by Alena Wendall, @alenawendall
There comes a time in every writer’s life when we face the question: What’s wrong with my manuscript?
“What’s wrong?” is not a bad question. We strive to tell the best story we can. During rewrites, we need to know what’s working – dialogue or story world maybe – but what’s not working can overshadow your moments of brilliance.
I had a few moments awhile back to interview a friend and author Beth K. Vogt. We talked about what we should do when we ask the question, “What’s wrong with my manuscript?”
Beth Vogt: Like anybody else, I love to hear what’s working with my stories. When someone says my dialogue is strong, I do a little mental dance and say, “Oh, yes!” But I also want to know what is falling flat – and the best way to find out is to get feedback from someone else. There are a variety of ways to get help – but you have to know what you’re asking for.
When I ask for feedback, I always delineate between “Big Picture” feedback and “Fine Line” feedback. Big Picture means I’m looking for things like flow, character development, areas where I’ve confused a reader, things like that. It also involves what My Book Therapy (MBT) defines as “craft”: key elements such as Storyworld and emotional layering. Fine Line means I’m looking for those final elements that make a manuscript shine: spelling and grammar, sentence structure, and formatting. Always remember these are the mark of a professional writer too!
Alena Tauriainen: As a writer, I think I’ve conveyed the angst my characters are feeling, and I think I’ve written the story in such a way so that I bring my readers on the emotional journey. What makes for character development? What kind of red flags do you look for? How can you truly know you’ve written a scene or manuscript well?
Beth Vogt: I’ll tackle your questions one at a time, Alena.
Character development means that you’re writing scenes that involve more than he-said-she-said characters. You know who your characters are, and you know why they act the way they do. This involves doing work before you ever write a word of your manuscript.
Taking a reader on an emotional journey begins with something as simple as showing, not telling: Don’t tell me your heroine is cold, show me how she feels cold by having her shiver or pull her coat closer around herself. But it’s so much more than that. Best-selling author Rachel Hauck taught me to watch for these red flags in my scenes: look(ed) and watch(ed). Why? These words keep our readers at a distance in a scene: Along with the point of view (POV) character, they’re watching what’s happening. We want our readers to experience what’s happening with our characters.
I also am blessed to have two prized Preferred Readers who read through my manuscripts. They know me, my writing style, my goals for writing. They let me know what’s working and what’s not working. If they cry or laugh – at the appropriate times – then I’m doing something right. (Although that doesn’t mean I don’t need to revise.)
Alena Tauriainen: Ahhh! I get it — you’ve given me several ideas to think about. The light bulb just went off. I’ve often heard show don’t tell, but your explanation makes it much clearer.
Writing as Alena Wendall, Alena Tauriainen pens contemporary Christian romance novels that always end with a happily ever after. By day, she partners with her lifelong mate Clyde, to run the family HVAC business. She manages both business and family life with four lovable but crazy kids. She is the Retreats Coordinator for My Book Therapy. She is represented by Rachelle Gardner with Books & Such Literary Management. Visit her at alenawendall.com.