A Story That Works

This episode is all about self-editing: what is it, why do you need it, and what the heck does it encompass? What's the point of self-editing if you can just ask an editor for help? Rebecca talks about that on this episode (hint: it's critical to get another set of eyes on your writing, learning to self-edit can save you time later on because you're growing your skills, can save you money, and can help you be more intentional with your goals). Listen to Rebecca talk about all the things she'd change in this story from season 1.

If you don't already know, Rebecca is a writer and certified Story Grid editor who’s attended two McKee seminars, hosted workshops at Barnes and Noble, and self-published a nonfiction book on writing. She produces a podcast called A Story That Works and currently creates content for ROI Online. Her writing has been featured on Havok, Jane Friedman, The Creative Penn, and DIY MFA. She’s a pretty good crocheter, avid reader, amateur graphic designer, and loves traveling the world. Short story is currently her favorite medium for writing fiction. You can find out more at www.creativitythroughconstraints.com.

Things I mention on this episode:

Some of these links (marked with an *) are affiliate links, which means I earn a small commission if you click on and make a purchase from them. Your price doesn't change either way.

Editor Abigail Perry talks to Rebecca about one of the stories from season 1 (the story she wrote using the prompt "death in a small town"). Abby has great advice on how to expand and explore the story, but more importantly, she and Rebecca talk about how to build confidence as a writer and how to stop expecting your first drafts to be perfect so you can just keep writing. Abby offers advice on taking the pressure off yourself as well as how to explore the story you truly want to tell.

Abigail K. Perry is a Certified Story Grid Editor with professional teaching, literary agency, and film production experience. In addition to writing masterwork guides that help people learn how to write, read, and edit like a writer, she works as a freelance developmental editor/book coach and diagnostic editor, and is a monthly columnist for DIY MFA. Abigail also teaches Genre-Focused writing workshops for the genres she specializes in, which include Women’s Fiction, YA Fantasy, Upmarket Fiction, Historical Fiction, and Scripts. As a podcaster, she’s a passionate advocate for the butterfly effect stories have on the individual and world, which she shares with listeners on her podcast, STORY EFFECT.

Reach out to Abigail if you’re a writer looking for an editor who will help you grow as storyteller, and who has experience in differentiated instruction, traditional publishing, and film. Find out more at abigailkperry.com.

Things Abigail and I mention in the episode:

Some of these links (marked with an *) are affiliate links, which means I earn a small commission if you click on and make a purchase from them. Your price doesn't change either way.

Editor Leslie Watts talks to Rebecca about what it takes to build an author career, starting with giving yourself permission to figure out your own process. She talks about creating a writing practice and the importance of reading what you write so you can get curious and play in those spaces that light you up. Leslie gives Rebecca about lengthening her story and talks about what works and what doesn't.

Leslie Watts is a Story Grid Certified Editor, writer, and podcaster based in Austin, Texas. She’s been writing for as long as she can remember—from her sixth-grade magazine about cats to writing practice while drafting opinions for an appellate court judge. As an editor, Leslie helps fiction and nonfiction clients write epic stories that matter. She believes writers become better storytellers through study and practice and that editors owe a duty of care to help writers with specific and supportive guidance. You can find her online at Writership.com.

Things Leslie and I mention in the episode:

Some of these links (marked with an *) are affiliate links, which means I earn a small commission if you click on and make a purchase from them. Your price doesn't change either way.

Editor Griffin Gartner talks to Rebecca about a piece of micro-fiction she wrote for an NYC Midnight competition. He walks her through what's working, how to make it scarier, and how she could expand it just based on the idea itself. Griffin is a master at horror and gives tons of advice on what it means to write horror and as well as how to consistently write stories that speak to you as a writer.

Griffin helps horror writers craft scarier stories. Find out more at gartnerediting.com.

Things Griffin and I mention in the episode:

Some of these links (marked with an *) are affiliate links, which means I earn a small commission if you click on and make a purchase from them. Your price doesn't change either way.

Editor Kim Kessler talks with Rebecca about how to expand a short screenplay she wrote for an NYCM competition. Together they discuss what's working about this piece in particular, but also how to use what you know about yourself to write better stories in the future.

Kimberly Kessler is a Story Grid Certified Editor, TEDx speaker, and one-fourth of the Story Grid Editor Roundtable Podcast. As an editor, she specializes in helping writers craft authentic character arcs and internally-driven stories. As a novelist and filmmaker, she uses humor to explore trauma and find a redemptive perspective on pain. She lives in Washington state with her stand-up comedian husband and three "think they're a comedian" kids. You can connect with her directly at www.kimberkessler.com

Things Kim and I mentioned in the episode:

Some of these links (marked with an *) are affiliate links, which means I earn a small commission if you click on and make a purchase from them. Your price doesn't change either way.

Editor Julia Blair walks Rebecca through what's working and what she can change about a short story she wrote. Julia helps Rebecca tighten the story and they dive into their own writing processes to compare.

Before she became a Story Grid Editor, Julia Blair worked as an archaeologist and a preservation archivist where she was occasionally caught sniffing old books in the stacks. As a developmental editor and story coach, her mission is to help aspiring novelists make the best use of their valuable writing time to craft stories that readers will remember and love. She especially loves to help writers discover the heart of their story when they feel like they’re lost in the weeds. Julia brings a deep appreciation of history and culture to the editing table. Her specialties are Historical Fiction, Fairy Tales and Myth, and Historical Fantasy. She is the author of a forthcoming Story Grid guide to the War genre, and her short story Elixir will be published in Spring 2020. These days, Julia is elbows-deep writing her fantasy novel, The Nature of Prophecy. She has written several articles for the Story Grid Fundamental Fridays series. Visit her at ragstowritten.com.

Things Julia and I mentioned in the episode:

Editor Shelley Sperry talks Rebecca through the process of writing a memoir and everything holding her back from getting her writing done. Together they discuss how to keep writing and when a story should be a memoir vs how to vs big idea. 

Shelley Sperry runs a writing, editing, and research shop in Alexandria, Virginia, called Sperry Editorial. As an editor, she specializes in nonfiction. She likes working with writers of memoir, science, history, and just about any other topic. As a writer, she works with nonprofit and business clients on topics related to labor, the environment, and education. You can find her at sperryeditorial.com or email her at [email protected].

Things Shelley and I mention in the episode:

Editor Lori Puma talks about everything you should think about before you start writing a single word. She focuses on helping writers build a career, make money, and improve their skills. And in this episode, she tells Rebecca about how to craft better pitches so that her stores are more unique to her and (hopefully) easier to write. 

Lori Puma helps writers create page-turning fiction. She works with authors who dream of making a living writing novels in popular genres like fantasy, romance, thriller, science fiction, mystery, women’s fiction, young adult, or historical fiction.

Lori started her writing career publishing scientific papers that also double as sleeping aids. Since then she’s published work on big name media sites like The Washington Post and LA Times, contributed to a National Geographic book, and gotten certified in the Story Grid method of editing fiction. She’s been a guest on podcasts such as The Creative Writer’s Toolbelt, The Writescast Network, and Writership and was a panelist at The Writer’s Craft Summit.

Check out her website at loripuma.com for more fiction-writing resources, including the free guide The Structure of a Page-Turning Novel.

Things Lori and I talked about on the episode:

thegrinder.diabolicalplots.com

Writing Excuses Writing a short story and Selling short stories

Needs Inventory to help brainstorm things a character could want

What makes a short story idea a good idea? 

• It has at least one main character who wants something 

• There is an identifiable story arc where something changes from beginning to end 

• The story has a theme or takeaway message (aka subtext) 

• The story world is unique and easy to imagine

Brainstorming ideas to help make your story unique. How would your story change if you...

• Used a different takeaway message or theme? 

• Changed what the main character wants? 

• Changed the location of the first scene in the story? 

• Changed the time that the story happens? Is there a specific event that might be happening at the same time? 

• Used an ending twist that was opposite from your current plan? 

• Changed your story’s genre or subgenre?

Pitches for Lori:

This season you’ll hear from a variety of editors who look at various aspects of different types of stories. I love writing everything from horror to love, screenplay to short story, essay to micro-fiction. And my goals are to eventually make a living as a writer (which I understand makes it a job and that it isn’t going to be easy), but understanding where I want to go, what my process looks like, and all the places I can improve will help me reach those goals in time. So long as I keep writing, of course. 

As you listen, you’ll notice each editor’s unique take on the various stories I write. Some are long, some short, some I want to turn into a novel, and others were just for fun or to learn. I hope you’ll find a key takeaway from each episode that you can apply to your stories. 

The sequence of episodes is one I think will help you learn once more about crafting stories and using them effectively for your own goals. For example, on the first full episode, I talk with Lori Puma who specifically helps writers before they’ve written a single word. We talk about how to find places to submit your writing and to maximize the potential for being published (or at least getting personalized feedback from your rejected submissions). 

Shelley Sperry and I chat next about writing a nonfiction book in which I discuss the things keeping me from writing. It’s a chance to combat everything holding me back from my stories as well as what it takes to plan and write a memoir. 

Followed by Julia, who takes a short story I’ve written and tells me specifically how to make it better so that I can submit it somewhere. Griffin, who takes a piece of micro-fiction I wrote for an NYC Midnight competition and teaches me tools of horror that will help me expand upon it. And Kim, who walks me through how to craft short vs long fiction and where the goalposts for each type of story lay. 

Leslie and I also discuss how to expand upon short stories, how to strengthen your craft, and building a career as a writer. While Abigail and I talk about all the different ways to plan a longer story using existing content and the various tools available to improve your skills. 

The last episode of this season will be with me, myself, and I (and hopefully I can put up with my own voice for that long). In that episode, I’ll take all the advice I’ve been given and apply it to one of my stories from last season through the self-editing process. I personally think it’s important to edit your own work before taking it to someone else for a number of reasons. First of all, when someone gives you advice on a first draft, it can entirely kill your spirit because you want to hear how great it is, but it’s bound to be shit (read Bird by Bird for the reference). Secondly, if you’re going to pay someone to help you improve your writing, you might as well get it as far as you possibly can on your own first so you’re not wasting money to have someone tell you something you already know. And if that’s not enough of a reason, editing yourself teaches you how to be a better writer each time you do it. 

So there you have it. Season 2 of A Story That Works is sure to provide you with tangible advice on editing and improving your writing. If it doesn’t, go talk to these editors yourself. 

As always, keep writing. Keep writing. Keep writing. 

Editors: 

Lori Puma: loripuma.com

Shelley Sperry: sperryeditorial.com

Julia Blair: ragstowritten.com

Kimberly Kessler: kimberkessler.com

Griffin Gartner: gartnerediting.com

Leslie Watts: Writership.com

Abigail Perry: abigailkperry.com

My website: creativitythroughconstraints.com 

So what can you expect during this season of A Story That Works? Well, each episode will include a short story I wrote. I’ll read the story and then welcome in an editor who has agreed to talk with me about the story for an episode. Together we’ll discuss various aspects of what’s working, what isn’t, the genre in general, or whatever else comes up based on how each editor works.

I’m getting a hodgepodge of advice to show you that everyone’s opinions are different (writing is subjective after all), that you have to find an editor you have a rapport with, and that you can’t take any advice too personally.

This season, I’m talking with all sorts of editors who have very different specialties. For a list of who they are, check out the show notes for this episode or astorythatworks.com.

If you’re at the editing stage, I highly recommend you visit each editor’s website and do your research. Hopefully, someone stands out to you and seems particularly able to help with whatever you’re struggling with in writing. Every editor is professional and has been a joy to work with.

Their websites are listed on the show notes and most even offer a free consultation so you can get a personal feel for how they work in addition to hearing each episode.

You can also go to astorythatworks.com at any time. On our site, in addition to the list of the editors, there will always be a place for you to send me the stories you write (because, of course, I hope you’re still writing). And there’s a form you can fill out if you have questions about anything to do with the editors or this podcast in general.

The goal is to keep writing and to improve what you put on the page with each story you finish. This season you’ll notice I struggle a lot with expanding my work and with seeing it from a perspective outside my own mind. Getting advice from other editors (friends, family, anyone who loves to read and can offer valuable feedback) is invaluable to the process of improving. For me. You’ll have to play around with what works for you.

In having these conversations (and of course with writing and finishing so many stories lately), I’ve learned so much about my writing. That’s not to say it’s any easier, but that I can craft stories intentionally and work on various skills each time.

But knowing all this about me (or even your favorite authors) isn’t enough. My goal is that, in listening to me, you figure out your own process. I hope this podcast helps you come to realize the importance of finishing the stories you start (whatever form and length they take). I hope it motivates you to do that work yourself. I hope it helps you set specific goals for what you want out of your writing, to practice with intention and on a regular basis—whatever that means for you, and to get feedback about what’s working and what isn’t.

It’s a cliché to say practice makes perfect, but it’s a cliché because it’s true.

Keep in mind that you will struggle at times and be frustrated at others, but so long as the love for writing remains, you can improve, you can succeed, and you can have fun. And if you’re not having fun writing, what’s the point anyway?

Editors:

Lori Puma: loripuma.com

Shelley Sperry: sperryeditorial.com

Julia Blair: ragstowritten.com

Kimberly Kessler: www.kimberkessler.com

Griffin Gartner: gartnerediting.com

Leslie Watts: Writership.com

Abigail Perry: abigailkperry.com

My website: creativitythroughconstraints.com