Tag: editing our work

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The Picky Pen

Varying Sentence Structure

Do all of your sentences begin with “I,“ “we,” or a proper noun? Do all of them start with the word “the?” If so, this is a must-read for you. Writing that consists of simple sentences can seem very monotonous to readers and does not keep them engaged. You want there to be a flow to your passage. You do NOT want the reader to struggle getting through it, stopping and starting abruptly. Below are three key sentence variation strategies for bringing your passage from uninteresting to attention-grabbing.

Ways to vary sentence structure:

1.    Sentence Style/Structure

When it comes to sentence style and structure, I am mostly referring to the order of sentence elements. Although sentences should follow the basic sentence structure, they do not always have to be written in the order of subject, verb, and then object. We vary the way we speak, so we should do the same when we write. Sentence style and structure also pertains to the way phrases or clauses are combined. Playing with sentence order by adding, changing, or combining various elements can add pizzazz to a story.

Here are some ideas to get you started:

  • Changing the subject
  • Starting a sentence with an adverb
  • Starting a sentence with a prepositional phrase
  • Starting a sentence with a transition word or phrase
  • Using compound sentences (two independent clauses tied together with a coordinating conjunction)
  • Using complex sentences (sentences with a dependent and an independent clause)
  • Using compound-complex sentences (sentences that contain multiple independent clauses and at least one dependent clause)
  • Adding prepositional phrases

Here is an example:

  • She waited for the bus. She got on the bus. There were no seats.  For the first sentence, try starting with an adverb and changing the subject. Then add a dependent clause to the second sentence and combine it with the third sentence with a coordinating conjunction to make a complex-compound sentence. Notice how much more interesting it becomes.
  • Patiently, Camille waited for the bus. When it arrived, she got on the bus, but there were no seats.  Varying sentence style and structure can help keep your passage from sounding repetitive. It is very similar to word choice. If you use the same words or the same sentence structure throughout your story, readers quickly become bored, no matter what the topic may be.

2.    Sentence Length

Variety can also be as simple as using both short and long sentences throughout the passage. If a story consists of only brief sentences, there is no rhythm or flow. When there is a mix of both, it creates a rhythm that makes it much easier for the reader to follow. It allows for better comprehension, as well.  You can use short sentences to make a specific point, and longer sentences can go into more detail regarding the subject.

Read this paragraph consisting of only simple sentences. What do you notice?

My alarm did not go off this morning. I missed the train. I got to work late. My coffee spilled all over my blouse. I did not have anything to change into. The prospective employee was already waiting for me. It was embarrassing. Some of the interview questions were about punctuality and professional appearance. I hired the person on the spot. What a day!

Combine some of the sentences or lengthen them by adding transition words or phrases, and leave others short. You can see how this adds emphasis to the short sentences. It also adds to the flow and gives the paragraph somewhat of a rhythm.

My alarm did not go off this morning. Consequently, I missed the train and got to work late. Then, my coffee spilled all over my blouse, and I did not have anything to change into. The prospective employee was already waiting for me. Needless to say, it was embarrassing because some of the interview questions were about punctuality and professional appearance. I hired the person on the spot. What a day!

Be very careful, though, when creating compound and complex sentences. You want to ensure that that you are not using run-on sentences, as this will also make it difficult for the reader to follow.

3.    Sentence Type

Do you want to add a little more variety? Try changing the types of sentences that you use. You can use declarative, interrogative, and exclamatory sentences all in one passage. See how easy it is!

Use exclamatory sentences to add urgency or excitement. Interrogative sentences can help to organize a passage but can also help to engage the reader. They are a great way to clue the reader in on what the next section will be discussing.

When your passage contains sentences that vary in structure, length, and type, it tends to have a better flow. Additionally, it adds a tone or voice to your writing. They must, however, still be grammatically correct. It is always a good idea to have someone else read your writing. Reading it out loud is especially helpful, as well. These are very helpful ways to catch mistakes before your writing is out in the world.

And what does all this lead to? In case you didn’t already guess—It leads to readers who want to keep reading!

Heather Malone

Heather Malone writes children’s books that focus mainly on Montessori education, special education, and nonfiction. She also dabbles in fiction. Her nonfiction book, Montessori from A to Z, was published in 2023, and her blog on homeschooling students with disabilities using the Montessori method can be viewed at spedmontessorisolutions.com. Her passion is education, which is evidenced by spending over twenty-five years in the field before leaving the classroom to now provide technical assistance to school districts. She lives with her husband and son in Ohio and enjoys traveling to new places in her free time.

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Writers Chat

Writers Chat Recap for October,Part 1

Writers Chat Recap

Writers Chat, hosted by Johnnie Alexander, Brandy Brow, and Melissa Stroh, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

Panning for Sentence Gold with Ann Neumann

When we self-edit, we become like miners panning for gold, sifting through the sediment of first and second drafts in search of glittering flakes. And like miners, we can put our sediment–our sentences–through classifying screens of varying mesh size to reveal superfine prose. Grammar expert Ann Neumann (writing as Cate Touryan) guides us through the “grammar as gold” screening process in this episode of Writers Chat.

Watch the October 1st replay.

Ann Neumann: As a university instructor and editor, Ann has taught writing to homeschoolers other projects, she taught and redesigned the foundational grammar course for UC Berkeley’s editing certificate program. As an author, she writes fiction and creative nonfiction under her pen name, Cate Touryan. Her debut YA novel is slated for release in May 2025. She lives on California’s foggy but beautiful central coast with her husband, her Yorkie, and a rafter of turkeys—as in both a whole bunch of them and in the rafters.

Writer’s Journey: Unexpected Turns with Kathy Brasby

Kathy joins us to share the twists and unexpected turns of her writing journey. She shared how God used past situations, good and bad, for her good years later. She explains how creating a spiritual timeline (an exercise based on Henry Blackaby’s “Experiencing God”) can connect us to our writing. Our journeys, she says, can resemble “flinging paint colors” onto a canvas, then stepping back to see the pattern. In closing, Kathy reminds us that God communicates with our imaginations ~ He whispers into our imaginations.

Watch the October 8th Replay.

Kathy Brasby is a former journalist who focuses on storytelling in both fiction and non-fiction pieces. Her award-winning writing includes five published books. She has created and taught Bible studies for over thirty years. She holds a BA in English and an MA in Theological Studies. Her website is KathyBrasby.net

Disclaimer: The opinions and viewpoints presented by the cohosts and guests are their own and do not necessarily reflect the opinions and viewpoints of Writers Chat or Serious Writer, Inc.

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET
on Zoom. The permanent Zoom room link is: http://zoom.us/j/4074198133

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Writers Chat

Writers Chat Recap for August, PArt 2

Writers Chat Recap

Writers Chat, hosted by Jean Wise, Johnnie Alexander, and Brandy Brow, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

Newsletter Lead Magnets

In this episode, our own Jean Wise and Johnnie Alexander share with us about newsletters and lead magnets being essential tools for authors. You might think, but how does one create these and use them for maximum outreach? These two questions are answered and shown in step-by-step demonstrations in MailerLite for newsletter creation and compiling an automated onboarding sequence to deliver a lead magnet to your readers.

Watch the August 17th replay.

Bethany Jett is a multi-award-winning author, a ghostwriter, and marketer who received the Distinguished Scholar award for earning the top GPA in her Masters Program, where she focused on Communications: marketing and PR. Bethany co-owns Serious Writer and Platinum Literary Services and loves everything about the publishing industry…except the rejections! She is a military wife to her college sweetheart and a work-from-home momma-of-boys who loves planners, suspense novels, and all things girly. You can connect with Bethany on social media or at www.bethanyjett.com

Edit Your Book Like a Pro with Kristen Stieffel

Professional editors have a number of tools and techniques they use to edit books. In this episode of Writers Chat, Kristen shares her expertise on how to edit, in what order, and how to know when you’re finished. You’ll learn to use a book map to analyze fiction and nonfiction for sound structure. That and many more practical techniques are jam-packed in this episode to help you locate your book’s weak points, repair them, and strengthen your writing.

Watch the August 24th replay.

Kristen Stieffel is a writer and freelance editor specializing in science fiction and fantasy. She provides a full range of editorial services and has worked on projects for both the general market and the Christian submarket. She is the author of Alara’s Call, a fantasy novel, and Tales of the Phoenix, a collection of science fiction novellas about a Martian airship crew. You can connect with Kristen on social media or at kristenstieffel.com.

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET
on Zoom. Visit our permanent Zoom room link.

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Guest Posts

Sculpting a Masterpiece

Guest posts

The beautiful prose that came to mind in the shower somehow transformed into clunky sentences by the time I got to the computer. The more I wrestled with the words, the more unwieldy they became.

I have often read that true writing is in the rewriting. Most of us are not satisfied with a first draft. We know it takes several passes before writing is shaped into something acceptable to show others

Yet I get frustrated going over and over sentences trying to make them both clear and winsome. Why is my thinking so muddled? Why do I take so many words to say what I mean?

Wordy written in red by my teacher often adorned my school compositions.

The person who performed my first paid critique mentioned my “long, convoluted sentences.”

My husband told me after we had dated for a while that he used to wonder when I’d get to the point when I told a story. (After being married for 40 years, I’ve learned to jump to the main point first, especially when talking about the car or an appliance. Otherwise, he spends my whole narrative wondering what he’s going to have to fix.)

Yet, I’ve received enough encouraging feedback from my writing that I am not totally without hope. And now that I am aware of my writing mistakes, I can battle them with determination and knowledge.

I’m encouraged by a legend concerning Michelangelo. Supposedly, someone asked him how he got the statue of David out of a hunk of marble. The artist is rumored to have said, “I just cut away everything that’s not David.”

Before we can create a work of art, we’ve got to drag out our hunk of marble. As many have said, we can edit a bad page, but we can’t edit a blank one. The marble that Michelangelo used had previously been considered and rejected by two other sculptors. He saw the potential in it that others missed.

So we dump the words in our head onto paper. We study the craft of writing and learn ways to “write tight.” We carve away unnecessary words and cumbersome descriptions. We chisel adverbs and polish with stronger verbs.  We sand away passive verbs in favor of active ones. We brush away clutter. We chip off  multitudes of facts and illustrations and keep only the most poignant ones. And we can pray with the Apostle Paul, “that I may make it clear, which is how I ought to speak” (Colossians 4:4).

Visualizing excess verbiage as clumps of rough stone adorning the statue of David helps encourage me to get rid of clutter-words in my writing.

A statue as detailed as David takes time to sculpt, and so does editing. Blaise Pascal once wrote in a letter, “I have made this longer than usual because I have not had time to make it shorter.” But the time is well worth it.

We might not become the Michelangelo of words. But we can sculpt our manuscripts as close to a masterpiece as possible.


Barbara Harper lives with her husband of 40 years in Knoxville, TN. They raised three sons, one of whom added a lovely daughter-in-law and an adorable grandson to the family. Barbara loves reading, writing, and card-making. She has blogged for almost 14 years at https://barbaraleeharper.com/. She wrote a newsletter for women at her church for 15 years as well as magazine articles, newspaper columns, and guest blog posts. One of her passions is encouraging women to get into the Word of God for themselves. She’s currently working on her first book-length project.

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Proofed and Polished

Why Can’t We Just Agree? Subject-Verb Agreement

Proofed and Polished

When I was teaching English Learners in high school, we spent A LOT of time studying subject-verb agreement. I did this every single year with every single level because I thoroughly enjoyed torturing my students with grammar rules it’s incredibly important! From high school students learning English to PhD candidates, from journalists to CEOs, a failure to grasp subject-verb agreement can make your writing look lousy! 

What is Subject-Verb Agreement?

From here on out, let’s use SVA when we’re talking about this topic because typing out subject-verb agreement over and over is tiring. 

Very simply, subjects and verbs in a sentence must agree in number. Here are a few examples.

Example 1

The dog jumps when he sees me.

“Dog” is the subject. “Dog” is singular, so we use the singular form of the verb, “jumps”.

Example 2

Many children run on the playground.

“Children” is the subject and it is plural (the word “many” helps us know that), so we have to use the plural form of the verb which is “run”.

You can’t say “the dog jump when he see me” or “many children runs on the playground” because then the subject and the verb are not in agreement about the number of subjects.

For most native English speakers, this comes pretty naturally so you’re feeling pretty good about these rules right now. However, there are a few tricky sentence structures that can trip up even the best of us if we’re not careful. Check these out.

Prepositional Phrases

As long as the subject and the verb are side-by-side, it’s pretty easy to keep track of SVA. However, when you’re writing more complex sentences, your subject and your verb might get separated. 

The floodlights in the yard suddenly turn on.

The subject is “floodlights”, but there are four words in between it and the verb (“turn”). Don’t get distracted by the prepositional phrase “in the yard”; it’s just telling you where the floodlights are located.

The boxes of brownie mix are sitting on the counter.

Brownies are delicious, but the subject we’re interested in is “boxes” (less delicious). Ignore “of brownie mix” and make sure that you’ve used the correct form of the verb “to be”, which is “are” in this case, to match your plural subject.

Conjunctions

Sometimes, you might have two subjects joined by a conjunction or a connecting word like “and”, “or”, or “nor”. When you see “and”, think about adding the subjects together. When you see “or” or “nor”, you can choose only one, and it has to be the one that is closer to the verb.

When I look outside, a racoon and her babies run across the yard away from the trash cans.

“Racoon and babies” is a plural subject because it is connected by the word “and”. Therefore, use “run” instead of “runs” for proper SVA.

My husband or some kitchen fairies have turned the box of brownies into a pan of brownies.

Here, “husband” and “fairies” are separated by the word “or”. In this case, we have to choose the kitchen fairies as the subject because it is closer to the verb. Bonus tip: The helping verb is the part that agrees with the subject, in this case, “have turned” instead of “has turned”.

Collective Nouns

When you talk about a group of people, you often use a singular verb. Words like “group”, “family”, “team”, and “congregation” are all singular subjects even though they refer to many people.

The team is packing the bus for the big game.

Of course, there are many people on the team, but because they are referred to as a singular entity (i.e., one team), a singular verb is used.

The congregation stands to sing at the end of the service.

The congregations come together to raise money for the food pantry.

Collective nouns can be made plural by adding an -s. 

Tricky Things

English is fun, so there are a few tricks that it likes to play.

1. Indefinite pronouns like either, neither, everyone, anyone, nobody, somebody, etc. are all singular.

Either of these sweaters is fine.

Although “sweaters” seems like it should be the subject, “either” swoops in to steal its thunder. The word “either” means that only one of those sweaters matters, and so the verb must be singular.

2. Some words that look plural take a singular verb.

I can’t believe how much negative news is out there.

“News” is not countable, so it takes a singular verb. Similarly, “civics”, “mathematics”, and “measles” also require singular verbs.

“Dollars” is tricky because it can be either singular or plural.

Twenty dollars is a lot of money when you’re ten years old. (Refers to the amount)

Dollars are used in the United States instead of pesos or pounds. (Refers to the physical dollars)

3. Phrases between commas that interrupt a subject and a verb such as “including”, “as well”, and “with” do not change the SVA of the sentence.

The author, as well as the editor, accepts the award at the ceremony.

Here, the author is the subject of the sentence, and so the verb agrees with the singular author. Although we’re being told that the editor also accepted an award, the phrasing basically makes it irrelevant and doesn’t affect the number in the subject.

How About You?

Do you notice that any of these rules trip you up? Do you have other words or phrases that always make you pause before you choose your verb form?

Dayna Betz is a full-time freelancer providing proofreading and editing services to help writers put their best foot forward. She also enjoys reading and writing book reviews. Head over to her site to learn more: https://betzliterary.com.

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Proofed and Polished

Short and Sweet: Avoiding Run-on Sentences

Proofed and Polished

Each author has their own unique voice. Likely, you’ve spent a lot of time developing the tone and style that makes your work stand out. When I proofread a paper, I do my best to retain the author’s original voice. I focus on grammar and punctuation, and when I encounter sentences that don’t sound right to my ear, I ask, “Is this a style choice or is this actually wrong?”

One of the trickiest corrections to make has to do with run-on sentences. I see them often. They pop up in all types of writing but especially when someone is trying to explain a process or a complex point of view. Run-on sentences aren’t defined by length alone; you can have a really long sentence that is easily readable. What makes a run-on sentence problematic is when two independent ideas get smooshed together.

Example:

Yesterday I went to the beach with my friends however I prefer to hike or camp.

There are two independent ideas here: narrating action and telling preferences. Read the example out loud. Where do you take a breath? There are ways to make the sentence easier to read.

Break Up with Run-ons

Here are a few ways to fix run-on sentences

1. Add punctuation.

Adding a semicolon or a comma can clear up the sentence easily.

Yesterday, I went to the beach with my friends, however, I prefer to hike or camp.

Yesterday, I went to the beach with my friends; however, I prefer to hike or camp.

2. Divide the ideas.

There are two totally independent bits of information here, so you can write them as two separate sentences.

Yesterday, I went to the beach with my friends.

I prefer to hike or camp.

3. Use conjunctions.

However is already used in this sentence as a conjunctive adverb to connect the two ideas, but you can choose a different conjunction.

Yesterday, I went to the beach with my friends, but I prefer to hike or camp.

Yesterday, I went to the beach with my friends, although I prefer to hike or camp.

Comma Caution

Just because you used a comma in your sentence doesn’t mean that you’re off the hook. Be careful with comma splices. A comma splice is when you join two independent ideas with only a comma. 

Example:

My dog barked like crazy, I knew the mail had arrived.

You have two choices here. You can write the sentences independently, or if you want to keep them linked, add a conjunction that makes sense. Since this is a “cause and effect” sentence, I would use “and” or “so”.

My dog barked like crazy, and I knew the mail had arrived.

My dog barked like crazy, so I knew the mail had arrived.

What About You?

Do you find yourself writing long sentences? Do you ever run into run-ons? Try these ideas:

  • Keep your sentences to about fifteen words. 
  • Count the number of lines per sentence.

When I corrected papers for my students, if I read three typed lines and hadn’t seen any punctuation, I stopped reading and scanned to find the closest period or comma. 

  • When you find your punctuation, go back and reread, preferably out loud. 
  • Check to see if you’ve combined any independent clauses that need to be separated by punctuation or conjunctions.
  • Remember, length alone isn’t necessarily a problem, though it can be.

Your goal is to make sure that the reader doesn’t lose your train of thought. Ask yourself if the readability would increase if you clipped the sentences.

Dayna Betz is a full-time freelancer providing proofreading and editing services to help writers put their best foot forward. She also enjoys reading and writing book reviews. Head over to her site to learn more: https://betzliterary.com.

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Magazine and Freelance

3 Reasons to Disagree with an Editor

You might be surprised to read the title of this post. Aren’t editors always right? Won’t you doom your writing career if you disagree with an editor? Won’t they label you difficult if you dare to question one of his or her edits?

It’s important to keep in mind that disagreeing is far different than being disagreeable. Your relationship with your editor should be one of mutual give and take, characterized by dialogue and interaction. This is the reason for the Accept and Reject Change button in Microsoft Word—you have the power and right to reject editorial changes, but only for very good reasons. And you must be prepared to defend yourself.

Here are three acceptable reasons to disagree with an editor.

1. The proposed change is incorrect. Most editors are well versed in grammar, punctuation, and the particular style guide of their publication. No editor, however, can know everything.

One reason to question an edit is the area of local or specific knowledge. For example, in my devotional book, Hungry for God … Starving for Time, I refer to my home area as the Sandhills of South Carolina. During the editing phase of my book, my editor lowercased the s in Sandhills.

I rejected her edit and inserted a comment bubble that explained that I wasn’t using the word Sandhills to describe the topography of the region; it was the actual name of the area. To add credibility to my explanation, I inserted a link to a web page of South Carolina geography facts describing the Sandhills region of South Carolina. And yes, the S was capitalized.

Similarly, you may have knowledge about an area, field, or specialty your editor doesn’t. If this impacts an edit, it’s important to object and explain why you chose the wording you chose. Documentation adds credibility to your objection.

2. The edit alters your meaning. Sometimes a change in wording or word order will significantly alter your intended meaning. This is a valid reason to oppose an editorial change. For example, you may write, “The club is open to visitors and meets on the first and third Thursdays.” Your editor may think the specifics bog down the flow of the article and change it to “The club is open to visitors and meets every other Thursday.”

You know, however, that there might be a fifth Thursday in a month, making the “every other Thursday” change inaccurate.

If an edit changes the meaning or intent of your words, you must reject it (with an explanation) to maintain the accuracy of your writing.

3. The edit significantly alters your voice. Good editors know edits should reinforce your voice and style, not change it. If you’re folksy and casual, and you’re writing a whimsical novel about life in the mountains of North Carolina, your editor shouldn’t change your vernacular to sound like an academian. Conversely, if your topic is technical or educational, she’s justified in editing out the y’alls, sistahs and sugahs.

Voice is a tricky thing to pin down, but if you read the piece aloud, and it sounds more like your editor than you, it’s time to politely object.

Keep in mind that editors are not adversaries. Their job is to make writers look good and make your work as clear and effective as possible. While most are knowledgeable and professional, they’re not infallible.

It’s important to remember that while you may be justified in disagreeing with an editor, you’re never justified in being disagreeable. If you interact respectfully and remain teachable, and you’ll always have a great relationship with the editors with whom you work.

Lori Hatcher loves God even more than she loves chocolate. Since He rescued her at age 18, she’s been on a relentless journey to know and love Him more. Her deepest desire is for others to join her on the journey. As an author, blogger, and women’s ministry speaker, she writes for Our Daily Bread, Guideposts, Revive Our Hearts, and Crosswalk.com. She’s written three devotional books, including Refresh Your Faith, Uncommon Devotions from Every Book of the Bible, and Hungry for God…Starving for Time, Five-Minute Devotions for Busy Women. Connect with her at LoriHatcher.com or on Facebook, Twitter (@lorihatcher2) or Pinterest (Hungry for God).

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Proofed and Polished

Cat Got Your Tongue? Tricky Idiomatic Expressions That Get Us Bent Out of Shape

Proofed and Polished

Let’s Cut Ourselves Some Slack 

Adding a little flair to your writing with idioms can be confusing, but hang in there! The purpose of using idioms is to give some artistic expression to your writing. For example, if you’re writing a mystery novel where the heroine is searching for clues and pursues the wrong lead, you could say something like this:

“Maggie had been following Mr. X all day long, sure that her suspicions about his behavior were correct. But when it turned out that she was following him to a soup kitchen, she realized that she had been mistaken the entire time and was looking for solutions in all the wrong places.”

You’ve conveyed to your reader that Maggie made a mistake, but you could really hit the nail on the head if you used a few idioms to spice up your writing:

“Maggie had been following Mr. X all day long, sure that her suspicions about his behavior were correct. But when it turned out that she was following him to a soup kitchen, she realized that she had been barking up the wrong tree.”

So far so good? It’s not rocket science to think of all sorts of other expressions now that I’ve gotten you started. The thing about idioms, though, is that there are some common ones that people misuse regularly.

Ignorance Is Bliss

Some of these corrected idiomatic expressions may throw you for a loop; the misused phrase is so common, you may not know that it’s wrong! If you can wrap your head around these corrections, you’ll be well on your way to making your writing really pop.

1. I could care less vs. I couldn’t care less

This is number one for a reason. Read this example carefully.

Dorothy smiled wickedly at Sandra. “And you thought that I would actually invite you to the party after that?” Sandra shrugged, hoping to appear casual. “I could care less if I’m invited or not. It was completely worth it.”

If Sandra CAN care less, then she currently cares at least a little bit. When we use this expression, we generally mean that we don’t care at all now and nothing will change the situation to make us care less than we already do. Therefore, the correct expression is “I couldn’t care less.”

2. For all intensive purposes vs. for all intents and purposes

Here’s another tricky one. 

Michael, for all intensive purposes, was now the sole decision maker for the company.

Intensive means “to strengthen or increase.” While your purposes may be strong, the correct expression, “for all intents and purposes,” means “essentially.” So in the previous example, we’re saying that Michael is essentially the sole decision maker.

3. Nip it in the butt vs. nip it in the bud

“This situation needs to be nipped in the butt before it goes any further,” whispered Mrs. Carlton to Mrs. Sheldon as they walked into the ladies’ luncheon where they would vote on the highly contentious issue of where to hold the annual fundraiser.

Since situations don’t have butts, it’s difficult to nip them there. What you mean when you use this expression is that you want to stop something from progressing that is currently headed in the wrong direction. The expression is “to nip it in the BUD.” Think of an invasive flower or plant that is growing in your garden. By nipping the bud, you prevent it from growing to maturity and spreading more seeds around your yard.

4. It’s a mute point vs. it’s a moot point

“…and that’s why we need to seriously reconsider the way that this institution finances our programs,” Stacey concluded, barely containing her anger in the conference room. She could tell that she had made enemies from the glowering looks she was getting around the table. Naturally, Allegra, her arch-enemy, jumped in. “Honestly, Stacey, it’s a mute point since the donors have already indicated how they want their contributions to be spent…”

At least Stacey can find conciliation in the fact that Allegra doesn’t know how to use the expression “a moot point.” If something is “moot,” it has been “deprived of practical significance” and no longer has merit in the conversation at hand.

5. Irregardless vs. regardless

I’m throwing you a curveball for this last one, because if you look up “irregardless” in Merriam-Webster, it is a word. The definition of “irregardless” is “regardless.” Many consider “irregardless” to be redundant, since the prefix ir- negates something, as does the suffix -less. In most cases, “regardless” is considered to be the standard term that is likely to be approved by your editor, while “irregardless” is a more colloquial term that you’ll hear in everyday conversation.

To Make a Long Story Short…

Idioms are a dime a dozen but using them can really get out of hand if you don’t know how to deploy them correctly. I don’t want to beat a dead horse, so jump on the bandwagon and tell us what your favorite idiomatic expressions are!

Dayna Betz is a full-time freelancer providing proofreading and editing services to help writers put their best foot forward. She also enjoys reading and writing book reviews. Head over to her site to learn more: https://betzliterary.com.

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Proofed and Polished

Proofed and Polished: Tips on self-proofing for a flawless product

Proofed and Polished

A Scenario…

Finally! You sit back in your chair and breathe a sigh of relief. The project is done, and before the deadline! A small miracle in and of itself. You would love nothing more than to hit “Submit,” treat yourself to ice cream or a walk, and bask in the glow of accomplishment. But you know, you know, that if you don’t look it over at least one more time, that whatever errors are lurking in your nearly memorized manuscript will become glaringly obvious the second you hit “Send.” The errors will contaminate your ice cream with regret and your subconscious will taunt you while you’re trying to sleep.

So you take another deep breath, and you scroll to the beginning. 

Just one more read-through. 

I can do this.

Ok, this isn’t so bad. 

Is a comma supposed to be there? 

Wait, is it toward or towards?

Aaand fifteen minutes later, you’ve reread your first sentence twenty-five times and all words have lost their meaning. That, or you’re on page twenty-five and have found zero errors, which either means you’re a complete genius, or you’re not actually reading the words at all. HELP!

Introducing Proofed and Polished

It’s cool, we’ve all been there.  But still, we all need to send a proofed and polished manuscript so that the errors aren’t distracting the readers from the awesomeness of our storytelling. I have ideas to share!

Proofed and Polished will share some tips and tricks to help you send out a glitch-free product that you can be proud of. I’ll look at the nitty-gritty of proofreading: common vocabulary errors; some grammar pointers; goofy idiomatic expressions; and some practical tips to help you get the proofreading done without your eyes glazing over or second-guessing yourself.

Sound good? Let’s get started now! 

3 Tips for Proofreading When You Just Don’t Want To

Remember that scenario in the beginning? It can be avoided. I know you just want to turn it in, but instead, try this:

  1. Walk Away

Seriously. You wrote it, so you know what it’s supposed to say. Your eyes will play tricks on you. Of course you know that it’s its, not its’, or it’s…isn’t it? Is its’ even a thing?? Just walk away. Get your ice cream or go on a walk – you still worked hard – maybe even sleep on it. Only sit down to proofread once you have fresh eyes.

  1. One Thing at a Time

Welcome back! Fresh from your break, what to do first? Spelling? Punctuation? Grammar? Formatting? Pick just one. You can:

  • Go paragraph by paragraph and look only at your spelling (I know you ran spell check, but you still need to do this step – more on that in a future post). 
  • Go one page at a time and look for different types of errors; then, take a break between each page. 
  • What are your weaknesses? Punctuation? Check that first. 

If you’re proofing a big project, be willing to give it time! Otherwise, you’ll miss things or make new errors in the name of changing something.

  1. Start at the End

Huh? Try it. Read the last paragraph first, checking for errors as you go. Then the next-to-the-last paragraph, then the one before that…Kinda weird reading your creation backwards? Good! You can stop getting distracted by the flow of the story, and get focused on the technical side of things.

*P.S. I used this strategy for this article.

Got it? Now…

Try these ideas and share your results or your own proofreading tricks! You’ll be proofed and polished and ready to publish before you know it!

Dayna Betz is a full-time freelancer providing proofreading and editing services to help writers put their best foot forward. She also enjoys reading and writing book reviews. Head over to her site to learn more: https://betzliterary.com.

Categories
Guest Posts

8 Things to Do Before Your Self-Published Book is Released

It has never been easier to publish a book thanks to the rapid advancement of technology. Goodreads and Amazon are some of the best platforms for new authors, most of whom are unknown and inexperienced. Most writers have no idea about what it takes to release a book. Publishing a professional, well-written, and memorable book is a process.

As a writer, you’ve probably published some of your books. Perhaps you have completed writing another book and you want different results when you finally release your creativity to the world. Here are eight things that you should so before releasing your book.

1. Write a great book

According to college papers, every reader wants to invest in great books. While this point may appear simple, you’ll be surprised by the number of poorly written books that have already been published. Don’t be too excited to release your book without ensuring that it’s good. People will hate the book and the author. And you’ll end up hating yourself.

How can you be sure that your book is good? If you are happy with the plot, characters, and the flow then you are one step closer to having a good book. However, reading the book alone is not the most effective solution. There are people who can spot errors that your eyes can’t see even if you read your work fifty times. You need beta readers to help you out.

2. Find beta readers

Beta readers are people who read your book from cover to cover and give you an honest opinion. Some of these readers might be writers. And others might be people who simply love reading. You give them a free book for their honest opinion.

It can be surprisingly difficult to find people to read your book especially if it’s too long. Some will say they don’t have enough time to read. And others will want to read without having to look for mistakes. Avoid asking the following people to point out mistakes in your work:

  • Best friend: Even if they are willing to help, there’s a chance that they’ll never find time to read it. You’ll keep pestering them and they’ll always come up with excuses or worse, avoid you.
  • Your mum: Your mum is always going to love the work of your hands. Your mother is the best choice if you want to be complimented. However, not the best choice if you want honesty.
  • Your spouse: People who are close to you are the least likely to be completely honest with you. They have already accepted you with all your strengths and weaknesses.

You should ask:

  • Writers: Writers understand their craft. You should go for experienced authors because they’ll quickly notice your mistakes. They can also offer constructive criticism and suggestions of what you need to improve and how to go about it.
  • Editors: Editors love reading books. Some of them won’t charge you anything for reading your book. Editors are experienced in pointing out mistakes. They won’t hesitate to tell you what needs to be improved.

Today, it’s quite easy to find beta readers. They have formed groups on social media platforms such as Facebook and Twitter. Other platforms to find experienced writers and editors include research paper writing service, assignment help and essay reviews. For other people to read your work, you must be willing to read other people’s work.

3. Criticism shouldn’t hurt

Don’t send your book to an experienced writer or editor and expect them to shower you with compliments. They won’t unless they are close to you.

Criticism is a free gift that improves the quality of your book. Some people will just trash your book without any valid reason. Instead of feeling awful, ignore such people. However, if you get comments such as “continuity error in Chapter X Paragraph Y, then you’ve got some work to do.

Criticism can hurt. But it’s one of the most effective ways of improving your skills. Take criticism well and make the most out of it. If one reader can spot mistakes and leave honest feedback, it’s highly likely that others will feel the same way.

4. Find more beta readers

After correcting your work, send it more beta readers. Hopefully, some of your original readers will be interested in reading your revised manuscript. This is good because they’ll let you know if the changes you made have improved your book. And other things that you need to add. Honest feedback can be a pain in the ass. But it’s an important process if you want readers to take you seriously.

5. Find a copy editor

According to dissertation help service, if you are self-publishing, you’ll have to hire a copy editor. The best part is, you’ll get to choose an editor who is ideal for you. A copy editor will check for things like repetition, word choices, and get rid of weak sentences. Beta readers will not do this for you. But a copy editor will greatly improve the quality of your work.

6. Hire a proofreader

All the stages that we’ve discussed are important. And can be skipped if you are an experienced writer with a loyal following. However, proofreading is a must. Since our eyes are usually blind when it comes to finding our errors, a proofreader will help you fix typos, punctuation, spelling, and grammatical errors. Unless your book is short and you are a professional proofreader, it’s always good to hire someone.

A study conducted by Dissertation Today found out that close to forty percent of books that you’ll find on shelves have never been proofread. They are full of spelling mistakes, incomplete sentences, and tense confusion. And they frustrate many readers. To avoid joining this club, hire a proofreader to polish your work.

7. Get a captivating cover

The cover is the first thing people look at before picking a book. Believe it or not, a lot of readers judge a book by its cover. Therefore, it’s important to hire a professional designer to help you create a good cover for your book. Ensure that the designer takes into account the main points in your book. You don’t want your creativity to be hidden behind a poorly designed cover.

8. Format

Self-publishing a book requires a lot of formatting work. The font has to fit properly on e-readers like Kindle. The cover size has to be perfect. It’s better to work hard and eliminate errors before releasing your book than after you’ve released it.

Conclusion

After completing all these steps, you’ll have a professionally written manuscript with a great cover waiting to be published. And you can start calling yourself an author. The more you write, the easier this process will be.

Kurt Walker is a skilled freelancer and editor at a professional writer service in London. He is one of the many UK essay writers specialized in essay writing and assignment help. In his spare time, Kurt plays the guitar and takes his dog Shay for a walk.

Categories
The Picky Pen

How to Edit Setting

As we continue this editing series how we can develop a great story, I hope you’re able to see that the elements of storytelling hinges on more than concept and characters. By having all the layers in place before actually writing, you can have a clearer idea of where your story is going. Or if you’ve already written your book, how to make sure all the layers are in place so that you give your readers a delightful reading experience.

The fifth layer in developing a great story is developing the setting within your story, whether nonfiction or fiction.

The settings within your story link the moods and viewpoints of your characters and plot together like a colorful construction paper chain link that can be as short or as long as you want them to be.

How to Edit the Setting

  • What does the setting say about your character?
  • What is the most important dominant impression in this scene?
  • How does the setting enhance your story’s plot?

What does the setting say about your character?

As you know, in storytelling, it’s really all about what’s at stake for the main character. And the best way to show that is to show the character interacting with the scene. We’re not going to talk about the character right now, but more how the elements in the scene help the character.

A well-written setting will describe your character’s mood without telling readers your character’s mood. A well-written setting will affect your character’s mood without telling your readers. A well-written setting will also enhance the scene and the actions and reactions of the other characters interaction with each other. Or the overall effect and observation of the landscape.

We must ask ourselves the following potential questions (not exhaustive, by any means):

  • Does the setting describe the visual space, or does the setting describe the character’s motivations and actions, pulling the reader into the story?
  • Does the setting open with intrigue and action, or does it open slow and monotone?
  • What is the end result of the setting?
  • What does this setting tie back to?
  • What is the driving emotion and motivation for the character?
  • Are any of the five senses represented here, and how to incorporate them?
  • What setting details would enhance the character actions?
  • What is the takeaway or suspense for your readers?

If it seems that every aspect of storytelling is comprised of asking lots of questions, you’re right. It is. As writers, we must don our analytical hats and comb every journalist-style question as we map out the story basics. For in asking those deeper questions, we will be able to craft a compelling scene that dazzles and engages readers.

Here’s a piece of my draft scene for the story I’m writing:

Footsteps echoed on the hardwood floor. The door swung open, and Dad retreated to his desk. A bulky L. C. Smith and Corona sat on the desk. Sunlight pushed through a filmy window from behind and glared across the desktop.

Footsteps echoed on the hardwood floor. The door swung open, and Dad retreated to his desk. A bulky L. C. Smith and Corona sat on the desk. Sunlight pushed through a filmy window from behind and glared across the desktop.

“What are you doing?” She settled on the wingback chair catty-corner the desk.

Dad pulled a clean sheet through the feeder. “Taking care of business.”

She scanned the desk for bills or business letters but only found heavily edited typed sheets of paper. “Oh. What kind of business?”

The return key dinged, and his fingers arched above the keys. “Not quite finished with it yet.”

She sighed, resigned to live in her father’s abrupt world, but wishing she didn’t have to be affected by it.

He hit a few keys and squinted at what he’d typed. “Oh, Paul and Kate said they’d help you get registered for school.”

He didn’t want to help her register for school? Fighting tears, she slammed her hands into her lap where he couldn’t see them. “You’re okay with that?”

“Why not?” A steady slap of keys followed.

Two crumpled sheets rested against a bookshelf across from her and the desk. Rejects. Why did she feel like joining them? She cleared her throat. “I don’t know, but maybe I’m not ready to walk all around school.”

“Rie, Paul says you’re doing well. Susan too.” He looked up, smiling. “That’s good enough for me.”

She rubbed the chair’s fraying arm. If this was his way of approving, then she’d take it, but she didn’t have to like it. “I’m glad you think so. I’m going to sit on Cherish today.”

He thumbed through half of the stack and set a portion aside. “Honey, I need to keep working. Do you mind if we talk later?” He picked up his pen and circled some words on a sheet from the middle of the stack.

Staring at the pile, she made out the word draft across the top of one page. What was he writing, and why was it more important than her? He’d hardly talked with her since she’d come back from the hospital. She grabbed her crutches and locked her knees.

Why did she think he would ever change now?

Like it? It’s not perfect, and will change, but it’s a start. Can you picture the setting as if you were right there? Do you notice words that invoke reactions like impatience, dismissiveness, striving, sad patience? Do you feel the rush of disappointment as Rie tries to talk with her father? Do you feel the anticipation, the hope, then the dejection settling in the pit of your stomach?

Think about your own story, and what your character wants. Got it? Now what kind of things would need to be in your setting that would set up the mood that describes your character’s feelings without saying what your character is feeling?

“She felt tired.” No! Rather, “The chair sagged in the corner, and she sank into it” shows you the character is tired. Exhausted. Beat. Done in.

What is the most important dominant impression in this scene?

The dominant impression is what stands out most in the setting that gives credence to the character’s mood and the scene’s mood.

In my draft scene example, the dominant impression was two things: the typewriter and scattered paper, and I used words and descriptions and motivations that described the office and the father’s actions, while bringing focus to what my character was feeling—and what she wanted. These dominant impressions also describe the mood of everything and everyone else in the room, and how the main character is affected.

In short, the dominant impression centers around the setting and helps bring focus and emotion to the scene and whatever happens in it. And often, the dominant impression affects your character’s emotions greatly.

How does the setting propel the plot forward?

Propelling the plot forward is tough. Not gonna lie. It’s that delicate balance between stop, listen to the birdsong, and go, race through the sun-splashed woods.

In making the scene move forward, whether slower paced or break-neck speed, it’s crucial to set certain actions, thoughts, motivations, descriptions in such a way that the setting builds to a crescendo. If you’ve ever listened to Handle’s Messiah, you know the rush of emotion you get when that last stanza is played. And you know the feelings that overwhelm you. Same for your writing because readers will be able to experience all those emotions with your characters at those levels, and then when you raise the stakes, then that emotion only grows.

For example, in my scene, the various propellers are in different places throughout that scene:

#1 “Why not?” A steady slap of keys followed.

#2 She rubbed the chair’s fraying arm. If this was his way of approving, then she’d take it, but she didn’t have to like it. “I’m glad you think so. I’m going to sit on Cherish today.”

He thumbed through half of the stack and set a portion aside. “Honey, I need to keep working. Do you mind if we talk later?”

As if Laurie’s been jerked out of that office, right?

Secret Sauce to the Best Setting. Ever.

“Places are never just places in a piece of writing. If they are, the author has failed. Setting is not inert. It is activated by point of view.”

Carmen Maria Machado, In the Dream House

And let that be true of your manuscript, however you choose to set up the setting in your story, whether you choose to ease in, ramp up, create waves, let it ebb and flow, or go off the deep end. No. No. Don’t do that. But do make your readers anticipate every moment of every element of each and every setting.

Each writer and author benefits from exploring their characters and setting inside and out, while asking “what if?” at every turn when crafting their novel’s plot because it’s really the secret sauce to writing a great story that captivates people, agents, editors, readers, marketers, and the person who wouldn’t necessarily pick up a book and read it.

Questions? Comments? I’d love to engage in the conversation with you! Drop your question or comment in the chat below, and I’ll look forward to responding!

Your Turn!

  • What is the dominant impression in your setting?
  • Which of the five senses will you use in your scene, and how?
  • How is your character viewing the scene by the setting, or how are they feeling / reacting?

Tisha Martin writes historical fiction and nonfiction but edits full time for beginning and best-selling writers and publishing houses. Since 2017 she has worked on over 250 books, including Planned from the Start, the devotional companion to Unplanned the movie, and serves as contest judge for Writer’s Digest. She puts her bachelors in Professional Writing, masters in English Education, and editing certificate from the PEN Institute to delightful good use. Her nonfiction essay “The Meaning of an Heirloom” in The Horse of My Dreams: True Stories of the Horses We Love is available from Revell. She enjoys speaking at writer’s conferences and coaching writers in the self-editing process. Learn more at www.tishamartin.com.   

Categories
Kids Lit

Which Hat Shall I Wear Today?

Kids Lit

  In January, I had the privilege of speaking about being a writer at a large private school near Chicago. But before my talk, as an added bonus, I had lunch with a group of award-winning student authors ranging in age from 5 to 13. (These students had been chosen to represent their individual classroom as “the best of the best” and read their work in front of the entire school.) So, while I chatted with these gifted wordsmiths in between bites of cheese pizza, I asked them: “Which was harder for you—writing or editing your story?” As I expected, all but one said the editing process had been way harder. Then, the one who didn’t jump on the editing bandwagon said something I’ll never forget.

 She very honestly admitted, “I had trouble with the writing process because I kept editing myself…”

That comment sparked a very interesting conversation about hats and one of my favorite books about writing, Dancing on the Head of a Pen: The Practice of a Writing Life by Robert Benson. In case you haven’t read it, Benson shares about the different hats he wears when crafting his amazing books. He sports a stylish beret when creating story. As he writes his “sloppy copy,” beret man is the guy in the chair. But once this first draft is safely recorded, he switches to his well-loved Yankees cap which he has lovingly named “Gamer”. He wears “Gamer” when editing. But Benson explains that bringing out “Gamer” too soon in the process can totally halt the creativity of “Beret man”—the artist.

 That’s what had happened to the student who confessed she’d really struggled with the writing process.

 “You switched hats too soon,” I told her, explaining Benson’s theory.

 What about you? Are you self-editing (and sometimes self-loathing) as you write and create children’s stories? Are you constantly fixing grammar and spelling or rewriting sentences three and four times before continuing on? If so, I feel your pain. I occasionally stifle my own creativity because I can’t get my baseball “Gamer” cap off my head. It just won’t budge! And, no matter how hard I try, I can’t create with “Gamer” calling the shots!

If you struggle with this premature switching of hats, here are three strategies you can implement to keep your beret safely in place as you create.

  • Write fast, really fast. Don’t give yourself the chance to edit. Just get that story down on paper or in that computer, whatever your process.
  •  Switch gears, not hats. The moment you feel yourself slipping into the editing mode, switch gears completely. For example, if you’re writing a picture book in narrative and you start to slip into editor mode, stop writing narrative and try writing your picture book in rhyme. That will get your creative juices flowing again and put your editor’s cap back on the hat rack.
  • Set the Mood with Music. This works well for me. If I’m creating, I have on “mood music” that awakens the creative part of me. So, when I was writing my book, “Get Your Spirit On! Devotions for Cheerleaders” I listened to all of the cheer music compilations that my daughters competed to when they cheered. That music was motivating and put me in the right mindset to write about “all things cheerleading.” But, when I am editing, I almost always listen to instrumental music. When the instrumental melodies fill my writing room, it instantly becomes my editing room. Maybe this tactic will work for you, too!

If you’re like the little girl who struggled with knowing which hat to wear—the beret or the Gamer—I hope you’ll try these three strategies. And, I recommend you purchase your own copy of Dancing on the Head of a Pen and glean from Benson’s genius. 

Michelle Medlock Adams is an award-winning journalist and best-selling author of over 90 books with close to 4 million sold. Her many journalism and book awards include top honors from the Associated Press, AWSA’s Golden Scroll for Best Children’s Book, and the Selah Award for Best Children’s Book. Michelle currently serves as President of Platinum Literary Services, a premier full-service literary firm; Chairman of the Board of Advisors for Serious Writer, Inc.; and a much sought-after speaker at writers conferences and women’s retreats all over the United States.  

When not writing or teaching writing, Michelle enjoys bass fishing and cheering on the Indiana University Basketball team, the Chicago Cubbies, and the LA Kings.

 Michelle is celebrating the recent release of her books, Get Your Spirit On!, Fabulous & Focused, Dinosaur Devotions, and C Is for Christmas, and she’s anticipating the upcoming release of What Is America? (Worthy Kids) and They Call Me Mom (Kregel), a devotional book she co-authored with Bethany Jett.

Categories
Courting the Muse

Why Reading Bad Prose Can Make You a Better Writer

A quarantine isn’t a writing retreat. Sure, some of the greats managed to transmute epidemiological panic into excellent prose (and poetry). Shakespeare — as I’m sure we’ve all heard — may have taken advantage of the Globe Theater’s shuttering to pen King Lear as the plague ravaged London. Now, panic sweeps through our own communities while government orders shutter our doors. Should we channel the Bard and try to write our way out of alienation and anxiety?

For some, that’s easier said than done. Maybe you’re spending this time caring for loved ones, looking out for vulnerable neighbors, or even just learning how to navigate this new normal: urgent and necessary tasks that push your latest writing project to the wayside. That’s no reason for guilt. After all, you’re a human being before you’re a writer, and practicing compassion — for yourself and your community — will only make you a more sensitive storyteller in the long run.

That said, if you do have the bandwidth to craft a paragraph or fashion a plot, creating through the uncertainty can help you feel less adrift. It’ll stimulate your mind with something other than the news and give you a reason to reach out to like-minded writers — crucial at a time when we could all stand to feel less alone.

Just don’t put undue pressure on yourself by trying to write the next King Lear. Instead of force-fitting yourself into a Shakespearean mold, try looking to a counterintuitive source for authorial inspiration: bad writing. Not only will it give you a much-needed laugh, but studying shoddy prose will actually help you sharpen your craft. Here are three reasons why.

1. Learning how not to write can be easier than learning how to write

Think back to your standardized test-taking days. Remember using the process of elimination to puzzle out a question that might have otherwise stumped you?

Studying bad writing — a plodding novel, a disjointed short story, even a muddled and misshapen sentence — can improve your craft in the same way. Read enough problematic prose, and you’ll quickly build up a checklist of things to look for as you revise. Speaking of which….

2. Honing your editorial judgment is easier when you’re reading someone else’s prose

As writers, we can be blind to our own stylistic quirks, letting our gaze slide over major bobbles because we got inured to seeing them. On the other hand, we might be oversensitive to our faults. Without a firm sense of our own writerly strengths, we end up second-guessing everything and finding fault with perfectly sound passages.

When you read bad prose produced by another writer, these emotional hang ups aren’t in play: you can read the passage for what it is and critique it with a cool head. Over time, you’ll develop sound editorial instincts — and be able to draw on them when you return to your own writing.

3. Seeing the greats falter is a great reminder of your own potential

Maybe you’re worried that this particular form of writing inspiration leads to a mean-spirited exercise in punching down. After all, does anyone turn out terrible prose except for newbie writers — the very people we should be showering with support and encouragement?

Luckily, that’s not quite true — you can find plenty of models for how not to write among the oeuvres of literary giants. Just look at the hordes of Booker Prize winners who have earned nods from the infamous Bad Sex in Fiction Award and the fearless book reviewers who savage the bibliosphere’s stars. Even Shakespeare himself doesn’t always hit a home run: Titus Andronicus has garnered its share of thumbs downs over the years.

You should absolutely read celebrated writers at their best. But don’t be afraid to read them at their worst as well. It’s a much-needed reminder that every literary luminary was once like you — a writer intent on improving their craft.

Lucia Tang is a writer for Reedsy, a marketplace that connects self-publishing authors with the book industry’s best editors, designers, and marketers. To work on the site’s free historical character name generators, she draws on her knowledge of Chinese, Latin, and Old Irish —  learned as a PhD candidate in history at UC Berkeley. You can read more of her work on the Reedsy Discovery blog, or follow her on Twitter at @lqtang.

Categories
The Picky Pen

How to Edit Point of View

As we continue this editing series how we can develop a great story, I hope you’re able to see that the elements of storytelling hinges on more than concept and characters. By having all the layers in place before actually writing, you can have a clearer idea of where your story is going. Or if you’ve already written your book, how to make sure all the layers are in place so that you give your readers a delightful reading experience.

The third layer in developing a great story is developing your story’s point of view.

Point of view doesn’t stop with characters, but also affects inanimate and animate objects like setting and weather. Let’s discuss some possibilities!

How to Edit the Point of View

  • Who has the most at stake in this story?
  • Whose perspective offers the best story in this scene?
  • How will your chosen POV impact your characters, the plot, your readers?

Who has the most at stake in this story?

In storytelling, it’s really all about what’s at stake for the main character. And it’s not what they’re grilling, either. Unless, of course, it’s a camping novel, and then it works.

Which character has the higher stake? The butcher who is forced to sell his butcher shop because his wife is sick, or the daughter who must leave her school to travel with her family so they can get medical help for mother? It depends.

We must ask ourselves the following potential questions:

  • Who is your audience?
  • Which character is speaking to you the most?
  • Which character has the most to learn by the end of the story?
  • What is the takeaway for your readers?

If it seems as if storytelling is comprised of asking lots of questions, you’re right. It is. As writers, we must don our analytical hats and comb every journalist-style question as we map out the story basics.

Whose perspective offers the best story in this scene?

Perspective is everything. It’s the difference between telling the story from Boo Radley’s eyes or from Scout’s eyes; the old man’s eyes in UP or his wife’s eyes; or Turnley Walker’s eyes.

Even if you are not familiar with the characters I just named, you might have noticed that the perspectives are all very different from each other. There’s first person, third person, and second person.

First Person

To Kill a Mockingbird. Harper Lee tells the story from Scout’s perspective in first person. Everything that I experience in this story is as if I were viewing the world from Scout’s vantage point. I get inside Scout’s head and notice everything, feel everything, do everything, and think everything that Scout does. I’m affected by the arguments of the era, the racial disputes, and the events around me.

Writing in first person is a great way to share cultural and social issues with readers because of the depth of voice you can write from. You can also write your story from a first-person heroine and a third-person hero (in separate chapters, of course), if you’d like to switch it up a bit. Additionally, teen readers often relate to stories written in first person, as my friend Kara Swanson has done in her Peter Pan retelling, Dust (July 2020, Enclave Escape, a division of Enclave Publishing).

Second Person

Writing in second person is often discouraged. I’m not quite sure why, other than it can feel a bit clunky on the page. My friend Angela Hunt, author of biblical historicals, says that writing in second person “is the bubble gum flavor of ice cream. It’s delicious, but a bit annoying because you have to work on holding the bubble gum in your mouth while trying to swallow the ice cream and cone” (Unmasking the Mystery of Point of View, Angela Hunt, 14).

But sometimes I think that second person (you) tends to sound narrative in tone, which can be a fun way to tell a story. So if your story feels narrative in nature and your characters aren’t good at telling their own story, you might consider writing in second person. Or if your story has an ultimately unique perspective or subject matter, then maybe telling the story in second person works. Keep in mind, second person also requires the present tense verb. Let’s read an example from a book published in 1950.

Rise Up and Walk by Turnley Walker. It’s the personal story of a man who contracted polio, a crippling flulike virus, and he chose second person voice to tell his story. I think it’s effective because it puts readers in an empathetic mood. Turnley opens the story like this,

“The regulation hospital bed is thirty-four by seventy-four inches. In the beginning that much space is allotted to each polio—the new name you get after Infantile Paralysis slugs you. That thirty-four-by-seventy-four inch area is a place that poliomyelitis allows  you, and even though you have been a much-traveled man in the outside world, you learn to live in it” (Rise Up and Walk, Turnley Walker, 7).

There are a few things I notice about this opening and the second-person viewpoint:

  • The subject matter is interesting
  • The tone is reflective and conversational
  • The tone affects empathy

Now, lest you think second person is a great idea, please think again. It’s not often used, and when it is, it can be difficult to manage because it also requires writing in present tense. Still curious? Go ahead. Give it a try. See how it works for you—and then ask a beta reader or skilled editor to ensure the story’s worthy of second person.

Third Person

Writing in third person is the most-used option for POV for several reasons. It’s easy. It’s fun. And you get to explore the world through multiple characters’ eyes. Besides, most authors write in third person.

Telling the story from the viewpoint of she or he or they or it adds life to a story because it allows readers to experience the story from a bird’s-eye view while also getting inside the head of the main character in the story at the moment.

Nan, in Elizabeth Berg’s The Pull of the Moon, sets off to adventure the world at fifty. As she gets into her car and drives across the country, she explores places, meets people, and discovers herself along the way. And I imagine the author wrote this book from Nan’s perspective, making this book an exceptional insight into the life of one character.

Writing in third person requires using the five senses and the journalist’s five W’s and H, and for the best reading experience, showing readers the world from that character’s POV. This means—what they see, hear, feel, say, think, do—whatever they experience is only told from their eyes. Only. Head hopping is not an option here. It’s more confusing for readers to experience the same scene from two characters or more. (Watch for a future blog post on that topic!)

How will your chosen POV impact your characters, the plot, your readers?

Choosing the correct POV is as important as choosing the correct plot trajectory or characters to act out the story. The correct POV is the mood of the story, the flavor you want readers to taste, the mountain you want them to view.

If you’re writing in a voice that seems “off,” try switching gears and write in another voice. There isn’t a wrong way to write a story, but there is the right viewpoint that tells the best story.

Secret Sauce to the Best Point of View

Elizabeth Berg, author of The Pull of the Moon, says, “I have wanted you to see out of my eyes so many times.”

And let that be true of your manuscript, however you choose to tell your story and whomever to use to tell your story—whether first person, second person, third person, deep point of view … or if you choose to let an animate or inanimate object tell the story, so be it.

Each writer and author benefits from exploring their characters inside and out, while asking “what if?” at every turn when crafting their novel’s plot because it’s really the secret sauce to writing a great story that captivates people, agents, editors, readers, marketers, and the person who wouldn’t necessarily pick up a book and read it.

Questions? Comments? I’d love to engage in the conversation with you! Drop your question or comment in the chat below, and I’ll look forward to responding!

Your Turn!

Who is your audience, and what do you hope they gain from reading your book?

Which viewpoint do you think is best to tell the story you’re writing, and why?

Tisha Martin writes historical fiction and nonfiction but edits full time for beginning and best-selling writers and publishing houses. Since 2017 she has worked on over 250 books, including Planned from the Start, the devotional companion to Unplanned the movie, and serves as contest judge for Writer’s Digest. She puts her bachelors in Professional Writing, masters in English Education, and editing certificate from the PEN Institute to delightful good use. Her nonfiction essay “The Meaning of an Heirloom” in The Horse of My Dreams: True Stories of the Horses We Love is available from Revell. She enjoys speaking at writer’s conferences and coaching writers in the self-editing process. Learn more at www.tishamartin.com.   

Categories
The Picky Pen

How to Find the Felt Need

This is the first post in my editing series in 2020 for how to develop a great story by having all the layers in place before actually writing, or if you’ve already written your book, how to make sure all the layers are in place.

The first layer in developing a great story is finding the felt need.

We all have needs. We have a need for sleep, sustenance, and sunshine. Your readers have needs, such as reading a soul-stirring good book. Your characters have needs like how to move forward in a relationship or making it through a congested highway in time to punch the clock. And do all those needs need to match? Not really, but they should at least mesh in some way. If you don’t know why your readers are reading your book, then what’s the point? You don’t have an engaged audience, you can’t sell books, and you just aren’t going anywhere, eh? Well, I want you and your books to go somewhere! 🙂

Recently, one writer lamented that the qualities necessary for a good nonfiction book were clearly not the same as the qualities necessary for a fiction book. Readers of fiction, they said, do not specifically read to meet their “need.” Okay, so I can see what they’re saying, but I respectfully disagree.

While it’s somewhat true to that fiction readers don’t read because they have a flaming need, readers of fiction read because they enjoy a good story. And as writers who care about writing good stories, we must give readers what they’re looking for, what they’re craving. The next few paragraphs presents several ways to easily find the felt need in your fiction manuscript.

How to Find the Felt Need

  • why are you writing this particular story?
  • what do you want readers to come away with at the end of the story?
  • how do the answers to the above questions play into your characters’ lives?

Why Are You Writing this Particular Story?

If you’re writing for the sake of writing, that’s a good cause, but if you’re writing because you have an urgent message to share with the world, that’s an even better cause.

Sometimes a book explores an issue to seek to uncover the lie and expose the truth, as in To Kill A Mockingbird. Sometimes a book is meant to show the reader what is most important, such as in Where the Red Fern Grows. And sometimes a book is just fun and lighthearted, with a loose message threaded throughout, like Cranford.

What Do You Want Readers to Come Away With?

Every story has a “so what?” factor, whether it’s an essay, article, nonfiction, or fiction. Every story has a purpose, even if it’s to have a good, hearty laugh (like the ladies do in Elizabeth Gaskell’s Cranford) or to integrate the romance factor as in The Great Gatsby.

In my essay, “The Meaning of an Heirloom,” in The Horse of My Dreams (Revell 2019), I wanted readers to come away with the idea that an heirloom extends beyond the space of something tangible; an heirloom could be intangible—and have a lasting impact on the world and others.

Each author benefits from exploring this “why” question when crafting their novel because it’s really the secret sauce to writing a great story that captivates people, agents, editors, readers, marketers, and the person who wouldn’t necessarily pick up a book and read it.

A Few Examples

In The Baggage Handler by David Rawlings, the characters are on a journey of discovery about who they really are and the baggage they carry. I believe the author wanted readers to be at peace with their relationships in all kinds of spaces.

Under Moonlit Skies (Prairie Skies series) by Cynthia Roemer seeks to empower readers that self-acceptance is more powerful than romantic love.

The theme of Sarah Sundin’s Sunrise at Normandy series is about forgiveness, and each main character (The Sea Before Us [2018], The Sky Above Us [2019], and The Land Beneath Us [2020]) must forge their own forgiveness path as they interact with each other and experience different situations that speak to their own needs.

So … as you’re editing your manuscript’s “felt need” and crafting your novel and its purpose to better serve your current readers and your future readers, I hope this bit of explanation is helpful to you.

Questions? Comments? I’d love to engage in the conversation with you! Drop your question or comment in the chat below, and I’ll look forward to responding!

Your Turn!

What is your character’s felt need? What is your story’s “why”?

What do you want your readers to come away with by the end of reading your book?

(Please, no retelling what the book is *about.)

Tisha Martin writes historical fiction and nonfiction but edits full time for beginning and best-selling writers and publishing houses. Since 2017 she has worked on over 250 books, including Planned from the Start, the devotional companion to Unplanned the movie, and serves as contest judge for Writer’s Digest. She puts her bachelors in Professional Writing, masters in English Education, and editing certificate from the PEN Institute to delightful good use. Her nonfiction essay “The Meaning of an Heirloom” in The Horse of My Dreams: True Stories of the Horses We Love is available from Revell. She enjoys speaking at writer’s conferences and coaching writers in the self-editing process. Learn more at www.tishamartin.com.   

Categories
The Picky Pen

Punctuation Series: How to Edit Modifiers

Presentation is everything, especially when it comes to the publishing world. And your presentation of punctuation is crucial to your book’s success. But punctuation can be tricky, boring, and downright distressing at times. As a writer and an editor, I completely understand your frustration with grammar altogether. You’d rather write, right? Right! So let’s continue our 2019 focus on a simple, easy-to-understand punctuation series that I hope will be a help and encouragement to you, allowing you more time to write well.

How to Edit Modifiers

Wait a minute, you say. Dangling, misplaced, or simultaneous modifiers does not fall into the category of punctuation. Eh, you have a point. However, might I propose that a dangling modifier has everything to do with commas, and that does point to using the best sentence structure for good punctuation results. Hang on—and I’ll show you what I mean.

Whether you write fiction or nonfiction, take notice. Misplaced modifiers are like the creepy crud of winter, and certainly not meant to be misused in your manuscript.

Why We Even Use Modifiers in the First Place

A modifier use in the beginning of your sentences modifies (or supports) the subject of the sentence. If that’s out of place, your sentence causes a misreading, which is not nice.

What IS a Modifier??

A modifier is a word usually ending in “ing” and is part of a word or phrase. A modifier describes the action or the subject. Feel better? I hope so!

What Are Poorly-placed Modifiers?

  • If the modifier does not describe the subject
  • If the modifier cannot be connected to the subject
  • If the modifier causes the reader any confusion about the subject and the verb’s purpose of the sentence
  • If the modifier happens at the same time the subject is doing the action

Dangling Modifier – does not connect to the subject of the sentence

Misplaced Modifier – is unclear about the action taking place

Simultaneous Modifier – creates confusion because two actions are happening at the same time

Let’s Dive In!

Dangling Modifiers

Sentence:

  • [Running down the street], the construction cones guided the cars

Problem:

  • Well, construction cones can’t run down the street, so this structure is unclear.
    Rewrite:
  • The cars drove in between the construction cones lining the street.
    Reason:
  • We made the cars the subject of the sentence, which it should be anyway, and this is a much clearer sentence.

Sentence:

  • [After offering a slice of bacon], the traveler was nourished to keep going.

Problem:

  • Okay, questions. . . Who offered the slice of bacon? And how can one piece of bacon nourish anyone?? I’d want a heaping pile! This sentence is uber unclear on so many levels!
    Rewrite:
  • After offering the weary traveler a plate of bacon, Rudy saw the man’s strength return.
    Reason:
  • We inserted a clear subject, completed the modifier so that it made sense, and gave the traveler more bacon!!

Misplaced Modifiers

Sentence:

  • The professor wrote a book about his experience in Prague on Saturday.

Problem:

  • Hmm, when did he write the book? Or when did he have the experiences? The action is totally unclear here.
    Rewrite:
  • On Saturday the professor wrote a book about his experience in Prague.
    Reason:
  • We placed the adverb at the beginning of the sentence, which establishes the professor’s action. Now we know what actually happened!

Sentence:

  • I met with my writer’s group where we talked about our characters’ actions on Tuesdays.

Problem:

  • So your characters only have actions on Tuesdays. What do they do on the other days?
    Rewrite:
  • I met with my writer’s group on Tuesday where we talked about character action.
    Reason:
  • We moved the adverb to when the group actually meets, and we adjusted the subject being talked about so that it made better sense.

Simultaneous Modifiers

Note: I have to say that this one is my favorite because I’ve committed this offense myself, and chuckle now when I catch it. This one truly is a psychological trick, but if we think through each action, this is a super easy fix!

Sentence:

  • Taking her shoes off, she put the milk in the fridge.

Problem:

  • She cannot take her shoes off and put the milk away at the same time. Not even if she’s a main character from your latest sci-fi or fantasy tale—there are certain rules that cannot be broken.
    Rewrite:
  • After taking off her shoes, she put the milk in the fridge.
    Reason:
  • We made the first part past action, and made the second part present action.

Sentence:

  • Hugging her parents, she tore into the bag of goodies.

Problem:

  • Again, this is impossible to do both at once. (No…not even if your character has two sets of hands! It’s just wrong.)
    Rewrite:
  • Grateful, she hugged her parents before tearing into the bag of goodies.
    Reason:
  • We set each action up as happening separately, with the most obvious order happening first. (Thanking and then opening.)

Using well-placed modifiers is important because presentation and sentence understanding makes a world of difference to an editor, agent, publisher, and readers. That may seem counterintuitive because the writing is equally important, but it’s the presentation that tends to enhance your credibility as a writer. (Especially if you self-publish and are doing your own first-draft editing.)

Next month, we’ll look at some more ways to edit the punctuation in your manuscript, but for now. . .

Please take a minute and join in the discussion! I’d love to hear from you!

What are some of your “pet” dangling modifiers?

Are there any of these sentences you would reword?

Tisha Martin writes historical fiction and nonfiction but also edits and proofreads for beginning and best-selling writers, professional editing agencies, and publishing houses. She has a BA in Professional Writing, an MS in English Education, and an editing certificate from the PEN Institute, affordable continuing education for editors. Active in American Christian Fiction Writers and The PEN, she appreciates the writing and editing communities. As Assistant Director of PENCON, a conference for editors, she enjoys travel marketing and updating PENCON’s Facebook Page. Connect with Tisha on her website www.tishamartin.com and engage in the conversation.

Categories
Blogging Basics

How To Polish Your Blog With A Little Help

When meeting first time bloggers, I am often asked about hosting, web pages, and behind the scenes technical issues. Focusing on the technical side of blogging often overwhelms first time bloggers stifling creativity where it is needed most; in writing the blog itself. To conquer this problem, I suggest a homework assignment. Write three to six blogs in Word.

Two reasons I suggest this assignment. One, it helps with concept and organization. If I write six blogs, what will I write? What concepts do I want to share? Do I have enough content to maintain a weekly or a monthly blog? Two, having six created blogs ready to go, helps you then focus on the technical and marketing side of blogging when you are ready to go live. I offer to read their first two blogs checking for content, flow, and overall readability.

Last year I discovered an amazing resource to help with the heart of your blog: the actual writing and editing of blogging. I edited my second book using ProWritingAid. The following are my favorite features of this writing software program.

The Summary Report

My blog writing process starts with free writing. Without self-editing, I let my words flow on the page, mistakes and all. Without words on the page, you have nothing to edit. Then I self-edit without opening an editing software program. Once I am satisfied with flow and content, then I open ProWritingAid in Word.

Without words on the page, you have nothing to edit.

My Blog Writing Process

  1. Free Write
  2. Self-Edit
  3. Edit Using ProWritingAid

The Summary Report

This report offers an overall score for grammar, spelling, and style. I open this report first to get a sense of how much I need to edit the document. The goal is to have each category report a 100% score. If any score is lower than 100%, I select the individual report for review.

Grammar

Grammar suggestions appear in the right-hand column of your Word Document. Select the down arrow to read offered suggestions.

Examples:

  1. Sentence: A score of 100 for overall score. The report suggests: A score of 100 for an overall score. Action: Add an to the sentence.
  2. Sentence: An illness or disease like cancer. The report notes: Possible missing determiner. Change to: An illness or a disease like cancer. Action: Add a to the sentence.
  3. En-dashes: _ to –  . The report advises: En-dashes should never have a space on either side. Action: By selecting the suggested change, it automatically makes the update in Word.

Example #1:

Note: I also use Grammarly to check grammar as it also offers suggestions.  See free version at the end of the blog.

Spelling

The spelling check is found in the Grammar report and is straight forward. In this blog, I used the words Free Write. The spelling feature of ProWritingAid suggested I change my words to Fred Waite instead. In this case, I would select the green eye icon to override and hide this suggestion.

Style

This report checks for use of passive and hidden verbs. The report highlights areas for review and correction. Here is an example of a passive verb and a hidden verb discovered in the initial writing of this blog.

Passive Verb Example: Many people are overwhelmed

The report suggests: it overwhelms many people.

My corrected sentence: The technical side of blogging often overwhelms first time bloggers.

Hidden Verb Example: in the writing of the blog

The report suggests: No suggestions

My corrected sentence: in writing the blog itself.

Repeated Sentence Starts:

Another great feature of the style report is catching repeated sentence starts.

Example: I jumped in the pool. I shivered because the water chilled me to the core. I had to get out fast.

Change to: After diving into the pool, I shivered as the water chilled me to the core. In less than a minute, I swam to the side and leaped out.

Note: You can still obtain a 100% score by keeping two of your personal style preferences in the document. In editing my devotional, the program made a recommendation to correct a bible verse. I left the bible quotation “as is” leaving the integrity of the words in place and still received a score of 100 in the Style Report.

Readability

The readability report uses the Flesch Reading Ease, The Coleman -Liau Formula and The Automated Readability Index to return an overall score for this report. If your document is easy to read this report congratulates you. Otherwise, it highlights sentences you may want to re-write for easy reading for your audience.

In my initial writing of this blog, I wrote these two sentences:

Sample Sentences: This report offers a unique feature giving Estimated Reading Time. Great resource to offer your readers with limited time to read your blog.

But, the report flagged these sentences for readability by highlighting them in yellow as seen above. To change the sentence for a wider audience of readers, I made this adjustment:

Corrected Sentences: The readability report has a feature called, Estimated Reading Time. Using this resource will let your readers know how long it will take to read your blog.

Sticky

Another report to check for wordiness is the Sticky Report. The software checks your document for “Glue Words.” ProWritingAid shares “Glue words are the empty space that readers need to get through before they can get to your ideas. Generally, your sentences should contain less than 45% glue words. If they contain more, they should probably be re-written to increase clarity.”

They offer the following example:

  • ORIGINAL: Dave walked over into the back yard of the school in order to see if there was a new bicycle that he could use in his class. Glue index: 60.7% – Sentence length 27 words
  • REDRAFT: Dave checked the school’s back yard for a new bicycle to use in Glue index: 42.8% – Sentence length 14 words

Examples of Glue Words include in, on, the, was, for, that, will, and just.

All Repeats

This is my all-time favorite report of ProWritingAid. I attend a local critique group once a month where fellow writers read up to 1500 words of a work in progress. This group has helped me to grow as a writer over the years. They have helped me to avoid glue words and to catch duplicate words in my writing among other things. I recommend joining Word Weavers, not only for the critiques offered but the comradery.

Word Weavers Link: https://word-weavers.com

I use ProWritingAid to catch duplicate words before presenting my work to the critique group. This helps polish my document so my fellow writers can focus on the content presented.

This rainbow-colored report takes some getting used to at first, but it helps to identify changes to make your work shine. The following paragraph is from my October 2018 blog:

I remember the first time I saw a little person. I was about 8 years old. My mom brought me to the grocery store, and as we were leaving, I saw an adult dwarf. He had the short stature of child, but the facial features clearly showed he was an adult. Little did I know then, I would one day become the mother of a little person.

Each color highlights repeat words to review. Notice “an adult” is shown in orange because it appears twice in this paragraph. See the suggested change below.

The report suggests “a man” as an alternative. I could change the third sentence to read “a male dwarf” or “a middle-aged man who had dwarfism.”

You can also check for synonyms in the Thesaurus also included in the software.

In my opinion, this report alone is well worth the cost of ProWritingAid. If you feel this software would benefit your writing, see below.

Writing Software Costs:

In this blog, I’ve suggested ProWritingAid as a writing software option. Below are a few other programs for comparison.

Grammarly

Free Program: Critical grammar and spelling checks.

Premium: $139.95 a year, $59.95 quarterly or $29.95 a month. (Includes checks for punctuation, grammar, context, and sentence structure, and more.)

Purchase here:

Hemingway Editor

Addresses lengthy/structurally complex sentences, meandering sentences, hard to read sentences, weak sentences, and passive voice.

Online version: Free

Hemingway Editor 3 – One-time payment: $19.99. (Publish directly to WordPress or Medium with one-click.)

Purchase here:

ProWritingAid

Offers a free trial.

Cost: 1 year for $60, 2 years $90, 3 years $120 and Lifetime $210.

Purchase here:(This is an affiliate link: As a ProWritingAid affiliate, at no additional cost to you, I earn compensation if you click through and make a purchase using this link.)

What editing software program do you use? Comment below and share your favorite feature.

Evelyn Mann is a mother of a miracle and her story has been featured on WFLA Channel 8, Fox35 Orlando, Inspirational Radio and the Catholic News Agency. A special interview with her son on the Facebook Page, Special Books by Special Kids, has received 1.4M views. Along with giving Samuel lots of hugs and kisses, Evelyn enjoys hot tea, sushi and writing. Visit her at miraclemann.com.

Categories
The Picky Pen

How to Edit Your Character

We’re heading into a New Year. Perhaps you’ve finished a novel during Nanowrimo. Maybe you’re plotting a new story to begin writing in January. New Year, new goals, new story, right? I’d like to touch a little on how to edit your character. This might be something you tuck away and pull out after you’ve finished your discovery draft, or something you’re ready to use if you’ve completed your draft during the November writing frenzy.

I’d like to share a blurb from a well-loved classic to delve into the art of editing your character so that their inner/outer journey, actions, and dialogue is specific to the special person you’ve created. These elements will apply to both fiction and non-fiction.

Jane Eyre by Charlotte Bronte is a leading example of the depth of story through the power of its characters and how each character is important to the plot. We see all of the main elements in Jane’s character that really endear her to us: background, personality, appearance, and journey.

Background

Jane in Jane Eyre came from a horrible background. She thinks she will be nothing more than a servant because that’s what she’s been told as a young girl. However, she desires to be more, and applies at Thornfield Hall as the new governess. And throughout this new experience, we see Jane struggle with feelings of being good enough for her new position, but how she chooses to react to those past situations in light of her interactions with Mr. Rochester eventually allows her to influence Mr. Rochester’s life.

What about your characters? Whether you’re writing fiction or non-fiction, you have many different characters who all play a part in your story. Your main character drives the story, and the other characters enhance what your main character does. What brought your characters to the beginning of your story?

Personality

When Jane first meets Mr. Rochester, she thinks he’s an angry person, but he does not scare her. What does that tell you of her personality? Her background of being treated unkindly and unfairly is characterized in her personality. She is not afraid of Mr. Rochester because she has learned how to respond to less-than-desirable actions from others. Jane’s gentle, firm, and idealistic personality is consistent throughout the novel, which creates a compelling character in Jane, and one that readers admire and love.

What about your story? What motivates your character to do the things they do, say what they say, or react and respond to different events within the story? In a non-fiction manuscript, your character’s personality will enhance the illustrations for each point you’re trying to

make and the content will really come alive for your readers. Developing these elements will ensure your character has a depth of personality that will affect your readers.

Appearance

Jane thinks she is plain, but in the end Mr. Rochester thinks she is the most beautiful person he’s ever seen, even though he has lost his sight due to the fire. Why is this? Jane’s inner character shines through to her outward appearance in her tone, mannerisms, and attitude.

What about your characters? Your readers will gauge your characters’ general appearance (hair color, eye color, skin tone, height), but it’s the inner appearance we create that will give readers a deeper understanding and appreciation for your characters. For example, a reader may find a character’s smile to be endearing, while the character themselves may think that their smile makes them look awkward because they have a crooked smile. When we describe the characters in our manuscript, we may be compelled to give a list of all of our character’s features. However, this type of character description bogs down the story. The trick is to describe characters in a way that is natural, and that is through your character’s actions in each scene.

Character’s journey

There are two kinds of journeys for your character. The inner journey and the outer journey. Each journey motivates the character throughout the story and engages the reader in your character’s life. What is the inner journey and the outer journey supposed to look like? The outer journey is what the character wants, and the inner journey is the inner struggle of that desire.

Jane wants to be treated not as a servant but as an equal. She wants independence, but she also wants someone to love her. The story shows how she displays that independence by standing up to Mr. Rochester’s indifferent attitude toward her. But with her inner journey, her struggle, she fears that she is not his equal because of their class differences, and she also fears that she might lose her independence, even though she desires to marry Mr. Rochester.

What about your characters? What does your character want? What is your character struggling with? What are they afraid of? What do they have to lose? Your characters will go through a series of emotional arcs. Michael Hague describes a character arc as a journey from living in fear to living courageously. Whether fiction or nonfiction, you decide what your character or reader wants. Then you structure the different events that your character goes through with the inner journey of how they are internalizing the events around them based on their outer journey, what they want.

Wrap-Up

The key here is to create a trail of breadcrumbs that leads your readers from Point A to Point B, keeps them guessing at how the character is going to get what they want, and what might get in their way and prevent them from getting what they want. And these four elements of your character’s background, personality, appearance, and journey set the stage for an engaging reading experience that whisks your readers away to a world of characters—and story—your readers will never forget.

Please take a minute and join in the discussion! I’d love to hear from you!

What’s your favorite character from a novel you’ve read, and what makes that character special to you? How can you enhance your own characters by the characters you read about in other books?

Tisha Martin writes historical fiction and nonfiction but also edits and proofreads for beginning and best-selling writers, professional editing agencies, and publishing houses. She has a BA in Professional Writing, an MS in English Education, and an editing certificate from the PEN Institute, affordable continuing education for editors. Active in American Christian Fiction Writers and The PEN, she appreciates the writing and editing communities. As Assistant Director of PENCON, a conference for editors, she enjoys travel marketing and updating PENCON’s Facebook Page. Connect with Tisha on her website www.tishamartin.com and engage in the conversation.

Categories
The Picky Pen

Five Ways to Edit Dialogue

When thinking about the dialogue in our story, whether fiction or nonfiction, we must consider perspective. With each story, there should be one main character whose point of view by which the reader experiences the story. Dialogue is one of the storytelling tools that lets you reveal character, advance the plot, establish the setting, and deliver the theme, all at the same time. That means that your dialogue needs to be tight and very easy to read. Well written dialogue ensures that your characters’ conversations will move right along and enhance each of your characters, as well as the overall story message.

I’d like to share several ways you can self-edit your dialogue to make sure it is truly impactful for your readers.

How to edit dialogue

1.  The first way to self-edit your dialogue is to chop down wooden dialogue.

In real life, people stammer and repeat themselves when conversing, but the characters in your manuscript are supposed to sound natural and spontaneous. Wooden dialogue puts a wall between your characters and your readers and actually tells your readers what the characters are doing. Here is an example.

“Joy, why are you raising that hammer above your head?”

“Because I want to hang up this picture.”

This type of dialogue does two things. It tells the reader what the character is doing, and it is stilted conversation that gives narrative details. Because you want your readers to engage in your characters’ lives, you must chop down wooden dialogue so it is smooth instead of stiff or rehearsed. Let’s revise that bit of dialogue to bring out the characters’ personalities.

“Hey, that looks like a hard position to be in, let me help you.”

“Oh, thanks. I thought I was going to fall over.”

Doesn’t that sound a little more interesting? Good dialogue will engage your readers and show your characters’ personalities.

2. The second way to self-edit your dialogue is to get rid of insignificant dialogue.

In real life, people often exchange niceties, such as inquiring how someone is, or discussing the weather. Small talk is a way to cover up nervousness or before discussing more important or sensitive topics. But in our manuscripts, insignificant dialogue kills the dramatic purpose our characters have for each scene. If the purpose of your scene is to show the nervousness of two couples meeting for the first time, then perhaps insignificant dialogue might work, but don’t let it go on and on. The more significant you make your dialogue the more of an impact it will have on your readers. And for the most part, your dialogue needs to reveal the character’s goal and reason for having that particular conversation.

3 . The third way to self-edit your dialogue is to cut out repetitive dialogue.

Have you ever heard two people tell you the same story at the same time? This is what repetitive dialogue tends to do in your manuscript. Then the story gets very monotonous. It’s a good idea to read your dialogue sections out loud and look for repeated words and ideas that stand out to you. Let me give you an example of repetitive dialogue.

“He was elected unanimously. Everybody voted for him.”

This is the same thing twice, doesn’t it? To make this dialogue simpler, choose the strongest piece of dialogue that best conveys the scene’s purpose and the character’s goal in light of the overall message of the manuscript.

4 . The fourth way to self-edit your dialogue is to clothe the naked dialogue.

Readers want dialogue that discusses opinion, involves conflict, and keeps them turning the page. And often, dialogue is unimpressive. To enhance the dialogue so that it is impressive, we can do several things to our dialogue to enhance the reading experience and provide subtext.

Use descriptive tags. A tag helps the reader keep track of who is talking and reveals the characters manner of speaking when the words alone don’t imply it. For instance, “I’m not hungry,” Jerry moaned. what does this tell you about Jerry? Perhaps he is tired or sad. There are so many elements of subtext that we can read into just by the descriptive tag moaned.

Use speaker actions when they contradict or reinforce the spoken words, or when they help the reader picture the scene more easily. For instance, “I’m not hungry,” Jerry moaned, laying his head down on the table. Now how does Jerry feel? We know that by this action, he is tired, therefore, he is not hungry.

5.  The fifth way to self-edit your dialogue is by trimming overdressed dialogue.

Have you ever met someone who is cold-blooded, especially during the summer time and every time you see them they’re always wearing long sleeves? I don’t know about you but sometimes that makes me feel even hotter because that person is overdressed. This can also happen to our dialogue, where we use too much information in our dialogue. There are several ways that dialogue tends to be overdressed.

The use of speaker tags. Speaker tags describe the characters voice, but since it tends to chop up the dialogue, speaker tags should be used as little as possible. The only time it makes sense to use a speaker tag is when the reader might be confused which character is talking. Here is a poor example of overdressed dialogue:

“I’m going to the par-ty,” Isabella said happily, twirling.

“If you don’t stop twirling, you’re going to break something,” Robert said in a warning tone as he folded his arms.

Many times the speaker tags can repeat the tone within the dialogue therefore creating the problem of repetitive dialogue. And as we have already discussed, we can lace our dialogue best with meaningful actions, thoughts, and impressions. There are several ways that we can trim our dialogue.

The use of adverbs. Adverbs slow the reading down and does not engage your reader in the scene or conversation. Here is an example.

“I don’t want to get up at five!” she yelled angrily.

This dialogue reads boring, even though the content is interesting. If we removed the adverb, replacing with character action, we might have a different impression.

She dropped her book bag. “I don’t want to get up at five,” she yelled.

By replacing the adverbs with character action, your readers will get a sense of what the characters want, understand their personality, and be further engaged in the scene because the character actions match the dialogue.

Dialogue is a useful tool and a very important piece of effective storytelling. The time you invest in good self-editing, making sure that your dialogue is effective and important to your character’s motives and goals for the story, your readers will enjoy the richness of each scene that you create.

Please take a minute and join in the discussion! I’d love to hear from you!

What’s your favorite part about writing dialogue?

Tisha Martin writes historical fiction and nonfiction but also edits and proofreads for beginning and best-selling writers, professional editing agencies, and publishing houses. She has a BA in Professional Writing, an MS in English Education, and an editing certificate from the PEN Institute, affordable continuing education for editors. Active in American Christian Fiction Writers and The PEN, she appreciates the writing and editing communities. As Assistant Director of PENCON, a conference for editors, she enjoys travel marketing and updating PENCON’s Facebook Page. Connect with Tisha on her website www.tishamartin.com and engage in the conversation.

Categories
The Picky Pen

Editing Like a Director

Hello! How’s your editing been going for you? I hope you’re seeing great improvement, but if you’re at a loss for how to edit or even what it consists of, take heart.

Editing is as much an art form as writing, so the more you practice, the better your results will be. Last month, we looked at three way to think like an editor. This month, we’ll switch gears and look at how to edit like a director. Rather, we’ll transform our story into the stage and our characters into actors. You enjoy a well-done performance, don’t you? Consider what makes up a stunning stage performance . . . and we’ll incorporate a few tips for how to edit like a director.

Three tips for how to edit like a director

  1. Captivating dialogue

I understand. Dialogue is hard to craft because as in life, there’s emotion, nuance, and subtext in our characters’ dialogue. When crafting my own dialogue between my characters, I must reflect on the general goal I want my hero and/or heroine to accomplish. And whatever that goal is the dialogue should mirror that goal. For instance, if my amateur detective heroine wants to get admission into the exhibit so she can scoop up clues from last night’s painting theft, but no one will let her in because that section of the museum has been closed off, she’s got to convince the ticket master that it’s important to let her in. What might that dialogue consist of?

Amateur detective: “Sir, I’m with the police. I’d like to be let inside the exhibit hall, so I may conduct my search.”

Ticket master: “I’m very sorry. Only the private investigators are allowed in there.”

Amateur detective: “But I am a private investigator.”

Ticket master: “Hardly, miss. Where are your credentials?”

  1. Strong character actions

Outside of dialogue, strong character actions is the most important element on the stage because it connects the audience with the actors and endears them to the entire story. Likewise, giving your story characters specific movements throughout each story scene will entice our readers to want to engage with the story. Let’s take the dialogue we crafted between the amateur detective and the ticket master and incorporate some strong character actions.

Lily Nash stepped inside the museum’s expansive lobby, searching for the ticket counter. Ah, there, near a huge marble column. “Sir, I’d like to be let inside the exhibit hall, so I may conduct a search from last night’s robbery.”

“I’m very sorry, but that’s closed to the public. Only private investigators are allowed in there.” The ticket master stamped a few papers and filed them.

Gripping her handbag, she said, “But I am a private investigator.”

The ticket master cast a scorning glance down at her over his thin metal spectacles. “Hardly, miss. Where are your credentials?”

Did you notice yourself envision the scene, what the characters might look like, and how their voices might sound, based from this scene? Does it seem like Lily isn’t as prepared as she should be, and the ticket master is a stern fellow? Do you hear the desperation in Lily’s voice and the disbelief in the ticket master’s? Can you see the lobby’s high ceiling and the large, stone columns? We have not included anything but character actions and dialogue, and perhaps you are connected with the scene already.

  1. Strong transitions between scenes

Incorporating strong transitions between your story’s scenes will help your readers connect the dots and stay on track with the story as it ebbs and flows, leading to the climax and the ending. Now, we’ll take the last scene, with dialogue and character action, and create transition scenes before and after.

Looking up at the front of the art museum, Lily Nash clutched her stomach. Her first assignment alone.

She stepped inside the museum’s expansive lobby, searching for the ticket counter. Ah, there, near a huge marble column. “Sir, I’d like to be let inside the exhibit hall, so I may conduct a search from last night’s robbery.”

“I’m very sorry, but that’s closed to the public. Only private investigators are allowed in there.” The ticket master stamped a few papers and filed them.

Gripping her handbag, she said, “But I am a private investigator.”

The ticket master cast a scorning glance down at her over his thin metal spectacles. “Hardly, miss. Where are your credentials?”

“I have them, sir.” Lily dug through her handbag. Fear gripped her throat. She’d had it at the station. Without another word to the ticket master, she turned and fled the building.

Transitions don’t have to extend to several sentences or even paragraphs. Just mention enough to get your characters from one place to the next so it will be clear to your readers how your characters are moving throughout the story as it progresses, hopefully, from good to bad to worse to a climactic ending with a satisfying end.

Just as each theatrical production has its own style, theme, and tone, your story has its own style, scene exchanges, dialogue, and tone so that the message truly reaches the reader’s heart. The bottom line is to make sure your writing shows an entire story being acted out as if it were a theatrical production. Now, take a small scene from your current WIP and see how you can transform it into a scene that fully engages readers in dialogue, character actions, and transitions.

Please join in the discussion! I’d love to hear from you!

Take a few minutes and ruminate. How do you edit like an actor?

Tisha Martin writes historical fiction and nonfiction but also edits and proofreads for beginning and best-selling writers, professional editing agencies, and publishing houses. She has a BA in Professional Writing, an MS in English Education, and an editing certificate from the PEN Institute, affordable continuing education for editors. Active in American Christian Fiction Writers and The PEN, she appreciates the writing and editing communities. As Assistant Director of PENCON, a conference for editors, she enjoys travel marketing and updating PENCON’s Facebook Page. Connect with Tisha on her website www.tishamartin.com and engage in the conversation.

Categories
Songwriting

Songwriting: Learning by Listening to The Masters

If you take a songwriting class, the first thing you will learn is to read the top 40 charts in your chosen genre, and then listen to the chart-topping songs over and over for analyzation and to get songwriting ideas. You will be encouraged to listen to similarities in all of the songs and watch for format.

If you are just starting out, there is nothing wrong with taking a shell of a song and then replacing the words with your own words. That is a great tool for learning how to write melodies rhythmically and formulating words together to fit a specific meter, but a bad idea if you are planning to publish the song—because you can get sued.

As a child, I learned by becoming a junior Weird Al Yankovic. I would take famous songs on the radio and change the words to something silly. And then I would perform them for my older sister and her friends and they thought I was hilarious. I dreamed of performing them for the world to see (too bad Youtube was not invented yet!)

If you are a musician, you start by learning theory, learning what chords go together, and then putting together a chord pattern to be a foundation for a lyrical melody. If you don’t play an instrument, you can guide your musical partner by verbally sharing your melody idea. A good place to start is by listening to songs in your genre and start dissecting the melody from the bare lyrics. What works? What doesn’t? As I mentioned in a previous article, sometimes it is easiest to start with a chorus, because that is what your song is about.

Like any bit of writing, you learn the most by watching others, dissecting their work to see why it works or why it doesn’t, and then implementing what you learn. Most recorded albums start from a pool of about thirty songs, and then are narrowed down to fourteen or less to sell to the public. And usually, the pool of thirty songs come from a songbook of about 100 songs scribbled in the writer’s songbook journal.

If you want to be a songwriter, write every single day. Keep a songwriter journal where you jot down your ideas, possible lyrics, melodies, themes, poems, etc. Your songs may suck at first. But writing every day is how you get better. Just like exercising your physical muscles, your growth comes from exercising your writing muscle. I usually write a notebook full of songs per year—most aren’t even complete. And sometimes I pull a Frankenstein where I take two or three songs I wrote and combine them.

When U2 wrote their hit song, Beautiful Day, they actually wrote another song using the exact same music, but with completely different lyrics and melody. Then they chose which melody and chorus they liked for the album best after listening to both versions over and over and over. The band Jars of Clay did the same thing on their If I Left the Zoo album. They made a bunch of demos with different melody lines and choruses. The final project was a culmination of taking the best part of the songs and re-writing the weakest part to improve the song or by creating Frankenstein, chopping up the best parts of two or three songs and adding them together to formulate one incredible song.

If you listen to Jars of Clay’s studio album, If I Left the Zoo, and then again listen to their limited demo album (if you can find it) called White Elephant Sessions, you will hear the same songs, but with different verses, choruses, or melodies. They are letting you in on their songwriting process. After the time slaved to write the physical songwriting portion and then playing the song at many rehearsals comes the recorded demo. Bands will listen to their demo a thousand times, get feedback, and then put the song in the hands of a polished producer to rewrite the song and record the final, polished version. Sometimes that version is an entirely different song from conception.

Whether you are writing songs, novels, or screenplays, the biggest key to survival is being fluid and giving yourself (and producers, editors, publishers, directors, agents, etc.) permission to let go and change what you have written to make it better.

Write it. Step away. Visit it again. Rewrite it. Step away. Rewrite it again.

Don’t marry your first version or first draft. That’s like marrying the first person you ever had a crush on, which may work, but more than not, it can be naïve and suicidal. I know both screenwriters and songwriters who lost a job because they wouldn’t give producers or directors flexibility to change their work.

Do you have a songwriting topic you would like me to discuss? Let me know at matthewhawkeldridge@yahoo.com! Get that songwriting journal and start writing!

Matthew Hawk Eldridge is a coffee loving, calico-cat hugging, Renaissance man. When he’s not passionately penning screenplays or stories rich in musical history, he’s writing songs on his guitar or working on a film as an actor, double, musician, or stand-in. He is a Creative Writing graduate student at Full Sail University.

Categories
The Picky Pen

How to Think Like an Editor Part 2

Writing is a funny art because agents and editors (freelance and publishing house) tell us to write, write, write . . . and to make sure that our manuscript is edited well. “Edited well?” What if we don’t like the word editing because it’s too daunting? What if our minds turn to jelly or we seize up when an agent or mentor tells us to edit our manuscript?

Well. Editing doesn’t have to be so intimidating, daunting, or scary because it’s really another piece of the writing process. Before sending our manuscript to a freelance editor or mentor (or even critique group), we need to make sure that our manuscript is fluid. Simply, we edit to make sure our manuscript is ready for the public eye. How do we think like an editor when we aren’t one? I’ll give you some more tips on how to think like an editor. Ready?

Three More Rules for Thinking Like an Editor

4. Is the point of view clear in my story?

Who is doing the “seeing,” or telling the story, anyway? As a contest judge and having read over 100 books this year, an issue I see a lot is a wobbly point of view. And, granted, it’s so easy to overlook, especially since there are so many points of view we can use in our manuscripts. There’s first person, second person, third person, third person omniscient, omniscient, and—are you confused? Take heart. I was too before I really sat down with someone and they talked me through the differences, and then did some googling to make sure I really understood.

Best rule of thumb here: whichever character you choose to tell the story, that character must experience the story unfolding in those scenes. What does this mean? This means that that character you choose must see, hear, touch, taste, and smell, as well as perceive what’s going on in the current situation. If Mabel is your protagonist, you cannot describe Jacob tying his shoe when he’s behind Mabel because she cannot see what’s behind her. Now, she might be able to hear noises, and you can describe those. If there are too many people “talking,” the story gets muddled, and our readers won’t know who to root for.

5. Is my manuscript well researched?

Ew. Please don’t throw rotten tomatoes at me! While I realize not everyone enjoys research, it’s important for our books to be well researched. Why? Because if we use the word “bulbous” in our 1577 medieval fantasy manuscript or refer to saddle shoes in our 1929 novel, our knowledgeable readers may snap the book shut, and their investment in our story comes to an abrupt end. Or, if we have our character walking through a door before he’s opened it shows that we haven’t researched the sequence of the action. These may seem like unimportant details, however, small as they are, these details add credibility to yourself as an author—and makes you think like an editor. And it truly is the difference between the Victrola and an MP3.

6. Is the manuscript tightly written?

If you’re anything like me, I’m imagining a 300- or 500-page manuscript stuffed into a miniature straight jacket. Well . . . not quite. But that’s the idea. By “tightly written,” this means that every detail, dialogue, and plot thread in your manuscript connects to the overarching theme and overall message of your story.

For instance, if Sassy had not gone with Chance and Shadow (Disney’s Homeward Bound), that sarcastic element would not have made poor Chance’s misadventures humorous or empathetic; or if Shadow had had an elderly woman’s voice, he might not have been endearing to viewers. (I am not downgrading male or female voiceovers here.) The tired, old man voice fits Shadow’s personality, as well as the storyline.

Now let’s apply it to a sentence or two of writing. In these sentences, our character’s goal is to get from the house to the barn to play with the new baby goats that are a few weeks old.

Original:

Helen set the cup down on the table and scooted her chair back. She put on her jacket and headed out to the barn, where the tiny bleats sent a pitter patter through her chest.

Tight rewrite (keeping only necessary details for our character’s goal in this scene):

Helen set her cup on the table and scooted her chair back. As she shrugged into her jacket, she ran to the barn. Tiny bleats sent a pitter patter through her.

Did you catch the smaller details that were left out because they did not propel this scene forward?

Keep in mind that every author and editor has their own style, preferences, and idiosyncrasies for what they like in a story. The bottom line is to make sure your writing shows what is the most important for the story’s that on your heart. And if you write like an editor, you will have a much stronger story that creates a fabulous reading experience for your readers.

Please join in the discussion! I’d love to hear from you!

Take a few minutes and ruminate. What are some other ways you can think like an editor?

Tisha Martin is a writer and editor, and she lives to encourage authors and editors to bridge their relationships and work together for the publishing industry cause, where readers will treasure books for always. With a bachelor’s in Professional Writing, a master’s in English Education, and an editing certificate from the PEN Institute, she has equal passions for writing and editing. Active in ACFW and The PEN, she appreciates both communities. She is the former Assistant Director of PENCON, a conference for professional editors. She’s also a judge for Writer’s Digest. When she’s not editing, Tisha blogs about writing, editing, theater, horses, and American home front history at www.tishamartin.com. She looks forward to the conversation with you!

Categories
Fantasy-Sci-Fi

The Value of a Good Critique

Every writer can use a solid critique of their work, especially when they are preparing their work for professional submission. Even a seasoned writer needs a partner. This is because, as writers, we are too close to our own work to see the subtle changes that need to happen within our stories to make them the best that they can be. It may be something obvious, like clarification of a character’s intent, or it might be less glaring, like tweaking a sentence to change the meaning behind the words of the story just slightly.

However, just as not all writers write exactly the same, not every critique partner will be alike, either. Here are a few suggestions for finding the right critique partner for your fantasy/sci-fi genre stories.

Writer groups. Most authors seek to belong to at least one writer group that meets locally. This is the most personal way to find a critique partner that might be right for you. Take care to choose someone who writes within the fantasy/sci-fi genre and doesn’t have too contrasting of a voice between their work and your own. This will help you both to focus on your stories, without getting distracted with style or genre differences. The benefit of a local critique partner is that you can meet together in person, as often as you like. But don’t get discouraged if you don’t click with anyone in your hometown. There are other ways to connect with fellow writers, as well.

Online groups. With the dawn of social media, many authors have some sort of online presence. Take a look at writer groups that your fellow writer friends are part of or ones that they follow, and then join them, too. Here you can watch the chatter within the group and find someone with a similar writing style that you think might work well with you as a critique partner. Establish an online relationship with them by commenting on their posts or responding to their comments on other posts. Then reach out to them through a personal message explaining why you think you would work well together. Be sure to establish a working relationship with them first, so they can separate you from a stranger whose message they may dismiss.

Conferences. Once again, here you will have the personal edge when searching for a critique partner. A conference is a great place to network and meet fellow writers you otherwise would not have had the opportunity to meet. There’s no need to find a partner who lives in the same town as you, since it’s just as easy to communicate electronically. Find the right person with whom you click the best. Understanding your partner’s writing style and voice is more important than living in the same time zone. Passing along critiques to one another can be as simple as commenting on a Word doc emailed once a week, or it can be more in-depth with a weekly or monthly Skype call where you can talk face-to-face.

Take your writing to the next level and engage with a critique partner. Not only will you glean valuable information from the comments your partner suggests on your own work, but you’ll grow as a writer as you critique their work, as well.

Laura L. Zimmerman is a homeschooling mama to three daughters and a doting wife to one husband. Besides writing, she is passionate about loving Jesus, singing, drinking coffee and anything Star Wars. You can connect with her on Twitter @lauralzimm, Instagram @lauralzimmauthor, on Facebook and at her website Caffeinated Fiction.

Categories
Create. Motivate. Inspire.

Navigating the Writer-Editor Relationship

Ah, at last!

The proposal and manuscript is complete, polished, and sent. A contract is offered and joyfully signed. Now what?

The editing process—molding, shaping, and polishing our rough-cut diamond into a sparkling jewel, fit for publication. But no worries—we’ve come this far. How hard can this editing thing be?

The answer depends on whether or not we’re open to growth and change.

I’ve had the privilege of working with gifted editors, and certain things stand out as vital for an author in the editing process.

An author must:

  • Move beyond shock and awe.There will be changes to our work. An editor’s fresh perspective will see myriad ways to improve. Also, in addition to finding basic mistakes in grammar, punctuation, and structure, publishing houses have their own styles and preferences. In my latest work, I surrendered my overuse of italics. No big deal? I love italics (see what I did there?)—for thoughts, prayers, emphasis—you name it. I grieved the loss, but the result is a cleaner manuscript.
  • Grow through the process. The editing journey is a unique opportunity to gain insight from the best—to soak in the expertise of a pro and to learn from the inevitable mistakes and changes. Keep copies of track changesand other notes. Study them to know why the changes are needed and let it translate to a future project. Using newfound knowledge in the next writing venture is a huge confidence-builder.
  • Remember the editor is an ally. We share a goal with our editor—to pull the best from our work. He or she is not daydreaming of unique ways to “murder our darlings.” Our beloved manuscript is being refined! It’s okay to disagree and ask why, but no editor wants a constant battle. Trust in her mastery and be thankful (and excited!) for the opportunity to work with a professional.

What would you add as important for an author in the writer-editor relationship?

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Fire the laptop. Prime the pen.

Keep writing!

 

Leigh Ann Thomas is the author of three books, including Ribbons, Lace, and Moments of Grace—Inspiration for the Mother of the Bride (SonRise Devotionals). A regular contributor to AlmostAnAuthor.com, Just18Summers.com, and InTheQuiver.com, she has also published with Southern Writers Suite T, The Write Conversation, and Power for Living. She is a contributing author in 10 books and her award-winning fiction is included in three editions of Southern Writers Magazine’s Best Short Stories. You can find Leigh Ann on her front porch daydreaming story plots, or blogging at LeighAThomas.com.

Twitter: https://twitter.com/lthomaswrites

Facebook: https://www.facebook.com/leigh.nallthomas