Judy Schneider's Writing Lab

Nice Post, Judy. In the abstract the thought of changing whatever work an agent has makes me think "No way, what could I possibly change. There is nothing else to do." But as soon as comments come, the ideas flow and, for me, there is nothing better than that kind of hard deadline. I love those constraints. Actually now that I think about it, I'm amazed at the amount of work I've completed with almost no outside deadlines or pressure. Not that I'd like unreasonable requests, but def. I like some constraints! Weird, maybe.

Judy,

Just wanted you to know that I have been following your blog and enjoying the inspirational content. Your suggestions have been right on the money. Keep up the good work!

Linda Gerber

Hi Judy,
What good suggestions! As you know, the manuscript of my novel is currently with an agent. Your post made me realize that I might have to revise it once again, one-and-one-millionth time.
Do you have a theory as to why writers don't want to make revisions or change titles? I can understand why someone would not want to change her/his name. Your name is your identity, you have known yourself as "your name" from the time you became aware of yourself. But changing the title of your... wait a minute, I think I know why you don't want to change the title of your mind-born-baby. You named it at the time of its birth. It's title reminds the author the reason of its being, its content and so on. The reason for not wanting to change the title of your book seems to be similar to not wanting to change your own name.
I have no theory about why writers don't want to revise just-one-last-time.

Looking forward to your next post.

Madhu B. Wangu

Judy, I agree with you 100 percent! I would make just about any revision I'm asked to make. I did a major revision for an agent awhile back (who ultimately didn't take me on), and a minor one for the agent I have now. When she finds a house for the book, I'll make any changes the editor wants. Don't like the title? It's changed. Want another subplot? Done. I'll do whatever it takes to get the book out there. These people know what sells--authors often don't.

I think you've touched upon an interesting subject, Judy. Publishing a novel is a business after all, and I respect the opinions of both reputable agents and editors. Why make this job any more difficult on yourself than it already is?

Many thanks for your comments, Kathie, Linda, and Kristine. And Joyce, your professional approach and williness to adapt has been, I'm sure, well received. It's not that agents and editors want their writers to be pliable, but a little cooperative flexibility is always a plus!

Madhu, you ask why writers don't want to follow through on requested revisions. I'm sure there are many reasons, most of which would fall under two categories: 1. Burnout 2. Lack of Know-how. Allow me to explain.

1. Burnouts (not in the 60s sense, of course) just can't find the strength, energy, umph, or will to open that file and face page one, let alone take on the entire stack that rests before them. They have overextended their efforts and can't seem to boost themselves back up, at least as far as that project is concerned. In such an instance, he/she needs to look beyond the work, toward the larger goal, and avoid tacklling the whole thing at once. Baby steps, as they say, are the only way to go for Burnouts.

2. Lack of Know-hows simply cannot see what needs to be revised and have a difficult time figuring out how to approach the problem. Often, Lackers don't agree with the revision request, seeing their finished product as just that, finished and ready to go. It's difficult for them to envision how a change will make a difference in their story. And they have no idea how to go about implementing it. For Lackers, I recommend giving it a try. Take a chapter and experiment. Revise in a crazy way, doing something you never dreamed you would. And allow yourself the freedom to return to the original version, if the newer one doesn't work. This step will likely open yourr eyes, wow, to the positive result a revision can make.

Thanks for your thoughts! Judy

One thing I didn't mention in my other comment--I LOVE revising! It's so much fun to take the raw prose of an early draft and craft it into something so much "prettier."

Here's a comment from Stephen Morrill, Director of WritersCollege.com, where I taught a class for many years. Steve excerpted my "Where Opportunity Lies" blog entry in his most recent newsletter and then had this to say:

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Judith Burnett Schneider teaches our Personal Essay Writing course—when she teaches it. I'm trying to persuade her to take it up once again. I think she writes a heck of an essay. Let me know if you want her to teach you how to do the same.

Some comments of my own: It's not a stretch to add, or subtact, a subplot and bulk up or thin down a book manuscript. You can get carried away, as I did once, when an agent complained that I seemed to have written all my books simultaneously and wanted one huge cover wrapped around the collection. Then there is the book I just finished, by popular mystery author Robert W. Parker. Parker was either told to add a subplot or realized when he finished that the manuscript was too short. He didn't write a subplot, he wrote an entire 3-4 chapter "case" for his detective, one that had nothing at all to do with the main book, and stuck it in the middle. He can get away with this because (a) his are character-driven books. We like to read about Spenser the detective, love the dialogue, and don't much care what Spenser is actually doing. And (b) Parker is a giant in the mystery genre and can do whatever he pleases.

I've also seen the flip side of bowing to the wishes of an agent or publisher. Some demands really are absurd. I had a publisher tell me to change my main character from a man to a woman because female private eyes were all the rage. (I think that was the year that Sue Grafton was president of Mystery Writers of America.) I did so, mildly curious as to how that would work anyway. My wife was bemused at my sudden interest in women's clothing as I raided her closets, and my female character came out sounding a little more like a confused transvestite than a woman. The editor said she loved it; the publisher's marketing people rejected it because it was a story with a female lead and written by a man and how could I possible attend book signings? Neither editor, agent, nor me knew what that was all about. Suffice to say, some irresponsible or untrained or flat-out ignorant people sometimes make silly suggestions that result in a lot of work for you with no promise of any result. Me, I was just glad to get out of those hot pantyhose and go back to a male lead.
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Steve, your morphing protagonist story is great! Don't you wonder how Wally Lamb did it?

Here's a comment from Stephen Morrill, Director of WritersCollege.com, where I taught a class for many years. Steve excerpted my "Where Opportunity Lies" blog entry in his most recent newsletter and then had this to say:

====================
Judith Burnett Schneider teaches our Personal Essay Writing course—when she teaches it. I'm trying to persuade her to take it up once again. I think she writes a heck of an essay. Let me know if you want her to teach you how to do the same.

Some comments of my own: It's not a stretch to add, or subtact, a subplot and bulk up or thin down a book manuscript. You can get carried away, as I did once, when an agent complained that I seemed to have written all my books simultaneously and wanted one huge cover wrapped around the collection. Then there is the book I just finished, by popular mystery author Robert W. Parker. Parker was either told to add a subplot or realized when he finished that the manuscript was too short. He didn't write a subplot, he wrote an entire 3-4 chapter "case" for his detective, one that had nothing at all to do with the main book, and stuck it in the middle. He can get away with this because (a) his are character-driven books. We like to read about Spenser the detective, love the dialogue, and don't much care what Spenser is actually doing. And (b) Parker is a giant in the mystery genre and can do whatever he pleases.

I've also seen the flip side of bowing to the wishes of an agent or publisher. Some demands really are absurd. I had a publisher tell me to change my main character from a man to a woman because female private eyes were all the rage. (I think that was the year that Sue Grafton was president of Mystery Writers of America.) I did so, mildly curious as to how that would work anyway. My wife was bemused at my sudden interest in women's clothing as I raided her closets, and my female character came out sounding a little more like a confused transvestite than a woman. The editor said she loved it; the publisher's marketing people rejected it because it was a story with a female lead and written by a man and how could I possible attend book signings? Neither editor, agent, nor me knew what that was all about. Suffice to say, some irresponsible or untrained or flat-out ignorant people sometimes make silly suggestions that result in a lot of work for you with no promise of any result. Me, I was just glad to get out of those hot pantyhose and go back to a male lead.
====================

Steve, your morphing protagonist story is great! Don't you wonder how Wally Lamb did it?