Tap Tap Tapping Away Through the Year

An update on my writing journey in 2023

Another year is coming to a close, and as promised, my final Wednesday post will be about the third of the trio of topics I write about: Writing. Specifically, my journey in writing fiction with the goal of publishing a novel in the not-too-distant future. I’ll be honest: as an unpublished novelist, navigating the various elements of writing and publishing novels is like journeying through the Amazon Rainforest with a blindfold. Wearing a clown costume. Under a new moon. In this dense, uncharted territory, every step forward reveals new wonders and unforeseen challenges. Gimme a YIKES!

As a dedicated writer, I've had the joy of sharing my thoughts and stories with you through this Substack over the past several months since its inception mid-year. You might recall the tale of how, about four years ago, I ventured into the realm of fiction writing - a step I took when I finally ran out of excuses not to start. This journey led me to create a universe with Jia Peach, a sorceress with a story so compelling that it has spanned five novels! These novels are works in progress, each at different stages of development, but all brimming with the magic and mystery of Jia's world.

And who could forget the piece where I delved into the origins of Jia? "Forged In Ancient Fire" wasn't just a story; it was an exploration, a way for me to understand Jia as much as I wanted you to understand her. Crafting her character from the ground up was necessary to bring her to life, not just in my mind but in yours as well.

So, let's continue this adventure together. Whether you've been with me from the start or are just joining in, I'm excited to share more of Jia's world and the many tales that await us! Here’s the status of my journey, along with a few side notes on the world I’m navigating.🌟

Jia Peach with her magical dog Rorschach

Earlier this year, I mentioned that I’d like to see the novel out in the world in 6-12 months, assuming I ended up self-publishing it. At the time, it seemed reasonable.

But I gotta admit, it no longer seems as reasonable as it used to! LOL. Why? Because there’s much still ahead. Finalizing the manuscript. Developmental editing and line editing. Cover design. Creating a marketing plan, not to mention executing said plan. Whenever that comes about. And so much more.

In other words, a shit-ton of work is still to be done.

Admittedly, I have some hesitation about exactly what comes next. I’m not worried about it; I’ll figure it out. I just have to feel my way through.

A week ago, I completed a quote-unquote “final” pass through the manuscript to separate the wheat from the chaff. Several months ago, I picked up the book “Seven Drafts” by Alison K. Williams. I’d heard it was a good way to look at writing a book and the process. It comes highly recommended. As soon as I bought it, I read a few pages, then moved on. I’d pick it up a few weeks later, read a few pages, and set it down again. But in the past two weeks, thanks in large part to a week’s vacation on the Oregon coast, I’ve plowed through the second half of the book, picking up more tips and illumination on the path ahead.

Seven Drafts

Seven Drafts? Really? Is that what a novel needs to come to fruition? Sure, why not? But here’s the thing. Alison recommends that the last draft be a complete rewrite. Well, maybe not complete, but at least a retyping of the manuscript. Her view is that re-typing/re-writing the entire manuscript from start to finish instead of just tidying up and moving things around gives you a different perspective, one where you’ll more easily spot plot holes, character issues, flow, and other critical parts of the story.

So that’s what I’m seriously considering. I haven’t completely decided that’s what’s on deck, but I’m leaning that way. But there’s a caveat from Alison: if you’re going to rewrite or retype your story, you should set it aside for at least a month or more. Get away from it. Come back to it so you’re seeing it with fresh eyes.

If that’s the case, and I think that will be, I will set aside the manuscript in January with a plan to return to it sometime in February. In any event, it takes a long time to get a manuscript finished; then it takes a long time to see it in print (generally speaking). So, my original thought earlier this year of getting it published in 6-12 months has now become something that is being pushed further out.

Near the end of Seven Drafts, Alison gives a great rundown of the publishing timeline and the typical length it takes to get a novel or nonfiction book into print:

The Publishing Timeline

Another Professional Responds to the “Forged in Ancient Fire” Manuscript

There’s one more perspective I’m able to add to the mix when I return to my novel in 2024: last week, I received a three-page editorial letter from a submission I made in October to Submittable.com. I sent several hundred words (probably the first three chapters, if memory serves) for possible publication in Uncharted Mag. For a small fee, they would also give me a lengthy editorial review by an industry pro. I’m always interested in learning from pros about what they feel I need to work on. It’s good for me, and it’s good for the work. The feedback in this editorial letter was invaluable.

Here's the opening salvo of the editorial review:

The opening of this excerpt is grounded in voice, tone, nostalgia, and tone. And who can resist a piece that begins with, “Bananas. Always Bananas.”?

I love how vulnerable Jia is. She feels particularly real. Though I didn’t know how old she was at first, 15 definitely feels right. I love how she tries to play the piano at the assembly, and how awkward the entire thing is. It is exactly what it should be. She doesn’t miraculously discover how to complete the song and leave everyone in tears. She is…well, awkward, and vulnerable, and weird, and clearly not a part of anyone else there but Zilly. Perfect.

I also really enjoyed the dialogue between the two girls and between Jia and her grandmother. It’s understated, but authentic, natural, and I got a clear sense of who everyone was and what their dynamics were.

Also I love that I don’t for one second buy that grandma doesn’t remember what that old fight is about. I’m sure she remembers quite well. May even have something to do with why she’s there. Of course I have no idea, but the fact that I’m thinking that way means I am engaged. I am so curious about so much here and would definitely keep reading if I had more of it in front of me!

Nice beginning, I thought! I’m on the right track. It’s similar to feedback I’ve received from the complete manuscript evaluations. The beginning seems to resonate with all of the people that have seen it.

But next comes the hard part, some hardcore advice that, while I may not want to hear, I find invaluable: the narrative’s shortcomings, spelled out in detail.

I really like the concept here. Jia’s mom dies and she’s thrust in a world without her. She knows there are things about her mom she didn’t know, and she knows there are things about herself she doesn’t know. It’s just rife for emotional connection and has so much potential to really cast a spell over a reader, however, I feel right now as if it’s holding the reader at arm’s length.

 We’re placed at a memorial assembly for Jia’s mom, except almost right away we get exposition, backstory, and flashback. Some of which is important – especially the banana stuff to establish Jia’s state of mind and how she’s feeling in the moment. However, I feel like much of it is getting in the way of the immediacy of the scene and letting the scene and the assembly pull all of this out of Jia. It doesn’t feel organic as is. Rather than long paragraphs of memory, what if these memories were woven into the scene more. I would love to have more sensory details to really ground the reader in the gym, what does it look like, smell like, etc. How are people looking at Jia. Her mom worked here right? What memories does Jia have of her in this place. And then triggered by things that are happening, or just because she herself cannot be grounded in this moment, she goes away in her mind to these memories. Back and forth in short passes. Also is she trying to pay attention here? Is she trying to keep herself grounded? Or is she trying to disassociate? I’d also love to get Zilly’s presence earlier on, especially if they are so close. Zilly has a job to do, which is to support her friend, so she’s right there, and we should definitely get a sense of that right away.

I also would have liked the magic or possibility of magic or some magic adjacent language a little earlier to seed the possibility of magic here. It would be nice to get some idea of the world here. I know I’m asking for a lot, but really just signposts. Is this like present time, based on the real world-ish? Or it is a world more involved with magic? What are the thoughts about magic in Jia’s world? Maybe it’s: not believed in, celebrated, criminalized. Whatever it is will add context and will affect her feelings and choices.

 Lastly, I wondered how much time had passed from 2 to 3. Here I’m caught on real world stuff. Is Jia’s grandmother still in town? Where is Jia living? What even is the plan there? Maybe a little more about what’s up with the dad? How is she not going to end up in foster care.

Overall, this has a strong concept and engaging characters. It has the bones, but I just feel as if the body needs to be filled out a bit, to really get this heart beating.

It’s kind of weird to read the feedback from an editor who’s written a lot, has edited a lot of books, and is very experienced, but suffice it to say that this is exactly what I need. It’s what I want. I had to swallow a bit and say, “Okay, I see what you’re saying,” and get to work. Given this perspective, I’ll take it to heart when I start the next run-through.

All in all, I love the process, I love writing, I love editing my work, and I love getting feedback from pros that will help me improve. As an unpublished novelist, what more could I ask? When the book does come out, I want it to be as strong as I can make it.

Jia Peach is a skilled pianist who wants to start a rock band with her BFF Zilly

Connecting With Other Writers

I will say, though, that in reading Seven Drafts, one thing I’m missing in my writing journey is the sense that writers should become a part of a community that supports them and that they can support as well by reading other people’s works and getting valuable feedback from other writers. I haven’t put much energy into that at all. The first thing is that I don’t personally know any novelists.

There’s a local writer’s group, Willamette Writers Group, and I’ve attended exactly one event: a presentation by an agent. It was very helpful. I took a ton of notes and took those notes to heart (it’s where I heard about Seven Drafts). But I haven’t attended any other meetings or Zoom gatherings. I should, I know I should! Often, the times conflict with other commitments, but I’m sure if I hang in there, I can start to become a part and get something else out of it. I suspect I’m like a lot of writers: somewhat introverted and a bit unwilling to put myself out there.

I will say this: if you’re a novelist and you have a WIP that you’d like feedback on, I’m willing to take a look and offer my thoughts. And, of course, if you’re a writer who’s willing to give honest feedback on my work, contact me, and we can make it happen.

Help for Writers on Substack

Another source of inspiration, education, and information comes from a handful of writers on Substack.

Russell Nohelty

- The Author Stack is a goldmine of detailed information designed to help authors find ways to sell their books and get them out into the marketplace. Russell is an extremely prolific writer, and frankly, I can’t keep up with his works, but I’ve made my way through much of his material, and it’s the best on the topic I can find.

Sarah Fay

- Writers at Work is another treasure trove for writers, but this is focused on making your writing on Substack the best it can be and building your audience. I hired her for a half hour of consultation time shortly after getting on Substack and can honestly say it was one of the best things I could have done at the time. She continually releases more content in the form of webinars, Notes, discussions, and more, all of which have been helpful. Sarah is a longtime writer and has direct ties to Substack, so she knows what she’s talking about when it comes to creating a strong Substack presence.

Eva's Newsletter for Writers

Eva’s newsletter was one of the first ones I stepped up as a paid subscriber. Her Substack is filled with useful information on queries, first pages, opening chapters, finding literary agents, and so much more. But the thing that put me over the top was her consistent inclusion in almost every newsletter of writing links and resources, which is where the real goods lie. Updated info on podcasts, regional gatherings, webinars, meet-ups, calls for submissions and so on. In fact, this is where I first heard about the invitation to submit the first chapters to Uncharted Mag through Submittable.com, as detailed earlier in this post.

On Substack is a publication from Substack for writers, including stories about how other writers are working with Substack, resources, news, and views, and updates on how Substack is adding (or removing) features and tools. They have regular Substack Office Hours where anyone can chime in on lively discussion.

I’ll one more to the mix, and it’s one I just came across in the past week:

Storyletter XPress Publishing

by Winston Malone, and it looks promising. I’m giving it a shoutout here because I like the About page, which talks about how “Storyletter XPress Publishing is where readers, writers, artists, and creators can coexist. It’s a community-driven initiative to break away from traditional publishing norms to return attention back to writers and their stories.” So yeah, I’m in. Let’s see where it goes.