Learn Writing with Uncle Jim, Volume 1

Back to Rambling's question:

It's perfectly fine to have subplots that don't advance the main plot -- provided they support the theme (either by directly supporting it, by comparing, by contrasting, by illustrating, or otherwise commenting on the theme.)

Everything needs to support the theme, advance the plot, or reveal character.

Thanks! I'll postpone worrying about whether a subplot 'fits' until revising then - at least until my inner editor is better trained

Two format question:

1. Do I put my pseudonym on the running header of every page in the manuscript, or do I put my real name?

2. How do you format subchapters? For example, I have Chapter One, and within this chapter I have I, II, III etc. I know I start in the middle of the page to start a new chapter, but how do I format the subchapters? Do I double space and continue?

MasterRegal said:

Two format question:

1. Do I put my pseudonym on the running header of every page in the manuscript, or do I put my real name?

Click to expand...

Your choice. I'd use my real name, but it really doesn't matter.

2. How do you format subchapters? For example, I have Chapter One, and within this chapter I have I, II, III etc. I know I start in the middle of the page to start a new chapter, but how do I format the subchapters? Do I double space and continue?

Click to expand...

Skip a line, center your sub-chapter heading, skip a line, continue.

James D. Macdonald said:

Everything needs to support the theme, advance the plot, or reveal character.

Click to expand...

And two out of three would better than one out of three?
-Barbara

Jim,

Unless specified otherwise, is the rule of thumb for chapter breaks still new page, center? I've been seeing some variations here and there. I recently saw double space, including chapter break.

Now, I'm faced with a challenge. The submission guideline I'm formatting says to send along with the query a two page "detailed" synopsis of my MS.. They emphasize--"not an outline", but a synopsis. I plan on present tense narrative to do so. Am I correct in that assumption?

If you haven't seen it, Lady, Miss Snark rips through dozens of synopses on her blog here and here. An excellent resource, I think, to see what's right and what's wrong about syopses.

OH, AJ! Thank you so much for that reminder. I had bookmarked her "crapometer" for future reading and forgot about it. Yes, you are correct--excellent resource.

batgirl said:

And two out of three would better than one out of three?
-Barbara

Click to expand...

Three out of three is better still.

If you have a word with zero out of three ... ask yourself why you want to have that word.

Lady of Prose said:

Jim,

Unless specified otherwise, is the rule of thumb for chapter breaks still new page, center? I've been seeing some variations here and there. I recently saw double space, including chapter break.

Click to expand...

New page, start the chapter half-way down the page. Center the chapter title or number, doublespace, indent, and type.

Now, I'm faced with a challenge. The submission guideline I'm formatting says to send along with the query a two page "detailed" synopsis of my MS.. They emphasize--"not an outline", but a synopsis. I plan on present tense narrative to do so. Am I correct in that assumption?

Click to expand...

Present tense narrative, single spaced. Times Roman is acceptable. Think of how you'd tell your friend about a really good movie you saw last night. Put in the major plot highpoints and the surprise climax. The question they want answered is "Does this writer have a complete story with beginning, middle, and end?

What about scene breaks, U.J.?

I am currently doing this:

The sun touched the horizon and seemed to set the field ablaze.

***
The sun rose above the mountains to warm our backs as we continued our trek west.

Which, is the last line, space, scene break, one space, first line next scene.

Ken,

A scene break is done with a blank line, which is marked with a #.

The sun touched the horizon and seemed to set the field ablaze.
#
The sun rose above the mountains to warm our backs as we continued our trek west.

Usually the hash mark is centered.

Oh, isn't it done with three centered #'s?

I've seen guidelines and/or instructions that said 1-3 hash marks or asterisks and always centered.

Hey, it's good to see this thread back on page one where it belongs.

I had time off over the holidays and my B was In my C almost full time. What a feeling! I admit I didn't do the assignment. I didn't want to spend time away from my WIP. I can think of more acronyms, but can't stand too many.

I, too, need to know about hash marks. Centered, yes. Just one? Three? Does it matter, Uncle Jim?

aertep said:

I, too, need to know about hash marks. Centered, yes. Just one? Three? Does it matter, Uncle Jim?

Click to expand...

I'm not Uncle Jim but I can guess what he'll say: No, it doesn't really matter, because if you have an exciting plot with engaging characters told in a compelling way, by the time the reader -- agent, editor, or whomever -- reaches your first scene break they'll be so engrossed in the story they won't care if you have one or three or a dozen hash marks.

On the other hand, if you have a trite story with cardboard cutout characters and leaden prose, even perfect formatting won't save it.

Just one. The hash mark is a typesetter's mark for blank line. Just use one #. Make it easy for the editor and the typesetter (when it goes to production). Besides, it saves you ink and word count.

Thanks, Berry and Ray.

Is it acceptable in this thread to congratulate Maestro on his five-star reviews on Amazon and B&N?

Hey, Petrea good to see you back. B in the C will get you an A, for writing.

Time off? Switch agents.

Ken

What are some of the chief complaints from editors relating to scene change? This is something I'm struggling with somewhat. Or, what is a good rule of thumb to follow?

I'm not talking about the obvious--morning to night, etc.. I'm speaking of instances where perhaps there are flashback scenes or memories, then you return to the original scene. Should it be that a scene change is just that, no matter the length or time? Or do we stay with the current setting?

Chief complaints from editors?

Dunno. If I were guessing: "Clumsily done. Threw me out of the story" would be the worst complaint about scene shifts.

This is an art. If it works, it's right. Your readers will tell you if it works.

(And Berry -- you have learned well. Now you are the master.)

James D. Macdonald said:

This is an art. If it works, it's right. Your readers will tell you if it works.

Click to expand...

Okay--thanks. I understand what you are saying, and I'm now comfortable with what I'm doing.

James D. Macdonald said:

This is an art.

Click to expand...

Damn! . . . so THAT'S my problem.

caw.

James D. Macdonald said:

The workshop organizers usually send the first batch of submissions to the instructors in mid-March, then every month thereafter until we've filled the class.

We look at the submissions as: Obvious Invite, Let's Wait a Bit, and I Don't Think So. We keep going like that until we've filled the class.

Click to expand...

What do the relative proportions of those three piles tend to be?
-Barbara (just curious. Really.)