- Read everything you can find about self-editing, but don’t believe everything you read!
- Go for it, but only to polish the manuscript before you pay your professional copy editor.
- Don’t trust spell check, auto grammar check, or the thesaurus.
- Know your characters inside out.
- Don’t let adjectives and adverbs do the heavy lifting for weak nouns and verbs.
- Cut suddenly, very, thought to himself (who else would he be thinking to?), shrugged her shoulders (what else is shruggable?). All flab.
- Dialogue must be sharper, cleaner, smarter than real-life speech. Delete um, well, you know—all those noise-makers we fill our conversations with.
- Go from A to D. Today’s readers are savvy enough to infer steps B and C. In other words, we know that to open a door, someone has to go to the door and turn the knob.
- Hire a copy editor.
- Show yourself that you have what it takes to be an author: keep your mind open to new ideas.
I StumbledUpon a page from eight years ago (since which time, let’s hope, writers have smartened up) that lists two hundred (200!) words to use instead of “said.” Why?
See for yourself. I looked at that list and immediately eliminated all but maybe ten, and that’s only because they’re marginally less egregious than the other 190. And only if they’re used under extraordinary conditions. And rarely.
No less a literary personage than Elmore Leonard (see my blog post from June 2014) disagreed, as did Kurt Vonnegut, Ernest Hemingway, and many others. Have you read Ed McBain? Stephen King (see the September 2013 blog post)?
Most of the words on that loathsome list serve mainly as substitutes for weak writing. They also distract the readers, who are smarter than many writers give them credit for. If the dialogue is economical and strong, there’s no need to spoon feed the readers. They get that the characters are angry or scared or miserable or devious. Another dodge is to use adverbs (she said insistently). First, if you absolutely can’t resist, why not just write “she insisted”? Second, and more to my point, if the dialogue is well written, we should already know that she is insisting. Finally, laugh, hesitate, groan/moan, sigh, look, point, and all of their synonyms are also not dialogue tags. They are called “action beats,” and they don’t get commas before, during, or after the speech; they get periods.
Don’t distract your readers. Leave out as many words as you can and leave the heavy lifting (and the banter and heartfelt confessions) to the characters. They’ll tell the readers what they want them to know.
There is a lovely article written by Mary Norris, a copyeditor for The New Yorker (http://www.newyorker.com/magazine/2015/02/23/holy-writ) that follows her from her peripatetic beginnings to her deep understanding of the subtleties of editing, particularly with respect to the comma. Commas and their presence or absence in a sentence, she insists, are not necessarily bound by rules, even those in The Chicago Manual of Style, before which most of us bow. It is such a pleasure to read her musings, especially since I agree with her, because it allows some personal “editorial discretion” in our work. Ironically, the subtitle, “Learning to Love the House Style,” suggests otherwise. Ms. Norris, the lucky duck, can call these authors and ask them their intent. The rest of us have to guess.
Dear Dorothy Parker allegedly said, “I speak six languages, and I can’t say no in any of them.”
If she didn’t say it, she could have, and indeed, she should have. I can speak only for myself when I say that learning how to say no has been one of the most valuable, and most expensive, lessons of my life.
It is very hard for me, and I guess for most freelancers, to say no to work. But there are times when you’ve just gotta listen to those bells and sirens and shrieks saying, “It is not worth it!” Because there are those times and those jobs that, if you don’t turn them down, will come back to haunt you, one way or another.
This past year I have had my first bad debts—an alleged pro in New York, and then a lunatic who found me on Writer’s Digest—my own fault, I guess. We were besties right up to the minute when I asked her to pay me.
In the past month or so, a jackass of a new variety has put me on edge, and I won’t relax until his credit card clears my account. He’s the type who feels entitled to call me and get free advice, push me for tight deadlines, and ask my opinion on his chances of becoming a best-selling author, yet he wants a few bucks off for…who cares why. I don’t think so.
Ah, the freelance life.
By ELMORE LEONARD
These are rules I’ve picked up along the way to help me remain invisible when I’m writing a book, to help me show rather than tell what’s taking place in the story. If you have a facility for language and imagery and the sound of your voice pleases you, invisibility is not what you are after, and you can skip the rules. Still, you might look them over.
1. Never open a book with weather. If it’s only to create atmosphere, and not a character’s reaction to the weather, you don’t want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways to describe ice and snow than an Eskimo, you can do all the weather reporting you want.
2. Avoid prologues. They can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in nonfiction. A prologue in a novel is backstory, and you can drop it in anywhere you want.
There is a prologue in John Steinbeck’s Sweet Thursday, but it’s OK because a character in the book makes the point of what my rules are all about. He says: “I like a lot of talk in a book and I don’t like to have nobody tell me what the guy that’s talking looks like. I want to figure out what he looks like from the way he talks…figure out what the guy’s thinking from what he says. I like some description but not too much of that…Sometimes I want a book to break loose with a bunch of hooptedoodle…Spin up some pretty words maybe or sing a little song with language. That’s nice. But I wish it was set aside so I don’t have to read it. I don’t want hooptedoodle to get mixed up with the story.”
3. Never use a verb other than “said” to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But said is far less intrusive than grumbled, gasped, cautioned, lied. I once noticed Mary McCarthy ending a line of dialogue with “she asseverated,” and had to stop reading to get the dictionary.
4. Never use an adverb to modify the verb “said”…he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances “full of rape and adverbs.”
5. Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.
6. Never use the words “suddenly” or “all hell broke loose.” This rule doesn’t require an explanation. I have noticed that writers who use “suddenly” tend to exercise less control in the application of exclamation points.
7. Use regional dialect, patois, sparingly. Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won’t be able to stop. Notice the way Annie Proulx captures the flavor of Wyoming voices in her book of short stories Close Range.
8. Avoid detailed descriptions of characters. Which Steinbeck covered. In Ernest Hemingway’s “Hills Like White Elephants” what do the “American and the girl with him” look like? “She had taken off her hat and put it on the table.” That’s the only reference to a physical description in the story, and yet we see the couple and know them by their tones of voice, with not one adverb in sight.
9. Don’t go into great detail describing places and things. Unless you’re Margaret Atwood and can paint scenes with language or write landscapes in the style of Jim Harrison. But even if you’re good at it, you don’t want descriptions that bring the action, the flow of the story, to a standstill.
10. Try to leave out the part that readers tend to skip. A rule that came to mind in 1983. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them. What the writer is doing, he’s writing, perpetrating hooptedoodle, perhaps taking another shot at the weather, or has gone into the character’s head, and the reader either knows what the guy’s thinking or doesn’t care. I’ll bet you don’t skip dialogue.
My most important rule is one that sums up the 10.
If it sounds like writing, I rewrite it.
Or, if proper usage gets in the way, it may have to go. I can’t allow what we learned in English composition to disrupt the sound and rhythm of the narrative. It’s my attempt to remain invisible, not distract the reader from the story with obvious writing. (Joseph Conrad said something about words getting in the way of what you want to say.)
If I write in scenes and always from the point of view of a particular character—the one whose view best brings the scene to life—I’m able to concentrate on the voices of the characters telling you who they are and how they feel about what they see and what’s going on, and I’m nowhere in sight.
What Steinbeck did in Sweet Thursday was title his chapters as an indication, though obscure, of what they cover. “Whom the Gods Love They Drive Nuts” is one, “Lousy Wednesday” another. The third chapter is titled “Hooptedoodle 1” and the 38th chapter “Hooptedoodle 2” as warnings to the reader, as if Steinbeck is saying: “Here’s where you’ll see me taking flights of fancy with my writing, and it won’t get in the way of the story. Skip them if you want.”
Sweet Thursday came out in 1954, when I was just beginning to be published, and I’ve never forgotten that prologue.
Did I read the hooptedoodle chapters? Every word.
WRITERS ON WRITING New York Times, July 16, 2001
I have never been much of a Stephen King fan. I don’t like books about crazed dogs (although I did love Misery, which was about a crazed person). Also a couple of others. But for the most part, not my genre.
I’m listening to the audiobook of Joyland, and I’ve become not only a fan, but an acolyte. A follower, a convert. I want to kiss the hem of his schmatta. His writing is so smooth, so understated, so humble. There are no wasted words, and most important, there is no trace of the author in the narrative. Do you know how difficult that is?
I edit so many books in which it is clear that the authors just can’t resist the plays on words. They can’t resist the slightly strained alliterations. They can’t help filching for the least appropriate words in the thesaurus (high on the list of sins per King, about which more later). The best advice I can think of for amateur writers is, “Get out of the way.”
“Said” is not good enough for them. They need to laugh, coax, offer (I really hate that one), ask, quiz, query, inquire, inform, exclaim, explode, spout, sigh, blurt, prod, sputter, tease, protest, groan, moan, whisper, gasp. Even expostulate, fer chrissake. Said is good enough. No dialogue tags whatsoever? Even better.
This is one sure-fire way to tell the amateurs from the pros. Dear Elmore Leonard, who died recently, never used anything but “said.” Didn’t have to.
Ooh, baby. For wordies like me, there is nothing like the bracing plunge into The Chicago Manual of Style, 16th edition, available online for the mere bagatelle of $35 a year. If you have any questions that you’re embarrassed to ask anyone else you know, just log in, and there is virtually nothing grammatical you can’t lay to rest with the full faith and credit of CMoS, 16th.
Lose yourself in the lists: 5.191, words and the prepositions construed with them; 5.220, good usage versus common usage (and doesn’t that say it all?); 7.85, the hyphenation guide. In the world of CMoS, rules may be bent if ambiguity threatens. In the three-dimensional world, we consider ourselves lucky to count mere ambiguity as a threat.
The world is full of people for whom “Oh, you know what I mean” is an acceptable substitute for grammar, syntax, subtlety of word choice. After a couple of minutes spent wandering around the Internet, where sharp and incisive writing seems to have rapidly fallen out of favor, taking even basic proofreading down with it, it is comforting to know that I can find the careful consideration of the most arcane points of language in The Chicago Manual of Style.
Rules for writing a short story:
- Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
- Give the reader at least one character he or she can root for.
- Every character should want something, even if it is only a glass of water.
- Every sentence must do one of two things–reveal character or advance the action.
- Start as close to the end as possible.
- Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them–in order that the reader may see what they are made of.
- Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
- Give your readers as much information as possible as soon as possible. To hell with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.
The comma before the “and” is there for a reason; it even has a name: serial comma. Here is proof that it is necessary.
WRONG: I would like to thank my parents, President Obama and Lady Gaga.
RIGHT: I would like to thank my parents, President Obama, and Lady Gaga.
I think this example clears up any lingering doubts about the serial comma’s role in nuance of expression, don’t you? And I imagine that President Obama and Lady Gaga would agree.
1. Never proofread your own copy.
2. Read everything in the copy straight through from the beginning to end.
3. Read copy backward to catch spelling errors.
4. Read pages out of order.
5. Have proofreaders initial the copy they check.
6. Have someone read numbers while you check hard copy.
7. Take short breaks so you can concentrate more clearly.
8. List errors you spot over a month.
9. Alter your routine.
10. Make your marks legible and understandable.
From “How to Avoid Costly Proofreading Errors” by Carolyn Boccella Bagin and Jo Van Doren