Paper Hearts, Volume 1: Some Writing Advice

Paper Hearts

Some Writing Advice

Beth Revis

Contents

Copyright

Dedication

A Note About Websites

Introduction

1. Who I Am & What This Is

2. A Short Bio of My Writing Life

3. Why Writing Advice Books Suck (Including This One)

4. Let’s Get this Out of the Way First

5. Also This

6. What I Did Right & What I Did Wrong

7. My Personal Writing Philosophy

8. The Role of Luck

9. It’s Not Selfish

10. Why I Write YA

11. There Is Always a Reason to be Jealous

12. What Do I Need to Write a Book?

13. Ten Important Things About Writing & Publishing

14. Pantsers vs. Plotters & Why Those Definitions Don’t Work

15. Word Count Doesn’t Matter…Okay, Fine, It Does. Sometimes.

16. Tools of the Trade

Character, Plot, & World

17. High Concept

18. The Only Two Things You Need for Story

19. Showing vs. Telling: The Basic Idea

20. The Ties that Bind: Fear, Pain, & Identity

21. Making Strong Characters

22. Passion & Apathy

23. Developing Characters: Antagonists & Protagonists

24. Showing vs. Telling: Character Arcs & Development

25. Showing vs. Telling: World Building

26. Showing vs. Telling: Plot

Arguing with Common Advice

27. Write Every Day

28. Write What You Know

29. Write the Popular Trends

30. Words You Can’t Use

31. Make Your Book Age Appropriate

32. There’s Only One Way to get Published

Writing Advice You Actually Should Take

33. Quality

34. Diversity

35. Feminism

36. Fan Fiction

37. Trust Your Readers

38. Don’t Preach

39. Don’t Pander

40. You Don’t Need Permission

Developing a Novel

41. Building a Great First Chapter

42. Where (Not) to Start Your Novel

43. Structure Strategies for Querying

44. Getting Through the Murky Middle

45. Building a Great Last Chapter

Grammar, Style, & Tone

46. Grammatical Definitions

47. The Simple Rules of Grammar

48. How to Use Dialogue: Punctuation & Grammar

49. How to Use Dialogue: Style

50. Tenses: What They Are & How to Use Them

51. Point of View

52. White Space: Avoiding Blocks of Text

53. The Very Best Way to Learn Grammar

54. Bringing English 101 to Your Novel

Story Structure

55. What Story Structure Is & Why Every Story Has It

56. When to Use Story Structure

57. Three Humps Structure

58. Three Humps Template

59. Three Humps Example

60. List Structure

61. List Template

62. List Example

63. Emotional Timeline Structure

64. Emotional Timeline Template

65. Emotional Timeline Example

66. Spinal Tap Chart

67. Spinal Tap Chart Template

68. Chart Structure

69. Chart Template

70. Blank Chart Template

71. Chart Example

72. A Closer Look at Act 1: Problems & Processes

73. A Closer Look at Act 2: Complications & Conflict

74. A Closer Look at Act 3: Danger & Death

75. A Closer Look at Act 4: Resilience & Resolution

76. Bare Bones Chart Structure

77. Bare Bones Template

78. Combining the Emotional & Plot Arc in Structure

79. Notes & Resources

Critiques

80. Critique & Revision: Definitions & Practices

81. What is a Critique Partner Relationship?

82. Should You Hire a Professional Editor?

83. What to Look for in a Critique Partner

84. How to Find Critique Partners

85. How to Write a Critique

86. Ten Steps to Giving an Effective Critique

87. How to Read a Critique

Failure

88. The Inevitability of Failure

89. Respect Your Art

90. Sunk Costs and Letting Go

91. Failure is NOT the Enemy

92. The Book of Your Heart

93. When to Stop

94. In the End…

Appendix: What to do if…

95. What to do if…you're not sure where to start the novel, how to get to the end, or how to end it?

96. What to do if…you get writer’s block?

97. What to do if…you just don’t want to write?

98. What to do if…you’re working on a story and want to start another one?

99. What to do if…the reader can’t get into the first chapters?

100. What to do if…the reader doesn’t care about your main character?

101. What to do if…your main character is unlikeable?

102. What to do if…your main character is too passive?

103. What to do if…all your characters sound the same?

104. What to do if…you disagree with your critique partner or editor?

105. What to do if…your plot is too sequential?

106. What to do if…your pacing is too slow?

107. What to do if…your pacing is too fast?

108. What to do if…you’re not sure how to show the passage of time?

109. What to do if…your reader can easily guess the ending?

110. What to do if…your reader isn’t figuring out the clues you’ve left?

111. What to do if…your character is coming off as stupid?

112. What to do if…your descriptions are off?

113. What to do if…your reader is more focused on the subplots than the main story?

114. What to do if…your dialogue doesn’t sound realistic?

115. What to do if…it’s all talk?

116. What to do if…your reader doesn’t believe something that’s based on reality?

117. What to do if…the reader is getting a different meaning from the book than what you intended?

118. What to do if…your story is too short or too long?

119. What to do if…your book sounds too similar to something already published?

120. What to do if…you have to start all over?

121. Finally…

122. Praise for Beth’s Novels

123. Complete Your Collection

About the Author

Also by Beth Revis

PAPER HEARTS

Vol 1: SOME WRITING ADVICE

Copyright © 2015 by Beth Revis

Cover design by Hafsah Faizal

www.bethrevis.com

www.iceydesigns.com

Publisher disclaimer: The material in this book is for informational purposes only. The author and publisher expressly disclaim responsibility for any negative effects that result from the use or application of the information contained in this book. Use discretion when making decisions regarding writing and publication of your work.

All rights reserved.

No part of this publication may be reproduced, stored in, or introduced into a retrieval system, or transmitted, in any form, or by any means electronic, mechanical, printing, recording, or otherwise, without the express written permission of the publisher prior to, except for the use of brief quotations in a book review. Electronic versions of the book are licensed for the individual’s personal use only and may not be redistributed in any form without compensation and approval to and by the author. The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal and punishable by law.

Your support of the author’s rights is appreciated.

First paperback edition: 2015

ISBN: 978-0-9906626-5-5 (print)

ISBN: 978-0-9906626-6-2 (ebook)

Created with Vellum

This book is dedicated to the writers

with stars in their eyes

and questions in their hearts.

Dei gratia.

A Note About Websites

Throughout this book, the author occasionally refers to websites for further reading and resources. Please keep in mind that web content continually changes, and the author cannot control this.

For additional online resources, visit http://bethrevis.com/paperhearts

Introduction

The basics you need to know, the background I need to share, and the fundamental philosophies of this book.

One

Who I Am & What This Is

I used to be a teacher. 

When I say this, I do not mean that it was my job. I mean that it was a part of my identity. Of course, there were some bits of the job I didn’t like (grading, politics, more grading), but the part I did like—teaching—was something that I loved so wholly that it became an ingrained part of who I was. 

Or perhaps it was who I always was, and I just didn’t know it. 

Whenever there was a concept or theory or problem that I couldn’t quite grasp, I taught myself by breaking it down into its elements and thinking of how I was learning, not just what I was learning. My notes when I was a student were always a mess of charts and arrows and connections between ideas (and short stories and poems scribbled in the margins). 

Everyone has a different way of thinking, and my way of thinking tends to be an analysis of how an idea develops. I do not at all believe in muses, although I do believe in inspiration. I don’t get writer’s block—I discover bad story structure. Stories themselves are layers—not just in history and symbolism, but also in structure and plot and character development. Just like when I was a teacher and would find lesson plans in the oddest places, now I read stories and tend to see beyond the words, Matrix-like, into the scaffolding.

I say this now so that you understand any advice I give is merely what has worked for me, and this all comes from my own self analysis. I am not at all an expert, and you should never entirely trust anyone that tells you how to write. Write the way you write—if it gets words down on paper, it’s more than good enough. But this book is the sort of thing that would have helped me when I was starting out, so I thought I’d share it with you. 

Two

A Short Bio of My Writing Life

I feel a little bit like a tool writing about myself, but I also do not presume that people know who I am, so it feels a bit in order that I explain.

Who I am now: A NY Times and IndieBound bestselling author whose works are published in more than twenty languages. I have a completed YA science fiction trilogy published with Penguin/Razorbill (starting with Across the Uni-verse), a companion novel I published on my own, a contract for more books to be published, and some more with my agent for submission.

And yet...

Who I am now: Someone who is still seeking validation and constantly worries her writing isn’t good enough. 

Perhaps that is because of who I was before.

I wrote my first novel when I was eighteen years old and a sophomore in college. I was trying to write a short story, but I couldn’t figure out how to end it, so I kept going and going and going and wound up with a book. I wrote a sequel to it. I realized that I had a trilogy on my hands, and for the first time, thought of publishing. 

One of the first things I did was analyze what I wanted out of my writing. I wasn’t happy just writing—I wanted to share my stories with the world. But I also didn’t want to self publish yet. This is a perfectly viable option for people, but for my first forays into fiction, I had dreams of a big New York publisher. 

I think that moment, where I decided what, exactly, I wanted, was one of the most important things I did for my career as a writer. You should know that when it comes to how you publish (as much as how you write), there is no right answer for everyone—but there very well may be a right answer for you. Think about what you want, and what you’re willing to do for it. For me, I wanted a publishing deal from a major publisher. This meant that self publishing and small presses were not an option for me, but that also meant that when my books didn’t sell to a major publisher, I would have to move on to another book. I limited my choices and therefore limited my chances—but ultimately, I believe I made the right decision for me, and I’m extraordinarily happy with the way things turned out. 

That said, the road to get here sucked.

After writing two novels in my undergrad years, I started seeking publication. I knew very little about the process, but ultimately, the formula is simple. For traditional publication with a major house, you need an agent. To get an agent, you have to have: a perfectly written book with sales potential, a banging query letter that will get the agent’s attention, and professional presentation of both those things. It really is as simple—and difficult—as that. 

So I started querying.

The first novel was soundly rejected, and it became very clear to me early on why. 

It wasn’t good enough. 

At its heart, that first novel was an extended fan fiction of my favorite story, heavily influenced by books and movies, with a loose plot that didn’t really make much sense. It was rather easy to let that one (and the sequel I’d already written) go. 

Still in college, I wrote another book. (Can you tell that I found many classes boring in college? I wrote stories instead of taking notes.) 

I cannot express to you how much I loved this novel. And still do, honestly. It was the book of my heart. I almost didn’t have to think about the writing; I’d sit at the keyboard and type until my fingers ached. Every novel I’ve written since that one has been my attempt at recreating that magic. 

When I finished it, I knew I had something special. 

I started querying. I could tell this was different from before. Agents were interested. They were still rejecting me, but they were hand writing notes along the lines of, I love this but can’t take it! or The writing’s really strong, but this just isn’t for me! I went to conferences. I joined the Society for Children’s Book Writers and Illustrators (SCBWI). I networked. I joined social media and started following agents. I read books on how to get published. I got beta readers and critique partners and joined writing groups both online and in person. I wrote not just one, but five sequels for this novel. I knew—I knew—it was amazing and one of the best things I ever did or would ever create. 

Also during this time: I graduated college with a BA in English Education, a teaching certificate, and a minor in history, then I completed grad school in a year with an MA in English Literature and got my first job as an English teacher in a rural North Carolina town. I didn’t sleep much, drank a lot of coffee, and could not afford cable television—the only reason I was able to do so much.

And I got close. I got so close. Many agents requested the full manuscript to read before rejection. I was getting to that level where I knew what I had was good and that it should sell. I spent hundreds—thousands—in contest entry fees, paid critiques from agents, attending conferences. And it paid off. At one of the conferences I was at, I pitched the book to a major NY publishing house editor, and she was interested. So interested that she gave me something called a revise and resubmit letter. In short, it was a list of ideas and things she wanted me to change. Change them well enough, and she’d buy the book. 

I changed things. I rewrote. 

It wasn’t good enough. 

I knew that there were other options. I could self publish this book of my heart. I was fairly certain, thanks to some connections I’d made, that I’d be able to sell the book to a small press. But...that’s not the dream I had. That’s not what I wanted. 

So I shelved that book. And the sequels. I put six books and a lot of hopes behind me. I locked them up with the other two novels I’d written and buried them deep down to hide the sting of the hundreds of rejections I’d gotten by that point.

I tried again. 

This novel was one that I loved, and one that was personal to me. While it was a fantasy, it was tapping into a tragedy that had happened to me recently, and I wrote through the emotions. It, too, was good. I had gotten to the point where I could objectively see when my work was good or not, and this was good. 

But not good enough. 

By this point, I’d written nine novels over the course of nine years. I’d spent thousands in pursuit of publication in the form of conferences, educational materials, etc. And all I’d gotten in return was nearly a thousand rejections from agents and editors, and it all came down to me being one thing: not good enough.

I was, to say the least, frustrated. 

The tenth book I wrote, I wrote for the market. I wasn’t writing a story that I loved—I just hoped it would sell. 

That book remains the only book I regret writing. 

Ironically, it was one of the closest books to being published. I had some interest from a small publisher who saw my query pitches online and had read a sample. I could have sold this book with no heart and collected a (small) paycheck. 

But it didn’t feel right. I’d sold out. I’d sold myself. 

I pulled the book quickly; I queried it a little, but I was able to toss that tenth book aside fairly easily and without remorse. It had nothing of me in it, except perhaps a little time, and it was empty of anything that mattered. 

This was the point, by the way, when I almost gave up.

I couldn’t sell a book after writing from my heart. I couldn’t sell a book that I’d designed for the market. What was the point? It seemed likely—given the decade  I’d invested in writing and querying—that I couldn’t sell a book that was good enough at all.

But then. 

Oh, but then.

I had one more idea. 

Just one. 

It was the twist at the end that got me. An idea for a novel told from two points of view, where one of the people telling the story had a big secret. A spaceship. A girl with red hair. A boy desperate, so desperate, to be good enough. 

I started writing, and the words flowed like magic. 

When I finished, I remember leaning back in my spinny desk chair and thinking, this is the best I can possibly do. It wasn’t just good enough, it was the best. And if this didn’t sell...I would quit. Because this was it. This was the best I could possibly do. 

I sent out the queries. I started with around forty. 

I got five offers of representation from agents. Including one offer from my dream agent, the agent who represented one of my favorite authors in the whole world, the one who I almost didn’t bother querying because why would she ever notice me?

I signed with her. We discussed houses to submit to. She made a plan, and my book ended up at a brilliant publishing house—Razorbill, an imprint of Penguin—and Across the Universe and two sequels were going to become real.

At this point, I’d been a teacher for six years, and I wrapped up editing Across the Universe at the same time as I wrapped up my last semester at the rural high school where I’d started my career. I graded final exams and did copy edits simultaneously. When the next school year rolled around in late August, it felt strange to not have a book out yet but to also not be going to school. 

In January 2011, Across the Universe was published. The next week, I found out that it debuted on the NY Times Bestseller list. Later that week, I got a rejection from an agent who had just now gotten around to reading my query for a weird science fiction book. I’m sorry, she said in her email, you write well, but sci fi books that take place on a spaceship just don’t sell in the YA market. 

I resisted the urge to send her a copy of the NY Times.

Three

Why Writing Advice Books Suck (Including This One)

Writing advice books suck. 

Including this one. 

It’s just the nature of the game, I guess. It’s impossible to make a writing advice book not suck. Because at its core, what a writing advice book does—including this one, obviously—is, well, give writing advice. And by the very nature of giving advice, there’s an implication that there’s a right way and there’s a wrong way, and here’s the right way. 

And honestly? That’s a very damaging attitude to have for any writer. I remember when I first started out, the bit of advice I heard all the time (and still hear today) is the simple mantra to write every day. This often goes with the pedantic writers write! saying, implying that if you don’t write every single blasted day, you’re not a real writer.

Bullshit.

I learned the hard way that this advice was wrong—for me. I tried writing every day. But my words came out shallow, my characters were boring, and my plot was a tangle of loose strings. I had to delete nearly everything. I work much