When is Enough Enough?

The beginning of a new year, with the attendant emphasis on endings and beginnings, is an appropriate time to discuss a matter that often confronts writers: the question of when -- or whether -- to shelve a manuscript and start a new one.

When I'm wearing my editing hat over at Gentle Pen, I often see manuscripts that are in dire need of a rewrite. Of course, the authors are upset when I impart this news. Some say they'll buckle down and get to it; others refuse. Why? Quite bluntly, some are just lazy. But others are so exhausted after having done at least one major rewrite that they freak at the thought of having to do another one. So I suggest ways to handle the edits, ways to break them down into manageable stages. (After all, sometimes just a few changes in choices can having resounding effects.) But even with the task broken down or when given line-by-line directions, some writers feel overwhelmed. They're so horrified at the idea of having to work on their manuscripts again that they inwardly shudder. What to do?

First, I reassure them. I explain that rewrites, or even multiple rewrites, are simply a fact of the writing life, sort of like death and taxes. Some of our most lauded and/or bestselling authors have written, and rewritten, a work five, or six times or more. And sometimes that encouragement helps. But every now and then a writer just shakes his head and says, "I'm sorry. I just can't bring myself to work on the dang thing anymore." What do I say then?

I tell them that I fully understand. Believe me, I do. There have been times when the thought of rereading, much less actually reworking, one of my manuscripts has made me ill. I've "rewritten" myself out, so to speak. Those are the times when I start wondering, "When is enough enough? When is it time to set this baby aside and work on something else?"

Scenes tend to come to me with almost 3D cinematic brilliance. I can see the sparkling evening gowns, smell the sexy perfume and the gun smoke; I can hear the jazzy saxophones, the screeching cars, and the scream of the silenced witness, etc. So when I start typing, it's with high hopes. But then I reread what I've written and, low and behold, everything is in flat 2D. The mental images conjured up are washed out, the pace slow or inconsistent. The dialog just doesn't have that snap, crackle and pop it's supposed to. So I work on it, work on it, work on it. The manuscript improves. I set it aside, wait a while, and read it fresh eyes. It's better, but it's not quite there yet. I work on it some more, set it aside, etc., and the cycle continues. For weeks or months, it goes on. Does any of this sound familiar?

Eventually, comes a time of reckoning. A decision must be made. I've run out of ideas for improving the book and it still isn't as rich an experience as it could be, should be. What do I do? Depending on the story, I might actually decide that I don't YET have the storytelling (i.e., technical) skills to tell a tale the way it should be. It's time to set it aside and move on.

If I make such a decision, I do it with faith, not frustration. I don't toss the manuscript aside, bury it under a pile of papers, or banish it to the nether regions of my hard drive. I know that I've done the best I can and know that I will return to it -- when the time is right. I have learned something new with every book, so I look forward to the wonderful experience of applying a new insight or skill to a previous finished but unpolished manuscript.

(Please note that I said 'finished.' You can substitute the phrase 'full draft.' I've often seen people rework one or two chapters to death and never get any further. It's important to set those chapters aside and move on. For the most part, rewrites should not be attempted until you've written down as much of the story as you can. Most of us get new ideas while writing and the story can take off in unforeseen directions. You'll never get to that point if you confine yourself to the first few chapters. So write the story through, then do your cycle of rewrites and set asides.)

One final observation in this jumbled entry: So many not-yet published writers are so focused on getting that one book out that they lose sight of the fact that authors mature and develop over time. The publishing industry's emphasis on its bottom-line has put writers under the gun to have a "bestseller" the first time and every time we come out of the gate. What a terribly unrealistic and destructive idea.

The fact is, authors build up their skills over the course of writing book after book after book. And they build up their fan base by putting out a body of work. Have you ever heard of the term "one-hit wonder?" Well, it applies to writers, too. If you don't want to be a one-hit wonder, then as a writer, you'll have to produce, again and again, at a fairly consistent level of quality. That means an investment of time and practice and learning from your mistakes. Writers who focus too long on one manuscript, telling themselves, "It just has to be perfect," run the risk of neglecting other ideas that could be developed and of stunting their learning curve.

In conclusion, I'd say please do acknowledge the realistic and unavoidable need for writing a story to its end and then doing rewrites of it, but don't let a sense of frustrated obligation to one manuscript keep you from going ahead and working on others. Strike a fair and realistic balance. Each manuscript is a work of art; each provides a lesson in the practice of your craft. Give each your best and then move on.

My best wishes for a Happy and Productive New Year!

Persia Walker

Sundays with Gammy on Friday

Hello, Everybody,
Just moved into my new home near the Catskill Mountains and I'm loving it! Sitting amongst boxes, and boxes, and boxes. I've been computer (and Time-Warner) challenged for a coupla' weeks, and am just now getting everything somewhat settled and working. My blog-comeback was to start Sundays in January--and because I'll be out of town on Sunday--I'm writing thoughts down today--better early than never?!

One of my passions is films. I look to see what's au courant, what's selling, and try to check out and analyze the "concept-driven" movies. Hey, I'm really serious about my intention of getting my books to film, and thus am certainly influenced by this medium.

Films I've seen lately that have made me flip--backwards! Ghoulish, gruesome, arty and disgusting. Sweeney Tood: The Demon Barber of Fleet Street. Sorry, I couldn't take it. Too much blood and gore--and premiering through the holiday season?! Peace on earth, good will to men, and guv'nor, your slit necks on the side? Ugh.

Next on my list of do-not-recommend movies is: No Country for Old Men. It stops, for god's sakes. It doesn't end--it stops! Unforgiveable. Yes, okay, Javier Bardem is absolutely juicy and vicious and villainous, a great performance, but the plot crumbles badly two-thirds of the way through, and if you listen and look carefully, inconsistencies pop up all over the place and it dissembles rapidly. Some terrific actors in the movie, however. Interesting performances to watch--in spite of the Cohen brothers mangling the end.

Ah yes, and the heartwarming, awe-inspiring movie that I loved--The Great Debaters. Denzel is in great form and you get a piece of history you don't want to miss. It tells of a time when black pride was vested heavily in education and intellectualism revered. As I watched it, it reminded me how our people have always been great speakers and preachers. All of this silver-tongued oratory paved the way for the rappers today, believe it or not. I'll bet black youth today don't even know who James Farmer was, didn't realize his contribution to the civil rights movement. For me, his was the more important story, even though Tolson (played by Denzel) was the focus of this film.

And ba-a-a-by, Jurnee Smollet is all grown up and smokin' in her role as one of the debaters--that slap she gave Jermain Williams resonated round the world. That was no stage slap. That was FOR REAL! Whoa., baby. And another historical fact resonated. Black women were out there TCB, challenging men and giving them a run for their money long before the feminists could get a band wagon together. All together, a feel-good movie for blacks and whites alike. Kudos to the writer, Robert Eisele.

Next up, I'm looking forward to Will's Smith new feature, I AM LEGEND. I'm trying to get to Will Smith for a project. Anybody know somebody who knows somebody who knows somebody?

That's all for now. What about you? Seen any movies lately?

Gammy L. Singer

What's at stake?

Last week, I mentioned I wanted to discuss Donald Maas's Writing the Breakout Novel. I'm reading it as part of my never-ending effort to further improve my craft.

I haven't finished Maas's book yet. So much to do, so little time. You all know what I'm talking about. But one of the things that struck a cord with me is his reference to constantly raising the stakes.

It's an obvious question. What's at stake? What does your heroine/hero have to lose? Upping the stakes at each turn increases the tension and suspense. Let's take a look at this technique, starting with Angela's The Company You Keep, the first book in her Kendra Clayton mystery series.

In The Company You Keep, Kendra wants to find out who killed her best friend's boyfriend. So what? What's at stake, you ask? Kendra's best friend is at stake. The police like her for the murder. Angela raises the stakes several more times, but I don't want to give too much away.

We'll move on to my recent release, On Fire. What's at stake? The heroine's career is at stake. Along the way, I raised the stakes to public safety by adding a serial arsonist and made it personal by introducing you to one of the victims. Then I raised the stakes a couple more times, including framing the hero for the crimes.

In my debut romantic suspense, You Belong to Me, I raised the stakes several times as well. First, by placing the hero on the brink of financial ruin, then endangering the project that's supposed to rebuild his company, and a couple of other things that would give away too much if I mentioned them.

You may remember I'm a copious plotter. I've added asking, "So what?" when I outline my plots now, just to make sure I don't forget to raise the stakes. In your latest book or work in progress, what's at stake?

Happy 2008, everyone! I wish us all great publishing success.

Patricia