January 10, 2015

The Friends and Family Plan

Running a little late. Sorry.

Hey, last week there were two posts in a row. You’ll survive. Really.

Anyway, let’s talk about the system you’re using.

I think one of the harder things to find is an honest opinion. Odd to say, I know, with all the folks who like to shout about the truth on the internet, but I think there’s a certain level of honesty that’s difficult to get from people. Most of us don’t like saying “No.”  Everyone worries about offending someone and the possible ramifications it could have, especially these days when so many comments are taken out of context and so many folks are ready and waiting to be offended by… well, anything.

My time in Hollywood taught me that a lot of folks have almost brainwashed themselves against saying “no” or offering any kind of negative feedback. My differing opinion can get me fired, after all, so I keep it to myself. The person asking “Do you like this?” could end up deciding whether or not I get health insurance and a new office next year, even if they’re just the office PA right now. They don’t always say yes, but pretty much nobody says no. No is all but forbidden.

Unless you’re one of the lucky few who has a partner, writing is something we have to do alone. The odd conundrum here is that one of the very few ways we can improve as writers is to get feedback. People need to read our work and express their thoughts and opinions about it. I need to have an audience. A real audience.

What counts as a real audience? Well, it’s people who will give me an honest opinion. People who are willing to say no. A solid beta reader, as they’re often called, won’t mince words or spare my feelings, because they understand I need to know what’s wrong with my work so I can improve it. Kindness and white lies don’t help me at all.  They only undermine my attempts to get better.

A little story…

When I was a kid, my mom read pretty much every piece of half-finished crap I wrote. And believe me, I wrote a lot of it. She slogged through at least three versions of Lizard Men from the Center of the Earth between third and seventh grade. There were also a few good-sized pieces of Boba Fett and Doctor Who fanfic (long before there was such a term). Plus a bunch of short stories and a truly awful sci-fi “novel” called A Piece of Eternity that had cosmic rays and mutants and cute little robots and bug-aliens that were shamelessly ripped off from the old Marvel Micronauts comics.

Now, there’s no question in my mind that I wouldn’t be where I am today if my mom hadn’t kept reading this stuff and encouraging me to write more. None at all.

However…

I eventually realized something. My mom was pretty much always going to say she liked what I was writing because she’s my mom and that’s what good mothers do. It didn’t matter if the material was good, bad, or borderline nonsensical, my mom would congratulate me on it.

Which is when I realized I needed to start getting other opinions.

Now, granted, this is an extreme example. I’m not saying my mother should’ve told the eleven-year-old me that my writing was childish and predictable and I didn’t have a chance of ever getting published. That would’ve just been cruel, and also a bit unfair. In one way, this blind kindness was a good thing.

However, this kindness can also be a trap. And many people, willingly or not, fall into it.

Dot, for example, surrounds herself with people who won’t give her honest opinions. She’ll only show her writing to immediate family members, or friends who are so close they’ve got all the same interests and background. Parents, siblings, friends, lovers—people with a strong desire not to hurt her feelings, and, on some level, a vested interest in keeping her happy.

Is it really that surprising to learn these people all say Dot’s writing is great. Her mom and dad think it’s wonderful.  Her friends got all the jokes. Her brother Yakko loves it. Her boyfriend (or maybe girlfriend—Dot’s very open-minded) thinks she should send it out to some magazines or agents.

Are they all lying to her? Possibly not. There’s always that chance Dot is the next Harper Lee or Ernest Hemingway, unable to produce anything except Pulitzer-level material when left alone with a word processor. Maybe she really is a writing savant, able to put down words on the first try that are going to make the Nobel Committee weep tears of joy.

But, as they say in Vegas, I wouldn’t put money on it.

Worse yet, sometimes these well-meaning folks will tell Dot to ignore the good criticism she is getting. Did Phoebe’s feedback sting a bit? Did it make Dot question her abilities a little? Well, just ignore it. What does she know, anyway?  She’s just one person, and she’s probably jealous of Dot’s talent. That’s why she’s tearing the story apart like that.

We all start out rough. Our first works suck. Usually our second works, too.  But we can’t get past that until we admit it and really consider some of the feedback we’re getting… and the people we’re getting it from.

Finding a real, honest audience for your work can take years. Some folks mean well, but are coming from a place of no education and/or no experience. A few of those folks are coming with no education or experience and they’ll ask you for money. And some of them… well, let’s be honest.  Some people are just jerks. They like to look down their noses and criticize people—sometimes for no real reason, sometimes so they can feel superior. They’ll give an opinion and expect you to treat it as fact.

Over the years since Mom read all my stories, out of the hundreds of people I’ve met in the film and publishing industry, I’ve found maybe a double handful of people whose opinions I really trust. They have the education, they have the experience, and at the end of the day they want to see my writing improve almost as much as I do. Several of them are merciless and blunt to a point that could make small children cry, and I consider myself lucky for that.

And, for the record, Mom still likes a lot of my stuff, too. But she only sees the final version.

Speaking of my mom, next time I’d like to tell you my story. It’s the most interesting thing ever. Really.

Until then, go write.

October 17, 2014 / 3 Comments

My Thoughts On Criticism

            I am running soooo far behind.  Very, very sorry.  It turns out my new book is going to get a hardcover release which is making me feel even more pressure than normal and I’ve been freezing up a bit.  Plus I was out at the Books in the Basin festival last weekend (which, granted, was a lot of fun).  And my editor and I just did another back and forth over the manuscript.
            So, alas, still no Clint Eastwood.  But it’s coming.  Next week for sure.  And it’s going to be fantastic.
            For now, just so I don’t keep falling behind, I wanted to offer a few of my thoughts on criticism.
            I’ve mentioned a few times how important it is to get good feedback from people, so here’s a nice simple rule of thumb about criticism.  If I have to include myself in the critique, there’s a semi-decent chance it’s not valid criticism.  If I’m giving you feedback for something, and my notes have an abundance of statements that begin like this–
            “I think…”
            “I really…”
            “This didn’t do it for me.” 
            “I feel…” 
            “I just don’t…”
–or with some similar (or more emphatic) phrasing, my critique probably isn’t that objective.  I’m not offering advice based on facts or rules, just off my own opinion.  And while opinion has a place in criticism, it’s also something that needs to be weighed and ignored sometimes.
            My editor just sent me back a 540 page document (okay, really 270 because I crushed it to single space for efficiency) with all his notes and comments on it.  I think this is our third pass back and forth, but there are still a couple things we’ve been wrestling with on our respective sides.  I’d say there’s probably about thirty-five or forty solid comments throughout the whole manuscript (plus some quick corrections on the odd typo or tweaked descriptor).
            Out of all these, maybe four or five of them use “I think” or “I feel.”  Maybe ten percent of his feedback.  There are a few places he’s telling me how he feels about things, but for the most part he’s pointing out things that needto be adjusted, and giving me reasons why when it might not be clear.  Very little of his notes are opinions.
            And again, that’s not to say opinions are bad.  But opinions are subjective.  They’re “soft” criticism, not as useful because they revolve around a single reader.
            So be clear about the criticism you’re getting.  And giving.
            Next time, I absolutely swear, Clint Eastwood.
            Until then, go write.
April 24, 2014 / 2 Comments

Draft Bored

            See what I did there?  A clever play on words.  Not quite a pun, definitely not a pop culture reference, but… well, it’ll do.
            It’ll do, pig.
            Also, random note—I set up a Tumblr a while back.  If you ever want to ask a quick question, send anonymous insults, or whatever, please feel free to stop by.
            Anyway, I’m about to wrap up this draft of my current project and it struck me that I haven’t blabbed on about the drafting process, so to speak, in a while.  A lot of folks hate doing drafts.  Some folks skip them altogether, convinced their words are gold the minute they’re set down.  And a few folks get caught in an endless loop of writing and rewriting and rewriting and rewriting and…
            So, here’s a basic step by step of how I go from bare idea to something I’m willing to hand to an editor.  And when I say editor, I mean “someone who will pay for these words I’ve written.”  That being said, this is also a good time to bring up the ever-popular golden rule.
What works for me might not work for you,
and it almost definitely won’t work for that guy.
            I’ve mentioned once or thrice before that we all have our own way of writing.  Working through drafts in this way helps me a lot, but it’s not a guarantee of success for anyone except me.  You might need to modify these steps a bit, or maybe a lot.  But I think this is a good baseline method.
            To begin…
            While I’m working on a book, I usually scribble down notes and thoughts about the nextbook.  Characters, dialogue, action moments, reveals… all sorts of different elements.  I’ll shuffle these around into more or less the order I think they’ll end up.  These notes serves as a very, very rough outline, just enough so I can start writing on page one and go when it’s time to start…
            The First Draft—In my mind, this is the “just finish it” stage.  I just want to finish this draft with a beginning, an end, and the majority of points in between.  I don’t worry about catching typos or crafting every subtle moment in the plot. 
            Consider this… diamonds don’t come out of the earth as clear, faceted gems.  They come out as ugly blobs that need lots of cuts and polishing.  So if I dig up a ten-gram diamond, I can’t expect it to make a ten gram gemstone.  If I’m lucky, I might get three or four grams out of it.  It’ll shrink as I work on it, because that’s how I improve it (see below).  So if I’ve got a ten-gram diamond and I’m insisting on a 9.9 gram gem… well, that’s going to make a pretty crappy engagement ring, yes?
            At this early stage, I don’t hold anything back.  I let dialogue, descriptions, and action scenes run on a bit longer than they probably should.  I know I’ll be cutting eventually, so there’s no reason to worry about length now.  For this stage, it really is quantity over quality. 
            If I get stuck on something (an awkward conversation or complex action scene), I’ll just skip it.  Things might not be perfect right now, but I know I’ll be able to go into the exact details of that conversation or this sequence later, so I’d rather keep moving forward and leave that stuff for Future Peter to deal with.  Again, for me, the most important thing is to get the overall frameworkdone.  It’s a lot easier to think about the little things when the big things aren’t looming over you.
            Depending on the book, this process takes me anywhere from two to three months. I had one book take about six weeks, but that was pretty rare for me.
            I don’t show this draft to anyone.  I may take a night off, work on something else for a day, and then it’s right back for…
            The Second Draft— Remember all those problems I left for Future Peter to deal with?  Those need to be dealt with now.  Gaps get filled in.  Characters get fleshed out a little more, and sometimes renamed.  All those awkward knots get worked out.   Because I can see a lot of these elements in relation to the whole story now , I’ll usually find the answers to these problems are more apparent. 
            The goal with this draft is to have a readable manuscript.  No more little notes to myself  or trailing paragraphs that need to get connected somehow.  Someone should be able to pick this up and read it start to finish without thinking they lost a few pages or only got my notes on a chapter.
            Keep in mind this doesn’t mean I do show it to people.  It just means I should be able to.  Really, the only person who might see this is my lady-love, and not even her always.  Usually she has to wait.
            For some folks, this stage would really be the first draft.  Those people have nice pages of their own somewhere out there on the web.  This isn’t one of them.  Plus, breaking it up like this takes a lot of pressure off, which I think is a good thing when you’re trying to treat writing like a real job.  No one likes a high-pressure job.
            Okay then, so… now I step away for a couple of days.  Maybe as much as a week.  I’ll watch movies, work out a little, or maybe even scribble up a few ranty blog posts in advance.  The goal is to push the manuscript as far out of my mind as possible.  Don’t look at it, try not to think too much about it. 
            I’m just into this now with The Albuquerque Door, for those who care about such things.
            The Third Draft—Time to make like a slasher and cut, cut, cut.  Two great rules-of-thumb I’ve mentioned a few times—
one adverb per page, four adjectives
2nd draft = 1st draft – 10%
            Yeah, the second rule goes off the previously mentioned assumption that my first clean, readable draft is my first draft.
            I spend this draft tracking down adverbs, adjectives, pointless dialogue descriptors, and so on.  If they can be cut, they get cut.  One thing I also go after here is common padding phrases that don’t really do anything (sort of, somewhat, kind of, more or less).  One of my regular readers dubbed this somewhat syndrome, and I still call it that.  I like to tell myself I’ve gotten much better about it now that I’m aware of the problem. 
            Sometimes I also like to tell myself that I haven’t gained that much weight since college…
            At this point I’ve gone through the whole manuscript at least twice, so a few larger cuts should be apparent, too.  Overcomplicated descriptions that slow down the narrative.  Awkward sentence structures.  Extensive character moments that really add nothing to the character, the story, or the plot.  Many of these things get tightened or cut altogether.
            I spend a week or two doing this.  This is usually when I let my lovely lady have a look.  She’s my first set of eyes and lets me know I screwed up and I’m too close to see it.
            The Fourth Draft–This is the first big polish.  I go through sentence by sentence, looking for words that come up too often or stilted dialogue.  I also make sure all the cuts and swaps from the last draft haven’t messed anything up.  Are the logic chains still complete?  Did I forget to change Pash’s name to Veek anywhere?  Does Arthur still have time to get that pistol?  Are there any odd character tics that I forgot to remove or add?  Does the whole thing have a good flow to it
            This draft doesn’t take long.  Just a day or two.  It’s just one slow, careful read of the story.
            Once I’ve got a solid fourth draft, I send it off to folks to get fresh eyes.   I generally use four or five friends I’ve know for years.  All of them are all professional writers and editors who know how to give useful criticism.  Not to beat a dead horse, but by professional I mean they get paid to do this for a living.  They have actual credentials.
            Speaking of which, some folks might hire a professional editor at this point. Nothing wrong with that.  The important thing is to get an opinion I can trust to be honest, even if I have to pay for it.  A few folks might argue that this is the publisher’s job, but I need to get a publisher first, and why are they going to bother with my crap manuscript?
            Anyway, this draft goes off into the world and it may be two weeks to a month before I look at it again.  The challenge is to resist messing with it while those people are looking at it.  I try to spend the time relaxing a bit, scribbling down ideas for later books (see above), or flexing different mental muscles.
            More than once, I’ve cleaned my office.
            The Fifth Draft— Now I’ve gotten notes back from the folks I begged/ blackmailed/ paid to read this thing.  I go through the whole manuscript page by page with their comments.  If you’ve got multiple monitors, this is a great time to use them.
            Page one… what did everyone think?  What about page two?  How’s page three look?  As I’m doing this, I’ve also got my own copy of the fourth draft that I’m using as a “master document.”  This way I can see all the notes and make whatever changes are required. 
             I mentioned that I ask four or five people to make notes for me.  That gives me a broad sampling on each note/ issue that comes up.  If four people like something but one doesn’t, odds are I’ll call that good.  Nothing’s going to work for everyone.  If three don’t and two do (and of course I do, or I wouldn’t’ve written it), I’ll sit and give it a good look.  If nobody likes it, well… I’m smart enough to admit when I’ve screwed up and something doesn’t work.
            This draft can take another two weeks or more to finish with a full book manuscript.
            The Sixth Draft— This one’s another polishing draft, just like the fourth.   I need to make sure everything still works now that I’ve made those changes and tweaks from my reader’s comments.  So, yet another line by line reading, adjusting as I go.
            And at this point… this is when I’m done.  There’s only so much a given writer—in this case, me—can do with a given story.  There comes a point when further work accomplishes nothing and I’m just rewriting for the sake of rewriting. I’m sure we all know someone who’s just been working on the same manuscript for years and years because they’ve got another one or two drafts to put it through.  If my manuscript’s not ready for a publisher (or film producer) by now, it probably means I screwed up something big right at the start. 
            Maybe with my initial idea of rebooting the Laff-A-Lympics as a medical drama starring a gender-swapped, alcoholic Captain Caveman.
            Next time… well, if there’s anything next week it’ll be really quick.  I’ve got a flight on Thursday.  If you’re in Dallas next week, please swing by Texas Frightmare and say hi.  I’ll be in the Made in Texas room.
            Either way, go write.
January 23, 2014 / 5 Comments

Noxious Phrasing

            As you probably noticed, there was no ranty blog last week.  All the publicity stuff for Ex-Purgatory ate up a ton of my time.  And this week is fallout from that plus a bunch of dental issues I won’t bore (or horrify) you with.
            Thankfully, Thom offered to dive in and make some helpful tips for editors, and for writers who might be suffering from poor editor-ship.

            And maybe next week I’ll be back on the ball and we can talk about Robocop or something…

—————————

            I’m still not Peter Clines, and even though it is something of a crippling disability, I will strive to fulfill your sense of… of… I don’t know, whatever it is you’re looking for when you stop by this here blog. My name, if you’re the type what needs one, is Thom Brannan. (O hai, Thom.) I’ve appeared in this blog a couple of times, filling space when Pete was super-busy with his writerly duties. If you’re reading this, this is one of those times.

            Usually, Pete tries to talk about the craft of writing, and the many, many pitfalls he’s seen as both a casual reader and as a judge for some hifalutin’ screenwriting business. One of the things he’s asked for is a continuance of this tradition, but this blog will be a little different. If you’re reading this, Pete wasn’t only busy, but has allowed it.
            I’m talking to the readers today. Not your everyday, run of the mill readers, but participants in writer’s circles and beta readers instead. If you take time out of your busy, busy schedule to read for content and to provide meaningful critiques, I’m talking to you. If you’re receiving these critiques, I might be talking to you, too.
            During the course of these readings and critting, there are some phrases which make the rounds I wish to all that everybody, everywhere holds holy I could remove. They’re next to useless, and sometimes, downright insulting. If you use these phrases, but not in the way I’m about to mention, relax. Down, Simba. I’m not talking to you.
            You may have to forgive me if I become… animated during the writing of this blog. These things tend to get my hackles up.
Show, Don’t Tell

            If this is the limit of your advice for any bit of a critique, you’re doing it wrong. Please, readers, if you feel the urge to spout this piece of… advice, attach an example of what you mean. Or at the very least, be specific about what it is you wish to see and not be told.

            For instance, if the writer has written “John felt nervous,” and your reply is SDT, throw your writer friend (or circle-mate) a bone and give some examples. Don’t you think if the author in question had thought of a way to show it, he or she would have?
            It’s so bad that in my capacity as editor, I find myself cringing when I come to an instance where I want the author to show something. Somehow I power through, but always, always leave an example.
This Would Work If You Were Author X
            Yes. This one kind of sets my blood aflame. That was in an early critique I’d gotten; I disremember the reason. It might have been opening with a dream sequence. But the least helpful thing I read that day was, “This would work if you were Harlan Ellison, but you’re not.” You know what, you silly bitch? Before Harlan Ellison was Harlan Ellison, he wasn’t. The same holds true for Stephen King, for Clive Barker, for Cormac McCarthy, for goddamn anybody else. We all start small.
            I guarantee you, the guy up the street who has a woodworking shop wasn’t… uh, insert famous carpenter who isn’t Jesus here… the first time he picked up a hammer and saw. He was clumsy with his tools, and maybe if you look close, you’ll see he’s missing part of one of his fingers where he learned a bloody lesson. But now he has his own place, doing what he loves for a living, and fashioning memories for other people using those same tools he was clumsy with on day one.
That’s Cliché/ Been Done Before
            You don’t say. Man has only been telling stories for thousands of years. I would never have thought the same thing might pop up in more than one story.
            Clichés exist for a reason. They work. The work involves taking a pile of clichés and using them in a way that turns them on their heads, if need be, or exactly as they were intended. What? Yes. Sometimes it is a dark and goddamn stormy night. Don’t tell me that doesn’t happen, I’ve lived in Seattle. There most definitely is a calm before the storm. People don’t realize they’re holding their breath until whatever they’re holding it for is over. This really happens. And while some of these things are over-represented in fiction, that’s no reason to shun them.
            The same holds for monsters. As I’ve said before, not every instance of a monster needs to be a stunning new breakthrough in horror technology. Dracula hasn’t lost a scary step in 116 years; the vampire was done right the first time. (Yes, I know Dracula wasn’t the first. If you have to keep telling people this, maybe it’s because he was the first done really well.) The same holds for zombies and werewolves and man-made creatures of doooooom.
            For my money, the last worthwhile advance in horror technology came with “The Call of Cthulhu” and the idea of an uncaring, inhuman universe where we’re not the apex predator.
            But I digress. Things have been done before. If that’s your beef, maybe suggest ways the author could keep his or her cliché but use it in a better way.
When Will This Pay Off?
            Not everything mentioned in a novel will be essential to the plot, or to the overall story, or to character development. While it’s true that a lot of the bestest books and movies tie everything together in a neat little bow, some of them do not.
            Look at The Blues Brothers. Everybody loves that movie. Don’t they? Well. I do, and that’s enough for me. Where was I?
            Right. Take The Blue Brothers, if you will. That movie is just full of so much win, and there are parts in the beginning that link to parts at the end, and little bits in-between that talk to you when you see them reappear. “They broke my watch,” I laugh and laugh every time I hear that.
            But there are unrelated things. “Did you get my Cheeze-Wiz, boy?” What the hell is that? Is it important? Does it shed some light on Elwood’s character that, yes, he did in fact bring the Cheez-Whiz? No. No, it doesn’t. “Orange whip?  Orange whip?  Three orange whips?”  Does it matter what he ordered? No, it only mattered that the VP of the company asked to be included, and John Candy is a funny, funny man.  “Fix the cigarette lighter.”  Did that ever come back to haunt them? Hells, no, it didn’t. “Breaks my heart to see a boy that young goin’ bad.” Did that kid come back and help out? Or hurt the cause? Or was he even in the sequel? It’s in this paragraph for a reason.
In Conclusion
            No, that’s not one of the phrases, that’s just me, trying to figure out how to bring this to a clean-ish close. There are plenty more noxious phrases, but Pete doesn’t like these to be too long. Hey, if there’s reason, and he says yes, I’ll do another one. But for now, let me leave you with this.
            Beat readers and critiquers, you fulfill a vital part of the writing process. All the acknowledgements you read include people just like you, and authors rely on you to be straight with them, and to do what you can to help. From my own experience, the few works I do have out in the world would have been poorer indeed without the input of my beta team and the Permuted Pit and Pendulum critique groups.
            So, yes, you’re needed. Try not to be dicks about it.

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