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Back to School = Back to Work…sort of

It’s back to school week here. Routines are filling the calendar. Our alarms are set way earlier. I can feel myself easing back into “real life.”

To put a cherry on top, the weather this week is what we like to call around these parts ‘false fall.’ Just under 80, dry, cool mornings. Right now, I’m writing this with the windows open and a sweatshirt on. Perfection!

(Don’t worry, in a few days we’ll be back to sweltering 🥵)

If you’re anything like me, back to school time feels a lot like New Year’s.

It’s the start of new things. The weather feels energizing. My life schedule is busy-busy in the fall, which means I’m more locked in for my work hours since there is less flexibility in passing a task to the evening or the next day. I also have several events coming up this fall that I’m excited about.

This summer was filled with emotional angst getting a kid ready to launch into his college journey. I had some agent drama this summer (more on that soon). Both really sucked the air out of my creativity.

But now, with the older kid settled and adjusting to college life, the younger kid back to school, and the drama settled, I feel motivated to get back to my creative work.

And yet, I find myself still avoiding it.

I had coffee with a writer friend this week and she shared similar feelings. We were both eager to get back to our creative work, both having had to put it aside this summer for a variety of reasons, and yet were both looking at each other hoping the other had the answer as to how to start (or at least I was hoping she’d tell me how to start).

So, how do we start after a fallow period? How do we return to the work? How can we invite the muse to stay after locking them out for so long?

⏰⏰⏰⏰⏰⏰⏰⏰

Oh, you thought I was going to answer those questions? I was hoping you were going to answer them for me.

Worth a shot.

Okay. Well, let me share with you what I am doing this week:

Trying to give myself grace. Writing, at least for me, isn’t like flipping a switch. It’s more of a slow burn and I need to build the proper kindling and fan the flames before it takes off. Expecting to sit at the page this week and instantly be inspired or find the solution to all my story problems for the idea that’s been hidden under the leaves all summer is only setting myself up for failure. Instead, I’m embracing that I have time to figure this out. It doesn’t all have to be written today.
Planning. I’m doing a lot of thinking and journaling about what works for me and my writing process and what doesn’t. I’m thinking about block scheduling, timing, and what I need to feel set up for success.
Dipping my toe back in the water of this story idea. I’m returning to some notes I made this summer and carving out a little time for brainstorming. Basically, I’m reintroducing myself to the idea and not pressuring myself to “write” yet, but rather just get the gears moving again.
Reading/Resting/Exercising/Phone Limits. When I’m feeling good, these things are all in good balance. This summer has been more of a survive and advance situation and some of my feel good routines flew out the window. I need to return to the things that I know make me feel the best and feed my creative brain.
Making plans with writer friends. This past week, I spent a lot of time with some writer friends celebrating the launch of a friend’s book. It filled me with such joy to spend time with these people. Connecting over creative pursuits and sharing our struggles and wins has been such a lovely and nourishing part of my writing life. I’m prioritizing surrounding myself with creative people right now to bring that part of myself to the forefront.

Next week, I will probably start inviting some actual writing exercises, prompts, and story specific work to my creative reentry. But this week, I’m sticking to mentally preparing.

And that feels right for me.

The key is finding what feels right for you.

I believe that the muse is always around, always ready. It’s us, the writers, who are often not ready to hear what she has to offer.

This week, I’m getting myself ready so I’ll be receptive when she starts whispering again.

I’m doing the equivalent of cleaning house for a guest and hoping she’ll feel welcome when she arrives.

In the meantime, just the idea of getting back to the page is filling me with hope and excitement. Something I haven’t felt all summer about my creative writing, so I’m taking that little nudge of a feeling as a big win.

What is your big or small back to school creative win?

Share in the comments!

The book launch I mentioned above was for Sharon Kurtzman’s The Lost Baker of Vienna*. Photos above after her Quail Ridge Books launch (left) and a group of writer friends after her author talk at McIntyre’s Books in Pittsboro (right).

Sharon’s writing journey is one for the ages that all led to her debut historical fiction novel based on the events of her grandmother, mother, and aunt’s journey to America after surviving the Holocaust.

*this is an affiliate link so if you purchase the book, I do receive a small commission. But feel free to buy this book at your local independent bookstore.

Feeling Stuck in Your Writing?

Have you ever felt stuck in your writing?

Whether it’s a specific point in your work in progress, or your entire writing process, we often get stuck.

I’ve been stuck all summer.

There are lots of reasons for it, but stuck is where I am and it is beyond frustrating. So, I get it.

In fact, that yucky stuck feeling is one of the main reasons I became a book coach: to help writers through their version of stuck.

Stuck can feel like writer’s block.

You are sitting at the page with time to focus on your writing but the words won’t come. You have no ideas. You don’t know what comes next. Inspiration feels far away. This can lead to feelings of frustration, doubt, and even anger since this is likely the moment you look at other writers you know or follow online who are seemingly cranking out content at a brisk pace and may fear your muse has jumped the fence to greener pastures.

Stuck can feel like stale writing.

Something isn’t working in your manuscript but you aren’t sure what or exactly where. The scene or the writing feels forced. You are cramming a scene/character/subplot into place to make something else work, but it’s not solving the problem and, chances are, isn’t fun to write either.

Stuck can feel like procrastination.

You’d rather straighten your desk or reorganize your closets than sit down at the page. The call to a social media dopamine hit can be irresistible in those moments and you find yourself frittering away the hours on Instagram instead of working on your manuscript. Or you fall prey to the productive procrastination trap of research. What started as a simple Google search to answer a question has led you down a rabbit hole of information that you simply MUST know more about before you feel you can continue writing.

Stuck can feel like frustration that you’ve taken this story as far as you can.

This one can be the most disempowering. You’re getting form letter rejections and you start begging the universe to simply tell you how to fix the story because you know you’re capable, you just aren’t sure what to do anymore to make it stronger and if someone would just TELL YOU ALREADY, then you’d be a best seller.

Stuck can feel like giving up.

On your current story. On writing. On your creative dreams.

The good news is that you don’t have to give up!

If writing and telling this story is truly what you want to do, all of these versions of stuck have a solution. However, it may not be easy. There is no quick fix out of stuck.

Freeing yourself might require learning craft, taking a hard look at a darling that isn’t serving your story, or even tearing apart a polished manuscript and fixing a major structural problem in revision.

It might be a lot of things, but it will definitely be work.

Work you can do.

I know because I have been there. Stuck. Wishing for an easy road. Only making progress when I commit to doing the work.

But, writing is in my blood and so I do the work anyway. Or try to. I look for new avenues when too many roads are blocked. I read. I try an Artist Date.

I know writing is in your blood, too, or you wouldn’t be here. You wouldn’t still be looking for answers.

Take heart in your frustration and angst. It means you still care. Probably a lot.

That passion is what will carry you through.

So, Monica, I hear you asking, I’m ready to do the work–tell me what to do, already!

Understanding YOUR version of stuck.

I want you to pull out a journal and do some exploring. Answer these questions:

Are you stuck in your writing? Where? Is it in a specific scene or chapter? Or is it a larger problem with your process or routine?
When else have you felt stuck in your writing life?
What does stuck feel like or look like for you?
What things have worked in the past to help free you from the bind?
When does writing feel good to you? Recount a writing session that felt particularly good – where did it take place? What were the circumstances? What project were you working on? What kind of scene was it (dialogue, setting, inciting incident, creating a twist, etc…)?
What things have you tried to get unstuck that haven’t worked?
What things have you always wanted to try or been curious about but haven’t tried yet for whatever reason?

I did this exercise myself when I was feeling stuck nearing the end of a draft.

I found myself slowing down as I neared the end. Not because I had run out of ideas or wasn’t looking forward to writing the next scene or that I didn’t know what came next. No, I resisted the work because the closer I got to the end (and not just the end but “The End”), the closer I was to sending it to my critique partner.

In other words, I was getting closer to outside eyes.

And no matter how kind and supportive I knew those eyes were going to be, they were still no longer mine. In order to protect myself, my inner critic attempted to find new problems to solve before I was done solving old ones. It built a protective wall around my sensitive little creative heart in advance, when I still needed it to be open and vulnerable to what was happening on the page.

It’s important that I know and recognize this pattern so when I feel the laundry becoming more important than my writing time when I’m nearing the end of a draft, I can remind myself this is to be expected as part of my process. I can politely ask my inner critic to take a back seat for a little longer while I finish playing on the page.

Take some time and figure out what stuck looks and feels like for you.

Use what you have learned to make changes—replicate the environment that works best for you, acknowledge when stuck is happening in the same places it always does, find the tools you need (a break, a change in location, an Artist Date, outside help) to get unstuck.

You can go back to this exercise every time you feel stuck. I know I do.

The act of sitting with my stuck can often reveal what the underlying problem is allowing me to make informed decisions about the scene or my process.

It’s a lot more effective than continuing to throw darts at the board blindfolded and wondering why I’m still missing the mark.

Give it a try. See what you uncover. It may be different for different manuscripts or phases of work/life. Or it could be a recurring pattern.

Let me know what you find out!

Tell me, where do you usually feel stuck?

Need help getting unstuck?

I’m here to help when you’re ready.

CONTACT ME HERE

Getting Emotion on the Page: Using music as emotional muse

Getting emotion on the page can be one of the hardest parts of our writing craft.

It is one of my most common comments when giving feedback to writers and something I find myself going back to layer in as well during my own revisions.

Why is it so hard to access this emotion in our words when, as writers, we often feel things so deeply?

I think we get in our heads about it.

We are so often told to “show don’t tell” in our writing, which can tend to lead to relying on lots of somatic cues and body language that doesn’t actually invite our readers into our protagonist’s mind and heart. This type of writing, while needed and necessary, when used as the ONLY indicator of emotion, keeps the reader on the surface level forced to interpret those cues ourselves.

And let’s face it, we all experience physical sensations or interpret body language differently.

An eye roll could mean anything from indifference to barely contained anger to disgust. Will the reader know from your scene which applies?

An internal tremor might rightfully indicate fear or anxiety for the reader, but if the reader is unsure WHY the protagonist is afraid (especially if the protagonist is simply boarding a train and, say, not running away from giant spider monsters), it doesn’t resonate as fully.

Really landing emotion on the page heightens a reader’s bond with the protagonist, invests the reader in the story, moves the reader, and elevates the scene (and story) meaning.

LOOK TO YOUR PLAYLIST

I have been thinking about how I can help the writers I work with (and myself, to be honest) to practice getting emotion on the page. I realized one of the easiest ways for me to access emotion is through music.

A song can make me feel:

Energized – Girl on Fire by Alicia Keys
Joyful – Sir Duke by Stevie Wonder (I dare you not to feel joy listening to this one)
Heartbroken – I Will Always Love You by Dolly Parton (and Whitney’s version, too, of course)
Love – Adore by Prince
Mama Love – Lullaby by the Chicks
Nostalgic – Closing Time by Semisonic (hello, senior year of college)
Grief – [REDACTED] (aka the song from the father/daughter dance at my wedding)
Silly – MmBop by Hanson
Empowered – Armor by Sara Bareilles; Shake it Out by Florence + the Machine

And so much more…

Shoot, The Highwomen album is a roller coaster of emotion for me and Bon Iver makes me feel deeply which astonishes me since half the time the lyrics make no sense to me.

Music moves us in three minutes. A task that feels a lot harder than the 300+ pages we as novelists have to play with.

So how do musicians do it?

LET’S PLAY

The more I looked at my sample list of songs above, the more curious I became.

The lyrics to MmBop are actually quite existential for the teenagers who were singing it at the time. They played this silly, upbeat music underneath those lyrics, almost making it a weird commentary on how we ignore these realities under a sunny disposition (or maybe I’m reading too much into it!).

This led me to study how these songs are creating these feelings in me as a listener.

You can do the same. Make a list of songs that make you feel things and label the emotion each song elicits. These could be your go to workout songs that keep you pumped up or the soothing tunes you pick for a relaxing bath or your go tos when you just need a good cry.

Now, listen to these songs and ask yourself:

Are there metaphors, lyrics, specific words that jump out?
Is it the music itself? Can you describe what about the sound is touching your emotional heartspace?
What’s the atmosphere of the song? Can you deduce a setting from the song? What does that setting evoke in the music?
How does the song build or ebb and flow to create emotion? What role do dynamics play?
What about the drum beat? How does it drive the song?

Each of these things can teach you something about how the song uses story, setting, pacing, and imagery to show you emotion.

Back to MmBop.

If we simply read the lyrics, it would be a different experience than hearing it complete with the layers the band added to the song. Relying on only somatic cues or body language to show emotion is the equivalent of only reading the lyrics or only hearing the drum beat or only hearing the back-up vocals. The song whole changes as a result of layering notes, percussion, and harmony to the lyrics.

How can you similarly layer pacing, atmosphere, tension, and meaning to your words to create the emotional result in the reader you desire?

BE INSPIRED

Listen to a specific song that elicits an emotion in you.

Write a scene based on the song. Add characters or dialogue or a backstory. See if you can capture that emotion from the song in your scene.

Don’t forget to think about the music layers: the imagery, the dynamics, the drum beat.

What can you learn from this exercise that you can use in your next draft or revision?

I have been playing with this exercise and hope you will, too!

Tell me in the comments what are your emotional go-to songs?

What Monica needs right now…

I received a marketing email with that subject line.

While the service described inside that email was not bad, it was definitely NOT what I need right now.

What do I need?

A lot of hugs. Getting a kid ready to move to college is a lot.

A reminder not to tuck my legs under me when I’m reading/watching TV/working/sleeping. My back pain is related to an SI joint issue and I need to stop bad hip habits to heal.

A chauffeur. Now that the oldest has graduated, I’m back on carpool duty for the younger one’s band activities. I love the time in the car with him, but not the inevitable interruption to my daily writing dates. If only the band director scheduled practices around my schedule!

To win the lottery. See getting ready to move a kid to college above.

A cold front. It’s the South and it’s summer, but seriously? The humidity has been out of control and we’re now in a heat dome? I prefer not to sip my air in the mornings, thank you very much.

To jump start my muse. Creativity is what I’m craving, but creativity is the first to go when I’m stressed. Working through some new habits and tactics to keep creativity at the forefront.

A massage. See back pain above.

A personal chef. Why is deciding what’s for lunch so hard? And why is my fridge full of food but I never have anything for lunch?

To ask for help when I need it. I’m a helper, not so great at being a helpee. I’m practicing.

It’s not a comprehensive list, but a decent sampling of what I need right now. And I know that a service from a blind marketing campaign is not going to help.

And it probably won’t help you, either.

Because you have life happening around your creative work, too.

As much as I want to help you with your manuscripts, a one-size-fits-all approach isn’t going to cut it.

What might?

Having someone who…

Actively listens
Personalizes exercises and resources for your specific needs
Offers not only feedback but next steps designed for YOUR work
Guides instead of dictates
Teaches instead of preaches

Or maybe you will need something else entirely.

That’s why I offer complimentary discovery calls with writers thinking of working with a coach.

SCHEDULE YOUR CALL

I want to hear what you are writing and what you are struggling with. Every writer is different. Every project is unique. Sure, we often have the same stumbles over show don’t tell, but the way in which you have a breakthrough about it in your own work is different from any other writer.

So, dear unique writer, I don’t know what you need right now.

I can’t pretend to.

But I am willing to listen. To hear you talk about your writing and see if we can’t figure out together what your actual needs are.

Whenever you are ready.

For now, I think what I really need is chocolate.

Too bad that wasn’t in my email.

What do you need right now in your writing? Share in the comments.

The Beauty of Beta Readers: When and How to Use Them

This week I posted a note on my Substack about when NOT to use beta readers. And I’ve had lots of conversations about it since. I’m glad that it was helpful.

But I want to make sure writers aren’t scared off of beta readers. Beta readers have an important role in the writing and revision process.

When SHOULD you use betas?

You should consider using a beta reader on a relatively polished draft.

An alpha reader would be more of a critique partner or other first reader who might help you through a rough draft. Someone who can help you navigate the big picture structure and help you achieve your story goals. When you employ an alpha reader is also when you would consider using a book coach or developmental editor.

Betas are more helpful later in the process when you want to ensure your character is behaving the way you want, that you didn’t inadvertently edit something out leaving a giant plot hole, and the overall readability of the book. Basically, you’ve edited the manuscript within an inch of its life and to the best of your ability and now is the time to make sure it all works together – the pacing, the setting, the plot, the characters, etc…

Consider a beta reader when…

You think you might be query ready
You completed a big revision and want to make sure the story is still working
You think it’s darn near perfect but there is something nagging you that you want to get an outsider’s perspective on

Who are beta readers?

Really, anyone COULD be a beta reader, but not everyone SHOULD be.

When you write a novel, you will have all manner of friends, relatives, or book club members, offering to read your work. Before you jump at all the offers, consider the type of feedback you want and whether that person will be able to give it to you.

For instance, my mom is an avid reader and conceivably in my target market, however, she’s also my mom. Everything I do is wonderful in her mom eyes. She would not be the person I go to for constructive criticism.

On the other hand, I have an aunt who was an English teacher and studied literature extensively. We also share similar literary tastes. She is great at giving feedback because 1) she knows how to deliver it kindly having graded a ton of papers in her time and 2) understands story structure in a behind-the-scenes way that my mom might not consciously be aware of. She’s also not afraid to tell me what’s not working.

Be discerning about who you choose to read your work.

Writers you’ve met through writing groups or in writing organization are great candidates. Consider writers you’ve met at conferences or even online as beta readers. Checking in with your local librarian is also an option. They may have recommendations or even a colleague who is well versed in your genre to suggest. There are even services that offer professional beta reading services which can be great options if you have the financial ability to hire them. These services can be particularly helpful if you’re looking for a specific kind of reader. Say you want women readers over 40 with experience in healthcare, or parents of adopted children, or men who have served in the military, you may be able to request that using a paid service.

Make the most of your beta read

To make the most of your beta read, ask your readers specific questions about areas of concern in your manuscript (you know what they are!). Ideally, you’ve already done some significant revision on this story so you probably have some specific things you want to make sure are working.

Give your beta reader a list of a few questions you would like to know the answers to. Some sample questions to ask your beta readers include:

When did you put the book down?
Is character X believable?
Are the stakes clear?
When did you feel the story lagging?
Was the climax inevitable?
Does the story fulfill the promise of its premise?
Were there places you were confused in the story?

How many beta readers do I need?

Two beta readers is good, but three is better so you can break any ties. Once you receive your beta reader feedback, look for patterns. Take a good look at any place more than one reader points out an issue or possible problem.

Avoid asking for too much feedback. Too many voices will cloud your revision.

Above all else, be open to feedback. Read all the comments, put them away, then return a few days later. Once you have a chance to digest the feedback and analyze the possible root causes, use their responses to make your story, and ultimately your craft, stronger.

Don’t try to please everyone by incorporating everyone’s feedback. Be steadfast in your story goals and use the feedback that helps make your story stronger.

Of course we all want readers to tell us our manuscripts are perfect, ready to pitch or send to our agents, but use beta readers as an opportunity for a fair read by your ideal reader. If it’s not really ready, it’s better to know before we hit send on that dream agent query. We want to send our best work into the world, and beta readers can help us do that.

Want more in-depth feedback on your manuscript while you’re revising? My Manuscript Evaluation spots are open for the Fall!

Contact me HERE for more information on saving a space for your Manuscript Evaluation and you’ll receive an in-depth editorial letter, in-document feedback, a one-hour call to discuss and brainstorm, plus specific next steps so you can revise with confidence moving forward.

Look at what one of my clients said after her manuscript evaluation:

I am very excited to dig back into revisions with the feedback I’ve been given. The feedback goes beyond this story. The questions that were raised and the options for how to address those issues got me thinking in a new way. I’m learning how to do this crazy thing as I go through the feedback and I love that.

Pam Huber-Huack, writer

What’s Your Point?

The first two questions I ask when I start to work with a writer on their story are:

Why are you writing this story?
What is your story point?

There is something that brings us to the page. Some impulse, a nugget, a question. We want to share or educate or entertain or prove to that high school english teacher who told us we weren’t much of a writer that they were wrong.

That’s our why.

We also have something to say when we start writing. Something about love or grief of environmental science. That ultimate message of our story, that’s our story point.

We need to know these things because all the words we write will tie in to these two concepts – our why and our point. If they don’t, then our story won’t resonate with readers or worse, will fall apart before it even gets to the end.

Recently, I’ve started coaching high school seniors on their college application essays.

Adding this offer has been super easy because guess what you need to know for a college essay?

Why do you want to go to this college?
What is your personal story point?

College application essays, like novels, are telling a story. The only difference is that this one is inherently more personal (although a whole lot of novel writing is personal, too, we just have the benefit of hiding behind the fiction designation, but that’s a post for another day).

A college application tells a story–the transcript, activity list, references, and essay work together to paint a picture for the reader. just like a novelist’s characters, plot, setting, and structure come together to tell a story.

It can be really easy for college applicants to write about what I call “the thing”—the volunteer organization, the setback, the mentor—rather than about their place in relation to the thing. Just like it can be easy for novel writers to get stuck in the plot.

Reminding student writers that this is their story helps keep them on track to highlight their thoughts, ideas, experiences, and growth in a way that engages an admissions reader. Just like focusing on story points and whys help novel writers tell a larger story with meaning beyond just X and Y happening.

So whether you are a novel writer or a student applying to college this fall, when we work together, we are going to dive deep into your why and your point to make sure your stories are unique, compelling, and un-put-down-able.

Need novel writing/revision support or know someone who could use some college essay support?

COLLEGE ESSAY SUPPORT

NOVEL SUPPORT

Brave enough to share your why and story point in the comments?! I’d love to see them!

3 Tips to Determine if Your Protagonist Has Agency

Tell me if you’ve ever been given this writing advice:

Act 1: Get your character in a tree.

Act 2: Throw rocks at them.

Act 3: Get them out of the tree.

Can I tell you a secret?

I hate this advice.

Not because it’s inherently wrong. In theory, it makes sense – you want your character to have a problem in the beginning, run into obstacles in the middle, then solve their problem.

BUT, if you just follow the advice to throw rocks at your character (things happening TO your character) you miss out on one of the most important story needs: Character Agency.

Character Agency

If you’re a relatively new writer, the lack of character agency might be something you’ve seen in your feedback from critique partners or agents you’ve queried. I know I did the first go round.

And, if you’re like me, you may be shaking your head thinking WHAT?! My character is walking around and living in this story. Of course they have agency.

Not so fast.

Let’s take a look at whether that’s true or not.

Is your character making choices in the story?

Are they taking action?

Do these choices and actions have CONSEQUENCES?

Are these consequences leading to new choices and actions?

Are things continually happening TO your characters that they react to?

Reacting to things happens in a novel, of course, but if things just keep getting worse (or better) for your character from some outside force, the story will start to fall flat. Readers want to see our characters doing things, even (or especially) the wrong things. They have a story goal and should be fighting for it. Are they?

TIP 1: Story Trajectory

One of the easiest ways to check and see if your character has agency is to check your story trajectory. I’ve written before about the three magic words BECAUSE OF THAT. Check your scenes and see if they are linked by BECAUSE OF THAT (consequence) or BUT (obstacle). If the answer is yes, chances are your character has agency.

If your scenes are linked by AND THEN, however, chances are things are happening to your characters, not because of them.

You want your characters making decisions, choosing a path, making a commitment, jumping to conclusions, opening door number three, etc…, then enduring the consequences of those choices and having to pivot to the next choice, decision, etc.

Let’s go back to the tree example.

Sure, get your protagonist stuck up in a tree.

Throw a rock or two. But then what do they do?

Do they try to climb higher? Do they go out on a farther limb? Do they inadvertently disturb a squirrel’s nest? Do they attempt to jump to another tree? Do they try to catch the rocks? Do they start throwing pinecones back at their assailant?

All of those things will lead to consequences and subsequent actions/decisions that are much more interesting than a story about a character continually being pummeled by rocks.

TIP 2: Stalled Plot

Another sure fire way to find where your character may have lost their agency is any place where you feel your plot is stagnating.

Agency doesn’t mean your characters need to be living out the plot of an action movie in each scene, but they do need to be making some small adjustments, decision, judgement, that furthers the plot.

If you feel like you aren’t sure what’s going on in your murky middle and the plot has stalled, it might be that your character isn’t doing anything. Go back a little bit in your manuscript and see if you can spot where your protagonist might have fallen asleep on the job. See if it’s time they throw some rocks back.

TIP 3: Go back to the start

Your character started with a want, need, and some manner of motivation or stakes that initiated their story journey. Remind yourself what those goals and motivators are.

Now, check your scenes. Each scene should be moving your character toward or further away from their want, teaching them a lesson related to their need, or forcing them to adjust their larger goal. Each scene also has its own goal, need, and stakes.

If that’s not happening, your character may not have enough agency.

Take another look at your character and what makes them tick. Now, brainstorm how they’d react to the rocks coming their way. Then, make sure your scenes are full of their unique processing of this information and individual problem solving.

FINAL THOUGHT

Feel free to throw rocks at your characters, just make sure that they are given the time and space on the page to react to them and make their own mess trying to deal with their predicament.

Remember: problem → decision/action → consequence/obstacle → new decision/action → and so on.

Character agency is one of the first things I look for when analyzing a client’s revision project. When you embark on a revision, make sure this is at the top of the list for potential problems to address.

Want help analyzing your manuscript for character agency? I can help with that.

LEARN MORE

Haircuts and Revision

I got my hair cut this week.

I have extremely thick hair. It’s a blessing and a curse. Every time, my stylist thins it out and every time I come back there is more and more there.

My stylist, luckily, is prepared for me when I show up once a quarter for my maintenance cut and color.

First, she gives my hair a quick dry cut to get it to the length we want. Then she adds the color—a painstaking process with all these locks. After a wash (and a lovely conditioning head massage) she goes in and perfects the cut. Time for a blow dry and then she thins it out (did I mention I have ridiculously thick hair). Finally, she gives me a bit of a curl and style so I leave feeling absolutely fabulous.

My haircuts are a lot like the process for revising a novel.

Preparation and the right steps in the right order lead to the best polish, whether it’s my tresses or your manuscript.

✂️ First, you have to tackle the structure. Shape up that manuscript. Get the bones of it right like my stylist gives my hair its first pass at shaping.

✂️ Then you can add the layering – the color, so to speak. Give your manuscript movement and life with a pass for emotional heart and intriguing characterizations.

✂️ Next, trim up any loose ends. Fix those pesky little issues you found on your read through. Make sure it all matches up and is even.

✂️ Thin out your filter words. You know they are there. Time to be merciless with your own scissors and tighten up the writing.

✂️ Finally, you get to polish. That’s when the stylist does the final flourish—maybe a curl, some scented hair oil, a little hairspray. Don’t curl before you cut. Wait to give those sentences their pretty finish after you’ve done the rest of your structural and layering edits.

This is how I walk all my writers through revision. Big stuff to small stuff. You can’t curl your hair before you color it or blow dry while you cut it. There is an order to revising that makes the process more efficient and your work more effective.

Want to dig deeper? I have a quick mini-course on how to approach and organize your revision with a tool I call the Revision Road Map.

This mini-course will walk you through:

▶️ How to approach a revision

▶️ Provide tips on self-analyzing your own work

▶️ Help you create a plan to execute your revisions.

I would never cut my own hair, you don’t have to revise alone either. I invite you to check out the Revision Road Map to help you through the process.

REVISION ROAD MAP

Want to dig deeper with a personal guide through your revision? I also offer one-on-one revision coaching. You can learn more here.

Here’s Where the Story Ends

Writers spend a lot of time determining where their stories start–and rightfully so. But it’s also important to know where and when your story ends.

Especially when you’re drafting and feel like the ending is getting farther and farther away.

So…

How do you know when your story ends?

Let’s take a look at Cinderella.

She marries the prince and they “lived happily ever after.”

Marrying Prince Charming ended the story of Cinderella’s orphaned and indentured servitude to an evil stepmother and her horrible daughters. It’s a satisfying end to that part of her story.

But before that, she had a story with her father after her mother’s death that ended when he married that detestable woman. And she had another story of her childhood that ended the moment her mother died.

Marrying Prince Charming was the end of a story for Cinderella, but also the beginning of another. Did they have children? Did she organize protests in support of other indentured servants in the kingdom? Did she become a veterinarian caring for all the animals at the palace? Did she press charges against her stepmother to ensure she never treated another girl the way she treated Cinderella? Did she write a tell-all after a royal scandal? I mean, the possibilities are endless and happily ever after doesn’t begin to cover it.

Look at your own story this way. There should be a pivotal moment that has resulted in a fundamental and inevitable change in your character that answers the original story questions. The key is whether this ending could also be the kicking off point of another story or journey for your character (I’m not necessarily talking about a sequel here, but more in general).

Of course, there are several additional issues that writers can encounter when they come to the end of a draft:

Not knowing how to end the story. You just keep writing and writing and piling up word count hoping a miracle wrapped in a bow will appear.
Not knowing where/how to begin the revision process
Being stuck in a revision loop of feedback, revise, feedback, revise…
Not knowing when a book is “good enough”

If you aren’t sure how to end your draft…

Go back to the beginning.

Look at your character’s motivation and stakes, consider the point you were trying to make when you set out to write, and make a plan now. It’s never too late for planning. Knowing your character’s arc of change will keep you on track and show you exactly how a story should end. There is an inevitability to your character’s story based on their actions–pay attention to it and you’ll naturally find your way to the end.

If you aren’t sure where to begin the revision process…

Revise with intent.

Read your draft with a critical eye and prioritize big picture fixes first (structure, character arc, character motivation, stakes, etc). Pick one big issue to fix at a time and go through your manuscript for those elements methodically. SAVE THE LINE EDITS FOR LAST!

If you find yourself stuck in a feedback/revise loop…

Learn to rely on your writer’s gut.

Feedback is important at a variety of places in the writing process but, at some point, you may become dependent on it. If you constantly send out your manuscript to critique partners or beta readers or your third grade teacher who encouraged you to write and then trying to make changes to appease all of their feedback, then you send that version out again for additional feedback, you may be in a revision loop.

When you seek out feedback, then analyze it with YOUR critical writer eye. Does the feedback serve the story you are trying to tell? Does it make YOUR story better? Does it point out a problem but you don’t like the suggested fix? Trust your writer’s instinct. If you’re listening, it will tell you when it’s time to stop seeking feedback and take the plunge to query or submit your work.

If you don’t know when your story is “good enough” to take to the next step…

Remember to not let perfect be the enemy of good enough.

Especially if you’re a debut author. Previously unpublished writers do have a higher bar to clear in terms of their writing as they seek an agent BUT that doesn’t mean your book has to be perfect. In fact, it won’t be. When you sign an agent, they may have changes for you to make. Once it’s sold to an editor, they will definitely have changes for you to make. Yes, polish your book to a high shine but understand it will still need buffing later if not another wash cycle. In other words, there is no real end to the process, so find where your story is the best you can make it right now and know there will be others coming along to help make it even better later.

Finally, I’d be remiss if I didn’t mention that sometimes we get stuck at the end because our fear starts to hold us back.

The end means we are closer to sharing our work with the wider world and that can be scary for a lot of different reasons. Our internal systems will want to protect us from the saber tooth tiger of criticism. If writing is an act of vulnerability, and I believe that it is, sharing that writing is even more so.

Remind yourself to be brave.

You are a writer.

And eventually, a writer will be read.

And the best part?

Once you’ve reached the end, you get to start a new story!

May your happily ever after be just the beginning.

Need assistance with your revision? Revision is my happy place. I love helping writers see their stories with fresh eyes, dig into the emotion of their story, and create a revision plan that empowers writers to tell the story they set out to create.

Find out how I can help your revision through one-on-one coaching or with my self-paced Revision Road Map mini-course.

LEARN MORE

Summer Writing Routines

Writing in the summer can be easier for some (day job in a slow period, vacation time, longer days) and harder for others (kids at home, summer travel, different routines).

My kids are both teenagers now and perfectly capable of taking care of themselves. In fact, they have their own schedules and activities and come and go without me having to worry about transportation (alleluia!).

And yet, just having two extra bodies in the house is a distraction.

Even the luxury of adjusting the alarm by half an hour has upended my morning routine a bit.Subscribed

If you’re like me and finding that the lazy days of summer are negatively impacting your writing time, here are a few suggestions:

Sometimes a break is a good thing. Enjoy your summer, your travels, the farmer’s market, the fireworks. Take it all in. Soak up the sun and the creative input. Maybe jot down some observations. Fill your well.
Take a good, hard look at your day. Where can you fit in some quiet writing time before the onslaught of camp drop offs or snack demands? While my kids fend for themselves these days, the later alarm clock has been a detriment to my own writing time. I’m considering getting back up at the normal time to ensure I have time for exercise, meditation, and writing before the noise of the day begins in the rest of the house. For you, it might be that you find quiet time on your screened-in porch in the evenings while the crickets sing and the fireflies dance.
Know thyself. For me, I can much more easily focus on client work when the kids are in and out and up and down the stairs than my creative work. Why? I don’t know. I think my monkey brain is looking for a reason to put down the pen and is more easily distracted when it’s my own work. Recognize your own patterns. Can you write on vacation or is your mind pulled toward activities? Can you write at the pool during swim team practice (edited a whole novel this way) or do you prefer to chat with the other parents? Accept what works for you and set yourself up for success.
Schedule it! If your daily routine is unsustainable during the summer, pick a morning, evening, weekend time that will work and commit to a weekly writing time. It can be a regular time or peppered in throughout the summer. Either way, get it on the calendar and stick to it. Perhaps you can pick a coffee shop to write in for that day or grab a writing friend and meet over Zoom to write at the same time.
Learn something. When I find time to be scarce or attention scattered, I often will turn to learning about writing. Grab some craft books and a highlighter. Maybe sign up for a webinar or take a mini-course. Anything that strengthens your craft will move your writing forward even if you don’t have the bandwidth to do the actual writing this summer.
Play with outlines/character development. If you’re starting a new project, use this time to do all the fun play writing exploring character and plot. You can dip in and out of these tasks and let your imagination run wild. This planning work will actually help when the more regimented days of fall arrive and you’ll be ready to get down to business.
Set a goal. These should be simple, achievable goals. Make it measurable and achievable and feel good about what you were able to accomplish this summer. Things like:
- Keep a hand in the story by re-reading what you have so far or writing five minutes a day
- Revise the opening chapter
- Write XX number of new words (but don’t overshoot here)
- Read two craft books

Tell me – is summer your creative oasis or wasteland? What do you do to keep the momentum going in your writing?

Need some accountability this summer?

Now may be the perfect time to work with a coach. I offer free consultation calls to discuss your writing challenges to see if coaching would be a good fit for you.

SCHEDULE A CALL HERE

What I’m Reading:

I just finished Mr. Penumbra’s 24 Hour Bookstore by Robin Sloan and really enjoyed it. If you love bookstores, mysterious cults, Google-culture, and quirky characters, I would recommend this one.