I’m fixated on plot and structure at the moment – you may be, too, if you’re a writer tackling revisions on a work in progress or a NaNoWriMo draft from last year.
This year, for the first time, I’m editing a manuscript that I’ve left for a long, long rest. I wrote it more than a year ago. I haven’t let a first draft sit for so long before, but I’ve been tied up with revisions on my middle grade sci-fi which is on submission (gulp, choke) with publishers. I completely credit plot and structure thinkers like Darcy Pattison and James Scott Bell with helping me get that manuscript this far – it was their advice that helped me turn my earlier draft of the sci-fi story into something stronger.
If you haven’t read NOVEL METAMORPHOSIS (which was the one craft book that all four tutors at the BookBoundUK Retreat I attended in 2014 unanimously recommended) definitely get a hold of it. I’m also slightly addicted currently to James Scott Bell’s WRITE YOUR NOVEL FROM THE MIDDLE.
Here in Edinburgh our SCBWI Southeast Scotland network hosted a workshop by Scottish YA author Christina Banach earlier this month, giving a quick tour of Bell’s plot and structure techniques. Places were limited and sold out quickly for that intensive, but I did a write up of the plot workshop here for Words and Pictures, the SCBWI British Isles magazine, if you want to read up.
What struck me most about the day was the renewed focus it gave me on plot stakes and character “death” – be that physical, emotional (“dying inside”) or professional death – as James Scott Bell discusses in his various structure books.
In fact, on reading THE LIE TREE recently by Frances Hardinge – it’s just won the overall Costa award here in the UK, deservedly so – it struck me that all three kinds of death are grappled with, both within the main character and within her father who she so admires. In fact the whole story could be described as “death by Victorianism;” wow, that era knew how to make folk suffer.
Reflect and snap
I’ve been trying to reflect more on my writing, as my SCBWI buddy Louise Kelly recommended; Snapchat has been useful for this, as it lets me scrapbook images and video clips that capture what I’m thinking about the revising process.
If you don’t know Snapchat, you’re probably not aged 18 to 24; neither am I. But it may be worth investigating, because it does make keeping a video diary quite easy. Although it first began as a straight messaging app, similar to Skype, Snapchat now lets anyone post pictures and videos to their “story,” a.k.a. public timeline, visible to anyone.
Snapchat poses huge challenges, though, for those of us trying to get a handle on it – and not just because all content vanishes after 24 hours. There are also no hashtags, no lists as on Twitter, and no way to search public timelines, although the user directory can be searched by user name. It’s like a treasure hunt, finding publishing peeps to follow, but some cool folks I’m following on Snapchat include mega-agent Suzie Townsend, plus Chronicle Books and Quirk Books (sztownsend81, ChronicleBooks and QuirkBooks).
I’m cobbling together my snaps in YouTube, but there’s not much there at the moment – could be useful, however, if you’re an author curious about how others are using Snapchat. I’M NO EXPERT, but I am rather enjoying what it’s doing for my vow to be more reflective.
Whatever you’re working on, I hope your writing’s going well. You can find me on Twitter here or add me on Snapchat at sheilamaverbuch.