Lessons from the Editor's Desk - Editors Are People Too

Okay, so the title is a little silly, yet oddly easy to forget. As I’ve mentioned in the last two posts in this series, I am a part-time, often volunteer editor for WhiteFire Publishing. So I assume you knew I was just a regular person, but the same holds true for all editors. Here are some things to keep in mind in that vein, and I would venture to say that most of this is true of agents as well

Editors Want to Have a Good Conference Experience. While editors come in a variety of personality types, they want to have a pleasant conference experience just like you. They might be shy and new to the conference and just as nervous about who to sit with at lunch as you are. Or they might be a fun-loving individual looking for someone to bounce their jokes off of. If you treat them like a person, ask them about their families and pets, their interests, you might just gain an actual friend who happens to be influential in the publishing industry. And just like any other people, you will probably connect easily with some of them, and not so easily with others. That’s okay. Chances are, the ones who like you will also like your writing style.

Editors Want to Have Good Meetings with Conferees. Generally, editors don’t like being pressured, being given sob stories, or being told that God has mandated them to publish your book. They don’t like being chased or handed manuscripts under bathroom stalls. Beyond that, it’s a good idea to do some research on the editor and learn what they do and don’t like. Personally, I have a pet peeve about conferees who don’t answer my questions but instead push on with their sales pitch. For example, I want to know how long a writer has been writing, what professional associations they have, and if they know the industry lingo, and I hate it when writers ignore my questions. On the other hand, I find nervous conferees kind of endearing. I think most editors like it when conferees are a nice balance of prepared yet casual. They enjoy a relaxed meeting. They like to have a conversation and not just listen to a speech. They like to see that you are excited about your project and that you’ve done your work to be ready for publication.

Editors Talk to Other Editors. Going to writers conferences and meeting with editors is an awesome idea…unless you have a pushy, annoying, or otherwise abrasive personality. In which case, you might want to think twice. Editors talk to other editors, and you don’t want to get a bad reputation in the industry. If you discover that you’ve committed a serious faux pas (I‘m not talking about passing manuscripts under stalls or using the wrong font here, we’re used to that stuff), it might be wise to offer a sincere and heartfelt apology.

Editors Have Preferences about Submissions. For starters, most of them only want submissions from agents these days. If they do take submissions, shockingly (sarcasm) they put their guidelines right on their website, and they expect you to follow them. What if they just say something general like “a query letter” or “a proposal”? That should indicate two things to you, 1) They aren’t terribly particular, but 2) they do expect you to do your own homework and to provide these documents to a general industry standard. Don’t know what that is? I repeat—do your homework.

Editors Represent Companies. Editors might seem like all-powerful gods to authors, but they have to answer to their employers just like anyone else, and they also have to win the approval of their publication committee. If they choose your book and it does poorly, it could negatively impact them as well. They have an obligation to represent their company’s lines and needs, and part of your (or your agent’s) homework is to make sure you are sending your work to the right companies. Most companies have certain “slots” to fill in their publication lines. For example, two American set historical romances, one historical romance set in England, three suspense novels, and five contemporary women’s novels. And to continue the example, eight of those slots for the year might already be filled by their current authors. You might have an awesome book that the editor loves, but whether or not you get a contract will still be largely based on the company’s specific needs of that moment, which is one of the many reasons you must keep trying and not be easily discouraged. Editors want to please their employers and keep their jobs just like anyone else, which is why being stubborn or pushy about a book that doesn’t fit their line will only put you on their bad list.

Editors Have Personal Taste. In addition to representing their companies, editors also have their own taste. You might find that within a given publishing house one editor prefers plot driven fiction, another deep characters, and a third is a sucker for a great voice. That’s part of why you can’t take rejection too personally, and you must keep trying and trying. It’s entirely possible that you might send an editor an awesome novel, but they have read two similar bad ones recently that negatively color their perception. Or worse yet, they might have just read an off the charts awesome book in your genre, and therefore yours seems lackluster in comparison. It happens, and there’s nothing you can do about it but keep trying.

Editors Care about People They Know. And so I pretty much bring us back to the first point. Let me be clear. I’m not talking about nepotism. But…I think it is simple human nature that editors will give more time and attention to submissions by people that they know and like. They’ll feel more confident about publishing a book by someone they trust. It’s easy for me to send a simple, “no thank you” to people I haven’t met, whereas someone I know in person is more likely to get suggestions for improvement with an invitation to resubmit. At the end of the day, publishers are only going to publish books they love and feel confident about. But…given two books of equal merit, do you think an editor will push for the one by a friend or a stranger???

Yep, editors are people too. Don’t tick them off. Don’t annoy them. But if you can invest time into getting to know them and becoming their friends, it just might bode well for your future.

Have you ever met with an editor? Can you share any funny stories, cautionary tales, or suggestions?

Lesson's from the Editor's Desk - Take Me for a Ride

In the first lesson of this series, I explained that I am a part-time, often volunteer editor for WhiteFire Publishing. However, I have been reviewing manuscripts for three years now, and I've learned a few things along the way that I think would be helpful to the writers among us. Today's lesson: take me for a ride!

Once I make it through the first chapter or two of a novel submission and feel confident that the book is off to a good start and a reasonable fit for my company's needs, I like to download it to my kindle. From that point on, I try to turn off my inner editor and experience the book like a reader. If it keeps me engaged and I read until the end, I might ask for some improvements, but chances are, I will recommend the book to our publishing committee.

So here's the big question: Why would I stop reading???

One of two reasons: the book bored me or the book wasn't well constructed. When we read a book we want to be taken for a ride, on a journey. It should be exciting, yet it should feel reliable. We want highs and lows, twists and turns, even upside down loops, much like a roller coaster. But...we want to feel like the roller coaster is structurally sound and the safety equipment is trustworthy. We want that assurance that we'll get off in one piece on the other side. Editors end up reading a lot of bad books, but when we find a novel that allows us to relax and enjoy the ride, we are ecstatic! Now, let's look at this in more detail.

Boring:
If I'm bored and don't desire to pick your book back up and keep reading, I won't. Plain as that. If it's not holding my interest, it won't hold the interest of many regular readers either. Here are some issues that can lead to a boring book:

Overused Storyline
Flat Characters
Weak Dialogue
Weak Voice
Lack of Motivation
Lack of Conflict
Lack of Escalation
Lack of Emotional Intensity
Pointless Scenes
Slow Pacing
Too Much Telling
Lengthy Chunks of Description
Lengthy Chunks of Narration

The most important element to keep in mind in this area is that unlike authors from the 1800s, you are competing with television, youtube, blockbuster movies, and netflix for people's attention. You need to keep your stories quick paced, present moment, multi-sensory, full of conflict, and downright exhilarating. Even a quiet, literary novel must keep these issues in mind. While you might be able to replace some conflict and action with beautiful language and deep observations about the human condition, you must still provide that engaging ride for your reader. So maybe this sort of novel would be more of a sky tram than a roller coaster, but it still needs to provide a strong story arc for a worthwhile and memorable journey.

Faulty Construction:
The other reason I might put a novel down is because I don't feel confident that it will safely get me where I need to go. A reader needs to believe that the story/author is trustworthy and will fulfill the requirements of the genre in a satisfying manner. If the reader feels jolted or confused, chances are he or she will give up on the book. And I will too. Here are some typical issues in this category:

Faulty Plot Structure
Inconsistent Character Motivations
Poor Characterization
Unclear Setting
Continuity Issues
Poor Pacing
Poor Scene Choice
Point of View Issues
Jolting through Time
Jolting in and out of Scenes
Missing Information
Far-Fetched Plot

No one wants to take a ride like that. I for one love a good roller coaster, but at a reliable theme park, not one tossed up by a couple of traveling carnival workers. You can't perfect one element of a novel while letting another fall into disrepair or go missing entirely. Writing a novel is a huge and elaborate undertaking. There's a lot to get right, and if even one element is weak, the entire thing can fall apart. I mean, what if one single piece of track was missing from a roller coaster? Or the pulley to get you to the top was weak or jolting? Or what if the brakes were just so so? In order to have a fulfilling ride, every piece needs to be working well and in conjunction with the others.

Don't get too discouraged. Most books have a few minor weaknesses. That's what editors are for. But again remember, I need to want to read your book until the end before we even get to that point. So make it impossible for me to put down. Take me on a journey that I'll want to finish, and you just might find yourself in print.

What makes you give up on a book? Even better, what makes you want to throw it against the wall?

Lessons from the Editor's Desk - First Pages

Let’s start this lesson with full disclosure. In addition to being an author, I am a part-time, often-volunteer editor for a small publishing company. That being said, for the past three years I have been representing WhiteFire Publishing at conferences and reviewing submissions for them. Probably the best perk I’ve gleaned from this experience is a huge improvement in my own writing, and especially in knowing how to make my own submissions sparkle for bigger publishers. So I’m going to do a series sharing some of the lessons I’ve learned. Today let’s start with those all-important first pages.

The sad truth is that for the majority of the manuscripts I read, I never get past the first page. Keep in mind that WhiteFire accepts unagented submissions, so I imagine that statistic is different for bigger publishers. You might wonder how in the world I can tell a manuscript won’t cut it by the first page alone, but a first page can tell you a lot. It can tell you whether or not a writer has done their job to learn the craft, it can tell you if they’re lazy, and it can tell you if they possess any talent.

 Here are a few of the red flags that will stop me reading right on the first page.

1     1)  Stilted Language

2     2) Phony dialogue

3     3) Lack of understanding of point of view

4     4) Telling not showing

5     5) Confusing sentences

       6)  Bad grammar

7     7)  Excessive typos

      

There you go people, that little list alone saves me reading farther on over 50% of submissions. If I see any of those problems on the all-important first page, I know that matters can only go downhill from there. As a publishing company, we simply don’t have the time or energy to put into fixing any of these issues, no matter how brilliant your idea might be.

Now don’t get me wrong, I realize not everyone excels at opening scenes. I understand the paranoia of crafting the perfect hook. I know that some people aren’t good at nailing down exactly where a book should start. But if you haven’t mastered the basic writing craft yet, as attested by the red flags above, those other issues are immaterial. If the writing is good, but the opening is weak, I might read on. Occasionally if someone is “telling” a story with a really nice style, I will skip ahead a few pages to see if they shift into “showing.” And I’m not going to turn down a manuscript over a typo or a misplaced comma, but if I see a handful of those sorts of mistakes on the very first page, that’s just lazy, so forget it. 

I used to overuse the "not a fit for our company" phrase in my rejection letters, which really meant, "your writing is too awful to be a fit for our company," but I don't do that anymore. For books that I don't make it past the first page, I figure a simple "no thank you" will have to suffice. When I say a book is not a fit, it means we don't publish that type of book. And when I offer suggestions for improvement, that's a good thing. It means the project has potential.

If you pass the all-important first pages test, and I actually get through a good scene or chapter of your book, I will then put it on my kindle and read it like a reader, not an editor. At that point, I’m mostly looking to see if I enjoy the book and if it holds my interest. If I actually read through to the end, I might ask for some changes, but I will likely be sending the book forward to my senior editor. In my next lesson we’ll look at some of the reasons I might stop reading a novel by an otherwise competent author.

As a reader, what do you look for on the first page of a novel to decide whether or not you will read on?

Great Endings

I just finished a new novel. We hear so much about the importance of great beginnings in the fiction world. Great first sentences, pages, chapters. True enough, a great beginning will hook someone to read your book. But you know what will hook someone to read your next book? You guessed it, a great ending. So as I was wrapping up my book, I stopped to ponder some of the rules of great endings. I'll share mine, and feel free to add your own in the comments.

1) Give the reader what they expect or something better.

This is a general rule of fiction, but it doubly applies to endings. If you give a romance reader anything less than their expected hero and heroine vow their undying love, or leave your mystery reader without solving the crime, you will have one ticked off customer who will not be buying your next book. Reader expectations must rule the day. On the other hand, if you give them exactly what they expect. Ho hum. Boring. Try to find some unexpected twist that will satisfy your reader plus give them a little extra something special.

2) Tie up loose threads.

Any published author knows that you must provide a proper climax and resolution at the end of a novel. However, a good novel will also answer all the reader's questions. It will not leave them wondering, “But what happened to such and such or so and so.” Authors must be careful to go through and make sure they have tied up all their loose ends. Of course the exception would be a series. For a book in a series, the major conflict of the plot should be resolved, but loose threads concerning subplots and minor characters can be left open to be explored in future books.

3) Properly pace the ending.

Endings should neither be too short nor too long. You don't want to rush the reader through the ending or bore them which unnecessary details. I think a general rule of thumb for an average 75-100k word novel is one to two chapters for the climax and one scene to one chapter for the resolution. Again, this could vary by genre. For a novella, perhaps one short scene for each or a longer scene that incorporates both. You never want to have climax, one paragraph of resolution because you're out of words, and done. Whew! Your reader will not feel satisfied. Nor do you want 10% of your book to be happy sappy resolution with no tension. Now for a long epic novel, the ending will also need to be longer. You might need to provide proper closure for a number of characters. And for the ending of a lengthy series, the resolution could stretch quite a few chapters as it provides wrap-up for a significant investment of time by the reader.

4) Provide emotional satisfaction.

You can tell you hit the other elements properly if you provide your reader with an emotionally satisfying ending. For a happy ending you want them to sigh, even cry tears of joy, and then put down the book feeling good about it. If it is a more realistic ending, they should feel like they've taken a worthwhile journey and have deep issues to ponder for many days to come. And if it's a sad ending...well, if it's a sad ending, move to France because we don't like those. Okay, fine, if it's a sad ending it should provide a cathartic experience with plenty of tears and teach a valuable lesson.

5) Utilize circularity.

Readers, chances are you have delighted in this feature in your favorite endings without even knowing the name. And authors, this one will really put your ending over the top. Circularity occurs when you bring back elements from the beginning of the story at the end. Particularly bringing back subject-matter, settings, words and phrasings. In my most recent book, I wrote my ending and concluded the story. Great. Job done. Reader satisfied. But then I went back and rewrote the ending with echoed words and phrases from the opening of the book that juxtaposed the character at the beginning with the character at the end. That's no longer just mission accomplished, it is mission accomplished with flair.

So those are some of the elements that I think make a great ending. How about you? What are some of your favorite endings and what makes them stand out?

Edit Like a Pro!

For the last two years I’ve had the wonderful pleasure of working as an acquisitions and content editor for WhiteFire publishing. So I thought I’d pass on a little of what I’ve learned to the aspiring authors in our audience. Publishing companies take manuscripts through a series of edits in a strategic fashion from macro editing to fussing over every last comma and period. By following the roadmap that publishers use, you too can learn to edit like a pro, producing a quality manuscript while saving time and effort along the way.

I know in my case, I wrote my first novel, and then spent countless hours proofreading. Then I changed the whole book, and spent weeks line editing and proofreading again. And I followed that cycle through at least five rounds of edits. Goodness only knows how much time I wasted. Don’t make my mistake. Instead, follow this outline to edit in the proper order.

* Strategy - Purpose, Audience, Genre

At the publishing level, this first step in editing takes place even before we acquire a novel. And ideally for an author, this step should take place first as well. Of course newbie authors are still getting their feet wet. They often just follow the story or characters where they lead. Even experienced authors might do some pre-writing of this sort to get in touch with their idea. However, it is advisable to know where you’re going before you get too far into the process. You need to know why you’re writing the book, who you are writing it for, and what genre you are writing in.

These three factors will guide many important decisions along the way including things like point of view choices and length. Don’t make the newbie mistake of thinking, “This is a cross-genre book that everyone will love.” Translation: “No one in particular is going to want to read this book unless they are related to me.” Publishers need to know your purpose, audience, and genre before they even consider your book, so you should consider those factors first as well.

* Macro Editing

This level of editing can also be called content or substantive editing. Publishers generally content edit after they’ve purchased a book, but if an editor really likes an idea but sees too many problems, they might send content suggestions at this level and ask for a resubmission. Similarly, content editing by the author could take place at different points in the process—but it must take place! Some authors like to write “organically” or “by the seat of their pants” as opposed to planning and outlining in advance. That’s fine. But at some point you must go back and take control of your story.

Major content editing generally looks at issues like plot structure (proper introduction to the story, turning points, mounting tensions, climax, and resolution), characterization (consistency, goals, motives, and conflicts), proper pacing, themes, and point of view choices. All of these need to be working well before a publisher can consider your manuscript. And there’s no use fussing over scenes, paragraphs, or sentences until all of these major elements are solid and in place.

* Scene by Scene

Once a publisher has acquired a book and made certain the big elements are all in order, they move to editing on a scene by scene basis. This could also be considered part of the content editing, but for the writer, this level needs to be addressed separately.

After those big elements are in order, each scene should be carefully examined. First, decide if the scene even earns a right to be in the book. Something significant should happen in every scene that drives the story forward or adds to character development, preferably both.

When you’ve decided that the scene stays, make sure that it’s strong and active. Check if you have entered the scene properly. To enter a scene you should quickly establish the time, place, and point of view character. These elements are necessary to pull your reader into the fictional world. This can be best done with some sensory details about the setting from the point of view character’s perspective. While you might choose to start with a few lines of dialogue, within the first few paragraphs, you need give us this information. 

Once the scene is going, make sure that there is conflict (or tension) in the scene and something happens that shifts the dynamic in the scene. You don’t want a static scene. Examine the scene to make sure that there is a nice mixture of dialogue, action, description, and internal monologue from your point of view character. The best scenes weave these all together. Also check that the five senses and adequate emotion are used throughout. Finally, exit the scene with a strong closing hook that will drive the reader to keep going into the next scene.

 *Line Editing, Copy Editing, and Proofreading

After the content of a book is all finalized, the next level of editing is line editing. At this level the editor examines sentences and paragraphs to make sure the writing is effective, tight, and properly communicates the author’s intent. Often sentences can be combined or restructured to better express the meaning. Sometimes connectors or further description are required. Sometimes redundant words or lines are cut. Another main goal of the line editor is to make certain that the prose is fluid and pleasurable for the reader. When line editing your own work, it is very helpful to read the text out loud to yourself. Your ears will catch many problems that your eyes are not likely to see.

Next comes copy editing. Copy editors study all the words, looking primarily at grammar and punctuation. They know the publishers style guidelines and apply then to the manuscript.

Finally, the publisher will take the manuscript through the proofreading stage, in other words, looking at every single letter and punctuation mark for typos. Often this is done by a number of people after the book is available in the “Advanced Reader” format. You might want to ask friends, family, or your beta readers to help you with this stage. When looking for last minute errors, it is helpful to read the manuscript on a printed page, read out loud, and if possible, have a text to speech program read it to you. These last three stages are sometimes compressed into only one or two stages by publishing companies, but be sure that you treat each one separately.

So that’s the road map. Notice how it starts big and works it’s way in. Remember, by using these techniques in proper order, you too can learn to edit like a pro.

Writers, what are some of your editing secrets? Readers, what are you pet peeve problems that you find in books and wish authors would do a better job at editing out? 

To Be or Not To Be - A Ridiculous Lesson in Self-Editing

Shakespeare posed his prolific question centuries ago, but perhaps he would have never guessed what it might mean to writers today. Yes, I’m referring to the dreaded “to be” verbs. Now if you’re a reader and not a writer, we’re about to tread into some terribly deep writing waters, but you might still enjoy this look into the twisted world in which your author friends attempt to live and work.

I’ve talked before about “the rules” of fiction writing. Often we hear a basic rule, but don’t understand the finer points. Don’t understand how to harness it and put it to practical work in our writing. One of those rules, discussed last week both on the American Christian Fiction Writers, is the one that says “avoid to be verbs.”

Now you might say, that’s just silly. I might say so too. But it’s not so silly once you understand the how’s, why’s, when to’s, and when not to’s of this rule. In fact, I’m working on my first big editing project for WhiteFire, and guess what one of my main issues with the book was? Exactly. Too many to be verbs.

Obviously there are time we need to be verbs (is, are, was, were, be, being, been) as well as other linking verbs. But in general the goal is to keep our verbs as active, specific, and powerful as possible. Let’s look at some problems to be verbs can create.

1)      Repetitive: Probably my main issue with to be verbs is that they quickly become repetitive. In writing we want to stay as varied as we can. We don’t want: The house was small. It was dingy. The door was covered with chipped paint. We want: The small, dingy house cowered against the horizon. Paint chipped from the door, as if it could not escape quickly enough. Be creative. Be original. It’s our job.

2)      Passive: The next problem that often occurs with to be verbs is that we use them in place of stronger, more active verbs. Example: I was hungry and tired. There’s no action. Instead try: Hunger grumbled in my belly and fatigue weighed heavy on my limbs. Not only are these more interesting and active verbs, they have more sensory impact. Perhaps the most passive of all is the “It was” or “It is” construction in which the “It” does not represent any actual noun. Example, “It was Sunday morning.” How about, “Sunday morning dawned bright and clear.”

3)      Telling: Another name for this sort of passive structure would be the dreaded “telling” that writers are warned away from.  In the first version above the reader is being told hungry and tired. In the second, they really begin to see and even feel the hunger and fatigue. When you notice whole passages are filled with to be verbs, chances are you’re using narrative summary. While this sometimes can be the most effective tool to quickly let us know something that happened, it packs no emotional punch, so use it sparingly.

4)      Distant: Related to the whole passive and telling issues, to be verbs can also create distance between the reader and the scene. You want your reader to feel drawn into the moment. Even into the body of your point of view character, as if they’re living out a fictional dream. To be verbs as well as unneeded helping verbs can destroy this illusion. Here’s an example with was as a helping verb. "She was walking to the door. She was pushing open the door, and then she was pulling out a cart." Perhaps this would work for some sort of out of body experience or for an observation of someone else, but otherwise, bring us right in close. "She strode with purpose toward the store, pushed open the door, and yanked out a cart."

5)      Boring: To be basically means equals. From the example above I = hungry and tired. Other linking verbs do this as well. And none is used more often than felt. I felt hungry and tired means the same as I was hungry and tired, which  means the same as I = hungry and tired. And they’re all BORING! There is a proper use for words like felt. For example, “I felt like I was about to die” actually means something completely different than “I was about to die.” Sometimes we need these verbs, but don’t be lazy with them.

You may have noticed that I also used was in my good example in the previous paragraph. That’s because often we need to. Now let’s look at some proper uses of to be verbs.

1)      Dialogue: In dialogue people should talk like people, and should speak in a way consistent with their character. Most people would never say, “I am weighed down with fatigue.” Unless maybe they’re an over zealous author or live in 1780. In dialogue most people would just say. “I’m tired.”

2)      Internal monologue: Sometimes an author gets so deep into the head of their point of view character that it basically is like dialogue. It’s the characters voice, not the authors. During these moments, use the words your character would use. “She couldn’t believe it. It was wrong. Just wrong. No! It was beyond wrong. It was unbelievably, shockingly, and unforgivably wrong!” As you can see, I especially like to be verbs in tirades.

3)      Simplest tool: And here we get to the heart of thinking like a seasoned, professional writer. Sometimes it’s just simpler and more to the point to use a to be verb. I learned from Angela Hunt that we have many tools in our writing tool boxes, and we shouldn’t use a sledge hammer when all we need is a little tap. Sometimes in order to avoid to be verbs we use sledge hammers. That’s not good. For example, it might take a paragraph to use active verbs and show, “He was wrong.” And maybe in that moment you just need to say it and move on.

So those are some of my thoughts on “to be” verbs. What are yours? Did you know about this rule? Have you ever been annoyed by it?

The Flashflood Syndrome

In case you’re wondering if I just made up “The Flashflood Syndrome”…um...yes, yes I did. The flashflood syndrome is a name I came up with for an annoying phenomena I’ve seen too often in fiction. It might also be called lack of set-up, out of the blue complication, or maybe even “episodic” writing. But since the worst case I’ve ever seen involved an actual flashflood, and since it provides such a perfect metaphor, I will now and forevermore be dubbing it “The Flashflood Syndrome.”

Cue intense music here.

Writers are told that we must have goals, conflicts, and motivations in our stories. That we must have tension and continue to ratchet up that tension throughout the book. At all cost we must avoid the writer’s worst enemy—the dreaded sagging middle.

So what do we do?

We add twists, turns, unexpected complications to up the tension and keep the reader turning pages. But like with all of the “rules of fiction writing” this can be done well, or it can be done poorly.

Let me give you the soon to be iconic flashflood example. (Now if you’ve read this book and know which one I’m talking about, please don’t mention it in the comments. My goal is not to trash the author, but to make a point about writing.) This book was a fun, somewhat fluffy romance novel. It had a lot going for it. The heroine was just adorable. The dialogue and descriptions were great. The author had a nice, fluid writing style. There were some interesting historical details, which I really enjoyed. And, most important to me, I loved the refreshing spiritual elements in the book.

But here’s where the problem came in. There really wasn’t much keeping the hero and heroine apart, other than the hero’s mistaken perception of the heroine and a good dose of stubbornness. So by the middle, guess what, it was coming precariously close to sagging.

At that point I, the savvy reader, think to myself, "If this writer is smart, she’s going to throw in twist right about now."

Oh yes, a twist was a coming. But not a well-planned twist that would bring the reader a sense of subtle satisfaction. That “I should have seen it coming” feeling. No. A flashflood. A literal, out of the blue, flashflood. On a bridge the heroine had never before traversed. Over a river that I don’t even recall being mentioned up to that point. And just to add insult to injury, the flashflood comes roaring her way right when she's smack dab in the middle of the bridge.

The heroine impetuously decided she must go visit someone who might be in trouble, and instead of offering to go with her or in her stead, the hero hitches up the horses and sends her on her way. Now I should give the writer a little credit, on the way to the cabin the heroine notices the rising water from the recent rain.

At which point I, savvy reader, think to myself, “There’s no way she’d try to pull a flashflood on us. There was no set up. It would seem way too hokey and coincidental.”

But to my dismay, it was indeed a flashflood. A flashflood that seemed to take place for no other reason than to put the heroine in danger so that the hero would have to rush to her rescue and be forced to face how much he loved her.

Ugh!

Now, this situation could have been easily remedied. And here is my lesson for writers today. Twists and turns are great. Sometimes they’re unexpected even to us as authors, which can be fun. But, it is our job to go back and provide the necessary set-up and foreshadowing to allow it to make sense.

In this book the heroine took a walk every morning. She could easily have walked by or even over the bridge. She could have noticed how the bridge crossed a narrow part of the river and the water level varied with the rain. You don’t want to be too heavy handed, but a little gentle weaving in of the bridge could have made that flashflood fit the story much better.

Or maybe the area is known for flashfloods. Maybe the heroine learns this as she’s traveling there. Or maybe she’s warned about it, and she thinks to herself she’s thankful she’ll be living in town far away from the river. Or…maybe the relative of a minor character died in a flashflood.

Should the author have used all of these set-ups. NO!!! You don’t want to be too obvious. That would be making a mistake to the opposite extreme, but you should have something. In real life flashfloods can be completely unexpected, but let’s face it--novels are not real life. We write tighter, cleaner, and with more direction than real life. That is the nature of storytelling.

Reader expectation is soooo important. You either want to give your reader what they want or give them something better. The last thing you want is for them to say, “Ugh! A flashflood out of nowhere. Do you seriously expect me to buy that?”

Have you noticed unexpected twists in books that seem just too convenient? What’s one of your pet peeves when you’re reading?

Give the Gift of Good Scenes

Recently, I read a book submitted to WhiteFire Publishing. Awesome voice, compelling subject, talented author. But I had to give it a "not yet" because the scenes still need work. I've turned down a number of books for this reason, although I asked this specific author to resubmit due to her skill in other areas. This made me think that perhaps for the New Year, I should give us all the gift of good scenes. Here is an excerpt from my online writing class, "The Inspiration and the Perspiration."

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Next, let’s discuss scenes. In our video based society we are used to stories coming to us in scenes. In classic books you will often find characters meandering from one time and place to another with no clear break and the narrator jumping around from one mind to another.

In contemporary fiction, a simple “***” takes us effortlessly from one time and place to another, and requires little or no explanation of how we got there. The reader understands that we are cutting to the vital information that moves the story forward. This allows the author to keep the tension high and the pages turning by eliminating a lot of fluff. In your own mind, you will want to figure out what happened in between and how the transitions occurred, but your reader needs only the briefest explanation and does not care about irrelevant details.

As you edit, make sure that each scene is doing its job in advancing the plot and/or deepening characterization. Something vital should happen in each scene. If not, cut it. If you have a scene where nothing happens but reflection, weave the relevant reflection into a different scene. If you have a scene where nothing is happening but description of an important setting, weave it into a different scene. If you have a dialogue scene that’s interesting but nothing really happens, weave the conversation into a different scene. Every scene should have tension and conflict and end with something to thrust the reader forward into the next scene.

Are you getting the point? Of course, not every single scene requires every element. Certainly stories and examples in your nonfiction will not always need every element. However, check every scene and story for places you could strengthen it by weaving in characterization, action, dialogue, inner dialogue, and description.

First when editing your scenes, decide if they’re pulling their weight, and if they earn staying in the book. Second, look for a nice balance of elements above. Also, look at the progression of your scenes. In a story, it is good to be continually moving in a cause and effect progression. You don’t want to say. “She entered the room and turned on the lights because it was dark.” Say, “She entered the dark room shrouded in nighttime terrors. Her hand scraped across rough stucco, searching the wall for the switch. Light flooded the room, chasing away the shadows…”

In the first version, “because it was dark” stops the flow of action. In the second version, it’s actually hard to find a stopping place. One sentence flows into the next, and there’s a feeling that we must keep going. Notice how I also wove characterization and description into these simple action sentences. I even created a tone.

The fourth thing you want to look for in a scene, is a clear and consistent point of view. In a first person story or limited third person point of view, this will stay consistent throughout the book. However, still check to make sure that what they see and think is true to that character and is not your author’s voice intruding with things that they wouldn’t know or contemplate.

For example, if your character is standing behind someone, remember that they can’t see their facial expressions. You can move them to a different vantage point, or they can comment on general body language. Likewise, a character will not comment on their own facial expressions, unless they are aware of the face they are making. You wouldn’t say, “Confusion flashed through my eyes.” You would instead describe how confusion felt in their body, or give of a glimpse into their confusing thoughts. A male POV character will not describe another guy as "cute" or "sweet."

The most popular point of view being used these days is multiple third person point of view. In this POV, each scene should take place from the perspective of a specific character. Since we’re using scenes anyway, think of this as the cameraman for the scene. We can only see what they see and hear what they hear. If we are in “close” third person point of view, we can even hear their thoughts.

So perhaps this is a cameraman whispering commentary to the audience. If you are writing in multiple third person, give thought to who will be most changed or effected by a given scene, and put the scene in their POV. If during a specific time and place you want to switch point of view, that’s fine, but it still constitutes a scene change and requires a  “***” break. If you aren’t sure if you are firmly in one head, try rewriting the scene in first person, then change it back when you’re finished.

As each scene opens, drop us firmly into the head, even the body, of the point of view character. Set up the scene by letting us know where and when they are. Twang at least one of our five senses so that we can see, hear, feel, smell, taste, or touch what they are experiencing. Then we will be ready to join the character in the fictional world of the scene.

And one last thought to connect this back to my tension post from a few weeks ago. Be sure to end your scene with a hook to drive the reader forward into the next scene to keep them going. Don't want them putting that book down, you know.

So there are a few tips on writing good scenes. Writers, what tips would you add? Readers, what do you look for in a good scene? What authors use scenes to great effect?

Crank up the Tension

Almost any writing expert will tell you that one of the most important elements of fiction is tension. But in usual Dina fashion, I had issues with this. I don’t like tension. It’s, well—tense! Stressful. Upsetting. I grew up in a think positive, look on the bright side kind of home. I didn’t get the need for all this tension in my stories. If I wanted tension in my life, I could have been a lawyer, and I could be making hundreds of thousands of dollars right now instead of a pittance as a writer.

Then one day, I finally got it. The tension is the reason the reader keeps turning the page. Without the tension, they have no need to know what’s going to happen next. You mean my stunning imagery and characterization aren’t enough to keep them reading? Uh, duh, no they're not. Not against the screaming demands of everyday life. Readers need a darn good reason to keep them from putting that book down. In other words, when we say you need more tension, what we’re really saying is that you need to make your reader care more.

Oh! I can do that.

So I learned how to crank up that tension baby. And really, it was there all along, I just wasn’t bringing enough notice to it. You needed a minor in psychology to find my tension.

Here are a few tips for cranking up the tension in your story. (I know a lot of people say ratchet up, but that sounds like tools, which make me even more tense.)

1)      Make the goal and obstacles crystal clear. I know as writers our big mantra is show don’t tell. And I think that’s what I used to do concerning goal and motivation. I would have Dandelion the peasant girl smelling meat wafting from the castle and brushing her fingers along the stone wall, and you were supposed to know that she longed for that life and would do anything to attain it. Maybe in literary fiction that would work. But generally speaking, it’s an author’s job to make it clear through dialogue or internal monologue what the character wants, why they want it, and what’s keeping them from getting it. This is how we let our reader know what they should care about enough to keep reading that book. Some authors will go as far as to reiterate this every scene. To me, that’s overkill. But do give your readers reminders throughout. Preferably worded in new ways and reflecting the growth of the character as the story progresses.

2)      Make us care about the stakes. In order to keep the reader interested, something has to be at stake. Not only does the character need a goal and an obstacle to reaching that goal, but something bad has to happen if they don’t reach it. Again, this helps our reader care and become invested in the story. And truthfully, the stakes don’t have to be huge. They can be life or death in a suspense or an adventure book. But maybe the stake is as simple as the heroine being lonely or unfulfilled or never living out her dream. In a comedy, the stakes could be completely ridiculous. Think Seinfeld and the soup Nazi. Who cares! Except that we did care. The characters cared. In their minds it was life or death, and we loved the characters, so we cared too.

3)      Let us know what the character is worrying about. Now here’s another place I used to make a big mistake in my writing. I was never allowed to worry or complain growing up. I was supposed to stay in faith, and if I did worry, I kept it to myself. At some point I realized my characters made the same mistake. You don’t want your character to be whiny and bringing up their problems over and over again in dialogue. Maybe they don’t even want to admit it to themselves. But at some point, they need to. Because your readers need to know what they’re worrying about so they can worry along with them, and again, so they can care. If you character isn’t fazed by their own problems, why would the reader be? And why would they turn to the next page if your character is doing just fine, thank you very much.

4)      Let us feel the character's emotions. Related to letting the reader know what the character is worried about, you need to let them actually feel what the character is sensing in a visceral sort of way. You need to let them experience the character’s emotions first hand as though they are living the story in a sort of fictional dream world. Is your character angry? What does that feel like in the body? Heat? Pressure? Head about to explode? If they’re sad or in pain, how can you as the author express that to allow your reader to enter the scene and loose themselves in it?

5)      End each scene with tension. I’m sure not every author will agree with this, but I’ve found it to be a very simple trick that really works. In other words, end each scene with a hook to remind us what we’re wondering or worrying about, and why we simply can’t put the book down. Often scenes end in a tense place naturally, but other scenes are resolutions to smaller complications in the book and end on a light or happy note. When I finish a scene, I look to see if there’s any good tension on the last page. If there’s not, I add some in the ending hook. For example, we just had a wonderful kissing scene and things are going great, and I end it with, “but how long could the illusion last.” Ta da! It’s a romance novel. There’s 150 pages to go. The reader knows something's got to go wrong, but without the reminder, they might just lose interest.

So those are my techniques for cranking up the tension. Authors, what tricks do you use to keep your reader's interest? Readers, what makes you really care about a book? What makes it impossible to put a book down?

Exercising "The Rules" of Fiction

Then he said to them, “The Sabbath was made for man, not man for the Sabbath. ~ Mark 2:27

Those of us who are fiction writers hear a lot about “the rules.” I recently heard a new one—that similes are unacceptable. Are you kidding me!!! I’m a poet. A well-executed, well-timed simile is like a feast for the senses. Of course, an ill-executed, ill-timed simile can make you want to gag up said feast. Hmm…maybe that’s the point. It’s all about how well you do it.

All of these so-called “rules of fiction writing” are just someone’s attempt to capture that ephemeral entity known “great writing” and put it in a bottle. To give you a concrete guideline. But the rules are a means and not an end unto themselves.

Here are Dina’s “Rules About the Rules.”

1) You can break any writing rule if you do it well.
2) Apply the 10% caveat: feel free to break any rule 10% of the time.
3) Over adherence to any single rule will result in breaking another.

I’ve seen too many friends run in circles by Dina's rule #3. And no wonder when critiquers and judges shoot out comments like sniper bullets. They often give vague advice with no real training on how to apply the advice. The writer thinks they’ve applied the advice and gets in trouble with another judge or critiquer who seems to tell her to change it back.

The real problem is, the writer misunderstood and misapplied “the rule.” Let me give you some examples.

Often writers are told they shouldn’t have backstory for the first 30 or even 50 pages. True and not true. We need to have a feel for who these people are after all. What we can’t have is long, boring backstory dump. But please, do weave in hints and quick targeted details. A mention of lingering tension between the character and her mother in the dialogue. A hint of her history with the hero linked to a sensory detail. Perhaps tell us her occupation in her internal monologue. You can give us backstory…if you do it well.

Here’s another one. A friend of mine was recently (oh no! adverb usage) told she had too much description. So she stripped it all out. What? Description is the basis for setting. And the reader couldn’t picture the scene at all. You need setting. What you don’t need is long, boring description in list-like fashion. But please, do weave setting into the action. Show the character interacting with the setting. Allow it to spark her inner monologue. Let us experience the sensory details along with her. You can give us description…if you do it well.

We all know clichés can never, ever be used in fiction. But, wait! (beware of exclamation points) What if you have one specific person in the story who clings to the safe and familiar never venturing out on their own. Clichés in their dialogue can actually strengthen characterization. I would argue that you can use clichés (say it with me everyone)…if you do it well.

Yes fellow writers, rule #1 is true. You can do anything. You just need to do it well. This reminds me of a corollary in the dance world (being very careful not to word this as a simile. Sheesh people!) Sometimes you’ll see a novice dancer who thinks that because she can kick her leg to head height, that she’s ready to be a professional.

Not true.

What she doesn’t understand is that her foot must be turned out, her hip properly fixed in place, her knee straight, her toes pointed into a lovely arch, her arms situated in the correct position. All at the same time.

And how do professional dancers learn a proper kick? By a judge or critiquer telling them once. No no no, my friends. By doing thousands of hours of exercises to strengthen, hone, and stretch their muscles. By starting with small foot brushes on the floor and slowly working up to big kicks to maintain proper technique.

Yes, it (yikes! not an it) takes training. Years and years of long, hard training. You don’t get to say, “I’ve watched plenty of dance recitals. I can do that.” You have to put in the work to develop the strength, skill, and technique yourself.

The “rules” are not a quick-fix to great writing. Writing, and writing, and writing creates great writing. Studying the craft, attending conferences, taking classes. These are the keys to great writing.

So, my fellow writers, as the next round of critiques comes along to bludgeon you in the head, don’t get discouraged. Get back out on the dance floor and exercise your fiction muscles (gracious me, did I just mix metaphors?!?!), understanding that it will take time, patience, and practice to become great.

For those of you who aren't writers, what really bothers you in a book? What rules do you wish authors would follow? Also, how can you apply this lesson to other areas of your life? And for my fellow writers, what rules do you love? Which ones do you despise? Have you been caught in a circle with rule #3?

Fiction that Cuts Deep

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A few weeks ago one of my writing buddies made a shocking confession. “I want to write fiction that hurts people,” she said. “I just realized this about myself. Ultimately, I want it to get in there and break open wounds and clean them out so they can heal, but I think I also want to hurt people in the process. That's a problem.”

Yes, that is a problem. Just try selling that book. We do want our fiction to cut deep, but in a targeted sort of way. We need to use anesthesia (i.e. entertainment value), precise surgical tools (i.e. excellent writing technique), and don’t forget the pain meds (i.e. positive spiritual takeaway.)

The point can’t be to wound. The point must be to heal.

That being said, I crave fiction that cuts deep. I just finished Embrace Me by Lisa Samson. The book shattered me in the best sort of way. Yes, it hurt, and I loved it. No, I’m not a masochist, quite the opposite. But, I adore a book that gets in there and does surgery in my heart. That changes me and helps me grow. Here’s the blurb for Embrace Me:

When a "lizard woman," a self-mutilating preacher, a tattoed monk, and a sleazy lobbyist find themselves in the same North Carolina town one winter, their lives are edging precariously close to disaster . . . and improbably close to grace.

How could a book like that fail to touch you? It is described on amazon.com as, “Biting and gentle, hard-edged and hopeful . . . a beautiful fable of love and power, hiding and seeking, woundedness and redemption.” Lisa Samson is “An Artisan of Hope,” and in my opinion, a writer of the highest caliber. Dare I say, a literary author?

Lately I’ve been trying to figure out exactly what “literary fiction” is. Some say it excels in artistry and use of literary devices. Some say it focuses on character and theme more than plot. Some say it seeks to enrich more than entertain. On the other hand, some say it asks questions without answering them, or it’s depressing, or worst of all, that it’s written by pretentious snobs who think they’re too good for popular fiction. Given such a vast array of definitions, here’s my take.

Literary fiction: a rather useless term used by some as a compliment and others as an insult.

I’ve been called…or accused of being …a literary writer. And that’s not surprising since I’ve taught literature. I do give attention artistry and literary devices. I do tend to focus on theme more than plot and enriching more than entertaining. But most importantly, I want to write stories that change lives.

Call them whatever you want.

Fiction that cuts deep and changes lives can come in all sorts of packages. Readers have come to expect it in literary writing and angsty women’s fiction. But I’ve also found it in the romance novels of Ruth Axtel Morren. I’ve found it in the demented thrillers of Steven James, and the hysterical chick lit of Siri Mitchell.

Changing lives is what truly matters. Add in some artistic elements, as the above authors most certainly do, and you might just get the compliment…or insult…of being called a literary author. I’m not going to concern myself with the label anymore.

Ideally, quality Christian fiction should both entertain and enrich. That’s my goal. I want my writing to attract readers interest and then seep down in their hearts to change them in some small...or big...way. Most importantly, I want my writing to advance God’s kingdom on earth.

What is your definition for quality fiction? What do you look for in a novel? What does it take for a book to truly move you?

 

Personality Types - Writing Class Series Bonus Lesson

I’ve enjoyed this writing class series so much, that I think I’ll do a few bonus lessons based on extra discussions we had during the live class.

One of my favorite things we ended up talking about in detail was a personality indicator used by psychologists called the Meyers Briggs assessment. I love this test for a number of reasons. In general, personality tests help us better understand ourselves and our unusual little quirks. They also help us to understand that each of our brains are wired in an individual way through genetics and upbringing. They assist us in understanding others who have vastly different personalities than our own. As writers, these tests help us to write consistent characters with distinct personalities and clear motivations.

I prefer the Myers Briggs test because it breaks down to sixteen different personality types and is more targeted and specific than any other test I have found. Another reason I prefer it, is because it is well known and you can find a number of excellent websites and books that talk in detail about these personality types. You can easily look up what a person with an ENTJ personality would choose as a job, or how they deal with relationships. This is particularly helpful to writers creating characters.

My new contemporary novel is a sisterhood type of book with three main female characters. These three women needed to have enough in common to be drawn to one another, yet still have distinct personalities. So I chose a Myers Briggs type for each of them and used that to help with their characterizations.When I wanted to know what would be a good career for one of my girls, I could easily look it up online. When I wanted to know what type of man would be a good match for them or how they would respond to stress, I could look it up. Pretty cool, huh.

The Myers Briggs assesses four aspects of human characteristics. Keep in mind that everyone has all of these traits, and it's good to be balanced, but that we all lean more heavily towards one or the other.

Introvert vs. Extrovert – This has to do with how you are energized. It is not about how shy or social you are. An extrovert is energized by the outward world of people and things. An introvert is energized by their inner world. An extrovert is always up for a party and comes home excited and full of energy. An introvert may enjoy the party, may even be the life of the party while there, but will be exhausted by the end and need to go home and regroup. Extroverts need to process things with others. Introverts need to process things alone. Extroverts quickly grow lonely and have a stronger need for others. Introverts are content with their own company.

Sensory vs. INtuitive – This has to do with what you pay attention to. Sensors focus on the five senses and on facts. Intuits focus on what might be called a sixth sense. Sensors are very aware of their surroundings whereas intuits might drift off into their own head. Sensors tend to seem more grounded in realism than intuits. Sensors deal with basic information and intuits tend to take in information, but interpret and add their own meaning to it.

Thinkers vs. Feelers – This has to do with how you make decisions. A thinker takes into consideration logic and reason only. A feeler takes into consideration people and their emotions. Feelers incorporate values and subjective judgments into their decisions. If you change how a thinker thinks about a subject, their feelings will naturally follow. If you change how a feeler feels about a subject, their thoughts will naturally follow. I have found you can best tell your preference in this category by asking yourself, “If logic and feeling are in opposition to each other, which would I regret not following?”

Judgmental vs. Perceptual – This has to do with how you live and work. A judger prefers to be planned and organized. A perceiver prefers to be spontaneous and flexible. Judges are strict on themselves about keeping commitments and following rules. Perceivers view commitments as something they will probably do and view rules as suggested guidelines. Judgers tend to be on time and be early for deadlines. Perceivers tend to be late and procrastinate. Judgers like to know where they are going and how to get there. Perceivers like to go with the flow and respond to where life might take them.

By choosing the four letters, you find the personality of your character. For example, I am an INFJ (which is both the rarest personality type in normal people and the most common personality type in novelists by the way). You can go online and find career advice, relationship advice, strengths and weaknesses, etc…for this personality type by looking up these four letters. Different books and websites have varying views, so I recommend you look at several. This website as a good place to start. It is full of exhaustive information. Be sure to scroll over the little icons for the links and also to look at the bottom of each page for sublinks. http://www.personalitypage.com/html/info.html

If you would like to take the Myers Briggs test for free, here is a good version http://www.humanmetrics.com/cgi-win/JTypes2.asp

We also discussed how these personality types affect you as a writer. Let's start with a very natural writer type, mine, the INFJ.

If you are an "E" for extrovert rather than an "I" for introvert, you may find that you write better as part of a team. You may need to go somewhere around people like a cafe or bookstore in order to write. And you will certainly need to join writers groups and be a part of a community. You would probably enjoy writing that involves meeting and interviewing people. Most writers are introverts, since it is primarily a solitarty activity. But introverts, be careful not to become a recluse. Writers need the emotional support of other writers.

If you are an "S" for sensor rather than an "N" for intuit and you want to be a writer then I'm not sure what to tell you. It's not that an "S" can't write, it's just that they usually don't view writing as a practical enough pursuit. If you desire to write, then you must be fairly balanced between the "S" and the "N." I would also guess that you are an introvert, because something must be drawing you to the inner world of writing. You will probably view writing as a craft. I'm guessing that reporting or fictional mysteries would appeal to you because of the sensory aspects. You may find that you enjoy writing teaching manuals or how-to type material because of its practical application. And you might make an excellent editor because of your attention to detail. Intuits will likely have good instincts for writing and also good instincts. They will enjoy the imaginary aspect of writing.

The "T" for thinker can also be a good writer, but they will probably focus more on facts and research than the "F" who might like to be more creative. The "T" might enjoy writing nonfiction or fiction that requires extensive research, and they will probably rely more heavily on formulas and structure in their writing because those aspects focus more on logic. If you are a feeler, don't get so creative that you forget to keep your facts straight.

Finally, if you are a "P" for pereciver rather than a "J" for judger, then you can still be an excellent writer, you just might not ever finish a book. If you do, you will need a publisher who is lenient on deadlines. You will probably be a "seat of the pants" writer, rather than a plotter. But, remember that it's important to examine your "organic" plot structure and make sure it's strong after you've finished your book. By the way, if you are a judger, be careful not to become too focused on the rules or too locked into your plot. This is probably an area that the judgers can learn a lesson from the perceivers. Just don't slack off on meeting those deadlines :)

Getting It Out Into the World - Writing Class Series Week 8

During week 1 of “The Inspiration and the Perspiration,” we attempted to define Christian writing. Here’s what we came up with:

Christian writing is any writing inspired by the Holy Spirit with the goal of advancing God's kingdom on earth.

This definition implies that ultimately, we want our writing to find an audience so that it can touch lives and change people, at least in some small way. That means, for our writing to achieve its purpose, we have to get it out into the world. We don’t want to hide our light under a bushel. We don’t want our writing to sit in a drawer or computer file where no one can read it. There can be a therapeutic type of personal writing, however, if you’ve invested the sort of time I've suggested in this series, that is probably not your goal.

For smaller pieces like short stories, articles, devotionals, and poems, blogging can be a fun and easy way to find an audience. You can also begin to look for magazines and journals. The Writer's Market, available at bookstores, libraries, and amazon, is the best resource for finding places to submit your writing. They have new versions each year and multiple editions specializing in various genres. There is also The Christian Writers' Market Guide. If you regularly follow a certain periodical, consider writing something specifically to fit their needs.

Now on to full books. Here’s the bad news, on a very practical, business type level, in order for your book to sell well, you will need to begin to view your precious baby--the result of years of blood, sweat, and tears--as a product. Yes, you heard me, a product not at all unlike a Big Mac. It will need to be packaged, distributed, and marketed. What we have previously called your “audience” will now become your “target market.” While on some levels marvelous writing speaks for itself, there is a business side of writing as well. You need to get at least some people reading your book and spreading the word if you want it to reach farther than friends and family members.

On the other hand, be realistic and understand that only a handful of Christian writers actually make a living at writing. Writing can be a profession, but at least in the beginning, it will probably need to be more of a hobby or a ministry. Still, we want to reach the largest audience possible. There are three main routes you can take for getting your book out into the world. So let’s discuss the pros and cons of each.

The traditional route, which is preferred by most authors, is to find a major publishing house to contract your book. If you can find a major publisher, they will do an excellent job editing your novel and making it the best it can be. The con is that you lose some control over the content of the book. They will provide a professional cover design. However, you will have little or no say concerning the cover. Your book will be distributed in bookstores, on Amazon, possibly even retail stores like Wal-Mart, so they will reach a large potential audience. On the other hand, a good run for a Christian novel is about 10,000 books, and you will receive only 5-10% of the profits. Probably less than a dollar per book. Another pro for traditional publishers is that you will receive a lump advance. In other words, you might make $5,000, even up to hundreds of thousands for secular best-selling authors, in advance. The down side of the advance is that if the publisher does not make their money back, you might have a hard time contracting another book--with anyone.

Traditional publishing is still the preferred route, because it provides a large potential audience. It also provides marketing and promotion. However, the traditional publishers have less influence in this area than they used to because their primary sales are switching from small booksellers to mega bookstores and online booksellers. These days, royalties are smaller than ever, and at the same time, authors are expected to do more and more of their own marketing and promotion. Not a great deal. At the end of the day, I think most authors still dream of the big publishing houses because they offer instant validation and respectability. If you’ve been published by one of the big Christian companies: Baker, Zondervan, Thomas Nelson, Multnomah, etc… people know that you have made it, and you are now a “real” author.

Now for more bad news. If you decide to go the traditional publishing route, you will not be able to send your manuscript to any major publishers. You will need to first find an agent. In order to find an agent, you will need to prepare query letters, book proposals, and sample chapters. (You will also need this if you decide to go the small press route.) Go online and begin researching agents who represent your genre and how to write these all important marketing tools. You may want to consider hiring someone to help you write your first proposal. I did, and I had many requests for full manuscripts from agents. Agents generally charge about 15% of what they help you earn. In addition to being your gateway to the publishing world, they also provide legal advice, handle contract negotiations, and in many cases, even help you improve your writing. If you want to go the traditional publishing route, finding an agent is well worth the effort.

If you truly want to forego the agent, you have only a few options left for pursuing a major publisher. You can try to meet acquisition editors at writer’s conferences and pitch your book to them in person. Make sure you do your research and learn which editors will be there ahead of time. There are also a number of writing contests that send the winning entry to an acquisitions editor. Again, do your research. Finally, there are online services that will advertise your manuscript to editors for a fee. I personally don’t know anyone who has gotten a contract through this route.

The next way to get your writing out into the world would be to look for a small publisher, or “small press” as they are often called. These publishers do not pay large advances, and they generally do not sell as many books. On they other hand, they are more accessible, more personal, and willing to take more risks. These publishers are more likely to contract a book with a smaller market such as literary writing or an obscure genre. They are still respectable, and while they may not have the name recognition of the big companies, an author can still feel that their work has been validated and someone is willing to invest in publishing their book. Books published by small presses are eligible for all the same awards and accolades as books published by large publishers. In addition, the author tends to have more input, and in many cases, earns higher royalties. While an agent can still be helpful, many small presses will accept queries and proposals directly from authors. You can find lists of small presses in The Writer's Market and The Christian Writers' Market Guide. Be careful to follow their submission guidelines to the letter. Same is true when submitting to agents. Please remember that a reputable small press will not charge you a penny to publish your book.

The final way to publish a book is “self-publishing” or “vanity publishing.” This should not be a first choice, because in addition to the cost, it is not as respectable and could actually hurt the author’s reputation. However, there are instances in which self-publishing can be a good idea. If you are a pastor, public speaker, or well-known in your field and write a nonfiction book in your area of expertise, self-publishing can be a good option because you already have an audience and the name recognition to sell books on your own. You keep a much higher percentage of the profit when you publish your own book, so if you already have access to an audience, this can be a wise business decision. Self-publishing is a great idea if you primarily wish to distribute your book among family and friends. Finally, in rare instance where a book has no clear genre or an unpopular genre, self-publishing might be the only way to get it off the ground. I can only think of one example, but it’s a doozy. The Shack is a bizarre Christian allegorical novel that started as a self-published book and went on to make the New York Times best-seller list and millions of dollars.

If you decide to self-publish, again, do your research and make sure you are getting a good deal. WinePress and Westbow are two Christian companies reported to have good reputations. You can also do small print on demand runs or even offer your manuscript as an ebook and keep the cost low in that manner.

So, as I’m sure you can see, no matter which route you go, you will need to learn the business side of being an author. Writer’s networks and conferences are great places to learn the tricks of the trade. Christian conferences and loops will provide information specific to Christian publishing.

And, as I’ve mentioned, even once you have the illusive contract in hand, most publishers will still ask that you be active in marketing and promoting yourself. This is something you can actually begin now through methods like a website, blogging, and being active on social networks such as Facebook. Once your book is published, you can also consider methods like book launch parties, book signings, interviews, and speaking engagements.

As always, what I’ve shared here is just the tip of the iceberg for getting your writing out into the world. You can see it’s a lot of hard work, but if God has truly laid this message on your heart, then it will be well worth the endeavor. Writers go through the pain of writing and editing because they need to write. They go through the pain of publishing because they need someone to read what they have written.

So, I hope that in these eight weeks I have given you a picture of how a book is brought into being--from the idea stage, through all the hard work of writing and editing, and now out into the world. For many of you, this has probably been a reality check on how hard writing actually is. For some, it has provided a much needed roadmap for a journey you long to take. For yet others, it has helped you to spot areas in your writing process that can be honed and strengthened in order to take you to that next step. I hope everyone had as much fun as I did learning about “The Inspiration and the Perspiration.”

Homework: Finish that book and get it out into the world!

Editing Line by Line and Word by Word - Writing Series Week 7

Before we move into today’s subject let’s take a minute to review the full process of inspiration and perspiration. First, we must have a good handle on what Christian writing is and our purpose for undertaking this task. Next, we purposely posture ourselves to receive inspiration from the Holy Spirit in the shape of our “lump of clay” writing. If we already have an idea, we search for input from the Holy Spirit  as to what we should do with the idea. We must realize that inspiration is not enough and be willing to do the hard work, or the perspiration, of the writing process. Once we have gotten our initial ideas down on paper, we should take time to structure the ideas through an outline or a plot summary. We write the book, using fictional and artistic elements to strengthen the basic story or premise. We edit chapter by chapter and scene by scene to make sure we have utilized these elements to their full potential and balanced them well.


Which brings us to today. Just as we went through each scene to make sure it pulled its weight and lived up to its full potential, we must also search our manuscripts paragraph by paragraph, sentence by sentence, and word by word. This is the sort of in depth crafting that is the mark of a true artist.
Here are some of the things you can look for concerning paragraphs. Are paragraphs divided properly to keep the story flowing effectively? Could long paragraphs be divided? Could sentences within paragraphs be combined for greater efficiency of language? Could powerful sentences be set apart in their own short paragraph for greater impact? In dialogue, does each paragraph represent a single speaker’s words, thoughts, and actions?

On a sentence by sentence basis ask yourself if every sentence is necessary. Could redundant sentences be removed? Is punctuation working in an effective manner? Could complex sentences be changed for stronger parallelism? Should long sentences be broken into two? Try not to use words more than once in close proximity unless you are intentionally creating a sense of refrain.

Now we get to the true nitty gritty. Word by word editing. First realize that just like in a poem, we want to use each word to its maximum benefit. I mentioned in my “Top Twenty Things I Wish I Knew Before Writing My First Novel” that you should pay yourself $.25 for every word you can remove. Economy of language is a clear sign of an experienced writer. A possible exception is in dialogue, but remember that fictional dialogue is representative speech, not actual speech. Readers will not put up with rambling ineffectual dialogue.

Here are the types of words you can look to remove. Begin with excess adverbs and adjectives. Adjectives are good when used selectively, however, don’t string together lists of adjectives with similar meanings. Chose the best one and delete the rest. Adverbs are almost a bad word in fiction, but sometimes they can be effective. Begin by removing words like "very" and "really" that don’t “really” add anything to the sentence. (I told my husband recently that maybe if he said "very" three or four times in a sentence he would convince me it was important. Note the sarcasm.)  Do a find search for “ ly” and remove any adverbs that aren’t strengthening the meaning of the sentence. Try to replace an adverb/verb combo with a stronger verb if possible. When do you keep an adverb? Only when it changes the meaning of the verb and there is no verb to take its place.

Remove statements of the obvious like “stood to her feet.” Remove or replace any words you tend to overuse, or so called “weasel words.” Examples would be: just, well, still, oh, that, had. I’m sure you’ll figure out your own list before long. Remove helping verbs and linking verbs as much as possible. Of course they are sometimes needed. “Had” is needed to enter and exit that past perfect tense. If you have long segments full of helping verbs, see if you can move the segment to a more active moment. Strong action verbs that really “show” something happening are always the best choice.

And speaking of verbs, be sure to keep your book in a consistent verb tense. Most novels are written in past tense. A few are written in present tense. This is a new trend, but hard to execute. Others are written in the present tense with long sections of flashback in past tense. This can work well. When you find yourself in the past perfect (had run, had gone, etc…) tense, this is probably a recollection. If the segment is long, consider changing it to its own flashback scene. One of the clearest signs of an amateur writer is lack of control over the verb tense. So whatever you choose, make sure you do it well and consistently.

Another area to check into on a word by word basis is the accuracy of your word choice, especially in historical, legal, and scientific stories. Most writers of American and English historicals check to make sure that each word they choose existed and was used in that sense at the time they are writing. That’s a lot of work. Trust me, I know. While I couldn’t limit myself to words available in the 1300s for my medieval novel because the English language was still evolving and unrecognizable to most contemporary readers, I did make every effort to choose words available by the time of Shakespeare and King James when the language stabilized into Modern English. Even if you get the words right, watch out for longer sayings, expressions, and figures of speech. For example, I discovered the word “tackle” only applied to fishing supplies until the invention of American football in the 1800’s. And the word “teenager” is actually a modern invention as well, since people took on adult responsibilities at a much younger age throughout history.

That brings me to what most people think about in reference to editing: those hundreds of spelling, grammar, and punctuation rules. I will tell you what I tell my college students. “If you haven’t learned them by now, I’m not going to try to teach them to you.” Here’s what you need to know. If you aren’t good at English, get help. I usually ask at least five well educated friends to read my manuscripts and look for errors, and I’m an English teacher! It’s just too easy to overlook your own mistakes. If you expect that you will have extensive errors, then consider paying a copy editor. It’s not cheating to get help. You’ve written an entire book for crying out loud.

Give yourself and your manuscript the respect that you deserve by making sure it is edited well before sending it to agents or publishers. The days of publishers being willing to overlook mediocre grammar in otherwise great writing are long gone with the manual typewriter. We now have computers, spell check, online grammar resources, countless editorial services. Messy manuscripts are considered lazy manuscripts. Agents and publishers will not put up with them. There are thousands of well-written, properly edited manuscripts waiting in a pile to take their place.

Of course, after all that hard work, you will still have basic typing errors. Even most published manuscripts have a few. But try to get rid of as many as possible. The cleaner your manuscript, the happier your potential agents and publishers will be. Here are some of the steps I personally take my manuscripts through to ensure that every word is perfect.

1. Read on paper
2. Read out loud
3. Have a voice to speech program read it to me
4. Ask friends and family members to read it

And after all of that, you should finally have a strong manuscript. Then you begin part two of your very long and tedious journey. Finding a way to get that book out into the world. Come back next week as we will wrap up the series by discussing how to see your book through to publication.

Homework – take one to three pages of your lump of clay writing, and turn it into a finished product.