Tag Archives: #writingskills

Smuggle and Stitch, part 2 – with samples

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I promised I would share some examples of this type of revising. This may not be the best illustration I could offer, but I didn’t want to make things run too long. It is taken from my current work-in-progress (wip) about five sisters who set out on what may be the last road trip they will ever take together. Remembrances of their past and revelations about the present threaten their relationships and their future. You might suspect that this is a dense novel – relationships amongst five women equal 25 relationships to illuminate – and you’d be right. So part of the task is telling the whole story fully in as economic a way as possible. Which means I’m in for several passes of revisions.

FOCUSING ON THE SMUGGLE AND STITCH

In these side-by-sides samples, the Original version has blue highlights where I took out the sections that do not appear in the Revised version. The Revised version has the added/new material highlighted all in green.

This revision encompassed three tasks.

  • First, it eliminated unnecessary words. (And, of course, in compiling this post, I’ve noticed more I need to remove, but that’s for another day.)

  • Second, it smuggled in details that were important for the reader to get an accurate view of the scene, and to foreshadow, or at least drop clues to the reader about something the sisters were missing.

  • Third, it stitched in the beginning of my new material, hopefully integrating it with the original material smoothly.

In addition to what is shown here, I had to go through earlier parts of the  manuscript to smuggle in further hints and information so that this section made sense. When I make the next, full-manuscript revision, I will watch out for where my efforts did not work and what kind of fixes they require.

This may be the most difficult kind of re-writing there is. Certainly it holds up a project. But, from past experience, I can tell you it may be the most important kind there is to face down and conquer.

It may be difficult for readers to spot what I mean in these examples. This kind of coaching often works better in an interactive environment. If you have questions about what I’ve done here, or even if you disagree, please feel free to comment and we’ll have a conversation.

‘ta

Smuggle and Stitch

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I am mostly through a major revision to one work-in-progress (wip), and facing something similar in another. I’ve been talking about this revision for – like,  I don’t know, five years now. I have probably gone over and revised the same material the standard dozen times, and I still don’t have it quite right.

Problem – in part – is that I’m having to add new material. What that means is that I have to create the new character/storyline/words to add this to the story, THEN I have to figure out where to fit it in, including bits and pieces scattered throughout the existing writing. It’s HARD!

I don’t care how much better it will make the story (well, yes I do) but IT IS HARD!

The other aspect of this is that I have to go back and cut as many words as I can. This consists of eliminating unnecessary words as well as getting rid of any information dumps (okay, exposition) that is unattractive and uninspiring for the reader. They want the story, but they want to be entertained while learning about the character’s past love affair or the minor childhood incident that changed a lifetime.

There are only two ways I know to go about this revision, and it still is tedious, time-consuming, and , well, HARD. I’m referring to Smuggle and Stitch.

Smuggle

Smuggle is a term some writers use to explain how to present certain information about the story, especially the characters, to the reader.  The idea is that rather than dump a whole pile of information in straight exposition (even if it comes via a character’s dialogue), bits and pieces of information should be dropped simply into the narrative along the way. This builds the reader’s knowledge of the character gradually and allows them to draw on it in an organic way when things come to a head.

My cardinal rule of thumb is that you don’t want anything to break the reader from the story. Jarring notes such as misinformation, eg, Alaska is located on the North American continent at a latitude lower than that of Hawaii; speech patterns inconsistent with the character’s previously demonstrated patterns; an off description, such as unexplained inconsistencies about the protagonist’s hair style and color.. Other ‘sins’ can include inconsistent or inaccurate locale description, historical gaffes, out-of-date slang, or even anachronisms such as a cell phone in the 1890s. (short of a time travel story). The point is, anything that even momentarily makes the reader stop reading and think “Hey wait, that can’t be right!” qualifies here.

“…you don’t want anything to break the reader from the story”

Also in the bucket are long paragraphs or scenes of exposition, description, or the phenomenon called ‘talking heads’: characters doing nothing but sitting around talking about what is happening, has happened, or will happen. These are absolute ‘no-nos’, because nothing will throw your reader out of a story faster than boring passages, even if the information conveyed is necessary to the story.

You, the writer, are here to entertain. Inform, too, but in an entertaining way. Allowing your story to feature passages that throw the writer unceremoniously out of their reverie, out of the world you have spent precious time creating is at least counterproductive to reaching this reader or getting them to read your work again.

Stitch

Writing is sometimes like a quilt, patches sewn together with tiny – preferably invisible – stitches to make a complete and cozy blanket to enshroud the reader in a new world.  Adding new material to a blanket already completed is no small feat, but it must be done so as to be undetectable in order to make the quilt good as new.

So it is with new material being added to a story. Some patches, or scenes go in wholesale, between other rows of patches. To keep the pattern consistent, however, a writer must work in individual ones here and there, or adjust an existing patch with a stitch or two.  Some quilts even require added stitching all over to unify the design properly. To make the story come out reading as if it were never any other way is artistry.  Also, hard). 

My next blogposts, published within a day or two, will have specific examples of the smuggling and stitching I practiced while revising my current wip.

‘ta

TIP ~ INKAS ~ #3

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Finally returning to our INKAS.  Poetry is  the next form of writing I want to discuss.

PoetryINKA

Working with multiple age levels in poetry can be tricky, something I learned early on in the years I coached Writer’s Club. Levels of understanding vary as much as levels of ability. On the other hand, nothing is more refreshing than to hear the original thinking that goes on in a new poet, especially when they are young. And, there is a form of poetry for everyone.

Poetry expresses our innermost thoughts and feelings. Poems can be funny — think Dr. Seuss — or sad. A poem can tell a story, as in a ballad, or it can describe a single internal moment in a person’s soul. Poetry is recited for entertainment and for learning. It can brighten our memories with a description of a grand day at the beach or touch our hearts with tender lines of love. Poetry connects the mind with the heart and the soul.

You will find that there are all kinds of poetry. There are poems that rhyme every other line, and there are poems that rhyme no words at all. There are poems only two lines long – couplets, and there are poems over 70 lines long: ballads.

Rhyming patterns – referred to as schemes – are described by assigning rhyming words the same letter. So, a limerick, where the 1st, 2nd, and 5th lines rhyme and the 3rd and 4th lines rhyme would be described as having a rhyme scheme of ‘aabba’.

APoemSometimes new poets like the idea of writing poetry because it is short – but that is an illusion. It takes thought to put expression into a few words or phrases. A good poem can take as long to write as a long story. But that doesn’t mean you can’t write a poem quickly, especially if you are excited about it.

One thing that young poets don’t always seem to know is how to present a poem visually.

Poetry is usually not written in complete sentences but in phrases.  It is not shaped like a paragraph but takes shape on a screen or paper in such a way that the reader knows went to stop and start and what the rhythm of the poem is. The look of the poem adds to the pleasure and meaning of the poem.

I find it easier to write a poem completely, then look it over and adjust the punctuation, the capitalization, and the lines so that it reads the way I want it to.

I said earlier that there is a form of poetry for everyone. Below is a  not all-encompassing of some of the different forms of poetry. Some you will recognize; some you won’t. You can read more about poetry forms and how to write it, including such details as meter and stanza, imagery and onomatopoeia, at Poetry 101: Learn about Poetry (where you can also find a link to details on US Poet Laureate Billy Collins’s MasterClass).  I’m not posting this info as a promotion, it’s just a fact that you will find the link there.

Poetryforms

We write for many reasons, and we choose the form our writing takes based on those reasons. For expressing emotion, discerning truth, and unlocking secrets of the universe, there is nothing so useful as poetry. Happy writing!

‘ta