September 7, 2021 § 28 Comments
You can do something for me today. For every author you know. For even the authors you don’t. An act of literary citizenship that takes 7-10 minutes. Sure, you can spend time and/or money to be a literary citizen—hosting events, blogging, editing or reading for a journal—or contribute gently to your community by giving thoughtful feedback in your own writing group. But to actually help authors sell books, for free, right now:
Write a review.
Not “pitch a review to a literary publication,” although that’s great, too. Not “write a 900-word blog post balancing serious critique with just enough praise.” Not “read the book twice for fairness and highlight quotes and eventually put something up in a couple of months.” Just write and post a short review, right away.
- Write a review of 3-10 sentences. Maybe quote one line you really liked.
- Post to Amazon, where you can usually review even books you didn’t buy on Amazon. Copy your review before hitting “submit.”
- Paste the review to Goodreads. (Goodreads accepts reviews even before the publication date, allowing for ARCs or having read the manuscript.)
Feeling ambitious, or you like the author? Take a photo of the book or the cover on your screen. No need to style like #bookstagram—next to your teacup or against your houseplants is fine. Post to your social media. Tag the author so they’ll see it and feel supported and can repost on their own social media…which might get you another couple followers. Citizenship always comes back around. Posting that photo with your Amazon review helps your review show up, and tells the algorithm you own the book (useful if you supported your local indie bookstore).
Should I wait to have time to write something “real”?
Amazon reviews are not serious discussions of literature. They guide buyers on the fence: Look, someone liked something I know I’ll like, too. Buy. Look, someone had an issue with a plot element that’ll bother me, too. Nope. Reviews help algorithms decide how many people will spontaneously see this book. More reviews (the best-guess “magic number” is 50) makes a book show up higher in search results. More people not specifically shopping for that book will see it, and some of them will buy it. Goodreads reviews are often more thoughtful, but review now rather than laboring over a paragraph truly reflecting your literary prowess.
What if I haven’t read the whole book?
Your review is more valuable to your friend than reading their whole book. Think about it: would you rather I email you in six months, “I finally finished your book and I loved it!” Or would you rather I post that sentiment on my socials during your release month, even if I’m not on the last page yet? (Authors: do not pop-quiz your friends on your book. Trust they read what spoke to them and be grateful. If they want to thoroughly discuss your plot choices, they’ll bring it up.)
…Shhh…I didn’t actually like my friend’s book…
Helpful reviews are no stars, four/five stars, or one star.
No stars: Hated the book? Don’t review it. For a friend’s book, pick a sentence you like (there’s one in there somewhere!) and quote it with a photo on social media. Tell your moral compass you’re not recommending the book…you’re observing that it exists, pointing out one good thing, and supporting your friend.
Four/five stars: If you liked the book enough to give your time to review, choose four or five stars. Didn’t like it four stars’ worth? Go back to the no-stars plan. Three stars says, “I think your work is…average.” Two stars says, “Your book sucks, but it didn’t raise my anger or disgust enough for one star.” If you wouldn’t say that to their face, don’t say it with your review.
One star: If a book you regret reading is by a stranger you will never need goodwill from, and it really irritated you, go for that one star! A trash review is better than tepid, as long as you’re specific about what you didn’t like. Your poison may be someone else’s champagne.
You want your friends’ support when it’s your turn. They need your support now. Maybe they’re not even your friend—maybe they’re an author you hope will blurb you one day. The best time to start publicly supporting future blurbers’ work with reviews and social media is two years before you ask them for that favor. The second-best time is now.
If you have time, if you have a mass media or literary venue, by all means read that book like it’s your job. Make extensive notes. Write a beautiful essay placing the book in context with the cultural moment and your own love of literature. But if that’s not what you’re doing, read enough to know what you like and write a quick-but-thoughtful review, right away. What have you read in the last six months? Other than bestsellers, those authors need your reviews. You will make their heart sing that someone, somewhere, recognized their artistic contribution to the world.
I’ve been writing reviews all year, making deposits in the Bank of Goodwill. And oh look, my book is out today! You don’t have to buy it or like it, and I won’t ever hold that against you. Most authors won’t even notice if you don’t review them. But we’ll sure remember it with joy if you do.
Allison K Williams is Brevity‘s Social Media Editor. Her book, SEVEN DRAFTS: SELF-EDIT LIKE A PRO FROM BLANK PAGE TO BOOK is out today. Buy it at Bookshop.Org to support indie bookstores; go Amazon.com if corporate behemoth is your style. Ignore the “out of stock,” it’ll get there!
December 15, 2020 § 16 Comments
Staring at your not-final manuscript? Perhaps you rushed out a first draft in one glorious NaNoWriMo month. Perhaps you’ve slowly pecked away for 10 years. Either way, it’s a rush to finally type “the end” at the conclusion of a draft—you did it! You got there!
But what happens next? Your initial inspiration shines on the page, but you know it’s not “done-done.” How, exactly, does it become the next draft? Start with spellcheck? Get someone else to read it? And how will you know you’ve done all the work you can?
First drafts often spring from the impulsive heart, the burning need to tell what happened. Second—or any subsequent drafts—thrive with work plans.
Depending on how you enjoy writing, and how your best work gets done, your work plan might be a list of tasks or a method of proceeding.
Methodical revisers often start on page one, fixing sentences and scenes from beginning to end. Or they might work chapter by chapter, addressing dramatic arc, voice, theme and structure in each. Addressing multiple issues at once can save time, but it can be hard to see the story forest for the line-editing trees.
I swear by a list. The work plan I use (and recommend to many authors) lets me focus on the whole book, keeping the story in my head while tinkering with scenes and sentences.
1) Outline the story using my dramatic structure of choice. For fiction or action-based memoir, often a traditional 5-act structure. For an essay collection, character-driven literary fiction, or reflective memoir, perhaps a spiral from theme to theme and topic to topic. Business, self-help or a craft/how-to (like my forthcoming Seven Drafts: Self-Edit Like a Pro from Blank Page to Book), benefit from a ladder structure showing how each subsequent chapter or concept builds on the previous, and each exercise or reflection asks the reader to branch out at that level.
2) Assess the outline. Are scenes in the right order? Do momentum and knowledge build? Does tension stay tight and reader understanding increase? Is the narrative pace too slow, or the number of things to learn too fast? Revise, moving chunks of text as needed and writing in placeholders for “missing” scenes or material.
3) Fill in any placeholders. Are some moments underwritten because the author got tired that day, or a scene evoked tough emotions? Is research needed to fill in a memory or plot gap?
4) Look at conflict. Does each scene or chapter include conflict between what someone wants and what they can get? Is the conflict between characters, between memoirist-as-narrator and memoirist-as-past-self, between narrator and self, narrator and society, or between the reader and their current beliefs/habits? If every scene includes conflict, where does the reader rest or absorb information? Revise scene by scene, increasing, decreasing or refocusing conflict as needed.
5) Revise scenes to get in late and get out early. Rather than parking the car and walking down the hall and entering the office and sitting down and greeting the boss, open with “You’re fired,” or better yet, standing by the car with a box of desk stuff. Edit scenes to close at or immediately after the moment of impact, with only the reflection needed to convey emotion. Even in “slower” or voice-driven books, make sure the reader’s time is spent loving a character, learning new information, enjoying a beautiful/fascinating/terrifying scene or drawing a powerful conclusion. Edit out filler.
6) Revise most scenes to start and end with a strong action, image or emotional moment. Strong scene/chapter openings and closings create pace. In more leisurely books, that’s where the reader has a moment to add their own thoughts to what you’re about to show them, or slows down to absorb the impact of what they’ve read. In faster books, these moments pull the reader forward with your narrative.
7) Refine the narrative and character voices. For each character, read only their dialogue and narrative. Does it sound like them and not anyone else? If all the dialogue tags vanished, would it still be pretty clear who’s talking? For nonfiction, is author voice clearly and specifically in the narrative? For fiction, does the narrative have a clear point of view?
8) Print the whole manuscript and make additional edits and notes on paper. Use scissors and tape to move anything that still needs to be moved.
Next, my favorite editing technique of all:
9) Instead of editing the existing file, retype the entire manuscript, plus any new edits, into a new file.
When I suggest retyping, writers look at me like I’m asking them to dance naked through the mall with flowers and tambourines. But this technique is powerful. Rewriting gives flow. Your authorial voice can more fully develop, like that great party anecdote you tell. The more you retell the whole thing, the better your timing and delivery get. You may also feel physical resistance at lovingly crafted passages…that don’t belong in this book after all. Plus, we are always the person most interested in our work. If it’s too boring to retype it, it’s too boring for anybody else to read.
This may not be your best work plan, and that’s OK! It’s time-consuming, and if you’re in a hurry, you might prefer something like this One-Pass Revision from Holly Lisle, which covers basically the same steps but with terrifying/awesome speed. The above plan also doesn’t address theme, opening hook, character objective, and other elements you’ll want to revise. But it will get you started, and having a specific, written plan can sustain you through writing days that feel like “work.”
If you try it, let me know how it goes (or if you need a cheer!). Nudity and tambourines optional.
Allison K Williams is Brevity’s Social Media Editor. Need more direction on your next draft? Join Allison’s Wednesday webinar all about Second Drafts, including theme, voice, hook and much, much more. More info/sign up here! (recording available if you register but can’t make it live).