Guest Post - 5 Self-Editing Tips that Will Make Your Book 10 Times Better

Happy WHATEVER, good people of the blogosphere! Today, I have a super special guest post for you all on editing. The fabulous Alicia Rades is going to take you through a number of tips to make your book awesome. Don't forget to give Alicia a follow on all the social media things linked at the end of this post! Ready? Grab those pens and notebooks and let's get going!

 5 Self-Editing Tips that Will Make Your Book 10 Times Better

As authors, we go through a lot of stages of writing. There’s brainstorming, outlining, actually writing the first draft, self-editing, beta reading, more self-editing, repeat, repeat, sending to an actual editor, and so on. I don’t know about you, but for me, self-editing is one of the longest and most stressful stages.

It’s also one of the most satisfying. Seeing your story transform into something better than you imagined is a magical experience. What’s better is that you get the satisfaction of knowing you made that happen.

Self-editing should never be used to replace a professional editor. However, tweaking scenes, improving wording, and catching your own mistakes can all help you make your story better. Here are a couple of techniques I personally use when self-editing my novels.

Take a Breather

The first thing I do is set my manuscript aside. I recommend forgetting about it for at least two weeks. I know. It sounds like torture to not be working on your book. But this strategy allows you to approach your manuscript with a clear mind. Once you start to forget a little of what you wrote, it almost feels like you’re reading someone else’s writing. It makes it so much easier to spot your mistakes.

Focus on One Thing at a Time

Don’t go through your manuscript looking to fix everything at once. Instead, take it in stages. The first time back through it, you might read for plot holes or areas that need clarification. Next, identify unnecessary scenes. Then focus on characters actions and their development throughout the story. Do they act like themselves the whole time? Do they grow from beginning to end?

Once you have the bigger kinks worked out, you can move on to focus on your wording. Is there a better way to describe an action? Do you repeat the same words too often? Are there misspellings that spellcheck didn’t catch, such as “weather” versus “whether”?

That’s not to say you should ignore certain parts if you’re not explicitly looking for them. For example, if you are reading for plot holes but notice a misspelling, feel free to fix it. Just don’t try to fix everything at once or you’ll end up missing too much.

Search for Overused or Misused Words or Phrases

Once I get down to the nitty gritty and start looking for ways to clean up my phrasing, one of the most effective tactics I’ve found is to use the search function. In a Microsoft Word document, there’s a “find” button, or you can click CTRL + F. Then type in the word you know you want to clean up throughout the manuscript.

For example, like many authors, I’m a culprit of using the word “that” far too often. As a general rule, you should only use it provide clarification. Overusing it makes your writing seem somewhat amateurish, and it can pull readers out of the story. So by searching “that” in your document, you can identify areas where it’s needed and where it can be removed.

Don’t stop the search at phrases you tend to overuse. Also take a look at words you tend to misuse. Examples include:

• good/well
• affect/effect
• their/they’re/there
• your/you’re
• lay/lie
• that/which
• further/farther

Read Your Manuscript Aloud

It’s a tedious task, but reading your manuscript aloud is worth it. Doing this makes it easier to catch strange phrasing or repeated information in the story. I personally read each of my books aloud to my husband like an audiobook when we’re in the car together. This gives me a chance to hear mistakes while my husband can give me feedback on the storyline. If you’re not comfortable reading aloud to someone else, it can be just as effective to do it in private.

Don’t Over Edit

As authors, we want the work we send out to the world to be perfect. The reality is that it isn’t going to be perfect because you’re always going to want to change something. And when you’re always changing something, you may end up working backward and hurting your manuscript.

The good news? You can get pretty darn close to perfection! To manage that, though, you eventually need to set down your manuscript and say, “I’m done!” Self-edits are an important part of creating a professional product. They work together with a professional editor to make your story the best it can be. Not only that, but working with an editor can help you become better at self-editing.

Do you have any personal strategies when it comes to self-editing? Tell us your secrets in the comments.

Would you like to follow Alicia? Here are all the stalk links!
Website: aliciaradesauthor.com
Facebook: https://www.facebook.com/aliciaradesauthor
Instagram: https://www.instagram.com/aliciarades
Goodreads: https://www.goodreads.com/aliciarades
Amazon: https://www.amazon.com/Alicia-Rades/e/B00F9ZFTE8/

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Dialogue Pitfalls and How to Fix Them

Happy Thursday, everyone! Oh my, tomorrow is FRIDAYYYY! Who's excited? I can't believe it was just a four day workweek. I'm exhausted already. Ha! Today, I'm taking you all through an exercise to help with your dialogue. I'll start by outlining a few pitfalls, then explain how to correct in your first edit. Ready? Grab those pens and notebooks and let's get going!

We'll start with labels to keep it easy.

#1: Group Conversations

A common issue in creating group dialogue is when the author wants everyone to speak at once. Now, this can work if done properly, but line after line of Bob said, Marley said, Jane said, and Duke said gets tiresome.

Here's a tip:
Seek out scenes where folks are talking and examine them. If you have to, put people in a room and assign them all part of your dialogue. Have them read their lines (in character). Make notes of their facial expressions, movements, and tone. Work it in.

Example #1:

"I didn't think I had anything to be worried about," Bob said.
"Seriously? What didn't you see there?" Marley said.
"Right? I could've picked up on the subtle clues if I were blind," Jane said.
"Bob, your wife hasn't touched you in months. Wasn't that clue number one?" Duke said.
"But it's always been like that," Bob said. "Ever since we were first married."
"Really?" Jane said.
"Yes, really," Bob said.
"Well, why did you stay married ten years then?" Marley said.

Fix #1:

Mouth turned down, hand clutching a tumbler of bourbon on the rocks, Bob shrugged. "I didn't think I had anything to be worried about." Added action tag.
"Seriously? What didn't you see there?" Marley asked. Changed said to asked.
Jane snorted and curled her lip. "Right? I could've picked up on the subtle clues if I were blind." Another action tag.
"Your wife hasn't touched you in months. Wasn't that clue number one?" Duke asked. Changed said to asked.
Bob sighed and leaned back in the chair, studying his friends. They were all coiled and tensed up, like a snake ready to strike. There was no way they'd understand, but he figured he'd try. "But it's always been like that. Ever since we were first married." Applied exposition and action.
"Really?" Jane's head snapped up. Changed to action tag.
"Yes, really." We know it's Bob. Deleted dialogue tag.
Marley asked. "Well, why did you stay married ten years then?" Moved dialogue tag to front.

If you add a little action and thought in with the dialogue, you show the reader more about the situation, and you avoid overusing said.

#2 Invisible Dialogue Tags

It's a common misconception to believe you have to change up the dialogue tags every time. While "said" gets tiring to read, you've seen one way to avoid having to use it on every line. But what about invisible dialogue tags? How many are there? Why should you use them?

Here's a tip:
Seek out those scenes where you're using something other than said to denote dialogue. Ask yourself why. Is it an action tag? That's a good thing unless it's pulling the reader out of the story. There are a handful of invisible tags you can use; just make sure they're relevant to the tone/situation.

Invisible dialogue tags are words readers don't have to process as they move through the story. They exist to avoid confusion only. They speed up the flow of your story (pacing).

Example #2:

• Asked
• Said
• Answered
• Responded
• Whispered
• Shouted
• Yelled
• Screamed

A common error is to use an action tag as if it were a dialogue tag. More on these here. Unless the word is denoting speech of some kind, it's an action tag. List:

• Ordered
• Commanded
• Howled
• Growled
• Slurred
• Hissed
• And so on.

Use invisible tags whenever possible, but you don't need one every line. Hang on, that's next!

#3: Mixing Action Tags and Dialogue Tags

If you have a person doing something, you don't need a dialogue tag to tell the reader who it is that's speaking.

Here's a tip:
Find those places where you have action and dialogue together, and remove the dialogue tags.

Example #3:

Bob shrugged and panned his eyes over the faded wallpaper. He said, "I never thought Martha was the kind to do something like that."
"She's hitting the prime of her life, Bob. She's also a good looking woman," Jane said.
He slammed the glass on the coffee table, sloshing bourbon over the antique wood. "I know she's good looking. Hell, I'm the one who married her!" He yelled.
"All women go through a phase," Jane said as she shrunk back in the couch.
"Phase! Phase?" Bob screamed. "This is so much more than a phase!"
Jane nodded and said, "I understand."

Fix #3:

Bob shrugged and panned his eyes over the faded wallpaper.  "I never thought Martha was the kind to do something like that." Removed He said.
"She's hitting the prime of her life, Bob. She's also a good looking woman," Jane said. Left alone.
He slammed the glass on the coffee table, sloshing bourbon over the antique wood. "I know she's good looking. Hell, I'm the one who married her!" Removed He yelled.
"All women go through a phase." Jane shrunk back in the couch. Removed said as she.
"Phase! Phase? This is so much more than a phase!" Removed Bob screamed.
Jane nodded. "I understand." Removed and said.

Again, if you know who it is that's speaking, there's no need for a tag. But removing all those tags cleaned up the prose.

#4: Using a Dialogue or Action Tag on Every Line

You don't have to go bananas with action and dialogue tags. When two people are having a conversation, you can delete most of the tags and still be okay.

Here's a tip:
Find places where there are just two folks talking. See how much you can remove without getting confusing.

Example #4:

"My wife has drained my bank accounts, done things behind my back, and she wants to know why I'm upset." Bob dragged his free hand down his face and slurped his drink.
Marley sat forward. "She probably hit her mid-life crisis and didn't want to worry you. You're aware of how she treats her body. It was bound to happen."
Bob snorted. "Yeah, I just didn't think she'd do something this crazy at thirty-one."
"It's that milestone, brother. Hang in there. At least she's not cheating on you," Marley said, putting a hand on Bob's back.
He sighed. "You're right. I guess I should be grateful she wants to look good for me. What's a little face-lift in the grand scheme of things, right?" A choked laugh escaped. "But she lied. Plain and simple. Who knows, she might be cheating, too."
"I doubt that. She loves you." Marley leaned back.
"She loves my money," Bob said.

Fix #4:

"My wife has drained my bank accounts, done things behind my back, and she wants to know why I'm upset." Bob dragged his free hand down his face and slurped his drink. Left alone.
Marley said, "She probably hit her mid-life crisis and didn't want to worry you. You're aware of how she treats her body. It was bound to happen." Changed action tag to dialogue tag.
"Yeah, I just didn't think she'd do something this crazy at thirty-one." Removed all tags.
"It's that milestone, brother. Hang in there. At least she's not cheating on you." Marley put a hand on Bob's back. Removed dialogue tag.
"You're right. I guess I should be grateful she wants to look good for me. What's a little face-lift in the grand scheme of things, right?" A choked laugh escaped. "But she lied. Plain and simple. Who knows, she might be cheating, too." Removed action tag.
"I doubt that. She loves you." Removed action tag.
"She loves my money." Removed dialogue tag.

And, you still know who it is that's speaking! Amazing, right?

These are some of the most common dialogue errors I come across. If you do your homework, you'll come out the other side a better writer. For another trap post, check out this one.

I hope this helps in some small way.

What are the things that annoy you most in dialogue? Discuss!

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Your Opening Scene

Happy Thursday, everyone! Hang in there, Friday is just around the corner. Today, I'm talking about your opening scene. There are certain obligations you, the writer, have in those first few pages, and I'll go over the most imperative four. Ready? Grab those pens and notebooks and let's get going!

When you're browsing a bookstore, do you just read the blurb on the back of the book, or do you open the cover and read a couple of paragraphs to see if you might like what's inside?

I'm betting you do a little of both. Well, the people who plan to read your novel will likely do the same thing. Why not hook them with a little bit of oomph? There are a couple of things people don't even know they're looking for, but if those things are missing, their reader brains will shut off and your book will be stuck back on the shelf or dropped back on the table.

Some of these, I bet you even do on accident. Besides the tips on using powerful words, from a post I wrote on the first one hundred, you have to set certain things up. If you missed the post before this one, I recommend checking it out, too.

1. You have to hook the reader into the story. This goes back to that post on the first one hundred words. These words should be powerful and resonate deeply in the soul. Perhaps even introduce the central conflict or present a question that will be answered later. Either way, you want them to keep reading.
2. Consistency is the ruler of all else. Your beginning should set the tone and establish rules you'll adhere to later on in the story. Don't have the reader walk into a suspense thriller only to throw them into fairy land a page later (unless it's a fantasy thriller with killer sprites that slash people to death with razor wings). You get the point here. Also, don't use a hook that has nothing to do with the rest of the novel. Readers will feel, rightly so, they've been hoodwinked.
3. Give the central conflict. Your reader wants to know why they should keep reading. If Jane is going to plod through the book with no direction or goal, it probably won't be something many (any?) people would enjoy spending time on. There's room for some action. If you're using a prologue, this is where you can show the blood, guts, and gore (if that's what your book is all about) just before the bad guy escapes and leaves a path of death in his wake. Yes!
4. Hint at the ending. Have you ever been stuck at the end of a story that's flown from your fingers up until that point? It might be time to start reading your manuscript from the beginning. If you've crafted it well, you'll have an idea of where it's going by examining where it began. Readers like that, too! When they have a vague idea of what might happen, they're intrigued enough to buy the book to find out. Think "central conflict" as mentioned above.

Don't backstory dump on your reader! Please. Readers aren't stupid. In fact, many of them are highly educated and well read. They know how to infer things from the text. You don't have to spoonfeed them every single detail. Especially in the first chapter. Trust that your audience is intelligent, and your writing will take on a whole new level of awesome.

Did you know any of these? What's your favorite hundred opening words of all time?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Men vs Women - Author's Voice

Happy Thursday, and welcome to another writing tips post, everyone! Today, we're talking about your author voice and how it translates to the reader vs how you want it to translate. Ready? Grab those pens and notebooks and let's get going!

How about a slice of truth to start us off?

If you're a female, chances are very good that, no matter how hard you try, you'll sound like a female when you write (even if from a male POV). Same goes for you males.

While there are authors who've managed to pull off writing as the opposite sex, I'm positive their editor made a huge difference. If that editor was male and the voice in the book was male, he likely told the author that a man/boy would never think/say/do "this." Likewise for the male writing as a female, using a female editor.

So how can we, as writers, fix it?

Let's go into the male writing as a female first:

Women are emotionally driven creatures. We cry, we care, and we talk about our personal lives a lot. When we talk, we generally use softer words like "would you mind" and "what do you think about this." We're often unsure about what we say or how it will come off to other people (we care about what you hear), and we don't like to hurt feelings or be crass.

Our thought process leans toward our families or responsibilities when we're in peril, and most of us aren't as highly competitive as men. To get us interested, you have to put out a ton of feeling and market to our gentle, helpful, feminine side. We also love to be empowered.

Now, women writing as men:

Men are action and solution driven creatures. If there's no clear goal, and the character isn't fighting toward something they can achieve against all odds, men won't identify. They use clear, demanding speech, that tends to lean toward sarcasm and "taboo" topics. They don't talk about personal things, and they generally prefer confrontation to descriptive floweriness.

Their thought process leans toward the thrill of the moment, and most of them desire to win. To get them interested, you have to market to their competitive, thrill-seeking side.

How do you get to know a woman's thought process? Spend time talking with them, asking questions, and paying attention to how they interact with their peers. Same goes for how to get into a man's head. You have to really immerse yourself in the gender if you want to be believable.

Go now and take a look at ads geared toward women, and then look at some geared toward men. See any difference? That's what connecting with a gender is all about. Books work the exact same way.

If you're a non-fiction writer, you may need to create two separate books; one that uses language women want, and one that appeals to men.

Male readers consume only 20% of the literary fiction read today. Know what that means? Right! Women are left with a whopping 80% of the pie.

Wow.

So what do the other 80% of men read? Sci-Fi, History, and Political. Certainly food for thought.

Have you stepped into the shoes of the opposite gender? How did it work out for you?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

13 Rules for Stronger Writing

Happy Friday, everyone! Wow, it's the weekend already. I feel like I've missed out on a couple of days in here somehow. Anywho, today is all about making your writing stronger. I have thirteen tips that'll help you keep your writing flowing. Ready? Awesome. Grab those pens and notebooks and let's get going!

No dallying today. Right into it. When examples are given, what you shouldn't do will be in red, what you should do will be in green.

1. Use active voice. Don't use were. Reconstruct your sentences to read as it is. Example: There were fifteen girls standing on the field. Fifteen girls stand on the field.
2. Kill the truth. If reality is blocking, make up new rules. You're writing fiction, after all.
3. Unite common phrases. Things that go together, stay together. Example: Molly lifted her arm and then, with a roar like a lion, she began beating the door. Molly lifted her arm, roared like a lion, and beat the door.
4. Write as you see. When you're writing, think visually about the scene, and use the imagery as fodder.
5. Catch the beat. All writing has a rhythm. You know it. Use it.
6. IT is a horror story. Beware of dangling "it" in your prose. Example: I thought it was strange. I thought the chair scooting across the floor by itself was strange.
7. Sentence structure variation. Don't write the same sentence over and over. Example: I walked into the kitchen. I got a glass from the cabinet. I filled the glass with water, and I drank. I drank it in one gulp. I walked into the kitchen, grabbed a glass, and filled it with water. As thirsty as I was, it went down in one gulp.
8. Marry related words. Keep things together that go together. Example: Henry stared at the float in the pool that was spinning in the middle. Henry stared at the float spinning in the middle of the pool.
9. Allow the reader to infer. Don't over explain. Example: "I'll do anything I can to help," Tina said lovingly. "I'll do anything I can to help," Tina said.
10. Create parallels. Mix some ideas and compare two unrelated things.
11. Kill repetition. Don't use the same word more than once in a paragraph; your reader will feel like they're reading the same sentence again and again.
12. Use one instead of two. If you can delete a word and not lose meaning, do so. Example: A scary, creepy spider is crawling up my leg. A creepy spider is crawling up my leg.
13. Beef up with stronger verbs and concrete nouns. Use these to replace adverbs and adjectives.

I hope you got some good tips today. Any of these that you didn't know?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Excuse Me, is Your Caps Lock on?

Happy Thursday, everyone! Book review tomorrow! I know you're all excited as can be. Today, I'm bringing you a little information on when to use a capital letter. Seems like a no-brainer kind of thing, huh? Well, it's something many, many people confuse, so I'm gonna touch on it. Grab those pens and notebooks and let's get going!
 

DON'T YOU HATE IT WHEN FOLKS DO THIS?

Yeah, I do, too.

But caps lock isn't what we're talking about here. This is all concerning those horrible things called proper nouns.

What's the difference between:
Our sergeant told us we need to fall in.
and
Hey, Sergeant said we need to fall in.

?

Are you confused?

Because, in the first, you aren't using the term as a proper noun. Terms like doctor, sweetheart, sir, madam, etc... aren't proper nouns and shouldn't get a capital letter. These are terms of endearment, not names or titles (even with titles, there's a caveat, as you can see above).

When you're talking about a thing, a word that might be capitalized in a different use might get a capital letter. Examples:

I was going to make life hell for her.
I thought I was living in Hell.

Second one is the place, Hell. First one is referring to the state of living, not the place.

I dug at the earth with my hands.
I'm from Earth.

Same situation. Lowercase earth is referring to the dirt, uppercase to the planet.

Given names get caps.
States get caps.
Your Majesty gets caps.
Our King or our Queen gets caps, but not when saying something like: He's the king of all he sees. Only when you're referring to the actual monarch should you capitalize the title.

I hope this helps you avoid a little bit of confusion.

What have you put a capital letter on only to go back and smack your head over it later?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Collaborating on Google Drive

Happy Tuesday, good people of the blogosphere! I promised you this post last week and ended up not doing anything at all. Eeeeew. What can I say? I have my off days, too! *grin* But, as promised, it's a Tuesday and you're getting all the deets. Now, I'm not going into all the things Google Drive can do, because that's a vast amount of information, but I'll explain how it can be used to co-edit a document and a cool feature that's available once you're on the inside. Ready? Cool. Grab those pens and notebooks and let's get going!

Once you click on the drive icon from Gmail, you'll see something like this:

You'll want to click the New button (in red) on the top, left-hand side for this exercise. Here:

Now, you'll have a choice to make. Please choose Google Docs like this:

Drive will magically take you here:

Click on the words Untitled Document in the top left:

Type in the name of your new doc in the popup box:

I'm not going into all the menu options today, that's a whole other blog post. But, as you can see, you have a ton of ways to format your document (and it auto-saves your progress):

Now, you need to look on the top right and find the share button:

Once you click it, you get a popup like this:

Start typing a name. If you have them in your Google address book, you'll get a dropdown:

Choose one. Click on the dropdown on the right that says Can edit:

 

These are the options you get:

Be sure Can edit is chosen (it's the default, but...). Now, you've chosen your collaborator, so let's go look at advanced options. Click the button:

You'll see a screen like this:

Pretty self-explanatory, no? Make your choices and send it on. I'm inviting the awesome Casey L. Bond to join us for this tutorial.

Here's where the magic happens! Once your collaborators access the document, they'll have a little icon (based on their Google Drive photo) in the top right, next to your name (Casey's is the cover of her novel, Reap, mine would be my logo):

As they type, their name shows next to the text (this works for each person typing):

They can change options just like you can:

Now, see the little icon next to Casey's?

Click it and select launch chat. This pops up:

It gives you a way to discuss what's being typed in the document as others are editing it without making changes. How cool is that?

Add to the coolness, this document is automatically saved in the main menu of your Drive. You can pop it into a folder, or leave it with all the other stuff you have stored there. The sky's the limit!

I hope this little walkthrough taught you something you didn't know. The power of Google Drive is awesome, and I hope to hear about you guys using it in the future!

Did you learn something? Ever used that feature before? Tell me about it!

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

New Release - Renaria: Into the Adyton

Happy Friday, good people of the blogosphere! I'm so excited to announce this awesome new release from author J. L. Wilson. If you love MMO games, you're gonna freak out over this novel. Heck, even if you don't know what an MMO game is and you just love fantastical creatures like dragons and fairies, you're gonna dig it. So, grab a cup of something warm (because it's hella cold outside), and let's get going!


Without further ado, I bring you the book!

Title: Renaria - Into the Adyton
Author: J. L. Wilson
Genre: YA Fantasy
Length: Around 250 pages
Buy Link: Amazon Kindle $2.99

Synopsis:
A small memento, a universal power...

It’s the year 2126, post-World War V. Leda, age seventeen, bounds through the lush forested region of the Desintor Foothills as a regal, bow-wielding, High-Elf Scout. That is, when she’s logged into her favorite MMO game: Renaria.

One crisp fall afternoon, an unseasonal storm fractures the sky of Trinton, New Texas with splinters of emerald lightning and otherworldly songs. Oddly, no one sees the storm except her brother and their guild mate Travis.

She brushes off the event as a fluke, but she can’t seem to get the song out of her mind. Suddenly, a new quest appears in her game directing her to the blue sand dunes of the Sinare Desert to meet Caleb, a legendary Elf Diviner.

Now she has a choice: Ignore the quest and turn off the game, or dive in and risk everything for a shot at an adventure.

Now that you've seen it, enter to win one of two e-copies!

a Rafflecopter giveaway

What do you think? Pretty, huh?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Dialogue - Keeping it Fresh

Happy Friday, good people of the blogosphere! Today, I'm talking with you about dialogue again. I started writing this post yesterday, but life took over and killed it. Ha! Great how that works, isn't it? But! The kids go back to school soon, so things around the blog will settle down as they were before. Anyway, today we're gonna talk about keeping your dialogue fresh for readability and comprehension. I'll also give you a little exercise to do afterward. Grab those pens and notebooks and let's get going!

Let's start with things you shouldn't do.

• Make every line of dialogue begin the same way.
• Break several lines of dialogue in a row with an action.
• Confuse your dialogue tags with action tags.
• Make everyone sound the same.

In keeping your writing fresh, you want to use dialogue, action, and dialect in a way that keeps them harmonious.

Example time!

Shouldn't do:
Pat elbowed her way through the crowd. "Can you believe how many people are here?"
I grabbed her hand before leaning toward her ear. "It's always like this on Friday night!"
Lucy made her way to us and joined the circle. "I'm so excited to be here! I can't believe our parents let us come."
I put my free hand on her shoulder. "This is once in a lifetime, kid."
Music pumped through the speakers, and my insides rattled.

Better:
Pat elbowed her way through the crowd. "Can you believe how many people are here?"
"It's always—" someone jostled me, and I grabbed Pat's hand to lean toward her ear "—like this on Friday night!"
Lucy made her way to us. "I'm so excited to be here, y'all! I can't believe our parents let us come." Her eyes sparkled.
"This is once in a lifetime, kid," I said.
Music pumped through the speakers, and my insides rattled.

Frequent name restatement is often necessary when there are several people in a discussion. Watch your pronouns. Let's look at one more example; then I'll turn you loose with an exercise.

Shouldn't do:
"I wanted to go to the store with Mommy," Lisa whined.
Her father's mouth turned down. He said, "You didn't want to stay with me?"
She crossed her arms and shook her head.
"I thought maybe we could play your favorite," he said, pulling out Chutes and Ladders.
She clapped her hands and said, "Yay! Yes, Daddy. I want to play."
"But you wanted to go to the store with Mommy," he teased.
"I was just kidding," she said.
He roared with laughter.

Better:
"I wanted to go to the store with Mommy." Lisa threw her tiny figure face-down on the couch.
Her father frowned. "You don't want to stay with me?"
She rolled over, crossed her arms, and shook her head.
"I thought maybe we could play your favorite," he said.
When Lisa saw the Chutes and Ladders game in his hands, she clapped. "Yay! Yes, Daddy. I wanna play."
"But you wanted to go to the store with Mommy."
"I was just kidding."
He roared with laughter.

Not only is the second passage easier to read, it's correctly punctuated. Remember to ditch the dialogue tag when giving the character an action. If you use a dialogue tag, there should be no action. Change it up so it doesn't get stale. No one wants to read: he said, she said, he said, he said, she said over and over again.

Time for your exercises!

#1:
Write a few quick paragraphs of dialogue with four characters: Paul, Mike, Anna, and Frank. Start each sentence the same way, pay no attention to punctuation, and no attention to pronoun usage.

Use the tips above and this post to correct your writing. Feel free to send it to me if you want someone to check it.

#2:
Using the ideas above, craft one line of dialogue for each of the following:

1. Starts with an action, ends with dialogue.
2. Uses a dialogue tag at the beginning.
3. Uses a dialogue tag at the end.
4. Break the dialogue with an action.
5. Stars with dialogue, ends with action.
6. No dialogue tag; no action tag.
7. Interrupted speech (remember your em-dash!)
8. Trailing off of speech (don't forget the ellipsis!)
9. Starts with action, then has dialogue, then another action

You may feel free to post your attempts in the comments below.

What do you think? Helpful?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Reversal Word

Happy Thursday, good people of the blogosphere! As you can probably tell, I'm going into word reversal in novels today. What the heck am I talking about? Well, I'm not gonna beat around the bush. Grab your pens and notebooks, slurp up that coffee, and let's get going!

When I say word reversal, what I mean is using the difficult path to convey an idea to your reader. One of the things I do when I'm editing is check readability. Your words should flow for the eyeballs moving over the page. One of the acronyms I love is:

K. I. S. S.

It means: Keep It Simple, Stupid!

Never speak over your reader's head (we know you're smart, but making someone feel stupid isn't a good idea), and try not to reverse your words. If you do, be on the lookout for awkward sentences in your first round of edits.

Time for some examples!

Rob looked at me, and I inwardly cringed.

First off, you don't need that adverb. Taking it out would simplify the sentence and make it more reader friendly. But let's say we want to leave it in there. As an editor, I try to apply a lighter hand when suggesting changes. I'll suggest a blanket change to remove most of the adverbs when I run across the first one. Mentioning it again becomes cumbersome. If the author enjoys adverbs and I leave this sentence alone (thinking it'll be fixed later), I'm doing them a disservice. Why? Because it will read/flow better if the action precedes the modifier. That's my job. There are two possible fixes if we leave in the adverb:

I cringed inwardly when Rob looked at me.
Rob looked at me, and I cringed inwardly.

Put the action first.

Here's another one that needs some rearranging:

I'd heard about the relationship being messed up between them, but I knew it wasn't also damaged on my side.

A small move will make a big difference. Like this:

I'd heard about the relationship being messed up between them, but I also knew it wasn't damaged on my side.

Make sense?

Yes, there's always more than one way to fix a sentence. Remember to KISS your reader, and you'll be fine.

When in doubt, read it out!

Do you ever catch yourself making those kinds of mistakes?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Pronouns in Dialogue

Happy Thursday, good people of the blogosphere! Today, I'm gonna talk to you about pronouns in dialogue and how they impact the way you use them outside speech. I've been over pronouns twice thus far, but this little tidbit needs to be added. I didn't want to confuse everyone by putting this information in with the other pronoun posts, so I'm making one all its own. Grab your pens and notebooks and join me for a quick lesson! Warning! This post seems long, but it's a lot of the same stuff written over and over again. A necessary evil, I'm afraid.

Remember, your pronouns are: he, him, she, it, its, they, their, them, they're, hers, and his.

Now, when you're writing a scene, the pronoun refers to the last person or thing named.

Learn more here and here.

There are caveats to this, though. First, when we speak, we usually don't use pronouns the right way. For example:
"Lisa told me last night Mel owes her money and isn't sure when she's gonna pay her back."

What a mess that is, right? But it makes sense when someone speaks that way. Why? Because that's what we're used to hearing. We get that Mel owes Lisa money and Lisa isn't sure when Mel is going to return said money. But to write the dialogue with proper pronouns, we'd have to rearrange it like this:
"Lisa told me last night she isn't sure when Mel's gonna pay back the money she owes."

That's okay, too, by the way; but don't beat yourself up over pronouns in dialogue. Above all else, you want speech to sound natural, not forced. So, pronouns in speech aren't something you need to be super vigilant about. Let it flow.

Second, when you're creating dialogue and you mention a name, you need to remove the speech to see who your pronoun is actually referring to. Also, the pronouns in speech are separate from the ones in text. This gets tricky, but I'll do my best to show you a couple of examples:
Susie looked at Byron and drummed her fingers on the desktop. "So, you're saying Lisa doesn't really like Mark?"
"That's what I'm saying. She's just using him to have a date to prom."
She gasped. "That's horrible!"
"You know how she is. How does that surprise you?" His eyebrow lifted and a smirk found its way onto his lips.
"I just never thought she'd be so crass." Her mouth turned down and her eyes shifted away. "It doesn't do to hurt people. Mel let it drop the other day that she thought her intentions weren't honorable. I just didn't believe her."
"Well, I'm telling you now, she's planning to make a big scene and leave him looking like an idiot at the end of the night." His hand found its way to hers in an attempt to offer comfort.
Sighing, she moved closer to him and rested her head on his shoulder.

Okay, now, you can see the mess we'd have if we followed traditional pronoun examples and tried to have everything include the dialogue. How do you check it? Like this:

#1 Delete the dialogue and highlight the pronouns.
Susie looked at Byron and drummed her fingers on the desktop. "So, you're saying Lisa doesn't really like Mark?"
"That's what I'm saying. She's just using him to have a date to prom."
She gasped. "That's horrible!"
"You know how she is. How does that surprise you?" His eyebrow lifted and a smirk found its way onto his lips.
"I just never thought she'd be so crass." Her mouth turned down and her eyes shifted away. "It doesn't do to hurt people. Mel let it drop the other day that she thought her intentions weren't honorable. I just didn't believe her."
"Well, I'm telling you now, she's planning to make a big scene and leave him looking like an idiot at the end of the night." His hand found its way to hers in an attempt to offer comfort.
Sighing, she moved closer to him and rested her head on his shoulder.

#2 Rewrite it.
Susie looked at Byron and drummed Susie's fingers on the desktop.

Susie gasped.
Byron's eyebrow lifted and a smirk found a smirk's way onto Byron's lips.
Susie's mouth turned down and Susie's eyes shifted away.
Byron's hand found Byron's hand's way to Susie's in an attempt to offer comfort.
Sighing, Susie moved closer to Byron and rested Susie's head on Byron's shoulder.

We know the passage is correct, because it reads like it's supposed to. If it didn't, we'd need to fix it.


Dialogue is independent of the text providing support. Is it possible to fix the pronoun issues in the dialogue? Yes. It can be done easily, but watch for forced speech. You don't wanna take something that works and tweak it until it sounds, well, tweaked. *grin* Proceed with caution.

One more example, and I'll let you go for the day. This time, we'll use four speakers and I'll make errors. See if you can find them before I go to the correction phase. GAME ON!

Lisa slapped Mark's hand before taking it in her own and tugging. "You're so silly sometimes. Let's go find Susie and Byron."
He grinned at her, loving the way she gave him love taps now and then, and let her pull him along.
"Lisa! Hey, girl. What are you guys up to?" Her speech was slurred and her eyes glassy.
"Sorry, guys, she's had a little bit to drink." Byron supported Susie with one arm while balancing two cups in the hand on the other.
She put her hands on her hips. "Aren't you gonna share?" One hand flew out, knocking the drinks off their perches. "There's Mel!"
"Lisa!"
"What?"
"You have zero class, you know that?"
"Oh, come on. Stop being such a ninny. Not my fault your girlfriend's sloshed. Would you look at her? I wonder where she got that dress?" She took off in Mel's direction without offering an apology.
Mark shrugged. "Sorry about that. She's kinda rude sometimes."
Glaring in her direction, he snorted. "Kinda rude? Sometimes? She's extremely rude always."
Feeling his face turn red, his mind began to wonder if he should punch the guy out to defend his girlfriend's honor. Deciding against it, he shrugged and started after her; anger boiling beneath the surface.

Ready? GO!

Done yet?

How about now?

Okay, your time's up. My turn! I'll show you why the passage is wrong, then correct it. Four steps this time.

#1: Remove dialogue
Lisa slapped Mark's hand before taking it in her own and tugging. "You're so silly sometimes. Let's go find Susie and Byron."
He grinned at her, loving the way she gave him love taps now and then, and let her pull him along.
"Lisa! Hey, girl. What are you guys up to?" Her speech was slurred and her eyes glassy.
"Sorry, guys, she's had a little bit to drink." Byron supported Susie with one arm while balancing two cups in the hand on the other.
She put her hands on her hips. "Aren't you gonna share?" One hand flew out, knocking the drinks off their perches. "There's Mel!"
"Lisa!"
"What?"
"You have zero class, you know that?"
"Oh, come on. Stop being such a ninny. Not my fault your girlfriend's sloshed. Would you look at her? I wonder where she got that dress?" She took off in Mel's direction without offering an apology.
Mark shrugged. "Sorry about that. She's kinda rude sometimes."
Glaring in her direction, he snorted. "Kinda rude? Sometimes? She's extremely rude always."
Feeling his face turn red, his mind began to wonder if he should punch the guy out to defend his girlfriend's honor. Deciding against it, he shrugged and started after her; anger boiling beneath the surface.

#2 Highlight the pronouns
Lisa slapped Mark's hand before taking it in her own and tugging.
He grinned at her, loving the way she gave him love taps now and then, and let her pull him along.
Her speech was slurred and her eyes glassy.
Byron supported Susie with one arm while balancing two cups in the hand on the other.
She put her hands on her hips. One hand flew out, knocking the drinks off their perches.
She took off in Mel's direction without offering an apology.Mark shrugged
Glaring in her direction, he snorted.
Feeling his face turn red, his mind began to wonder if he should punch the guy out to defend his girlfriend's honor. Deciding against it, he shrugged and started after her; anger boiling beneath the surface.

#3 Replace the pronouns
Lisa slapped Mark's hand before taking Mark's hand in Lisa's own and tugging.
Mark grinned at Lisa, loving the way Lisa gave Mark love taps now and then, and let Lisa pull Mark along.
Lisa's speech was slurred and Lisa's eyes glassy.
Byron supported Susie with one arm while balancing two cups in the hand on the other.
Susie put Susie's hands on Susie's hips. One hand flew out, knocking the drinks off the drinks' perches.
Susie took off in Mel's direction without offering an apology.Mark shrugged
Glaring in Mel's direction, Mark snorted.
Feeling Mark's face turn red, Mark's mind began to wonder if Mark should punch the guy out to defend the guy's girlfriend's honor. Deciding against defending honor, the guy shrugged and started after the guy's girlfriend; anger boiling beneath the surface.

#4 Repair
Lisa slapped Mark's hand before taking it in her own and tugging. "You're so silly sometimes. Let's go find Susie and Byron."
He grinned at her, loving the way she gave him love taps now and then, and let her pull him along.
"Lisa! Hey, girl. What are you guys up to?" Susie's speech was slurred and her eyes glassy.
"Sorry, guys, she's had a little bit to drink." Byron supported her with one arm while balancing two cups in the hand on the other.
Lisa put her hands on her hips. "Aren't you gonna share?" One hand flew out, knocking the drinks off their perches. "There's Mel!"
"Lisa!"
"What?"
"You have zero class, you know that?"
"Oh, come on. Stop being such a ninny. Not my fault your girlfriend's sloshed. Would you look at Mel? I wonder where she got that dress?" She took off in Mel's direction without offering an apology.
Mark shrugged. "Sorry about that. She's kinda rude sometimes."
Glaring in Lisa's direction, Byron snorted. "Kinda rude? Sometimes? She's extremely rude always."
Mark felt his face turn red, and his mind began to wonder if he should punch the guy out to defend Lisa's honor. Deciding against it, Mark shrugged and started after her; anger boiling beneath the surface.

Blue marks what I changed to make the passage correct. I know it seems like a lot of work; but if you take the time to learn how to recognize these things, it'll become second nature and move fast.

How about you? Did you get anything out of this post? How many errors did you find in the example?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Pronouns - Round Two

Happy Thursday, everyone! I know you're all excited about the approaching weekend, but stay with me today. I'm going over one of the most common errors in writing (again). Why am I bothering to write about it now if I already wrote a post about it last year? Well, because that one got a little buried in the sand (archives) and it's something every author needs to be aware of. Misuse of pronouns is the thing I find most often when editing or reading; and, I'm sorry to admit, the one error I make consistently when writing. Ready? Grab those pens and notebooks and let's get going!

First off: What's a pronoun?

A pronoun is a word that's used to replace a noun. He, his, him, she, her, hers, it, its (no apostrophe), their, they, they're, and theirs are the ones to watch out for.

When should you become hyper-aware of pronouns?

Anytime you're following up naming a person or thing by using a pronoun.

Examples of misplaced pronouns:
Larry looked into his dad's eyes. He noted the sadness there, and wondered if his mind was on the task they were doing. His hands dug into the soft dirt like they had for the last thirty years. Would he ever get used to seeing him this way? Grabbing a handkerchief from the toolbox, Larry used it to wipe his face.

Quickly! How many misplaced pronouns were in that paragraph?

I'll give you a moment to look it over.

Done yet?

Answer: Four out of ten are incorrect.

To find the ones that are wrong, we replace each pronoun with the last person or thing named. I'm going to number the pronouns so we can discuss after, keep the ones that refer to Larry's dad as "Dad," and break it down once I'm done. Errors are bold.

Larry looked into (1.his)Larry's dad's eyes. (2.He)Dad noted the sadness there, and wondered if (3.his)Dad's mind was on the task (4.they)Dad's eyes were doing. (5.His) Dad's hands dug into the soft dirt like (6.they) Dad's hands had for the last thirty years. Would (7.he) Dad ever get used to seeing (8.him) Dad this way? Grabbing a handkerchief from the toolbox, Larry used (9.it)the toolbox to wipe (10.his)Larry's face.

1. His - Right. Because we're talking about Larry's dad. Larry was the last person named.
2. He - Wrong. It's Larry who noted the sadness in his dad's eyes.
3. His - Right. We are referring to Dad, even though Larry should've been the last person named.
4. They - Wrong. Eyes can't dig in the dirt and they were the last plural noun.
5. His - Right. We are talking about Dad's hands.
6. They - Right. Dad's hands had dug in the dirt for the last thirty years.
7. He - Wrong. We should be referring to Larry, not Dad.
8. Him - Right. We do mean Dad.
9. It - Wrong. This should be the handkerchief, not the toolbox. I can't imagine wiping my face with a toolbox.
10. His - Right. We do mean Larry's face.

Ugh! Right?

So, how do we fix it? There are many ways. Here's one:
Larry looked into his dad's eyes, noting the sadness there, and wondered if his mind was on the task at hand. His fingers dug into the soft dirt like they had for the last thirty years. Larry wasn't sure he'd ever get used to seeing the strain staring back at him from those eyes. Grabbing a handkerchief, he used it to wipe his face.

If you have to include the toolbox, do so before the word handkerchief: Reaching into the toolbox, he grabbed a handkerchief and used it to wipe his face.

It's all about wording and construction. I know you probably think pronouns are the least of your worries, but a little bit of attention paid to this tiny thing will help your book tremendously in the long run.

These are rules that can't readily be broken without seriously confusing the crap out of your reader. Now that you know what to look for, scroll back up and read the first paragraph again without the breakdown.

Heck, I know I miss a couple when editing my own work or the work of other people; that's to be expected. I find errors like that in traditionally published books, too (though few and far between). But four in one paragraph?

How about you? Have you become pronoun proficient? Or did this post teach you something new?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Dialogue Traps to Avoid and How to Fix Them

Happy Monday, everyone! I do hope you all had a fabulous weekend and are raring to go for the week ahead. Today, I'd like to talk a little bit about dialogue traps many authors fall into and how you can pull yourself from the quagmire of quicksand that's sucking you down. These are things I find in many of the books I edit, and the author usually does a little head slap once I point out what's going wrong. Grab your pens and notebooks and let's get going! Be sure and check out the link to some dialogue exercises near the end of this post.

One of my most popular posts, He Said, She Said, Who Said What?, goes into ways to keep the local vernacular true to the characters. It uses extremes, but I did it to make a point.

Let's expand upon that and talk about how to keep the speech true to humans.

In I, Zombie, I used dialogue to help pull the reader into the culture. Some people enjoyed it, some didn't. However, it's true to the location and that's what I was after. Bronya, book one of the Mystic series, is also set in Southern Louisiana, but I chose not to use the local dialect. I both loved and hated that aspect of the book, but it's a choice an author has to make.

Note what I said there: Choice. It's up to you how your characters will speak, but the key to doing anything well is consistency. I know, there's that word yet again! Remember when I talked about creating a style guide for your novel? If your characters are gonna talk a certain way, be sure you're consistent. Your style guide will help you (and your editor) do that.

Now, a few things to keep in mind when characters are speaking to one another:

• You don't always have to use a dialogue tag (said, mumbled, asked, answered, etc...), an action tag (Sabrina put her feet up on the couch, Luke took a long drink of his coffee, Pig plopped his big, round bottom down, etc...) will work as well.
• There's no need to name the character the one speaking is talking to unless: There are more than two characters in the room and he/she is speaking to someone out of the group specifically, or there's no action tag like: Pig looked at Sabrina.
• When a character uses another character's name in speech, it sounds like a lecture or like one is lording their superiority over the other. Think about how you speak and when you use someone's name.
• We speak in contractions unless we're speaking formally (old English, Historically, etc...). Use them. It'll help. Remember to practice writing in contractions everywhere, not just in your novels. If a character doesn't use contractions, be consistent and don't ever use them. One day, you'll thank me. *wink*
• Watching the rename will help with pronouns. Time for an example! 

If we know Pig and Luke are having a discussion, it might go like this: 
Pig looked at Luke. "So, you're saying I didn't need to sit?"
He answered, "That's exactly what I'm saying."
His tail uncurled and his ears drooped. "I thought I was being good."
This is wrong, wrong, wrong. It creates a pronoun problem. Either you have to rename Pig (which gets irritating to readers if it's done too often) or remove Luke. We know who Pig is talking to because the scene has been set.

How about: 
Pig looked up. "So, you're saying I didn't need to sit?"
"That's exactly what I'm saying."
His tail uncurled and his ears drooped. "I thought I was being good."
Note that Pig was the last male named so the pronoun his is used correctly. There was no need to rename Pig or worry that we couldn't use the pronoun his after we named Luke.

Please, know your action tags and your dialogue tags. Here's a post that will help with that. Some get commas and others get periods. Be sure you're varying what you use. Dingle said, Pig said, Sabrina said, Luke said, Howey said, Dog said, gets redundant and boring after a while. If it's obvious who said it, leave it alone. If you must give a name, use an action tag now and then.

Are you ready to practice flexing your dialogue muscles? Here's the fifth post in a series with links to the previous four: Dialogue Exercises. There are fifteen practice scenarios for you to use. Have some fun, okay?

Did you know these loose rules? Do the examples above help at all?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

What Kind of Editor do You Need?

Happy Thursday, good people of the blogosphere! I missed my post yesterday! But, it's all good because I'm caught up with work and back to one hundred percent. Kids are back in school, there's no snow days causing my internet to malfunction (you wouldn't believe how slow it is when the whole neighborhood is home and online!), and I'm back in my office after being run out by the cold. So nice! Anyway, today we're gonna talk about the different kinds of editors and how to decide which one is right for you. So, grab your pens and notebooks and let's get going!

You've written a novel! Yay! Good for you. Now you have this manuscript you don't know what to do with. Well, first things first. You need to do at least four rounds of edits on it yourself. Start by following the steps listed here and the tips on what to look for here. Once you're done with that, then you'll be ready to start looking for an editor. But there are so many to choose from. Hopefully, this list will help you choose the right kind for your novel. Heck, you may think you need more than one. Allow me to open your eyes to a fabulous secret! But, that's on down the page. Keep reading!

First up, we have the Developmental Editor.
These guys will check your plot, structure, and flow. They'll make sure you don't have holes in your story and ensure your facts are kept straight. Yeah, they're the ones doing all the research and making copious notes on long, yellow legal pads. They're the right choice if you aren't sure about your novel's storyline, character building, or facts.

Next, I give you the Beta Reader.
These folks are fans of your genre and know what they're looking for in a story. Giving them a questionnaire to answer will help them give you much needed feedback. Commonly, a beta reader is used before you go through a ton of editing, but huge errors will have them complaining that you need to write your story better.

On to the Copy Editor.
These folks check facts, grammar, punctuation, and spelling. They do exactly what their title implies: edit the copy. They won't be looking for what the Developmental Editor looks for. There will be no plot, storyline, or character development checking. They live and breathe the written line.

Now, the Proofreader.
Your proofreader is NOT your editor. They exist to find those little, niggling errors missed by your editor (and yourself). Their whole purpose in life is to make sure your copy is clean and error free after the editing is done. It shouldn't take them as long as it did your editor because they should be able to skim your work to find what was missed.

Next up is the Content Editor.
They live and breathe plot, characters, voice, and setting. These folks don't give a hoot about your grammar, punctuation, spelling, or otherwise. All they care about is the story and making sure you aren't jumping tenses, head-hopping, or meandering off the storyline.

Bet you're freaking out right about now, huh? I suppose you can see how you could need more than one of these folks for your novel and how it would behoove you to have them all in your corner. Well, that leads me to the last (but certainly not least) type of editor on the list. This is the fabulous secret I mentioned earlier. Your secret weapon.

I give you the Line Editor.
These folks do it all. They check facts, grammar, punctuation, POV, plot, characterization, flow, tension, storyline, word count, redundancy, tenses, and every other manner of novel content. It should take them a long time to edit your novel. They don't play around and a lot of writers become dismayed by the amount of feedback given by a Line Editor.

Line Editors will cost you a little bit more. But, that's understandable, right? They're a one-stop shop. This is the service we provide at INDIE Books Gone Wild. We check it all. Your MS will have so many comments, you'll think you died and went to heaven. Plus, we hire one of our own to do your proofread after your edits are complete (yeah, it's included in the cost of editing). That's just good business.

Which one do you need? I'm sure by now you're foaming at the mouth. You already know. Indie authors should expect to use a Line Editor and then a Proofreader. ***Warning! If your proofreader gets your MS and it's obvious it hasn't been edited, they'll send it back to you (and will have every right to do so). So be sure you've used an Editor before you contact a Proofreader.***

Most importantly, be sure you know about your editor; no matter what kind you use. Vet them. Do the work to find out if they're worth it. Don't get snowed. Refer to Monday's post and Tuesday's post to know what to ask, what to expect, and what to look for in your contract. This is SO important. I won't take it personally if you don't use IBGW. I just want you to be careful and know what you're getting into.

I can't stress it enough. Watch your back because you're all you have. There's no big publishing house that's gonna do it for you unless you're traditionally published.

Questions? Comments? Pop them in below and I'll answer everything I can. If you have an editor you'd like vetted, feel free to shoot me an e-mail and I'll do everything in my power to check them out for you. Let's not use the comments section for that, okay?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Editors - Good vs Evil

Happy Monday, good people of the blogosphere! I realize you were all probably looking forward to meeting Ms. Allison Pensy today, but I made a last minute decision to push everyone back to the dates they were originally given for their interviews. Ms. Pensy will be here in 2 weeks. I'm super duper busy this week and want to give Allison's interview the attention all my other guests' have gotten. So, today I'm going to talk about editors instead. Grab your pens and notebooks and let's get going!

Over at IBGW, we do a lot for our authors. Not only do we take a book and help it be all that it can be; we also throw a team of editors at it while we're working it and into the promotional stuff once the book goes live. Our authors become like our family members. When the books we work on go live, we watch them like hawks. One thing can be said about every IBGW book: There are no technical flaws in the writing (unless the author rejects some of the changes that are suggested). While people may not love the story between the covers, they can't complain about the grammar.

Our mission: To have the IBGW mark/name represent quality. We want to make it known that if you pick up a book, flip to the copyright page, and see our name there, you can buy the book with confidence.

When you're looking for an editor for your novel, be sure you're in sync with your editor and that they have a proven track record of turning out quality work. How can you be sure? Here are a few tips:

• Be sure you know which style guide your editor uses and you agree with the rules between the pages (your edit will turn into a headache if you don't). Also, be sure your editor has a style guide they reference and has it listed on their about me page. Anyone who doesn't follow a style guide is going to have trouble giving your book the proper consistency.
• Ask your editor what books they've edited in the past. Check those books out on Amazon and Goodreads. See what reviewers are saying.
• Make sure your editor isn't the proofreader on your work. Once you've been through two rounds of edits (or three) your editor is as close to the work as you are and begins to miss things.
• Is your editor an author? Read their work. Read the reviews on their work. Yeah, it matters.
• Perhaps most importantly, be sure your editor has a contract and they let you read over it and ask questions before you're expected to sign.

I give you these tips because I'm a reader and Indie author as well as an editor. I can't even begin to say how angry I get when I know a fellow author paid someone a lot of money to have an edit done, and I still find a book full of errors. No, no, no! One or two are common (even in traditionally published books). Those I can ignore.

A good editor will be available to answer your questions about the changes after the work is done. They'll be able to explain any changes made to your novel and why those were done.

Please, for the love of all that's good, vet your editor like you would your child's date. Don't hand over your money willy-nilly.

A good editor won't be cheap. Understand that and be okay with it. Remember the old adage: You get what you pay for. It's as true today as it was when it was coined.

Oh, and don't hire more than one editor to work on your book at once. It shows a lack of confidence in your choice. While you may think it's a good idea, if the person finds out, they may refuse to work with you in the future. Too many chefs in the kitchen makes for an unstable soup.

I hope this post saves someone from a headache.

Tomorrow, we're gonna talk about contracts and what you should be looking for.

Questions? Comment? Epitaphs? Post them below!

Well, that's all for today, folks! Until next time, WRITE ON!

Jo