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Bringing an old manuscript back to life, and to print.

Please welcome guest blogger, Pete Abela, author of WINGS, as he talks about unfinished drafts, the gift of time, and the importance of quality feedback.

The publication of Wings has been an exciting and proud event for me. I’d nearly go so far as to say it rates in the top handful of achievements in my life so far.  However, Wings almost didn’t get published. It spent close to a year in my drawer as a half-written manuscript: unloved, ignored and forgotten. Today I’ll talk about how it got to that point and the sequence of events that enabled me to turn an incomplete and fault-ridden document into a published novel.

Although Wings is a work of fiction, it is heavily based on the story of two men I admire: my grandfather who was a WWII fighter pilot and my brother who is now a commercial pilot. I thought they had both led amazing lives and so I started writing Wings using the bones of their stories as the basis for the plot. I did not plan the entire book. Wings is the first novel I have attempted so I did not know how to go about it. I simply sat down and started writing.

I continued this process for many months, writing almost every day. I enjoyed the process of writing and seeing the story come to life. I enjoyed it, that is, until I came to a grinding halt. I woke up one day fed up and discouraged. I resented the process of writing and the time it consumed, particularly given I was unsure whether what I had written was any good. I wondered if I was wasting my time. Worst of all, I had no idea of the ending and did not know what to write next.

I decided to take a short break from writing. During my break, I read a book about stock market investing using the Value Investment approach. It got me hooked and I began spending significant amounts of time researching stocks and tracking my shares. Whatever time had been spent writing was taken up with my new interest. Wings faded from my consciousness and was soon forgotten.

It was almost a year later that I chanced upon Wings as I hunted for an elusive file on my PC. Out of curiosity,  I opened it and began reading. I was surprised at the quality of the writing and read the entire manuscript in a day. Wings was much better than I remembered and I was immediately struck by its potential. Even better, an ending popped straight into my mind.

I was seized by a new burst of enthusiasm and finished the first draft of Wings within a month. I spent another month polishing it, then sent it to a publisher and prepared to wait.

I didn’t have to wait long.

“We like it,” replied the publisher within a week. “But it’s not of publishable standard yet. You can pitch it to other publishers if you like, but our recommendation would be to obtain a reader’s report.”

I took their advice and requested a reader’s report, which is a manuscript assessment by an accomplished editor. While I waited, I began writing a second novel. After six weeks, the report came back. It contained general comments about areas of weakness, as well as a specific example of where the weakness could be found in my manuscript. It was up to me to understand the comment and example and work out how to apply the feedback to the remainder of the manuscript.

The two major weaknesses were a lack of revelation of the character’s emotional response to major events and a scarcity of description about setting. They did observe that my natural writing style was lean and uncluttered, so they cautioned me against going too far with my descriptions and emotional responses. There were also some mechanical issues such as an over-reliance on “ly” adverbs and a passive writing style through the use of words such as “had”, “was” and “am”.

The reader’s report was an excellent initiative and assisted me to make the leap from “gifted amateur” to “polished professional.” The suggestions rang true and the fact that they used examples of my own writing to point out the areas for improvement helped me to grasp their suggestion and apply it to the rest of the novel. The fact that a publisher expressed interest in my work provided more than enough incentive for me to continue the process of refinement.

It took me a couple of months to rework the manuscript in accordance with the feedback. Within ten days of submitting Wings to Really Blue Books, I had an offer to publish. I’ve been floating ever since, although working very hard on further edits, establishing a social media platform and planning publicity.

On May 21st, the big day finally arrived. Wings became a published novel and I can now call myself an author.

It’s a great feeling.

Wings can be purchased as an eBook from the publisher,
Really Blue Books
or
on Amazon.

~

Pete is an author from the city of Wollongong, just south of Sydney in the state of New South Wales, Australia. For most of his adult life, Pete has been a left-brained computer scientist whose love of reading eventually led him to take up writing. Having surprised himself and those around him by getting Wings published, he’s now having fun dreaming up marketing strategies and publicity stunts – tasks he never could have envisaged doing ten years ago. He continues to stretch the boundaries of his right hemisphere and is now working to complete a second novel.
His left brain hasn’t been totally neglected through this process. Pete works as an IT Manager in order to help keep his wife and four kids fed and clothed. When he’s not working, reading, writing or enjoying the company of his family, Pete likes to sneak away for a bit of exercise – either tennis, soccer or a laborious run.
You can find more about Pete at his website and blog (http://peteabela.com). The blog contains a number of really bad jokes. You have been warned.
Like Pete on Facebook; follow him on Twitter.
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You Talk Too Much: Balancing Dialogue and Narrative

I’ve just returned from a trip home to Texas. I took with me plenty of pens and paper, books and ideas; once I touched down and hooked up with family I hadn’t seen in years, though, everything but the loving fell to the wayside.

So this Wednesday, I give you a re-post of an old post on a topic that never gets dull: dialogue versus narrative.

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I pride myself on being a quiet observer: in a church pew, during a staff meeting, behind a muffin and a steaming cup of coffee in a cafe. Most days, it takes me a long time to warm up to any conversation. But, stick me in front of my laptop (and smack-dab in the middle of rewriting a story) and suddenly I’m all talk.

At least, that’s what I’ve noticed lately with my work-in-progress. The early drafts of my novel were heavy in exposition and light in conversation. Now, I have a clearer vision of the plot, and I know my characters better. And, dialogue comes easy for me. The problem is that once the characters start talking, I let them go on and on. In rewriting another section last week, I noticed a whole page of chit chat. All that character banter started to tug at my writer’s gut, which suggested I should rethink my use of dialogue.

Beware: dialogue abuse.

g_fullxfull.36171Nathan Bransford posted on the Seven Keys to Writing Good Dialogue, in which he pin points one area of concern:

A good conversation is an escalation…Characters in a novel never just talk. There’s always more to it.

In all writing, each character, scene, and piece of dialogue must move the story forward. I practice that in my short stories and flash fiction. But, in this novel rewrite, much of the dialogue I’ve written just fills up space. Though realistic, it reads flat and doesn’t necessarily propel the story.

Janet Fitch (author of White Oleander) has her own post, entitled “A Few Thoughts About Dialogue,” where she carries this idea of flat conversation even further. She says, “Dialogue is only for conflict…You can’t heap all your expository business on it, the meet and greet, and all that yack…If someone’s just buying a donut, nobody needs to say anything.” Then, she throws in a quick example of unnecessary talk: in response to a character asking, Want a cup of coffee? she writes, “No. I don’t. Ever.”I’m guilty of that kind of dialogue: in the span of one chapter, my characters have discussed getting a cup of coffee or tea twice. That’s a lot of “coffee talk.”

But, careful with the exposition.

Sam McGarver, in his article, “10 Fiction Pitfalls,” (which appears in the May 2010 issue of The Writer) talks about too much weight on the other end of the writing scale: :

Entertainment today is visual—movies, television, the Internet, cell phones. To compete, fiction must also be visual, using scenes, action, description and dialogue to show a story, rather than narration to tell it. A story should consist of one scene following another, connected by narration.

I don’t want to nix half of the conversations in my novel just because I want to avoid too much talking, but I don’t want to go on and on with narrative and put readers to sleep.

So, what to do?

After reading Bransford, Fitch, and McCarver, I found three different techniques for balancing dialogue and narrative:

  • From McCarver’s article: Find a particularly long narrative section and see how it might be broken up into more of a scene with dialogue.
  • After reading Fitch’s post: Find a section in the story where the characters have a whole conversation, and then cross out the dialogue that is commonplace. Because, as Fitch says, “A line anybody could say is a line nobody should say.”
  • From Bransford’s post: If the dialogue does carry the story forward but still feels “thin,” look for places to add gestures, facial expressions, and/or any details from the scene that enhance that section. Bransford says, “gesture and action [are] not [used] to simply break up the dialogue for pacing purposes, but to actually make it meaningful….”

How do you balance your story with narrative and dialogue? Do you talk too much?

Photo credits: lovelornpoets on Flickr.com

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The Fairy Godmother of Writing

I found her, my fairy godmother.

She’s short and spry and feisty. She wears a giant sombrero and spurred boots. She says things like “sugarfoot” and “Let’s get crackin'” and doesn’t think twice about firing that golden pistol of hers into the air. She appears out of nowhere, just in time.

“What’s the matter with you, honey?” she asks.

I tell her I’m trying to write a novel. I explain about all the planning and the bulletin board in the basement, about the first-draft jitters, about the laundry that keeps getting in the way and the dishes in the sink. I say I need more time. A maid. I need to read more books on writing novels first. I’m afraid, I say, that I won’t get this right. I wait for her advice, for her to weave some sort of magic.

But while I’m talking to her, she’s not directly talking to me. She lives in the pages of a children’s book by Susan Lowell, Cindy Ellen, A Wild Western Cinderella.

When she asks, “What’s the matter with you, honey?” she is eyeing up the young cowgirl, Cindy Ellen, who longs to go to a rodeo, ride the bronco, and win the heart of a young handsome son of a cattle king.

Whether you love or hate the Cinderella tale, there’s plenty of reason to appreciate Susan Lowell’s book. Lowell adds a fun twist to a familiar tale, making the story completely her own with her characters and language. It’s terribly fun to read out loud to your kids, especially when you’re a Texan who’s rooted in Wisconsin. I get to revive my Texas twang, say words like “gumption” and “Western fandango” and “you’ll be sorr-ee!”

Mostly though, I love the fairy godmother. She’s all sass, endearing as much as she is intimidating. Not all fluff and fancy. She calls it like she sees it.

“Magic is plumb worthless without gumption. What you need first, gal, is some gravel in your gizzard. Grit! Guts! Stop that tomfool blubbering, and let’s get busy. Time’s a wastin’.”

Words of wisdom fit for any writer.

There’s magic in crafting a novel. I still believe that. Characters appear out of nowhere. Dialogue sounds off in your head as if you’re remembering a conversation recently overheard. Words fumble and fail and then suddenly fall into line, “like little soldiers,” as Victoria Flynn said in a great post (which I want to link to but cannot find at this late hour!).

Magic.

But, none of it happens without gumption.

…Sugarfoot.

“‘Hit the trail, honey!’ the old lady said.”

(She’s talking to you.)