Books for kids, teens, & those who are young at heart

Tag: Erin Callahan

Team Editing with Erin Callahan and Troy H. Gardner Authors of Tunnelville

Today I have returning guest posters Erin Callahan and Troy H. Gardner authors of  Tunnelville, the second book in the Mad World Series. They are talking team editing. Welcome, Erin and Troy!

Tunnelville_333x500Team Editing

by Erin Callahan & Troy H. Gardner

Q. So you wrote a book, now what do you do with it?
A. Edit, edit, and then when you’re done, you edit it two more times.

Writing a book is only the first act of the long process of having an idea grow into a final novel. Once the manuscript has a beginning, middle, and end (hopefully), then it’s time to go back and revise.

With the split narration technique employed in the Mad Word series, our editing process starts when we combine all of the chapters into one file. At this point, either Erin or Troy has the file and works on it before passing it off to the other. We now use the Track Changes feature of Word, which allows you to track changes (well named, isn’t it?) in the document. This tool is invaluable when editing with a partner, as it allows you to quickly see what changes and comments your partner has added to the draft. It also reminds you which of those changes you made, which can occasionally get confusing. We also save each version of the manuscript with a new date. This makes it easy to tell which version is the most recent and preserves all the old versions, in case we decide to revert back to an earlier draft of a particular scene.

In the initial pass through of the manuscript, we mostly look for global issues (although we’re always on the lookout for typos). We look for inconsistencies in the timeline and the flow of each chapter and scene break. It’s not unusual for a first draft to have one narrator’s story progressing over two weeks in the course of three chapters, and the other narrator only two days. Once we notice a timeline issue we decide which version flows best (or brainstorm a third route), and how to rework one of the narrations to fit. The final version usually includes tweaks to both narrators’ chapters.

Similarly, one chapter will often flow directly into the next with a continued scene, and we must make the change in narration consistent. For instance, in Perfection, a character passes out at the end of one of Max’s chapters and Troy wrote a few more paragraphs of Max being concerned. Meanwhile, Erin had written Astrid’s following chapter picking up immediately as the character passes out. This made the transition somewhat jarring, so we cut the last few paragraphs of the Max chapter.

During this stage, we sometimes combine extremely minor characters who only have one or two lines. This beefs up the presence of more important characters and makes the story less confusing for readers to keep track of.

We use Track Changes to leave copious amount of notes for each other about things we love or aren’t fond of. Once these kinks are mostly worked out, we pass the manuscript back and forth for another round of deeper edits to tackle those notes. Sometimes these notes are as simple as one of us asking about a character’s motivations, but they can also be rewrite suggestions or telling Troy that his writing sucks (just teasing you, Erin) pointing out inconsistencies.

Once we’re past the global editing stage, we move on to more minute details, such as tweaking dialogue, changing passive verbs to active ones, and deleting repetitive language. Though it can be tedious, we find the best way to tackle this level of editing is to examine each sentence and consider how it could be made stronger. We think about whether it could be made sharper, cleaner, and clearer, or whether it could benefit from a more dynamic verb or more descriptive adjectives. Fancy prose can be fun, but if you consistently use very “purple” verbiage, you risk pulling your reader out of the story. We use the sentence-by-sentence editing stage to try to strike a balance with the language we choose.

Writing with a partner can be particularly helpful during the editing process, but we also sometimes use beta readers. A fresh pair of eyes can often clue you into issues you didn’t even know existed in your manuscript. And though we welcome general feedback from beta readers, we also provide them with a few focus questions to keep in mind while reading. Specific feedback from beta readers is essential when we’re concerned about whether a particular world-building concept is presented clearly or whether a character comes off as three-dimensional.

On a final note, although editing is a crucial part of the writing process, it can be incredibly stressful. We’re hard on ourselves (and each other), but we also know when to set the manuscript aside and take a break. Just as with a first draft, a little distance from a frustrating project can rejuvenate you and give your brain time to refocus.

Tunnelville blurb:

Following their panicked escape from Wakefield, Astrid Chalke, Max Fisher, and their friends find themselves adrift and on the run in western Massachusetts. After picking up a young thief with a complex philosophy, and dealing with the pains of prescription drug withdrawal, they make their way to Boston.

Drained by a long trek to the city, the damaged teens settle in an underground tunnel community—a city below the city that appears to lie on the fringes of both the world above and the world of magic. Among the eccentric tunnel folk, they encounter the fabulous Angie DeVille, a self-made hipster and socialite who takes them under her neon wing and envelops them in her breathless and fast paced life.

Funded by a seemingly ruthless organization, the relentless Dr. Lycen is tasked with hunting down the Wakefield escapees. But as Astrid and Max eke out a meager existence in their new home and do their best to stay off Dr. Lycen’s radar, they learn that new and even more harrowing threats might be lurking just over the horizon.

Read more about Tunnelville on Goodreads or on the Mad World Series website, and purchase it at the MuseItUp bookstore, AmazonBarnes & Noble, and other ebook retailers.

About the Authors:

Erin Callahan lives with her husband in the bustling metropolis of Hooksett, New Hampshire, and works for the federal government. She enjoys reading and writing young adult fiction, playing recreational volleyball, and mining the depths of popular culture for new and interesting ideas. A year after graduating from law school, she found herself unemployed and took a job as a case manager at a residential facility similar to the one featured in Wakefield. Though she worked there for just over a year, the strange and amazing kids she met will forever serve as a well of inspiration.

Troy H. Gardner grew up in New Hampshire and graduated with a B.A. in English/Communications with a dual concentration in film and writing from the Massachusetts College of Liberal Arts. He spent ten years working in the banking industry dreaming up numerous stories to write. When not writing, which is seldom, Troy busies himself jet-setting from Sunapee, NH to Moultonborough, NH. For more, check out TroyHGardner.com.

Writing as a Team by Troy H. Gardner and Erin Callahan, Authors of Wakefield

There’s still time to enter the giveaway for a three chapter critique from me or a signed copy of Elixir Bound. Right now please welcome Troy H. Gardner and Erin Callahan, authors of Wakefieldbook one in the Mad World series, as they discuss working as a writing team.

How can two people write a novel together?

We get that a lot. Though it’s not a method suited for all authors, team writing can have significant benefits. Collaborative writing provides you with a built-in editor, sounding board, and cheerleader who has a deep understanding of your plot and characters. Many authors bounce ideas off friends or loved ones, but there’s only so much someone can offer if he or she doesn’t know the entire landscape of the book or series. When you feel frustrated and drained of ideas, your writing partner can provide a fresh perspective and a creative boost. For those looking to give it a shot, we’ve culled a few practical pointers from our experiences.

1. Avoid teaming up with your creative twin. Though it’s tempting to pick a writing partner with a similar style and interests identical to your own, it pays to branch out. We have some overlapping tastes, but the diversity of our interests expands the creative pool that we pull from. Erin reads a lot of YA fiction and Troy is heavily influenced by comic books and horror movies. We also complement and balance each other’s writing strengths. Troy excels at realistic dialogue and big picture stuff, like crafting interesting and relatable characters that serve as the emotional core of each book. Erin tends to focus more on world building, fleshing out the setting, and developing themes. Troy gets a rush from writing a first draft, while Erin enjoys revising and tightening the story.

The best writing partner is someone you can work with without wanting to kill, but who also brings a variety of influences and ideas to the table and thrives in the areas that don’t come naturally to you.

2. Develop a process that works for your team. Though there are countless systems for team writing, we’ll explain our process. We utilize alternating narrators and each write from a different perspective. Before beginning each book, we create a chapter by chapter outline that contains only basic notes on what we need to accomplish in terms of plot advancement and character development. That gives us a lot of breathing room when it comes to filling in the details of each chapter. Once we have a first draft, we pass it back and forth and revise it until we have something we’re both happy with (the Track Changes feature in Word is incredibly useful for team revising).

This is, of course, just one way of doing it. Kami Garcia and Margaret Stohl, authors of the wildly popular Beautiful Creatures series, don’t use alternating narrators. They use a single narrator and co-write almost everything. That sounds incredibly daunting to us, but apparently it can be done.

3. Balance work with talk. Having lengthy conversations with someone who understands you, your writing, and the ins and outs of your project is one of the primary benefits of team writing. Time spent actually writing is crucial, but don’t forget to take advantage of the opportunity to engage in exploratory discussions with your writing partner. Some of our best ideas have emerged from long talks about our characters, goals, themes, and influences. Sometimes our conversations are serious and sometimes they feel like goofing off, but they almost always lead to idea generation.

Discussions can also help ensure your team is on the same page. During one conversation, we realized that we had completely divergent ideas when it came to a particular character. The conversation put us back on the same wavelength so we could tackle some of the inconsistencies that had popped up in our manuscript.

4. Be honest. You can’t have a successful writing team unless you both learn to give and take criticism. When we began writing together, we often shied away from harsh critiques because we didn’t want to hurt each other’s feelings. But the more often you give and take criticism, the easier it gets and the better your writing gets. Our first manuscript began to improve dramatically once we got over our fear of being entirely honest with each other.

At the same time that you provide an honest critique, you can also be a cheerleader. Point out scenes, descriptions, or snippets of dialogue that you think work particularly well or had you rolling around on the floor with laughter. Sometimes we are our own harshest critics and consider canning great ideas until someone points out they’re not trash. For example, Christopher Guest and Eugene Levy co-wrote Waiting For Guffman. Guest felt his performance wasn’t funny and nearly cut himself out of the film until Levy informed him that his character, Corky St. Clair, was a hilarious highlight. The comedy might not have become a classic without the two working in tandem.

As a final note, keep in mind that unless you plan on editing, proofing, designing the book layout, creating the cover art, and self-publishing the story you wrote, then you’re going to work with someone, or an entire team, at some point. Team writing provides excellent practice for the collaborative aspects of publishing.

If you have questions or want more info on our team writing process, please feel free to email us at madworldseries@gmail.com. Best of luck, collaborative writers. Go team!

Wakefield blurb

Orphans Astrid Chalke and Max Fisher meet when they’re sent to live at Wakefield, a residential and educational facility for teens with psychiatric and behavioral problems. Astrid’s roommate cuts herself with anything sharp she can get her hands on and Max’s roommate threatens him upon introduction.

Just as Astrid and Max develop a strong bond and begin to adjust to the constant chaos surrounding them, a charming and mysterious resident of Wakefield named Teddy claims he has unexplainable abilities. Sometimes he can move things without touching them. Sometimes he can see people’s voices flowing out of their mouths. Teddy also thinks that some of the Wakefield staff are on to him.

At first, Astrid and Max think Teddy is paranoid, but Max’s strange recurring dreams and a series of unsettling events force them to reconsider Teddy’s claims. Are they a product of his supposedly disturbed mind or is the truth stranger than insanity?

Wakefield is available at the Amazon and other ebook retailers. For more about the Mad World series visit the series website or Facebook page.

GardnerCallahanAuthorPhotoAbout the Authors:

Erin lives with her husband in the bustling metropolis of Hooksett, New Hampshire, and works for the federal government. She enjoys reading and writing young adult fiction, playing recreational volleyball, and mining the depths of popular culture for new and interesting ideas. A year after graduating from law school she found herself unemployed and took a job as a case manager at a residential facility similar to the one featured in Wakefield. Though she worked there for only a year and a half, the strange and amazing kids she met will forever serve as a well of inspiration.

Troy grew up in Sunapee, NH, and graduated with a B.A. in English/Communications with a dual concentration in film and writing from the Massachusetts College of Liberal Arts. He spent ten years working in the banking industry dreaming up numerous stories to write. When not writing, Troy keeps mental notes on the various stories he wants to tell.

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