Authoring & Playwriting

Ashley Renee Smith love his strengths-focused approach. Need more of this in the industry. And while I edit more in the nonfiction space than fiction, much of this rings true. Authors are usually concerned about the wrong stuff, they underestimate revisions, and over-optimism is rampant. POV is a consistent pain point I see among the fiction crowd (and even my own writing sometimes :-P). Something huge here for people scared of hiring an editor is what he discussed about not superimposing your view. The best editors won't try to "rewrite" the book. They'll home in on the author's vision and bring it to the surface more. Being more open about the measurements of success is another huge one I see in fiction and nonfiction. (And fiction authors tend to struggle in that area more than NF.)

I was fortunate to have an editor who was unremittingly meticulous, hard-working, and kind. I spent months revising ---- near tears a lot of the time and grinding my teeth. But she was correct in her calls, which humbled me and improved the book. I changed the ending entirely, which paved the way to a sequel. My editor taught me a lot about structure and self-discipline. I feel immense gratitude; it can't have been easy for her, either.

Thank you for sharing this, Maurice Vaughan

You're welcome, Raven Riley. Authors should definitely check out your blog!

A few years ago, I was a member of a Houston area writers group. Attendees came and went according to their interest. Really busy people make poor members in a writing group. This big shot executive showed up (dot the O) and wanted to read his novel. He had deluded himself into thinking he was going to have a best seller. The novel was awful. He said he he had hired an editor. I talked with him at the coffee break and asked him what it cost him. He said he paid the editor $10,000. Before I could control my comments, I said he'd been taken to the cleaners. The guy flew into a rage and left. Never say him again. I wondered if maybe I should be an editor. I'd have only screwed him out of $5000.

Thanks for the share, Maurice! A good editor will not just proofread and fix your errors, they'll also help you with fixing anything unclear in your story, and sometimes their suggestions are so good that they'll end up in your book!

You're welcome, John Roane. That's great. An editor is like a proofreader and book consultant in one.

I see what you mean, Giovanna Silvestre. Yeah, we definitely have to stay authentic to our writings and the stories we wish to tell!

That's also how I took the advice, Giovanna Silvestre! It's one thing to try to write the best version of something that you want to succeed, but it's another to write something that you think could be popular but you aren't passionate about.

Ashley Renee Smith Maurice Vaughan I LOVE this discussion because it puts a lot of things into perspective. First, I think it's important to write what you're called to write. I think all of us have that inner muse that speaks to us, and it's important to honor that message. Without that, creating feels empty. That said, I think it's important to envision the future you wish to experience for your work. I think it's okay to fuel your motivation by the feeling of what it would be like to write a NYT bestseller, see yourself on the red carpet, etc. without allowing that goal to direct your creative choices. Such a good discussion!

Darn! Hit the wrong button and lost all that writing I put here an hour ago! … is there way OF EVER retrieving it? Or lost to Time… Lol

Thanks for this, Ashley Renee Smith ! I especially agree with the first tip of not trying to write a best-seller. If you're focused on the marketing, your story won't be compelling. There's a filmmaking group I belong to called We Make Movies and one of our values is "Make the movie you want to see". I'd say if you "Write the book that you want to read", then you'll craft a story that will be great and resonate with a lot of readers.

Brian Smith do you want me to send you a link to what I have on amazon or AO3?

Gregory Barone Amazon is good.

https://www.amazon.com/Chronicles-Fiction-Novel-Lester-Grimpen-ebook/dp/B0CVJRDGHX/ref=sr_1_1?crid=KRFGPBGQWK6O&dib=eyJ2IjoiMSJ9.oFhshsc-rsY7POy0NXc5mQ.9crJqvMBwKXaWoxNDRsRg8Fo8fPtBMRRbrKyJ5g4kYU&dib_tag=se&keywords=lester+grimpen&qid=1717771824&s=books&sprefix=lester+grimpen%2Cstripbooks%2C76&sr=1-1

here you go.

Thank you for doing this AMA, Brian Smith. I've written a sci-fi novel. You believe having a good editor is key. Where do you recommend finding a good editor and what is a reasonable price for editing a novel?

Thank you for doing this AMA, Brian Smith. This is very helpful advise. I would also be curious the answer to the question above mine.

Terrence Sellers Yeah, might be a nice retirement project attempt!

To me, a first person POV novel sounds "weird." You are too much in the mind of the character. The reader learns too much about the characters thoughts. It takes away some of the mystery and tension. My protagonist is, most often, in first person POV, but the rest of the action is in third. I think that combination breaks the close focus. In my present novel under construction, my main character is a prominent surgeon who learns he has a son on death row. He is informed by an FBI agent just as he finishes a surgical case. In first person, I delve into his roller coaster emotions but break to have the conversation continue with the FBI agent in third person. It breaks the "monotony" of a too focused narrative.

John Roane After writing screenplays the sweet siren song of the easy internal conflict exposition of novel-writing doth lure one back to the original craft...

John Roane "Weird" is the correct word. Writing a first person novel has not been fun, even though I love the story I'm telling. So much is lost in first person, because you can only write what the character(s) know. So there's a lot of insight a third person omniscient narrator would be able to provide that just doesn't get expressed.

Hi, Mike! I'm going to give you some unorthodox advice, but follow me for a second (and then obviously, take it or leave it).

I'm a big believer that when an idea is calling out to us and we can't shake it, it's time to give that idea a go. For example, I started writing a novel in first person. I could hear the protagonist clearly in my mind and I thought it would be AWESOME!

10 pages in, I realized it was BAD! So I switched the POV and boom! It was great!

But I needed to get it out in first person before I tried the other option.

There's something about second person POV that your mind finds value in. Maybe there's a discovery about a character waiting for you in that POV. Maybe it's something about yourself as a writer. The key here is that something is clearly calling to you, and it could be remiss to not explore it.

Plus, if you don't like it or it reads "weird", no one else ever has to see it. But we don't always write because that's what someone else will see. Sometimes we write because we have to. Full stop. I hope this helps

Congrats on your novel! When pitching to a producer, you’ll want to keep it concise and engaging. Start with a strong logline that captures the essence of your story in one or two sentences. Make sure you have a compelling elevator pitch ready—something that covers the main plot, themes, and why it would make a great film or series adaptation.

Also, highlight any unique elements of your novel that set it apart from others, like the characters, world-building, or any current trends it taps into. If you have an established audience or good reviews, mention that too—it shows there's already interest in your story.

Lastly, research producers who’ve worked on similar projects and personalize your pitch to show why your novel would fit well with their style or portfolio. Good luck!

A producer is also going to be interested in the fanbase for the novel...how well did it sell, is it high concept enough, is there a built-in audience for the IP, etc. They have to think about how they can turn around and either sell it to investors or to partner studios.

Hi Nancy! it’s a pleasure to meet you. Congrats on your published book. I know the feeling of accomplishment and excitement as I'm getting closer to the publication of my first book. Regarding pitching to a producer, my contract grants my publisher the first option to shop it around. It might be worth checking with your publisher to see if you have a similar arrangement. Do you have an agent? If so, I recommend discussing this with them and your publishing company as well. Sending you good vibes!

Interestingly, JK Rowling wrote novels to her Harry Potter franchise. However, screenplays for each novel were written by someone else (i.e., Steve Kloves, Michael Goldenberg). Therefore, I suggest working with a screenwriter to adapt your novel into a screenplay. Then, you can say you wrote the novel and here is the screenplay along with logline followed by initial elevator pitch.

Congratulations on your novel! That's amazing!

I highly recommend joining Pitch Practice in the Writer's Room if you haven't checked it out yet. The feedback there is next-level amazing! I cannot recommend this enough!

As far as other pitch advice, if the pitch is for a screen adaptation of your novel, be sure to mention it. Previous or proven IP is a big deal when it comes to interest in a pitch. Be sure to include anything of interest, like the following it has, if it sold well, etc.

Beyond that, my recommendation would be to know who you're pitching. Not all producers are the same. This goes beyond genre. E.G. While some sci-fi producers love high-concept pieces, others only do grounded fiction. Same thing with characters. Some people you will pitch love female-driven narratives, while others don't have a preference. Make sure you do your research and customize the pitch to the interest of the producer (but only in terms of what's true to your story).

I hope that helps