amEditing

One Method For Incorporating Feedback In Your Writing

/ Morgan Hazelwood / 1 Comment

If you’re a writer, at some point between you putting the words down and it going out to its intended audience, you’re probably going to solicit some feedback (and if you don’t, you probably should).

Be it from one or all of these:

  • an alpha reader
  • a flock of beta readers
  • a writing group
  • a critique partner
  • a paid editor
  • an agent
  • an acquiring Editor for a publishing house
  • or your mom

you’re likely going to receive some feedback other than, “I loved it! Don’t change a thing!”

But, when that feedback is more nebulous or overarching than typos and wording, it can be tricky to know where to start.

Here are the 6 steps I follow when receiving reader feedback

Step 1 – Read the feedback

You’d think it would go without saying, but it’s easy to get ticked off three comments in, decide that the person who sent the feedback totally doesn’t get your book, your genre, and might not read your language, and storm off.

Luckily, I can calm my knee-jerk reactions by subscribing to what I call:

Morgan’s Rule Of Thirds

  • 1/3rd is line and copy edits – easy to fix or skip if it’s a stylistic thing or they don’t know what they’re talking about.
  • 1/3rd is where the reader didn’t get your story and/or your writing style. You can probably ignore these. (But, don’t delete them just yet….)
  • 1/3rd is the stuff that you thought you’d fixed, but really? You’d just painted over it and called it ‘good enough’.
    • These issues are typically related to the tricky things like:
      • motivation
      • set-up
      • emotional impact

Step 2 – Give yourself time to cool off

Sit on the feedback for a couple hours, or days, or weeks. However much time you need before you open it back up, and can face it without your ego screaming.

Step 3 – Analyse the feedback and fix the little things

Maybe this should be two steps, but as I go through, line-by-line, I usually fix the little things- even if they might get deleted later. The typos and line-edits, so that the feedback is reduced to something I can actually process, without the noise of all the little stuff.

Look not only at WHAT the feedback is saying but WHERE it’s saying it. The reader might have given you edits telling you how to fix it. They are only SUGGESTIONS, not fixes. But look at the scene, the paragraph. Maybe there is something confusing, maybe it wasn’t set up properly and that’s why the reader got confused, maybe you need to move the scene.

Is there some way that you can make it so the way you had it was inevitable — given the world, characters, and issues? Is there a better way to change it, so that the pieces come together more smoothly?

The reader might be wrong about how to fix it, but they often know WHERE something needs to be fixed.

Step 4 – Make the edits

This is where you make the complicated changes — cutting or moving scenes or characters, fixing pacing, adding tension, condensing backstory.

Whatever you’ve decided needs to be done — taking suggestions and doing with them as you will.

Step 5 – Reread and blend the new stuff with the old

Whether you’ve used the suggested wording from your reader or your own phrasing, edits don’t always fit in smoothly with the rest of the manuscript.

After you’ve agonized over the feedback, debated how to integrate it, and finessed it with all of your skills, it’s still gonna need a bit more polish.

You’re gonna need to re-read the lead up THROUGH the outro of the sections you’ve revised. Along the way, you’re looking for:

  • continuity errors
  • awkward phrasing
  • scene pacing
  • repetitious paragraphs or phrases (my favorite)
    • The number of times I’ve added a paragraph to emphasize something, then found I’d already had it in there, nearly word for word a page later — where it fit better in the pacing… Well, let’s just say it’s more than a handful of times.

Step 6 – Send it out again

I like to send it to 2 types of people

  1. People who have read it before, to make sure I didn’t break anything
  2. A new reader, to make sure the confusion points were actually fixed

I write fantasy, so there’s a lot of world building involved, but even if you don’t, you may want to do this. An old reader can spot a lot, but they can’t tell if you’re introducing everything in the right order — soon enough as to minimize confusion, but slow enough as to not overwhelm the reader.

You can only have someone read your story for the first time, once. After that, your world starts to become familiar territory.

***

And that’s it. That’s my editing process. For each and every round.

Well, I hope you enjoyed this post – ’cause I’m ready for step 5 with my current revisions!

Do you have any editing tricks that I missed?

Anything you prefer to do differently?

Guest Post: Choose the Right Words (And Live to Tell About It)

/ Morgan Hazelwood / 7 Comments

Here’s Post #2 in my local writer’s blog hop!

Today’s post is from Katherine Gotthardt, talking about how editing your word choices can make your writing SHINE!

Guest Blog: Choose the Right Words (And Live to Tell About It)

By Katherine Gotthardt, M.Ed.

You’re a writer. I don’t have to convince you that words hold power. If you didn’t believe that already, you wouldn’t have bothered to pick up the pen or put fingers to keyboard. But what you probably ask yourself all the time as you’re writing is, “Is that the right word?” How do you decide?

In my decades of battling with words, many times losing, I’ve learned that the right words are too often elusive. But in spite of this, I’ve also learned following a few guidelines helps me maintain a steady stream of at least half-decent writing, whether it’s poetry, articles, social media posts or something else. Here are some methods I use when I’m fighting to find the right words.

***

Banish Wimpy Wording

In your heart of hearts, you know wimpy wording when you see it. “Very,” and “nice” don’t say a whole lot, for example. They kind of take up space with their banality, clogging up the works while stronger words shift back and forth on the soles of their feet, impatiently waiting their turn. Be specific. Be courageous. Tell that “very nice” lady she’s “uncommonly agreeable,” and then decide what that means in the larger context of your work. You might realize “very nice” is not very nice at all, and now you’ve got the start of a more complex character in your novel. Or you’ve created a conundrum in that article you’re writing about the jewelry store owner the next town over, and you’d better watch your tone or you’ll get your publisher in a pickle. But by evicting the weakling words, you’re moving past trite and forgettable writing. 

***

Write in 3D

Human beings live sensory lives. Even when we’re alone in our own heads, we use taste, touch, smell, sight, and sound to make sense of our surroundings. Our memories are made up of perceptions brought to us through nerve endings and cortex, creating meaning from stimuli. We’re wonderful processors of the sensual. Take advantage of that. Use the senses to write in 3D. Don’t tell me there’s a gray dog on the corner. Show me what’s ahead: a bristled beast with iron-colored fur, lifting its leg, leaking on the fire hydrant, the sun beating a rhythm of mirage on the street’s pavement. Oh. Maybe I should cross the street because I’m not especially sure that’s a friendly Fido out for an afternoon romp. Now you’ve created something besides the image. You’ve created conflict – the archetypal “man versus nature.” Superb. Have your characters react accordingly. Move the action along, no matter what you’re writing.

***

Stop Repeating Yourself, Stop Repeating Yourself, Stop Repeating Yourself

We writers do it all the time. We end up using the same words over and over and over and over and… It bores readers, and when we notice we’ve done it again, it usually horrifies us. How could we have overlooked our repetition of “let’s” five times within four sentences? Ugh! Okay, forgive yourself. It’s easy to make this error, especially when deadlines are screaming from the Google calendar, the cell phone and the land line are ringing at the same time and your pug is barking at the Amazon delivery guy. It’s not cheating to use the tools given to us by the tech demigods. A thorough grammar check should slow you down long enough to help you see the error of your ways, even if your grammar tool doesn’t specifically point out repeated words. And when your brain feels like bubble wrap? Use the thesaurus. I promise you, the Amazon guy won’t tell.

If after using these three techniques you still find yourself losing the war to find the right words, it really is okay. Get up. Stretch. Take your dogs for a walk. While they’re watering the grass, you’ll have time to rest your brain. By the time you return, you’ll be ready to jump back into the trenches. And if you’re still losing the battle?

Thankfully, there’s always the option to edit. Again.

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katherineWBooks

Vice President of Write by the Rails (WbtR), Katherine Gotthardt has been writing and teaching for more than twenty years. She is the author of five books and CEO of All Things Writing, LLC. Learn more about her and her work at www.KatherineGotthardt.com.

Check out the Write By The Rail blog hoppers:

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3 Techniques to Fix Your Pacing

/ Morgan Hazelwood / 6 Comments

There’s a writing skill that many novelists struggle with.

It’s something that read-a-chapter-a-month critique groups often miss.

Pacing.

We all know that you need to start off with an inciting incident — at least by the end of the first chapter. But after there, it can get a bit fuzzy.

3 Techniques To Help Your Pacing

 

Beat Sheets

First off – the high level stuff.

Now, planners are likely to be using a beat sheet of some sort like these linked by Jami Gold.

I know pantsers and even many plantsers don’t think they’re for them, however, I want to warn you against being too quick to reject them. I know going through them really helped me during my first (and 4th) round of revisions.

Sentence Structure

Next? Let’s look at the low level stuff.

Fast paced scenes should read fast. Slower paced scenes, one finds, often lend themselves toward literally causing the reader to slow down.

One easy way to do this? Sentence length! Here are a few examples by All Write Fiction.

But no matter how much (or little) you plan, no matter how you vary your sentence lengths and structures, you’ve got to live with the story a while before you can truly grok each scene’s full emotional impact.

Shuffling Scenes!

We’ve looked high, we’ve looked low. Now? We’ve got to look at where the pieces go.

This is basically the reason Scrivener exists — or so I’ve heard. I’ve only used it once.

Sometimes, one scene fits better at a different place in your novel. The only problem is? You’ve got to make sure you haven’t referred to events that haven’t happened yet or triggered events that aren’t near your scene any more.

***

My Pacing

I’ve been thinking about the feedback I got on my work-in-progress #1, and a lot of it has to do with the pacing.

I’ve punched up the tension toward the opening and feel pretty solid about it, but I know, as it goes on, it mellows out for a while.

Scrolling through last night, I realized my next majorly-tense scene happens after the 50-page mark — past where query submission packages and most partial-requests end. So I started contemplating how to get them to those scenes faster…

Now, I wasn’t about to cut the chapters before that! Maybe they’re my darlings, but they’re full of world-building, character introduction, and some well-earned melancholy.

That’s when I realized, if I swapped which of the two settings that Lilivan, my main character, hits first, I’d increase the tension and her anxiety, making her work for [REDACTED].

That said, it requires cutting a character out of the now-first setting and swapping an innkeeper’s welcoming family with a stern hostel keeper.

I’ve got my work cut out for me, but I think it’s gonna be worth it.

***

Have you tried looking at your scenes, contemplating pacing, and truly considered if your novel just might work better if things happened in a different order?

Did it work?

Top 4 Questions From An Editors & Publishers AMA (Ask Me Anything)

/ Morgan Hazelwood / 5 Comments

Sunflowers in full bloom against a bright, clear blue sky.

Photo by Pixabay on Pexels.com

 (Happy Summer Solstice!)

At Balticon52, I had the opportunity to attend an Ask Me Anything panel of Editors and Publishers. Usually in my panel notes, I skim over the panelists to get to the meat, but in this case, I feel their expertise was part of the draw.

The publishers and editors in question were:

  • Walt Boyes – an award-winning journalist, writer, and editor of the Industrial Automation INSIDER, the Grantville Gazette, (the magazine of the 1632 Universe), co-editor of Eric Flint’s Ring of Fire Press, and a member of the 1632 Editorial Board.
  • Scott H. Andrews – a writer, musician, and the Editor-in-Chief and Publisher of the online fantasy magazine Beneath Ceaseless Skies. He’s a six-time Hugo Award finalist and with his podcast, a five-time Parsec Award finalist. [Fun fact: he always gives personalized rejections!]
    • For non-querying writers, I know that sounds kinda… pathetic. But if you’re in the querying trenches, you know what that’s worth.
  • Neil Clarke – the editor and publisher of the Hugo and World Fantasy Award-winning magazine, Clarkesworld.
  • Ian Randal Strock– a writer, plus the owner and editor-in-chief of Gray Rabbit Publications/Fantastic Books (www.FantasticBooks.biz). Previously, he edited and published Artemis Magazine and SFScope. He also worked on the editorial staffs of Analog, Asimov’s, Science Fiction Chronicle, and many others.
  • (moderated by) Jeff Young – an award-winning author, bookseller, and editor of several anthologies.

So let’s get this rolling. Here are the questions.

1. What is Your Biggest Pet Peeve?

The top three answers were:

  1. Zombie Stories — they’ve been done to past death
  2. Writers who don’t READ THE GUIDELINES
  3. Writers who argue with critiques
    Even if you disagree with the critique or the suggestion, don’t argue with someone who spent their time and energy to give you feedback.
         Give that section of your prose a closer look

    • Is it moving the story along?
    • What is it adding?
    • Could you do it better–not necessarily the way they suggested.

Person holding a blue ballpoint pen writing.

Photo by picjumbo.com on Pexels.com

2. Should A Writer Use Different Names For Different Genres?

As with all writing advice, it depends on the situation:

  • If you’re doing your own marketing, starting over with a new name doubles the amount of work you have to do to get traction.
  • If you’re with a large publisher, it can be helpful for the marketing.

That said, there are of course caveats:

  • You can end up getting shelved in the library/bookstores alongside whatever genre you first published in.
  • If you’re doing both Children’s books and explicit erotica — it can be helpful to make sure kids don’t end up with a book they probably didn’t mean to get.

Regarding publishing names in general:

When choosing which name to be published under (birth name or pen name), searchability reigns supreme.

You want to be high in the search result, but also easy to spell.

Simplified spelling, middle initials, mining family names, or deciding who you want to be shelved next to are good places to start.

Shelves full of books, in a decently lit library.

3. How Has The Market Changed In The Last Ten Years?

The top 3 ways the market’s changed:

  1. More exploring of the human condition in fantasy, a lot of the exploration is reactionary — which has a shorter shelf life.  Morgan’s side note: It might be more overt, but I’d argue that fantasy has ALWAYS explored the human condition.
  2. The rise in the respectability of online magazines.
  3. Massive growth in international markets.

Wood signpost, with worn red arrow pointing right. Greyed out mountains faintly behind it.

Photo by Jens Johnsson on Pexels.com

4. Where Do Querying Writers Lose You?

There was a lot of discussion on this question, so I’ll break it into high-level and specifics.

The top three high-level answers were:

  1. When I quit caring.
  2. If you make it work to follow the narrative.
  3. If they don’t remember it the next day.
    • Note: This editor also said that the bad stories blur together, they don’t typically remember them.

Top 4 things that break their buy-in:

  1. ‘Red line of death’ – Boredom, implausibility, names that don’t fit the setting
  2. Implausibility – where all emotions are explicit rather than undercurrents. Most people don’t spell everything out for each other in real life.
  3. External commentary (even by the narrator) – “If I’d only known then…”
  4. A character doing something stupid or out-of-character (OOC)

A thought bubble drawn in chalk, with a lightbulb resting in the bubble

Photo by Pixabay on Pexels.com

I always find getting an insider perspective on the industry enlightening. Hopefully, these answers help you as much as they helped me.

 

So You’re In the Editing Doldrums Again? These 5 Sites Can Help

/ Morgan Hazelwood / 2 Comments

After you’ve written your novel and revised the BLEEP out of it, one thing remains:

To edit your manuscript!

 For those of you who are confused:

Revision worries about the characters, the plot, the setting, and the pacing.
In other words: The Big Picture. 
Editing is all about word flow and grammar.
In other words: The Details.

Here are the top sites I use when editing my novel.

5 Sites That Can Help You Edit Your Manuscript

1. Do you need a checklist to even know where to start?

One of the most useful checklists I’ve found was at theWriteLifeLogo:

It talks about standard grammar mistakes, crutch words, and bad habits.

Now, not all of the things it suggests cutting need to be deleted. Adverbs (often words ending in -ly) and passive voice both have their place, but cutting down on the instances of those things can make your writing stronger.

2. Do you need help replacing your crutch words?

Try your basic, friendly, online thesaurus for help at:

Thesaurus.com

When you’re trying to replace a weak adverb or some passive-voice with a stronger verb, but you can’t think of any? Thesaurus time! (I have to confess, I actually just keep this open on a tab when I’m writing OR editing.)
thesaurus.com

3. Do you need more accurate terms?

Sometimes, the history of a word can help you find a better term. Just look it up on:

Etymology is the study of language. So, this site tells me where the word came from, similar words in different languages, and words that were used for this term in the past.

So…

When you’re looking for a word that doesn’t sound so modern, so common…

Maybe you’re coming up with a name for a different type of magic?

Try looking up a root word related to the concept you’re attempting to convey and see if a historical version of the word will work. I’ve used this for magical methods, city names, and more.

etymonline.com

4 & 5. Do you want to have your prose analyzed?

After you’ve done what you can, it’s time to bring in the hired guns:

The Hemingway App and Grammarly

Confession? I’m cheap.

I use these tools for free, online. Which means, their use is a little more limited. They won’t analyze my entire manuscript, sometimes even a chapter is too long for them–maybe I need shorter chapters?

But, if I copy/paste a section at a time into the HemingwayApp website or into a new Grammarly document, they will both provide me with a rather comprehensive analysis of my writing. Hemmingway: checking for sentence complexity and word choice, Grammarly: checking, unsurprisingly, my grammar.

hemingwayApp

With both of these tools, they can only run their algorithms on your writing, they can’t judge its effectiveness, simply the way it adheres to the rules. Thus, some of the feedback should be ignored. But they do give you a good sense of what might make your sentences better. Plus, they make certain when you violate some grammar or writing guideline, you’re doing it on purpose.

With these 5 sites, you can be pretty sure by the time you’re done, that your polished draft is a clean copy, that is easy to read.

Just recognize they can’t actually make your story good,  you’ve got to do that on your own.