A Fresh Start: When Not to Edit, and Start From Scratch Instead

An editor by trade would have to be crazy or willing to commit career hari-kari to say there's ever a time not to edit. But there is a time — two in fact — when you're completely stuck for an idea and when you want an organic scene that tinkering with what you've got won't do.

Just do it - write!

One of the scariest things for a writer, especially one like me with a background in journalism or any nonfiction form, is to leave the familiar — the facts, the outline, the first draft — for the unfamiliar. Yet, only in uncharted waters is discovery made. Take that first example of being stuck for an idea. It could be for a story or a scene; it could even be for a character. Recently, a friend told me over lunch that she has a career military officer character for whom she needs to write a difficult scene that reveals an inciting incident from his past. Since she was having trouble with what the incident produced in his life, she was having trouble figuring out what could have precipitated it. My prescription? Just sit down and write it.

At first she looked aghast, but as she stared into space over a plate of pasta a mischievous grin spread across her face. "I have an idea," she said. "Want to know hear it?" "No," I answered. "Surprise me." The more she considered what might have prompted the officer to reach this crossroad in life, the more she looked forward to writing the scene. Writers, it turns out, can enjoy a surprise as much as readers. When the unknown becomes known, it becomes invention and ceases to be scary.

Another instance where you don't want to edit, or continue editing, is when you've written a scene that only becomes more stilted and contrived the longer you tinker. What to do? Stop editing and open a new document. Put the scene away and start writing. This was the advice I got from writer and teacher Peter Selgin on my first novel. "Consider this your master's thesis, put it in a drawer and start over. You know the story," he said. "Just write it." It was true; I knew the story. I was simply afraid of where starting over would lead, like when I learned to swim. To get beyond the shallow end of the pool and the shallows of the Atlantic off Fort Lauderdale beach, I had to let go and get my feet off the bottom. I've never regretted it.

Happy writing and happy Fourth!

Writing for Anthologies 2, With Writer and Editor Anne Witkavitch

This week, we continue our dialog on writing for the currently hot anthology market. Here's the next installment from editor and writer Anne Witkavitch, who compiled Press Pause Moments: Essays About Life Transitions by Women Writers, from the Press Pause Project.

Press Pause Moments

AA: How did you select and compile the stories—what did you look for?

AW: Professionalism, quality of writing and diversity of stories were the most important criteria for me.  The initial weeding-out process was pretty easy—it was clear that many people respond to every call for submissions put out there, regardless of whether their topic fits! Then I started reading the remaining essays for content, voice, pacing and tone. What I also looked for was presentation: Did the writers edit, proofread and submit their best work? Was their e-mail professional? Did they follow the guidelines, including word count? Finally, I wanted to have diversity among the types of transitions represented. Many people assume an anthology like this one would be geared toward midlife, but I believe we experience transitions throughout our lives and at all ages. I could not have done this without my second reader, my college roommate, Ann Zuccardy, who is also one of the contributing writers.

For more information, visit Press Pause Moments or Amazon.

Writing for Anthologies, With Writer and Editor Anne Witkavitch

A post or two ago, we discussed writing for anthologies, a current hot market. From now 'til year-end (can't believe we're nearly at the close of 2011), we'll talk a bit more with editor, writer and instructor Anne Witkavitch, who compiled and edited the new anthology Press Pause Moments: Essays About Life Transitions by Women Writers. The anthology began with the Press Pause Project.

AA: What prompted you to start the Press Pause anthology project?

AW: I was frustrated. I’d completed my MFA in professional writing and left the corporate world to go out on my own so I could pursue my writing. Though some good things were happening—I had landed a gig as a contributing writer and blogger for TravelingMom.com and had a couple of articles accepted for a yet-to-be published anthology— I had not yet achieved the big goal, which was publishing my first book. While I kept receiving encouragement from well-respected publishing pros, I got discouraged reading news stories about celebrities and reality stars who were getting their books published while mine sat in my documents folder, collecting rejections. A writer friend had worked on an anthology, and I called him with the classic, “I’ve got a crazy idea and want to see what you think.” He loved the idea of me creating a women’s anthology focused on life transitions, a topic I’d already been speaking about through my Press Pause Now retreats . He walked me through the process, and then I wrote and distributed the submission guidelines, got my first submission and panicked—women writers actually wanted to be a part of this project! The book became real to me. I was ecstatic and scared at the same time.
 

For more information, visit Press Pause Moments or Amazon.

Writing and Preparing Your Work for Anthologies

With "After the Sunflowers"

Writing for an anthology is like soup in a can — concentrated. I recently had an essay published in the new anthology about women writers, Press Pause Moments: Essays About Life Transitions by Women Writers. I found the writing wanted listing in Poets & Writers Classifieds — a great resource, as is the literary magazine database in the Tools for Writers section (and the directory listing for writers under Connect With Others). Here's a step-by-step approach to how I addressed the call for writing, particularly for an anthology.

I knew I had a shot at inclusion in the Press Pause project because the topic — transitions in the lives of women writers — resonated. So I wasn't trying to force myself into a writing slot that didn't fit. I had also recently written several newspaper articles that could fit the topic. So there was a degree of solid footing from the get-go.

Another positive factor was time. Editor and project coordinator Anne Witkavitch had given several months of lead time for the submission deadline. So I had a chance to carefully (and I mean carefully) consider the topic and craft a piece I could put aside and tinker with. Since my submission was on the 10-plus years it took to become an Italian citizen, I couldn't cover such a long transition in the allotted space and time. So, I opted for one aspect of the process that would typify the entire experience — a nerve-shredding series of visits to the Italian consulate in New York, one of which involved an armed carabiniere.

I wrote the first draft in one sitting, then put it aside. Over the next weeks, I revised, rewrote and reconstructed the draft to consolidate the story and excise extraneous information. I then put it aside again, leaving it in my pending folder where I could be annoyed by it on a regular basis (I hate stuff hanging around in to-do limbo).

After another week I repeated the process, ever mindful of the project guidelines and continually asking myself what I brought to the compilation that would be different from other writers. The result was "After the Sunflowers," whose title is even more bittersweet now (more about that later).

Now that there are more calls for anthologies, consider these tips as you prepare and submit your work:

• Use a trusted resource, and do the due diligence in researching the anthology. Not all that glitters …
• Look for a topic and anthology that resonate with you, preferably on a subject you've written about before, or one you've always wanted to write about.
• Look for a call with a long enough lead time, and set up a timeline for when you'll write, edit and revise.
• Consider whether photos, voice or video would enhance the submission, or are required for it.
• If you're addressing a topic that took awhile, consider selecting one typifying event or occurrence to reflect the whole.
• Frame your piece from the perspective of the unique characteristics you bring to the story and compilation.
• Write the first draft in one sitting, then put it aside.
  
• Don't skimp on revision, even if it means a rewrite and reordering the story (but keep the first draft as a separate file).
• Repeat the revision process until you find yourself changing the same words back and forth.
• Extra tip: Make sure your beginning is captivating and that your ending is satisfying. The ending of my piece took longest to write.

For a firsthand look at "After the Sunflowers" and a compelling glimpse into the turning points in the lives of women writers, see Press Pause Moments: Essays About Life Transitions by Women Writers.

Word for Words — Literally

Last week my writing workshop examined one paragraph in the manuscript of a novel. After we took the paragraph apart, one person asked, "So that means every word counts?" I considered the question for maybe a second. The answer is, yes, every word counts, or should.

Many factors mitigate against this maxim—the plethora of writing venues, lack of time, lack of scrutiny before content is released for consumption, lack of knowledge of what makes for good writing, to name a few. But that last factor can make the biggest difference, not so much in the sense of good grammar and punctuation, though these are essential. But more in the sense of writing as art.

How can you tell when writing is art, and how can you elevate it to that level? One way is to slow down, take one section—a paragraph is a good place to start—and play with the words.

To literally see what I mean, select a paragraph—description is a great place to begin—and consider it word for word. Consider the answers to these questions:

• Does each word say what you mean; is it precise?
• What happens when you replace one word or phrase with another, or when you replace a phrase with one appropriately descriptive word?
• Is the order of words within sentences, and the order of sentences within a paragraph appropriate? Not just in the sense that a door should open (the paranormal aside) before someone can walk through it, but also in the sense of impact?
• What happens when you switch the order of the phrases in a sentence, or the order of sentences in a paragraph?

Taking the time to hear and see each word, phrase, sentence and paragraph is a great way to learn to write better, because you've slowed down long enough to listen to the words, phrases, sentences, paragraphs, theme, motifs, characters, dialogue—and how they work together, or don't. And you're teaching yourself. That's a great way to always be learning (the price is right, too).