Voice – Sing Loud

Late night conversations between writer-editor types:

Person A: I have a book keeping me up all night so I’m too tired to actually write it. … And I’m convinced it sucks.

Person B: I guarantee it doesn’t suck. You don’t write suck. And if it’s keeping you up all night, that means your brilliant Writer brain is processing it, so it’s only getting better. Courage, goddess, courage!

Person C: Hugs. Ever had those moments when you read other people’s words and you’re like “my stuff doesn’t sound anything like this?” And you start feeling like you’re not a real writer?

Person D: Oh. You mean a day that ends in -y … Yep.

Person B: All the time. But as the only agent I ever loved told me once when I was having that same crisis, “You can’t write that author’s book. But they can’t write yours, either.”

Person C: I feel like I’m so boring in comparison though

Person B: 1) You almost certainly are not boring; 2) this is the first draft; you’ll be tightening it up and making it more exciting later; right now, get it on the fucking page

Erin Penn: There have been people who books I read that make me not write for a time (Darren Kennedy is one), but at the end of the day, they don’t have my voice and I don’t have theirs. My music isn’t their music – they can’t sing the songs I sing. Sing loud – sometimes you will sing row-your-boat, and sometimes it will be bohemian-rhapsody.

Any song sung requires practice – from first draft to final performance. And the first time, singing a new song sucks.

But remember, no one needs to hear the practice. Only the witness the final performance.

Editing Rant: Felt

Photo by Sharon McCutcheon on Unsplash

“felt” is an imprecise word, often overused. Try to limit it to once per page, switching it out for a stronger, more precise verb whenever possible.  Don’t avoid it altogether, because its broadness does offer its own charm in the range of interpretation. But decide when you want the reader to put their own feelings on the page and when you want to put the feelings on the page in them.

Above is the polite version. The full-on editing rant – felt doesn’t MEAN anything. How did they feel? What did they feel? Only time “feel” is good is “I feel a disturbance in the force.” If I got six feel/felt on the same page, I’m going to start taking the felt and making toys with it.

Editing Rant: Beta Readers

Photo by Road Trip with Raj on Unsplash

Having your manuscript read by READERS (not editors or writers) can help indicate where modifications could be made. Ask a few friends – friends of friends are better – spouses and close friends tend to be bad because they know how you think and see stuff you meant to put in even if you didn’t put it in. Not every one who agrees to read the book will actually get back to you; continue asking and providing reading copies until you have at least two female Beta reader and two male Beta reader responses.

Again, these are READERS, so you need to give them specific instructions on how to help you create the best manuscript possible. You will need to ask them not to proofread; what you want is a reaction to the story and characters. Have them provide only letter responses (if on paper, in the margins – if on computer, while in comment mode). Just ABCD – A = Awesome, I love this, made me laugh, cry, etc in the emotional reaction range; B = Boring, I started skipping sentences/paragraph/pages here until I got to the next part I enjoyed; I put the book down to do something and didn’t need to pick it right back up; C = Confused, Didn’t understand, wording was awkward and had to read twice to understand, I thought the character did something else earlier, where did the gun come from?; D = Didn’t like, starting to hate the character here, this is one of my triggers, a pet peeve of my this is. If they stop reading, they need to indicate when they were done reading the story.

Now, review what you get back. If only one person had a reaction in an area, okay – but if two or all four have a reaction, especially the same reaction, something might be wrong there. It’s okay to have a conversation with them about their markings but approach it carefully. Say for the confused response, some writers like to respond with “Well, this is what I meant.” – that is a no – the reason you have Beta readers is they represent people you will never meet. These are the people reading your book in California and Wisconsin and Australia and England. If it is not on the paper, they will not see it. What the response should be for “confused” is, “Well, I’m trying to get across this – do you have a suggestion?” If you talk to your Beta Readers, first THANK THEM, and secondly ACTIVELY LISTEN to their responses; don’t create arguments in your head. Actively listening is a tough skill to learn.

Remember to approach any of their comments like the architect and builder of a house showing it to potential home owners. The buyers know how to live in a house, not how to build one. So they come in and complain an area is “echo-y”. The builder then goes “How do I fix that?” – the potential homeowner says, soundproof the walls. That is a no. But maybe the ceiling needs dropping, or adding curtains and cloth-covered furniture will fix the problem, or carpet.

The beta reader’s job is to point out what they love and not love about a book; the professional writer’s job is to listen and then figure out what the real problem is.

Related posts:
4/21/2016 Beta Readers (Magical Words April 12, 2016)
3/2/2017 Beta Readers (Magical Words July 9, 2010)

Other Cool Blogs: Magical Words 8/21/2015

Glad to see I’m not the only one to go on editing rants.

The best part, to me, of John G. Hartness’ post of “Rude Truths about publishing and writing – Part 347” from Magical Words 8/21/2015 is his first point.

Kill Adverbs. Stabby, stab, stab.

Not only does he tell you why to kill them, but how to kill them.

If you got an adverb + verb combo, just make the verb more powerful. Search on “ly (space)” and start knifing the adverbs.

He has three more points – A trident maybe? Anyway, read all of them here: