Revising Using JenManuel.com’s ‘Narrative Space’ As A Guide

Apr 19, 2018 by

Revising Using JenManuel.com’s ‘Narrative Space’ As A Guide

I’m Revising my debut novel again, this time using JenManual.com’s Narrative Space tool as a guide and what an eye-opening experience this has been.

Before beginning her The Reimagine Course, which costs $249, I’d done something daring. The manuscript of The Voodoo Hill Explorer Club, then weighing in at 112,000 words, was way too long for a debut novel of any sort. So, I took the first five chapters and set them aside, cutting the book to 72,200 words. Talk about killing your darlings. That’s 39,800 words of darlings.

Some of them are going to come back because I’ve realized I’m not writing a middle grade book, I’m writing something of a nostalgia book—something between To Kill A Mockingbird and The Perks of Being a Wallflower. My book is something adults would more relate to–those who were children of the 1970s, but also I’ve found middle grades do like, so I’m torn at the moment. My next quest is finding an agent who reps Nostalgia….

Regardless, that left me with what was chapter five becoming my new chapter one.

What is Narrative Space?

In its simplest definition, according to Manuel, “Narrative space is how much space on the page the parts of your story occupy. How much space these narrative parts—or moments—take up on the page.”

What she recommends, and I’ve done with my first chapter, is gone through with highlighters in MS Word and the hard copy, and highlighted the narrative spaces or significantly different moments.

JenManuel.com’s Narrative Space Tool helped me see what I needed to add and cut from my first chapter without even looking at the words.

I started with the opening paragraph and highlighted it in green. Then my main character dives right into a first conflict in the book and it is highlighted in red. A few paragraphs later I go into what amounts to a data dump—something I’ve decided I, too, can reduce if not eliminate (in light blue), followed by a paragraph in red, another light blue, back to a red, then a second conflict introducing a new character and a third conflict in purple, the antagonist jumps in highlighted in black, back to red, back in black, more red, to pink, another conflict and a different color, more purple, back to orange, one line in black with the antagonist, two lines in red, another conflict in orange, a little red, then we jump into yellow, more purple, yellow, purple, yellow, purple, yellow, purple and more conflict, a little more black with conflict, and the chapter ends.

Whew! That looks confusing on the surface of it. But it is telling me all sorts of things.

Narrative Space Interpretation

Without even looking at the text, I zoomed out, so I wouldn’t even see the words, here’s what all of this is telling me.

Most importantly, my antagonist, highlighted in gray, isn’t getting enough time on the page in the opening chapter to make him the goon that he is. There needs to be more about him and less about what’s in light blue to follow.

The light blue, see above. This section needs to be reduced to give more play to what’s highlighted in gray.

The green at the beginning. This section begins the book and nothing else is done with it the whole chapter, but the other sections support what is laid out in the beginning. To provide more impact to this section, I need to come back to it with the chapter’s end. At present, I do not. So, to revise, I need to brush in elements of red, black, purple, yellow—the most prominent sections of the chapter—the longer sections of narrative space that provide the greatest emotion and experience to my future readers, a sandwich effect, if you will.

Conclusion

Pretty cool stuff, eh? Jen Manuel is Canadian, so I threw the “Eh” in for her. This is the only tool from her course I will feature. For me it’s like clouds have been overhead and God has appeared and pushed them aside with his mighty hands, the tool is so amazing. This is such an impactful and different way of seeing my work.

Suffice it to say that Ms. Manuel’s course is money well spent for any writer wanting to hone his/her craft.

Check out her site. You’ll be glad you did.

 

 

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Cameron, Fitzgerald, Hanks & Hemingway

Apr 5, 2018 by

Cameron, Fitzgerald, Hanks & Hemingway

Credibility, May Day, The Past is Important to Us & Fifty Grand

I witnessed a cosmic literary alignment this week when reading selections of Julia Cameron, F. Scott Fitzgerald, Tom Hanks, and Ernest Hemingway randomly together. Each of them fit together in a unique way.

Julia Cameron

Julia Cameron’s essay “Credibility” taken from her Right to Write fits with the others like a glove.

Four great writers who sat down and wrote to overcome their fear of whether or not they were good enough.

The essay says that in America we have a conviction “that being published has to do with being ‘good’ while not being published has to do with being ‘amateur.’ We treat the unpublished writher as though he or she suffers an embarrassing case of unrequited love.”

Her male counterparts understood the importance of the act of writing.

What if F. Scott Fitzgerald, Tom Hanks, and Ernest Hemingway had all said to themselves, “My writing isn’t good enough to publish. I’m just going to stick it in the drawer.”

Or worse, “I’m just not good enough.”

Or worse still, “I’ll never be good enough, so I’m not going to write at all.”

You may think I am joking about this, but how many people do you know who have said this? The answer is too many.

Anyone can sit down and write. And the more they do so, the better they will get. As long as they are reading, too.

F. Scott Fitzgerald

F. Scott Fitzgerald’s “May Day,” his first great novelette, was published in July 1920, and related to a series of events that took place in his life in 1919. He feared that he had “unsuccessfully” woven the events into a pattern in his story. But he published the story regardless and it is a wonderful piece of writing.

His story details a Yale reunion on May 1-2, 1919 in New York and follows the antics of Gordon Sterrett, Phillip Dean, Edith Bradin, Carrol Key, Gus Rose, and Peter Himmel. The tale is sad, but has moments of color, yet is told masterfully.

Gordy is caught in a pickle and a situation of misery he seems to have created on his own. But reading the story one gets the sense of the true genius of Fitzgerald’s writing.

Tom Hanks

Tom Hanks’ “The Past is Important to Us,” in his book, Uncommon Type, introduces us to Bert Allenberry, also in New York City, who has developed a time machine that allows him to go from near future to June 8, 1939 where he frequents the World’s Fair and finds himself infatuated with a woman from another time.

Hanks weaves a great tale of Bert not being happy with what he has, all the money he could want, and longing for something he can’t have. Like Gordy, Bert’s demise is created out of his own greed. The underlying theme is very much the same between the two stories written almost 100 years apart.

Ernest Hemingway

Ernest Hemingway’s story, “Fifty Grand,” from The Short Stories of Ernest Hemingway, The Hemingway Library Edition, involves a washed-up boxer named Jack Brennan who is facing his last fight and puts $50,000 down on himself to lose.

This is another story set in New York city. In this edition, there are extras with previous versions of the stories included. Right behind the published edition is exhibit 12A which has the note, “1st 3 pages of story mutilated by Scott Fitzgerald with his—.”

Boxing stories aren’t really my thing, but Hemingway’s writing is so rich and concise. Remember, he says 80 percent of a story should be like an iceberg—with the bulk of it unseen.

Conclusion

So how is it that I can pick up four books randomly and read four separate pieces together and they have overlapping themes?

That remains a mystery, but in part, Hemingway and Fitzgerald hung out together as best friends. They fed off each other. Tom Hanks has been an actor, screenwriter, director, and producer. His writings also have appeared in The New York Times, Vanity Fair, and The New Yorker. His book Uncommon Type, where every story features a typewriter, is his first collection of fiction.

Each of these writers overcame what Julia Cameron wrote about in her essay “Credibility.” They, like all writers, heard the call all writers hear and did something about their need to write. They sat down with blank sheets of paper, pricked their fingers and poured their hearts out onto the pages before them. Then they went back time and again and revised and made their words better and better and better.

I’ve been studying and writing short stories of late. Writing short stories is a pathway to the soul of writing. They don’t allow for lengthy writing. A writer must be concise. The transformation of the lead character must happen in a few paragraphs. The whole story is contained to about 1,500 words. This demands practice and determination. Once a writer perfects such a medium, he/she is better prepared for novel writing. Or so the theory goes.

I’m about to do my fourth revision of my novel The Voodoo Hill Explorer Club. I’ve been writing short stories for about two months now. They are a joy to compose and challenging as well. My word usage is much tighter than before. That’s the biggest thing to come from this exercise, but so is the joy of telling new stories. I highly recommend such a study. Not to mention reading from masters like the four authors above. You will be surprised how much you will learn.

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A Moveable Feast

Mar 16, 2018 by

A Moveable Feast

In my writing and reading, I am studying Earnest Hemingway. That led to my reading of A Moveable Feast, published in 1964 after he had died. The version I have includes a foreword by his son, Patrick, and an introduction by his grandson, Sean. There are also many newly released sketches about his son Jack and first wife, Hadley.

Ernest Hemingway’s “A Moveable Feast.”

The chapters about F. Scott Fitzgerald and the subsequent descriptions including his wife, Zelda Sayre, formerly of Montgomery, Alabama add a new level of color to the first celebrities of the Jazz Age. (Check out the short film I did last summer on Zelda as a ghost in Montgomery–going back home one night and visiting her old haunts in modern Montgomery.)

Hemingway paints a picture of Zelda that is anything but flattering. He all but says that Zelda ruined Scott’s writing career out of jealousy. Fitzgerald is portrayed in firsthand stories that show why he only produced a limited number of books in his career.

For instance, when they first met, Scott invited Hemingway to take a train with him from Paris to Lyon to retrieve a car Scott and Zelda had left broken down. Hem arrived at the train, Scott did not. Hem boarded, Scott did not. Hem arrived in Lyon, Scott arrived an hour later. Hem booked a room and wired Zelda where he was staying, but the message never got to Scott, who found Hem the next morning. Then there was the matter of where the two would eat breakfast. Zelda apparently hated cars with tops and so their’s had none and it was raining that day. Scott and Hem made it an hour before they had to stop in the rain. Once they stopped for the day, Scott said he felt like he was catching his death of cold. Hem kept insisting that he had no temperature and that he was fine. Scott insisted he was dying. He insisted Hem find a thermometer. The pharmacy was closed. Hem found a waiter who located an odd thermometer which he told Scott, “You’re lucky it’s not a rectal thermometer.” No temp, but that didn’t satisfy Scott. But after some doing, he then went downstairs to call Zelda and talked to her for an hour. This, he assured Hemingway was the first night the two had spent apart since they’d been married. The way Hem told it, it was a gross case of co-dependency before anyone used the term. The whole bit makes one wonder how stable Scott was himself. Then to see how Hemingway portrays the constant fighting between Scott and Zelda is eye-opening.

The first season TV series on Amazon shows they have a contentious relationship but Hemingway paints a much harsher picture. At one point they are arguing with their chauffer from France about whether or not they can put oil in their car, or whether or not their driveway is their’s or not.

But there are a few segments of the book where Hemingway writes about writing. “On Writing in The First Person,” Hemingway says that if a writer does a good enough job, “you make the person who is reading … believe that the thing has happened to him too.” He goes on to say that if one can achieve this it will “become part of the reader’s experience and a part of his memory.”

The observations and sketches about living in Paris in the early 1920s are colorful and enjoyable. He shares what it was like to live poor and to work hard at honing his craft. He was in love with Hadley and focused, intent on becoming a serious writer and loving living in what he felt was the best place in the world to be a writer at the time.

The chapters about Gertrude Stein and her calling Hemingway’s “the lost generation” are informative, as well as his summation that every generation is a little lost.

I enjoyed the read and will likely go back through this one a couple more times in my studies. There are Easter eggs hidden here among his feast of words.

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Gonna Write You A Letter….

Mar 8, 2018 by

Gonna Write You A Letter….

Not long ago, I bought resume paper and matching envelopes. Not to send out resumes but for something more special–letter writing.

Once I load the paper into my 1951-model Smith-Corona Silent, (taking care to ensure the letterhead is correct), I write someone I’ve not corresponded with in a while. Maybe someone I have never written before. 

My penmanship is better after months of hand-written Morning Pages. But how often these days does anyone receive the gift of a letter composed on a typewriter? Yeah, rarely.

My goal is a letter a day. One-page to let a special person know they were on my mind. This is so much better, not to mention cheaper than Hallmark. More original. More personal. More caring.

I don’t ask for a letter in return, though a typing pen pal would be nice. these days we dash emails and texts off with so little thought behind them. I enjoy my time at the typewriter taking the care to send genuine thoughts and to do my level best not to make any typos.

Dumping By Snapchat

A friend of mine had her son dumped by a girlfriend recently. She sent him a Snapchat message. He read the Dear John and it disappeared, forever. They’d been going steady for more than a year. They are 14, but still. This from a girl born in Alabama. She knows better and her mother taught her better, too. Emily Post is rolling in her grave.

Better Mail

My friend Harold Duncan often tells his mail carrier he wishes the Postal Service would bring “better mail.” The other day Harold had his wish fulfilled with a one-page letter thanking him for many years of friendship and support.

Typing With a Butter Knife

Owning a typewriter is rare these days. I bought my first last fall–a Smith-Corona Super Sterling like my dad had when I was a boy. In the documentary California Typewriter, Tom Hanks turned me onto the Smith-Corona Silent model. Hanks says that of the 250 typewriters he has, the Silent is the one he could not do without. I concur. It’s like typing with a butter knife.

My typewriters have changed how I write. The rhythm of the intricate machine slows my thought process. Words form pictures in my mind as the letters flow to my fingertips, depress a key, activate a series of levers and springs before compressing the fibers of a black ribbon and leap onto the white canvas of the non-glowing, porous page.

I revised my novel “The Voodoo Hill Explorer Club” on my typewriters. Instead of cutting, they helped grow the story into something new and magical. Yesterday I started querying agents.

Times are crazy busy. I’ve enjoyed the responses from friends who’ve received my letters. Writing them was worth it. Every clickety-clack….

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My Social Media Break & Journalism Slamming 101

Feb 19, 2018 by

Just today, Fox News is using SLAM in two of its headlines. Either someone at Fox News has a slim vocabulary or they have nothing better to write than stuff that does not qualify as news.

My Social Media Break

I’ve been taking a break from Facebook the past month or so.

I’ve been working to cut down my amount of time on Twitter and certainly how much time I spend looking at the Fox News and CNN websites.

Since The Dallas Morning News began charging to even look at their content I don’t bother with local news. The TV news product long stopped being news in my mind so I gave up that habit a long time since. As a result, I must say, my mind feels better each day.

If I could kick the habit of looking at what Fox News and CNN feel passes for “news,” I’d be a good bit better. Each time I’m on Twitter I spend a good bit of time blocking people who feel the need to broadcast ugliness and hate rather than making intelligent comments. But instead of the Universe of ugly getting smaller, it seems like the size of the ocean remains the same.

“Slamming” 

I’ve noticed of late that Fox News and CNN have taken to using the verb “Slam” in headlines. Anderson Cooper Slams Trump… CNN Slams North Korea … So and So Slams Fox News for….

I don’t remember there being a Slamming 101 class in journalism school. That must be a new development. I wonder who the professors are for such a class and how they teach it. Which university print press has the rights for the text book and how much it costs? So much for objectivity from the news desk. I thought that’s what journalists were supposed to be. Objective. How can they do that when they’re slamming people? And what gives them the high and mighty right to do so? How did we elevate them to such a social rung to be the deciders? I don’t recall doing that.

This isn’t news that’s being reported and the problem is people keep reading this garbage. When we stop clicking on this, CNN, Fox News, and anyone else who posts this noise will get the hint.

But I guess that’s what the news business has devolved into. Reminds me of Mrs. Reid in eighth grade in Atwater, CA. My first newspaper class. I got an F on a paper and a D for the six weeks because she insisted we write a short fiction story. I maintained that we should not be practicing writing fiction in a news writing class. My short story ended up being an accounting about how we should not be doing what we were doing. Hence the F grade.

Now journalists write fiction in the news all the time and don’t think a thing about it. Congratulations Mrs. Reid. You were 40 years ahead of your time. And the world has gone to hell because of it. Mrs. Reid should have a Fake News award in her name.

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Thanksgiving and Week 31 of Julia Cameron

Nov 21, 2017 by

Thanksgiving and Week 31 of Julia Cameron

In that time I’ve not missed a single day of Morning Pages. I’ve had my mom and daughters tell me, when I’ve encouraged them to follow suit, that they can’t do something like that–write something daily where they must commit to writing three pages before doing anything else every day. Mom says it feels heavy handed.

I even had a doctor two weeks ago tell me that “it’s hardly traditional medical therapy.” He scoffed. He was asking what I was doing to improve my mental health while I’ve been recovering from my back surgeries, getting off ten-and-a-half-months of opioids and trying to put my life back together.

He can doubt it all he wants. I know what it’s done. It’s brought me closer to God. My Morning Pages have helped me focus on what’s most important. They have helped me understand what I have to be thankful for. And as my daughters and I celebrated our Thanksgiving early this past Sunday, I kept those things in mind.

Thanksgiving

Now what I’m thankful for in large part is my own business. There are some obvious things. My church family. The love of my God, my daughters, my dear dog–Maycee. My own family–parents, brothers, and sister. A handful of church friends who have become what Julia Cameron calls my reflecting mirrors. People who are positive and supportive. People who give me encouragement and who are supportive to me as an artist. Who help feed me with positive support and ideas. People who are safe to share ideas with and who won’t make fun of me because I made myself vulnerable. I am blessed to have these rare and few people in my life and to have take comfort in their kind words.

May art has thrived because of them.

I still struggle daily because of what has happened to me. It’s been 18 months now and I am still afflicted with pain. This past week a doctor told me that a secondary aspect that I was not aware of may not ever go away–a result of the opioids, one that I had before that has been compounded because of the opioids–migraine headaches. It’s Monday, Nov. 21. I have an entry in my phone from Nov. 21, 2016–a year ago today that notes being hardly able to do anything because of my headaches. A year later, the pain is not much better, in spite of a high dosage of a med called Trokendi. I’m functioning but their are side effects, and I have had my present numbing headache for seven days now. I’m not thankful for that, but I’m doing my best to manage.

Julia Cameron

I have come to enjoy the days when I do work in Walking in this World, the third book of the Julia Cameron self-improvement trilogy. My mentor, Suzanne Frank from SMU says she believes it is the best of the three books and I can see why she says that. There is so much that is good in this third book.

Used to be I would put on Facebook about the progress I’d made on writing in The Voodoo Hill Explorer Club. I’m not doing that anymore, and I know why now. It does drain energy from the progress of the book when it’s done. Tis far better to put that energy into the production of the work and safe it for when it’s done. So much so that I even hate to mention it here. So that’s it for now.

I keep a stack of books next to me for reference. They are great tools. Some of them I’m learning to memorize. And where would I be without my Smith-Corona Super-Sterling. Want to change how you write? Get a typewriter.

Time to get back to what I do. Writing.

I saw a post on the Internet today that has become more and more obvious to me. It says that the secret to being a good writer is 3 percent talent and 97 percent not being distracted by the Internet. Time to enforce the 97 percent….

 

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