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Author Nancy J. Cohen discusses the writing process and life as a Florida resident.

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Archive for the ‘Writing Tips’ Category

Writing Goals for 2019

Posted by Nancy J. Cohen on January 8, 2019

Setting goals is critical if you want to get things done. For a writer, making a list of what you want to accomplish each year will put you on the right path. In an earlier blog post, I reviewed my goals for 2018. We discussed what got done and what didn’t. Authors can break down their goals into creative and business oriented tasks.

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So now let’s take a look at 2019. This might seem less ambitious than last year, but revising and reissuing my backlist titles is my main goal. That project could take the entire year, because I go through each book to tighten the writing and then do a full read-through once for any further changes and again to check for conversion errors after formatting. It takes time, because I want each book to be the best possible version. So I am not going to set myself too many tasks beyond this one.

CREATIVE GOALS

Reissue remaining backlist titles (6 romances + 4 mysteries)

Write and publish Easter Hair Hunt, #16 in the Bad Hair Day Mysteries

Write and publish a Bad Hair Day recipe book

BUSINESS GOALS

Enter latest releases in writing contests

Carry on with newsletter, blogs and social media

Update website in terms of hosting and other behind-the-scenes decisions

Bundle books into box sets

Consider wider distribution for audiobooks

LEARNING GOALS

Learn how to use various book production tools as new opportunities arise

Learn how to plan and promote book sales after all my backlist titles are under my control

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Five years ago, I wrote a list of long-term, five-year goals. I am pleased to say that I am on target with most of these items. Once this year’s goals are met, it will be time for a career reassessment. Only by resetting our overall goals periodically can we gain clarity on the best path to take next.

What is the main item you want to get done this year?

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Posted in The Writing Life, Business of Writing, Self-Publishing, Fiction Writing, Marketing, Writing Tips | Tagged: , , , , , , | 2 Comments »

Tips for Query Letters

Posted by Nancy J. Cohen on December 13, 2018

Do you want to send an agent a query letter but have no idea what it should include? Or perhaps you’ve sent out several queries and you keep getting rejections. What could you be doing wrong? Here are some steps you can take to put yourself on the path to success.

Query Letters

· Check the guidelines for submissions on the agent’s website. This will tell you what genres the person represents and if they prefer email or snail mail submissions. The guidelines will also state if you should include any sample chapters.

· Make sure the agent does not require an exclusive submission. If so, you’d lose months while waiting for a response. See if the agent mentions their expected response time.

· Write a one-page snappy query letter introducing yourself, giving the word count and genre for your book, a catchy story blurb, and your writing credits. If possible, include a hot premise or marketing hook that makes your story stand out. This means using keywords such as “paranormal” or “dystopian” or “domestic suspense” or saying your story is “Indiana Jones meets Romancing the Stone.” If you can compare your style to similar published authors, do so without bragging about how your book is as wonderful as Ms. Bestselling Author.

· Be careful not to sound as though your writing is all over the board in terms of genres. Be clear about your focus. For example, don’t give the genre as a suspense novel and then mention that it takes place on another planet and your next book will be a vampire story. You’ll want to build your author brand by focusing on one genre as you grow your readership.

· Do not describe your life history or any personal details unless they relate directly to your book. Do include if you belong to a critique group, have won writing contests, or if you’ve attended writing workshops and conferences.

· You can also mention why readers might want to read your book. What is the value in it for them? Again, don’t brag and say it’s the most exciting book they’ll ever read, or it’s a fast-paced thrill ride. This is for readers to determine. But if it helps them appreciate family values or learn about how you can rise above past mistakes, this could be useful to include as a theme.

Basic Structure

First Paragraph – State your book’s title, genre and word count. Here you can put if you’re a published author seeking representation or a new author seeking an agent for your first book.

Second Paragraph – This is your catchy book blurb. Write it like a log line for a TV show or like the back cover copy of your book. You’ll want to engage the reader’s interest.

Third Paragraph – Here offer your biography as it applies to your writing, including works you’ve published, memberships in professional writing organizations, writing workshops you’ve attended, critique group participation. Mention any expertise or work credentials that apply to your book. You can also make marketing suggestions or mention your proposed target audience. Mention if your story is book one of a series.

Last Remarks – Thank the agent for their consideration and offer to send the completed manuscript upon request. Do mention if this is a multiple submission.

Signature Line – Here is where you can add your social media links. Doubtless the agent, if interested, will look you up to see if you have an online platform.

If you hear nothing back from the agent for a couple of months, send a follow-up email to ask if she’s received your query. Be courteous and respectful of the agent’s time. Be aware that some agents won’t respond at all, and this can be taken as a rejection. But follow through at least once to make sure your email was received. As an alternative, you can request a return receipt for when the agent opens the message.

If you receive a rejection letter with detailed suggestions for your work, write a thank you note. Remember, an author-agent relationship is a two-way street. Just as you want to hire the ideal agent, the agent wants to land the ideal client. Be courteous, professional, and savvy about the industry. Also respect that while the agent might offer suggestions for improvements, this is not an invitation to resubmit your work unless the agent says so in her response.

Resources

http://queryshark.blogspot.com/
http://bit.ly/2OuiFX2
http://wp.me/pHSwk-3e3

 

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Plotting Questions For Mystery Writers

Posted by Nancy J. Cohen on September 22, 2018

Your main goal in writing a mystery, or any kind of fictional work, is to create story questions in the reader’s mind. This creates suspense that you need to propel the story forward. Even as you are plotting the book, assuming you’re a plotter like me and not a pantser (figuring it out as you go), you need to keep asking yourself ongoing questions.

Plotting Questions

Let’s take a story I have in mind as an example. The setting is a historic house. Suspects may include the head docent, the owner or owner’s children, a board of trustees if they own the place, the gardener, café manager, and gift shop lady. Objects are being stolen from this house one at a time so the theft won’t be noticed. So here we come to several questions.

Why is someone stealing valuable objects?

The thief needs money. What for?

Gambling debts (a bingo addict? Horse races? Jai A’lai games? Illegal online gambling?)
Medical care (expensive medications for a hidden disease? Medical treatment for a loved one? Nursing home care for an aged relative?)
To pay back a loan or to pay blackmail money
Greed (he’s not getting paid enough)
To hide financial losses

Or the thief is stealing out of a sense of entitlement. The culprit feels these items should be rightfully his because the former owner (a distant relative?) swindled his father out of his inheritance. Or was his father cheated by a business partner, the former owner of the estate?

Note that you can assign one of these motives to each suspect without deciding which one is the killer. It’ll make them all seem guilty.

Next question would be: Who has access to the house? This could be any of the above named suspects, plus the cleaning staff, repairmen, or other minor players.

So the thief steals these items. How does he sell them? Does he go through a person acting as fence? If so, how did he gain this criminal connection? Has he been incarcerated, which is where he got the idea for thievery and learned these skills? Or maybe the culprit is a woman lonely for attention who’s been seduced by a bad boy?

What about security? Are the valuable items in locked display cases? Is there video monitoring, motion detectors, glass-break alarms? Or are the objects in plain sight in various rooms guarded by security personnel until closing time?

Now we come to the next big question. Who is killed and why? Did the victim witness the thief in action? Maybe he saw the crook hand off the item to his fence in exchange for a wad of cash. Or he stumbled into the culprit and the stolen object tumbled from the thief’s jacket onto the ground. Either way, this appears to be a crime of opportunity.

The sleuth finds the body. What is the means of murder? Where does she find the victim? Let’s say the sleuth also discovers one of the stolen items on the estate grounds. How does it get there? Did the thief mean to get rid of the evidence, or did the item fall from his pocket accidentally?

Now let’s turn everything around. Thefts have been taking place at this estate, and the suspects all seem to be hiding these secret motives we’ve discussed. But what if the victim’s death was premeditated? The autopsy reveals that this act was set in motion even before the day’s events began. He died from poison, not the knife wound. Plot twist! Now your sleuth has to reexamine all the motives, the access to the victim, and the specialized knowledge needed to commit the murder.

If you’re a mystery writer who likes to plan things out in advance, you need to answer all these questions before you begin writing the novel. You might be a pantser who starts with a story crisis and keeps writing, being surprised along the way. But as you can see, a plotter can be surprised as well when these plot twists pop up. I call this process story magic coming into play. The point is to keep asking questions. These same questions will plague your readers, and that creates suspense. When one issue is settled, you’ll need to raise more questions to keep the tension going throughout the book.

For more on this topic, see my previous posts on Writing the Mystery

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Joyce Sweeney’s Plot Clock

Posted by Nancy J. Cohen on August 20, 2018

This past weekend, writing coach Joyce Sweeney gave a workshop on The Plot Clock at the August meeting of Mystery Writers of America Florida Chapter. You can sign up for a webinar on this topic at her website: http://www.sweeneywritingcoach.com/. Here’s what I learned. Any errors are due to my misinterpretation.

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Start with this question before you begin plotting: What will happen to your protagonist so he has to change and transform? In a mystery, how will the murder challenge your main character?

Act One of this four-act structure includes the Inciting Event. The person who doesn’t want to change meets an event that will cause him to transform. At this stage, he is reluctant to get involved. He fights against the inevitable until something compelling happens that he can’t avoid. This is called the Binding Point.

Act Two finds the hero entering the special world of the story. In a mystery, this is when the sleuth commits to solving the crime. But the protagonist hasn’t changed yet and makes mistakes. Things go badly for him. As a writer, ask yourself what’s the worst thing that can happen to this character? He keeps losing ground and struggles to carry on until he reaches a Low Point. This happens in the middle of the book.

In Act Three, the hero determines to improve and fight on. By doing the right thing, he gains ground. He may have followed the wrong path and has changed direction. Now he is on the proper trail. But we still need to escalate tension. As the protagonist gets closer to identifying the murderer, the bad guy reacts. More deaths may occur. Attempts on the hero’s life might threaten him. The sleuth is doing better at solving the crime, but the killer is now on to him. For every action the hero makes, the villain makes a countermove.

The Turning Point comes out of left field and moves us into Act Four. Nobody could have anticipated this plot twist. It derails the main character so that he questions his purpose and wants to quit, or “turn away.” Here you must raise the stakes so he can’t quit. He rallies and “turns back” to solve the mystery.

The Climax comes close to the end. You should be layering in the explanations about the suspects’ motives so the Denouement is short and doesn’t drag on.

For more details, visit Joyce’s site at http://www.sweeneywritingcoach.com/

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Having Too Many Story Ideas

Posted by Nancy J. Cohen on July 9, 2018

Writer’s Block is often interpreted to mean that a writer stumbles over what to write next. Or he comes to a complete halt due to outside distractions or loss of confidence. But what about when he has so many ideas, that he can’t complete a single one? This can be conceived as another type of writer’s block.

Story Ideas

“I have too many ideas at once, and I don’t know which one to pick,” an aspiring author wrote to me. “What is your advice on this issue?”

It’s great if you have lots of story ideas. It’s not so good if you allow them to distract you until you can’t write anything. Or maybe you’ll write a bit on each one but never finish a single novel. My suggestion would be to pick the one idea that excites you the most and keep writing until you finish the first draft. Yes, it’s that simple.

“You’ve had two series going on together. How did you manage it, both mentally and during the actual writing? Was it difficult going back and forth? Is it easier to finish one at a time?”

I can only work on one project at a time. Even when I was writing two series in different genres, I would focus on one book until it was finished and in the hands of my editor. When that book was completely done, I would turn to the next project.

What happens when you have so many ideas that they interfere with your concentration? Write them down. Keep a “New Idea” file or a “Plotting” file and jot down your notes. Then put them aside until you finish your current project.

Set yourself daily and weekly writing goals for your story of choice. Then sit your butt in the chair and drive yourself each day until you meet your quota. Do not stop if one of those tempting ideas entices you. Concentrate on the book at hand. Later on, those ideas will either be viable or not. You’ll know better when you gain some perspective. For now, you have one project only that you need to finish. To reiterate:

· Pick your project.

· Set your writing goals.

· Write down all the distracting ideas in your head and set them aside.

· Begin on your daily writing quota.

· Keep writing until you finish the first draft.

Next come revisions, and that’s another topic we’ve already addressed here. Your book isn’t done until it’s done. Edited, Revised, Polished, and Submitted.

Then and only then, you may turn to your list of potential new projects. If you’re writing a series, you will need to begin the next installment. If not, listen to your heart and determine which idea is calling to you. Your passion will shine through in your words. Have some ideas that don’t resonate anymore? Scratch them off the list. You want to be excited enough that the buoyancy will sustain you throughout an entire novel. One idea at a time. One day at a time. One page at a time.

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Fine Tuning Your Novel

Posted by Nancy J. Cohen on June 7, 2018

You’ve read through your novel for the umpteenth time and can barely look at it anymore. Then your advance reading copy or final pdf file arrives, and it’s time for a last glance before sending your baby into the world. Will you still find changes to make? Undoubtedly. Sometimes these are conversion errors. Or you may notice typos or word choices that need a tweak.

Fine Tuning

Trimmed to Death, #15 in the Bad Hair Day Mysteries, is set to debut on Sept. 25. Check out the latest changes I’ve made and you’ll gain some insight into the mind of a writer. Caution – There may be spoilers.

p. 74 – bustled … bustle.

A few minutes later, Janet bustled down the stairs along with her housekeeper. After giving the woman an order and watching her bustle off toward another part of the house, Janet turned to Marla.

Change “bustle” to “scurry” so it reads …watching her scurry off…

p. 78 – “get involved” x 2

Janet clapped her hands. “It sounds wonderful. I’d love to get involved. Tony, you could ask Tristan to donate some of his desserts. You cross paths on occasion.” She turned to Marla. “His restaurant buys vegetables from our farm. They like to advertise how their dishes contain ingredients from sustainable food sources.”

“That would be amazing if his restaurant would get involved in our charity event. They’d benefit from the publicity as well.”

Change “I’d love to get involved” to “be included.” So it should say, I’d love to be included.

p. 103 –Marla winced. “I know what you mean. I’m wondering if you knew Francine Dodger, publisher of Eat Well Now magazine.

Delete “Marla winced” on this line. I use “wince” too many times.

p. 125 – “It says, ‘Meet me at midnight by the Living Tree. All hail Osiris.’ “

Last quote mark is reversed.

p. 148 – “You can tell, huh? Your dad called with bad news. Another woman is his case was found dead.” Change “is” to “in”

p. 154 – “Why are you so afraid, Janet?

Add quote mark at end of sentence

p. 161 – “Actually, I came to order lunch. Can get you get me a turkey delight to go?”

Can get you get me. Delete first “get”

p. 165 – “Lynette theorized that Francine would have made an effort to buy the magazine from the conglomerate that owns it.

Made an offer, not made an effort. Change effort to offer.

p. 170 – “I’ll give you a taste of our olive oil varieties after we return.”

Marla’s jaw dropped as she noticed the variety of goods for sale.

Varieties … variety. Change “variety” of goods to “range” of goods

p. 178 – Used “message” x 3.

Chills ran up Marla’s spine as she scanned the message. Mind your own business or you’ll be next.

[Chapter Break]

“It looks as though the message was printed on a sheet of white computer paper.” Marla snapped a photo and messaged it to Dalton.

Change “messaged” to “sent” in this last sentence.

p. 180 – The word “property” is used too many times.

“Without color of title means we’ve been paying property taxes and any liens on the property, as well as meeting the other conditions. Besides occupying the property for a minimum of seven years, we have to be in open use of the property, essentially acting as the sole owner.”

Change “occupying the property” to “occupying the place”

p. 199 – Used “man” x 3.

“If his column is losing readers, it’s because the man has lost his edge.”

“Could he have wanted to get her out of the way?” Dalton studied the other man’s face.

“Are you kidding? Man, that guy couldn’t hurt a fly. He doesn’t have it in him.”

Remove this “Man” and just say, “That guy couldn’t hurt a fly.

p. 204 – She could have quite a list of personal indiscretions hidden away. Change to: She could have had quite a … Add “had” in this sentence. This refers to the victim.

p. 231 – Used “took” x 2

The camera wasn’t in Francine’s purse and hasn’t been turned in by anyone.”

“Do you believe the killer took it?”

“It’s possible. The pictures Francine took could be useful to the case.”

Change to, Do you believe the killer kept it?

p. 249 – Referencing Marla’s stepdaughter in this paragraph:

Meanwhile, it promised to be a bumpy ride. Dalton likely wouldn’t approve of any guy she brought home for them to meet until he’d done a thorough background check and conducted a personal interview. She couldn’t blame the girl for being guarded about her love life and had to trust her to make the right decisions.

Change “she” to “Marla” in the beginning of this sentence to clarify: Marla couldn’t blame the girl for being guarded about her love life and had to trust her to make the right decisions.

Recipes:

p. 274: spice cake mix is not capitalized

p. 275: Yellow Cake Mix is capitalized

Choose one or the other for consistency

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It is not easy to scrutinize your work line-by-line and word-for-word, but this is part of the writing process. You want your book to be the best it can be, and this is the way. Positive feedback from readers makes it all worthwhile.   CLICK TO TWEET

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Posted in Fiction Writing, The Writing Life, Writing Craft, Writing Tips | Tagged: , , , , , | 6 Comments »

Orlando Book Festival

Posted by Nancy J. Cohen on April 26, 2018

This was my first time participating in the one-day Orlando Book Festival held on April 21, 2018 at Orlando Public Library in downtown Orlando. I got there by 10:00 am and listened to part of the opening speech by bestselling YA author S. Jae-Jones.

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My panel came next, so I hustled to the second floor tech center where our table waited. Other panelists were bestselling thriller author David Hagberg, Amy Christine Parker, and Lori Roy with Jennifer Morrison as moderator. We discussed mysteries and thrillers and answered audience questions. It was interesting hearing what my fellow panelists had to say.

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Although the library supplied a “green room” with snacks and water bottles, we were on our own for lunch. My husband and I bought sub sandwiches at a nearby fast food place for a meal. Then I attended an interesting workshop about writing tools by Dr. Roy Peter Clark from the Poynter Institute. He discussed the phrase, “The Queen, my lord, is dead.” Which parts of this sentence matter? It could have been written differently, such as, “My lord, the Queen is dead.” Or, “The Queen is dead, my lord.” Dr. Clark pointed out how in any sentence, the word next to the period is the emphatic word. Thus the word “dead” in the original phrase is the most important one. The second most important word would be “Queen” and this comes in the beginning. The lesson? Have the most important word or phrase at the end of a sentence and preferably also at the end of a paragraph.

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The final speech of the day was an entertaining talk by bestselling thriller author David Baldacci. He’s a great speaker with stories about his adventures that kept the audience enthralled.

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The entire event was well-organized with an on-site bookstore run by Writer’s Block Bookstore. Various local writing organizations offered informative materials at exhibitor tables. A mass booksigning followed the day’s talks. I was honored to be included in this year’s book festival.

Orlando Book Festival

 

 

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Inconsistent Characters

Posted by Nancy J. Cohen on April 16, 2018

Revisions for our novels should include a complete read-through for repetitions and inconsistencies. What do we mean by the latter? You’ll want to take a look at your characters to see if they are behaving in a manner consistent with their personality. As a writer, this should be an essential part of your self-editing process. Below are some examples.

Inconsistent Characters

What’s wrong with this passage?

Dalton went for his gun, but Marla slapped his hand away. “Don’t risk it. You don’t know what we’re up against yet. And they won’t know you’re armed.”

Marla would never slap Dalton’s hand away. He’s a police officer. He knows his business. He’s allowed her to come along on a night mission, which she shouldn’t jeopardize this way.

Often it’s my critique group that catches these kinds of mistakes. In this case, I read those sentences and frowned. Wait a minute. Marla would never do this. I went back and changed it.

Ditto for Marla acting dumb. My editor has caught me on this one more than a few times. “Marla is too smart not to figure this out when everyone else knows what’s going on.” She isn’t acting in character when she’s too dense. Same goes for Dalton. Should he let Marla accompany him to interview suspects without protesting or finding an important reason for her to come along?

This also goes for mannerisms of speech. Your rough-around-the-edges hero isn’t going to suddenly say, “Oh, good heavens.” His dialogue should be consistent with his personality.

Here are more examples from my current work-in-progress. Marla and Dalton are talking about the victim.

“That would have given someone plenty of time to whack her on the head and get away,” Dalton said.

“Do you truly believe another person did this to her?” Marla’s glance darted to the rows of strawberry plants, the water-lined canal, and the tall sugar cane. Was the culprit watching them from some hidden viewpoint? Should they be worried he might return?

My editor said, It’s obvious another person did this to her. Could the woman whack herself on the back of her head?

“This injury is indicative of a blow to the back of the head,” Dalton replied. “The medical examiner will determine the exact cause of death, though.”

Would he say this to Marla when the gash is evident? Not according to my editor, who wrote, “This is another dumb remark. Of course matted blood to the back of the head is “indicative” of a blow to the back of the head!!!”

I’m lucky my editor isn’t afraid to call the shots as she sees them. She’s always right. Here is my rewrite. See what you think:

“So that would have given someone plenty of time to whack her on the head and get away.”

“Are you certain the blow is what killed her?” Marla’s glance darted to the rows of strawberry plants, the water-lined canal, and the tall sugar cane. Was the culprit watching them from some hidden viewpoint? Should they be worried he might return?

“That’s not for me to say, but it would be my best guess. The medical examiner will determine the exact cause of death.”

We hope to catch these errors during the revision process. What we write during the heat of the story-making process doesn’t always pass muster when examined under the editorial microscope.

 

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12 Steps for Revising Your Novel

Posted by Nancy J. Cohen on March 27, 2018

Revisions on your novel can seem like a never-ending task. This seems especially true when you get a letter from a reader years later to tell you about a misspelled word. We’re never going to get it absolutely perfect, but we can do our best.

revision steps for your novel

In an earlier post, I’d mentioned the Five Stages of Writing. I’ve also talked in other posts about line editing and other techniques for improving your work. What comes next after you’ve sent the book in to your editor? Here’s a list of suggestions:

1. Make the corrections advised by your editor when she sends your story back with comments.

2. Check your formatting throughout the manuscript after making a series of changes. Be sure all chapter headings are consistent. Turn on the paragraph symbol in Word and look for misplaced sentences or extra spaces. Do a search for [space]^p and replace with ^p. Then do a search for ^p[space] and replace with ^p. This gets rid of extra spaces before and after a paragraph.

3. Review your editor’s comments to make sure you haven’t skipped anything.

4. Revise the synopsis and chapter outlines to reflect any changes to the story or the timeline.

5. Do a thorough read-through to make sure everything reads smoothly and to see if you caught all the changes. One change may lead to another, and you might miss some if they’re one or two lines here and there.

6. Do another read-through if these second round of changes were significant.

7. Consider using a software program like Smart-Edit to check for redundancies, repetitions, or clichés that your editor might have missed. (Or do this step before you turn in your manuscript for the first time.)

8. Send the book to beta readers for another round of critiques from the readers’ viewpoint and for proofreading. If you are traditionally published, this is when you send the book in for copy edits.

9. Follow-up with another round of revisions and a complete read-through again.

10. Send in the finalized book to your editorial house or to your formatter for production.

11. Read through the entire ARC (advance reading copy) for conversion errors and final tweaks.

12. Approve the final version.

What else do you do during the Revisions Stage?

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Holding Patterns

Posted by Nancy J. Cohen on February 26, 2018

Holding Patterns

Sometimes as writers, we have to wait on others to progress with our current works in progress. When you are waiting for the copy edits from your traditional publisher, for example, is one instance of this. We play the waiting game when we send in submissions, anticipate our advance reading copies, or expect our edits to come any day. It’s part of the game. What you need to do during this time of inactivity is to either work on your next project or focus on marketing strategies.

As part of my goals for this year as mentioned in an earlier post, I plan to have five releases. Two of these objectives have been met. Silver Serenade came out in a revised ebook edition and Died Blonde made a revised paperback debut. What about the rest?

I’m waiting on my developmental editor for Trimmed to Death, the next Bad Hair Day mystery.
I’m waiting on my narrator for the audiobook edition of Body Wave.
I’m waiting on my cover artist for the expanded second edition of Writing the Cozy Mystery.

Am I planning a marketing campaign for any of these projects or working on the next creative endeavor in the meantime? Sorry…but no. This break comes at a good time. Our daughter is getting married. My spare moments are taken up with researching bridal shower venues and mother-of-the-bride dresses. This is a big reason why you’re not hearing from me so much on this blog at present. If you like, I can discuss the restaurants we’ve visited and the beautiful dresses I’m seeing, but it’s not writing advice. It is life experience. Depends on which journey you want to read about here.

I’m not totally lazing about, however. I have been preparing three PowerPoint presentations for upcoming events. See my Appearances page if you wish to know where I’ll be speaking. And I’m revising Keeper of the Rings, an earlier science fiction romance. So I am still being productive even if it’s not on the three projects above.

Things are bound to get more intense as the nuptials get closer, so I might have to put off one of my planned releases until later in the year. A book release requires a lot of effort if you mean to send out review copies, write blogs for blog tours, plan launch parties, and more. And all of these three projects will require special attention in that way. So their releases will have to be spaced out accordingly.

What do you work on while you’re in a holding pattern for your current project?

 

Posted in Business of Writing, Fiction Writing, The Writing Life, Writing Tips | Tagged: , , , , | 10 Comments »

 
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