Kit Reed’s “Revision”

I first read Kit Reed’s Revision (probably) four years ago. It was one of the first books I read when I decided to spend the rest of my life writing. I dogeared two pages.

I finished my second read about a week ago (as I write this). The book is a mess of dogeared pages.

It’s amazing how much more Kit Reed put into this book in four years, don’t you think?

Extra Effort Closes the Distance between You and Your Audience.

 
The entirety of the book comes down to Reed’s Rule Six: Extra Effort Closes the Distance between You and Your Audience.

Whenever you come to a moment of hesitation, unsurety, confusion, skimming, general off-ness, stop, figure out what’s not working, and fix it.

 
And Reed also provides a caution; Recognize when it’s done and let it go. There’s lots of examples of recognizing when something’s let-goable and when something isn’t. The one that hit me smack between the eyes is “Whenever you come to a moment of hesitation, unsurety, confusion, skimming, general off-ness, stop, figure out what’s not working, and fix it.”

I am training myself to do that. Too many times I’d read something and need to reread it, figure it out on the second take and decide it was okay.

NO, IT WASN’T!

Reed also offers several question lists to help you in your own revising. Early in the book Reed poses twelve questions so you can learn if you’re open to revision. Don’t know about others, I found it revealing (especially when invoking Reed’s suggestion to be strict (unforgiving) with your answers).

Another duh! list early in the book (pg 39) deals with determining if your work (and others, too, if you’re in a critique group) is ready to go out. Reed suggests writers/authors/writer-wannabes read for:

  1. Truth in action
  2. Accessibility
  3. Completeness
  4. Time scheme
  5. Point of view
  6. Length (with an eye to possible cutting)
  7. Organization
  8. And, once again, balance of showing versus telling. (Reed’s words, this, not mine)

Unsure what some of those mean? Read the book.


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Robert Newton Peck’s “Fiction is Folks”

Robert Peck’s Fiction is Folks was a difficult book for me to get through on my first read and an entertaining book on my second read. I’ll read it at least one more time before I’m satisfied I’ve sucked all the marrow from its pages (that odd phrasing is one of his suggestions. Such odd phrasings wake the reader up. You may not like that one, that’s fine, and learn the technique. Practice it. The technique useful even if my example is not).

My initial challenge was the reason I was entertained on my second read: Peck is homesy and folksy. He is direct, clear, honest. He’s a native Vermonter and it shows in both his prose and his examples.

An important point about his examples: most of them passed over me on my first read because this entire book is an example. He explains something and read his explanation again. It’s an example of what he’s explaining. Now look at the example he uses for his explanation. Yes, it’s an example and it contains a thread to the next example.

Also (and like most Writers’ Digest books I’ve read) he covers a broad range of topics well beyond character (the main item in this book). A partial list includes:

  • Blurbs
  • Plot
  • Character
  • Covers
  • Story
  • Marketing
  • Structure
  • Language
  • Exercises
  • and this doesn’t touch on the general stuff you need to know to get your work published

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Ansen Dibell’s “Plot”

First, Whoa!

The book’s entitled Plot and it has immediately useful (to me) techniques and examples on

  • Plot (duh!)
  • Story
  • Structure
  • Setting
  • Description
  • POV
  • Exposition
  • Scenes

and it does it all in 170 pages (which includes a seven page index)!

I’m blessed because I purchased most of my writing texts in the 1970s-early 1990s, long before anybody with a mobile could claim expertise and back when people had to demonstrate their abilities repeatedly to make any kind of claim.

One such demonstration was (duh!) getting a book published on a subject in which you demonstrated expertise. Publishing books cost money and took time. Honest-to-god real editors (line, copy, proof, continuity, …) actually read through a manuscript before sending it on to printing. Publishers weren’t going to put money into a project just because someone said they were an expert, that someone had to demonstrate they were an expert. Often.

And let me add, most people didn’t claim themselves to be a guru, maven, jedi, rock star, queen, genius, leader and last but not least, expert. Other people claimed it for someone once said someone proved their guruness, mavenhood, jediability, et cetera.

And usually it took a lot to prove.

How I long for the time when people’s expertise was actual expertise and not a vacuous claim because, by god, they’re going to get their fifteen minutes if it kills them.

But I digress.

Dibell’s Plot is comparable to sitting in a writing intensive. There are examples throughout, and she picks her examples wisely. Each example demonstrates several techniques but she never throws them at you all at once. She starts by demonstrating how someone is a good story/novel opening then cycles back to show how the exposition reinforces the nascent plot elements then cycles back again to demonstrate how the character reveal points to plot elements yet to come.

As I wrote above, Whoa!

Want more? How about Dibell’s explaining alternative plot structures (beyond traditional western 3-act, conflict oriented plot) back in 1988? (I’ll admit I missed these in my first reading.

Plot is one of several Writer’s Digest books I bought way back when. As a working author, they are revealing in so many ways. Most of these authors are recognizable by work if not by name, and all were full-time authors.

What causes a full-time author to write an how-to-write book? All the Writer’s Digest books I’ve read are wonderful learning tools. These authors definitely know their craft and are able to share it.

But writing an how-to-write book took time away from their writing their stories. I know I loathe anything which takes me away from my crafting (save posts such as these, were I relax my authorial muscles, stretch my imagination tendons, and basically take either a necessary or welcomed break from being creative (being creative is work. Ask any woman who’s gotten pregnant and delivered a child)).

But writing an how-to-write book is another creative process. Was this their relaxation?

Perhaps it was their way of testing their own knowledge? Of encapsulating it? I critique other’s writing and learn as much about my own craft as I do helping them with theirs.

And such musings are largely irrelevant. Plot is an excellent learning tool and strongly recommended.


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Orson Scott Card’s “Characters & Viewpoint”

First and up front, I’ve never enjoyed an Orson Scott Card book. I could never get into them. They didn’t interest me. When a reviewer favorably compared my The Augmented Man to Card’s Ender’s Game, I scratched my head. Grateful, of course, and still confused.

However, Card’s Characters & Viewpoint?

Another story (forgive the pun) entirely.

Although titled “Characters & Viewpoint”, the subtitle is “How to invent, construct, and animate vivid, credible characters and choose the best eyes through which to view the events of your short story or novel.” Tear that subtitle apart and you get (or, at least I got):

  • Character
  • General story building elements
  • Story concept
  • Scenes
  • Story structure
  • POV
  • Narration

I so dog-eared this book my folded pages made it twice as thick as normal.


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Four pieces for a workshop

I’m taking an online writing workshop. For several reasons.

First and foremost, I know I can improve.

Second and notquitemost, I enjoy learning.

One assignment had four parts, shared here (to give folks a break from The Goatmen of Aguirra):

Write a Character Description where the Character isn’t happy with their appearance
Mary said yes.
Yes!
I can’t believe she said yes.
To me!
Why me? My god, does skype show all those wrinkles? Or the gray? How come I didn’t trim my beard today?
And I smiled a lot. I should have spent that extra $100 for the whitener the dentist suggested.
But she said yes!
My eyes are bloodshot. I can’t believe my eyes are bloodshot.
At least she couldn’t smell my breath over Skype.
Or can she?
Maybe that’s why she was smiling so much. Her pretty, whimsical smile. All teeth and curls.
She wasn’t smiling at saying yes, she was smiling because she could smell my breath, knew I just woke up, hadn’t even had a coffee yet, hadn’t brushed my teeth, combed my hair…
Why did I take that fucking call?

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Describe something from nature
Cool, night air.
The musk of woods swirling about our feet like hungry raccoons pecking at our toes.
Bright, Autumn moonlight leading Orion through the sky, away from dawn.
Wolves howl, owls hoot, loons call.
The gentle touch of my lover’s hand in mine.

Describe someone’s perception of nature
What’s wrong here?
The trees are at their posts, the rivers course on their ways, the clouds dance correctly overhead.
What’s wrong here?
The bees buzz on their flowers, the ants carry leaves to their nests, the spiders sit lazily in their webs.
What’s wrong here?
The snakes slither after toads, the toads snatch hatchlings on the wet, wet bottoms, the salamanders spread their toes like firewalkers on parade.
What’s wong here?

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Show People Realizing they’re not where they should be
I catch my wife’s eye and nod towards the end of the vegetable aisle.
“What’s he doing?”
“I’m not sure, but the two people with him don’t look happy.”
“She’s trying to calm him.”
“That boy’s getting ready to scream.”
“Should we alert the manager? Does this store have security?”
“A place with food this expensive in this neighborhood would have disguised Pinkertons walking the aisles. They’ll act if they have to.”
“Bullshit. Look at the clothes they’re wearing. They’ve got money. Nobody’s going to throw them out.”
“How come everyone’s ignoring them?”
“How come we’re not going up to him, asking him if there’s a problem, asking him if he needs help?”
“Because he’s a fucking lunatic, the way he’s behaving. You want to get near that?”
“I don’t want that boy – “
“Oh, my god! He whacked that boy!”

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