The Field Mouse's Guide to Publishing
(Nibbling small bites of a big world)
Publishing is mysterious. If you feel like a tiny mouse in a huge field, this guide is for you. Click a mouse to learn more!
To Begin With
Here you'll find:
Learning About Craft
The first and greatest teachers of craft are books. Read, and pay attention to how the writer is doing what they do. Try to mimic it - and then, almost unconsciously, you'll start to form your own style.
There are also so many great resources out there to help you improve your craft. Here are a few: Strunk and White's Elements of Style This incredible curated list of books and interviews on craft by de-canon Steering the Craft by Ursula K. Le Guin Still Writing by Dani Shapiro Bird By Bird by Anne Lamott This interview with the great Toni Morrison in the Paris Review The Magic Words by Cheryl B. Klein Holly Black's Resources page On Rules
You're not doing it wrong.
I want to say that first, because when we go looking for rules, it's usually because we're worried. So take a deep breath and try hard to believe what I tell you here: you're a writer. Right now. Yes, a real one. You are. I draw a stately sword and hereby knight thee. You're part of the club. Okay, now about those rules. Rules can be super useful. They give us structure, a starting place, a wall against which to test our new theories. By no means am I saying you don't need them, or shouldn't want them. And while plenty of great writers reinvent rules, or buck tradition, you can always benefit from revisiting the basics, the same way an Olympic athlete still practices. There's incredible honor in standing at the starting line. It means you're willing to do the work, to learn, to face the challenge. But by that same token, if you come across rules that don't feel right, or don't seem to work for what you're attempting, feel free to leave them behind, or try something new. Rules can be a life raft - but at some point, if you want to reach new waters, you might need to let go and swim. Finding What Works Follow any writer you like, and you'll learn their take on this whole storytelling thing. If you throw a pebble, you'll hit a writer sharing their creative process (please, don't throw pebbles at us, we're easily frightened). Some of them have immaculate desks with fairy lights all around. Some organize their plots with color-coordinated notes and markers. Some wake up every day at five to write two thousand words, no matter what. Maybe that inspires you. Or, maybe it doesn't work for you. That's okay. Different isn't wrong. It's fun to dress up as a writer. Sometimes, that's the only way to convince yourself to approach the page - and we've all got ideas of what 'Being a Writer' looks like. Typing in coffee shops, skulls with candles dripping down them, desks in charming writer-sheds, fountain pens, dramatic turtlenecks. But maybe you're not a skulls-and-turtlenecks writer. And if you're not, no amount of skulls will change that, or should. The best writer to be is the one you are. That's where the good work lives. Art is a deeply personal and often lonely adventure. The frills - the coffee, the props - might help you feel excited to work, or capable of the journey, and that's great. But the work - the real work - is learning your own mind, following your own skill, listening to yourself. If you can learn to do that, and feed your writer-mind what it needs (not what you'd like it to need, what it actually needs), you'll be fine. Shortcuts The other reason we go looking for rules isn't because we want guidance or comfort - it's because we want shortcuts. The very design of this field makes us anxious, from an early age, to be A Great Success right now, and yesterday would've been better. We can see the successes of our peers more easily, and constantly, than ever before. That gnawing need to do more, faster, better - it can be both a driving engine and a bottomless pit. Usually, it means we try to push out unready work too early, too young, too soon. It all generates the feeling that everybody else knows a quicker way to get there, and if only you could follow that shortcut, you'd be there too. There is no shortcut to your best work. No degree, conference, award or workshop can grant you that satisfaction. No list of rules will guarantee that your work is published. When it comes to knowing what you're doing, and creating something true, only time and practice will get you there. It's something you'll have to wrestle in yourself. Locked Doors Writing can feel like an endless series of doors, each one harder to push open than the last - and yet, while we're struggling to find a way in, some people seem to pass through the barriers without effort. It happens constantly, quietly. Nobody goes around shouting that they have a secret key, but it sure seems like some people have found one. The reason it seems like some people have a secret key is that the door was never locked for them. It's much easier to get an agent if your parent is a famous author and you grew up meeting all their publishing friends, for instance. It's easier to get an MFA, or attend workshops and conferences, if you've got the funds, the health, the time. People are not breezing past you because they're better, smarter, or more deserving. They just don't have to spend time picking the lock, or kicking the door down. I don't say this to discourage you. I say it to let you know that if the doors seem to jam when you try them, you're not doing something wrong, you're not imagining it, and you're not alone. You haven't failed. Those doors will open. More and more of them open all the time, when we hold them open for each other, through sharing information and uplifting each other's voices. And remember: you deserve to enter that room, as much as anyone. Having to kick down the door does not make you any less worthy. Anyone who says otherwise is probably holding the key that locked it. Rules to Beware Of
Writers and publishing professionals love to give advice. It makes us feel fancy. For the most part, it's coming from a good place, or at least from limited personal experience. There's nothing wrong with seeking advice from those who've gone ahead of you.
But when looking for advice, it's helpful to carry a shield, just in case. Your shield is already with you - a sharp eye for detail, a talent for asking questions, the ability to look, and look again. Hold it ready, in case you encounter potential snares. Watch Out For: Rules that steal passion: If you find yourself shutting down your own instincts, or losing joy in what you're doing because of a rule you've heard, stop and reconsider it. Contorting to fit someone else's voice can distort your own - and it can be very hard to find your way back. Rules that are impossible to follow: "Sit in your chair and focus" is easier to follow without, say, or a toddler, or chronic pain, or an extra job. Just as reading aloud in class is easy for some students but torture for others, there are some structures that just aren't set up to work for everyone. If you seem to fail at following rules that others find easy, it might be that the rules weren't built to help you, and you'll have to find another way around. That's okay. Rules that are too easy to follow: You're the good kid, the rule follower. Obedience serves you well. So you begin to dislike people who don't follow the rules; maybe you even punish them for it. You mock bad grammar or mispronunciation, judge someone's education, tear down a new writer's attempts to learn. Remember - rules are tools, not weapons. Rules that offer crowns: We give people power over us in lots of ways - through attention, money, time, love. We all have people we hold in high esteem, or whose authority feels justified. But just because someone's in charge doesn't always mean they're worthy or correct. You don't have to listen to anyone just because they're famous, or hold a degree, or won that award; listen to someone whose words deserve your time. Rules dipped in poison: Some people mean to cause harm. If it's a trusted figure, you might be tempted to give them the benefit of the doubt. Remember, even among beloved figures, power can bring out the worst in people. When they show you who they really are, believe them. Ask who their words are meant to benefit, who they might harm, and why. Use Your Shields Go forward knowing that writing advice is great - but not all advice is for everyone, and all of it needs a grain of salt. Be aware of who's making the rules, and why. Do they benefit you, but harm others? Are they holding you up, or holding you back? Can you get free of them if you want to? And can you hold out your shield for someone struggling along the way? We can all get there, if we help each other. I know you'll find what works for you, and I wish you all the luck in the world.
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Here you'll find:
FAQ Revising for Character: Personality, Motivation, Worldview, and Voice Revising for Plot: Pacing and Structures FAQWhat is revision?
Revision is the process of fixing up a draft to make it better. It's normal to have to do this a few times! No book is ever perfect, and nobody's first draft glimmers the way they want it to.
What's the best method?
Some people love flow charts, graphs, and worksheets. If that sort of thing works for you, go for it! If not - don't worry! There's no one way to do this. Try things out, and see what works best for you. Don't beat yourself up if you can't color-code all your chapters; don't feel bad if color-coding them helps you focus. This isn't about what everyone else is doing. This is between you and your story.
How long does it take?
The simple answer is that it takes as long as it takes. Don't stress if you can't keep up with someone else's recommended schedule. Just recognize that at some point you have to let it go and show it to someone else. Then you get to revise it some more!
How do I know when it's ready?
Revision is going to be different for every person, and every book.
With that said: finish your first draft. Before you can do any real revision, you've got to have a whole story, not just pieces. Yes, it'll be in bad shape. Don't worry - you get to fix it. Now, put it down for a little while - maybe a couple of weeks, maybe longer. However much time you feel necessary to get some distance from it. Then come back and revise it again. Polish any obviously rough edges. Then, if you feel pretty good about it, show it to someone else. Take their feedback and listen, even if it's not what you'd like to hear. If you're getting the same feedback from several people, it's probably something you should address. Get distance. Go back. Revise again. Remember, the ultimate goal isn't perfection. It'll never be perfect - no book is. No, not even the one you're thinking of. I guarantee it's not the story the author had in mind when they started. Trying to force your book to be perfect before you show it to anyone is like never sending your child to school because you're afraid they won't get straight A's. Be reasonable. Be kind to yourself. Give yourself, and your story, a chance. I know sending it to agents is intimidating. I know rejection is scary. It's normal to want a definite set of rules to follow - something that'll spare you any doubt or pain. That shortcut doesn't exist. There's no magic formula to help you decide when it's good enough (and anyone who says differently is selling something). Here, you've got to take a deep breath and trust yourself. You know if you've tried your hardest. After that, don't be afraid to let it go and see what happens. Revising for Character
Sometimes, we start with a rough idea of our protagonist, and have to fill them in later. That's okay! Here are some things I've found useful.
Personality
Motivation The most important thing to know about your character is what they want most. To find that out, you've got to learn what basic emotions make them tick. Ask: 1. What is my character most afraid of? 2. In what situation would this person be most uncomfortable or challenged? 3. What does my character believe will make them happy? While you're revising, check back in with these three points, and use them to shape your character's decisions in the story. If something feels off, it might be that your character isn't acting in accordance with their motivations. Changing Worldview We're invested in watching this character grow and change throughout the story. If they're the same basic person we met on page one, not much has changed, no matter how many obstacles they've defeated. But to know if your character has changed, you have to know where they started, and what made them reconsider along the way. What's your character's worldview? Whether you call them worldviews, guiding principals, mantras, or beliefs, everybody has a few ideas by which they live their life. Maybe it's 'do no harm, but take no crap.' Or perhaps it's, 'Always look out for number one.' Maybe they believe they'll be happy if they prove their worth to a parent, or that they'll be safe if they never fall in love. This is the principal that guides their decisions, on their way to achieving their goals.
Now, challenge that worldview. A character's worldview is like a coin. It has two sides - positive results, and negative results. In moments of decision, that coin flips - and depending on which side turns up, the whole story changes. If they get mostly positive results, they hold onto their worldview. But negative results will cause them to rethink things - and that's where you get character growth. In Lord of the Rings, Boromir's worldview could be summarized as 'It's my duty to defend my people, above all else.' That coin is flipped when he has the chance to seize power - power that would help him uphold his worldview - by betraying his friend. The negative ripple effects of his betrayal alter the entire story. What would flip that coin for your character? Are they faced with something they've always wanted? Confronted with something they've always feared? Made to question what they believe? Challenge them with something that doesn't fit their worldview, or causes two of their beliefs to conflict. Give them a chance to obtain what they want through dubious means. How do the results change their story? How will they be challenged further by what they've done? Don't be afraid to let them make the 'wrong' choice - sometimes that's where the best stories come from. Now you've got an arc! Voice The first few times you write your story, all the characters will probably sound alike. Mostly, they'll sound like versions of you. But compelling characters have distinct personalities. They choose their words differently, arrange their sentences differently, think differently. Here are a few things I've found helpful in making characters more distinct.
Revising for Plot
Plot takes different shapes in different stories, and there's no one-size-fits-all answer to moving your story along. If you look around, you'll find some basic structures like these - but keep in mind that these are from a mostly English-centric, Western worldview of storytelling, because that's what I know the most about. There are many, many other ways to tell a story.
If your story doesn't seem to fit any of these, you don't have to force it to be anything it's not! I've made these super basic. For more in-depth resources, check out the links on the resources page!
Pacing
When people worry about plot, they're often actually worried about pacing - particularly in the middle of a story. To keep your story moving along, try these:
Some Plot Structures
The most basic structure you'll find is this: [Somebody] wanted ________, but ________, so _________. Everything below is just a variation on that theme. 3 Act Structure (Action movies and romantic comedies are good examples of this.) Act 1: An inciting incident establishes what our characters want, what they stand to lose, and what they plan to do about it. Act 2: They try their plan, but something goes very wrong, and they seem to have lost everything. Act 3: Using lessons, tools, or abilities from earlier acts, they come to a new understanding of how to face their challenge and over come it. The Hero's Journey (Just about every classic fantasy you've ever read.)
A plot, B plot (Episodic TV shows are good examples. I recommend studying Star Trek and Doctor Who.) Basically, you have a Main adventure (A Plot) and a subtext adventure (B Plot) which play off of each other until the conclusion.
7 Point Story Structure (Lots of things use this pattern, and it has a lot in common with other structures. This is mostly helpful in planning out the major beats of your story.) Hook: The premise that gets us interested in the story. In an ancient age, great heroes once fought terrible monsters to prove their bravery and earn lasting honor. Plot Turn 1: The inciting incident that kicks off the story. A terrible monster named Grendel viciously attacks the hall of King Hrothgar, and no one can stop it. A mighty warrior named Beowulf, eager to prove himself, volunteers to try. Pinch Point 1: Your protagonist faces their first challenge. Beowulf, weaponless, battles the monster. It's no match for him, and Beowulf wins, proving his strength and ending Grendel's reign of terror. Midpoint: Your character is no longer reactive, but proactive. They see a problem and they decide to do something about it. Beowulf decides to also rid the land of Grendel's mother, a much more dangerous creature and a true match for his strength. After narrowly defeating her, he returns victorious and is made a king who protects his people. His honor and worthiness seem certain. Pinch Point 2: Up the stakes, apply more pressure on your protagonist. Things take a turn for the worse. In Beowulf's old age, a dragon is disturbed. Beowulf goes to face it - but he's not as strong as he once was. If he truly deserves honor, he will have to defend his people against an enemy that outmatches him. Plot Turn 2: Here, you see the results of the Midpoint. Your character faces their biggest challenge. Beowulf knows he can either be like old King Hrothgar and wait for a younger, stronger hero to turn up and solve the problem for him, or face the dragon himself, risking almost certain death. He faces the dragon and kills it, but is mortally wounded. Resolution: Here your character either achieves what they set out to do, or fails. Your story comes to its conclusion. Beowulf ultimately proves himself a brave and worthy leader not by being stronger than the monster, but by sacrificing himself to protect his people. He is buried in honor, and his story lives on.
However you revise, good luck! I believe in you.
Since self-publishing isn't my background, I interviewed Dana Fraedrich, self-published author of the steampunk fantasy series Broken Gears. Warm-hearted and serious about craft, Dana is not only the friendliest writer on the block, she's also eager to help others find their way in the writing world. Learn more through her on social media below, and check out her website here:
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AuthorI'm Ashleigh. I write stories and plays about impossible things happening to strange people. Archives
December 2020
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