When Writing? Small Changes Can Fix Big Issues

Have you ever gotten feedback from someone who you respect, saying they hated your work? They liked the idea, but think you should have done it a completely different way?

No? Just me?

Recently, I submitted a couple of short stories to different markets, but after a pair of quick rejections, I sent them to friends for another look. Most of the feedback was along the same lines, so I looked at what I could fix and what I couldn’t.

But for the reader who hated the story? We sat down and talked about what they did and didn’t like about the story.

The real issue was the set-up — it was a horror/suspense sort of story and I was giving away too much too soon.

That was entirely in line with other feedback I’d had, although more precise in what parts worked, versus what parts should be changed.

So? I sat on that for a week. I pouted. I thought. I considered if these were even changes I wanted to make.

But my knee-jerk reaction (for once) wasn’t “they don’t get my story”, it was more of a, “I don’t wanna!” mixed with “How do I do that? While making sure the ending is still properly supported” (i.e. doesn’t seem to come out of nowhere).

Last night? I sat down to start on the changes, taking out the heavy foreshadowing (easily found in italics, on their own lines). And replaced those instances with more subtle hints at what lay ahead.

Fifteen minutes later? I was done.

I still need to do a re-read, to make sure the updates are smooth. I still need a second set of eyes (maybe fresh ones to make sure the ending wasn’t too abrupt), but this huge change? That seemed like massive structural issue?

With a few short line changes, I fixed it.

Takeaways?

Remember when setting something up in your writing, be it foreshadowing, backstory, world-building, or more — oftentimes, less is more. You only need enough to spark the imagination and flesh out the world. Not enough to slow the story.


Have you ever been intimidated by a suggested change you agreed probably needed to happen in your work?

Were you ever surprised at how little you needed to change your story to make a completely different impression on the reader?

Tell me about it in the comments below!

Morgan’s 2020 Resolutions

As January firmly establishes itself, I’m finally ready to talk about what 2020 is going to look like for me.

Last year was intended to be a year of reading, revision, and reflection.

Thusly, I listed my goals:

  1. Blogging/Vlogging
  2. Reading
  3. Revising
  4. Querying
  5. Beta-reading
  6. Conventions
  7. Writing

As I shared last week, I did great on everything on that list — except my revisions and querying — you know, the parts of the list that actually get me closer to publication. Does anyone else see the problem here?

This year? This year my focus is on revisions and querying/submitting.

As always, I like to set SMART goals –

  • Specific – you’ll see numbers and dates!
  • Measurable – you’ll still see numbers and dates
  • Achievable – I set goals for things I have influence over. I’m aiming for an agent, getting something published, but unless I self-pub, I have no control over that.
  • Relevant – I’m keeping my exercise goals and healthy eating off this post. These are all about my writing, the relevance should be clear.
  • Time-sensitive – Obviously, these are intended to be completed in 2020, but some items may have specific dates associated.

So? Let’s take last year’s list and put it in a new priority order.

Morgan, a long-haired brunette, is laying on a carpet, legs in slippers kicked up behind her, writing in a notebook.

Behind her is a table and a bookshelf.

1. Revising

Last year’s goal of revising 3 full manuscripts was… ambitious. I clearly was thinking more about what it takes for me to edit (clean up a draft) than about what it takes to get feedback from others, integrate it, and polish the draft till it comes out in my voice.

The manuscript I had ready for querying last year is in the middle of revisions with my wonderful mentor. But? The mentorship officially ended last April, and, although she generously volunteered to keep at it with me, she has paying work that, of course, comes first. So? We’re working through my novel 30 pages at a time.

My hope is to have the revisions done by the end of May, when I hit Balticon. But, life happens. So, what can I do to speed up the process on my end? Make sure that the next 30 page chunk is as ready to go as I can make it before I get feedback from the previous section.

I’m cutting a secondary character’s role in the last 3rd of the journey, and changing the nature of the last leg of the journey quite a bit, so I already know a large part of the plotting changes. Plus, my mentor keeps reminding me to add visuals. As I’ve said before, I worry about what’s in the character’s head and the action. I forget people want to see the world itself. So, that’s my revision priority.

But, of course, there’s going to be some downtime.

To fill that in, I’ve been nudging my alpha reader who has my middle-grade contemporary fantasy (the school play story) and should hear back in the next week or so.

Also? Last year also included writing some short stories and some poetry. Between revising my middle-grade story and getting those shorts and poetry ready for publication, I’ve got a lot to work on.


2. Querying & Submitting

If you haven’t tried to get your work published before, this item might seem confusing. What’s the difference?

Querying is a intro-letter and first chapter or so that you send to a literary agent. Once you have an agent, they often make you do revisions, before submitting your work to a publishing house.

Why do you need an agent? There are many publishing houses that do not accept unagented work. Agents understand what your contract should look like and what is negotiable. Plus? The agent’s job is to know the market — and thus know what your book needs in order to best sell it — and to whom. Typically, you query 5-10 agents at a time.

Submitting a manuscript/short story/poem is what you can do to any editor/publisher who is open to it: publishers (who are open to unagented work), literary magazines, anthologies, etc.

When you’re sending a cover letter and your story to the place that will actually print/publish the piece, it’s called a submission. Typically, submissions are exclusive (unless the guidelines state otherwise), so you have to wait to hear back before you can send to another publisher.

This year, for my short stories and poetry, I’m going to try to get at least 5 stories ready for publication and submit them to at least 10 markets. At least half of those submissions should be before July, just to make sure I don’t forget to put myself out there.


3. Blogging/Vlogging

With you, I’m finding an audience and, I hope, creating a community. You are the people whose queries I help polish as you look for an agent, whose books I add to my massive to-read pile, the people I feature in my Author Spotlights. Blogging puts me out there, keeps me accountable, and gives me a way to give back to the community.

Plus? I haven’t missed a week on my blog since February of 2016 (although, I have done reruns) nor a vlog-post since I started vlogging on June 27, 2017. So? I’d hate to break my posting streak! Thus, I’ll continue putting out a new blog/vlog every Thursday with writing tips or writerly musings.

I’m already off to a great start with this, but when I have them lined up, I’ll also be sharing Author Spotlights or Query Corners on Tuesdays.

I’m thinking of adding some Authortube videos of my massive to-read pile, or maybe an occasional brief weekly check-in since those were popular during NaNo. I just need to find a time that works every week for those, so I can schedule them in advance and make them interactive.

Quote on a grey board on a brown shelf with books behind it.
“And to think, some of life’s best stories haven’t even begun”

4. Reading

I did great on this one last year, but I’m not gonna look a gift horse in the mouth. I had a lot of travel, and managed to hit 41 books, but there’s no guarantee this year will as generous. I even managed to read a decent amount of physical books — but a lot of those were new or re-reads. Not as many from my to-read pile as I’d like to admit.

So? I’m keeping my goal from last year of reading 26 books – a little more than two a month. This time? At least 10 of them should be physical and ALREADY on my bookshelf.

So far? I finished a short story collection I bought over the holidays AND read a book that’s been with me since before I moved. Not a bad start!

5. Writing

Yet again, writing is so far down my list!

I can hear your thoughts, your concerns. What’s wrong, Morgan? I thought this was your writing blog. Why isn’t this more writing focused? Do you want to be a blogger/vlogger more than a writer?

Well, first? Rewriting IS writing, and revisions are tops on my list. The goal is publication and I’ve got 4 manuscripts, 21+ short stories, and 30+ poems just waiting for a home.

More writing right now just means a larger backlog of things to be polished.

But! Never fear, I will be doing OctPoWriMo again — writing a poem a day for all of October. And then NaNoWriMo — writing 50,000 words in November. If I’m really stumped in November, I’ll rebel and revise either 5 shorts or a full manuscript. But, knowing me, I’ll probably make new words.

6. Beta Readers

I’ll be reaching out to beta readers as I wrap up my revisions on my middle grade novel, hopefully before August. Last year’s goals of having revisions of two different manuscripts done by May AND July were unrealistic.

As always, I like to keep my beta reader pool to no more than 8 readers, typically from different backgrounds. I usually give them separate copies, so that their feedback won’t influence each other.

I’m considering joining a local critique group and feel that short stories work much better in those venues than a full manuscript. Especially since I’m more interested in feedback on my pacing and characterization than the chapter itself. I guess it’s arrogance, but I think I know where my problem points lay.

On the flip-side, I’m now a contributing editor to The Oddville Press, an online literary magazine of odd, but not really fantastical tales. I’m also a regular beta-reader for my dad (who’s retired from a day job and enjoys filling my inbox). Not to mention, I have a few critique partners, and writer friends who have been known to reach out for feedback. I will try not to commit to more than 3 full length betas this year.

Morgan taking a selfie while sitting near the front of a room full of chairs. (She's at a writing panel at a convention)

7. Conventions

Actually, maybe I should have changed the name of this goal. This should be all the in-person writing goals. I aim to attend 6+ open mic nights, 4+ monthly writer meetings, try a critique group, and 3 NaNoWriMo events (kickoff, 1 write in, and the all-nighter till 11pm). Plus? Two+ conventions.

I intend to hit Balticon again (May) and — if everything works out — WorldCon (August) in New Zealand (!!). I submitted to be a panelist at Balticon again… and this time was accepted! And? I think they approved the panels I suggested (topics from this blog that I feel I can talk competently on, and that my unpublished perspective won’t be a detriment to my authority on the subject).

How do I know they approved them? They recruited me to be on their Programming team! (Apparently, after attending nearly 30 panels a year for the last 5 years, they suspected I might have opinions about what makes a good panel and who are the good panelists.) So, that’s another time commitment.

What does being on panels net me? Why do I want to do this?

First, it’s a greater reach for my blog and vlog. Plus, a larger audience when I do get published. Hopefully, a way to make more friends and supporters. Plus, a chance to talk about all the stuff I obsess over on my blog and on my vlog in person with actual people.

But how does attending conventions count as a writing goal? Isn’t it just fun? Or part of your social media addiction?

Well, if you’ve been following my blog, you’ve probably noticed that over half the content is actually write ups from notes at convention panels! I attend the panels, for those who can’t (or don’t). Also? My sister teases me that I act like a teacher, trying to get her recertification credits, all in one weekend.

And? Well, I talked about it in my post on attending conventions, but, of course, there’s the networking aspect. The science-fiction and fantasy conventions I prefer are full of readers, writers, and even some publishers and agents!


In Summary

As is becoming my trend, the first part of my year will be focused on revisions, the middle on conventions, and the end on writing. Plus, I’ll be reading and blogging and vlogging throughout the year.

Except December. I’m not a writer in December — everyone needs a chance to breath.

We’ll have to wait until next January to see if I had 2020 foresight.


What does your plan look like for 2020

Did you build in flexibility?

And, how SMART are your goals?


See my previous years resolutions and reflections:
2017 Resolutions | 2017 Retrospective
2018 Resolutions | 2018 Retrospective
2019 Resolutions | 2019 Retrospective

In the Background: Class in YA Fiction

In the real world, the social class we come from can have far-reaching consequences into our lives: from the jobs we hold, to the things that worry us, to our long-lasting health. Getting class, and its consequences right, can be tricky to do.

In the titular panel at WorldCon2019, Marieke Nÿkamp, Avery Delany, Caroline Hooton, and Victoria Lee discussed the ways their class upbringing compared to their current social class, and the implications inherent in that.

How The Classes Differ

Most of us are not rich. But the differences between working class and middle class can be easily missed if you’re not paying attention.

When the working class is even seen by those outside it, it’s typically through a political lens: either the lazy bums, looking for a handout. Or the poor, unfortunate who needs charity.

Working class

  • Social mobility is rare
  • You don’t always know where your next meal is coming from
  • Your parents are more likely to need help with bills than be able to help you out in case of emergency (groceries, sudden bills, job loss, ER visits)
  • One bad week is the difference between a rented home and life on the streets
  • Accents and expected behaviors are different — and failure to adhere can cause people to discount you
  • Attendance at events that can help your career can easily be beyond your financial means
  • Health conditions, because of inadequate health care, not enough time to rest, and/or physically demanding jobs
  • Transport is either public, rides from friends, or a car that isn’t in great shape
  • Don’t always have hot water. Or electricity.
  • Accent and speech patterns are looked down on, and seen as something to hide when not home
  • Diverse

Middle Class

  • Social mobility — down or up (at least as far as upper-middle class) is normal.
  • When things are bad, you eat cheap non-nutritious meals
  • If something goes wrong, your parents can usually help. (Car repairs, rent, bail, or at least a bag of groceries)
  • Far more homogeneous

How Is Class Represented in YA?

Often, we’ll see either the aristocracy, the middle-class, or the temporarily poor. Almost always the main characters are able-bodied and cis-gendered (their gender matches what they were declared at birth).

The ending or resolution almost always involves elevating the main character out of the working class. Implying strongly that the character growth and work deserves an “improvement”. That the working class is not something to be proud of, to strive for.

And? After one or two snafus, the ‘uplifted’ character seems to fit in seamlessly. Not finishing their meals because they’re ‘stuffed’.

If there is a diverse character, they’re usually not intersectional. They’re not disabled AND working class AND a person of color. They have one token diverse trait.

Who Is Writing? And For Whom?

Books in general and YA in specific is written by those with the time and energy to do so. Books are sold by those who have the money and energy to promote their works. Leading to very few working class authors.

Publishers look at past sales and, if they don’t see any, they assume there isn’t a market and don’t buy working class author’s works. After the success of The Hate U Give, there’s been an upswing in more working class books. But, they’re seeing them as a niche, as an issues driven book. And publishers typically only acquire one book per niche per publishing cycle.

What agents and editors see as a neutral environment, in an industry run on unpaid internships and publishing companies that are a net loss, labor of love, isn’t. People without a social net don’t even have a chance.

Many of the guest speakers from working class backgrounds, only made it to WorldCon thanks to grants and school funding. Others were denied Visas, so couldn’t even be here for the discussion. Money talks, and without it, you’re left on the outside, not even able to look in.

Worldwide, there are millions of people without access to education, much less to libraries. Think of all the stories we’re missing, because those people never had the chance to share?

How Can You Help Working Class or Diverse Writers?

How can you help mitigate the class segregation inherent in the publishing industry?

  • Share their work
  • Promote their work
  • Leave room at the table for them
  • Buy their work
  • Borrow from the library
  • Review them on Amazon
  • Contribute to their Patreon
  • Donate money to con scholarships
  • Read more diverse works
  • Host a writing workshop for them
  • More paid internships — especially remote ones
    • New York and London are expensive and challenging, even for people with money and connections.

What YA stories have you read that explored class? What did they get right? And what did they get wrong?

Do you have any other suggestions on how to help encourage diverse writers?

Twas the Week before NaNo

In honor of the last week of October, here’s a Throwback Post.

‘Twas The Week Before NaNo

‘Twas the week before NaNo, and all through the land
Not a writer was ready, not even the grand;
The stories all waited, ev’ry last one,
In hopes NaNoWriMo soon would be won;

The characters jostled all shoved in our heads,
While visions of new worlds continued to spread
And Facebook on the PC, and I in my tweets
Had just settled DOWN to fill those blank sheets—‌

When up on the screen there arose such a clatter,
I clicked off my doc to see what was the matter.
Away to the window I flew in a flash,
Scrolled over the adverts and cleared out my cache.

The notification of a new month said hello,
Giving luster of import to objects below;
When what to my wondering eyes should egress?
But a miniature list with eight friend requests!

Then with a li’l old idea, so lively and quick,
I’d know in a moment if this one would stick.
More rapid than eagles, the story now came,
And I whistled and shouted, and called components by name:

“Now Chapters, now Setting! Now Plot and Conflict!
“On False-peak, on Raised-Stakes! On Black-moment-strict;
“To the top of the peak! To the climax and fall!
“Now type away! Type away! Type away all!”

As dry leaves that before the wild hurricane fly,
When you meet with an obstacle: write fast, do not sigh;
So, up to the document’s top, I will go
With my head full of musings‍—‌my ideas now in tow:

And then in a twinkling, you’ll hear my keyboard
The tapping and clacking, each word I’ll record.
As I draw down my head, and ignoring all sound,
Down the page, my story will grow with a bound:

My main character formed, from her head to her foot,
And her clothes were all tarnish’d with ashes and soot;
A bundle of supplies was flung on her back,
And she look’d like a peddler just carrying her pack:

Her brow—‌how it furrowed! Her eyes, my how wary,
Her cheeks were like roses, her nose like a cherry;
Her fair little mouth was drawn up so’s to bite,
And the hair on her head was as black as the night;

The dangers she fled were as deadly as sin
And the safety she sought, oh–her lead, it was thin;
The plots, they did lead, and oh how I chased ’em,
While watching my subplots all full of odd whims:

A blink of my eye and a twist of my head
Soon’ll give me to know I had nothing to dread.
I’ll speak not a word, but return to my work,
And fill all the pages; then turn with a jerk,

And stretching my fingers, all done with their task
And after a click on the save key, I’ll finally bask.
I’ll spring to kitchen, to my fridge give a peek,
And filling a good bowl with th’ ice cream I’ll seek:

Then you’ll watch me update, ere the clock strikes midnight—‌
Happy NaNo to all. Put up the good fight.

(For more tip-filled posts, check out my previous NaNoWriMo posts:
It’s a Marathon, Not a Sprint
An Outline To Write By (for Plantsers and Plotters)
How to win NaNoWriMo
3 Things That Helped Me Win NaNoWriMo early
Craft Vs Professionalism )