Friday, July 26, 2013

Why Self-Editing a Book is Like Navigating a River

A few weeks ago I wrote about a simple memory jogging acronym I use when self-editing my work.

S—Sentence Structure
E—Eliminating Errors: Spelling, Capitalization, Punctuation, POV
L—Language
F—Flow
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E—Emotion
D—Dialogue and Description
I—Internal and External Conflict
T—Typos, Tired Words, and Tense Changes
I—Inaccurate Facts and Inconsistencies
N—Narrative and Backstory

G—Grammar

Today I'm addressing language and flow.

When I edit my own work -- or when I'm editing another writer's work --  I look at the story as if I'm exploring an unknown river. 
Despite the occasional bend or curve in a riverbed, all rivers flow in one direction only. Just like a river, the plot of a story should flow in one logical direction from start to finish. And if there's a subplot in the story, it should branch off from the main plot in the same way that a creek branches off from a river; a creek may veer off in a slightly different direction--maybe southeast instead of due south--but it's still part and parcel of the main waterway.   

Rivers--and the fish in them--often twist and turn as they travel across the landscape. Are there a sufficient number of twists, turns, and red herrings in the story to keep the reader guessing? 


How about obstacles? Rocks, fallen trees, and other debris can change the course of a river or alter the rate of its flow. Are there enough reasonable obstacles thrown in the path of the protagonist to keep the story interesting? Do these obstacles slow the pace of the plot or, hopefully, increase both the pace and the tension?

Last but not least, all rivers have boundaries of some kind. Be they rocky walls or grassy banks, they contain in place the water flowing between them. Sometimes, though, a river overflows its boundaries, causing damage to anything in its path with a flood of water.
Language is to a story what water is to a river. The right words--and the right number of words--can make the plot flow at a pace that encourages a reader to keep turning the pages. The trick is staying within the boundaries. What I mean by that is, you can damage, or even destroy, a good story by using the wrong words, too many words, or too many of the same words in your writing. 

So what's a wrong word? Dull verbs come to mind right away. People "running" or "stopping" instead of "fleeing" or "skidding to a stop". And don't get me started on "was" and "had" and "came" and "went". 

Too many words? Well, we've all written those 100,000 word Greatest Novels and discovered we'd be much better off if we cut out at least 25,000 little beauties. Sometimes we simply can't resist flooding our first drafts with words, but there's nothing like wordiness to slow the pace and cool the tension in a story. Cut out unnecessary scenes, tag lines, adjectives, and adverbs. Cut to the chase and you'll tell a better story.

As for too many of the same words, we all have our favorites that seem to creep into every other paragraph. "Just" is one of my favorites; I'm ruthless at cutting out "just" when I self-edit my work. Making a list of your favorite words and doing a word count of them in your manuscript helps when it comes to deleting overused and hackneyed words.

Self-editing isn't easy, but it's a necessary evil that must be learned by every writer who hopes to succeed in this business. Using the above acronym has helped me with my writing. I hope it will help you, too.

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