The Heart of the Matter: Writing to Theme and Emotional Truth

This installment of the editor's checklist for revising fiction comprises theme and emotional core. First, some definitions: Theme is the story's core topic, subject or concept, and emotional truth is an organic, gut-level connection between readers and the story.

While revising your work, ask yourself these questions about theme and emotional truth:

The heart of the matter?

• Theme: Can you describe in one sentence what your story is about? It's not easy to encapsulate your work this way, but it's important. A succinct description will help the decision-making process. For example, if you want to introduce, change or eliminate a character, you can ask yourself whether the result would support or detract from the aim of your work. This is a good question to ask in any writing dilemma.
• Emotional center or heart, emotional truth: A good question to ask here is whether the work as a whole engenders reader empathy. It's not just a question of whether readers will care about what you've written, but whether they would say, "What if this happened to me?"

For the full editor's checklist, see the Online Editing Workshop.

Tips: Describe your story in a 20-word sentence, or logline. For samples, visit ScriptShadow and Writers Store. Ask yourself whether your project creates distance or elicits empathy. Was this your intention? If not, would the work be better served by, for example, an empathetic villain? For an author whose fully developed characters aren't all good or all bad, see Dennis Lehane.

Happy writing!     

Do the Twist: Plots, Subplots and Story

Keep your main story in focus

The next installment of the editor's checklist for revising short and long fiction comprises plot, subplot and story. Here are questions to ask yourself while revising your work:

• Plot: Does your plot move forward at a good pace, and progress in a way that is satisfying, slowing for the important events, and picking up speed for the less important?
• Subplot(s): Even short fiction can have a subplot, but does the secondary story overshadow or confuse the main story? It should enhance it, either by contrast or comparison.
• Story: Is the story engaging, immediate, original?

This is definitely a distillation of how to approach plot, subplot and story, but the list gets at the heart of the issue. The key is to ask yourself these same questions throughout the revision process. Even if your plot or subplot yields some twists, following this principle will keep your focus on the straight and narrow and help you avoid the rabbit trails that dilute instead of enhance your story. For the full editor's checklist, see this month's Online Editing Workshop.

Tip: Make two columns: one for the main plot and one for the subplot (you can add a column for each subplot). In each column, list the main events, or plot points. Compare the columns to see whether the events in your subplot(s) garner more interest than those in your main plot. If they overshadow the main story, consider what your main story really is.

Happy writing!     

What's in a Word: Editor's Checklist for Short Fiction, Metaphor and Motif

Motif: The echo of an interesting character

The next items on our editor's checklist for revising short, or longer, fiction are metaphor and motif. We'll start with brief definitions, and provide questions to ask yourself while revising your work.

Metaphor: A metaphor uses an image, a story or an object to represent a less tangible object, quality or idea. For example, "Her eyes were glistening jewels." When revising your work, ask yourself whether your metaphors are original, well-placed and appropriate for your story's theme. The example here, albeit clichéd, would work well for a gemstone dealer describing a woman he loves, particularly in historical fiction and romance. A story about an artist would be better served by this: "Her eyes in the fading light were Prussian blue."

Motif: A motif is a recurring subject, theme, idea, object or concept that represents a deeper concept. Motifs, like metaphors, should be original, well-placed and appropriate for the story's theme. If, for example, your story is about a musician, you'll not only look for instances in the text that echo the subject of music, but also for objects or concepts that will evoke that theme throughout your work. For example, the curve of a woman's body can echo the treble clef of pitch, and vice versa.

The key to using metaphor and motif well is to know your story — and characters — well. This usually is more the case in draft two. Also, with both metaphor and motif, less (as in understatement), especially in literary fiction, is more.

For the full editor's checklist, see this month's Online Editing Workshop,

Tip: For best revision results, finish your story, then set it aside and work on something else. Distance improves perspective, and you'll more easily spot places in the work where you can exchange one metaphor or motif for a better one.

Happy writing!

Characters Welcome: Editor's Checklist for Revising Short Fiction

How will your characters change?

Before the month of love began, we had started reviewing the editor's checklist for revising short fiction. Today, we return to the list and address character development. Here are questions to ask yourself during the revision process.

Character Development and Arc:

• Does the main character change noticeably, albeit subtly, organically and believably?
• If the character doesn't change, is the reason for his stalled growth clear and understandable?

Characters (Primary):

• Are the primary characters original, believable and if not likeable, comprehensible?
• Are the primary characters' relationships with other characters clear and integral to the story?

Characters (Secondary):

• Do secondary characters stand in their own right, without overshadowing the story's main squeeze?
• Are secondary characters original, believable and if not likeable, comprehensible?
• Are their relationships with the main characters clear?

For the full checklist, see this month's Online Writing Workshop on my website.

Tip: For the best results in editing any story, regardless of length, follow these steps:

1. Set the work aside for at least a week.
2. Work on another writing project in the meantime.
3. Edit or critique someone else's work in the meantime.

Happy writing!

The Challenges and Rewards of Writing Historical Fiction: Author C. M. Keller on Screwing Up Time

C. M. Keller is an award-winning novelist and author of Screwing Up Time. She loves old movies and poison rings. In her spare time, she searches for that elusive unicorn horn. She's currently hard at work on her next young adult novel, the second book in Mark and Miranda's story. Her blog is A Merry Heart.

C. M. Keller

When Adele approached me and asked me to share the biggest challenge and most rewarding aspect of writing Screwing Up Time, I wasn't sure what I'd say. Many aspects of writing are both difficult and exhilarating. Writing the initial draft is terrifying, but such a rush. Editing can be mind-numbing when you're trying to find the perfect words, but to see your story take final shape is like seeing your child for the first time. Then I remembered the part of the process that prompted me to haunt office supply stores and yielded dark circles under my eyes—editing for historical accuracy and consistency.

My book is a "time travel meets romantic comedy" novel, and writing about people and places from different time periods was a fantastic experience. The cultural and historical differences provided many opportunities for humor, misunderstanding and character growth. Though I did lots of research before and during my initial draft, getting the historical details right was the hardest thing about writing this particular novel. During revisions, I would discover that something I'd read about the castle, the location or the time period wasn't correct. (I invested a lot of time in checking and rechecking the facts.) Because the plot was complex, a small change in one spot often forced me to rewrite scenes throughout the novel. I ended up coding the entire manuscript with multicolored Post-it flags. For example, if I needed to verify a love token, I would check all the romance scenes, so I used red flags to mark romance scenes. When I discovered a recent photo that showed the grass floors of the modern Bodiam Castle had been replaced with fine pebbles, I checked all the scenes that took place in the modern castle and made sure the floors were pebbles—for those I used yellow flags. Blue flags marked the castle in the Middle Ages, purple was for historical artifacts, etc. I used an entire Crayola crayon box worth of Post-it flag colors. In the end, the process worked, but getting there was...colorful.

Screwing Up Time

The most satisfying thing to me as an author is the response from my readers. I assumed they would be teens, and while many are, I've discovered that my book has a much larger audience. Elementary school children have told me they love the book. Seventy-year-old men who never thought they'd read young adult said that although they only read it because someone recommended it, to their surprise, they loved the novel and can't wait to read the sequel. Sharing [the main characters of] Mark and Miranda with others has been an amazing gift, and I'm so thankful for the opportunity my readers have given me.

For more about the book, visit Screwing Up Time and the blog A Merry Heart.

Debut Novelist A. J. O'Connell on Writing, and the Craft and Art of Genre Fiction

Debut novelist O'Connell

Debut novelist A. J. O'Connell, a graduate of Fairfield University's low-residency Master of Fine Arts in Creative Writing, has just come out with the pulp fiction novella Beware the Hawk. Here's her take on the writing life, being a debut author, and the craft and art of genre fiction.

AMA: Tell us a bit about your writing background.
AJO: I have been writing (and telling stories) since I was a child in Oakville, Connecticut. I graduated from Trinity College and then went right into journalism. It was my first job in journalism that took me to Boston — I landed a job as an editorial assistant with the Boston Herald's business desk. Then I came back to Connecticut and worked for nine years for the Norwalk Hour. I graduated from Fairfield University in July 2011 with an MFA in creative fiction. Since 2009, I've had three pieces of short fiction published, and at the moment I'm working on the second draft of a novel.

AMA: How would you describe your book?
AJO: Beware the Hawk is a pulp fiction novella about a young woman who works as a courier for a secret agency. The group that employs her is so secret that even she knows very little about it, but the pay is so good that she doesn't ask questions. One evening she is called from her bed in Brooklyn and told to take the last bus to Boston because there is something there for her to pick up. Things go wrong the moment she gets off the bus.

AMA: What prompted the idea for the story?

Beware the Hawk

AJO: Beware the Hawk started in bits and pieces while I was riding the bus back and forth from Boston and New York to my parents' home in Connecticut. I was a year or two out of college, and I had no car and I spent a lot of time on public transit, listening to mixed tapes on my Walkman. I get carsick, so I couldn't read on those trips. Instead, I sat there listening to my music and daydreaming. This was a few years before September 11, and I remember thinking as I lugged my bags through various stations and terminals that I could be carrying anything. No one ever challenged me about what was in my bags (although it was just clothes and notebooks.) What if I was carrying something illegal? Nobody would ever suspect such a nerdy-looking girl of being a smuggler. That's when the story began to take shape.

AMA: What was your biggest challenge in writing the novel?
AJO: My biggest challenge was revising the piece. I wrote the story in 2004, a few years after I started thinking about it. At the time, I was working with my very first writers' group. I was just learning to tell a story then, and it was the first time I'd gotten any kind of real criticism, so I had a lot to learn. I worked on [the story] for a year, and then abandoned it five pages from the end of the first draft. After that, the piece sat untouched for seven years.

This past summer, a friend who had been in that writing group and who has since gone on to found a small press, asked me for a copy of the manuscript. That was pretty exciting, but when I pulled my manuscript out of a drawer this summer, less than a week after graduating from an MFA program that taught me to write and appreciate literary fiction, I felt my heart sink. The writing was no longer up to my standards. Worse, it wasn't the sort of writing I'd been taught to produce in the MFA program.

Oh no, I thought. This isn't literary fiction. It's suspense, it's thriller, it's espionage, and the tone is chick-lit. I was afraid no one would take me seriously as an author if my first published book wasn't literary fiction, and I worried that I might be boxed into a genre. And what would my professors think of this first foray into publishing? I had visions of the faculty from my MFA program marching up my front walk to revoke my degree, wearing disapproving expressions, chanting, "Have we taught you nothing?"

All these fears are ridiculous, of course. Everyone must start somewhere, and I like Beware the Hawk, even if it's not literary fiction. I eventually talked myself out of being nervous. I spent the month after graduation applying all the craft lessons I'd learned in the MFA program to the novella. I told myself that, yes, it was going to be genre fiction, but it would be the best genre fiction I'm capable of writing.

I have to say, that was the most difficult thing about this whole adventure — getting over my fear of publishing a pre-MFA piece of work.

AMA: What was the best thing about writing it?
AJO: I think the best thing about writing Beware the Hawk was having the freedom to express my thoughts and opinions. At the time I wrote the book, I was working as a newspaper reporter, and I had to keep my opinions out of everything I was writing. So being able to write my own observations into a piece of fiction felt indulgent. In fact, I went a little crazy. I had to cut a lot of my character's ruminations when I revised the piece.

AMA: Where is Beware the Hawk available?
AJO: Beware the Hawk is available at Vagabondage Press and at Amazon, as well as various formats, including via Smashwords.               

Editor's Checklist for Revising Short Fiction: Tips on Tone

 There's a proverb that says don't muzzle the ox while he's in the field, meaning don't restrain those hard at work; let them finish the job. The same is true of short fiction. If you can write the first draft of the story in one sitting, do it. Before sending your work for possible publication revise using the next series of posts as a "preflight" checklist. Today's tip is on tone.

Tone tells a lot

Tone is created by the writer's prose to reveal his or her attitude toward the subject, and toward the audience. Tone can be formal or informal, intimate or distant, playful or serious. Generally, the tone of a piece should complement the subject and story. Think of tone in writing as you would tone of voice in speaking. Usually, when you're angry, you allow your voice to reflect that emotion. If you're angry and use a different tone of voice, it's for a reason, usually to hide the intensity of your feelings, or to heighten what you're saying by using a contrasting tone. The same principle works for writing.

Exercise: Select the opening paragraph from a story you're working on, and consider how a change in tone would affect the piece. To prime your writer's ear, change the verbs in the excerpt to reflect a different tone, for example, from anger to ironic, or from straight narrative to anger. Notice what the change in tone says about your attitude toward your subject or story, and toward the audience.

We'll discuss mood in the next post. Happy writing!

P/S: To take your writing to the next level, consider author Robert Olen Butler's dreamstorming technique as described in From Where You Dream. For more on dreamstorming and how to select the right details for your story, see writer and editor Jack Sheedy's blog, Sacred Bull.

Fiction: Reality and Writing What You Know

A reality-based scene can work, too

The old adage, especially for emerging fiction writers, was write what you know, meaning what you're familiar with. The thinking was that this approach would tap the writer's strong points from the start and set him or her on a strong foundation. Then we jettisoned that notion. Why should the writer be constrained, we figured, by the familiar? Why not explore new worlds? It is fiction, after all, and there's leeway to create. Then came Angela's Ashes, the memoir by Frank McCourt, and other memoirs, and we returned to the notion of writing the familiar. You could blame the still burgeoning concept on reality TV, but it's more likely due to the sense that truth is not only stranger than fiction, it's more interesting. We instinctually relate to a story that feels real, authentic. Even in fiction, writing what we know of our lives and others' engages us with immediacy and a sense of trust, both apparently still strong attractions.

What are you writing that's based on a real incident in your life?