Oh, cool. She was writing them way back, too. I'm bookmarking that to read later. Thanks, Tom.

Thanks Connie. I always worry that sharing dreams is boring. But some of mine really do seem to be plot bunnies, and if I can't use them sharing seems only right.

Talking of stories based on dreams, I could use some advice. My "Deadlands" novel has come to a dead end. I can't do more on it without help. But I think it has potential to be some thing really terrific. So I'm thinking about seeking a partner. But before I do I want to make sure that this is a fair division of labor, that I'm not making an offer that asks too much of the partner.

I have a really great world, horrifying and beautiful. I have a marvelous main character. I know how the story begins and ends. I have some good secondary characters, but not developed. I have about 12,000 words of scenes and subplots. Even knowing the beginning and end, I'm not sure how to get from here to there. Most of the plot and subplot is not developed. There is a major issue that is not dealt with at all and needs to be (Not in the sense of resolving it but in the sense of what is chosen in the way of characters and subplots to portray it.) There are organizational issues.

What it comes down to is that prose is (IMO) first rate. Once I decide on a character I convey that character's personality well. And totally suck at plot. (Maybe that is why I do well at non-fiction. Research and analysis determines the story.) So what I would like from a partner is a chapter by chapter outline - level of detail maybe two pages per chapter. Given that I can do the rest and produce a first draft. After I have a first draft, then the partner could have as much input as they want - whether that is acting as a critic, acting as an editor, or writing a second draft - or some mixture like rewriting or adding chapters while just editing or critiquing others.

So in terms of work, am I asking more work than is fair? Also am I asking the partner to do the dull part and leave all the fun to me? Is this a deal that would be reasonable to offer another writer? Whether they would accept is another matter, but there is a difference in being approached with a fair deal that does not interest you and being approached with a totally one-sided absurd offer. And I really want to avoid being the person who offers the latter.

We have a couple writers here working on series or potential series, yes? Check out this really thoughtful and smart essay by Marie Brennan on writing long: [link]

I think, frankly, what she says also applies to shorter work, specifically anything where you are producing work in installments. One of the points I think I'd never heard of before, but which really makes sense to me, is the danger of bringing in too many perspective characters, because each new POV limits the time spent on characterizing the other POV characters--and also has an adverse effect on the over pacing of the work.

Very smart discussion.

Thanks, Consuela. I never thought about series before writing in the current YA market, and it's something I'm not sure I'm cut out for.

I'm working on a sequel. I'm finding it a challenge to balance adding enough information to understand without reading the first book without bogging things down for someone who has read the first book.

Not that I'm working on it currently. I got a reader report from my agent's intern pointing out some weaknesses my agent feels need to be addressed before submitting. Not that I'm complaining. I want to make sure it's as good as possible before submitting to editors. It's really, really helpful to get feedback from people in the biz who have a stake in making the manuscript better. Also I think it's improving the feedback I can give when beta reading.

Speaking of beta reading. I'm really sorry I haven't gotten to yours Gar. Between work, revisions, and pre-existing beta reading commitments I've been too busy to find reading time. Overcommitting on beta reading is a bad habit of mine. I can still try to get to it if you feel it would still be helpful.

Personally, I feel that it would be better to work on your craft and struggle through rather than partner up with someone. But maybe a partnership would work better for you. I can't really imagine collaborating on one of my manuscripts; I think I'd just end up wanting to do it all my way. Even with the help I'm getting from my agent and her readers, it's a matter of them pointing out the weaknesses and it's up to me how to address them.

I made a create-your-own-author-bio madlib to go with a blog post on writing author bios. It seems to be amusing people.

Yes, I am waxing the cat. My office is clean too.

Yeah, I'm thinking that learnign to plot would be a good skill. I think I need some resources though. I don't think this is a case where practice alone will do it. Any good guides out there on plotting 101? I could google, but I'm not sure I'd be able to filter the garbage from the good stuff. So I prefer recs.

Does not have to be internet stuff though. If there are any books out there that people think have good plot advice I could try to get them.

How are you on the basic idea of a plot, the buildup, the climax, the denouement, etc? Complications and resolutions? I'm trying to think of my writing library and if anything explicitly addresses the process of getting people through an action. Are you wanting the grand framework of an entire story or the construction of scenes that progress the individual actions? Or all of the above?

Writing the Breakout Novel by Don Maas, who's an established agent. It's a great resource.