Editing and re-drafting – a checklist, part two

Thanks so much for all your lovely comments RE part one of this blog post, it’s great to hear that my posts help not only me but others too, and I hope part two is as helpful and insightful as part one. Without further ado, let’s begin…

Overworked descriptions and cliche metaphors

I realise that overworked and cliche are two different things but keep an eye out for both, as they risk making your work look like the uninteresting ramblings of an amateur writer. To clarify:

Overworked description

“Hannah clumsily grabbed her red, ceramic, heavy mug and filled it to the brim with scalding, hot, brown coffee. It burnt her calloused, dry hands.”

Although this sentence is not horrendous, it’s a little too descriptive. One or two adjectives would have sufficed. See below.

“Hannah grabbed her mug and filled it to the brim with scalding coffee. It burnt her calloused hands.”

Much better!

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Cliche metaphors

This one is self-explanatory but some examples of a cliche metaphor are:
– His eyes shone like diamonds
– Her rosy, red cheeks
– His deep, blue eyes

Accidental or thinly veiled racism/sexism/homophobia etc.

Sadly this is more common in novels than you may think. Of course, most of the time the author does not intend to offend, but it does happen. I have read a few reviews of a current popular novel where the readers felt that the only POC in the novel was represented badly (she was bitchy and homophobic with apparently no redeeming characteristics), so when creating characters, please be aware of the above.

Representation

Of course, only you, the writer, know your story world and its inhabitants, but it may be wise to consider whether or not your cast is representative of both ethnicity and gender, especially if it’s set in today’s modern world.

Watch out for outlandish developments

Every plot point and development needs to be a logical step up from what has happened before it. Even shocking plot twists or action scenes have a build up and have been ‘set up’ to some degree. Everything needs to be linked, or the result of something that precedes it, so try not to add in outlandish plot points just to ‘spice up’ your novel. I was recently reading (and enjoying) a novel where there was no mention of cannibals, until all of a sudden, just for a little bit of conflict, the protagonist was abducted and almost spit-roasted for dinner. It struck me as out of place, awfully random and to be honest, a bit stupid. All events in your novel are stitched together, so keep your eyes peeled for any random scenes or pointless developments.

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Make sure your MC is actually participating in conversations

This may sound stupid but keep an eye out for this, especially if there are lots of characters. It’s all too easy to allow your protagonist to take a back seat and merely observe events and interactions. Make sure your MC is a driving force in the conversations – it’s easy (especially in first-person) to have the narrator pass thought or judgement on a situation in their head when it may be best if they were to make their judgment out loud to the other characters.

Is your main character somewhat likeable?

Don’t get me wrong, flawed protagonists are great, but your readers must want to root for them, so they have to have something going for them, even if that thing is pure grit or ruthlessness in gaining the story goal. They don’t need to be perfect or even nice, but at a basic level check that they aren’t (unless intentional), any of the following: racist, sexist, unnecessarily bitchy, unfairly jealous, whiny or homophobic).

Watch your use of nonsensical sentences

Of course, creatively writing is part of the fun, so go forth and use your imagination but read every sentence to make sure it does actually make sense. There’s no point trying too hard to be literary or whimsical if the meaning behind the sentence is lost to the reader.

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Watch out for deep yet pointless conversations

A deep conversation is all well and good but if it randomly appears in your novel and doesn’t contribute to the overall goal or theme then cut it – it’s just fluff.

Don’t make your antagonist flat

No one is 100% evil, not even your villain. Evil for the sake of evil is something that comes up in a lot of negative book reviews, so make sure your book isn’t one of them. As well as this, don’t make your protagonist 100% good. No one likes a Mary Sue.

Consistency throughout

Another obvious point that is all too easy to overlook. Ensure consistency throughout. Some examples of things to look out for:

  • The weather – if it’s snowing one minute, chances are it’s not going to be boiling hot the next.
  • Character hair, eye colour, clothing or jewellery.
  • Where your characters are in relation to one another as well as if they are sitting or standing. Also, which characters are actually in the scene.
  • Time of day
  • Spelling of names, places, and made up things.

The above is just the start. There are so many things (most of which will be unique to your novel) which you will need to keep a check on. For example, in a scene in my novel, my characters are wearing masks that cover their mouths. It would, therefore, be a bit stupid if I forgot this and described a character’s smile (because how the heck would you know if he was smiling or not?!). FYI this totally happened. Oops.

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Do your research

If you’re representing a culture or a movement (think BDSM in 50 Shades) do your research so as not to offend those who are part of it. 50 Shades often has those involved in the BDSM movement complaining that it’s not accurate and is sexist etc. This also applies to different cultures – you don’t want to cause offense.

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Checking mechanics

Your protagonist is hot-wiring a car? Check that the methods used are viable and correct (but don’t put your new-found knowledge to use!).

Do you have too much inner monologue?

This boils down to the whole show-don’t-tell thing (see part 1). If the protagonist is talking to himself and summarising what’s happening, would it be better and more engrossing to the reader if it was changed to action or dialogue? The answer may be no but it’s worth checking just to be sure.

Have you started in the correct place?

If your novel only picks up pace in the last 75% (like several books I’ve read recently) then consider starting the novel later. You don’t want your readers to give up before the good bit, so why not move the good bit forward.

Are your characters cardboard cut out or cliche?

Is your novel populated with dumb blondes, geeky redheads who look gorgeous when they take off their glasses, handsome square-jawed football players or brooding dark-haired Byronic heroes? If yes, consider changing it up a bit. As well as this, make sure your characters are multi-faceted. Why not give your star football player an interest in sewing, or make the seemingly dumb blonde an owner of a multi-million dollar company? Use your imagination and inject some uniqueness and life into your world.

And that’s it for now! Let me know what you think of the above in the comments!


Editing and re-drafting – a checklist, part one

Hi guys,

This week I thought I’d write a blog post detailing some of the things to look out for when re-drafting and editing your novel. I’m currently at this stage in my own novel writing journey and it’s arguably the hardest stage so far – perhaps even worse than the dreaded first draft. I will be referring to this list continuously myself as I draft, re-draft and hone my novel and I hope it will be just as useful to you. I have split this post into two parts as it would have been a little bit too long to be one. Part two is now live and can be found here

 

Dialogue tags

When writing dialogue, keep fancy dialogue tags to a minimum. There is nothing wrong with plain old ‘said’. Changing it up every now and then to add variation and drama is fine, but if your novel reads like:

She sniffs
He snorts
I retort
He screams
She yells

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Fix it, because it does get annoying. I recently stopped reading a novel 3 pages in because I just couldn’t get past the annoying use of tags.

Show don’t tell

Sorry to bring up the obvious – and you will have heard this numerous times – but it’s important, hence why it keeps cropping up. Show the reader your protagonist is distraught through body language, don’t tell them straight up that your protagonist is ‘sad’. Telling instead of showing distances the reader and this is the last thing you want to do.

Even worse than telling is over telling. If you’ve dedicated a whole paragraph to describing how your MC’s (main charactrer’s) love interest is sad, think about it – could this have been portrayed by describing her drooping shoulders or a flicker in her eyes?

Typos

Another obvious yet important point. Even the most well-crafted sentence or most beautifully-designed story world can be completely undermined by a single typo. It’s a sure-fire way to ensure both readers and agents stop reading immediately.

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Repetition

Keep an eye out for repetitive dialogue, imagery or word use. Also, check that you aren’t repeating something in dialogue that’s already been said via inner monologue and vice versa. As well as this, watch out that you don’t mention something unimportant more than once, as you risk bringing too much attention to it. The dad character is too busy on his mobile phone to pay attention to your protagonist? Great, mention the phone once and then leave it, don’t keep referring to it after every mention of the father.

Realistic dialogue

Dialogue should be interesting and believable. Are your characters saying hello every time they meet? Cut it. Are they discussing something in unnecessary detail, purely for the sake of the reader? Cut it.

Example: If your MC and his mother are talking about that time when MC’s sister tried to kill herself, they wouldn’t discuss it like this, as they both already know the details of what happened.

“Mother, I don’t want to leave her because she tried to kill herself seven months ago by taking 20 packets of pain-killers.”

This exchange is being used purely to relay backstory to the reader and it shows. There’s no subtlety or intrigue and it’s just plain amateur. There has to be a better way to get the information across.

Also, make sure there is a point to every piece of dialogue included. Don’t include a rambling conversation between your protagonist and their next-door neighbour purely to set the scene, unless of course, the neighbour is an important element of the storyline.

The mirror scene

Ah, the good old ‘using a mirror to describe the appearance of the first-person protagonist’ trick. There is nothing inherently wrong with a mirror scene, but think carefully about having one and if you do, make sure it is interesting. I have one in my novel at the moment and I’m debating getting rid of it entirely. It’s a good device to use to describe your protagonist, but it’s done so often that it’s becoming a ‘trope’.

Cut lectures and long, preachy paragraphs

A well-written novel will have substance and morals, but these will be weaved subtly throughout and won’t be force-fed down the reader’s throat. Avoid sounding preachy by cutting down (or even cutting out completely) long paragraphs used purely to relay your opinions on certain divisive topics.

Cut the exclamation marks unless absolutely necessary

Self-explanatory.

Pretentious, annoying names

Keep an eye out for these. Unique names are great, ridiculous ones are off-putting.

Do all your novel elements make sense together?

At risk of sounding mean and crass, if you’ve just dumped every interesting thought you’ve ever had into your novel, then chances are, it’s not structured or well thought out, and will only be interesting to you, and you alone. If you’ve got a load of cool but vaguely (if at all) stitched-together ideas, then perhaps you need to seriously think about your story structure. If you’re serious about publishing your novel once it’s done, perhaps take one of the interesting elements and play with that and cut anything that doesn’t fit with it.

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Believable relationships

Insta love – it’s a word that appears on Goodreads a lot. Some readers love it but most hate it. People don’t just fall in love in seconds or even days. Lust perhaps, but love, no. Build up the relationship believably before you plunge in with the L word.

Infodumping

Do you have too much backstory or exposition in one paragraph or even in one chapter? If so, consider drip feeding it instead. Also while you’re at it, think – do you really need a whole paragraph to describe something when in fact a single sentence would do just fine?

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Are you giving things away too quickly?

I read a novel that did this quite recently. Basically, the novel was about a present-day female protagonist who was brought back in time to marry a lord in medieval Scotland. Sounds great, right? Wrong! Instead of joining the protagonist as she wakes up in medieval Scotland with no idea what had just happened to her, the readers are told within the first chapter what is about to happen to her via several paragraphs of clunky backstory. What could have been an intriguing, drip-fed premise had been laid bare in a single paragraph and explained in painful detail. Why should I read on when I already know what is going to happen?!

Characters referring to each other by name all the time

That’s not how we talk. Period.

Too much lengthy description about unimportant things

Yes, scene-setting is great but please don’t discuss your MC’s handbag through three paragraphs of detailed description if it’s not relevant to the plot.

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Foreshadowing

If your twist comes out of nowhere, then you may need to go back and add in little hints as to what’s to come. Yes, it needs to be a surprise (it’s a twist after all) but it needs to also be believable. If all of a sudden your MC turns into a frog because of a curse you need to at some point discuss said curse beforehand, even if it’s just briefly.

And that’s it for part one. Now on to part two.