Tag Archives: editing

Lesson Eight from the Manuscript Red-Line: Magically Appearing Items in the Setting

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For an intro into where these tips are coming from, please see my post: A Full Manuscript Rejection, or a Gold Mine?

This is really more like an amendment to Lesson Seven, but I figured I’d call it out separately, just to make it more clear.  In Lesson Seven, we discussed how important it is to make sure a character has a reason for doing what they do.

Also watch for “convenient” items popping up out of nowhere.  In a recent writers group meeting we discussed this very topic… making sure that a gun doesn’t suddenly appear in the glove compartment of an eighty year old grandmother from Ohio…  Silly things like that.

It is easy for a writer to place an item somewhere convenient…  but remember to give that item a reason for being there.

Example from my own manuscript:

Meagan has a candle in her room in the end of the novel.  It’s very important.  It’s never mentioned before, but I talk about it like it’s always been there.  I  caught mistake after digesting Lesson Seven.   I just can’t let the candle suddenly appear like that, and act like it’s always been there.

Convenient fix by me:  I needed a new chapter near the beginning of the novel, because I needed a place to SHOW that Meagan realizes that Magellan is supernatural.  (This is to avoid a “telly” section later).  I placed the scene in Meagan’s room, and actually used the candle as the driving force for that scene.  It worked wonderfully, and I killed two problems with one chapter in a neat little
package.  (And only about 550 words)

Like magically appearing characters, suddenly appearing items can be distracting, and make you lose credibility.  Give important items a reason for being where they are, and keep your settings fluid throughout your novel.

Lesson Seven from a Manuscript Red-Line: Where did that character come from?

For an intro into where these tips are coming from, please see my post: A Full Manuscript Rejection, or a Gold Mine?

This is another comment that seems silly when you say it, but when I was thinking over my own manuscript (and one of the comments that a BP made that I blew off) I think I may have one of these mistakes, too.

The publisher red-lined a scene where the phone rings, and there is a conversation, but it is never really clear why the second character called in the first place.  Yes, some important information is exchanged during the conversation, but the reason for the original call is never made clear enough.
The comment from the publisher was that all actions must have a reason from the character that created that action in the first place.

Now, thinking over my own manuscript… There is a point where Magellan and Meagan are in the Aviary when the lights go out.  They are worried about Jerric, who is also in the aviary.  Meagan calls out his name, and Jerric steps out of the bushes and says “I’m right here.”

One of my BP’s said: “that is awfully convenient.”

I think this is pretty much the same thing as the comment above.  There needs to be a reason for him to be there.  Honestly, there is.  He is watching them.  The problem is, I never SAY that, so there is never actually a reason (in the reader’s mind) for him to be able to step out of the trees so easily.

So, where I  “blew off” that comment before, because I knew why he stepped out of the trees, now I am going back to make it more apparent that he was standing there and listening.  I have to let the reader know why it is so easy for him to step out of the trees.

Always make sure there is a reason for your characters to be where they are, and a reason for them doing what they do.  Other wise, as this publisher puts it, it  ends up sounding “contrived” or, as my BP put it “too convenient.”

Lesson Six from the Gold Mine Manuscript Red Line: Watch that Voice! #MondayBlogs

For an intro into where these tips are coming from, please see my post: A Full Manuscript Rejection, or a Gold Mine?

When you are writing, especially if you are writing YA or middle grade, watch the voice. In the Gold Mine Manuscript, I know I mentioned the voice when I was beta reading, but my BP said her teenager read it and said it was okay, so I figured maybe I was just behind the times.

In this novel, the Main Character is supposed to be 15, but my brain just made him 17 (no matter what the novel was telling me).  Do you know why?  I believe it was the voice.  I mentioned it, but my BP seemed comfortable with it, so we moved on.

I was also having the same struggle in my own novel, and was on an up and down roller coaster with my own young character’s voice, so I know how hard a young boy’s voice can be, so I knew I was no expert.

You know what the publisher marked up over and over again in the gold mine manuscript?  THE VOICE.

2014 Edit:  I had a wonderful opportunity to have my manuscript read by Harper Collins. They loved my story, but guess what they said I needed to work on?  VOICE. I knew voice was key to FIRE IN THE WOODS. As soon as I nailed the voice, I got an editor to pay attention.

[continued] They mentioned that teenagers answer in quips and half-completed sentences.  I have to admit, my middle graders do the same thing. No perfect grammar for them.  Simplicity is the key.  “Yeah” instead of “yes” is more realistic than a full sentence.

I’m wondering about my own novel on this one.  My kid is from another planet, and grows up under the tutelage of a King.  I don’t want him saying “yeah”, but I don’t want a publisher calling me on it, either.  Maybe a few of the other characters can slip on their grammar a little.  Hmmmm…

My suggestion:  If you are writing for teens, get several teens to read it and ask them to be honest.  Same goes for Middle Grade.  This publisher actually had a teenager read the manuscript to make sure of the voice, and the teen said it didn’t sound real and they didn’t get the words she was using.  Yikes.

Moral of the blog:

If anyone reads your manuscript and tells you that there are possible problems with the voice, I’d take them seriously… ask a few more people to read it.  Drop it on a web site (I like Nathan Bransford’s site).  Get as many opinions as you can.
In the end, you still might not end up okay.  (To be honest, my five-year old drops bonus S.A.T. words all the time, so if I wrote his voice for-real, this publisher would red-line it—so who knows?)

There are a lot of things I’ve not changed about my manuscript that people have mentioned, but voice is one that I have always paid attention to.  If one person mentions something, I may tweak just a little, but if a few people mention it, I tweak a lot.  There is still a possibility that my MC may age a few years in the opening scene, just because of voice issues.

Don’t fall in love with your characters so much that you cannot recognize that their voice is all-wrong.

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Lesson Five from the Gold Mine Manuscript Red Line: Let’s keep it in the past #MondayBlogs

For an intro into where these tips are coming from, please see my post: A Full Manuscript Rejection, or a Gold Mine?

Yay!__Gold_Mine_Manuscript_is_back!

I suppose this doesn’t work for those of you who are trying to write your novel in the present tense.  The Gold Mine Manuscript was written in past. This post pertains to “Past Tensers”

This publisher noted that present tense words are okay in dialog only.  In narration, they should be cut.

Now, in the gold mine manuscript, the present tense word was “almost” used as narration.  It was “sort of” an inner thought.  The POV character looked at a big mess, and was thinking about cleaning it up, and the narration said “he’d have to tackle it today.”  Now, I think the problem is that it was set off as narration, not as a complete inner thought.  If it was in italics, like the POV character was actually saying it in his head, it may have been okay (again, this is my opinion here).   But since this writer’s style is to have most of the character’s inner thoughts as narration instead of italic thought, this publisher found the use of “present tense” words to be a problem.

So, in a nutshell… if the narration says:  He’d have to take care of things today.  This is no good.

However, if the same character says out loud, or as an inner thought: “I’ll have to take care of this today.”  That is fine.

That’s a pretty simple one, but it might be one many overlook if they have their inner thoughts as narration.  This can be overcome simply be making your inner though more concrete, and putting them in italics so it is very clear that this is an inner-thought, and not the narration.

Amendment:  Guess what?   I just found one of these in my own manuscript!  In the MC’s POV, the narration says:  – It isn’t cold, like it is here.— Now, this isn’t past tense, but the “here” sounds weird because it is in the narration.  I need to change this into an italic thought, or change the wording to be slightly more detached.  One or the other.  It is basically the same principle.

Happy editing!

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Lesson Four from the Gold Mine Manuscript Red Line: And Then there was a Conjunction, or Was There?

For an intro into where these tips are coming from, please see my post: A Full Manuscript Rejection, or a Gold Mine?

Yay!__Gold_Mine_Manuscript_is_back!

Originally, I was going to skip over this, because I thought it seemed a little obvious.  But then I thought, maybe not.

This publisher simply hated the idea of “and then”.  They said: “And then is not a proper conjunction.  And is a proper conjunction… use for, and, nor, but, or, yet, so which are considered “proper” conjunctions.”

I did a search in my own manuscript, and found 73 instances of “and then”.  Honestly, I was a little surprised to find so many in my story.  The more I thought about it, every instance is like a laundry list “tell sequence”.

Matt did this, and then he did that, and then he did that. (It was not quite so blatant, but you get the idea) If you think about it, it’s kind of funny.  I know when I was beta reading the manuscript for my BP, the “and then’s” did pop out here and there, but I just figured it was writing style.  I didn’t particularly like it, but I let it go.  I didn’t even realize I was doing it myself.  Now that I’m re-reading with these comments in mind, they are popping out and blaring:  No No No!

So, my advice is, do what I did:  Do a search/replace on your manuscript just for starters.  Search for “and then” and replace with “and then” (just make sure you spell it correctly)  It won’t change anything, it will just give you a count of how many times you did it.  If it’s a lot, search again and start editing!

This is an easy fix.   I’m not saying this will bother every publisher, but if it’s a pet peeve of one publisher, it will probably bother another one, or two, or three.  Personally, I’m not willing to take a chance and let them go now that I realize what I’ve done.

_Keep_Editing._Stick_to_your_guns_00000

JenniFer_EatonF

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Longest. Edit. Ever. The tediousness of overused words.

I usually edit out overused words last, but since a few beta readers pointed some out… I started fixing, and then the overused words snowballed.

I always have overused words. I think all authors do… but the quantity of words, sometimes appearing five times on the same page, astounded me.

Was it the speed I was writing? The lack of read-throughs before going to beta? (I usually read my manuscript five to ten times before going to beta)

I’m not sure, but I’m definitely not happy. What a terrible, tedious week.

Repeated words might not seem like a big deal, but they ruin the flow of a novel. They stand out, and can pull the reader from your story and remind them they are “only reading”.

Shame on me

That is NOT what I ever want to do to my readers. It is my job to help them escape for a little while. If they are reminded it is “just a book” then shame on me.

That’s why I took an entire week to tackle this before submitting to my editor. The only problem is that another beta pointed out a portion that would be more intense if I made one small point in the story a touch harder on my characters… and I agree.

So that leaves me with two weeks left to do another developmental edit/rewrite on the beginning of the story, and finish the re-write of the ending that I inadvertently started while getting rid of the repeated words in the last two paragraphs. PLUS do a complete final read-through start to finish.

Two weeks until the deadline?

Arghhh! PictureNo, this is not where I would like to be so close to the novel being due… Especially since ASHES IN THE SKY went up on Goodreads this weekend, and  I was supposed to start EMBERS IN THE SEA last Wednesday.

Tons, tons, tons of pressure… But I WILL get this manuscript in on time.

And I will try my best NOT to make sleep optional.

What words have you seen overused in novels?

Lesson Three from the Gold Mine Manuscript Red Line: Action Action, where is the Action?

For an intro into where these tips are coming from, please see my post: A Full Manuscript Rejection, or a Gold Mine ?

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IFire-in-the-Woods-Cover 3D’ve heard contradicting opinions on this.  Some people say exposition is important.  Some people say don’t start right out with action because you don’t have a character basis of who to “root for” yet.  Personally, when I’m reading something, I want to be slapped in the face immediately with excitement and fill me in on the boring stuff later. (Anyone who has read FIRE IN THE WOODS knows what I mean by this. :-) )

So, when my BP (Beta Partner) had a story that started with tons of talking and setting, I said, “According to what I’ve read, this is okay.” But, being the good beta partner that I am, I let her “have it” and told her I was bored.  But, all the exposition stayed (with some trimming to six pages).   (I’m not saying she trimmed for me…  I believe she has five beta partners, so I’m sure there were a wealth of comments to revise from.)

 Unfortunately though, the publisher found it to be an unnecessary character study and suggested cutting the first five pages completely.  What was after these five pages, was a brief conversation of a dream that actually had relevance to the story (almost a page long) and then the action started.

The publisher’s commented that the first five pages were not engaging.  What I got out of that, was that they didn’t want to see a few kids hanging out and talking.  They wanted something to HAPPEN.  The story actually does, I must admit, start right where they suggested… The dream is a foreshadowing, and then the action that is the catalyst that changes the MC’s life forever happens right afterwards.

***Always start the story as close to the life changing event as possible***

So, what gets lost in the first five pages?  Well, the set up of the friendship between the two MC’s, which can be played out pretty quickly in the next pages, and (ouch) a lot of setting.  To me, that’s no biggie, but my BP is a big setting person.  She likes her imagery.  Now she needs to work in her sweeping mansion and grounds into the action scenes or between them.  It will be a little work.

Moral of the story:  Setting is important, but not too much up front.  Make sure something happens in the first page or so to drag your reader in.

Also see my post on how I changed (and am still changing) my first page after a contest judge didn’t find my first page exciting enough— and there was hardly any setting there at all!

Go back and make your first few pages ROCK!  If you don’t excite the reader right away, they might put your novel down and buy something else.

Gack!

Jennifer___Eaton

Lesson Two from the Gold Mine Manuscript Red Line: Do we like your main character yet?

For an intro into where these tips are coming from, please see my post: A Full Manuscript Rejection, or a Gold Mine?

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I wasn’t going to write about this, but someone told me once they didn’t particularly like my main character, and I tried to make him a little more endearing right up front. If I had a bad Main Character (MC) intro, and my BP (Beta Partner) did too, then some of you may have done it, also. So, yes, I am going to blog about “making your main character likable”, even if it seems like a “Duh” thing to talk about.

On page three, the publisher said that the Main Character is portrayed as spoiled and we’re not led to feel any compassion for him. Now, in the case of the manuscript in question, this was partly done on purpose. We aren’t supposed to completely love this character. It’s part of his growing experience. I understood that once my BP explained it to me after I told her I didn’t particularly like him when I read the first chapter.

Think that over. I UNDERSTOOD THAT ONCE SHE EXPLAINED THAT TO ME.

You are not going to have the chance to “explain” to the agent you are querying, or the publisher you are submitting to, or to your reader… why your main character is the way they are. Even if they are completely despicable, there needs to be something about them that makes you drawn to them to keep them reading on. Either that, or something has to happen in the plot, and QUICK, that grabs their attention and distracts them. (That’s my two-cents… not sure an agent or a publisher would agree on the plot hiding what they would consider character flaws)

So, go back and look at those all-important first few pages, and make sure that your character is lovable to someone other than you.

Not to beat a dead horse (I will be talking about cliches shortly by the way) but GET SOME BETA READERS THAT YOU DON’T KNOW. You might be too close to your story to realize that your MC isn’t likable.

Amendment:  Just read a great blog  from CB Wentworth  about an author thinking up a character and falling in love with him.   I think we all fall in love with our characters in one way or another.  We just need to make sure our readers feel that love, too.  (I’m not saying Noah isn’t likable, by the way!  I’ve never met CB’s work.)

http://cbwentworth.wordpress.com/2011/09/05/one-photograph-changed-everything/

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The huge sigh of relief after typing “The End”

“The End.” Aren’t they wonderful words?

Fire in the Woods CoverAbout four months ago while polishing up my dystopian novel, I got the surprise of my life…

a contract offer for my YA Scifi FIRE IN THE WOODS.

And not just any contract, but a three-book deal.

Surprise!

Suddenly, I needed to come up with two more novels continuing a story that I had already typed “The End” on in my mind. That’s right… no planned sequels.

Yikes!

But never to be thwarted, I accepted the challenge, despite what looked like impossible-to-meet deadlines for getting the sequels out. I had a light outline of a concept, and I hit the ground running.

Now, I would be lying to say that I wasn’t pantsing ASHES IN THE SKY to begin with. I started off simply re-kindling my love for the voice and characters of FIRE IN THE WOODS, but within a few chapters I was able to scroll out a decent outline.

Here I am today, with a clean, completed rough draft of the novel. I have five weeks to edit the story, send it to beta readers, and make it sparkle before it is due in my editor’s hands.

So I am here to say: It can be done. Now I move on to editing, which is actually one of my favorite parts. Now is the time to add the little extra zing that will make my characters pop, and the explosions… well… explode.

For all you stats lovers: Here are the numbers…

Started writing June 18th

Finished CLEAN* first draft September 26th

Total time from start to finish=98 days

Total number of those days actually spent writing=60 days

One three-day weekend dedicated two writing = 10,392 words

Average words per day = 1,114, but the actual words per day ranged from 249 to 3,366

Let the editing begin!

*Clean just means that I didn’t write NANO-style. I corrected my typos and spelling as I went along, and re-read each chapter at least once and edited whatever did not work before I started the next chapter.

_JenniFer____EatoN

Lesson One from the Gold Mine Manuscript Mark-Up: Write Without Looking

For an intro into where these tips are coming from, please see my post: A Full Manuscript Rejection, or a Gold Mine?

Gold_Mine_ManuscriptHow many times do your characters look at something?  Mine do.  All the time.  I never thought it was a problem.  I feel really bad now, because I am the
“Show Vs. Tell Barracuda”, and I absolutely missed this…

If you say your character looks at something, you are telling the reader that they “look”.  Show the reader instead.

Example:  The wind blew cold, and Magellan looked up into the trees.  The branches bent and shook over his head.

Now, I honestly would not think this was telly, because I showed you what he was seeing right afterward.  My writing partner did the same thing in her manuscript.  The publisher highlighted the “looked” and said “rather than telling us what he is doing, show us what he sees instead.”

Suggested rewrite:  The wind blew cold, and Magellan pulled his jacket closer.  The branches bent and shook over his head.

Here, I took out the offensive “looked” kept the characterization by giving Magellan something to do (pulling his jacket closer), which gives me a place to mention his name.  (In case it’s needed)   I left the “what he saw” exactly the way it was originally written.  You can assume he looked up.  The whole scene actually flows better, and all I did was take a moment to pull out the word “look”.

Even better for you word count barracudas out there… count ‘em… there is one less word in the corrected example.  Yea for me!

Here’s another easy one:  He ran down the hall and looked at the dark stone walls.  The sconces were still lit and the light danced across the ceiling.

Easy fix:  He ran down the dark stone hallway.  The sconces were still lit and their light danced across the ceiling.

Now, I’ll be honest… This is not always this easy.  I’ve growled a little over some of these.  But I am going to try my best to take all of the “looks” out of my novel, unless they are in a personal thought… but I will be looking at those pretty closely as well.

Honestly, I emailed my friend yesterday on this, and she said she’s only taken out “most” of the looks.  Once in a while, your characters will have to “look”.  I am finding the same thing.  But I am finding that a lot of them can be removed easily like the ones above.  (We also discussed that we’ve read published novels that have “looks” in them.  yes, we know they exist… I’m just letting you know there is a publisher out there that redlined it and asked for a revision.)

I am finding I am taking out all of the “looking” that is being done by a POV character, and leaving some of the looks that are not from the POV character.
For instance, if another character in the room (not the POV character)
looks over at the door, you are not going to tell what they see, because you are not in their POV.  Therefore, it might to be okay to leave that look in there.
However, I do not let the POV character look up and see that the other character is looking at the door.  Does that make sense?

This, by the way, is just my opinion.  If I submit, and get slapped for these “looks” I will let you know ASAP.

If you can, get rid of any and all looking, because this publisher emphatically flagged it.  Only look as a last resort.

Hope you found this helpful!

Related Articles:http://kristinastanley.net/2011/09/01/listening-to-your-novel/