Cliffordene Norton's Blog

For the past six (6) weeks, I have been working on my novel for the LAPA Publishers YA competition. I decided to enter the competition on 18 September, the competition closed on 31 October.

Why? Because making my life difficult is one of my favourite past times.

I usually write a complete manuscript in three – to five months. I had to speed up my writing process for the competition.

I’ve always been someone who can finish a draft of a book in about four weeks, so I wasn’t scared I would finish the first draft. But I didn’t want to send in the first draft, so I was driven to finish the novel. I finished my first draft in ten (10) days – it was just over 24 500 words.

I also let it rest for ten (10) days – usually I let it rest for at least a month. To be honest, I didn’t ignore the book for the full ten (10) days. For about four (4), I did the intense research to improve as quickly as possible.  

I read a lot, listen to advice, and viewed critical reviews of books in the same genre.

Brandon Sanderson’s “Five tips for writing your first novel” was invaluable. “Begin with a monologue,” was his second tip. It was a great way to get to know my character and story.

I used character profile to interview my main character. This method adds depth to my characters and enhances the overall storytelling experience.

I also put a lot of pressure on my beta readers to get back as soon as possible.

I’m excited to get this book out into the world, and I know that pressure is a part of the process. Receiving immediate feedback has been both nerve-wracking and rewarding.

I recently had the privilege of delving into Ling Ma’s short story, titled “Los Angeles,” and it was truly a revelation, packed with profound insights into the art of storytelling. Here are my key takeaways:

1. Your character can defy convention

In “Los Angeles,” what struck me most was how the character wasn’t tethered to the conventional norms. The story is delightfully absurd, weaving a narrative about a woman in cohabiting with her 100 ex-boyfriends. Despite its absurdity, the tale feels remarkably believable, largely owing to the tone the character adopts. This character’s voice is a blend of factual, straight-to-the-point statements, beautifully crafted to make the narrative feel grounded and authentic.

2. The hook and inciting incident dynamics

Ma’s narrative strategy challenges the traditional structure of storytelling. While the story kicks off with a powerful and intriguing hook, the inciting incident doesn’t unfold until halfway through the short story. This unconventional approach might seem challenging for novice writers, but Ma executes it brilliantly. It keeps the reader engaged, constantly questioning, and anticipating, creating a unique reading experience.

Hook:

“The house in which we live has three wings. The west wing is where the Husband and I live. The east wing is where the children and their attending au pairs live. And lastly, the largest but ugliest wing, extending behind the house like a gnarled, broken arm, is where my 100 ex-boyfriends live.”

Inciting incident

“The door swings opens. It’s Aaron.

I thought you weren’t talking to me, I say.

I need a ride. Will you drive me?

Get Geoff. He’s probably awake.

No, just you, please. What are you doing?

Exercising.

He clears his throat. I’m leaving.

Leaving where?

Leaving here. I’m moving out.

My breath catches.

You can’t say that you didn’t expect this, Aaron says. Everyone’s overstayed.”

3. Crafting a nuanced ending

The conclusion of “Los Angeles” doesn’t necessarily deliver a profound lesson or neatly close the narrative circle. It also doesn’t opt for a wide-open ending, leaving readers hanging. Instead, it skillfully moves beyond the expected moments of empowerment or realization. It strikes a balance, offering a glimpse into the character’s evolution while retaining an air of mystery. This nuanced approach allows readers to draw their own conclusions, making the story linger in their minds.

In essence, “Los Angeles” is a remarkable story that transcends conventional norms. It challenges the writer to rethink character portrayal, experiment with narrative structures, and craft endings that are both satisfying and thought-provoking.

If you haven’t read it yet, you can find it here.

Happy reading!

In my journey as a writer, I’ve encountered a ton of advice. One piece that keeps cropping up is “don’t edit while you write.” The rationale is clear: especially for those in the early stages of their writing journey, focusing on editing during the first draft can be counterproductive. It can slow you down and even lead to the dreaded writer’s block.

So, this advice is gold if you aim to complete that elusive first draft, or if you’ve been grappling with finishing your drafts.

Now, here’s where it gets interesting – it doesn’t quite work for me. In the course of my last two book projects, I began experimenting with editing as I went along, and the results were surprising.

Every writing session now involves not only adding new words to the page but also a quick review of what I wrote earlier. This helps me to keep a sharp eye on the evolving thread of the story and fine-tune my characters’ voices on the fly.

Of course, this approach may not be everyone’s cup of tea, and that’s absolutely fine. What works for one writer may not work for another, and the key is to find the rhythm and technique that suits you best.

So, don’t be afraid to experiment and make your writing process your own. Don’t blindly follow advice, even if it’s well-meaning. Test the waters and see what clicks for you. After all, writing is an art, and the process is as unique as the stories we tell.

1 November marked the beginning of the annual writing frenzy that is NaNoWriMo. I must confess; I’ve never been one of those die-hard fans of this writing challenge.

Sure, I fully recognize its merits. NaNoWriMo can be an incredible tool for finishing that elusive first novel, pushing your writing boundaries, and becoming part of a vibrant, supportive community. The idea is undeniably appealing.

But here’s the catch. I know myself well enough to understand that I’d get too fixated on the word count, potentially undermining the joy of the writing process. So, for years, I stood on the sidelines, cheering on my fellow writers.

However, this year, something changed. Instead of diving into the traditional NaNoWriMo sprint, I decided to take a different route. I’m challenging myself to do something that’s perhaps equally daunting but significantly more in tune with my writing style and needs.

I’m diving into a month of rigorous self-editing on Book 3. This manuscript has just returned from the editor, sporting a multitude of suggested corrections. It’s my time to dive in and take a closer look at the book, but this time, I aim to relish the process.

For me, it’s no longer about word count control; it’s about immersing myself in my story and striving to make it the best it can be. This is my unique NaNoWriMo spin, and it’s all about enhancing my novel before I send it off, polished and ready, into the world.

Two years ago, a literary professor ignited a profound debate: why are novels increasingly authored by individuals previously on the literary fringes – people of colour and women? This discussion has stayed with me, prompting a constant self-examination of my own writing. Am I, as the professor implied, adhering to certain predefined parameters when creating my characters and stories?

My unequivocal answer is no.

A few years back, I stumbled upon an article (the source of which escapes my memory) that asked a pertinent question: why are works by women and people of colour almost invariably viewed through a political lens? This question has gnawed at me ever since, and it underscores my quest to respond to the literary professor’s inquiry.

As an author, my process begins with the character. From the character, the story naturally unfurls. I have never been able to craft a narrative and then insert characters as an afterthought. The notion of ticking off characters as if they were items on a checklist is simply beyond my creative realm.

What startled me about the professor’s perspective was not that he had read these works, but rather his apparent inability to focus on the unique narratives and the characters’ perspectives. He seemed to bypass the opportunity to immerse himself in these characters’ worlds or journey alongside them. Instead, his initial reaction was to criticize.

He seemed unable to empathize with characters who deviated from what he deemed “normal” or mainstream. This raises an essential question: why do we so often politicize the works of people of colour and women? Is it a sincere effort to emphasize the significance of these narratives, or is there a more insidious motive at play?

Politics have infiltrated virtually every sphere of our lives, making discussions about race, gender, and identity both ubiquitous and exhausting. The danger lies in our tendency to politicize these diverse narratives, inadvertently rendering them unprofitable for publishing houses. This, in turn, can have a chilling effect on the careers of these talented authors, stifling their voices and limiting the literary landscape.

The challenge before us is to transcend the checkboxes and delve deeper into the rich tapestry of diverse narratives. Instead of viewing these works solely through a political prism, we should embrace them for their unique storytelling, their multifaceted characters, and their ability to transport us into uncharted literary realms.

It’s not about checking boxes; it’s about opening minds. It’s about recognizing that every narrative, regardless of the author’s background, deserves to be appreciated on its own merits. When we move beyond the confines of political interpretation, we allow these stories to flourish and enrich our literary world.

Are you a discovery writer, aka “pantser” in the world of writing? I know I am. But something peculiar that I’ve recently discovered about my writing process is that the editing phase only truly starts to feel complete once I’ve chosen the final title for my manuscript. It’s at that point that I can accurately capture the tone and characterization of the story. I’ve found this to be a vital step in perfecting my work.

You might be wondering, does anyone else have this quirky habit? Well, it turns out, many writers have unique approaches to their creative process. Some need a detailed outline before they even start writing, while others, like me, find the essence of their story through the act of writing itself. It’s the beauty of the writing world — no two authors are exactly the same.

The title of a piece can be a powerful tool. It serves as a guide, encapsulating the essence of the work and helping the writer fine-tune the narrative, tone, and characterization. It’s a compass that can point your story in the right direction.

So, whether you’re a planner or a pantser, remember the significance of the title in your editing process. It might just be the key to unlocking the full potential of your manuscript. Do you have any unique writing habits or quirks in your process? Feel free to share them with us; we’d love to hear about your creative journey.

Read more:

Why Am I Not at That Level Yet? Navigating the struggles with editing and self-comparison

The editing rollercoaster: favourite discoveries and toughest doubts

Editing – it’s that critical phase in the writing process where we take our raw, creative bursts and transform them into polished, publishable story. While it’s undoubtedly a necessary step, it can also be a source of immense frustration, especially when self-comparison rears its head.

One of the most common struggles writers faces during the editing process is the nagging question: “Why am I not at that level yet?” It’s that feeling you get when you read a beautifully crafted novel, full of elegant prose and compelling storytelling, and then glance back at your own work with a tinge of self-doubt.

You might wonder why your sentences don’t flow as smoothly or why your characters don’t seem as vivid. It’s easy to get caught up in the comparison game, measuring your work against your favourite authors.

Here’s the truth that we often forget: every writer, even those celebrated authors whose books we admire, started somewhere. They didn’t pen masterpieces from day one. Instead, they embarked on a journey of countless drafts, revisions, and edits to refine their work.

It’s essential to remember that the process of becoming a better writer is just that – a process. It’s a path filled with highs and lows, with moments of self-doubt and moments of revelation. Every writer, no matter how experienced, faces their unique challenges and insecurities.

Rather than dwelling on the gap between your current writing level and where you aspire to be, embrace your journey. Understand that every word you write, every edit you make, and every draft you complete is a step forward. Each page is a lesson, a chance to improve and grow.

Editing is not just about perfecting your work; it’s about learning and evolving as a writer. It’s a chance to hone your skills, experiment with different techniques, and discover your unique voice.

Instead of fixating on what you haven’t yet achieved, celebrate how far you’ve come. Take pride in the improvements you’ve made and the lessons you’ve learned along the way.

Also read:

The editing rollercoaster: favourite discoveries and toughest doubts

How do I use ChatGPT to improve my writing?

I am currently in my editing era – it’s a love-hate phase of my writing process. It’s a rollercoaster of emotions for any author. As I dive into this crucial part of the process, I can’t help but notice the stark contrast between my favourite part and my least favourite thing about it.

Favourite part: discovering new scenes and depth

One of the most exhilarating aspects of editing, for me, is the moment when I stumble upon a hidden gem within my manuscript. It’s like unearthing buried treasure right in my own backyard. These are the scenes, the lines, the subplots that I had no idea existed during the frenzied drafting phase.

These hidden gems often add a layer of depth and richness to the story that I couldn’t have anticipated. It’s as if my characters have whispered secrets to me while I wasn’t looking, and now, during the editing process, I get to share those secrets with my readers.

These unexpected discoveries might be a subtle character moment that reveals their true nature, or it could be a twist in the plot that elevates the story to a whole new level. It’s these moments that remind me of the magic of writing, where creativity takes the wheel and steers the story in unanticipated directions.

Least favourite thing: doubting every other scene

On the flip side, editing is also the phase where self-doubt can rear its ugly head. As I go through my manuscript with a fine-tooth comb, I can’t help but question nearly every scene, every sentence, and every word choice. It’s as if I have an internal editor who’s determined to cast doubt on my work.

Is this scene too slow? Is that dialogue believable? Does this paragraph even make sense? These questions swirl around my head like a never-ending storm, making it hard to maintain confidence in my writing.

Here’s the thing – self-doubt, while frustrating, is also a crucial part of the creative process. It pushes me to strive for perfection, to refine my work until it shines. So, while I might grumble about it, I know that it’s ultimately helping me become a better writer.

In the end, the editing process is a bittersweet journey. It’s a rollercoaster of emotions, with thrilling highs and challenging lows. But through it all, I remind myself that every edit, every doubt, and every discovery is a step toward making my book the best it can be. And that’s a ride worth taking.

Also read:

How do I use ChatGPT to improve my writing?

When it comes to book marketing, you often run into folks who aren’t exactly thrilled about using social media as a promotional tool. I get it; on the surface, it seems like a hassle.

But here’s the thing: beneath that reluctance, there’s sometimes a hint of elitism and, well, let’s be honest, a touch of laziness.

In the book world, there’s this old-school notion that marketing is the job of publishing houses. Some authors even believe that if they’re “real” authors, they shouldn’t have to bother with marketing. Now, I don’t know about you, but to me, that perspective feels as outdated as a rotary phone at a tech conference.

Let’s dive into this a bit more. First off, when you avoid active marketing, you might unintentionally give off vibes of being disconnected from, or worse, superior to your readers. And that’s a problem because storytelling is all about connecting with readers on a personal, emotional level.

Now, onto the second point. Expecting your publishing house to do all the heavy lifting in the marketing department is a tad unrealistic. They’ve got a gazillion other tasks and authors to deal with. Relying solely on them to promote your book? Well, let’s just say it’s not the most practical game plan.

“Publishers are there to distribute, not to help market. Expect to do 95% of the marketing yourself, even if you’re with one of the big guys,” says Tori Dunlap, money expert and author of New York Times bestseller Financial Feminist. (Tori Dunlap — Money Expert on X: “I’ve sold 70,000 copies of my book Financial Feminist (a New York Times bestseller) in 4 months. But I just read that the average sales of a published book are 3,000. For the ENTIRE LIFETIME of the book. Here’s what I learned about marketing and selling a book. (a thread) https://t.co/mmrrKnlvCz” / X (twitter.com))

You, the author, are the ultimate authority on your work. You know your characters, your world, and the subtleties of your story like the back of your hand. So, who better to convey the essence of your book than you? It’s a goldmine of potential, waiting to skyrocket your book’s visibility and success.

In a nutshell, the idea that marketing is the sole domain of publishing houses or that it’s beneath a “serious” author is, frankly, past its prime. Embracing active engagement in marketing doesn’t take away from your craft; it strengthens the bond between you and your audience.

Your readers are waiting, and your story deserves to shine!

Also read:

Marketing when you’re uncomfortable 

“A little talent is a good thing to have if you want to be a writer. But the only real requirement is the ability to remember every scar.” – Stephen King

I have been struggling with setting in my manuscripts for as long as I can remember. Of course, I had a revelation when I least expected it.

I was on my way of picking up a package and while I was walking, I twirled. It’s something I love to do – it brings me joy.

As I looked down at my body twirling, I realised why I, Cliffordene, have not mastered yet. I use mastered here loosely because I don’t think any author truly ever master’s writing. It keeps evolving and you should too.

In literature, the setting is the time, location, and physical environment of a narrative. A setting can be a specific geographical location, a historical era, or a fictional location or world. Other setting examples include the modern day, or in an unknown time and place, such as the future.

I realised that setting isn’t just about time, location, and physical environment. For me, it’s about how the character takes up space within that setting. I always tried to focus on painting and decorating the room for my readers, but the character experiences the room truly makes it real to me.

If I know how the character experiences the room, I can also see how the setting influences the character’s actions.

This is not something profound but while I looked down at me twirling and how I took up space, I immediately thought about the character I am currently writing: She is overly confident and a bit selfish, and how she takes up space and how her mother takes up space are two different things.

Here is the kicker, my readers wouldn’t know it, because I never showed them that.

Now that I know how she takes up space, I can contrast it with her mother and make the story immersive for my readers.

Come along for the journey.  Setting’s definition by Masterclass: https://www.masterclass.com/articles/what-is-setting-in-writing-plus-dan-browns-5-tips-on-writing-setting