laid the half-awake Nicky down on the bench next to his older brother, softly brushing the hair from the boy’s eyes. When Chris looked down he noticed his hand was shaking. He could feel a torrent of emotions building up inside him, but forced himself to ignore them. He needed to be strong, even if he wanted so very badly to cry and scream, and denounce his faith in God, the universe, and whatever unseen force was putting his family through this. He wanted to yell at the doctors for not doing more, or curse the nurses for their pointless pitying looks, or simply run away and leave all the sadness and the stress behind, but he couldn’t. He couldn’t do any of these things or a number of others. Not in front of his boys, and not now. These were things better left to the nights alone, shrouded in the darkness of his room, spread out across his marital bed with soaking wet eyes. He had to be bigger than that; he had to be better than that, for them – even if it hurt more than he could stand.
After taking a deep breath and wiping away a single tear in the corner of his eye, he knelt down in front of Tommy, gazing into the soft blue eyes of his eldest son. “Hey big man, your mom…your mom wants to see you alone for a minute. Would you like to do that? Are you going to be okay, or do you want your ol’ dad to go with you?”
Tommy noticed the shaking of his father’s hands as well. He spotted the very faint glimmer of wetness, catching the pale glow of the fluorescent lights, in the corner of his eye.
Despite trying so hard, Chris Jarvis could not hide his emotions well.
Tommy wanted badly to see his mother - to hug her and kiss her and hear

Picking up the threads of a story is difficult after a holiday. Here’s four suggestions for making it easier:

Read. Read through a couple of chapters just before where you’ll start. Read slowly, letting the characters, the voice, the tone overtake you again. Remember what you were thinking or doing when you wrote the chapters.

Mark up. While you’re reading mark up the chapters for line editing. For me, line editing is a way to make myself pay even closer attention to the writing, which helps me get back into it.

Free write. Another method I’ve used is to free write something from the point of view of the narrator. Write about a memory of a holiday, or of a sports game or of a song once heard that lingers on. Be specific, grounding the scene in specific sensory details. It doesn’t matter if you eventually use this scene, the point is to get back into the story’s voice with something that may or may not get used.

Type. Retype a chapter. Again, this is a simple technique to force you to read every word in the story, and not skim. You need this kind of in-depth re-immersion into the story in order to pick up the same voice.

How do you get back into a story after a break?

Related posts:

1. Line Editing
2. Opening Chapters
3. 4 Ways Weather Affects Your Story

The key to writing a chapter for good novel is not to think of it as part of a book at all, but rather a short story meant to stand upon its own merits. If it cannot stand up by itself then it will not support the book and the reader will be inclined to put the entire work down. View the chapter as you would a scene in a play. It extends from moment the curtain rises until it descends. If you don’t want the reader toss your book away, then I would like to give you some tips that will aid you in the future as an aspiring author. I will also be pointing you to examples elsewhere on Author’s Den.

A chapter needs a protagonist and an antagonist, as does any story. These may or may not be the protagonist and antagonist of the entire work, but there must be a conflict of some sort to keep the reader emotionally invested and interested. It may be a battle, a love scene, a betrayed trust, or even the final showdown. Any way you cut it, a chapter must contain the elements of a story, for it must have structure: a beginning, middle, and an end.

The protagonist of the chapter does not need to be a good guy, though if the story is about good versus evil, you may find it beneficial to write at least one chapter of the book with the good guy in mind. He may very well be a despicable, self-centered lout who sees things through his warped sense of morality. He could be an evil wizard, a rising politician, or drug dealer. What makes him the protagonist is his ownership of the arc of the story, whether the outcome is to his benefit or not. The antagonist doesn’t own the arc, but instead stands in opposition to the protagonist. You ask yourself, does this apply to various genres beside the obvious, like fantasy and science fiction? For mystery, it is the unseen and the hidden that plays the role of the antagonist, but it must be palpable and real to the reader. For suspense, it may be a mixture of the unseen mystery and a real individual or group who stands in opposition. For romance you may wonder, how can there be either, since it is the pairing or division of two or more love interests. Ah, there lies the greatest conflict of all -- and you have the protagonist and antagonist all present. Would it be anything more than pornography if the characters in the scene found it easy to come together? Maybe there is a husband or cuckolded king in the scene. Romeo and Juliet are fine examples of romance gone wrong and demonstrate the offstage antagonists as feuding families.

Another point I should make is that you needn’t stay within your genre for the chapter. A mystery can have chapter which is a romance, as long as your readers have come to expect this sort of thing from you. A science fiction can jump into fantasy, something which certain authors like Terry Goodkind have done very well. There are genres that are not compatible, but I will leave that as an exercise of common sense and decency to the writer. Remember that you warn the reader with foreshadowing that you may switch genres or they may not only put the book down but run shrieking out of the room. If you were writing a romance book, and introduced raw direct horror, for instance, your average romance reader may be just a little put off. Your agent may suggest reclassifying you novel when they start getting complaints in the mail.

The conflict is easier to imagine. We have conflicts every day of our lives. Change the stage and you can take any mundane conflict and turn it into an epic battle. How many times have you known a coworker who has taken credit for your work and you are helpless to oppose them? Transfer that motivation to the apprentice of the king’s magician and you have what could be the source of some fine conflict. A switched up potion or a faulty spell, and “shazam!” you have action!

As for structure, the beginning sets the stage for the drama to follow and prepares the reader for the yarn you are about to spin. It describes the players, builds the scene, and identifies the conflict. The middle is where the bulk of the action occurs. It contains the rising arc of the characters in the story and builds the tension to a crescendo. It may be as small as a single paragraph or as large as needed to grow the arc. It must take the protagonist somewhere physically, emotionally, mentally, or spiritually, that they weren’t before. It must also prepare them for the end of the scene. The end often is the hardest of all to write, but I have a little trick you might want to remember. Treat the ending like a link in a chain that connects one chapter to the next. It helps on occasion to skip the end of a chapter and write the next chapter’s beginning first and then come back and write the ending of the previous chapter. In some cases, you might want to write the beginning and ends of all of the chapters as a story in its own right, leaving out the fat and juicy middles. This is a very good practice, since it essentially yields the synopsis you will present to an agent and makes a fine instrument to construct a book.

Overall, keep in mind the arc of the book and motivations of your characters, large and small, important or insignificant, at the chapter level and in your book as whole, must agree in the end. If you neglect the motivations of these characters as they transform on their journey, the reader will neglect your book as well.

Does Format change a story?

Format. Yes, it makes a difference. How you present information or how you present a story make a difference to the text. For example, I’ve been wanting to write a nonfiction book about a topic and tried writing a proposal for a middle grade book. It didn’t seem right. But then, I decided to try it as a non-fiction ABC book and it has worked well. That format – short snippets of information about 26 subjects – covers the topic very well. Yes, I could include much, much more information; isn’t that always true about a topic you’re passionate about? But this covers the right amount of information for the early elementary years. Just enough, but not overwhelming. The format is right.

Notice that this format change also meant a change in the age of the intended audience.

I’ve taken stories and tried them as a graphic novel, as a middle grade novel and as a YA novel. I’ve taken an early chapter book and divided it into six equal-length chapters, and then divided it again into multiple short, uneven-length chapters (such as Moxy Maxwell Does Not Love Stuart Little). The story doesn’t change, but it feels very different. There are books which I find I can’t read, (Heaven’s Eyes by David Almond) but when I listen to the audio version, I love it. I wonder if stories will feel different when read as an ebook?

Audience and format can change the content, the voice, the tone, or the overall feel of a story. What format do you envision for your story? How does that affect what/how you write?

Related posts:

1. Michelle Nagler, Bloomsbury
2. Manuscript Length

Author Kevin J. Hayes has been very busy writing American Literature: A Very Short Introduction, but he needs your help. Find out what you can do below.

When I was studying for my exams at the University of Delaware, I found little books about big subjects to be the most useful study aids. Despite the usefulness and convenience of these little books, I still resented the time studying took. I was eager to finish my degree and start my career, to stop reading the work of others and start writing work of my own. As part of the studying process, I drafted a brief history of American literature. After passing all my exams, I realized my draft history had been a way to force myself to keep studying. I set it aside without a second thought, graduated, and moved to Oklahoma. The draft history disappeared along the way.

Upon completing my forthcoming biography, The Road to Monticello: The Life and Mind of Thomas Jefferson, I wanted to work on a tiny little book next, so I started writing American Literature: A Very Short Introduction. The book will consist of eight chapters and will be organized in a rough chronological manner. Each chapter will concentrate on a particular literary genre and will have a central focus, too. For example, Chapter 7, the first chapter I drafted, presents an overview of the novel refracted through the idea of the “great American novel.”

I’m working on Chapter 2 now. It will trace the story of American travel writing from colonial times through the twentieth century. Though travel writing constitutes some of the best writing in the colonial American period (see Daniel Royot’s fine chapter in the recent Oxford Handbook to Early American Literature), literary histories have typically slighted subsequent travel writings in favor of belletristic literature. Deciding which travel writers to include has proven to be more difficult than I initially anticipated. I need help. Obviously, I do not have room to discuss too many travel narratives in such a short book. Here’s my question: which travel writers should I include?

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Just finished the Cowgirl and realized I have never posted the Psylocke here so I thought I'd throw her in the Jumble as well.....

A character I have that fits the theme, her jacket collar is supposed to be up over her chin, but I don't think it came off correctly.

Here are a couple of tardy entries for the past couple o' weeks. I'll revisit the colors at some point.

No pencils, straight highlighter, sharpie + pen + photoshop + 5 minutes. And it shows. Sorry.