
Something to think about!
-Jan R

Something to think about!
-Jan R

Something to think about!

Being a first time Author, I had no idea how complex the editing process was. My idea of editing included spell check, making sure punctuation was used appropriately, and everything was in the right tense (past, present…).
As I stated in an earlier blog, my novel was rejected the first time for having grammatical and structural errors as well as the dreaded dragging dialogue. Keep in mind this wasn’t the complete manuscript. The agent would have probably found far worse if she had read more of it.
When you begin editing and you will, you’ll want to take a closer look at everything. You may need to do some research, take classes, or do tutorial type seminars online. Below is a sample of the types of questions you should be asking as you read through your work.
Ask others to read your work as well, or if you would prefer not to do that then join a group online. Scribophile would be an excellent choice. I am a member of their group. Thousands of want to be authors are on the site, and they will read and critique what you have written. They would love the opportunity to interface and exchange information.
I wouldn’t rule out hiring and editor. I am currently working with a developmental editor. They can be pricey, but they have an editor’s eye and sees things that you don’t.
-Jan R

Just a reminder!
-Jan R

Something to think about!
-Jan R

What is on-the-nose writing? It’s the number one writing mistake of amateurs. It’s prose that mirrors real life without advancing your story. No one chooses to write this way. It has nothing to do with your ability to put together a sentence, paragraph, or scene. Even pros have a hard time with it.
I’m a big fan or Jerry Jenkins and recommend his blog to anyone reading my posts. I have gained so much useful information from him, and he writes in a way that anybody can understand. He’s a great teacher. With this being said, I’m using an example that he gave to help you understand on-the-nose writing.
Paige’s phone chirped, telling her she had a call. She slid her bag off her shoulder, opened it, pulled out her cell, hit the Accept Call button and put it to her ear.
“This is Paige,” she said.
“Hey, Paige.”
She recognized her fiancé’s voice. “Jim, darling! Hello!”
“Where are you, Babe?”
“Just got to the parking garage.”
“No more problems with the car then?”
“Oh, the guy at the gas station said he thinks it needs a wheel alignment.”
“Good. We still on for tonight?”
“Looking forward to it, Sweetie.”
“Did you hear about Alyson?”
“No, what about her?”
“Cancer.”
“What?”
Here’s a good example of how that scene should be rendered:
Paige’s phone chirped. It was her fiancé, Jim, and he told her something about one of their best friends that made her forget where she was.
“Cancer?” she whispered, barely able to speak. “I didn’t even know Alyson was sick. Did you?”
We don’t need to be told that the chirp told her she had a call, that her phone is in her purse, that her purse is over her shoulder, that she has to open it to get her phone, push a button to take the call, identify herself to the caller, be informed who it is. I think you’re getting the point.
This is a good example of dragging dialogue as well. It’s not necessary and adds fluff without any real purpose. Don’t distract with minutia. Give the reader the adventure they signed up for when they chose to purchase your book. Take the reader with Paige when she says:
“I need to call her, Jim. I’ve got to cancel my meeting. And I don’t know about tonight…”
Remember show don’t tell is one of the most important aphorisms of the writing life.
-Jan R