Tag Archives: fiction

The Workaholic (Short Story)

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Hello, everyone, I wrote this a couple of days ago and thought I would share it. It is a story about a man who let work rule his life. I hope you enjoy it.   Shirley

 

The Workaholic

 

James stood by the large picture windows, gazing over the open fields, to the purple-tinged mountains beyond. Darkness would be coming soon and with it a storm. He flinched as a crack of lightning split the murky sky. He turned and threw another log on the open fire, sending a flurry of ash into the air. He refilled his whiskey glass and took a deep sip. He savored the taste as it warmed his throat. He was trying to build up the courage to make that phone call he had been putting off all day. He reached for the phone just as it started to ring.

His heart began to pound as he grabbed for the receiver. The tentative nature of his voice was heard clearly as he murmured, “Hello.”

“Hello, James, this is Edmond from Buying Direct and do I have a deal for you.”

“What, oh hell, don’t call again,” he shouted as he slammed the receiver down. I’m not calling her. She is the one who left. His mind immediately went back to a week ago when he came home after being gone for two weeks and found her and the kids were gone. He was expecting his two-year-old daughter to start screaming “daddy” as soon as she realized he was home, and his five-year-old son starts asking to go out back and play catch. So much for expectations. What he got was an empty house with a note left on the dining room table. He’d memorized every word since he’d read it so many times.

James, I’ve taken the kids and moved out. I’ve tried to talk to you many times, but you kept putting me off or not listening at all. You can’t stay away from home for weeks and expect me to handle the house, the kids, the bills and that dog of yours. Don’t bother calling Mom’s because I’m not going there. If I want to talk to you, which I doubt. I will call you. April

After reading the note, James made his bar area his most favorite spot in the house. The drinking began the day he got home and has only stopped when he passes out on the couch. Normally he is fastidious about his appearance but not this week. He looks like a drunk on skid row. His facial hair now has six days’ growth, not to mention the hair on his head is greasy. He’s not removed his clothes since he walked through the door. They smell like body odor and wet dog scent and are very wrinkled.

The storm rumbling outside enhanced James’s angry mood. He couldn’t believe, after all, the years they’d been together, and as hard as he worked, she left. She can stay gone. I don’t need her, and I will fight for custody of the kids. She’s not going to get away with doing this to our family. James picked up his glass from the coffee table poured himself another glass of Crown Royal over rocks. He’d lost count of the number of times he’d filled his glass.

“Come here, Brutus. You will be my family. Won’t you boy? You love me don’t you? We don’t need her.” The Mastiff shook his head slinging saliva on the coffee table before he jumped up to lay beside James on the couch. James began to rub Brutus’s head and ears. “You’re such a good boy. You won’t leave me, will you?”

 

“You know, Old Boy, I have to go back to work on Monday. I don’t think I can go back to Raleigh and leave you here. I’ll give my boss a call tomorrow and tell him I can’t abandon you. I’m sure he’ll understand. There’s no way I’m leaving you here. She’ll be sorry she left us. You wait and see.”

The phone rang again but this time, James was too inebriated to care who was on the phone. He picked up the phone and slurred “Hello.”

“James, it’s April.”

“Yeah, what do you want?”

“The kids want to talk to you, but I can hear in your voice this is not a good time.”

“Why in the hell would you care what kind of time it is. You’re not here. You took them and ran away.”

“Sober up James if you want to talk to the kids. Goodbye”

The phone clicked, and she was gone. He didn’t even bother to hang it up before he laid down on the couch and passed out.

6 Steps for Writing a book Synopsis

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snopsisSince Princess Adele’s Dragon has now been published I have to write a synopsis of the story.  I decided to look for some help and found this blog by Marissa Meyer. It broke the synopsis down into easy to handle pieces. I hope you find it helpful.  Shirley    http://amzn.to/25lUOYM
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Confession: I enjoy writing query letters. I know that most writers loathe them, but I always thought the query letter was a fun challenge. The challenge of trying to distil your novel down to its essence, giving just enough information to draw the agent or editor into the story, but without giving away so much that the manuscript loses all sense of mystery.

However, I feel quite differently about the second-most dreaded item of many submission packages: the Synopsis.

The book synopsis is that three- or four-page snapshot of the book, that essentially tells your story from beginning to end while seemingly stripping it of any intrigue, humor, or emotional resonance. To me, writing a synopsis that could leave a reader still wanting to read the actual manuscript always seemed like a much bigger challenge than the query letter.

Unfortunately, it turns out that getting published does not necessarily mean we don’t ever have to write a synopsis again.

Last January, when it came time to my agent and me to start talking with my publisher about My Next Book (which was the Super Secret Project I wrote during NaNoWriMo last November), the submission package we pulled together was remarkably similar to the package we’d used to sell the Lunar Chronicles:

– A pitch letter (similar to a query), illustrating the concept and major conflict of the book.

– The first 50 pages, edited and polished to a glowy sheen.

– The synopsis of the book (although some plot points are subject to change).

So rather than whine and complain about how much I hate writing synopses, I decided to take the opportunity to embrace the synopsis writing challenge, and figure out a process for writing the synopsis that didn’t seem quite so painful and intimidating and, in the end, left me with something I was pleased to show my editor.

I’m not allowed to really talk about my new project,* so I’m going to use examples from the synopsis I wrote for CINDER way back when.

Step 0: Write the book!

If the book isn’t written yet, I feel like you’re writing an outline, not a synopsis, and I’ve talked about outline writing at length in previous blog posts. For the purpose of this synopsis-specific guide, let’s assume you have the book drafted out, or even completed.

Step 1: Skim through the manuscript, noting the important events of each chapter.

Try to boil every chapter down to just one or two sentences. What is the point of this chapter? What is the most important thing that happens?

Some chapters will be significantly longer than a sentence or two, particularly the opening chapters (as they tend to introduce a lot of information about the world and the main characters) and the climax (which could revolve around lots of complicated reveals and twists).

And yes, include the ending! From who wins the final battle to whether or not the protagonist hooks up with the love interest in the end. One of the main purposes of a synopsis is to show the full arcs of your plot and subplots, so don’t leave out those all-important resolutions.

Step 2. Embellish the beginning.

Just because you can’t use pages and pages to set up the world and protagonist’s character in the synopsis doesn’t mean you shouldn’t give the reader a little bit of foundation to stand on. The first paragraph of the synopsis should give the same basic information you convey through the book’s first chapter: where and when does this story take place, who is the protagonist, and what problem are they facing right off the bat?

xample: LINH CINDER is a cyborg, considered little more than a technological mistake by most of the society and a burden by her stepmother, ADRI. But her brain-machine interface has given her a unique skill with mechanics, making her, at sixteen, the best mechanic in New Beijing.

Step 3: String your short chapter summaries together, using standard synopsis formatting.

Here, it will begin to look like a story, but an incredibly sparse and drab one. Don’t worry about that. Just focus on getting all the technical formatting stuff figured out, so you don’t have to re-write it all at the end.

Standard Synopsis Formatting

– Written in third person, present tense, regardless of what POV or tense the book is written in.

– The first mention of each character’s name is put in all-caps (so that they can be easily spotted).

Example: When she arrives home, she discovers her two stepsisters—arrogant PEARL and vivacious PEONY—being fitted in ball gowns.

Step 4: Read through, with a focus on plot.

Distilling each chapter down into just a sentence or two can lead to lots of apparent plot holes and lost information. Read through what you’ve written and check that every event in the story naturally leads into the next. Imagine beginning each sentence with a Because / Then structure, and insert further explanation or character motivations as necessary.

Example: Cinder is worried that if she doesn’t fix the hover, Adri will sell off IKO to pay for the repairs herself. That night, Cinder goes to the junkyard to find replacement parts…

(Could be read as: Because Cinder is worried . . . then she goes to the junkyard…)

Step 5. Read through, with a focus on character arc.

Now that the plot makes sense from beginning to end check that you’re adequately showing how your protagonist evolves as a result of the events in the story. Do readers get a sense of who they are at the beginning and how they’ve changed by the end? Look for those Big Moments in the story that change your protagonist’s attitudes and goals. Indicate how those moments effect the protagonist emotionally, and show how their goals and motivations change as a result.

 

Example: Without Iko and Peony keeping her tied to Adri, Cinder vows to fix up the abandoned car she saw in the junkyard and run away.

 

Step 6. Trim and edit.

Now that you have all the necessary information read through a few more times and trim it up as much as you can. Be ruthless when it comes to removing excess words and phrases that don’t help you tell the story. Choose your descriptive words carefully, ensuring that you’re using words that carry a lot of weight. My book synopses for CINDER and New Secret Project both came in around the 1,500-2,000 word range, and that’s not a lot of room to work with! So edit, edit, edit.

I’m Having a Celebration

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Princess Adeles Dragon3It’s done and finally gone live on Amazon.  My new ebook Princess Adele’s Dragon. It has taken me a little over a year to get it completed. If you like fantasy and Gothic times you will like this book.

Princess Adele sets out to save her and her brothers Kingdom from a beast that threatens their way of life. What she encounters is totally unexpected and sets her on a new path. If you like gothic times with Kings, Princess’s, Castles and bad guys then you will like this young adult fantasy. You will fall in love, hate the bad guy and fight a war.

There is a read inside option on Amazon. Click on this link and it will take you right to it.

http://amzn.to/25lUOYM    If your Kindle Unlimited you may read it for free. Be sure and leave a review even if you didn’t like it, but I know you will 🙂

Have a totally blessed day and let me know what you think.

Shirley

The Right Decision (I Hope)

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Hello everyone and happy Sunday. I’ve been busy this morning trying to write my Amazon description for Princess Adele’s Dragon. It’s not the easiest thing to do.
 
I also made a decision today. I’m going to rewrite and retitle The Tower. That was the first book I wrote back in 2010. I can’t believe what a terrible job I did. It’s a great story but it’s poorly written. The nice thing is I can actually go back and read it and pick out all the mistakes.
I’m not kicking myself around because I like to.  It’s nice some people can put out their first book and it be wonderful from the start. Unfortunately, I wasn’t one of those people. When I first wrote the book I made the statement about what a learning experience it was from beginning to end. The nice thing is I can now look back on it and continue to say it was/is a learning experience.
When I was writing The Tower, I think I fell into every pit other others said to be careful about. I was one of those people that I knew what they said but apparently I didn’t know what I was looking at. With practice, the writing skill grows and I’m happy to say mine did.
I’ve learned over time that people are not always honest with you about your work. It does great things for your ego when someone says they read your story and it’s absolutely wonderful. It’s what they think you want to hear and apparently it is.
I can’t tell a soul bought the book from Amazon or if they did they kept it a big secret. Now you know why I made the decision. I want to put out a better product and I would like to sell some copies.  Am I making the right decision?Thumbs up

My Introspection

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Princess Adeles Dragon3I am in the final stages before I launch my new ebook on Amazon. It is a Young Adult Fantasy called Princess Adele’s Dragon. Based in Medieval times with Kings, Knights, Castles, Witches and a myriad of other things to make this a fun and intriguing book.
 
I’ve worked on this book since March of 2015. It’s hard to believe next month will be a year. Most hours of my day were spent thinking about some aspect of my book. How was Adele going to deal with the day, Prince Anthony or even the bad guys?
 
Book writing is fun for me. I like getting wrapped up in the stories. I do the same when I’m reading a book if I like it. Since I’m an eclectic reader and writer, I never know what world I’m going to be spending my time.
 
I’m learning new things every day which is a wonderful thing for me. It keeps my mind active. If I didn’t keep my mind active, I would be useless to myself. My learning has added to my guilt when I write. I see the passive voice in my sleep or that voice that says you can write that line better. So many rules but at the same time, nothing is written in stone. A lot of standards change with the wind or who’s writing.
 
When you write, the bottom line is “does it fit you, the author?” Everyone has an opinion and most of the time they are different. That in itself can be confusing, but if you hang on and keep trudging forward you will end up with work that is yours alone. Notwithstanding the help, you received from reading, researching a topic or any other avenue you use.
 
I must be needing to share my introspection today on the almost completion of my book. It’s a fantastic feeling knowing I only have a few little things left to do before my work can be published. The beautiful thing is that it has nothing to do with selling. It has to do with completing the task I set out to do, the best way I know how.
 

7 Tools For Pacing A Novel

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PACEPacing is a crucial component of fiction writing. After all, it’s important to keep your readers “hooked” throughout your story. Whether you are just getting started in writing or looking to break into fiction writing, you’ll need to know the basics of how to pace a novel. Read today’s tip of the day from Crafting Novels & Short Stories. In this excerpt written by Jessica Page Morrell, she explains what pacing is and seven ways to keep your story moving at the right pace.

What is Pacing in Fiction?

Pacing is a tool that controls the speed and rhythm at which a story is told, and the readers are pulled through the events. It refers to how fast or slow events in a piece unfold and how much time elapses in a scene or story. Pacing can also be used to show characters aging and the effects of time on story events.

Pacing differs with the specific needs of a story. A far-reaching epic will often be told at a leisurely pace though it will speed up from time to time during the most intense events. A short story or adventure novel might quickly jump into action and deliver drama.

Pacing is part structural choices and part word choices and uses a variety of devices to control how fast the story unfolds. When driving a manual transmission car, you choose the most effective gear needed for driving uphill, maneuvering city streets, or cruising down a freeway. Similarly, when pacing your story, you need to choose the devices that move each scene along at the right speed.

Seven Literary Devices for Pacing Your Story

You need speed in the opening, middle, and climax of your story. Sure, you’ll slowdown from time to time, especially to pause for significance and to express characters’ emotions, but those times will usually appear just before or after a joyride of skin-tightening speed.

There are lots of tools to hasten your story. Some are better suited for micropacing—that is, line by line—and some are better suited for macropacing—pacing the story as a whole. Let’s take a closer look at each device.

ACTION. Action scenes are where you “show” what happens in a story, and, when written in short- and medium-length sentences, they move the story along. Action scenes contain few distractions, little description, and limited transitions. Omit or limit character thoughts, especially in the midst of danger or crisis, since during a crisis people focus solely on survival. To create poignancy, forgo long, descriptive passages and choose a few details that serve as emotionally charged props instead.

CLIFF HANGERS. When the outcome of a scene or chapter is left hanging, the pace naturally picks up because the reader will turn the page to find out what happens next. Readers both love and hate uncertainty, and your job is to deliver plenty of unfinished actions, unfilled needs, and interruptions. Remember, cliffhangers don’t necessarily mean that you’re literally dangling your character from a rooftop as the scene ends. If your characters are in the midst of a conversation, end the scene with a revelation, threat, or challenge.

DIALOGUE. Rapid-fire dialogue with little or no extraneous information is swift and captivating, and will invigorate any scene. The best dialogue for velocity is pared down, an abbreviated copy of a real-life conversation that snaps and crackles with tension. It is more like the volleying of Ping-Pong or tennis than a long-winded discussion. Reactions, descriptions, and attributions are minimal. Don’t create dialogue exchanges where your characters discuss or ponder. Instead, allow them to argue, confront, or engage in a power struggle.

PROLONGED OUTCOMES. Suspense and, by extension, forward movement are created when you prolong outcomes. While it may seem that prolonging an event would slow down a story, this technique actually increases the speed, because the reader wants to know if your character is rescued from the mountainside, if the vaccine will arrive before the outbreak decimates the village, or if the detective will solve the case before the killer strikes again.

SCENE CUTS. Also called a jump cut, a scene cut moves the story to a new location and assumes the reader can follow without an explanation of the location change. The purpose is to accelerate the story, and the characters in the new scene don’t necessarily need to be the characters in the previous scene.

A SERIES OF INCIDENTS IN RAPID SUCCESSION. Another means of speeding up your story is to create events that happen immediately one after another. Such events are presented with minimal or no transitions, leaping via scene cuts from scene to scene and place to place.

SHORT CHAPTERS AND SCENES. Short segments are easily digested and end quickly. Since they portray a complete action, the reader passes through them quickly, as opposed to being bogged down by complex actions and descriptions.

SUMMARY. Instead of a play-by-play approach, tell readers what has already happened. Because scenes are immediate and sensory, they require many words to depict. Summary is a way of trimming your word count and reserving scenes for the major events. You can also summarize whole eras, descriptions, and backstory. Summaries work well when time passes, but there is little to report, when an action is repeated or when a significant amount of time has passed.

WORD CHOICE AND SENTENCE STRUCTURE. The language itself is the subtlest means of pacing. Think concrete words (like Prodigy and iceberg), active voice (with potent verbs like zigzag and plunder), and sensory information that’s artfully embedded. If you write long, involved paragraphs, try breaking them up.

Fragments, spare sentences, and short paragraphs quicken the pace. Crisp, punchy verbs, especially those with onomatopoeia (crash, lunge, sweep, scatter, ram, scavenge) also add to a quick pace. Invest in suggestive verbs to enliven descriptions, build action scenes and milk suspense.

Harsh consonant sounds such as those in words like claws, crash, kill, quake, and nag can push the reader ahead. Words with unpleasant associations can also ratchet up the speed: hiss, grunt, slither, smarmy, venomous, slaver, and wince. Energetic, active language is especially appropriate for building action scenes and suspense, and for setting up drama and conflict.

A fast pace means trimming every sentence of unnecessary words. Eliminate prepositional phrases where you don’t need them: For example, “the walls of the cathedral” can be written as “the cathedral’s walls.” Finally, search your story for passive linking verbs and trade them in for active ones.

By: Courtney Carpenter

Writer’s Digest

Let Me Introduce

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Hello, everyone. Today it’s my great pleasure to introduce to you a fellow writer from Rave Review Book Club, Gordon Bickerstaff. We are both members of this great club and today he is their “Spotlight Author”. It’s my privilege to be part of his Blog tour. He is introducing you to his main characters and providing you with a short synopsis of his book.  Enjoy

The Black Fox cover

Gavin Shawlens and Zoe Tampsin – DoomWatchers

 

Who is Gavin Shawlens?

Gavin Shawlens is an academic in his mid-thirties. He’s not a fitness freak but he keeps trim with occasional visits to the university judo club and jogging up the three flights of stairs to his top-floor flat. He has a thick mop of hair has a light straw colour in summer that darkens in winter. He is single, and has had on/off relationships, but he’s haunted by a previous relationship that ended badly.

He has a secret part-time job. Gavin has gained a great deal of experience over the past six years on a number of major investigations for the Lambeth Group. In fact, Gavin has a UK security clearance of Top Secret Level D, which means he has knowledge of the highest category of official state secrets. He knows where some of the nastiest Government skeletons are buried. He’d been present at the burial of two of them.

Who is Zoe Tampsin?

Zoe Tampsin, Senior Field Officer with the Security Service. On temporary secondment to the Lambeth Group. Based here in London,  Zoe is five-eight, slender, athletic-looking, intelligent and ambitious. The forty-three-year-old ex-army captain had joined the OTC at her university and went on to receive the coveted Sword of Honour at Sandhurst as the best officer cadet.

Captain Tampsin had served with the SAS in Bosnia and more recently on Special Forces operations for MI5 and MI6 at home and abroad. Her CO wrote about her – Zoe Tampsin protects her troop like a lioness protecting her cubs, powerful, determined, and completely ruthless.

Zoe had proved herself in combat, and she was accepted as combat hardened. She was powerful in dealing with the stress of imminent danger, and her concentration over long periods was second to none. Many times her troop had faced the white of the opposition’s eyes, and she had led them through hell and back.

Zoe had smashed the hardest glass ceiling, and showed the pencil generals the unique skill set that women have to offer, in the multi-dimensional fight against 21st century terrorism. She formed and led a special operations unit of women, W Troop. Still a small attachment, compared to the number of men in Special Forces, but against a strict background of no drop in standards, her select group of female troopers had proved themselves worthy of the badge.

Who are the Lambeth Group?

The Lambeth Group is a covert organisation formed when a group of twenty-six university vice-chancellors from elite universities met secretly with Home Office mandarins at the Imperial War Museum, Lambeth Road, London. After prolonged discussion, they agreed on the need for a doomwatch strategy to discover and manage research and technology disasters that can happen when top researchers push past the boundaries farther and faster than they should.

Working with CPNI (Centre for Protection of National Infrastructure) a branch of MI5, and the Home Office, the Lambeth Group had successfully prevented the most damaging university and private research disasters from becoming public knowledge.

The Black Fox

Synopsis

 Zoe Tampsin is resourceful, smart and Special Forces-trained, but she has been given an impossible mission. She has to protect scientist, Gavin Shawlens, from assassination by the CIA, and discover the secret trapped in Gavin’s mind  the CIA want destroyed.

As the pressure to find Shawlens escalates – the CIA send Zoe’s former mentor to track her down, and her fate seems sealed when he surrounds Zoe and Gavin with a ring of steel. With each hour that passes, the ring is tightened, and the window for discovering Gavin’s secret will shut.

Zoe is faced with a decision that goes against all of her survival instincts. If she is wrong – they both die. If she is right – she will discover the secret, and become the next target for assassination. Run for your life…

 

Buy Gordon Bickerstaff’s Books

Amazon-UK

Amazon-USA

Follow Gordon Bickerstaff here:

Website: http://goo.gl/2in8SX

Twitter handle: @ADPase

 

Six Common Writing Mistakes and How To Fix Them

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We all made mistakes as beginner writers and I still do even though I’ve been writing a number of years now. It’s always nice to get reminders of what type of mistakes top writers and editors find consistently. It’s even better to find out how to fix them. The craft of writing is a continual learning process.  When you stop learning. lay down your pen. Have a blessed day.  Shirley

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Today, one oLourdes Venardf our most experienced editors on Reedsy shares some invaluable advice for first-time authors! Lourdes Venard specializes in crime fiction, science fiction, Young Adult, memoirs, and other nonfiction. She also teaches for the University of California, San Diego’s copyediting certificate program.

When it comes to writing, every writer is unique. But mistakes made by first-time authors are not as unique. In a very unscientific poll, I asked fiction editors which errors they come across the most often. Not surprisingly, the culprits were the same.

Below are the six most common writing mistakes identified by fiction editors, with simple fixes that can be done in the revision stage.

Wordiness

Wordiness can come from overdescription, overexplanation, and redundant language. Those of us who are editors see this all the time in descriptions, especially in the use of adjectives and adverbs. Many first-time writers believe they need to bolster their nouns and verbs with adjectives and adverbs, but this often marks the writer as an amateur. Instead, writers should focus on using strong nouns and verbs. Take the simple phrase “a small river rushing by quickly.” A river that is rushing will naturally be doing so quickly, so eliminate the adverb.

The fix: When revising your manuscript, look through your descriptions—are there unnecessary words? Are you relying on adjectives and adverbs, rather than strong nouns and verbs? Look to cut as you revise.

“Telling”, rather than “showing”

“Telling,” rather than “showing.” This comes from explaining too much and not trusting the reader to understand—or not giving the reader the opportunity to fill in the spaces with his own imagination. A subset of this, as one editor said, is having characters discuss things in dialogue that no rational person would: “Did you know, Ian, that the agricultural sector in England was transformed by the Black Death, which arrived in England in 1348 and killed many laborers, and by the Hundred Years’ War, which was actually a series of conflicts waged from 1337 to 1453,  as well as the Peasants’ Revolt of 1381?” If this sounds like a Wikipedia entry, it’s because it was indeed cobbled from Wikipedia—not from an actual conversation.

The fix: Dialogue can be used to effectively impart information, but is it believable and natural? Use dialogue to move the story ahead, to add tension between characters, and to impart—but not dump—information. Break up the information in conversation-sized tidbits.

Laundry list of description

A character is introduced and immediately a description, head to toe, is given; hair color, eye color, glasses, what the character is wearing are all covered in depth. The author may repeatedly mention those “liquid brown eyes.”

Ian Rankin

The fix: It’s much more effective to describe a character through their behaviors, actions, body language, and dialogue. Here, crime fiction author Ian Rankin gives a description that skims over a character’s looks, but manages to give us plenty (because our mind’s eyes fill in the rest): “He was twenty years younger than Rebus, and a stone and half lighter. A bit less gray in his hair. Most cops looked like cops, but Fox could have been middle management in a plastics company or Inland Revenue.”

Head-hopping

You want to keep your point of view to one protagonist (maybe two, if the story lends itself, as in a romance or a story with two strong characters whose paths cross, as in the award-winning All the Light We Cannot See by Anthony Doerr).To have more POVs dilutes the bond that a reader forms with the protagonist. Even worse is to have a point of view bounce from character to character in the same scene (we start out in the head of one character, only to hop into another character’s head).

The fix: It’s more powerful for the story to be told through the eyes of the main character, so make that your viewpoint. It may be more work to recast your story, but it will be the stronger for it.

Inappropriate dialogue tags

Many new writers have a fear of reusing the same dialogue tags—“said” or “asked”—and so editors see an abundance of incorrect dialogue tags: he yawned, she growled, he laughed. These dialogue tags mark the writer as inexperienced. Someone doesn’t “yawn,” “growl,” or “laugh” dialogue and, besides, they are clichéd ways of marking speech. Dialogue itself should show the reader whether a character is angry, happy, or sleepy.

The fix: Stick to “said” or “asked,” which become invisible to the reader, or avoid dialogue tags when it’s clear who is speaking. If you must indicate that a character has missed his naptime, then write, “he said, yawning.” Or even better, use a dialogue beat: “He stretched and yawned, putting down his coffee cup.”

Misplaced modifiers

This is one of the most common grammatical errors. These are phrases or clauses that are not clearly related to what follows. This not only makes for awkward sentences, but often unintentionally funny ones. For example: “After making some repairs, the pigs soon found their way to the fixed trough.” If pigs could fly—or repair their own troughs!

The Fix: Locate the modifier and relocate it to the appropriate place, or rewrite the sentence with the missing information. “After the farmer made some repairs, the pigs soon found their way to the fixed trough.”

Finally, there’s one other “fix” that may catch these and other errors. Read your manuscript aloud (some writers even go as far as reading it into a recorder, then playing it back). You’ll be surprised at what you find—portions that are dull, dialogue that goes on for too long, and awkward constructions that trip up the tongue. Simply delete or rewrite these!


Not Wanting To Make Things Up

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wordsAlmost all of us draw on autobiographical material when writing. This leads to a lot of powerful prose, and probably saves a ton of money in psychiatric bills. But it can also cause major problems with fiction writing, because it can make it hard for the writer to make stuff up. And if you’re not making something up, you’re not making something up, you’re writing a journal entry, which can be beautiful, but it is not a story.

Say you are inspired by your Uncle Louis, a real one of a kind sort of guy who was one of the most colorful figures you ever knew. You always thought you wanted to write about him. He applied for a patent on a copying machine, and he got it. You write up the story, give it to me, and I say, “That’s great that Uncle Louis got the patent, but the story would have more tension if he didn’t get it.”

“But he did get it,” you say.

“Yes,” I say, “but the story would be better if he didn’t.”

“But he did get it. Patent number 3333.”

“Well,” I say, “what if a woman steals his patent then?”

“But he was married to Aunt Irene for 50 years.”

You see where I’m going with this? Keeping the story too tied to Uncle Louis makes it difficult for the writer to use his imagination. It’s locking him into someone else’s story. It’s taking away the author’s power.

What to do? First, think of why Uncle Louis appeals to you. Why do you want to write his story? Is it because you admire his fighting spirit? Can you create a character who has the same fighting spirit but is different than Uncle Louis? Maybe, instead of making your character a little old man, you could make him a young man with red hair. Or, make him into a woman. The key thing is to take ownership of him. He’s no longer your uncle. He’s your character. You can do with him what you want.

We All Get There

Editor: What do they do?

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I had the question in my mind this morning on What does an editor do? I typed that exact phrase into Google and I found this great article explaining that question thoroughly. I’ve written four books at this point and as always someone asks me if I have an editor. I really didn’t understand. I would so, no I’m not getting an editor and then turn around and get someone to professional edit the book. I honestly didn’t think about an editor being the one “who edits my book.” Editors are on the newspaper or magazine staff.

By reading the article below I have found there are many different types of editors and understand things 100% better at this point. Enjoy the article and have a blessed day.

Shirley

Duties of an Editor & How Editors Help Writers

One of the most repeated phrases people use to reach and then search my blog is “What does an editor do?”

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I’m not sure who’s looking for this information. And not knowing the source of the question, I’m not sure how to answer.

Is a high school student looking for an answer to an assignment, maybe wondering about editing as a career?

Is a professional in one career looking to change positions?

Perhaps a writer is wondering what an editor can do for her, maybe looking for clues about how to approach an editor or wondering what her new editor at the publishing house will be responsible for.

So, not knowing exactly what information people are seeking, I’ll present enough to get almost anyone started.

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An editor polishes and refines, he directs the focus of the story or article or movie along a particular course. He cuts out what doesn’t fit, what is nonessential to the purpose of the story. He enhances the major points, drawing attention to places where the audience should focus.

Many fields make use of editors—film, video, magazine, newspaper, blog, and book, both fiction and non-fiction. A task common to all is to ensure that the product they produce is the best it can be in the time available and with the resources available.

A film editor may have weeks to put together his movie, the sound editor about the same. An editor working to develop a non-fiction book may spend a year or more collaborating with the author. A newspaper editor, working either in print or online, may have only minutes or a few hours to check or rework a story.

Because this is chiefly a blog for writers and editors of books, I’m going to restrict the specifics of editing to those editors who refine the written word rather than those who work with film or video or sound.

You’ll see overlap between terms and duties, chiefly because there’s no one definition for editor and no simple explanation of what an editor does.

Newspapers/Magazines

There are several levels of editors at newspapers and magazines.

Editor in chief or editor at-large—Responsible for the type of content produced by their newspapers or magazines, the look of the product, and the nature and number of stories/articles to be written.

Managing editor—Works under the most senior editor. Directs writers to particular stories. May write some of the stories. May be responsible for one section of a newspaper (business or style or local news) or magazine. May write headlines or may delegate that task to others.

Copy editor—Responsible for checking article facts and ensuring that an article matches in-house style guides. Also checks spelling, grammar, and punctuation. May also suggest word changes to keep the newspaper or magazine from being sued. May arrange layout of articles and sidebars. Copy editors might write headlines.

Depending on the size and scope of the publication, a newspaper or magazine editor may perform a combination of the tasks mentioned above. Their job is to see that interesting and/or informative articles are produced in a timely and accurate manner, with no factual errors and few writing errors.

Publishing house

Here again we find several types of editors.

Acquisitions editor—Finds new authors and promotes writers he thinks will be profitable for the publisher. Often must fight to get an author accepted by the publishing house because he’s competing with other editors to bring in new authors. Writers and agents typically submit manuscripts to the acquisitions editor. The acquisitions editor, especially for fiction, may follow a manuscript from submission to publication, suggesting plot-level changes to bring the story in line with his/the publisher’s vision for the product line.

Developmental editor—Helps a writer develop a book from idea or outline or initial draft. Makes sure the book will meet the needs of the publisher and its readers. Will work with the author through any number of drafts. Often works with writers of non-fiction. Guides the writer in topics to be covered in or omitted from the book.

Copy/manuscript editor—(These may be two different positions or one that combines elements of both or the same position called by a different name.) Ensures that the manuscript meets in-house style standards and corrects grammar, spelling, and punctuation. Checks facts and may suggest different words. Verifies headings, statistics, data in graphs, and footnote entries. For fiction, the manuscript editor will check for consistency and logic, and will read with the needs of the audience in mind.

Proofreader—Compares one version of a manuscript against another to eliminate errors from the newest version. The proofreader is the last person to check a manuscript before publication. A proofreader is not an editor in the traditional sense, but because of a crossover between duties, an editor may be the proofreader.

Either the acquisitions or manuscript editor may suggest moving or dropping scenes, dropping or changing characters, changing point of view, or making other major changes to a manuscript.

Freelance editor

A freelance editor works for himself and is hired by a writer to ready his manuscript for publication.

Copy editor—A freelance copy editor may deal primarily with spelling, grammar, punctuation, fact checking, and word choice (in the sense that he makes sure the words mean what the author thinks they mean).

Developmental editor—As detailed above, the developmental editor helps the writer from the idea stage through the final draft. He may suggest topics, help with research, verify facts, and plan the structure of the manuscript. He works through successive drafts with the writer. He’s as concerned with the structure of a manuscript as much as he is the words and meaning.

Substantive editor—Helps a writer improve his fiction manuscript by focusing on story elements, plot, characterization, dialogue, order of scenes, point of view, voice, setting, word choice, sentence construction and syntax, and pace—anything that could improve the strength of the manuscript.

Helps a writer with a non-fiction manuscript by ensuring that sections lead logically from one to another, that there is consistency and flow, and that the right amount of information is presented. Will make sure that conclusions are sound and come from what has been presented.

Substantive editors do not usually work with a writer from the beginning stages, but instead will come to a manuscript after the writer has completed several drafts. Points out weaknesses and suggests options to strengthen those areas. Examines both the big picture and the fine details of a manuscript (including grammar, spelling, and punctuation).

Ghost writer—Shares the writing of a manuscript with an author or writes the entire manuscript based on the author’s suggestions, leading, and research.

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Areas and elements that an editor (specifically a book editor) might look at—

Non-fiction editor

Besides making corrections and suggestions for the technical elements—spelling and punctuation, data and fact verification, footnote and index accuracy and so on—the editor of non-fiction will help a writer organize the manuscript for greatest impact, clarity, and readability. She will check the flow and rhythms of the manuscript. She will ensure that conclusions are sufficiently supported. She’ll look for variety in sentence construction and make suggestions where necessary.

She’ll make sure word choices match the intended audience in terms of knowledge and age appropriateness and suitability. She may suggest sections where an anecdote or other story might be appropriate. She’ll check to see that the style of presentation matches the subject matter. She’ll look for threads to connect chapters and sections so the manuscript reads as a cohesive whole.

Fiction editor

Beyond the technical issues of grammar, punctuation, and spelling, the fiction editor will look at story issues.

She’ll make sure there’s enough plot for the length of the novel or novella. She’ll read for plot inconsistencies or dangling plot threads. She’ll make sure characters are sufficiently different from one another and that they speak with their own voices, show off their own quirks.

She’ll read for pace and logic and the entertainment factor. She’ll suggest word choices that better fit character and genre. She’ll look for balance in setting and dialogue, action and exposition. She’ll check scene transitions and chapter-ending hooks, making sure the reader is engaged by each.

She may suggest a change in point of view or in the viewpoint character. May suggest a change in verb tense—past to present or present to past. She will note where the author’s opinions and/or prejudices have gotten in the way of the fiction.

She’ll point out saidisms, overuse of modifiers, and fuzzy passages. The fiction editor will make sure the writer has given characters sufficient motivation. She’ll check scenes for sense elements and conflict. She’ll help the writer put the protagonist into tough situations and then turn up the heat.

She’ll root out clichés.

The fiction editor will make sure the resolution fulfills the promise of the story opening, that it’s satisfying and inevitable.

Both the fiction editor and the editor of non-fiction bring that outsider’s eye to a manuscript. They notice when and where elements don’t fit. They see that something’s missing.

And they know what to do to fix the lapses.

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~ Editors bring to a manuscript the polish and knowledge and skills that a writer might not have, might not know how to use, or might not see the need for in his own work.

~ An editor makes sure the writer’s work says what the writer intends and says it in the writer’s voice and with his sensibilities.

~ An editor’s job is to make a story, article, or manuscript better. Better in terms of clarity, enjoyment, logic, flow, and meaning. Better in terms of meeting the needs of the audience.

~ An editor serves the project, the author, and the reader.

~ An editor balances the writer’s desires with the publisher’s standards and the reader’s expectations—and finds a way to produce a story to satisfy all three.

~ Editors read. They write. They love words and the millions of stories that can be crafted from them. They assemble parts of a manuscript as if they were puzzle pieces, putting them together to make a fascinating and appealing picture, a picture that readers will want to explore in depth.

~ They are typically picky, sticklers for what they believe is right, opinionated, and determined. They often have a great eye for detail, a strong vocabulary, and knowledge of odd grammar rules.

~ They enjoy working with—and playing with—words.

~ Editors are enhancers. They work to make what is good better, what is great, outstanding. They challenge writers. They challenge themselves.

by Beth Hill

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