Write What You Want

Today, I had the pleasure of reading What We Most Want by William Kenower. It seemed like a sign for me to have stumbled upon this article, because I had no idea what I wanted to write this morning. And until a few weeks ago, I didn’t know I wanted to write Southern Literature either.

I dabbled in many genres. I wrote No Turning Back, a woman’s fiction, love triangle, with an unexpected ending. After writing that book, I wrote The Devil Within in about two weeks. After finishing The Devil Within, I felt like I couldn’t finish anything else. I wrote a Southern psychological thriller or coming-of-age or who-knows-what-genre-it-falls-into-because-I-hate-classification called Little Birdhouses. Then I toyed around with a story about swingers (I’ve since shelved this–thank God!). I started several nondescript manuscripts, but I couldn’t put myself into any of them and I didn’t know why.

About a week before I attended Midwest Writer’s, Anna Kate’s voice invaded my head and told me to write her story–the one I’ve been holding on to for fifteen years and is set in rural Alabama in the 1920’s. I finally felt ready to do her story justice–even though it’s truly a labor of love, with tons of research, because let’s face it: I’ve never been a tenant farmer’s daughter. At Midwest Writer’s, someone asked me what I wrote, and I had a sudden realization it was Southern Literature or Southern fiction, or whatever you want to call it. And it makes sense. Because it’s who I am and it’s what I want to write. We all know I love to write tragic stories and what better fodder for stories than the tumultuous South! I started writing what I wanted, and the words started flowing. Writing Southern fiction makes me happy and it made me LOVE my work, just like William Kenower said in his article. Be true to yourself.

About once a week, with my Writing Wenches, someone brings up that we should all just write about falling in love with your stepbrother, because these books do well. It’s tongue-in-cheek, because none of us are ready to sell out. The point being, you might make a ton of money doing that (doubtful, because writing to trend when you don’t love what you’re doing can make you burn out quickly), but you wouldn’t be happy. If you don’t write what you love then the words are just symbols on a page with no meaning. Your reader can pick up on your enthusiasm in your writing from the feeling and emotion that the words tend to take when you’re writing something you love. If you love writing step-brother romances then I say go for it!

As for me, I’ll take the inspiration I received from reading The Sound and the Fury, Cold Sassy Tree, Fried Green Tomatoes at the Whistle Stop Cafe, and To Kill A Mockingbird (among thousands of other Southern novels I read), and I’ll write what I love. 

What do you think? Do you write what you love? When you read a book, can you tell if the author was truly inspired and loved what he/she was doing?


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The Dreaded “R” Word: Revisions

Before I left for the Midwest Writer’s workshop, I had been working on a Southern Literature piece called Little Birdhouses. I wrote Little Birdhouses almost a year ago. It sat in a drawer gathering dust and vintage while I worked on finishing up No Turning Back and The Devil Within, and I pulled it out to start revisions in May. I’m a horrible procrastinator, as I’ve talked about before, and I didn’t get far with my revisions before wanting to stop. Something about the ending didn’t click in the correct way. It frustrated me not to know what wasn’t working!

At #MWW15, I attended Lori Rader-Day’s session on #AmEditing. When I edit, I think I tend to go for the little things first. Lori Rader-Day said there are no rules to editing but top-down editing, i.e. looking at the bigger picture, is probably the place to start first. In other words, don’t get caught up in the little things until the big things are fixed (there is a life lesson here too). The three types of editing are:

  • Structural — Also known as developmental. Big Picture. Print off your work. Read it OUT-LOUD. Look for scenes that are repeats, don’t make sense, or are in the wrong places. Look for anything that might need to be cut.If you notice smaller areas, such as line edits to be done make a comment to fix it, but do it later.
  • Line Editing — Fixing individual lines. Cutting lines that don’t make sense. Grammar.
  • Copy Editing — Proofreading. Getting ready for copy. Improve format and style of the text.

Rader-Day spoke a lot about how editing works at the publication level too. The big take-away there for me is not to be afraid to cry, but don’t let it deter you from the work to be done after you’ve used up your whole box of Kleenex.

And finally, here are Rader-Day’s FIVE HACKS for editing:

  • Pair Up With Another Writer: This helps you, as the author, to figure out what you hate about your own writing. Sometimes, we know something is missing or not working, but we can’t put our finger on what it is. Often critique partners can help point out what the missing piece is.
  • Plotters: Go through and make sure the plotting didn’t stifle the writing. (I think this is what she said, but I’m a pantser, so honestly I just wrote down the word plotter and moved on — Sorry!)
  • Pantsers: No, not someone who likes to de-pants someone, but someone who writes without outlining. A pantser may be lost in the book, so it could be helpful for them to reverse engineer and outline. This way they can see the story ARC and figure out what can happen next if they’re at a point where things aren’t working.
  • Save As: Save all your revisions as a different file, so you don’t delete something permanently that might actually work! I suggest saving to the Cloud, hard drive, and sending to your email. You want to make sure to have back-up.
  • Write Book Jacket Copy For Story: This narrows your focus and helps the author remember what they wanted to say in the book in the first place!

Do you have any editing tips that work for you? 


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