Top 5 Coming to a TV Near You

Hi All! Just recently saw this article and was very excited by it. Figured you guys probably would be too.

io9.com put together a list of all the possible sci-fi/fantasy/paranormal/superhero TV series that may be coming our way soon. Some are definite, some are possible, some are rumors. Still, there's an awful lot of exciting stuff in here. Definitely take a look at the whole thing, but here are my own personal top 5.

Poe: A police procedural featuring Edgar Allen Poe as a detective in 1840's Boston? Oh yes. Yes, please.

AKA Jessica Jones: This is based on the comic Alias, by Brian Bendis. It's the story of Jessica Jones, a damaged former superhero who's given up her costume and opened a private detective agency. While she wants to leave the life she inevitably gets drawn into cases involving superheros. The comic is gritty side, with an adult view of sex and violence and relationships. I fear they'll sugarcoat it a bit, and having lots of Marvel Universe guest stars is probably unlikely, but hope springs eternal so I'm  interested in seeing what they'd do with this on TV.

Locke and Key: Another comic derived show. This one is based on the comic series of the same name by Joe Hill (Stephen King's son and author of Horns and 20th Century Ghost. You really need to check him out if you haven't already) about a family that retreats to a spooky old house after their father is killed. The house turns out to contain a number of supernatural doors, and everyone seems to want the keys. I think Hill is a terrifically talented dude and, like with Jessica Jones, if they do the comic justice it could be really great

Smokers: Hmm. Starting to see a pattern here. This one is from comic book super star Brian K. Vaughn (Y: The Last Man, Ex Machina) about a group that deals with alien threats in deep space. If you don't know his work, Vaughn is a terrific storyteller and since he's now got some TV experience under his belt (he was on the Lost writing staff for a season or so) I think this out could be really exciting. (And for you Vaughn fans out there. How crazy is it that no one is doing an Ex Machina TV series? Seems perfect to me.)

Dark Tower: This seems like a no-brainer. I'm only a couple books into the Stephen King series (I'm kind of a late adopter) but I like it alot and from everything I've heard they're bringing serious talent to this. Ron Howard is in charge and Javier Bardem may be playing Roland. I also think the idea of wedding a TV series with a trilogy of movies like they're talking about doing here is a really interesting one.

17th Precinct: Don't need much more than "Harry Potter Police drama" from Battlestar Galactica creator Ronald D. Moore to catch my interest. Moore did amazing things for sci-fi with BSG and I'd love to see him pull off something similar here.

So those are mine. What do you guys think? What upcoming shows are you really looking forward to?

Tech Tuesday - Robots - Gotta love 'em!

Well, maybe...

In XVI, I introduced "Hal," the robotic hall monitor in schools. Hal stands for Hall Access Limiter. And, they look a lot like humans - but, they all look alike.

There are robots in use all over the world. Of course, they don't necessarily look humaniod at all. They tend to look like this.


or like this...


But... there are other much more human looking - and acting. Like the ones in the following linked photo list.

http://www.livescience.com/technology/090519-robot-fear-countdown-1.html

My question to you... how do you feel about technology making robots more and more "human?" Do you think it's a good idea? Are you willing to interact on a personal level with a non-human (but created by humans) life form? Or is it really a "life" form?

Dear readers - what are your thoughts?

Short Stories: Compressing Everything into a Few Pages

I've got short stories on the brain. I just had a short story posted on Merry Sisters of Fate, and I'm working on two stories for anthologies that are, frankly, killing me.

I am not good at short stories. I have trouble getting the idea for the story compressed into such a short space. More often than not, my short stories end up being opening chapters for novels. Seriously. I have written more novels than I've written short stories. I try to write a short story, but I get caught up in the world and the characters and the plot, and I end up with a novel. As hard as it is to believe, I find it much easier to write 90,000 words than 9,000.

Which means, of course, that I am fascinated by the short story form.

One of my favorites is Ray Bradbury's story "All Summer in a Day." I first learned about this story when Robin McKinley mentioned it on her blog, promptly tracked it down, and fell in love. If you'd like, the full text of the story is here (as well as clips of the PBS short made based on the story). But the premise is this: in a future world, people can live on other planets. But for the residents of Venus, you only get to see the sun once a year. When a little girl's class is preparing for the day of sun, things get out of control...

It's a tragic story, not the least of all because the true horror behind what happens is a very internal sort of horror. There's no monsters jumping out, here--it's not scary because of that. It's scary because--despite the fact that it takes place on Venus--it's a very realistic and true story about the human condition.

I think what makes a good story work is getting that one unique twist to it, and building the story around that. In Bradbury's story what happens to the girl is the twist, and he built the setting--and characters--around that.

For me, I like the stories with twists like this. My fave readings in junior high were by Guy de Maupassant and O. Henry, as well as Isaac Asimov and Ray Bradbury. Recently, I've been reading the fantastic collection of shorts in Zombies vs. Unicorns.

All the while, I'm trying to learn--what makes short stories work? And it seems to me that the ones I like the best are the ones just like Bradbury's "All Summer in a Day"--they provide a snippet of a whole world, but a full event for a single character.

What are some of YOUR favorite short stories? Any suggestions or advice for me in writing them?

Revising: How To Avoid Staring Into The Great Black Abyss

Okay, so imagine you've finished the fifth draft of your amazing NYT bestseller. You've let some time go by. And now you're ready to edit the manuscript. Again. (*Note: for the purposes of this post, editing and revising are synonymous.)

You sit down, open the document, and...proceed to stare into the great black abyss like somehow your MS will edit itself. Oh, sure, maybe you're like me and you immediately click on gmail when something earth-shattering doesn't hit you about your novel. Or Farmville. Or Cafe World. Or a writing forum. Heck, maybe you even distract yourself with Hulu and Free Rice. And when you get really desperate, well, let's not go there.

I know (trust me, I KNOW) the thought of editing an entire manuscript is overwhelming. Daunting. Like climbing the mountain--again.

So today, I'm going to give you some pointers that have helped me tackle my 320-page manuscript, edit it, polish it, get it to betas and then out the door in less than 30 days. Strap yourselves in.

1. Set goals. Not only a "finish-by" goal date, but goals for what you want to accomplish in the edit. Does character A need more depth? Do you need to introduce the antag earlier so readers know who/what the MC is up against? Do you need stronger world-building? Faster pacing? A sub-plot that needs fleshing out? What are you trying to accomplish with the edit?

Know what these are. Don't freak out that there's SO MUCH that needs to be done. Just make a list.

2. Chunk your MS. It's much easier to wrap your mind around 100 pages rather than 350. So chunk your MS into manageable sections. I split mine into three distinct pieces and worked on them individually.

Okay, so you really haven't opened the document and started yet. This is all the "behind-the-scenes" stuff that you can do in a notebook or in your head. It usually takes me 2-3 days to make my list and chunk my MS. Take some time to do this. It helps things settle in your head before you actually start.

3. Read. That's right. Hopefully, it's been a while since you've read or worked on your MS. You'll be able to see things with fresh eyes this way. I printed the first chunk and sat down to read. Yes, I had a pen (it was black, not red) in my hand. During this reading phase, I was doing three things:

  • Line-edits (for awkward phrasing, repeated words, word choice, paragraphing, funky formatting, etc. Everything looks new and different on paper. I strongly encourage printing the chunk and editing on paper.)
  • Outlining (I don't outline before I write. So I create my outline as I edit a finished draft. I have a pad of small (2-inch by 2-inch) post-it notes next to me. After I finish reading a chapter, I write the main focus of that chapter on a post-it and place it neatly in my manila folder. Can't sum it up? Maybe you don't need that chapter. Every chapter must advance the plot. Even if you write from an outline, you can do this to see if you've really used every chapter, every scene to advance your plot. And hey, maybe your outline has changed.)
  • Making Notes (I know my goals for the edit, so as I'm reading, I draw a star and make myself a note. Like, "Insert a memory about character B here." Or "This would be a great place to reflect on plot point G." Or "Introduce antag here by way of video." Or "More world-building/setting here." I don't actually write the insertions. I simply make notes of places where they could go.)
4. Transfer from paper to computer. Remember, this is only for the first chunk. For me, it was about 115 pages, and it took me about 3 days to read, line edit and make notes for the section. Then I finally opened my Word document and started with page one. I entered the line edits, written changes and deletions. When I got to spots where I had a note for new material, I wrote it. Everything is done with the "Track Changes" feature on, so I can see what I've done. Actually transferring the changes is easy. And since you have something tangible to do, you don't waste any time staring at the screen, wondering what to do and where to do it. Transferring only takes 1 day. Maybe longer if you have large sections to add/rewrite.

5. Rinse and repeat. After section one is transferred into the computer, print section two. Read, pen in hand, post-it's nearby, computer off. Transfer to manuscript. Print section three. Read, transfer. Since I only had three sections, I edited my entire novel in about 12 days. With the goal-making, I finished a round of (major) edits in two weeks.

(*Note #2: Some of you might stop here. If this is say, the second draft, and you're not ready to send to readers yet, you're done! In only 2 weeks. Leave the MS for a while, write something else maybe. Then come back and start with #1 with new goals for another edit.)

6. Send to readers. Now, this could be an entire post by itself. But I don't have time for that, so I'll just say to choose people who you A) trust and B) love and C) will read FAST. I mean, you only have 16 more days. I recommend recruiting a few (meaning: 2 or 3) readers who will critique as you finish chunks. So really, you could have stuff out with Beta readers after you transfer the first chunk. When they finish, send them the second, and so on. This way, you're not stalled at this point in the process, waiting for reads. You've been getting them back on shorter sections. Which is how you want to work anyway.

7. Go over crits, make changes. Add stuff, delete stuff, etc. This is just a polish. You've already done the major reconstruction. Now you're just smoothing over the edges, based on what your readers have said. If you have fast readers, you can probably get this done in a week or so. I think I had my chunks back and crits incorporated in about 8 days.

8. Leave it alone. Which means, leave it alone. Don't open it. Don't read it. You can think about it if you want. I didn't. 2 days. I actually did this immediately following the final transfer (step 5), while waiting for reads to come back on chunks. It doesn't matter when you do it, but it's vital. Seriously, leave it alone.

9. Send entire, repolished MS to trusted readers. These are NOT the same people who read the chunks. Different people. I had 4. I sent them the "final" MS as well as a list of my goals so they knew what I was trying to accomplish with the edit. (*Note, I did this because with one exception, my readers had already read my book, so I wanted them to know specifically what I was trying to do this time around.) Again, they need to be A) trusted B) loved and C) fast.

10. Final edits based on final reads. 

11. Done!

This system worked for me. I managed to edit my 83,000-word novel, get reads, and polish it up in under 30 days. Hopefully, you've seen something in this list that can help you focus your energy into accomplishing an edit (no matter if it's your third draft or your, um, eighth) of your manuscript without falling into the great black abyss. What do you do that helps you get the editing done?

The 5 (maybe 6) Stages of Revision

Revision can make a book, but it’s definitely hard.  Often you need to let go of not only words and scenes you love but also characters, plot lines, and maybe even the whole underlying idea of your book.  (I speak from experience.) So, sometimes you need to mourn the last draft before you can move onto revision.

For example, let’s say your editor has written in your editorial letter that your favorite scene doesn’t work and even slows down the pace of the book.  So, with apologies to Elizabeth Kubler-Ross, here are the five (maybe 6) stages of grief… I mean .. revision, you’ll probably go through:

1.    Denial.  “There’s nothing wrong with that scene!”
2.    Anger.  “There’s nothing wrong with that scene, damnit!”
3.    Bargaining. “Okay, what if I have Mary bump into John as he’s leaving the theater?”
4.    Depression. “I’m such a hack. I’ll never get this to work, and the publisher will decide to pull the book.”
5.    Acceptance. “Damnit, they’re right. That scene doesn’t work.”

The 6th step, of course, is that you get over it and actually start writing a new scene.  Like grief, the only way out is through. And the result is that you’re a better writer for it.

Revision Week: Rough Draft Triage

Not long ago I finished the rough draft of the second book on my contract, called Magisterium for the time being, and now I'm trying to get it in good enough shape to show it to the nice folks at Scholastic. Since this is a contracted book the experience has been a bit different than the last time I edited a rough draft, mostly because it needs to happen a bit, um, faster. Not that they're rushing me or anything, I just figure the earlier I can get their comments back, the longer I'll have to work on them.

What's been good about this is that it's forced me to be very focused about what I need to do. I don't have time to turn this rough draft into a real live finished book, all pretty and polished. I really only have time to get it to a point where I can hand it to my editors in a form that makes it clear what I'm trying to accomplish.

This meant finding the spine of the book and working on that to the exclusion of anything else. For folks that don't use the term spine, what I mean is the core of the book, the character or relationship or journey the book is most centrally concerned with. For me, this is the main character's arc and the arc of her one most significant relationship.

I would love to work on world building, or take the time to make that one secondary character's journey sing, or make the action scenes more varied and, you know, exciting, but right now none of that can be a priority, not until that spine is solid

While it can be maddening to see something that you know either isn't working, or could be soooo much better, and pass it by, I'm liking working this way and think I'd do it like this even if I wasn't on a time crunch.

One of the most dangerous things about approaching a rough draft is to see the amount of work that needs to be done and become overwhelmed. This can lead to paralysis or, as I saw alot when I taught writing, a tendency to get lost in the weeds of smaller changes.

If instead you narrow things down and focus on the most important points first to the exclusion of anything else it seems a bit more manageable.

Think of it like triage. In an emergency situation you deal with life threatening injuries first and then work your way down.  Ask yourself what fixes your book needs to work on the most basic storytelling level. Focus on fixing those things and then move on, revising in layers.

(Oh and because I'm so revision obsessed right now, you can cruise on over to my personal blog if you want 5 more observations on revision. And hey, while you're there, become a follower, why don'tcha? )

How about you all? What's your process when approaching a rough draft? Any personal revision words of wisdom?


Jeff Hirsch
The Eleventh Plague
Coming from Scholastic, Fall 2011


Find me at jeff-hirsch.com and @jeff_hirsch

Writing/Revising - Same coin/2 sides

I may not be the greatest writer - but I'm a pretty darn good reviser. This does not - I repeat - DOES NOT - mean that I like to revise. But, it's a necessary evil when you want to be a published author. And, well, okay - honestly, I do kind of enjoy it. I like to take what I said kind of off-the-cuff and turn it into something better - smoothed and polished.

The revising process. Do I have one? *scratches head* First off... I'm mostly like Beth (see yesterday's post), in that I'm a pantser - I like to get the whole story down post-haste. (Something NaNoWriMo is great for!) But, then I find revising the entire manuscript to be a HUGE job!

One thing I've been doing lately is... when I sit down to start writing, I reread several paragraphs back before starting in on the story. At first, I was doing that just to make sure I wasn't missing where I was headed. Now, I'm taking the opportunity to tweak and rewrite those paragraphs before I start in again. For one, it helps improve my writing (the self-editing part) and it gets me into the flow of writing more how I want to write.

That is, of course, on a small scale. On the larger scale of full-out revising - I have been known to write out index cards (one for each chapter), showing who is in the chapter and what purpose that particular chapter serves. Does it move the plot forward? Does it give important background information while doing so? How is it on character growth? Etc.

Laying out all those index cards and studying them gives me a pretty clear idea of what is working and what isn't. Where the story is lacking. Where the reader might just stop reading (boring exposition - no plot-moving action). Where I have an opportunity to give a supporting character more face time. Which character(s) might not need to be there at all.

It's a long process - but, now that I'm using Scrivener, I might figure out how to use the corkboard therein - and my dining room table could be used for dining once more!

There are as many ways to revise as there are writers and that, in my humble opinion, is what makes so many great books! I'm eagerly looking forward to a the other Leaguers' revision notes - because it's not beneath me to incorporate some of their methods into my own. I think writers are always looking for "another way" - because it keeps the writing fresh.