This is a cautionary tale.
We all want to make sure our story is great when it is sent out to those editors and agents. We want to make sure that story is right on the money for our readers. But sometimes, over-working it only ruins it.
This is a problem a lot of authors have around the world so if you feel you are in this group, don't panic! You aren't alone. Still, this is an issue that has to be fixed!
I started thinking about this when I was talking about his creative writing class in college. His professor is one of those authors who fine tunes everything. She will spend hours working on a single passage, massaging it, changing single words over and over again to conjure just the "right image." In the last 8 years, she has written three novels (I should note, the size of a Harlequin Historical).
So, was it worth it? Probably not. I read a couple of excerpts and while it is clear that the writing has been worked really hard, the writing itself becomes difficult to read and distracts from getting the plot across to the reader. In a lot of ways, the writing starts sounding like something I describe as NPR Literary Fiction. If you have ever heard authors such as this on NPR talking about their books, they discuss the writing as so elevated above the common man. They talk about the imagery of a blue door to their house as if it is symbolic of the deep philosophy of ancient warlords in a long forgotten civilization.
Will your readers get this? NO!
I am not saying to not use metaphors and symbolism. I am not saying to not work and edit your stories. I am saying, that much fine tuning becomes over-kill
Showing posts with label Editing. Show all posts
Showing posts with label Editing. Show all posts
Tuesday, September 10, 2019
Thursday, May 2, 2019
Big picture vs. Small picture Editing
OK, let me first say, I am not a big fan of the title of this blog, but it was the best I could do when I got ready to post this. I think you will understand what I am talking about once we get into this.
I do think authors, far too many times, are missing the point when they get into editing and revising their manuscripts. The end result is often a story that has moments of brilliance but simply does not hold together as a full story. This is a result of how the author is approach the editing and what he or she is looking for. Both levels of editing are 100% important and, in no way am I suggesting one is better than the other.
Most authors tend to edit with a small picture approach. They focus in on making single scenes great. They focus in on getting those first three chapters golden. They focus in on making those individual lines perfect. This is certainly important. You need to make sure that at a sentence/paragraph/scene level, things are perfect! Here is the issue though. The authors are not thinking about what is happening in the other parts of the story, either before or after. They are not thinking about how those individual changes affect the other things going on.
Let me use my mother-in-law as an example. Sandy was a great person! She had a lot of great intentions. However, I would always cringe when she got ready to do re-decorating in her house, or when she wanted to re-arrange furniture. She would focus on one room and go to work making changes. We would spend all day moving furniture or painting or something else to get that room perfect. But here is where the problems would arise. She would then look at the neighboring room and realize that room now looked out of place. So the next weekend, we would go to work on that room. I am sure you can see where this is going. When we fixed room number 2, room number 1 now looked wrong.
She only looked at these remodels in a small focus perspective. She did not look to see how everything goes together.
As you edit, make sure to constantly examine how things fit together on a larger scale. While these changes may sound great, will these changes cause a trickle down effect on other things happening in the story? Will this impact the characters or the conflict of the story?
When I read submissions that I think might have potential, but will require edits, I always look to see if these edits are "easy" fixes or if the changes will require full overhauls. We really don't want to re-write the entire book. We are not like Chip and Joanna on Fixer Upper and wanting to fully gut the story and re-do it. We are looking for changes that are effective and efficient.
I do think authors, far too many times, are missing the point when they get into editing and revising their manuscripts. The end result is often a story that has moments of brilliance but simply does not hold together as a full story. This is a result of how the author is approach the editing and what he or she is looking for. Both levels of editing are 100% important and, in no way am I suggesting one is better than the other.
Most authors tend to edit with a small picture approach. They focus in on making single scenes great. They focus in on getting those first three chapters golden. They focus in on making those individual lines perfect. This is certainly important. You need to make sure that at a sentence/paragraph/scene level, things are perfect! Here is the issue though. The authors are not thinking about what is happening in the other parts of the story, either before or after. They are not thinking about how those individual changes affect the other things going on.
Let me use my mother-in-law as an example. Sandy was a great person! She had a lot of great intentions. However, I would always cringe when she got ready to do re-decorating in her house, or when she wanted to re-arrange furniture. She would focus on one room and go to work making changes. We would spend all day moving furniture or painting or something else to get that room perfect. But here is where the problems would arise. She would then look at the neighboring room and realize that room now looked out of place. So the next weekend, we would go to work on that room. I am sure you can see where this is going. When we fixed room number 2, room number 1 now looked wrong.
She only looked at these remodels in a small focus perspective. She did not look to see how everything goes together.
As you edit, make sure to constantly examine how things fit together on a larger scale. While these changes may sound great, will these changes cause a trickle down effect on other things happening in the story? Will this impact the characters or the conflict of the story?
When I read submissions that I think might have potential, but will require edits, I always look to see if these edits are "easy" fixes or if the changes will require full overhauls. We really don't want to re-write the entire book. We are not like Chip and Joanna on Fixer Upper and wanting to fully gut the story and re-do it. We are looking for changes that are effective and efficient.
Monday, October 15, 2018
What Is The Underlying Problem?
About 10+ years ago, I was teaching a program called Future Problem Solving. This is fantastic program. Students work in small groups and study a scenario to eventually solve problems in a timed setting. One of the pieces that I always go back to is a first step the students go through. This is the identification of the underlying problem. I wanted to bring this up because it is something I see so many authors missing when it comes to editing and revising those projects.
For many authors, especially those who don't plot, they often find themselves sitting at a point in the story where things just unravel. It looks like there is no hope without completely throwing the entire story out and starting over. Obviously, this is not something any author would want to face. And yet, over and over again, I see authors doing this.
But they don't have to.
The best approach is to look at that story and determine exactly what the underlying problem is that has created your roadblock with your writing. The odds are, it is not a full blown plotting issue, but more likely a small issue that, if tweaked, can take care of the entire issue.
I remember working with an author on a project. Her editor came back with this huge issue of the hero and his motivations. The editor was looking for adjusting the plot that would have entirely re-written the story. The impact was not just fixing the hero, it was also forcing the author to change the heroine, the conflict and, if I remember right, the setting of the story.
This is just too much work. I am personally someone who, if I can find a quick solution, I will take it. In this case, we looked at the underlying problem, and the issue was not the plot, it was the motivation of the character. Our solution? We added one paragraph where the hero had his first love die due to a simple disease. He simply did not want to have a relationship because the pain he went through is something he did not want to go through again.
In this case, the underlying problem is what we tweaked.
So, if you are facing issues with your story, take the time to really study the plot. Go for the underlying problem and you may find that you don't struggle as much as you have in the past with editing.
For many authors, especially those who don't plot, they often find themselves sitting at a point in the story where things just unravel. It looks like there is no hope without completely throwing the entire story out and starting over. Obviously, this is not something any author would want to face. And yet, over and over again, I see authors doing this.
But they don't have to.
The best approach is to look at that story and determine exactly what the underlying problem is that has created your roadblock with your writing. The odds are, it is not a full blown plotting issue, but more likely a small issue that, if tweaked, can take care of the entire issue.
I remember working with an author on a project. Her editor came back with this huge issue of the hero and his motivations. The editor was looking for adjusting the plot that would have entirely re-written the story. The impact was not just fixing the hero, it was also forcing the author to change the heroine, the conflict and, if I remember right, the setting of the story.
This is just too much work. I am personally someone who, if I can find a quick solution, I will take it. In this case, we looked at the underlying problem, and the issue was not the plot, it was the motivation of the character. Our solution? We added one paragraph where the hero had his first love die due to a simple disease. He simply did not want to have a relationship because the pain he went through is something he did not want to go through again.
In this case, the underlying problem is what we tweaked.
So, if you are facing issues with your story, take the time to really study the plot. Go for the underlying problem and you may find that you don't struggle as much as you have in the past with editing.
Thursday, September 13, 2018
Major Edits - Start With Sub-Plots
I am in the middle of some major edits with one of my clients. This is a big over-haul! For many authors, they would see this and completely freak out. I will admit, I did too when I got ready to work. However, once I got going, this became a lot easier.
For most, people would start making cuts in their stories looking at scenes that might not be needed, or to cut back "how much" they tell the reader about specific locations. While this does certainly trim the story and tighten it up a lot (and very useful), this was not where we had to start.
The easiest way to cut is to look at those subplots.
For many authors, while the sub-plots might have seemed, at the time, to be a great direction for the book, these plot lines really only distracted from the main plot. Sub-plots are there to add depth and more complexity to the main plot. Unfortunately, for many authors, these just become a second story being told inside the larger story.
It is always important to look at everything you put into your story as a useful piece to advance the story. If the things you put in the story do not move the story in a forward direction, then it is simply not worth it.
So, that is where I started with the story. Sure enough, it was the best approach. Now, were there some things that I wanted to keep in those story lines? Sure! In one case, the protagonist had some information that had to get out about her current situation. In the first version, she had a friend she talked to. Simple enough. Dump the friend and have her simply talk it through with herself.
Your task today and the rest of the week is to examine the things you are putting in your story. Necessary? Then keep! Not necessary? Dump it.
For most, people would start making cuts in their stories looking at scenes that might not be needed, or to cut back "how much" they tell the reader about specific locations. While this does certainly trim the story and tighten it up a lot (and very useful), this was not where we had to start.
The easiest way to cut is to look at those subplots.
For many authors, while the sub-plots might have seemed, at the time, to be a great direction for the book, these plot lines really only distracted from the main plot. Sub-plots are there to add depth and more complexity to the main plot. Unfortunately, for many authors, these just become a second story being told inside the larger story.
It is always important to look at everything you put into your story as a useful piece to advance the story. If the things you put in the story do not move the story in a forward direction, then it is simply not worth it.
So, that is where I started with the story. Sure enough, it was the best approach. Now, were there some things that I wanted to keep in those story lines? Sure! In one case, the protagonist had some information that had to get out about her current situation. In the first version, she had a friend she talked to. Simple enough. Dump the friend and have her simply talk it through with herself.
Your task today and the rest of the week is to examine the things you are putting in your story. Necessary? Then keep! Not necessary? Dump it.
Thursday, October 12, 2017
Small Picture and Large Picture Editing
I know that writers work hard at editing their stories. They want to have the best product out there and often go over those stories time and time again. They make tweaks. The change plots. The re-write scenes. When they go back and re-read what they just did, the writing is AMAZING! As they close down their computers for the day, they head off into their other world really feeling a sense of satisfaction.
And yet, for many, the work they did is not always going to work as well as they think. This comes down to an issue of the small and large picture editing.
Too often, writers make changes on their story and the work they do, really is good. It works great for that scene. But, the work often contradicts issues in other sections of their story. In some cases, although that individual scene rocks, it forces changes that will need to be made in the rest of the story, and sometimes, those changes never get made.
As you make changes in your story on those individual scenes, make sure to constantly think about how those changes work with the rest of your story. I often use the analogy of the thesis for an academic paper. You might add a section to that research paper that seems interesting and you might think, at that point in the paper, the readers would like to see this, but if that work is not something that supports the thesis, the work you do is not going to help you.
We aren't just talking about plots here. We are also talking about adding or changing internal and external conflict elements, or even those nasty GMC's (goals, motivations and conflicts) of the characters. For example, maybe you have written a scene where you wanted to increase the sexual tension of the characters earlier in the book. Although that might increase the heat for that moment, you now have to add the sub-story of the characters having to adjust and work through that sexual encounter. If that line is going to get in the way of the main story line and detract from the story, maybe that change should not be made.
Just something to consider.
And yet, for many, the work they did is not always going to work as well as they think. This comes down to an issue of the small and large picture editing.
Too often, writers make changes on their story and the work they do, really is good. It works great for that scene. But, the work often contradicts issues in other sections of their story. In some cases, although that individual scene rocks, it forces changes that will need to be made in the rest of the story, and sometimes, those changes never get made.
As you make changes in your story on those individual scenes, make sure to constantly think about how those changes work with the rest of your story. I often use the analogy of the thesis for an academic paper. You might add a section to that research paper that seems interesting and you might think, at that point in the paper, the readers would like to see this, but if that work is not something that supports the thesis, the work you do is not going to help you.
We aren't just talking about plots here. We are also talking about adding or changing internal and external conflict elements, or even those nasty GMC's (goals, motivations and conflicts) of the characters. For example, maybe you have written a scene where you wanted to increase the sexual tension of the characters earlier in the book. Although that might increase the heat for that moment, you now have to add the sub-story of the characters having to adjust and work through that sexual encounter. If that line is going to get in the way of the main story line and detract from the story, maybe that change should not be made.
Just something to consider.
Tuesday, June 13, 2017
An Approach To Global Revisions
Doing revisions on anything we write is not a fun process. It is a necessary evil to insure that the final product we put out there for the writers is outstanding. In many cases, revisions can be pretty simple as long as you are working with isolated problems. This could include things such as, the introduction to the story is flat, or the scene between Bob and Suzie is just a bit awkward and doesn't show the reader a lot of emotion. However, the revisions that become difficult to work with are those global revisions. These are the issues that run throughout the entire novel.
I will tell you, these can be nightmarish. Authors often run into a domino effect situation. You make changes in one area and by the time you get to chapter 6, those changes are now coming into conflict with another change that happens in the story. In some cases, those changes now create an issue where you are thinking about just throwing the entire story out and starting over.
But there is a way where you don't have to fact these issues.
When you get revisions such as this from your editor or agent (or even your critique partners) stop and look at that list first. Take the time to think it all through first and to prioritize the issues. This is not an issue of prioritizing based on the size of the project or the order in which the problems occur. It is an issue of looking to see how things fit together.
For example, if one of the issues is the conflict between the hero and the heroine not really building at a regular pace, and a second issue deals with goals and motivations of the hero, you will want to start with the single character issue first. Those issues will generally begin before the hero and heroine start forming that relationship. This is also an issue that will control the way the two of them work.
The next thing to consider is to not do all of the changes at a single time. Make that list, go through the novel and fix that one problem and then move on to the second issue. Do not try to fix all of the issues at one time. I can promise you, this will lead to psychotic issues.
What I think you will find, is that if you do take this a bit slower, this process is not so daunting. The key is to simply relax and breathe!
I will tell you, these can be nightmarish. Authors often run into a domino effect situation. You make changes in one area and by the time you get to chapter 6, those changes are now coming into conflict with another change that happens in the story. In some cases, those changes now create an issue where you are thinking about just throwing the entire story out and starting over.
But there is a way where you don't have to fact these issues.
When you get revisions such as this from your editor or agent (or even your critique partners) stop and look at that list first. Take the time to think it all through first and to prioritize the issues. This is not an issue of prioritizing based on the size of the project or the order in which the problems occur. It is an issue of looking to see how things fit together.
For example, if one of the issues is the conflict between the hero and the heroine not really building at a regular pace, and a second issue deals with goals and motivations of the hero, you will want to start with the single character issue first. Those issues will generally begin before the hero and heroine start forming that relationship. This is also an issue that will control the way the two of them work.
The next thing to consider is to not do all of the changes at a single time. Make that list, go through the novel and fix that one problem and then move on to the second issue. Do not try to fix all of the issues at one time. I can promise you, this will lead to psychotic issues.
What I think you will find, is that if you do take this a bit slower, this process is not so daunting. The key is to simply relax and breathe!
Wednesday, November 9, 2016
How Is That NaNoWriMo Going? Don't forget to edit
We are now 9 days into the NaNoWriMo so it is time to remind authors, it is not just about cranking out word count, it is also about creating a GOOD story. I have two questions for you, "Have you been editing? and Have you been thinking about your story?"
The problem with blitz writing like this is that authors are simply barfing words on the page and not thinking about what those words are saying. The other issue is that the authors are not taking the time to go back through and edit that writing as they go.
I fully understand what these authors will say. "I am going to go back and fix those problems after I get the story written. While this sounds like a great idea, the amount of work that author is going to face is not worth the effort. Sure the words are there, but now you are faced with characters in conflicts that don't make sense, plot twists that you created on the 9th and then completely changed directions on the 16th of the month. Transitions that don't make sense. The list goes on and on.
Making global changes in a story is infinitely harder than simply going through and fixing things as you write. Just remember that everything in your story is connected together. You will see a chain reaction with the changes you make. Tweaking something in chapter 8 requires adjusting the story in chapters 1-7 to accommodate that tweak. And the things that happen after that will also experience a domino effect. But also remember that is just one change and not a series of changes. When you adjust one element of a plot it will require the other elements to also adjust.
You are only 9 days in, but I would STRONGLY encourage taking the next couple of days, after you barf those words on the page, to go back and read what you have written. I can promise you, when December 1 rolls around, you will be much happier with the results.
The problem with blitz writing like this is that authors are simply barfing words on the page and not thinking about what those words are saying. The other issue is that the authors are not taking the time to go back through and edit that writing as they go.
I fully understand what these authors will say. "I am going to go back and fix those problems after I get the story written. While this sounds like a great idea, the amount of work that author is going to face is not worth the effort. Sure the words are there, but now you are faced with characters in conflicts that don't make sense, plot twists that you created on the 9th and then completely changed directions on the 16th of the month. Transitions that don't make sense. The list goes on and on.
Making global changes in a story is infinitely harder than simply going through and fixing things as you write. Just remember that everything in your story is connected together. You will see a chain reaction with the changes you make. Tweaking something in chapter 8 requires adjusting the story in chapters 1-7 to accommodate that tweak. And the things that happen after that will also experience a domino effect. But also remember that is just one change and not a series of changes. When you adjust one element of a plot it will require the other elements to also adjust.
You are only 9 days in, but I would STRONGLY encourage taking the next couple of days, after you barf those words on the page, to go back and read what you have written. I can promise you, when December 1 rolls around, you will be much happier with the results.
Tuesday, March 15, 2016
Will Everyone Slow Down! Please!
For those of you who have talked to me at conferences in the past, you know that I am someone who loves to have a book in my hand. Sure, I know we have moved to a digital age, and yes, I do read submissions on my iPad, but when it comes to actual reading, I am someone who loves the feel of a book! But for me, the move to digital has presented a new concern that I believe needs to be addressed. Writers and publishers seem to be obsessed with speed!
As an agent, I am now seeing so many projects come across my desk that are really bad! Are these stories that can be fixed? Most likely, but the authors needed to take the time to really work through their writing to put the best they can out there for editors and agents. They all seem to be rushing. Maybe there is a belief that if they don't get that story out to the editor or agent hours after they type the words THE END, they will never be published.
And this isn't just with submissions. I don't know how many times I am downloading books to read (and yes, this is where the digital element comes into play) where the premise of the books sounds amazing, but, within the first few pages, it is clear this book seriously needed editing.
I have a couple of authors at Greyhaus who ventured into the "digital market" with traditional publishers. These were not cases of self-publishing. They were working with larger publishers and their digital lines. Again, we saw the same "rush" approach. Stories were submitted for editorial feedback and comments really didn't come in until a few weeks before the publication date. Although in these cases, the authors had enough support systems with critique partners and my help to get them through it, the process was still rushed.
I guess I am thinking this way because several of my authors, who are working on the traditional side of things, are in the middle of revisions right now. This is a gorgeous waltz to watch them (and yes I get to dance too) discussions with their editors. They submit material, their editor provides feedback, they discuss it further, they talk on the phone to discuss issues... I think you get the idea. The goal is to produce the best dang story out there for the readers.
I really don't care if authors want to self-publish, write entirely digital, or write for traditional publishers. I just want to see us return to that approach of quality control before putting the products out there for the readers.
Maybe part of the reason we are seeing a decline in sales for books is not so much the reasons we have heard: digital vs. traditional; the rise of self-publishing; the decline of traditional bookstores; El Nino... and so forth. Maybe we are seeing the writing quit reading because the quality is not there. And note, this is not an issue of "publishers not open to new concept". I am strictly talking about the time it takes to write a great story.
Just something to think about.
As an agent, I am now seeing so many projects come across my desk that are really bad! Are these stories that can be fixed? Most likely, but the authors needed to take the time to really work through their writing to put the best they can out there for editors and agents. They all seem to be rushing. Maybe there is a belief that if they don't get that story out to the editor or agent hours after they type the words THE END, they will never be published.
And this isn't just with submissions. I don't know how many times I am downloading books to read (and yes, this is where the digital element comes into play) where the premise of the books sounds amazing, but, within the first few pages, it is clear this book seriously needed editing.
I have a couple of authors at Greyhaus who ventured into the "digital market" with traditional publishers. These were not cases of self-publishing. They were working with larger publishers and their digital lines. Again, we saw the same "rush" approach. Stories were submitted for editorial feedback and comments really didn't come in until a few weeks before the publication date. Although in these cases, the authors had enough support systems with critique partners and my help to get them through it, the process was still rushed.
I guess I am thinking this way because several of my authors, who are working on the traditional side of things, are in the middle of revisions right now. This is a gorgeous waltz to watch them (and yes I get to dance too) discussions with their editors. They submit material, their editor provides feedback, they discuss it further, they talk on the phone to discuss issues... I think you get the idea. The goal is to produce the best dang story out there for the readers.
I really don't care if authors want to self-publish, write entirely digital, or write for traditional publishers. I just want to see us return to that approach of quality control before putting the products out there for the readers.
Maybe part of the reason we are seeing a decline in sales for books is not so much the reasons we have heard: digital vs. traditional; the rise of self-publishing; the decline of traditional bookstores; El Nino... and so forth. Maybe we are seeing the writing quit reading because the quality is not there. And note, this is not an issue of "publishers not open to new concept". I am strictly talking about the time it takes to write a great story.
Just something to think about.
Monday, March 14, 2016
Always Edit One More Time
You have gone over your story millions of times (or at least it feels like it). Your critique partners have looked it over. Maybe your agent has looked it over. That's great! The more you look at it, the better. But, before you send it out, look it over one more time. Line edit that manuscript and make sure it is as clean as you can make it.
This last weekend, I spent the time looking over manuscripts for three different clients. All of them have great support systems working with them so I am always confident the stories they submit are amazingly clean. And yet, I took one more time, with them, to make sure the projects were still free of errors.
I want to remind you of something a colleague of mine once said. I have said this here before so bear with me if this seems repetitious. "Don't give the editor or agent a reason to reject you." We get that you may make mistakes. We get that you will likely have a typo in 300+ pages of material. Editors and agents are not that cold and heartless. But, they are human.
So, what are the things you want to look for?
This last weekend, I spent the time looking over manuscripts for three different clients. All of them have great support systems working with them so I am always confident the stories they submit are amazingly clean. And yet, I took one more time, with them, to make sure the projects were still free of errors.
I want to remind you of something a colleague of mine once said. I have said this here before so bear with me if this seems repetitious. "Don't give the editor or agent a reason to reject you." We get that you may make mistakes. We get that you will likely have a typo in 300+ pages of material. Editors and agents are not that cold and heartless. But, they are human.
So, what are the things you want to look for?
- Formatting issues where you might have screwed things up cutting and pasting during a massive overhaul.
- Spelling errors, especially with words like PRINCIPLE and PRINCIPAL.
- Editing changes your forgot to take out. This is really for those of you who use the review function in MS Word.
- Punctuation errors.
- Missing quotations marks. I see this a lot where the first quote is put in, but the second never makes an appearance.
Monday, March 7, 2016
Over-Editing Can Lead To A Negative Attitude
Although editing is a necessary evil, it is also something that can lead to a completely negative attitude about your story. It is crucial, that during your editing process, you keep several things in mind.
The first important thing to remember is to know when to say enough is enough. Yes, I understand a story can always be improved on, but there will come a point in the editing when over-editing is going to ruin the story. There is also a risk of getting so picky in the editing that the story becomes something it isn't. Or, even worse, you start making changes that will cause other elements in the story to become of of sync with the rest of the story.
Although it would be great to make the story perfect, you have to eventually say, "it is what it is" and hope for the best.
There is a positive side, however. Not overly obsessing does not mean the problem will not be caught. Your agent, if you have one, will catch it. You editor will catch it. Even your critique partners will catch it. In other words, don't worry about it.
Secondly, it is always important to have a stable person reading your project. A book I like to refer to a lot, titled A POCKET MUSE recommends that every writer have two editors. One who can be brutally honest, and the other who is there for the positive vibes. It is this second person you need to keep you from becoming psychotic.
I am that person for one of my authors. She is actually in the middle of editing a project right now that is really giving her fits. I am constantly having to remind her that things are fine and to not stress. It is tough because she gets to a point when she starts thinking the story is a piece of you know what. I have to keep reminding her (and her editor does too) that the story is fine and to stick to the thesis.
The point is, editing is tough. It is not enjoyable. But, if you take it easy. Know you are doing your best and take your time. You will be fine.
The first important thing to remember is to know when to say enough is enough. Yes, I understand a story can always be improved on, but there will come a point in the editing when over-editing is going to ruin the story. There is also a risk of getting so picky in the editing that the story becomes something it isn't. Or, even worse, you start making changes that will cause other elements in the story to become of of sync with the rest of the story.
Although it would be great to make the story perfect, you have to eventually say, "it is what it is" and hope for the best.
There is a positive side, however. Not overly obsessing does not mean the problem will not be caught. Your agent, if you have one, will catch it. You editor will catch it. Even your critique partners will catch it. In other words, don't worry about it.
Secondly, it is always important to have a stable person reading your project. A book I like to refer to a lot, titled A POCKET MUSE recommends that every writer have two editors. One who can be brutally honest, and the other who is there for the positive vibes. It is this second person you need to keep you from becoming psychotic.
I am that person for one of my authors. She is actually in the middle of editing a project right now that is really giving her fits. I am constantly having to remind her that things are fine and to not stress. It is tough because she gets to a point when she starts thinking the story is a piece of you know what. I have to keep reminding her (and her editor does too) that the story is fine and to stick to the thesis.
The point is, editing is tough. It is not enjoyable. But, if you take it easy. Know you are doing your best and take your time. You will be fine.
Thursday, November 19, 2015
Why Authors Need Outside Readers
Editing is not fun. In fact, if you ask any author, they would probably rank editing right up there with root canals or teaching little kids to tie their shoes. It sucks. But what is worse is when you have been working hard on a book, edited the crud out of it, and then you get it back from a friend only to find huge mistakes.
What happened?
The answer is simple. You edited it.
For writers, it is beyond crucial to have someone on the outside read your manuscripts and edit those stories for you. No, I am not just talking about the content here. I am talking about the grammar, the punctuation and the typos. You need to understand that these small errors might be the difference between some editor or agent wanting to see more and that infamous rejection letter.
So, why do we have so much difficulty editing our own work? It comes down to some pretty basic things. You are:
What happened?
The answer is simple. You edited it.
For writers, it is beyond crucial to have someone on the outside read your manuscripts and edit those stories for you. No, I am not just talking about the content here. I am talking about the grammar, the punctuation and the typos. You need to understand that these small errors might be the difference between some editor or agent wanting to see more and that infamous rejection letter.
So, why do we have so much difficulty editing our own work? It comes down to some pretty basic things. You are:
- Too close to the work - This one is pretty easy to understand. You have been working like crazy on your story. You know that thing inside and out. But when you know it that well, you will often breeze right through a section because you know "you just wrote that section" or "you know you spent a lot of time writing that the first time." Because you know it so well, it will also link into a lot of the other problems below.
- Too rushed - That darn deadline. Whether or not it is from an editor, a contest deadline, or a self-imposed deadline, you will often work a lot faster if you know you have to get that story turned in. Rushing through it will force you to skip sections. You might also find yourself editing the story on the computer with your finger right on that down arrow. As you edit, you will probably find yourself hitting that key even faster. The end result?? You missed mistakes
- Too tired - We all have busy lives. I get it. But if you are editing either after a marathon writing session, or editing during a time period when your brain is just not there, you will make mistakes. I know this sounds obvious, but it is true. Editing requires much more focus than you would need when writing that story. It is mindless entertainment and if you are not on your game, you will miss things.
- Reading miscues - This one is annoying. Reading miscues are simply times when your brain doesn't want to make mistakes so it covers up the errors. These are situations when you might type the same word two times in a row and not catch it. This could be when you write "quiet" when you wanted to write "quite." When your brain sees the mistake, it simply fixes it in your head for you and you don't see it.
- Reliance on technology - This is when you are hoping that MSWord and your spell checker and grammar checker are going to catch things. You have to remember that your computer cannot read. It is simply looking for patterns in letter combinations. I should also add that the grammar checker, unless you have adjusted it on your own, is not checking for everything. In fact, the new MSWord (2013) isn't even checking for Fragments and Run-ons. Even after you set it to look for GRAMMAR AND STYLE, it will not look for those mistakes. You have to manually check the boxes. For those of you computer illiterate, you might want to talk to someone who can walk you through it.
Thursday, September 24, 2015
Is Professional Editing Necessary?
I am often asked by writers whether or not it is necessary to have a professional editor go over your project. In other words, should you spend outside money to have a book doctor or someone else edit your story before sending it out to an editor or agent? As always, this answer is always a "it depends."
First of all, telling an editor or agent that you have had the story professionally edited in a query letter is not going to move you up in the rankings when it comes to submissions. This is not going to give you any advantage. I do understand you might believe this makes you sound like you are being proactive, but for us, it really doesn't matter. We want to see that you have a quality project and that is it. What you do to get to that final project is entirely up to you.
Now the real question is whether or not it is worth it. This all depends on your knowledge of the business and the basics of writing. If you are someone who has absolutely no idea when and why you use a period or a comma, not only would you want to have someone edit, but you might also want to rethink your career. These are basic skills that you can easily do, on your own, if you would just take the time to do so.
I would also add that if you take the time to truly use your grammar checker and your spell checker with your word processing program, then you should be fine. Please note, however, that you do need to modify you grammar checker to look for all of the problems. To do this requires you to modify the QUICK ACCESS TOOLBAR.
This also requires you to have a great reference book to check the grammar. I know that many people like to go to STRUNK AND WHITE but frankly, this is not the best nor the easiest to navigate. I recommend, A WRITER'S REFERENCE by Hacker and Sommers. Although you might say this is only for academic writing, you will find that it covers everything else (including business letters which you need to know for query letters).
So, let's consider if you need this for "general feedback." There are a lot of people out there who claim to be "book doctors." For a minimal charge they will provide you feedback for your book. Let me just say that A) this is just one person's opinion; B) this is information you can get from your critique group; and C) there are a lot of people out there who don't know their you know what from a hot rock. I would also add that if you need this much help, then maybe this is a sign to you that you are far from ready to make the jump to professional writing.
Let me just say, there is nothing wrong with getting outside help if you need it. If you want to pay someone to do what you already have the access to, or that you should already know, then go for it. I am not going to stop you. BUT...in the end, we don't care how you get to that great final project. Just make it amazing!
First of all, telling an editor or agent that you have had the story professionally edited in a query letter is not going to move you up in the rankings when it comes to submissions. This is not going to give you any advantage. I do understand you might believe this makes you sound like you are being proactive, but for us, it really doesn't matter. We want to see that you have a quality project and that is it. What you do to get to that final project is entirely up to you.
Now the real question is whether or not it is worth it. This all depends on your knowledge of the business and the basics of writing. If you are someone who has absolutely no idea when and why you use a period or a comma, not only would you want to have someone edit, but you might also want to rethink your career. These are basic skills that you can easily do, on your own, if you would just take the time to do so.
I would also add that if you take the time to truly use your grammar checker and your spell checker with your word processing program, then you should be fine. Please note, however, that you do need to modify you grammar checker to look for all of the problems. To do this requires you to modify the QUICK ACCESS TOOLBAR.
This also requires you to have a great reference book to check the grammar. I know that many people like to go to STRUNK AND WHITE but frankly, this is not the best nor the easiest to navigate. I recommend, A WRITER'S REFERENCE by Hacker and Sommers. Although you might say this is only for academic writing, you will find that it covers everything else (including business letters which you need to know for query letters).
So, let's consider if you need this for "general feedback." There are a lot of people out there who claim to be "book doctors." For a minimal charge they will provide you feedback for your book. Let me just say that A) this is just one person's opinion; B) this is information you can get from your critique group; and C) there are a lot of people out there who don't know their you know what from a hot rock. I would also add that if you need this much help, then maybe this is a sign to you that you are far from ready to make the jump to professional writing.
Let me just say, there is nothing wrong with getting outside help if you need it. If you want to pay someone to do what you already have the access to, or that you should already know, then go for it. I am not going to stop you. BUT...in the end, we don't care how you get to that great final project. Just make it amazing!
Friday, September 4, 2015
Why You CAN'T Do This On Your Own
Again, it looks like the ugly beast of self-publishing vs traditional publishing is raising its ugly head. I will tell you, I am not jumping into that argument today. Hey, it's a Friday so why mess things up. What I do want to focus on is another issue far too many authors are trying to do, and they are really gambling with their career.
They are trying to write their book on their own.
No, I am not talking about team writing. I am simply talking about authors who do all of their work - the planning, the drafting, the editing and so forth, entirely on their own. And this is where many of the self-publishing authors are at right now. There are even authors who are interested in taking the traditional publishing approach but doing this as well.
Be warned. There are dangers to this.
Today, I just want to focus in on the editing side of things. In fact there are 5 major reasons why editing your own work is not the safest thing to do:
They are trying to write their book on their own.
No, I am not talking about team writing. I am simply talking about authors who do all of their work - the planning, the drafting, the editing and so forth, entirely on their own. And this is where many of the self-publishing authors are at right now. There are even authors who are interested in taking the traditional publishing approach but doing this as well.
Be warned. There are dangers to this.
Today, I just want to focus in on the editing side of things. In fact there are 5 major reasons why editing your own work is not the safest thing to do:
- Too close to the subject
- Reliance on technology
- Too rushed
- Lacking knowledge
- Reading Miscues
Let's talk about each.
Being Too close to the subject matter is really a huge issue. You have now been working with that story for many months now. You know those passages inside and out. Your brain even knows how the pages look on your computer screen. If I were to ask you to find something, the odds are you could scan immediately to that point without hesitating. While that might be great for those larger problems, being too close to it means you are scanning too fast when editing. You will hit sections of your story and your brain will simply say, "Oh, I remember that! That should be OK." and off you go. You will miss things here.
The other issue is that if you are too close to the story, you will have a tendency to be reading with blinders on. You only see the story one way, so you might not see significant plot issues. Things worked great for you, but that set of outside eyes will bring out issues that you had not seen when you wrote it the first time.
Technology too plays a major role. With all of the computer material we have available, Relying on technology can really hurt. We are assuming the spell checker and grammar checker are picking things up. The thing is, we forget the computer cannot read. It is just looking for patterns. When it comes to spelling, it is just looking to see if the letters found within two space marks is spelled correctly. For example: is it tot he or is it to the. Yes, it is small but you get the idea.
Authors who are too rushed are also going to miss a ton. You are so eager to get to the next point, that you will miss things. The issue with editing is that you are now doing the work of two people. You are not only writing, but you are also editing. That sense of being rushed comes from you thinking, "All this time I am spending editing could be spent on writing!" Having someone else can keep you on pace. They edit WHILE you write.
Obviously, a lack of knowledge is an issue. Unless you have a ton of writing experience, or a ton of grammar experience, you cannot simply hope for the best with your grammar book sitting next to you. That reference book is only good IF you know you have a problem with that sentence. It is like the line from A MIRACLE WORKER where Anne Sullivan is complaining that a dictionary is stupid. Finding a word in a dictionary only works if you already know how to spell it.
Finally, there is the issue of Reading Miscues. This is simply when your brain doesn't read things the way you put it on paper. Sometimes this is a neurological condition such as Dyslexia, but in many cases, it is simply your brain not wanting to make a mistake, so it airbrushes it out of history.
Some examples of reading miscues can include:
- repetition of words or phrases
- homonyms and homophones
- tense shifts
- and even using the wrong words
The simple fact is, a different set of eyes will always help. Having an agent will certainly be an added support system for you. Going through traditional publishing will also do that with their entire hierarchy of readers there to help you. Critique groups can also be those additional set of eyes.
And especially for those of you taking the self-publishing approach, FIND that support group. Quit trying to "save money" and do it on your own. Readers will find those mistake and they will not buy your books.
Monday, July 7, 2014
When Do You Edit? A Question From A Writer
What do you tell your students about when to edit? After finishing a manuscript, should you let it rest and just soak in for awhile before starting the editing process? Or, should you jump right back in and start editing immediately, while you are fresh from the story?
This is a good question and, like I always say on this blog, there are really no right or wrong answers for this one.
I think there are several ways of looking at this. On the first level, I personally recommend editing and getting feedback from day 1. In other words, I would not wait until the book is finished and then get feedback. Too often, major issues in the story can be discovered in the early chapters and the planning stage. These issues are certainly much easier to fix while it is still in the draft phase. Waiting until the end could result in a huge over-haul.
Now, if the story is finished, which is I think the question you are really asking, when do you need to edit? If you are going to edit it on your own, I would give it a day before I got back into it. I would not wait for a huge amount of time. The longer you wait, the increased chance that you will start doing things to the story that might take you away from the initial ideas you developed.
I would also say, if you are paying attention while you write your story, you will probably have a list of issues that you know you might potentially have with the project. Don't worry about those while you write, but when that story is finished, dive right into those edits while it is fresh in your head.
One of my authors knows the issues she needs to go back and fit the moment she sends it off to her editor. She is obviously shooting for a deadline and needs to get the project to the editor, but in that cover letter, she notes the things she wants the editor to look for. She personally thought these would be issues but she wants to make sure the editor doesn't think otherwise.
If you have other people providing feedback, I would not wait at all. Get that story to them, and then get started on that next project. The time away while you work on something new might be what you need to let that prior story "gel" in your head and you can think of the things you would need to fix.
Hope this helps!
Scott
This is a good question and, like I always say on this blog, there are really no right or wrong answers for this one.
I think there are several ways of looking at this. On the first level, I personally recommend editing and getting feedback from day 1. In other words, I would not wait until the book is finished and then get feedback. Too often, major issues in the story can be discovered in the early chapters and the planning stage. These issues are certainly much easier to fix while it is still in the draft phase. Waiting until the end could result in a huge over-haul.
Now, if the story is finished, which is I think the question you are really asking, when do you need to edit? If you are going to edit it on your own, I would give it a day before I got back into it. I would not wait for a huge amount of time. The longer you wait, the increased chance that you will start doing things to the story that might take you away from the initial ideas you developed.
I would also say, if you are paying attention while you write your story, you will probably have a list of issues that you know you might potentially have with the project. Don't worry about those while you write, but when that story is finished, dive right into those edits while it is fresh in your head.
One of my authors knows the issues she needs to go back and fit the moment she sends it off to her editor. She is obviously shooting for a deadline and needs to get the project to the editor, but in that cover letter, she notes the things she wants the editor to look for. She personally thought these would be issues but she wants to make sure the editor doesn't think otherwise.
If you have other people providing feedback, I would not wait at all. Get that story to them, and then get started on that next project. The time away while you work on something new might be what you need to let that prior story "gel" in your head and you can think of the things you would need to fix.
Hope this helps!
Scott
Thursday, May 22, 2014
Targeted Wave Editing© Improves Chances Of A Quality Final Document
Since 1990, I have spent a lot of time working in the education community, and especially in the area of curriculum and instruction development. Much of this work has focused on assisting those in education to improve their curriculum development and instruction in a host of literacy skills including reading and writing. It never fails though. When I run workshops on writing I get a room full of horrified faces when I tell people to "not edit everything". If we are editing someone else's manuscript, whether it is an academic paper, a poem, a short story or a novel, I strongly recommend to NOT edit everything.
Let me explain.
We have all heard the expression, pick your battles to win. It is the same approach when it comes to editing. It all comes down to focusing your attention on a document in a single area and really "going for it." When I teach these workshops, I call this approach, Targeted Wave Editing©. In simple terms - pick an issue and edit for that.
O.K. now let me take this a step further.
I am not saying to not edit for everything in a project throughout the editing process. The twist is that each round of edits I do focuses only on one, or a small number of areas of concern. When I come back for a second, third or who knows how many different rounds, I focus on completely different things. Here is the rationale for it. As someone editing, our brain simply cannot handle the number of variables that are in play when we read a project. As a result, if we tried to get to everything on a single pass, we would often have contradictory comments and changes, the depth of changes would not be there and, in the end, we are making more work for ourselves. The editing after this will become pretty repetitive and we might end up reverting back to original ideas.
For the person receiving the critique, this is also too much too handle. When I am working with educators, I point out the simple fact that if I did mark everything on a beginning student learning the process, the odds are the school drop-out rate would hit record numbers. We would really feel pathetic. If you want to practice this, take your current work in progress and run a test. Open up your spell and grammar checker and change the setting to GRAMMAR AND STYLE
If you are unclear how to do this, right click on the top of the MSWord page where all of the icons are, click CUSTOMIZE QUICK ACCESS TOOLBAR and then go to Proofing. Change the pull down menu for Writing Style to GRAMMAR AND STYLE.
Now run your story through it.
Unless you are an amazing grammar guru and really did check everything as you wrote, you will end up with more wiggly lines under everything you wrote. You will feel pathetic. And, if you are working toward a deadline, feeling this way is not the way to go.
When it comes to Targeted Wave Editing© the goal is simple. Edit your story in "waves" and focus only on small portions. It really doesn't matter what you look for and in what order, but keep it simple. I personally think you work from big to small.
Look, editing takes time, but if you focus like this with a Targeted Wave Editing© approach, you will find that, although you do have to check it numerous times, it will fell like it is moving much quicker.
Let me explain.
We have all heard the expression, pick your battles to win. It is the same approach when it comes to editing. It all comes down to focusing your attention on a document in a single area and really "going for it." When I teach these workshops, I call this approach, Targeted Wave Editing©. In simple terms - pick an issue and edit for that.
O.K. now let me take this a step further.
I am not saying to not edit for everything in a project throughout the editing process. The twist is that each round of edits I do focuses only on one, or a small number of areas of concern. When I come back for a second, third or who knows how many different rounds, I focus on completely different things. Here is the rationale for it. As someone editing, our brain simply cannot handle the number of variables that are in play when we read a project. As a result, if we tried to get to everything on a single pass, we would often have contradictory comments and changes, the depth of changes would not be there and, in the end, we are making more work for ourselves. The editing after this will become pretty repetitive and we might end up reverting back to original ideas.
For the person receiving the critique, this is also too much too handle. When I am working with educators, I point out the simple fact that if I did mark everything on a beginning student learning the process, the odds are the school drop-out rate would hit record numbers. We would really feel pathetic. If you want to practice this, take your current work in progress and run a test. Open up your spell and grammar checker and change the setting to GRAMMAR AND STYLE
Now run your story through it.
Unless you are an amazing grammar guru and really did check everything as you wrote, you will end up with more wiggly lines under everything you wrote. You will feel pathetic. And, if you are working toward a deadline, feeling this way is not the way to go.
When it comes to Targeted Wave Editing© the goal is simple. Edit your story in "waves" and focus only on small portions. It really doesn't matter what you look for and in what order, but keep it simple. I personally think you work from big to small.
- Read for plot issues - Is the story heading in the right direction.
- Read for simply narration - Are you showing and not telling?
- Read for dialogue - Are these people sounding "real"?
- Read for character development - Do we know enough about each of the characters?
- Read for transitions - Does this flow smoothly between scenes and chapters.
- Read for head-hopping and point of view.
- Read for just one character at a time.
- Read for grammar and formatting.
- Read for missing holes in anything.
Look, editing takes time, but if you focus like this with a Targeted Wave Editing© approach, you will find that, although you do have to check it numerous times, it will fell like it is moving much quicker.
Monday, April 7, 2014
Editing In Layers
I remember when I was working on my Masters Degree in Literacy the rounds of editing I would go through with my adviser. I went in one day for some feedback and she wanted to make some changes to one of my chapters. I have to say, I was frustrated. Why? She wanted me to do some things that I had changed in one of the earlier rounds. When I noted this to her, the comment was eye-opening. She simply stated that she didn't really see how things worked out until we had cleared away a couple of other issues.
That is the thing about editing. There are a lot of things that have to get fixed. Not only are we looking at plot issues, but we are also looking at narration, dialogue and so forth. Sometimes, we might make a recommendation to do something that in a later round, we will want to reverse and go in another direction. I always think of it like peeling off layers of the manuscript. We have to get to the heart of the story to really see what is going on.
I am in the middle of some edits right now with a client and in this last round, I am seeing there are some things I told her to eliminate that now I see we might want to work back in. Not that we are going to add all of the material, but we will have to add in some.
As you edit your projects, or those of your critique partners, you might want to take this approach. In stead of trying to fix everything, just take it piece by piece. Focus on one element of the plot first and then focus on another. Don't get frustrated if you have to go back to an original idea you hacked in the first round. It will happen. Remember the goal is to make this a great project.
That is the thing about editing. There are a lot of things that have to get fixed. Not only are we looking at plot issues, but we are also looking at narration, dialogue and so forth. Sometimes, we might make a recommendation to do something that in a later round, we will want to reverse and go in another direction. I always think of it like peeling off layers of the manuscript. We have to get to the heart of the story to really see what is going on.
I am in the middle of some edits right now with a client and in this last round, I am seeing there are some things I told her to eliminate that now I see we might want to work back in. Not that we are going to add all of the material, but we will have to add in some.
As you edit your projects, or those of your critique partners, you might want to take this approach. In stead of trying to fix everything, just take it piece by piece. Focus on one element of the plot first and then focus on another. Don't get frustrated if you have to go back to an original idea you hacked in the first round. It will happen. Remember the goal is to make this a great project.
Friday, August 23, 2013
Share The Knowledge Series - Dealing with a bad writing day
This week, while I am taking a quick break with the family, I am calling on the authors to work together with each other. During the SHARE THE KNOWLEDGE SERIES we will focus on a single issue each day and share how individual authors deal with some of those troubling issues in writing and publishing. Hopefully each day authors will be able to walk away with a new approach to writing, while at the same time, sharing with others things that have helped them in the past.
It is my hope that both published and unpublished authors help out! You know the success you get when you provide suggestions and get feedback from your critique groups. Now we are doing it on a larger scale.
The topic for today is:
So, you just finished writing for the day and as you look over the writing, you realize it is the biggest piece of you know what you have ever seen? How do you deal with this writing? How do you decide what to do with it? If and when you go back to edit it, how do you approach that nightmare of words?
It is my hope that both published and unpublished authors help out! You know the success you get when you provide suggestions and get feedback from your critique groups. Now we are doing it on a larger scale.
The topic for today is:
So, you just finished writing for the day and as you look over the writing, you realize it is the biggest piece of you know what you have ever seen? How do you deal with this writing? How do you decide what to do with it? If and when you go back to edit it, how do you approach that nightmare of words?
Thursday, May 30, 2013
Go Beyond Wordsmithing With Edits and Critiques
When it comes to editing, I do honestly believe that many authors are barely skimming the surface to their manuscripts. I will often see projects that supposedly have been edited, or have gone through extensive rounds with critique groups that still need a huge amount of work done. So what happened?
For the most part, when people are editing, or when people are reviewing other's writing in critique groups, the emphasis is often on plot development. Writers spend hours finding the right Goals, Motivations and Conflicts for their authors. They work to create great scenes that stand out. They work on lines that everyone will want to hear. Now, while all of these ideas are great, these really are only the tip of the iceberg.
When it comes to editing, I like to go back to a model that I have used when teaching composition classes. Although the ideas were developed for an academic setting, the ideas do work well with any type of writing. This is known as the 6+1 Trait Writing Model. Let's look briefly at things to focus on.
IDEAS AND CONTENT This is where a lot of the authors spend most of their time. This is where you will want to look at the plot and character development. But, in this section, you will want to take it one step further. The idea here is that the reader should not be left feeling like there are holes or questions unanswered. Hopefully most of this will be taken care of during those critique sessions, but take it a step further. Does the reader have a three dimensional picture of your world?
ORGANIZATION - This issue is one that many pantsters miss. Because they are writing the story as it unfolds for them, they are often not seeing how things really fit together. We need to see that every scene and every page in the book has a unique place. This issue can also come about by the limited time authors have to edit books. Although we don't often have time to edit an entire book, we need to make time to now and then. If we focus too much on those individual scenes, we won't see how things in Chapter 4 relate to things in Chapter 20.
FLUENCY This is the readability issue. One of the tests I look for in a piece of writing is the desire to read it out loud because it simply sounds good. If we have spent so much time creating perfect words or scenes, we often forget about the flow of the story. We don't want our readers to put the book down. We want a great hook at the end of a chapter so we want to read more. We don't want stories that are a series of small episodes. Things have to flow!
WORD CHOICE - I do have to say, I see this more and more in what I would term "modern fiction." These are the stories where it seems as if the author has labored over finding the right word to get the feeling across. Sure, there are times when we want to find the right word, but when we get into "thesaurus over-load," then the story seems forced and unrealistic. We see this also when we read someone new to the romance genre. Words seem to be used because they thought that was the way you described things. We have to remember that the story needs to be accessible to the reader and flow off the page.
VOICE - Do you have a unique voice and style? In the case of voice, so often we find authors who are trying to duplicate what they think they see in another author. In the end, they end up only creating a carbon copy of that other author instead of letting their own voice and story come across.
CONVENTIONS - Yes, grammar, punctuation, spelling and typos need to be fixed. One word of warning. DO NOT just let your grammar checker find things as you are going. You have to physically change the settings to look for grammar and style, and then, you have to physically ask the computer to check for things. You might be surprised and what errors you are making.
PRESENTATION - This one is crucial when submitting projects to editors and agents. All of those formatting rules we talk about have a purpose.
So what are you missing with editing?
For the most part, when people are editing, or when people are reviewing other's writing in critique groups, the emphasis is often on plot development. Writers spend hours finding the right Goals, Motivations and Conflicts for their authors. They work to create great scenes that stand out. They work on lines that everyone will want to hear. Now, while all of these ideas are great, these really are only the tip of the iceberg.
When it comes to editing, I like to go back to a model that I have used when teaching composition classes. Although the ideas were developed for an academic setting, the ideas do work well with any type of writing. This is known as the 6+1 Trait Writing Model. Let's look briefly at things to focus on.
IDEAS AND CONTENT This is where a lot of the authors spend most of their time. This is where you will want to look at the plot and character development. But, in this section, you will want to take it one step further. The idea here is that the reader should not be left feeling like there are holes or questions unanswered. Hopefully most of this will be taken care of during those critique sessions, but take it a step further. Does the reader have a three dimensional picture of your world?
ORGANIZATION - This issue is one that many pantsters miss. Because they are writing the story as it unfolds for them, they are often not seeing how things really fit together. We need to see that every scene and every page in the book has a unique place. This issue can also come about by the limited time authors have to edit books. Although we don't often have time to edit an entire book, we need to make time to now and then. If we focus too much on those individual scenes, we won't see how things in Chapter 4 relate to things in Chapter 20.
FLUENCY This is the readability issue. One of the tests I look for in a piece of writing is the desire to read it out loud because it simply sounds good. If we have spent so much time creating perfect words or scenes, we often forget about the flow of the story. We don't want our readers to put the book down. We want a great hook at the end of a chapter so we want to read more. We don't want stories that are a series of small episodes. Things have to flow!
WORD CHOICE - I do have to say, I see this more and more in what I would term "modern fiction." These are the stories where it seems as if the author has labored over finding the right word to get the feeling across. Sure, there are times when we want to find the right word, but when we get into "thesaurus over-load," then the story seems forced and unrealistic. We see this also when we read someone new to the romance genre. Words seem to be used because they thought that was the way you described things. We have to remember that the story needs to be accessible to the reader and flow off the page.
VOICE - Do you have a unique voice and style? In the case of voice, so often we find authors who are trying to duplicate what they think they see in another author. In the end, they end up only creating a carbon copy of that other author instead of letting their own voice and story come across.
CONVENTIONS - Yes, grammar, punctuation, spelling and typos need to be fixed. One word of warning. DO NOT just let your grammar checker find things as you are going. You have to physically change the settings to look for grammar and style, and then, you have to physically ask the computer to check for things. You might be surprised and what errors you are making.
PRESENTATION - This one is crucial when submitting projects to editors and agents. All of those formatting rules we talk about have a purpose.
- Name and title on the project so we know who owns the story
- Properly formatted manuscripts (typed, 12 pt. font, double spaced, single sided)
- Properly formatted query letters
- Electronic submissions in the proper format (.rtf, doc, pdf, etc.)
So what are you missing with editing?
Wednesday, April 10, 2013
Approaches to Editing
Editing is a crucial element in your writing process. This is an obvious statement. But, when it comes to editing, I do believe that a lot of writers are missing the mark with this crucial step. The end result is a project that might not be presenting the true picture of your story to editors or agents.
Now, before I go any further, I do need to stress that there isn't one right or wrong way to go about editing. Still there are things that each writer needs to consider as they go through this difficult, and sometimes painful process.
You cannot just edit on your own
This is a big one. Writing is certainly a solitary activity, but you have to go outside of your comfort zone and get feedback from other people. If you are looking at your own writing, you are essentially writing with blinders on. You have tunnel vision. Because your are so close to your writing, the odds are you aren't going to see potentially better approaches to the story. You won't likely see the huge mistakes and holes in your writing. This is especially the case if you have spent a ton of time on your writing. At this point, you would know the story so well, that now you start to over-look things.
The person editing your paper must know what he or she is doing
I have talked about this one before here on the blog. Getting feedback from someone who is still trying to understand their own writing and story will not likely give you the feedback that you need. Remember, if your car is broken, you don't take it to a plumber. You take it to a mechanic. But, can you get feedback that might work from people who aren't the experts? Sure, but with that said, you have to know that there might be some limitations.
Think like a reader, editor or agent
As you write your story, you are thinking like an author. Now, as you edit your writing or another author's writing, you have to now think like an outsider. How would someone, who has never read your writing and who doesn't know your story react to what you have written? Will they understand what you are talking about? I see this a lot with Fantasy, Science Fiction and some Paranormals. The world building is so in depth, that I really have no idea what the person is talking about?
We also need to look at this like an agent or an editor? Is this marketable? Does this fit with our lines that we are working with? Are you showing the editor or agent that you understand your genre and the line? Although you might love your story, think like these professionals on the other side. Does it work in that context?
Don't just focus on wordsmithing - focus on content
I do think too often, writers spend more time just making things sound pretty or to make the grammar work. Yes, these do affect the writing, but think about the over-all plot of the story. Think about the characters and the conflict.
I recently judged a contest where I can see why the author made it to the finals. The scenes were certainly interesting. The scenes were well written and the words were well crafted. The story? There was absolutely no story. It was simply scenes.
Grammar, punctuation and conventions ALWAYS matter!
Yes, if you are published with a traditional publisher, there will be a copy editor. But, this does not mean you skip looking at the grammar, punctuation and conventions. Demonstrating to your editors and agents that you understand the basic rules of writing say a lot about you as a professional writers. You have to take the time to work at this.
I do need to note here, if you don't understand this, then take the time to learn that grammar.
Be honest when editing
Being kind and touchy feely about an author's writing is not going to make the story better. Yes, we need motivation to write, but when it comes to editing, this is the time for tough love.
Remember this about editing. You essentially get one chance to make your case to an editor or agent. We are not cold and heartless. We won't reject you if we see one dangling participle. But, if you send material that isn't ready, what are you saying about you or your writing? Even if you decide to self-publish, are you really sending out the very best? Is this giving your reader a clear picture of who you are as a writer?
Now, before I go any further, I do need to stress that there isn't one right or wrong way to go about editing. Still there are things that each writer needs to consider as they go through this difficult, and sometimes painful process.
You cannot just edit on your own
This is a big one. Writing is certainly a solitary activity, but you have to go outside of your comfort zone and get feedback from other people. If you are looking at your own writing, you are essentially writing with blinders on. You have tunnel vision. Because your are so close to your writing, the odds are you aren't going to see potentially better approaches to the story. You won't likely see the huge mistakes and holes in your writing. This is especially the case if you have spent a ton of time on your writing. At this point, you would know the story so well, that now you start to over-look things.
The person editing your paper must know what he or she is doing
I have talked about this one before here on the blog. Getting feedback from someone who is still trying to understand their own writing and story will not likely give you the feedback that you need. Remember, if your car is broken, you don't take it to a plumber. You take it to a mechanic. But, can you get feedback that might work from people who aren't the experts? Sure, but with that said, you have to know that there might be some limitations.
Think like a reader, editor or agent
As you write your story, you are thinking like an author. Now, as you edit your writing or another author's writing, you have to now think like an outsider. How would someone, who has never read your writing and who doesn't know your story react to what you have written? Will they understand what you are talking about? I see this a lot with Fantasy, Science Fiction and some Paranormals. The world building is so in depth, that I really have no idea what the person is talking about?
We also need to look at this like an agent or an editor? Is this marketable? Does this fit with our lines that we are working with? Are you showing the editor or agent that you understand your genre and the line? Although you might love your story, think like these professionals on the other side. Does it work in that context?
Don't just focus on wordsmithing - focus on content
I do think too often, writers spend more time just making things sound pretty or to make the grammar work. Yes, these do affect the writing, but think about the over-all plot of the story. Think about the characters and the conflict.
I recently judged a contest where I can see why the author made it to the finals. The scenes were certainly interesting. The scenes were well written and the words were well crafted. The story? There was absolutely no story. It was simply scenes.
Grammar, punctuation and conventions ALWAYS matter!
Yes, if you are published with a traditional publisher, there will be a copy editor. But, this does not mean you skip looking at the grammar, punctuation and conventions. Demonstrating to your editors and agents that you understand the basic rules of writing say a lot about you as a professional writers. You have to take the time to work at this.
I do need to note here, if you don't understand this, then take the time to learn that grammar.
Be honest when editing
Being kind and touchy feely about an author's writing is not going to make the story better. Yes, we need motivation to write, but when it comes to editing, this is the time for tough love.
Remember this about editing. You essentially get one chance to make your case to an editor or agent. We are not cold and heartless. We won't reject you if we see one dangling participle. But, if you send material that isn't ready, what are you saying about you or your writing? Even if you decide to self-publish, are you really sending out the very best? Is this giving your reader a clear picture of who you are as a writer?
Friday, February 15, 2013
The Art of Writing: From Rough Draft to Final
In the present day, I think there is this belief that we have to rush through everything. If we don't finish this project today then someone will likely come along and steal the idea from us and get published before we do. While this might certainly be the case, I think it is a bit of an exaggeration. Yes, I do know this happens because I have had it happen to one of my clients, but this is the exception. The result, of this rushing though is a product that might come across as weak, choppy and certainly lacking the finesse of those authors we like to read on a daily basis.
For many, we have these great ideas about your stories in the beginning. At this point, we are driven by, as Stovall points out, "the lyric expression of moods." We are fascinated by the characters we see in our heads and the words they crank out. The problem though is that many of these thoughts might not be fully realized on the page at this early stage. In many ways, I think of this as that "honeymoon phase" of your writing. Everything is perfect and you are in complete bliss.
But, to truly move your writing to that next level, we have to go back through and really give that writing a good "going over." This is when you really go for it when it comes to the editing. Surprisingly, this is a harder task than many authors think. In the eyes of many authors, that first draft was perfect and going back to change things is really tough. We're afraid if we go back and change things, the magic of those words and the strength of those characters will disappear. Yes, this could happen, but again, the odds are the story will only get better.
It is in these later stages of editing that the real magic can happen. This is the time when you can really make the words of those characters sing and leap off of the page. When you first wrote the words, the passion and emotion was likely only in your head. Yes, you felt it when you read the words, but the phrasing on the page might not convey that same feeling. This is the art of "wordsmithing."
As an agent, I often see projects where I can sense that the author knew what they wanted to say. It comes across in the pitch they tell me at a conference, or in the query letter and blurb they send for that initial submission. I see things like this and I am excited to read this project. But when we read the actual writing, the story lacks the depth of character and plot development. The writing is not as strong as I had hoped for. I will be honest about this - seeing projects like this is very depressing. I think other agents would agree with this. We hear of those projects and we start drooling just to get our hands on it... and then it falls apart.
Take the time to work through it. Move to make the words say what you want them to say.
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