Category Archives: General Writing Tips

Forget about it! — Rule #32 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #32

32: If something works, forget about the rule that says it shouldn’t.

When you read long articles like this, don’t you just hate it when you get to the end and an author puts in a disclaimer like this?

I’m going to go out on a limb and say MOST of the rules in this series are very important, and should not be broken… but, some can IF DONE CORRECTLY.

Let’s talk about Rule 28 that I morphed into “Don’t make your MC unlikable”.  An unlikable MC is possible, if done VERY VERY well.

Ever watch the television show HOUSE?  What a jerk that guy was.  But a lot of people tuned in, because he was portrayed in a way that made us LOVE HIM anyway.

I WOULD NOT recommend this approach to a new writer.  It’s hard.

I’d stick to the rules as closely as you can.  Yes, any rule can be broken. Best Selling authors do it all the time.  But remember… best-selling authors are not searching for agents or publishers.  They’ve “done their time” so to speak.

Save the deviance for later in your career.

So that’s it!  All 32 Rules of Hunting Down the Pleonasm

Which one was your favorite? 

Which did you learn the most from? 

Which do you close your eyes and pretend you don’t know about, ‘cause you don’t wanna listen? 

Let’s chat!

Jennifer___Eaton

Shoot Him Later — Rule #31 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #31

31: Spot the moment of maximum tension and hold it for as long as possible. Or as John D. MacDonald put it: “Freeze the action and shoot him later.”

Love this train of thought.  This goes along with torturing your character.  Don’t only torture your character!

Torture them longer!

I have this theme/problem in my current work.  It is high paced, and I don’t want to slow it too much, but there is this one scene that I want to hesitate on to really drag in the emotional impact.  While it doesn’t take that long, I want to really dig in to what the character feels and goes through.  This is all about building tension. And nothing makes me turn a page more than wondering what the heck will happen.

Jennifer___Eaton

No happy shruggers — Rule #29 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #29

I Love Love Love smile and shrug.  I’ve learned to curb my sighing, but I used to be guilty of that too.

I think smiling and grinning are overused in a lot of writing.  I really don’t worry about it in a first draft.  I let them smile and shrug away.  But these words are on my list of little buggers to pare down when I’m all done.

I just go in to my manuscript, do a search for “shrug” and my manuscript lights up like a Christmas tree.  So like a good little editor, I give my manuscript a present and curb them down to once every 50 pages or so.

Smiling Sadly has to do with that “ly” rule.  Almost every “ly” word can be removed from a manuscript.  I try not to type them at all, even in a first draft.

What words do you overuse?  Do you smile sadly while you shrug off your grin?

Jennifer___Eaton

Keep it to yourself, jerk! — Rule #28 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #28

28: If an opinion expressed through dialogue makes your POV character look like a jerk, allow him to think it rather than say it. He’ll express the same opinion, but seem like a lot less of a jerk.

Hmm.  Depending on how this is used, he can still look like a jerk just thinking about it.

I’d like to expound on this and say be careful of making your main character unlikable. Period. I’m reading a novel for crit right now in which I really can’t stand the MC, and she has no concrete reason for doing the dumb things she does.  If I had picked up this novel in a bookstore, I would have put it back by now.

The author said “It’s good that you don’t like her. I’m doing my job.”

This author just doesn’t get it, and is waiting with bated breath for rejection #215 on her queries.

You need to connect with the main character.  No one is going to want to read about a character they do not care about.  They can be a jerk, but you have to make them relatable, and your reader has to care.

If you don’t have that engagement with your reader, you don’t have an audience.

Jennifer___Eaton

Plant vegetables, not information — Rule #27 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #27

27: Don’t plant information. How is Donald, your son? I’m quite sure Donald’s father doesn’t need reminding who Donald is. Their relationship is mentioned purely to provide the reader with information.

Ha!  If you’ve ever had a beta read done by me, you know I’m a viper when it comes to info-dumps.  But I usually tag them when they are paragraphs long.

What Guthrie mentions here is a little more subtle, but it should jump out at you as unrealistic dialog.

Anywhere where you are dropping information in an unnatural way is bad.  Also be careful, because you can insert information in a completely logical thought, but then end up going off on a tangent of info-dumping and lose your reader.

Do you have any funny examples of this?

Jennifer___Eaton

Cut your weakest player — Rule #26 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #26

26: When you finish your book, pinpoint the weakest scene. Cut it. If necessary, replace it with a sentence or paragraph.

I have contradicting views on this.  If I was reading this with my first novel (that I pantsed) in my hands, I’d say “yes”… and to probably more than one scene.  However, now that I am outlining and clearly plotting my novels, I’m not so sure this is true.

I’d agree to cut it is it has no conflict, or does not draw the story forward. That’s a given.

My fear is that if everyone follows this rule, they will take out important scenes, and replace them with three sentences of summary… which is a form of tell.

I’m going to put my foot down and NOT agree with this one.

What do you think?

Jennifer___Eaton

Don’t repeat the tense — Rule #25 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #25

25: Avoid unnecessary repetition of tense. For example: I’d gone to the hospital. They’d kept me waiting for hours. Eventually, I’d seen a doctor. Usually, the first sentence is sufficient to establish tense. I’d gone to the hospital. They kept me waiting for hours. Eventually, I saw a doctor.

Oops.  I think I’m guilty of this.  But now that I look at it, especially with sentences out of context, it’s easy to see why it’s unnecessary.

Let’s look at the examples, and correct them.  Do the sentences still say the same thing?

They’d kept me waiting for hours.

They kept me waiting for hours, or I waited for hours

 

Eventually, I’d seen a doctor.

I’d seen a doctor, or I saw a doctor.

The second sentence not only says the same thing, but it also reads more cleanly.

Watch for breaking the other rules when doing this, though. A few of these made me cringe, but they are out of context, so I’m not sure.

Jennifer___Eaton

Just how good is the first line of your manuscript?

I recently had the opportunity to chat with a submissions editor (you never know who you’ll run into at a coffee shop) and we had a discussion about first lines of a book, and how important they are.

I knew already how important it was to hook a reader quickly, but Mike told me that he actually knows by reading the FIRST LINE if he is going t request a full or not when he reads through submissions.

Wow.

Now Available from Jennifer M. EatonThat’s not much time to make a first impression, is it?

That’s why I jumped at the chance to post ONLY MY FIRST LINE for “The First Day of the New Tomorrow” over at The Ladies Cave website today.

http://theladiescave.blogspot.ca/

Hop on over.  This line obviously grabbed my editor’s attention.  Tell me what you think!

But while you still here…

What’s your first line?

Do you think it has the goods to grab a reader/editor in once sentence?

JenniFer_EatonF

Stop feeling! And don’t “think” either while you are at it — Rule #24 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #24

24: Cut out filtering devices, wherever possible. ‘He felt’, ‘he thought’, ‘he observed’ are all filters. They distance the reader from the character.

Sometimes I consider typing this out and saving it somewhere so I can paste it into manuscripts that I beta read.  This is one I see time and time again.  This is part of show don’t tell, and it is the hardest for new and some seasoned authors to understand… but it is the difference between a good novel, and a great one.

Which sentence packs more punch?

He felt sad.

Or

Tears streamed down his cheeks.

 

He saw the train go by.

Or

The wind stung his cheek as the engine throttled along the tracks.

It’s not a hard choice to pick the better sentence, is it?

Search for felt, saw, looked, was, thought… and words like that… and replace them with active sentences.  The result will astound you.

Jennifer___Eaton

Cut it out with those full sentances! — Rule #23 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #23

23: Don’t allow your fictional characters to speak in sentences. Unless you want them to sound fictional.

Time for all the English teachers to cringe! But it’s true, right?  Do we speak in sentences?  Well, sometimes.  But there should be a good mix of full sentences and fragments.  Heck, even an incomplete thought here and there will help make the dialog seem more real.

And if you are not sure if it sounds real or not, read it out loud.  Even better… have someone else read it to you.  If it sounds weird with a voice attached, then you need a little re-write.

Jennifer___Eaton