by Stacy | Mar 8, 2021 | Behind the Rewrite, Line Editing, Scene-Writing

I’m always fascinated by how authors approach the rewrite process, but there’s one type of project I’ve never considered before: turning a script into a book. When I was researching SEO tags for this post, I discovered that lots of people search for phrases like “how to turn a script into a novel.” Well, author D.G. Driver has valuable tips for you and she shares them in the below Behind the Rewrite. D.G. will take you behind the scenes of revising her script for Songwriter Night: A Musical Romance into book form. That’s right. It wasn’t just any script. It was a script for a musical! I’m sure you’ll find this post as intriguing as I did.
In addition to being a writer, Iâm also an actress and theater director here in Nashville. Last year, when all the theaters in town closed, lots of theater types were creating virtual ways to do shows. I got a crazy idea to combine my novel writing skills with my love of musical theater and decided to write a story that featured songs, hire a cast to record it, and release it as a full cast audiobook called Songwriter Night: A Musical Romance.
Only there was a hitch. In order to have it available on Audible, there had to be a corresponding book. Well, even though the narration in the book is novelesque, I wrote Songwriter Night in script format. I had to revise and reformat the whole manuscript. The narration and dialogue remain 95 percent the same, but there were some definite snags that I want to share with you that makes up that other 5 percent. Hereâs how I handled them and what I learned.

How To Write The Song Lyrics
There are twelve songs in Songwriter Night. Most of these have the typical verse-chorus-verse-chorus-bridge-chorus structure typical of Country music. It felt tedious to have so much repetition of lyrics in the book version. Also, the reader canât hear the songs like in the audiobook version, so I had to figure out how to help the reader imagine what the songs sound like. Here is an example of how I did this for one of the songs.
In this scene, Aiden, a former member of the group whoâs hit the big time, has come back to show off one of his new songs, and heâs brought backup singers to sing it with him.
The three of them sing the chorus again. Instead of a bridge, the song repeats the last half of the verse, similar to the way Lyle had written his song.
âYou took her on one date, and I took her to prom.â
She didnât stick with either of us very long.
What do you say to finally letting that rest?
Clink my beer and letâs reminisce.â
A slightly longer hold on the chord builds up to the final chorus, where Aiden embellishes the notes. Trish wonders if a key change might have been effective here, but she doesnât think itâs her place to suggest it. Aiden repeats the final line of the chorus with a nice run on âold daysâ and a chord change to emphasize it. The girls end the song with some pretty âoohsâ that remind her of songs from another era. Nice choice.
Action In Narration Versus Dialogue Tags
One real plus to writing a script is that I donât have to write âHe said/she saidâ dialogue tags at all. With this being a full cast recording, all the actors are played by different people with distinct voices. I didnât need to write who said what. Personally, I love books where instead of using tags, the author uses action from the character to denote who is speaking. I did this a lot more for this project than my other works. It needed a little revision from the way it looked in a script to what it needed to be for a book, though.
Hereâs an example from the audiobook script:
NARRATOR: Maybe she should sing a cappella. Does anyone do that here?
TRISH: Is there anything to drink?
LYLE: Yeah. What do you want?
NARRATOR: Lyle leaps out of his chair before Trish even thinks about standing and getting the drink for herself. She looks past him at the assortment on the counter.
TRISH: Water will be fine. Thank you.
LYLE: Happy to be of service.
NARRATOR: He hands her the water, and their fingers overlap for a moment. His fingertips are callused from playing guitar, and they scratch her knuckles ever so slightly as he whisks his hand away. She opens the bottle and puts it to her mouth, hoping he wonât see her blushing.
Now, hereâs the same scene reformatted for the book.
Maybe she should sing a cappella. Does anyone do that here?
âIs there anything to drink?â she asks.
âYeah. What do you want?â Lyle leaps out of his chair before Trish even thinks about standing and getting the drink for herself. She looks past him at the assortment on the counter.
âWater will be fine. Thank you.â
âHappy to be of service.â
He hands her the water, and their fingers overlap for a moment. His fingertips are callused from playing guitar, and they scratch her knuckles ever so slightly as he whisks his hand away. She opens the bottle and puts it to her mouth, hoping he wonât see her blushing.
Adding Dialogue Tags
So, I couldnât get away completely with narration guiding the reader toward who is speaking, especially in scenes where there are more than two people having a conversation. I definitely had to use dialogue tags. I will tell you, when your main job is to go through your manuscript and tag dialogue, it gets awfully repetitive writing âhe saysâ and âshe saysâ over and over. You become intensely aware of how often youâre writing that. On the other, hand, you donât want your tags to be too all over the place or filled with unnecessary adverbs. Then it gets annoying.
Hereâs a group scene from the original script:
NARRATOR: Tammy huffs instead of answers. George raises an eyebrow to acknowledge that he won that round. The rest of the group is frozen in uncomfortable silence.
NEIL: So, uh, are we continuing or not?
GEORGE: Yeah, letâs go on.
NARRATOR: George strums his guitar, and Neil begins to play.
TAMMY: Youâre all going to sit here and let him embarrass me like this.
ROY: It sounds like a good song. A real tears in my beer heartbreaker.
ODETTA: Iâm interested to hear how the rest of it goes. Sad songs are the clay that Country music builds with.
NARRATOR: George looks at Lyle who gives him an approving nod.
TAMMY: Iâd like to point out that the middle part â the chorus? Thatâs mine. I wrote that.
GEORGE: You did not.
TAMMY: I did.
And hereâs the novelized version. Note the variety in the tags:
After a moment, Neil asks cautiously, âSo, uh, are we continuing or not?â
âYeah, letâs go on.â George strums his guitar, and Neil begins to play.
Tammy says to the group, âYouâre all going to sit here and let him embarrass me like this?â
The music stops again.
âIt sounds like a good song,â Roy responds. âA real tears-in-my-beer heartbreaker.â
Odetta agrees, âIâm interested to hear how the rest of it goes. Sad songs are the clay that Country music builds with.â
George looks at Lyle who gives him an approving nod.
Tammyâs not done yet.
âIâd like to point out that the middle part â the chorus? Thatâs mine. I wrote that.â
âYou did not,â George says.
âI did.â She sings a cappella to a tune very similar to the chorus of Georgeâs song.
When I write first drafts, it is sometimes the dialogue tags that cause me to trip up or hit a block. I want to keep going with the action and dialogue and not waste time figuring out how to show who is saying what. Writing in script format first and then going back through the manuscript to adapt it to book format helped make this a more streamlined process. I may try this again with other projects.
More About Songwriter Night: A Musical Romance

In this sweet romantic comedy, Lyle and Trish are two aspiring Country music songwriters that meet at a Nashville coffee house. With Trish being new in town, Lyle invites her to his monthly gathering of songwriters to get to know her better. The evening of quirky characters and light-hearted singing is interrupted by the arrival of Aiden Bronson. He’s got a hit song on the radio, and he’s back to show off, stirring up some rivalry while he’s at it. How will Lyle compete against Aiden’s charisma and talent in order to win Trish’s heart?
Buy it in ebook and paperback formats on Amazon. Itâs also available as a full cast audiobook recording wherever you like to get your audiobooks and podcasts. Find all those links, hear samples, and meet the cast on D.G.’s website.
More About D.G. Driver
D.G. Driver is a multi-award-winning author of young adult and middle grade books. She primarily writes contemporary fantasy, but she also loves writing realistic fiction and has even dabbled in romance. D.G. lives near Nashville, TN and is a teacher in an inclusive classroom of typically developing and special needs children in an early Intervention program. Visit her on the web at:
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by Stacy | Jul 13, 2020 | Behind the Rewrite, Scene-Writing

In todayâs Behind The Rewrite, author Renee Wildes discusses having her romantic epic fantasy series picked up by a new publisher. She shares five important editing tips for authors to keep in mind when revising their manuscripts.
1: New Publisher/Title/EditorÂ
The Guardians of Light series originated with Samhain Publishing and when they went out of business and I got my rights back, I had everything re-edited and Champagne Book Group picked up the series. Each book was again re-edited and renamed, with new covers. This book was originally titled Moonwitched, and was renamed A Guardian Redeemed. We chose a play on the Guardian theme for each bookâs new title. Each subsequent book in the series is a spin-off from the earlier ones, featuring familiar characters mixing with new ones. The heroine, Mari, was Finoraâs best friend in Book 3, A Guardian Revealed. The hero, Valkyn, was Arykâs best friend in Book 5, A Guardianâs Destiny. The secondary hero, Matteo, was the villain in Book 3âĤbut this is his redemption story arc.
We had a bit of a rocky road. When Cassie, the publisher of Champagne, decided to retire her editor hat so she could focus on the publishing end of things, I was initially assigned a new editor who turned out to be not a good fit for me. Sometimes, in professional interests, itâs necessary to stand up for yourself and negotiate a new deal. In this case, a new editor. I decided to ask for someone specific, and Cassie was gracious enough to agree. Jenna and I get on great, and itâs nice to have another house and editor who believe in me and my stories. NEVER be afraid to speak up if something feels wrong. Itâs YOUR book and YOUR career, so look out for yourself.
Same when it comes to the coverâif it doesnât look like your story/book, speak up. Not all publishers give the author the power to change something, but it never hurts to try and speak up and be selective with what you want to fight for. The initial cover had a scruffy dark-haired hero and a desert setting like Arizona. It looked like the cover of a Western. So I reminded Cassie that Valkyn was a blond Viking-esque warrior and the book setting was very âAfrica.â (My editor Jenna said the setting looked like Mars, and now I canât get âCowboys on Marsâ out of my head!) And I got a new cover that we all agree looks more like my actual book.
2: Fight Lesson Scene Do-Over
One of my favorite scenes in A Guardian Redeemed is when Valkyn decides to teach Mari how to defend herself. Theyâre going to war to overthrow an evil warlord and restore a boy-king to the throne. Itâs a major turning point for Valkyn because when we first meet him (in A Guardianâs Destiny) heâs adamantly opposed to female warriors. But the thought of Mari dying because she canât defend herself changes his mind. But she wonât kill, which complicates things. So I wrote this epic mock fight scene, where he teaches her a variety of moves I picked up on the Internet. Then I asked a martial-arts teacher fellow writer to vet it for me.
And what I got back was an epic DVD of her and her son reenacting the fight sceneâĤshowing me exactly why what I wrote would not work. But it was done in the best spirit of helpfulness and she gave me a variety of things that would work. Because Iâm a visual person, being able to see both versions gave me exactly what I needed to rewrite the scene. And then I had the benefit of a professional editor who helped me trim the scene enough to fit in what was missingâall the romantic chemistry that kept it a romantic scene and not a how-to manual.
So whenever you have any kind of technical research, I highly recommend having an expert âvetâ the bits in question, to make sure when youâre adding bits of realism it actually reads âreal.â
3:Â To Tag Or Not To Tag: (Dialogue)
When I was with Samhain I used all kinds of dialogue tags, to get the exact inflection I wanted to color the tone of the dialogue. When I moved to Champagne, one of the first questions Cassie asked me when she was my editor was, âYou really donât like âsaidâ and âasked,â do you?â Enter the notion of âinvisibleâ dialogue tagsâand changed all statements to âsaidâ and questions to âasked.â
When Jenna inherited me, it was another learning curve. Enter the notion of NO dialogue tags/tag with action. Commas changed to periods. (Mentality being âWe know itâs a questionâsee the question mark at the end? So you really donât need âasked,â now, do you?â) Just so we knew WHO was speaking, itâs good. Plus, scenes stay in motion, focus. Dynamic. Definitely a way to eliminate talking heads and static conversation!
Apparently you can teach an old dog new tricks!
4: How To Keep Track Of The Troops
(Large Casts Of Characters)
I write romantic epic fantasyâa blend of romance (first) and epic high fantasy (second). Otherwise known as romance with a couple of fantasy/action subplots. Thereâs always a lot going on, a lot of change on both a personal and grand scale, and a big canvas has a lot of people in it. My stories do not take place in a vacuum or on a desert island. Characters have friends and family, enemies, employees and servants, ex-lovers, and all the business owners who keep living realistic. Each of my editors has voiced concerns over whether or not a reader can keep it all straight, and has suggested cutting back the body count.
I have cut minor characters and trimmed scenes to increase the focus on the primary action, and been careful to only name important secondary characters. One trick I try to keep in mind is to not repeat the same beginning letter of names too often. Another is to use my baby name book (divided by nationalities) to pick names from the same culture to use within the same culture, to clue the reader in to a characterâs race. Dialogue and terminology also help differentiate a noble from a stableman from a warrior from a bard. It also helps to make sure each person has a specific unique role to play, that only they can do, and give them each a memorable mannerism/voice/appearance/attitude/history that differentiates them from all the rest. And to periodically throw in their title/job with or instead of their name to reinforce the readerâs memory.
5: Heart & Soul (Romance Before Plot)
I told a friend of mine Iâm a rabbit-hole kind of girl. Means Iâm a chaser and a finisher, in a linear/visual sort of way. I tend to write the plot/action scenes straight through, visual-description heavy, and then have to add in the romance, emotion, and other multi-sensory details after. Missing the trees for the forestâtoo much big picture, not enough close-ups, as it were.
Even/especially in love scenes, I tend to start with âhe did thisâ then âshe did that.â And Iâm guilty of certain overused phrasing I tend to fall back on without realizing I did so. Champagne has a pre-edit checklist for their authors that helps weed out certain common overused/generic/passive words to cut, but Iâve made a list of my own overused reactions. I still have editorial comments in revisions that go, âI know what theyâre doing, but how do they feel about it?â (and a specific word count with yellow highlighter telling me exactly how many times someone âstaresâ or âblinksââtold you Iâm a visual person, it bleeds out into my characters, tooâor âgroansâ or âshivers.â) Youâd think my characters were making love in a refrigerator, they shiver so much! LOL (and a thesaurus only gets you so far before it becomes apparent that youâre using said thesaurus in the hunt for alternative word choices!)

Conclusion
Be flexible, not rigid. Embrace change. Be aware of your personal foibles and work on them. A sense of humor about it all helps! Always use another fresh set of eyes to catch what your familiarity misses.
Want To Read The Rest Of The Book?
A Guardian Redeemed by Renee Wildes – He was bred for war. Her magic is only for peace. Together they must fight for love. Weapons stolen, comrades dead, ship burned and sunk, Valkyn is rotting in Lord Zurvanâs grim dungeon, wondering if he will ever again see his sons. Rescue comes from an unexpected sourceâthe human witch Zurvan sent to patch him up between beatings. Mari canât bring herself to let Valkyn die, never mind that the fearsome northern riever is the scourge of her homeland. Yet in him she finds an ally who could help restore the rightful boy king to the throne. And a man who reminds her body thereâs life after widowhood. Their first kiss unleashes pent-up passion she thought was long buried, clouding all the reasons they shouldnât get involved. But the blood on Valkynâs hands is anathema to Mariâs magic. If she dares open herself to him fully, he could destroy her. Valkyn knows his heart has already surrendered to hers. When this quest is over, the real quest will be convincing her that polar opposites not only attract, they belong togetherâ forever.
More About Renee
Renee Wildes grew up reading fantasy authors Terry Brooks and Mercedes Lackey and is a huge Joseph Campbell fan, so the minute she discovered romance novels it became inevitable that she would combine it all and write fantasy romance. Renee is a history buff and research junkie, from ancient to medieval times, esp. the Dark Ages. As a Navy brat and a copâs kid, she gravitated to protector/guardian heroes and heroines. Sheâs had horses her whole life, so became the only vet tech in a family of nurses. It all comes together in her Guardians of Light series â fantasy, action, romance, heroics, and lots of critters!
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