by Stephanie Morrill
Stephanie writes young adult contemporary novels and is the creator of GoTeenWriters.com. Her novels include The Reinvention of Skylar Hoyt series (Revell) and The Revised Life of Ellie Sweet (Playlist). You can connect with her on Facebook, Twitter, Pinterest, and check out samples of her work on her author website.
On Monday I talked about how after you finish writing your book, you have to decide if it’s a book you’re interested in publishing or if you want to shelve it and pursue another story idea. (There’s also the option of self-publishing, a writer brought up, which is true. For simplicity’s sake, I’ll focus on traditional publishing during this series. If you’re curious about my views on teens/new writers and self-publishing, you can read them here.)
Before I talk about agents and the pursuit of publication, though, I want to spend one more day camping out on the whole writing the next book part.
I’ve said this on here before, but as a young writer, I bounced from story to story quite a bit. If I was bored with one, I abandoned it for a new flashy idea. And when that one became boring, I did it again. I never stopped to figure out why a book idea felt boring or why I couldn’t seem to write much more than a chapter or two.
I didn’t grow as a writer until I became critical of my own process. When I mustered the courage to look at my failed stories and ask why they had failed.
The first time I did this, I was 20. At that point, I had written five full novels and one half novel. (There had been countless partial manuscripts over the years as well, but these 5 1/2 are books that I had worked on much more than the others.) At age 20, I stepped back and tried to figure out why those stories felt flat, why the idea hadn’t produced a great book.
After some consideration, I noticed they were all stories about me. Not me me, but a variation of me and my life – what if that guy I once liked had actually liked me back? Or another, what if my parents moved me to this awful tiny town in Oklahoma that I hated visiting?
That was when I decided to write a book with a main character whowas completely different from me. The result was a really horrible draft of a book that (after a few complete rewrites) became my debut novel, Me, Just Different.
Because I had taken the time to evaluate what hadn’t worked in my old stories, I was able to fix the problem and achieve writing a bigger, better story. I now take time after every story to evaluate what worked and what didn’t.
The Reinvention of Skylar Hoyt series
This was the first series I had ever written. Even though I’m very pleased with how it turned out (and extremely grateful to my editors who helped me along the way) I could have made life easier on myself if I had:
- Done some very basic plotting about how the characters would grow over the course of the series.
- Kept a calendar of events. There were some serious continuity issues in those early drafts!
Because I had already written part of this book before (only it was a adult contemporary novel) I ignored everything I had learned about writing a synopsis early on. This was a big mistake. (I was also pregnant with Connor, raising a 2-year-old, and promoting the Skylar books … so I’m not sure how clear headed I was at this point. I probably should have spent that writing time napping, now that I look back on it.)
Remember that first book I wrote after The Reinvention of Skylar Hoyt series? The one where I decided that I should write synopses for brainstorming purposes? Well, I finally remembered that and decided to apply it to this book. It was awesome. And because I had taken time to study structure after the previous book, I did a better job of making sure all the important story elements were in my synopsis and first draft. I like this method.
The Unlikely Debut of Ellie Sweet
This was the next full novel that I wrote after my dystopian. I used a method that I now hear referred to as sign post plotting, where I made a list of the big scenes in a book (Beginning, inciting incident, dream realized, etc.) and then made notes on the side about those scenes in the book. This worked very well for me, and I intend to do it for my next book.
After you evaluate what went well and what didn’t with your last manuscript, consider identifying a few new things you want to try on your next book. Like you could try using Jill’s scene plotting charts, or dedicate a week to brainstorming your story, or try out a different POV to tell the story. Trying new things will ensure that you’re a writer who gets better with each book.