Why I’m Paying Someone to Edit My Guide to Writing a Novel

Knowing yourself – ah, what an empowering thing!

And, clearly, Nathan Bransford knows himself well:

Josef_Wagner-Höhenberg_Die_Abrechnungby Nathan Bransford

A few months ago I announced that I’m going to be self-publishing aguide to writing a novel, and I’m pleased to report that I have finished and edited my first draft!

It has 42 chapters plus an epilogue, it covers both writing and revising, and it has more references to space monkeys than you can shake a fist at.

Now it’s time to get it edited. And I’m going to pay for a professional editor.

Why you might ask?

I don’t think everyone out there has to have their work professionally edited. Everyone needs some sort of good feedback on their work, whether that comes from their friends, from a critique partner, a friend, enemy… someone.

When I was an agent, I went ahead and assumed that everyone got feedback on their work, and what ultimately mattered was the final product, not who they received their feedback from. My post aboutwhether you should pay someone to edit your work still stands. You don’t have to pay for it.

But here’s the thing about asking for free critiques from critique partners: It requires reciprocity. And I’m just too busy to give the kind of feedback I would need to give to receive good feedback in return. I need to pay for it instead.

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Turning Adversity into Creative Growth

Not wanting to steal the following article’s thunder, but isn’t all creativity fueled by adversity? Aren’t our attempts to either escape or kick the crap out of adversity what being creative is all about?

Just asking.

creativitystuffby Scott Barry Kaufman, Pd.D.

“I create – in order not to cry.” — Painter Paul Klee

There’s little doubt that trauma can be immensely painful, often leaving deep emotional and psychological scars long after the stressful experience has passed. But can there be a silver lining?

In recent years, psychologists have become increasingly interested in the positive life changes that accompany highly stressful life events, such as being diagnosed with a chronic or terminal illness, losing a loved one, or sexual assault. This phenomenon has been referred to as posttraumatic growth, and researchers have discovered five particular areas of growth that often spring from adversity:

  • interpersonal relationships
  • the identification of new possibilities for one’s life
  • personal strength
  • spirituality
  • appreciation of life

A possible impact of growth in these domains is heightened creativity. Indeed, some of the most eminent creators of all time have noted overcoming adversity, using their negative experiences to inspire and motivate their work. Systematic studies have also shown a high preponderance of harsh early life events (e.g., early parental loss), psychological disorders (particularly among artists), and physical illness among eminent creators.

What about the rest of us? Can we all channel our trauma in creatively productive ways? Absolutely! Various forms of creative engagement, including art therapyand expressive writing, have demonstrated therapeutic benefits. Researchers have argued that creative expression offers therapeutic benefits because they increase engagement and flow, catharsis, distraction, positive emotions, and meaning-making. And now recent research also suggests a link between posttraumatic growth and creativity.

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How to turn a high concept idea into an actual story

TVWriter™’s favorite science fiction critic/aficionado/writer schools us…brilliantly:

s-f-conceptby Charlie Jane Anders

Every story begins with an idea. What’s amazing about science fiction stories is, they often start with a cool idea. Like a spin on space travel or robots that nobody’s ever thought of before. But how do you turn an idea into a story, with memorable characters and powerful moments? That’s often the hard part.

Just the same way there are no rules for good storytelling (other than “tell a good story”), there’s no right or wrong way to get an idea for a story. You might start out with a character or a cool scene, and build a whole story and concept around that. You could start with a world, and dream up the whole history of that world, before you figure out when/how your story starts and what the notion is. Or whatever.

But oftentimes, a great science fiction story does start with a high-concept idea — like, say, the first ever generation ship is halfway to another planet when we discover that the drugs we gave the colonists to protect against cosmic radiation are causing mutations, and maybe whatever arrives at the new planet won’t be exactly human any more. (Apologies if that doesn’t sound like a cool idea, I just came up with that on the fly.)

No matter how fascinating and inventive your basic story idea might be, it’s still not a story. There’s a term among science fiction writers and editors for a story that just lays out a cool idea and then ends: a H.A.I.T.E. story, which stands for “Here’s An Idea. The End.” At the very least, you want to have some progression in there, a beginning, middle and end, and maybe a few surprises along the way. And there need to be some people in there, to cope with the situations you’ve set up.

But you don’t just want to do the very least — you want to create an awesome story, that will stick in people’s minds after they’re done reading it. And for that, you need to engage people’s hearts as well as their minds. You need more than just a fleshed-out plot to go with your concept, you need some emotional hooks. Joy and pain, man. Like sunshine and rain.

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How & When Writers Do It

Great title! Great article! Man, we wish this had been written exclusively for us:

c1_center_centerby Susan K. Perry

What makes words flow? Some authors and poets swear by a highly particular writing ritual. Others swear they don’t do anything special to get to that place where the words begin pouring forth.

Some time back I questioned, in depth, a large number of novelists and poets (76 in all). Nearly all had won awards for their writing or were bestselling authors. When they described their creative process to me, most mentioned some sort of routine.

Not all writers concede that their routine is vital or important, or even that it matters all that much. Some, though, are aware that the activities they pursue pre-writing do matter. I suspect that the majority of the rest do what they do so routinely that their “rituals” are no longer on a conscious level.

The particulars of a writer’s rituals may be perceived as somewhat fetish-like. Whatever has worked in the past will work every time, right? Mustn’t deviate. Habits become entrenched, writing happens, and before you know it, you’re in flow.

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Cryptomnesia makes us accidental plagiarists

Best excuse explanation for intellectual property theft idea borrowing ever:

notacrimeadiseaseby Esther Inglis-Arkell

We know that people make up false memories if prompted. But since our brain never stops being a jerk, we can also convert real memories into things we believe we imagined. Cryptomnesia can strike via our own memories, or our memories of things that others tell us. One of the most famous cases of cryptomnesia destroyed the fantasy-writing career of Helen Keller.

Have you ever told people a joke that you’re sure that you made up – only to have someone point to a magazine or website where it was already published? It happens to a lot of people. Their mind registers a phrase or an event and keeps it around, but the provenance of the event is lost. After a sufficient amount of time, the event pops up in their brain, and they assume they made it up.

One of the most sensational cases of this, which made its way through the media and the courts, involving no less a beloved figure than Helen Keller. Keller, blind and deaf since early childhood, relied on her memory to get her through school, and through life.

When she was eleven, after she’d been working with Anne Sullivan for only a few years, she carefully wrote a story called The Frost King. Intended as a present for Michael Anagnos, the head of a school for the blind, it was published in his almuni magazine, and then picked up by local papers.

Helen Keller’s story was already well-known, so this remarkably precocious fantasy tale got a wider and wider circulation, until someone noticed something odd. It was an almost exact retelling of another story, The Frost Fairies, by Margaret Canby. Accusations of plagiarism started flying, and reporters combed through Helen’s history for evidence that she had read that book.

It was finally discovered at the home of a friend of the Keller family, who acknowledged that she had read the book to Helen while Anne Sullivan was on vacation. While Helen had her defenders, the specter of plagiarism was never entirely dispelled. Helen Keller wrote, much later in life, that the event scared her so much that she never again dared write any fiction.

Helen’s most famous defender was the famously cynical Mark Twain, who claimed that similar things had happened to him throughout his writing career. He was probably right. Cryptomnesia – the misattribution of memories – is a fairly easy trap to fall into.

According to the The British Journal of Psychiatry, we experience partial cryptomnesia all the time. We remember things, but don’t remember where we learned them. So we may recommend a book to the person who recommended it to us, or tell a new piece of gossip to the person who first told us about it. We remember learning something, but not where we learned it.

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LB: TVWriter™ Online Workshop, um, Update

For those who missed the E-Mail yesterday:

http://t.ms00.net/s/c?1d.q45x.1.rqx1.vru 

TVWriter™
http://tvwriter.com
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LB here with a few words about what’s happening with the TVWriter™ Online Workshops. Today’s big news is about the Advanced Workshop previously scheduled to begin this week, on Wednesday, May 15th.

Yes, I said “previously.” Because I’m postponing it a week. We’ll start May 22nd instead. Not because of anything terrible or even ominous, don’t worry about that. Just because I’m trying to conserve my energy so I can better deal with the deluge of People’s Pilot and Spec Scriptacular entries that always come in the week before those contests close. (Which, FTR record, is less than three weeks from today, on June 1, 2013.)

In order to keep myself strong and psyched, I’m going to take it easy this week. Loll around. Watch a few seasons worth of shows on Netflix. Immersing one’s self in all things Helen Mirren, especially PRIME SUSPECT is a terrific way to increase the old positive ion flow.

So relax, those of you who are signed up for the class. You’ve got another week left to prepare your first set of workshop pages. And if you’re not signed up, well, the good news is that there’s still one opening left. Feel free to email me if you want to talk about it.

On the Master Class front, well, teaching that is a bear. I read and discuss 3 complete scripts every week for 4 straight weeks, and that takes a lot of attention. So the likelihood is that I won’t be starting the next session till, oh, at least mid-June.

As far as the Basic Workshop is concerned, however, everything’s good. The June 25th opening date is still on, and since I haven’t spent much (read “any”) time recruiting new students, enrollment’s wide open.

What’s that? You need specific information? Price? Requirements? Curriculem? Piece of cake. Just click your way over to our oh-so-informative TVWriter University page and let it take it from there. Oh, and now, because munchman has his marketing hat on and is demanding that I do this: Here’s some hype:

TVWriter™’ and Larry Brody’s classes have provided foundations for the work of such current Big-Time TV and film writers as

  • Karen McCullah (Legally Blonde, Crazy Kind of Love)
  • Joe Wiseman (Just Shoot Me)
  • Curtis Gwinn (The Walking Dead)
  • Danny Thomsen (Smallville, Once Upon a Time)
  • Troy Devolld (Basketball Wives)
  • & more

There really is more, but this whole pitching thing makes me very uncomfortable so, in the words of David Hasselhoff back in the days of KNIGHTRIDER, “I’m outta here.”

Actually, he shortened that to just, “Outta here!” on set, and whoever was in the scene with him thought David was yelling for them to go away. Which meant that, inevitably, chaos ensued. Don’t you love actors? (Yeah, me too.)

LYMI,

LB

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