Revision can be a highly emotional process. One day everything in the chapter is fixed perfectly, piece of cake. You were born for this. The next day you spend HOURS on one paragraph. Why are you doing this? Four root canals with no numbing agents would be less painful than this.
Things can go from bad to worse after you spend months and months fixing and rewriting only to feel like you've made no progress in making the book better or you see how much more there still is to fix. You think you'll never finish.
Then a common, yet terrible thing happens to writers. Revision burnout.
What is Revision Burnout?
Revision burnout occurs when a writer becomes frustrated with the time and entanglements of revision and quits. They walk away from their manuscript, sometimes never coming back.
Oftentimes a little time and space are good for a project, giving the writer a chance to get a mental break and gain perspective. Too much time is a bad thing. The longer a person steps away from the project, the more they forget about the smaller details, and the longer it takes for them to reread and remember what they wrote about before jumping back in. You can also lose the sense of tone and direction you originally had with the work, making the new parts not match up as well with the older ones. This doesn't mean it's impossible to jump back on a project you didn't finish from three years ago, it just means that it will take time to recapture your sense of the story.
The real threat with revision burnout is complete abandonment. The biggest crime in writing is to give up on your work. You've made it this far and finished the draft. How many hours, days, weeks, months, maybe even years did that take? Don't quit now because it's hard. I have yet to hear an author preach about how easy writing is. Yes, some projects will need more work than others and yes, not all projects are going to be award winners. But the learning and growth of you as an author is critical. Going through the whole journey and finishing your big projects will teach you more about how you work and your processes than any webinar or craft book can.
Besides, wasn't this your dream? Didn't you picture holding this book in your hands...signing the title page...having fans desperately want your next book...? Or maybe you felt so passionate about the story that you just needed to get your work out there. Revision is hard. Period. That doesn't mean you should abandon your work.
Seven Tips for Avoiding Revision Burnout
Goal Setting: Make a realistic timeline for finishing your revision. Adapt it as necessary as life happens. Sometimes you get sick or have to move or have to help family members. Adjust your timeline as needed but stay focused on your end goal of having your project completed.
Revision Routines: Develop a routine for revision each week. You can plan something such as an hour each day in the early mornings or all day on Tuesdays and Fridays. This is going to depend on your schedule. The emphasis is on writing down what days and times are for revision only. Do not let yourself get distracted or work on other things during revision time. Focus!
Accountability: Have an accountability system in place to check in with your overall progress on your project and also to make sure you're sticking to your routine. You can have a writer friend you email every Sunday night to check in or make yourself post your progress on social media every Tuesday. Whatever works for you. This is a key piece in long-term success and finishing your project in your desired time frame.
Recognize Fatigue and Take Appropriate Breaks: If you find yourself hating your story or sitting down to revise becomes entirely torturous, a short break may help you adjust your frame of mind. Take a week off and spend some time in nature or with good friends who make you laugh, anything that energizes you. Do not let your break go on for weeks. Remember the longer you are away from a project, the longer it takes to jump back in.
Focus on Progress, not Perfection: You don't have to get your story perfect in the first round of revision. Or the second. Or the third. It can certainly seem like you are revising in circles sometimes. Remind yourself that every time you sit down and revise, you are making the story better. Focus on one story issue at a time and pat yourself on the back as you fix problems.
Keep in Touch with your Love of the Story: You will hate your story from time to time. It's completely normal. My loathing for my work peaks at about round three of revision. Take a journey back in your memory to when you first got the idea for this book. What was the spark? What made you excited? I like to write my story ideas down in a notebook and I will go back to that notebook to recapture my excitement. You can also make a list of your favorite scenes or lines from the book. Stay connected to what you love in your work. You may have to fight yourself for it.
Build a Support Network: Writers make the best allies in the revision process. They know how hard it is. If you haven't already, build relationships within the writing community either in person or online. Other writers can give emotional support and also ideas for when you're stuck. Writing a book can be a very lonely journey so reach out to others in the community for support.
Now you have some tools in your toolbox for avoiding revision burnout. Keep working on your revisions and don't let negative emotions stop you from achieving your goal.
Want more revision posts? Check out some others I've written:
Picture books are primarily a print market. Kids and parents love holding the books in their hands and interacting with them, pointing to pictures and turning pages. Deciding the best way to make your physical product involves some decision making and figuring out what is best for you and your book. Here are the options, along with the benefits and drawbacks of each, to help you decide.
The two main ways to indie print picture books (or any book) are to offset print or use a print-on-demand service. Offset printing is when you put in an order with a traditional book printer such as Thomson-Shore or Phoenix Color and they do what is called a print run. You pay the money up front for an agreed-upon amount of books. When the print run is finished, you have all of your books ready to sell.
Print-on-demand or POD is a relatively newer service in the history of book printing. All you do is upload the files to a service such as Amazon or Ingram Spark and they print copies after they are purchased and mail them to the customer. If you want to have a home stock of books, you will need to order from the printing service and you only pay for the exact amount you want.
Offset Printing Benefits and Drawbacks
Offset printing is number one when it comes to print quality, especially for picture books that have color interiors. You also have more print options with an offset printer. You can pick your trim size, get foil embossing, do lift-the-flaps, even get holes cut in your pages. You can customize whatever you want!
However, when you offset print you have to pay for an entire print run. This can get expensive and is risky if you end up not selling very many books. Also, now you have an entire print run. Where are you going to store those books? You will have to do some research and see if you want to apply for a distributor, store them at a warehouse that does pack-n-ship, or keep them at home/a storage unit and mail them yourself. But another benefit is the per-unit price. The higher the total print run, the cheaper the books are per book.
Print-on-Demand (POD) Benefits and Drawbacks
The benefits of POD are easy to see: significantly less up front cost and much easier product management. It is the most economical option. Plus services that do POD also list and ship your books for you. Double bonus!
Here comes the big drawback: print quality. Because these books are printed quickly and shipped out right away, the printing methods give less rich color and quality controls aren't as well regulated. You are also limited in your options and must chose a trim size from a predetermined list and can't get any of the special features. Some POD printers, such as Amazon, only print paperbacks. Finally, the price of the book per unit stays the same whether you print two books or two thousand. It becomes the least economical option if you need to print large quantities of books.
The best method is going to be what is right for your goals, your time, and your budget. What is most important to you? What can you honestly manage? How much money do you have to spend? You also don't have to be married to one printing method. You can make a judgement call for each project and see what works best for you. I personally do both, pending the project and what I deem is important.
Layering theme and metaphor in your memoir can take your story from being good to great. The challenge is...well...figuring out what exactly your theme is. The good news? You don’t need to know it before you start writing. In fact, you don’t need to figure it out while you’re drafting either. When you sit down to write your memoir, just get your story down on the page.
Finished? Now look over your piece as a whole, whether it is a short memoir or a longer work. Part of your writing journey will be the self-discovery you have when drafting and then stepping back and seeing what came out.
Finding Theme in Memoir
While reviewing your work, look for patterns in the following things:
When I drafted my award-winning short memoir “Learning to Kick,” I detailed my experience with postpartum depression and identity loss. After reading through what I had gotten down, I noticed a pattern involving my expectations at that point in my life: I kept thinking things would get better and month after month they didn’t. It went on for most of a year until I finally realized I needed to do something, to be proactive in my happiness. I realized this would be the theme of my piece.
Using Metaphor to Integrate Theme in Memoir
Then it was time to show the readers my theme instead of telling it to them. What was this feeling of things not improving month after month similar to? My mind went immediately to something dark, thinking of light fading away and me drifting further and further from happiness. I also thought about cold and feeling a crushing sensation of sadness. I realized a good parallel would be sinking in cold ocean water.
I wove this metaphor into my storyline in different places throughout: a giant wave knocking me into the water when I found out I was pregnant, dipping just under the surface on my first day alone with the baby, sinking further and further into the cold water as the months progressed. And the moment I realized I needed to fight for my happiness? That’s when I learned to kick, which gave me the title of the piece.
Once you see the pattern in your work, think about what it reminds you of in the world. Then integrate this metaphor at key points in your story, including your opening and closing, as well as your title. It will give unity and depth to your piece. It will also do what every writer wants...get your readers more engaged in your story.
Revision can be an intimidating, often daunting task, especially if you have a messy draft. It can be hard to tell where to begin. You know you need to fix things, but you aren’t exactly sure how to get started. That’s where a revision plan comes in. This post will tell three steps to getting a chapter-by-chapter revision plan.
Step 1: Evaluate Your Manuscript
Reread your novel from start to finish without making any changes. That’s right. Resist the urge to tweak as you read and just go through the entire thing. Why? The first thing you need to do is take stock of what you have. There is no sense in making little changes on something that may end up being cut later. So just read.
As you are reading, take notes in a notebook or type them up in a doc about things you think need revision or parts you don’t like. I prefer to take notes for each chapter but also keep a running list of things I see overall. For example, I may write a chapter note about the dialogue in a certain scene being flat but also make a note in the overall section about the character as a whole needing more dimension. I like to write my notes in columns, then compile the overall notes separately afterwards.
Step 2: Problem Solve Your Story Issues
Review your notes as a whole and determine what your biggest problems are. Saggy middle? Ending not explosive enough? Characters unlikable? Start by brainstorming one problem at a time. For example, if you noticed you have a saggy middle, do some research and think of every idea you can to solve the problem. Make a big list of possibilities. Now identify which ones are the best solutions to your problem, not the easiest, but the best. What makes sense in your story and for your characters?
Step 3: Make a Revision Plan
Now it is time to implement your solutions chapter by chapter. I find it helpful to start my revision plan by writing down what is currently in my chapter, then what I want to do in the revision next so I can see what specific changes need to be made. I will write in a to-do list addressing the chapter problems I saw during rereading and also what I need to do in this chapter to address the bigger, overall issues I noted. So if I am adding a subplot to help with my saggy middle, I will note which chapters need added scenes.
I often make adjustments and changes to my plan as I am revising. So it’s okay if everything isn’t perfectly fixed before you get started. The important thing is to GET STARTED! Sometimes writers can get lost in planning and delay beginning the actual work of revision. Don’t spend more than a month evaluating, problem solving, and planning. Some solutions will come to you as you work. Now it’s time to roll up those sleeves and get started!
Want more revision posts? Check out some others I've written:
Let's start with a doozy of a sentence: The short-legged, fluffy, orange Pomeranian walked down the dirty sidewalk, past the shady green trees, and into her large square yard with the tulips, daisies, and daffodils next to the two story blue house with the wrap-around porch.
While this does give you quite a visual, it's pretty exhausting to read and a bit long for the attention of a three-year-old. Visual description is often a place where a picture book author can make deep cuts, or not include it all. Here are three reasons why you can toss those adjectives out the door.
Written Description Is Redundant
One great thing about picture books is they have pictures! The pictures do the work of showing the visuals so the words don't have to. Why tell the reader and listener the pig is wearing a red rain jacket with yellow buttons when they can look at the page and see it? Or that the park has a swing and a slide and a bench and a...you get the idea. The park will be there on the page.
Let's go back to the sentence with the Pomeranian. Reread it and think of everything written there that would be shown in pictures. The short-legged, fluffy, orange Pomeranian walked down the dirty sidewalk, past the shady green trees, and into her large square yard with the tulips, daisies, and daffodils next to the two story blue house with the wrap-around porch. Most of the words in this sentence can be cut out.
Illustrators Don't Like It
When an illustrator gets a manuscript, they develop their own vision for the story. They don't want to be told what every tiny detail looks like. That would leave no room for them to experience and interpret the story with their own creativity. Think about it. Before you wrote a story, would you want someone telling you every single detail to write?
You may want to cling to the idea that the pig must be in a red raincoat with yellow buttons. After all, that's how you pictured it as you wrote. But is that really the most important part of the story? Will the story not be the same if the pig is in a blue raincoat, or gasp!, no raincoat at all? Giving the illustrator that creative freedom results in a better product because they use their expert artistic and visual skills to come up with things that are often even better than what you imagined.
This doesn't mean you shouldn't include a visual detail that is essential to the story. But you should leave room for creative interpretation by the illustrator as much as possible.
It Inflates Word Count
Getting the word count down is often one of the biggest challenges of revising picture book manuscripts. Traditional publishers want manuscripts to be around 500 words or less. There is more wiggle room for indies, but it should be below 1,000. (See this post on word count for more info.)
You have to chop, chop, chop as much as you can. Visual description can take up a lot of those precious words and like I said earlier, it's redundant with the pictures. Trim it wherever you can and don't let it inflate your word count. (See this post for other ways to cut word count.)
A picture book needs to use concise yet enticing language that lends itself well to being read aloud. The challenge? Doing all that in less than a thousand words, in fact, as close to 500 words as possible. First drafts are often too long since all you are doing is capturing your ideas and putting them on the page. Then it is time to revise, trim the fat, slice and dice...whatever you like to call it.
A picture book manuscript is already fairly short, so what exactly can you cut? Here are five tricks to trim down those words:
This is the first place to start. Take a close look at your sentence structures. Do you have sentences with several clauses strung together? Long compound sentences? Search your manuscript for lengthy sentences and see where you can chop.
Become a hound on the hunt for any extra words. Look for adverbs and adjectives and determine if they are truly necessary. The word “that” is often a filler word when not specifying an object. (If you are looking for more tips at the sentence level, see Tighten Up! Seven Tips for Decluttering Your Sentences, an article I wrote for the Florida Writers Association.)
Cut Out Visual Description
Visual description, such as describing the setting or what the character looks like, is usually left out of picture books. Most obviously because the pictures show the visuals and it would be superfluous.
The second reason is that illustrators do not want to be told how things look. There needs to be room for creative interpretation. (More on this in another post.) So look through your story and see if there are any lines that tell what something looks like and ask yourself if they are really necessary or if the pictures will show it.
A common mistake is to assume kids need tons of action in a picture book in order to keep their interest, making it more like a TV show. Characters are here then there then up then down then karate chop! Big action isn’t a bad thing, but too much action is. The first problem is that it’s hard for children to follow. Adults, too.
Second, an illustrator doesn’t create an individual scene for every single little action in the book. (Think about transitions like opening doors and entering rooms.) So if you have too much action, an illustrator won’t be able to draw it all anyway. Limit your action to what is essential to your plot. Ask yourself what *must* the character do and limit the number of obstacles to what will fit within the word count. Which leads to the next tip…
Reduce the Number of Events
Oftentimes writers get excited about the idea behind a picture book and add in too many events. My very first picture book attempt involved a tough-guy Easter bunny and his peppy sidekick. While I was developing the story, I planned a kooky system for how they traveled around the world. The first few events in the book where all about glitches in the system before they got to where the story actually started. It was exciting and fun and I loved it. It was also totally unnecessary. My word count was a shocking 2,000 words. It broke my heart but those events had to be cut.
A good trick to help focus your events is to write your logline: one sentence saying what your book is about. Events need to be directly related to the direction of the book. How many events should there be for a picture book? It depends on the structure of the book. I tend to use a simplified version of the three act structure, so three events or event groups. Examine the structure of your book and determine if there are any events that can be left out and the end result would be the same. That may be an indicator they can be cut.
It’s not always necessary to show every setting in a book. A character may come home from school and have to walk through the foyer, then the living room, then the hallway before getting to her bedroom. Save yourself some words and jump straight to where she needs to be.
Limiting settings also goes hand-in-hand with simplifying action. If you stick to only the necessary scenes that involve the obstacles and the character’s goal, then you will see which settings are integral and which can be cut. Once again, the structure of the book will determine the number of settings.
Keep Working On It
It takes me several months to work over a manuscript and get it where it’s ready to publish. I revise over and over and over, getting lots of feedback from other picture book authors. Keep coming back to your manuscript and asking yourself what is essential to your story. With time and effort, you’ll be able to cut out the excess and highlight what is truly important.
Getting the word count correct is a very important skill for anyone looking to publish picture books. Agents and publishers won’t accept manuscripts with high words counts. Distributors won’t select them for sales representation either.
Why? Long picture books don’t sell very well anymore.
Why Long Picture Book Manuscripts Don’t Work
Small Press United, an indie book distributor, has this in their Reasons for Declining information: “a children's picture book with pages that have large amounts of text no longer works as a picture book.”
Recent market surveys show that children age out of picture books at six, earlier than previous generations. Kids are moving up to early readers and chapter books younger than before. This in and of itself is a great thing. We have better readers! But it does raise a problem for picture book authors and publishers. We need to adjust our standards to match what children need and ultimately, what sells.
Authors also need to keep in mind the dual audience of picture books: the children hearing the story and the parent who reads it. Parents are the ones purchasing the books and reading them aloud until the child is old enough to read on their own. If there is one thing that drives me crazy during story time at night, it is a picture book that goes on and on and on. Those books often mysteriously disappear under the bed or at the very bottom of the book bin. As a parent, I won’t buy a picture book with a lot of text.
Picture Book Word Count: Here’s the Magic Number
For fiction or creative nonfiction picture books (not informational), the current word count goal is 500 words. Yup, that’s it.
If you are planning to traditionally publish, it is significantly more likely you will be successful if you stick to this word count. Yes, you can go to Barnes and Noble and likely find a longer picture book on the shelf. This book is probably either a classic or written by an established author. Stick to 500 words to increase your chances of acceptance.
If you are self-publishing, you do have some leeway but remember that you want to be competitive in the market with all the other picture books. You also don’t want your adorable-but-wiggly audience getting bored. Keep it under 1,000 but try to get closer to 500.
A Quick Way to Practice
If you write adult fiction, one of the best activities you can do to get comfortable with the 500 word format is to practice flash fiction. It teaches you to squeeze your entire story in a low word count and helps you focus on every single word, cutting anything extra.
If you are new to writing or are only interested in writing picture books, look for my next blog post: Five Tricks for Trimming Word Count in Picture Book Manuscripts.
Leo the cat likes his happy place at home, no matter how much Daisy the dog pesters him to go on adventures. But when a mischievous cricket hops in his path, Leo can’t resist the urge to chase, even if it takes him on a terrifying journey with Daisy. When Leo confronts something he detests more than adventures, he must choose whether he wants to stay miserable or try and find happiness where he is. Joyride is a story of taking risks and learning how to find happiness wherever you are.
I am thrilled to share our second picture book, Joyride, will be out November 1, 2019.
The picture above is the inspiration image from the illustrator, Becky McKinness, at FayBecca Designs. We loved the fun and excitement of the ride but changed one of the characters to a grouchy cat named Leo. Becky was thrilled to recently have her work featured on the cover of The New Barker. She has a full article in the magazine on how she became an artist here.
Daisy the dog is based off her real pup, Daisy, who is also a fun-loving adventurer. We are excited about collaborating on this project and bringing the story to life. Stay tuned for more updates about Joyride!
I’m so excited to share the cover of How I Met My Other: True Stories, True Love with everyone. Red Raven Book Design did a wonderful job interpreting the theme of the book and turning it into a beautiful “love is in the air” visual.
From the Back Cover:
Learn about all the twists, turns, and fun of falling in love with this unforgettable true story anthology.
People find the warmth of love in Antarctica. An obsession with blondes lands the big one. Squashing a guitar case leads to a blanket fort date. A soldier works to snag a sassy WWII nurse. Spaghetti reels someone in and they never go home again. A revenge date gets serious. And much, much more!
Love can come at the most surprising times and in the most unexpected places. In this short story collection, fifteen authors share their incredible, heart-warming, and often hilarious true tales of how they met their other.
Featuring Stories By:
Melody Groves • Paige Lavoie • Robert Bellam • Michelle Tweed • Racquel Henry • Chelsea Fuchs • Cheryl Dougherty • Tim Haughee • Greg Hill • Kerry Evelyn • Fern Goodman • Valerie Willis • John Hope • Jasmine Tritton • Arielle Haughee
I can’t wait to share this book with you all on February 1, 2019! Stay tuned!
Let’s start with the truth. Are you ready? It’s going to take time, dedication, and a lot of hard work. A LOT of hard work.
Great. If you are willing to put in the effort then let’s dive in! Learning how to write fiction professionally is like learning an instrument or a sport. You don't just pick up a basketball and are instantly Kobe Bryant. Everyone starts out as a beginner and works to get better. (So don't put too much pressure on your work when you are at the beginning of your journey.)
And like learning how to play the piano or flute, the more practice you do, the better you get. So writing often, as much as you can, will get some real momentum for your journey. That being said, writing professionally takes dedication and time, as well as some money to learn the craft. If you treat it like a light hobby, it will stay a light hobby. If you want to be a serious author, you have to take it seriously.
So what does that mean?
(1) Write regularly. Every day if you can. Set a manageable word count goal for writing sessions. Start with something you can achieve like 300 words. Don't wait for an idea to hit you. Creativity is a flow, like getting hot water out of a faucet. The ideas will come after you've sat down and started writing. You need to turn the water on first.
Also, silence your inner editor when you write. (You know, that voice that tells you your sentences are all wrong.) It won't be perfect when you write but just get it on the page. Focus on progress. You can fix your writing later but you can't fix a blank page.
(2) READ! Read lots of books in your genre, particularly recently published books as well as the classics. Read outside of your genre to keep yourself fresh and think of new ideas to bring into your writing. But read, read, read. This is essential for learning how to write. Take note of what works and what doesn’t.
(3) Learn craft. This is key. You can write forever but if you don't take the time to learn the skills, your writing won't get better. Watch webinars, read blogs, listen to podcasts...just immerse yourself in learning craft.
Read craft books; there are a TON of them. For picture books, I recommend Ann Whitford Paul's Writing Picture Books. A fun, energizing one for beginning authors interested in novels is Nathan Bransford’s How to Write a Novel. There are books on specific topics like dialogue, plotting, character...try and always have one that you are reading.
Join professional organizations, specifically SCBWI (Society of Children's Book Writers and Illustrators) if you are interesting in children’s writing. You can find local organizations such as FWA (Florida Writers Association) as well as national ones like IBPA (Independent Book Publishers Association). Find your local chapter and go to their events. Which leads me to...
(4) Connect with other writers/authors. This was the best thing I did. I joined several local groups and started going to events even though I didn't know anyone. I made friends with authors, editors, publishers...it’s a whole community out there. A fun one. They answer all my questions and we support each other. You can also do this online. There are lots of groups on Facebook for writers. Just make sure the group is nice. Some people make themselves feel better by cutting others down and this is unfortunately true in the writing world, too.
(5) Get feedback. Join a critique group, in person is best but online works, too. Make sure the members know what they are talking about and are experienced writers. Enter contests and submit short stories. Sometimes you get critiques through those but the best feedback is when something gets published, then you know you're on the right track.
(6) Monitor your zen. Writing is a very emotional business and rejection hurts. Having a support system is key. Don't be too hard on yourself or your writing. Remember you shouldn't say anything to yourself that you wouldn't say to a fellow writer. So things like "this sucks/you suck" shouldn't be floating around in your head. Negativity can have a big impact on your writing so mind who you have around you and what you are telling yourself. Remember this is a continual journey so have patience with yourself and with the process.
“A professional writer is an amateur who didn’t quit.” -Richard Bach
Lastly, one of the first decisions you will need to make is how you want to be published: traditionally or indie/self-published. There are benefits and drawbacks to both. Do some research and see which is right for you. This will guide your track forward.