Bonus Blog: Don’t Take My Word for It

The Big-Picture Revision Checklist comes out October 1st, and you can pre-order your ebook or your paperback today. But you may be wondering, why should you pre-order a book that you haven’t even glanced through yet? The author says it’s good, but authors always say that about their own books. Maybe we should get a second opinion or three.

Here’s what Sacha Black had to say.

You know how to draft a book, you know how to proof for commas, but what happens in the middle? The Big-Picture Revision Checklist is a fantastic tool to help you assess and do a developmental edit of your novel. If you’ve ever struggled to do the big-picture edit, you need this book. Packed with examples and comprehensive explanations, this is the perfect guide to help you through edits. Whether you’re a new writer or a seasoned pro, you’ll find tips, tricks and helpful reminders to keep you on track while editing. 

Fellow editors like Chris Allen-Riley quite like the book as well.

This book will not only walk you through the revision process step by step, it will also entertain and encourage you. Alex Kourvo and her process are nothing short of life-changing. Reading The Big-Picture Revision Checklist is like sitting down with your BFF and sorting out exactly what your book needs to take it to the next level (and beyond).

And here is Lawrence Block.

Alex Kourvo is one of a kind. A gifted writer and editor.

One more note: I won’t be writing a book review on October 1st because Lawrence Block is going to take over the Writing Slices blog for the day and write a full review of The Big-Picture Revision Checklist. Stay tuned to watch Alex’s head explode in rainbows and sparkles!

Until then, happy writing, and happy re-writing!

Alex K.

Never Say You Can’t Survive by Charlie Jane Anders

NEVER SAY YOU CAN’T SURVIVE is a collection of blog posts that Anders wrote for Tor.com during 2020, when the world was falling apart and many writers weren’t writing. Anders wanted to counter the doom and gloom, but while other writers offered only empty cheerleading, Anders offered more. This book is a balm for the soul, a rallying cry, a creative manifesto, and an act of resistance.

There’s a lot to be said for writing despite all the awfulness of the world. In a world rocked by disease, prejudice, war, and political cruelty, stories aren’t luxuries. They’re necessities. Telling the world, “I won’t engage with your bullshit because I have books to write” is a powerful statement. As Anders puts it, escapism is resistance. Stories help us retain our humanity in a world that’s trying to take it away.

But it goes far beyond that. Writers help frame the narrative, to counter the gaslighting from those in power. We dream of things beyond the world we know, and we show those dreams to others. By actively imagining how the world can be different, writers help to create the world they want to live in.

We’re all angry at the state of the world, and Anders encourages us to embrace that anger and use it as fuel. Novels are always, always political. Who has power in our story worlds? How do they use it? What choices do our characters make and how does it change them? Who are we as humans, and who do we want to be? Anders engages with all of this in writing that is fresh and fierce and exactly what we need right now.

There is also writing craft instruction sprinkled throughout NEVER SAY YOU CAN’T SURVIVE, but Anders is on shakier ground here. Some things that are common knowledge to anyone who has read even a single how-to book seem to be revelations to Anders. For example, she’s floored by the idea that every story needs a strong midpoint scene, and is delighted that when she includes one, her stories work better. And she only recently learned that the final word in a sentence is the one that packs a punch.

Anders describes her own writing process, which can best be described as quirky. Very little of what she discusses will be applicable or helpful to the average writer. A writer looking for solid instruction would be better off reading other how-to books.

Where Anders truly shines is in her unique vision, and her ability to share that vision with the rest of us. The most important thing to know when creating is your “why.” Anders knows her why and is therefore unstoppable. NEVER SAY YOU CAN’T SURVIVE is the guide we need to keep writing through the end of the world.

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NEVER SAY YOU CAN’T SURVIVE can be found here

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Rating: 3 stars

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I recommend this book or Take Joy by Jane Yolen or A Writer’s Guide to Persistence by Jordan Rosenfeld

Alex Kourvo Wrote a How-to Book

I have a new book coming soon! It’s called THE BIG-PICTURE REVISION CHECKLIST and it’s going to be published in paperback and ebook October 1st. The ebook is available for pre-order on every major retailer.

I’ve reviewed over 200 how-to books on the Writing Slices blog, but I couldn’t find a book like this on my shelves. I’ve read many wonderful books about writing a first draft, and many about improving a book through copyediting, but I haven’t seen a book about that special middle draft, where an author is rethinking the big picture.

So I wrote one.

The Big-Picture Revision Checklist is the guide you need to revise your novel. It will help you make likable protagonists who are flawed in exactly the right ways, and antagonists that readers love to hate. You’ll crank up your story stakes and pinpoint the five crucial scenes every novel needs. With in-depth chapters and examples from contemporary fiction, this clear-eyed manual gives you all the tools you need to bring your book to the finish line.

The book is short and to the point, so you can get to revising your novel right away.

Pre-orders are available wherever books are sold, worldwide. When the book is published, you can order the paperback online or at your local bookstore.

Get THE BIG-PICTURE REVISION CHECKLIST for a step-by-step guide to a polished and professional novel you’ll be proud of.

How to Market a Book by Ricardo Fayet

When people find out that I publish myself, they almost always ask the same question. “How do you market your books?” I tell them that I market my books the same way large publishers do, since nowadays, indie authors have access to almost all the same tools and sales channels the bigger publishers do. That’s usually a satisfactory answer for readers.

Fellow writers, on the other hand, often blurt out a frustrated, “Yes, but how?” Beginning writers want to know the step-by-step method from uploading a book to getting it into readers’ hands. How, exactly, does that work?

HOW TO MARKET A BOOK is a great introduction to this topic, as Fayet covers all the basics in detail. He starts with mindset, that crucial jump an author takes from creator to salesperson. Then he talks about elements of the book itself that will help it to sell—the cover, the blurb, the niche, and endorsements. Only then does he turn to things like sales channels, email lists, and price promotions. Putting things in this order makes sense. There is no use spending time and money trying to market a book that is fundamentally unmarketable.

Fayet then turns to more advanced topics like advertising platforms, audio books, boxed set promotions, understanding Amazon algorithms (as much as anyone can understand Amazon algorithms) and the ever-popular wide vs. exclusive debate. The writing is smooth throughout, with exactly the right amount of depth to serve as a good introduction without being overwhelming. And when you’re ready to go deeper on a particular subject, Fayet offers suggestions for further reading.

Fayet is one of the founders of Reedsy, which is a freelance marketplace that matches service providers (editors, book designers, web designers, etc.) with authors. Many parts of HOW TO MARKET A BOOK sounded like commercials for Reedsy. There is nothing wrong with giving your company a shoutout if you think it does things well, but there were a few times that I felt like I was reading an infomercial rather than a how-to book.

Even taking that huge grain of salt into consideration, I still found HOW TO MARKET A BOOK extremely worthwhile reading. I liked that it didn’t promise shortcuts or “easy” tricks. The suggestions were practical and straightforward in an excellent beginners’ marketing book that will teach the essential skills that every writer should learn.

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HOW TO MARKET A BOOK can be found here

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Rating: 4 stars

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This book is best for: intermediate writers

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I recommend this book.

From Page to Stage by Betsy Graziani Fasbinder

Everyone expects that writers will do a bit of public speaking—book tours for the most successful writers and at least one or two local events for those in the midlist. Authors of books for children are expected to do school visits, speaking to the most demanding audience of all. But in the social media era, opportunities for authors to speak have exploded. Authors are supposed to seek out chances to be on podcasts and Zoom with book clubs and post to their Instagram stories. Staying home and writing just isn’t enough anymore.

Never mind that most authors are introverts who dislike the spotlight. Readers assume that authors who are interesting and dynamic on the page will be equally engaging in real life, even though holding a pen and holding the stage are completely different skillsets.

Fear of public speaking is real, but it’s a lot less scary with FROM PAGE TO STAGE as a guide. Fasbinder is a public speaking coach who specializes in writers, so she has tips tailored to our specific needs. She understands how hard it is to talk about our novels and memoirs, when really, we just want people to read them.

Fasbinder begins by calming writers’ nerves, reminding us that there are lots of rewards for speaking in public. She then provides all the tools necessary, from the blueprint of a perfect talk, to how to stand, how to remain composed, and even how to handle those annoying people who have “more of a comment than a question.” She has tips for using Powerpoint slides, and tips for doing a live reading. She even discusses things like podcast interviews or how to talk about your book one-on-one in casual conversation.

There are exercises at the end of every chapter, although I don’t think they’re necessary. Most of them consist of Fasbinder recommending a TED talk, but watching TED talks doesn’t teach you anything about how to give one. It would have been nice to have some exercises about posture or a practice Q and A. Instead, I figured out what to practice on my own from the excellent information and examples in the book.

FROM PAGE TO STAGE is a gift to authors. It’s filled with concrete advice and actionable steps a writer can take to get better at public speaking. It’s the book we need for the skill that we all need to develop.

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FROM PAGE TO STAGE can be found here.

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Rating: 4 stars

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I recommend this book

A Writer Prepares by Lawrence Block

Lawrence Block wasn’t always Lawrence Block. I mean that figuratively and literally. He wasn’t always a Grand Master of the mystery genre, and he wrote an incredible number of novels under secret pen names before ever putting his own name on a book. A WRITER PREPARES is a memoir of Block’s start, from his earliest writing attempts in high school and college up to the publication of the first novel under his own name.

In the late 1950s, while he was still in college, Block had a job writing rejection letters for the Scott Meredith Agency. It was a fee-charging agency that was very bad for writers but kind of great for Block, since it got him connected to his next job, which was writing short erotic novels. He had contracts with two publishers to deliver a book a month, for which he was paid a flat fee, and he continued doing that for a decade, during which time he got married and had two daughters. He took day jobs here and there, but still wrote erotica on the side until 1966, when he finally started writing crime novels in earnest, starting with The Thief Who Couldn’t Sleep.

A WRITER PREPARES is incredibly smooth reading, written in Block’s conversational style. It’s also funny. I kept stopping to read parts of it out loud to my family, because they wanted to know why I was giggling my way through a memoir. Even the parts that were horrifying, such as the terrible treatment of writers by the Scott Meredith Agency, were hilarious in that whole “laugh so I don’t cry” way. Block puts a light spin on everything, reminding us that writing truly is the best job in the world.

A WRITER PREPARES might seem like an odd choice for this blog. I’m all about how-to books after all. But Block is a natural teacher, and he’s always giving writing lessons, whether he means to or not. I learned so much from this book—more than I can put in a review—but here’s a small taste.

Agents don’t care about writers or writers’ careers. They care about their own bottom line. The Scott Meredith Agency was particularly scammy, charging authors a reading fee, never sending work out, and lying to authors about their submissions. But are modern agents much better? To agents, writers are interchangeable. It’s not worth going to bat for one writer when there are plenty of others to fleece represent.

Write to market. Block learned this lesson early and well. He wrote his school compositions based on what he thought his teachers wanted, and won an eighth-grade essay contest by extolling the virtues of “Americanism” because he knew the judges were patriotic. His erotic novels were always the exact length and heat level the publisher wanted. He read every back issue of Manhunt he could find to understand what the editor was looking for when he sent them stories. When Block had the idea for The Thief Who Couldn’t Sleep, he sat on it until he was sure he had all the elements for a complete story that would appeal to mystery readers. There is nothing wrong with having original ideas that are wild and fun, but keeping the audience in mind is how a writer gets read.

Practice is never wasted. Block happily admits that he spent his twenties writing crap. All of it was under pen names for low-budget publishers and most of the time, he never saw a copy. But this served as a risk-free apprenticeship that made him the writer he is today. It allowed him to experiment, to pick up new skills, and to practice writing to a deadline. Writing a whole lot of bad fiction is a great way for a writer to learn to write good fiction.

Treat it like a job. Block may have written terrible fiction when he was just starting out, but he wrote a lot of it. He wrote while taking college classes, he wrote while editing the college newspaper, he wrote while working full time at a literary agency. Before he ever sold a word of fiction, he still wrote every day while rejection letters piled up. When he had to quit school and move back home for a semester, he wrote in his childhood bedroom. Block wasn’t a professional. He wasn’t getting paid. He wrote anyway.

Community is important. Block did his best work when surrounded by writers and publishing people. In New York, Block hung out with Donald Westlake, Hal Dresner and Robert Silverberg, and their shoptalk was vital to his success. At one point, Block moved his family to Buffalo to be near his aging mother, and his writing suffered. Pre-internet, a writer had to either live near other writers or write a whole lot of letters. Block tried the latter, but was happier with the former, and moved back to New York as soon as he could.

The book world has changed a lot since the 1950s. Or has it? There are still plenty of very bad literary agents out there, and new writers are strung along by empty promises every day. Writing erotica is different now, but with Kindle Unlimited, there are once again authors serving apprenticeships by publishing a short erotic novel each month. Writing to market is still important, as is not holding too tightly to early work. And no matter what, surrounding yourself with like-minded writers is still the best path to happiness and success.

Reading a writer’s memoir is always inspirational, but A WRITER PREPARES is both inspiring and instructive. It’s a delightful look back in time filled with lessons for the present day.

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A WRITER PREPARES can be found here

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Rating: 4 stars

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This book is best for: all writers

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I recommend this book

Craft in the Real World by Matthew Salesses

Korean-born novelist Salesses has a lot of questions about the traditional writing workshop. Who is it for? Who does it benefit? Is there any way to teach writing that doesn’t perpetuate unequal power structures? And why is most literary fiction so gosh-darned bland, as if all the interesting edges have been sanded off? But CRAFT IN THE REAL WORLD isn’t just for teachers or MFA students. It’s essential reading for anyone writing fiction today.

College writing workshops were created for upper-class, white, straight male writers, and many of the rules of fiction writing comes from them. What we consider high-quality writing is always seen through this lens. We like to pretend that craft is pure in some way, without bias, but that’s simply because the bias is invisible. Whose stores are told, whose stories have value, which plot structures are acceptable, and even which details are included are all based on an assumed reader, and that reader only comes in one flavor. Everything else is called “experimental” or “women’s fiction” or “diverse.” And in the rare occasions that other modes of expression are taught, it’s in contrast to the dominant form of fiction. Instead of asking why writing rules exist, we treat those who “break” the rules as exceptions. If a writer arrives with a different set of cultural expectations, she’ll be pressured to silence her own voice in order to conform to the norms of the group.

Salesses closely examines the typical subjects of writing craft books, asking why they always use realist fiction by dead white men as models. These are the hero’s journey stories we’re all taught, where the world bends to the hero’s will, and any problems in his life can be overcome through hard work and self-improvement. This is very much a Western, male view of the world and not one that everyone shares. In chapters on plot, conflict, tone, characterization, pacing, setting, and story structure, Salesses opens readers’ minds to new ways of thinking and writing. We don’t all write to the same market, and fiction doesn’t have to please a wide audience. It only has to please the right audience.

The last part of the book discusses practical ways to run a writing workshop that centers the author rather than those giving the critique. These methods are more labor-intensive for instructors (which is why most won’t use them). These new methods will empower writers so they can go on to revise their own stories even after they’ve left school. Working writers reading CRAFT IN THE REAL WORLD will find helpful tips to make their writing more inclusive, more interesting, and just better.

Reading CRAFT IN THE REAL WORLD wasn’t easy for me. I remembered my own college classes and community writing groups, thinking about the ways I was silenced, and the ways I unknowingly used my privilege to silence others. I found myself reading very slowly in order to truly absorb each point before moving on to the next. Some of the lessons were painful, some were embarrassing, but more than anything else, they were helpful. When you know better, you do better, and CRAFT IN THE REAL WORLD will help every single one of us become better writers.

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CRAFT IN THE REAL WORLD can be found here

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Rating: 5 stars

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This book is best for: intermediate and advanced writers

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I recommend this book

Eight Weeks to a Complete Novel by Becky Clark

I admit, the title of Clark’s book made me curious. Why eight weeks? Why not four, or six, or twelve? It turns out that there’s nothing magical—or even particularly interesting—about the eight week timeframe. Clark recommends you write your novel in a month (just like NaNoWriMo) with a week on the front end for outlining and three weeks on the back end for revisions. This is a timeframe that Clark herself adopted on the advice of her agent, and it seems to work very well for her. But EIGHT WEEKS TO A COMPLETE NOVEL is descriptive rather than instructive, basically saying, “here is what I do, now you do you.”

Clark insists that writers must use outlines, and the first half of the book is an exhaustive list of outline styles. Clark does a good job of defining these different styles, but doesn’t teach authors how to use any of them, nor how to pick the best one. She freely shares her own opinion on them, though. She likes the Blake Snyder Beat Sheet and doesn’t care for the Hero’s Journey. But what good does it do an aspiring writer to know that?

The second half of the book is about time management. It’s all stuff we’ve heard before: minimize distractions, keep track of daily work count, be consistent, try sprints, don’t edit as you go, set boundaries, etc. etc. I kept hoping for one gem to take away, some new idea that would be useful for a writer, but it was well-worn advice that all writers already know. Even Clark’s metaphors were ones we’ve seen hundreds of times. (An outline is a roadmap for your story’s journey…)

Throughout, Clark is eager to share what works for her, even reproducing her daily schedule on the page. Readers learn what time Clark gets up, how often she exercises, and that Wednesday is her day off. We learn how often she checks Facebook and how many writing sprints she does in a day. But having an example—even one as seemingly perfect as Clark—doesn’t help an aspiring writer set her own schedule around her own circumstances. Clark has neither a full-time job nor children at home, but she gives no consideration to those who do.

Read EIGHT WEEKS TO A COMPLETE NOVEL if you’re curious about how one author writes her books, but not if you’re looking for instruction for writing your own.

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EIGHT WEEKS TO A COMPLETE NOVEL can be found here

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Rating: 2 stars

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I recommend Writing Fiction for All You’re Worth by James Scott Bell or How to Be an Artist by JoAnneh Nagler instead of this book.

Intuitive Editing by Tiffany Yates Martin

INTUITIVE EDITING is a frustrating book. Yates has extensive experience as an editor, both freelance and working for big publishing houses. And she has excellent advice for authors who want to polish their novels before handing them over to a professional editor. However, everything is over-explained, every point belabored, and it’s all weighed down with so many examples that the good advice gets lost. Ironically, this book on editing could have used an editor.

I liked Yates’ approach a lot. She starts with the biggest issues and works her way to ever smaller ones. This is the way I edit, and when I teach classes on editing, this is what I teach. Start by making sure the characterization, plot, and stakes are all in place. Then come medium-sized issues like point of view consistency, pacing, and voice. The final stage is smaller things, for example, removing crutch words and streamlining descriptions.

However, Yates exhaustively explains even the most simple concepts. For example, she devotes many pages to the difference between first and third person stories. Every writer learned this in middle school, and we don’t need it taught again. Even while addressing more complex topics such as point of view or suspense, Yates throws in example after example until the original point is lost. It feels like someone nudging you in the ribs saying, “Get it? Get it?” Yates is on more solid ground when using examples from real novels rather than hypothetical ones she made up, but each time a point is made, she happily uses three or more examples when one would do.

Even worse, very little of INTUITIVE EDITING will be useful for an author with a completed manuscript. Yates seems to want to teach authors how to write a novel rather than how to revise one. She gives vague handwaving toward the difficult job of finding a novel’s problems. However, very few beginning authors have the objectivity to look at an example, figure out how it applies to her own work, and then go back and edit accordingly. And when an author does have the objectivity to do so, her skills have progressed to the point where she no longer needs this book.

And that’s what makes this book frustrating. There are many valuable lessons here. INTUITIVE EDITING is like a short writing course taught by a good professor. However, the time to apply these lessons is in the planning or first draft stage, because the lessons are too general to apply to a completed manuscript. An author would be better served by taking the very good writing lessons in INTUITIVE EDITING and applying them to her next book.

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INTUITIVE EDITING can be found here

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Rating: 3 stars

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This book is best for: beginning writers

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I recommend this book or The Anatomy of Prose by Sacha Black or Writing for Emotional Impact by Karl Iglesias

The Anatomy of Prose by Sacha Black

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You’ve got to know the rules before you can break them.

This is true in any field, including writing. It’s not about paying your dues. You don’t “earn” the right to break the rules. If anything, experience gives you new appreciation for those rules that you might have once chafed against.

However, once you understand the reason behind writing rules, you can break them for effect. And when you break the rules, you’ll know exactly what you gain and what you lose by doing so.

Black understands that writing rules don’t exist just for the sake of having rules. They aren’t put in place to please copyeditors or the grammar police. Writing rules are merely best practices for communication, and the better you understand them, the better you can apply them—or bend and break them when the time is right.

THE ANATOMY OF PROSE consists of short lessons that will tighten flabby sentences, tune up rambling paragraphs, and shine a spotlight on the most important parts of your novel. Black covers when to show and when to tell, how to find your voice, clean up your style, and put a finer point on all your description and exposition. She has tips for brighter dialogue, tighter pacing, and clearer transitions.

THE ANATOMY OF PROSE covers a lot of ground, meaning very short chapters. Black quickly tells you the rule, why it matters, and how to apply it. She illustrates each point with a single example, all but a few from her own work. The examples are good and they do the job, but it would have been nice to have examples from a range of other voices so authors could have some side-by-side comparisons.

You’d expect a book of do’s and don’ts to be stuffy but this one is not. THE ANATOMY OF PROSE is filled with punchy British slang and just the right amount of swear words (a lot of them). Black is having fun with writing. She wants you to understand the deep principles of prose so you can convey your exact meaning, and perhaps have some fun with your writing too.

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THE ANATOMY OF PROSE can be found here.

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Rating: 4 stars

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This book is best for: intermediate writers

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I recommend this book