Showing posts with label Articles. Show all posts
Showing posts with label Articles. Show all posts

Thursday, February 21, 2008

"Putting the Critics in Their Place" By Sophfronia Scott

As some of you know, I'm dealing with a family medical crisis this month. And since my tired brain can barely string together these two sentence I'll instead share with you folks the following article by Sophfronia Scott author of:




Putting the Critics in Their Place
By Sophfronia Scott, "The Book Sistah"
I once read that if you were a writer, it wasn't enough to just write. "You must publish what you write" was the given advice. I believe that's true and it's great advice. But when you do that, you have to know at least three things are going to happen: 1.) Someone will like your writing. 2.) Someone will dislike your writing. 3.) Someone won't care! If you allow all these reactions to make or break you, you'll be on an endless emotional roller coaster ride. You can smooth out the peaks and valleys, though, if you ask yourself a few questions.

Who is Saying it?

You may have heard the saying "consider the source". That's important when you're weighing any commentary on your work. In the case of teachers, editors or book reviewers, you want to be confident that the person is truly objective and knows what they're doing. If you're sure of them, you can take what they say, good and bad, and learn from them. These aren't people out to destroy you (usually!), so don't shoot the messenger.

Once people in the real world start buying and reading your work, you'll definitely hear about who loved it and who hated it. But pay close attention because there's more to it than a love-hate relationship. My first novel was packaged in such a way that it looked like an urban romance when in fact it is a complex family drama. I knew people who picked up the book expecting a light romance would be sorely disappointed--and that's exactly what happened when my novel was featured in a book-of-the-month club that specialized in selling urban romance. Many of their customers who bought my book hated it!

What Are They Saying?

If I had taken their criticism at face value, I would have felt like a failure. But all of the reader comments I saw on the club's website: "Too slow, boring, not enough se*x" told me they were expecting a different kind of book--and I didn't blame them! I would have been miffed too if I had expected "Valley of the Dolls" and ended up reading "War and Peace"! These readers were not in my target market, so the comments didn't upset me.

Readers in my target market gave different feedback. Yes, they liked the book, but that wasn't all: I could tell they had engaged with the book and had invested in the characters. Even comments about how frustrated they got with the main character were good because it meant they cared enough to be frustrated. If these readers had found the book slow and boring, I would have known for certain I had a problem.

Is it Consistent with What You Know of Your Work?

As a writer, you must know your own work well enough to help you decide what criticism makes sense and what doesn't. I've said before that I believe most writers know in their heart when something is wrong or if they're having problems with their material. If you know writing dialogue is difficult for you, there's no reason to be hurt or surprised when someone says your dialogue is weak or unbelieveable. So do an open and honest evaluation of what the reader and/or critic is saying. Then you can...

Make a Decision: What Will You Do?

No matter where your feedback is coming from, it will always be your decision whether or not you do anything with it. Sometimes feedback will open up new ideas and you're happy to rewrite based on those comments because you know the work will be better. Sometimes the book is already out there, and the feedback can only make you think about what you'll do differently next time. Or maybe you won't make a change at all. There's a particular scene in my novel that's so soap opera-ish it's almost ridiculous. But I knew that when I wrote it and I wanted it to be that way because I wanted to show how love can make people do crazy things. I wasn't going to change it.

But if I hadn't been clear on my intentions for the scene, I would have felt horrible everytime it was brought up in a book group's discussion. It was easier for me to stand up for my writing because I had been clear about what I was doing. So, for the sake of your writer's heart, be clear--all the better to see your way through to a better book.

© 2008 Sophfronia Scott
Author and Writing Coach Sophfronia Scott is "The Book Sistah" TM. Get her FREE REPORT, "The 5 Big Mistakes Most Writers Make When Trying to Get Published" and her FREE online writing and book publishing tips at
http://www.TheBookSistah.com

Sunday, July 22, 2007

Write Tight: A 10 Step Diet for the Verbose Writer

Below is an article by Lois Winston that I found quite helpful and hopefully my writing friends will too.



Write Tight: A 10 Step Diet for the Verbose Writer © Lois Winston


THE END. What a sense of accomplishment to type those words upon completion of your manuscript. After months or maybe years of labor, your baby is ready to leave its cozy Microsoft womb and fly off to that “A” List of agents and/or editors. Except for one problem. Somehow your bundle of joy wound up tipping the scales at 20,000 words over your targeted line’s weight limit. Now what? You curse. You cry. You stamp your feet. You reach for the chocolate. Feel better? Probably not. Baby is still a porker. However, all is not lost. Put baby on the following diet, and in no time she’ll shed that excess word weight.


STEP ONE:

Reread your manuscript. Is every scene essential to the plot or the goals, motivations, and conflicts of your characters? If not, no matter how much you love what you wrote, ax the scene. Each scene must serve a purpose. No purpose? No scene. Yes, I know it hurts. So instead of hitting the “delete” key, cut and paste the scene to a Loquacious Blubber file. You may be able to use it in a future manuscript.


STEP TWO:

Repeat STEP ONE for all dialogue. If the dialogue is nothing but chit-chat which neither advances the plot nor tells the reader something essential about the characters, exile it to the Loquacious Blubber file.


STEP THREE:

Do a search of “ly” words. You don’t have to omit all adverbs, but wherever possible, substitute a more active, descriptive verb to replace your existing verb and the adverb that modifies it.
· Blubber: Joe walked purposefully across the room.
· Tight: Joe strode across the room.
· Savings: 1 word


STEP FOUR:

Instead of using many adjectives to describe a noun, use one all-encompassing adjective or a more descriptive noun. If certain information isn’t necessary to your story, omit it.
· Blubber: Elizabeth grew up in an old, large house with twenty rooms that sat on four acres of land.
· Tight: Elizabeth grew up in a Victorian mansion or Elizabeth grew up on an estate.
· Savings: 11 or 12 words


STEP FIVE:

Say it once, then move on. It’s not necessary to repeat an idea or image in different words in the next sentence, the next paragraph, or on the next page. You don’t need to beat your reader over the head. She’s intelligent enough to “get it” the first time she read it.
· Blubber: A kettle drum pounded inside Elizabeth’s head. Her temples throbbed. Her skull pulsated with pain.
· Tight: A kettle drum pounded inside Elizabeth’s head.
· Savings: 8 words


STEP SIX:

Identify needless words and eliminate them. Every writer has at least one or two pet word she overuses.
· Blubber: Elizabeth just wanted to know Joe better before she dated him.
· Tight: Elizabeth wanted to know Joe better before she dated him.
· Savings: 1 word


STEP SEVEN:

Avoid laundry list descriptions by substituting more descriptive nouns and adjectives.
· Blubber: Joe wore a blue and green plaid threadbare shirt with a missing button at the cuff and a pair of frayed black jeans torn below the knees.
· Tighter: Joe wore Salvation Army rejects.
· Savings: 22 words


STEP EIGHT:

Do a search for was. Wherever it’s linked with an ing verb, omit the was and change the tense of the verb.
· Blubber: Elizabeth was listening to Joe.
· Tight: Elizabeth listened to Joe.
· Savings: 1 word


STEP NINE:

Choose more descriptive verbs and omit the additional words that enhance the verb.
· Blubber: Joe walked with a swaggering gait.
· Tight: Joe swaggered.
· Savings: 4 words


STEP TEN:

Omit extraneous tag lines. If it’s obvious which character is speaking, a tag line is unnecessary.
· Blubber: Joe turned to face Elizabeth. “You don’t understand,” he said.
· Tight: Joe turned to face Elizabeth. “You don’t understand.”
· Savings: 2 words


NOTE:

The above word diet is part of a healthy writing style and recommended for all authors, whether or not they need to drop 20,000 words from their manuscripts.

http://www.loiswinston.com/article7.html