First and foremost, I am no editor. I’m only an author with some
thoughts about this subject. I don’t think an author on this planet can edit
themselves, with the exception of Anne Rice!
Nancy of Melange Books suggested I might share some prep
advice when it comes to writing and editing. Particularly editing. We’re all
going to go through these stages with our Melange books, and it is inevitable.
As authors, we’ll always need new eyes—a fresh outlook from another
perspective. I shouldn’t remind you that these views and changes that come from
your editor are not personal opinions from an editor. Editors are stand-ins for
readers—readers are the well-spring
from which you flow. So take in mind that any editor who flags a problem is
seeing these speed bumps or errors in place of the reader, and is removing the
“bad” or “questionable” before the reader even sees it. Problem solved, you end
up with a smooth, uninterrupted transition through your text. That’s a very positive
thing. Every little nuance that is pointed out and corrected makes the story,
better and better and better. It’s teamwork, and the goal is to make it shine.
Do you have a choice word or paragraph that you just can’t
let loose of? Do you believe it’s intrusive to remove it? I’ll bet your editor
knows that it’s going to throw the majority of readers off because it is too
exotic, misplaced or not really needed. She knows that passage will confuse the
majority of readers by leaving that kink in there. You want wide and easily
comprehensive writing. You can’t afford to lose your customer’s interest or let
them pause. Editors know that part of it and it deals with pace. “Couldn’t put
it down” means there’s a lack of speed bumps.
Tip 1: (Got ahead of myself there). Prep. Prep first means
health. Strive to be in the best physical condition you can before you write or
handle any editing. Get that flu on the run, ease that backache, take your
choice of meds for that migraine and generally strive to be as wide awake and
rested as you can. Eat right—you have a stint in front of you. Me, I have to
take dozens of pills a day, drag my oxygen tube around with me and get in some walking
laps inside the house. I’ll avoid any of the stronger medicines, and I won’t
drink or smoke at the computer or at any time. I’m damn lucky to live from one
breath to the next.
Tip 2: If you’re just about ready for your first edit pass,
you’ll be told this by your assigned editor. Do you feel the drudgery coming
on? Here’s a nice little psyche move that’s good for you and your editor. If
you think your book is finally ready to hit the editor’s desk, do a real fast
run-through the text. Your editor will click their heels and oblige
the request. This might take you four or five days, depending. Trust me, you’ll find things you missed.
You always do. No reason for major rewrites, just a solid, precise read
through. This helps in two ways: it will bring back great memories of where you
were when you started this tome, which you wrote with white hot inspiration.
Right? Remember that masterpiece? Nothing has really changed. You were thrilled
to the gills when you wrote your first draft of it. You’re reliving that state of awe and exhilaration and, even
laughing and crying over some of those memorable scenes. Secondly, you are
recapturing your momentum. You’re remembering every beat and the natural rhythm
of the story, the action sequences, pauses, breathers and crucial dialogue
passages. Your character’s names, ages, vocations, motivation and physical
characteristics will click right back into place. You’re not going in half-blind.
In addition, this takes some extra time off of your editor’s workload, which is
a relief and speeds up the process.
Tip 3: Remain steady on your editing pass, progressing at a
good pace. When you find yourself enjoying your story too much and glossing
over the words, remember to slow down and get back in critical mode. Slow down enough
to catch those missed commas, hyphens, quotation marks and periods. Don’t jump
ahead and anticipate what you thought you wrote--double check it and find out
what is actually printed. You might have revised something way back there and
forgotten about it. Keep continuity in the back of your mind—your characters
don’t change skin, hair or eye color every other chapter. They don’t take off
in a Chevy and later burn rubber in a Ford.
Tip 4: I’m not an editor but I sure can see POV swaps in
just about every book I read. If you have a multiple view point story, separate
the scenes with a chapter or transition break. A transition is this little
indicator like this: # # #
between paragraphs. Your publisher will insert those symbols in their
own house style, in case you already know them.
Tip 5: A little metaphor and simile never hurt a writer.
Observe the passive and telling in the next phrase:
He was clumsy. He wasn’t experienced. He looked like an
amateur runner.
Now, a bit longer but showing with some voice:
His stride was crazy-legged; he ran as much sideways as
forward. She nearly laughed out loud but thought better of it. Instead, she
felt somewhat sorry for him. It might have been his first jogging experience.
Diane was no stranger to barbs or insults. Even with a slung gut and knocked
knees, wasn’t Seabiscuit hard on the eyes but chock-full of speed and heart?
Tip 6: Are you seeing a lot of red lines tagged in your
manuscript? So much that you think it’s overwhelming? Don’t despair, take one
at a time and you’ll breeze right through them. Remember, you are forging ahead
and leaving all the bad behind. It’ all uphill from the very beginning now. You
won’t be going back.
Tip 7. Learn to stop editing. Quit. That’s enough. Don’t
insist on, or try to sneak in, structural editing when you’re in final proofs.
It’s going to be just fine. It’s true that you can edit a book until it’s
worthless. If you are in the middle of a grammar or syntax pass, stay on that
track—focus on that. If something flies out at you that needs attention, make a
note of it to later share with the editor.
Don’t argue with an editor. Don’t insist. Compromise. She is
the pilot and captain for now. You are passenger with the seat belt fastened
and tray in the upright. She’ll know when it’s time to land.
