Yeah! Saturday Guest Bloggers are BACK! Please give a very warm (it has to be warm somewhere, right?) jungle welcome to Jeri Smith-Ready, who is not only graciously spending her Saturday with us, but is also giving away an AWESOME set of books (winner to be announced tomorrow, so don’t forget to check back!) She has a spectucularly fresh new series out…and I can’t wait to hear more about it! Welcome, Jeri!
Tease Me, Taunt Me, Make Me Want You!
Happy Saturday, everyone! I’m Jeri Smith-Ready, author of the WVMP RADIO urban fantasy series (the vampire DJ books) and in a little over two months, the SHADE series for teens.
Thanks so much to Julie and all the Plotmonkeys for having me on your fabulous blog today. I was leery at first, due to my deep-seated fear of monkeys (almost as bad as my clown phobia), but as long as I stay calm and don’t make direct eye contact, we should all be okay.
I’m here to talk about two subjects that might seem unrelated: 1) rewrites, and 2) teaser chapters (those little novel excerpts tucked into the back of books). By showing how one of my opening scenes changed from teaser version to its final state, I hope to shed light on the large and small alterations that go into a rewrite.
As a reader, I can’t resist a teaser chapter. I’ve found many new authors in these tasty samples, or I’ve hungered for the next installment of the story I just finished (and been royally frustrated if it’s not available yet).
As an author, I was honored to have the first chapter of SHADE included in a Christopher Pike compendium, Thirst 2, which hit #1 on the New York Times children’s paperback list (zoinks!). For the mass market release of WVMP Book One, Wicked Game, my publisher included the first scene of its sequel, Bad to the Bone, which came out in trade paperback the following month.
In both cases, the teaser scenes were already in their final form. A couple of words changed here and there for the final version, but nothing major.
Then came Book Three, Bring on the Night. An August 2010 release, its first scene is excerpted in the mass market version of Bad to the Bone (which came out last Tuesday). Because of a deadline shift, I was asked to submit the opening teaser scene of Bring on the Night before I had rewritten the book.
Heh. Rewrites. Don’t get me started. Okay, get me started.
I once heard of a writer who did second drafts by deleting the entire first draft and starting from scratch. I’m not quite that bad, but my books tend to undergo sweeping overhauls after I get feedback from my editor and critique partners. The changes come from my own ideas, but they’re sparked by others’ observations, and also by the extended break from the novel my brain has received since I turned it in (since I turned the novel in, not my brain, although sometimes it feels that way).
In a rewrite, I kill characters who survived in the first draft, and spare those who once died. I chop out entire subplots and characters. In the original draft of Bad to the Bone, the stray dog that Ciara found was a regular mutt who happened to be “housing” a half-pookha semi-shapeshifter named Gwendolyn. Everyone hated Gwen, including me, so she disappeared, and Dexter became a vampire dog (which made more sense, anyway, as much as vampires can ever make sense).
My rewrite process is like an episode of American Chopper, that reality show where a group of guys builds amazing custom motorcycles while trying not to kill each other. At the bleakest point in a rewrite, my plot lies in useless pieces on the floor, with no resemblance to an actual book, and my inner Big Paul is screaming bleeped-out words at my inner Mikey, who just wants a day off to go surfing.
So there I was, trying to mold the first scene of a raw product (the unrevised Bring on the Night) into a teaser that would make readers salivate. My critique partner helped me polish the scene, and I turned it in. Soon it became immortalized in the back of Bad to the Bone’s mini-me version.
Then came rewrites, and oh, how that first scene changed. Let me tell you how, starting with:
Chapter One – Welcome to Paradise
Yep, even this part is obsolete. What was once Chapter One is now Chapter Two, though the title is the same (each chapter is named after a popular song). I decided to frame the past-tense novel with present-tense prologue/epilogue-style chapters that would prepare the reader for this unusually intense story, then carry them out again at the end.
I now present, in its international online debut, the final version of Bring on the Night’s first chapter, in its entirety, without commercial interruption:
Chapter One – Hey Hey My My (Out of the Blue)
I’m okay now.
Just so you know.
I mean, just so I know.
Not that I wonder.
(deep breath)
That’s it.
*ducks as WVMP series fans throw rotten tomatoes with rocks hidden inside*
So sometimes the teaser scene isn’t even the book’s ultimate opener. Authors often reshuffle the chronology of their novels’ beginnings, maybe to heighten tension or to ground the reader in the world, or for many other reasons.
Moving on to the first line of the old Chapter One/new Chapter Two:
The vampire could smell me.
Dramatic, right? But on page two, the heroine Ciara slathers leftover pizza on herself to repel a vampire (white pizza = maximum garlic), so that opening sentence’s meaning becomes fuzzy. Does it refer to that first moment pre-pizza wipe, or later in the scene? A little mystery is good, but do I really want to confuse readers on page one?
So the opening line became:
I could smell my own fear, bitter and tangy as an overripe orange.
Now the focus is solely on Ciara and her state of mind. We don’t know what she’s afraid of for several paragraphs. Greater tension and less confusion make for a more solid opening.
On page two, my correction solved two separate problems:
Original: At the end of the alley I passed an overstuffed Dumpster, where the odors of unneutered-cat piss and discarded pizza boxes battled for supremacy.
As one of my beta readers put it, “That sounds like a pretty one-sided battle.”
But that wasn’t the only reason for changing the sentence. In the following paragraph, Ciara gets the idea for the pizza vampire repellent.
Waaaaaaait a minute: why would she assume there was a leftover piece in that box? Where I come from, we finish every bite of pizza (unless it’s accidentally been left out overnight at room temperature, and even then I have to argue to save us from food poisoning, because my family thinks pizza contains a magical intrinsic antibacterial agent).
Revision: At the end of the alley I passed an overstuffed Dumpster, where the odor of cat piss snagged my attention. I wrinkled my nose and glanced at the bin. The lid was clamped on a discarded pizza box, pinching it open to reveal a leftover slice inside.
Ah, so she sees the leftover pizza slice before drawing the connection.
This is a perfect example of the details we insert or alter when revising a manuscript, details that clarify what the character is thinking and why. Often an author will make a leap of logic and forget to bring the reader along. We need to remember that cause comes before effect. Readers can read our books, but they can’t read our minds.
Sometimes small revisions come from big changes. Near the end of the teaser scene, Ciara’s training partner in the paranormal paramilitary agency the Control, Tina, is being scolded by their instructor for her excessive use of force.
Original: “…Losing a bit of blood is better than losing one’s life.” As Tina began to voice her disapproval, Kaplan cut her off. “Don’t like it? Go join the Fortress.”
That shut Tina up. The Fortress is a renegade band of zealots who not only slay vampires, but
Boooooop! Boooooop! Incoming infodump!
The second paragraph here not only verged on boring, but became superfluous. The Fortress was Ciara’s archenemy in Bad to the Bone, and in early drafts of Bring on the Night, I considered bringing the Fortress back, or at least using it as a red herring to distract readers from the real villain. But the book ended up with more antagonists than it needed. Since I like each novel to stand alone, the oldest enemy was the one to be ditched. I proceeded to delete all unnecessary references to the Fortress.
We authors sweat and swear over our opening scenes. They have to grab the reader by the eyeballs, so hard that they stand there in the bookstore aisle, riveted to the page, their feet falling asleep and their kids running rampant and unsupervised, until finally the bookseller shakes their shoulder them and says, “Hey, you going to buy that or what?”
But when we know these scenes might be turned into early ads for the next book, the pressure is even greater to make them shine. And maybe even make sense!
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Readers, have you ever sought out a novel because of a teaser chapter you read in another book? Ever noticed that the teaser chapters don’t always match the final version? Within a series, do you enjoy getting a glimpse of the next installment, or is it more of a tease than you can bear?
Authors, have you ever written a teaser chapter before the book was rewritten (or for that matter, written)? More fundamentally, how massive are your rewrites? Do you change the plot and characters or just do a polish? Do you get all the story elements right the first time, or is the first draft just a starting point, a faint shadow of what the book will eventually become?
I’m giving away two signed sets of the first two WVMP books, Wicked Game and Bad to the Bone (with bonus teaser chapters, of course). Thanks again for having me! I’m much less scared of monkeys now. Plotmonkeys, at least.