Over The Top Writing (Not a good thing)

Hello.

My name is Peg
and sometimes I tend to write over the top.

Before I give you an example, let me just say that I'm working through my very own recovery program (and that's not to make light of anyone who has actually gone through a 12-step program for addiction).

The thing is, when I write over the top I get euphoric.  High. Yep. It's my favorite place to be. I think that particular scene sparkles with everything a writer should strive for. I don't see the fluff. The pretense. The pure crap. I see literary style.

Thank goodness I've been anchored (yes, anchored) to some take-no-prisoners editors who've called me on it every time.

Here's my latest:

FLAMES SCREAMED out the windows, reaching up and licking the air like crack whores hungry for the next fix that could keep them going a little longer. The charged orange creatures chased the oxygen that pushed and twisted them into demented dancers. The ironic contrast between the energized heat from the fire and the snow nestled peacefully on nearby pines underscored the silence broken by the wail of sirens. 

Undulating smoke changed color depending on what was being consumed, then veiled silently down the mountain valley. The shades of gray faded into a harmless and barely discernible mist, its secrets lost.

The was the old opening for FLAME GAME. While I still love it, it's history. It fed me, not the story.  

As readers, have you ever read anything that sounded over the top? What did you think? Did you keep reading?

As writers, can any of you identify?

It's all better with friends.

Do You Need an Editor?

Yes. You do.

And today at Crime Fiction Collective, I've listed a few things to consider.

Twelve Independent Author Steps—As I See Them

Everyone has to admit that this is a new walk to walk. There are no gatekeepers. Rather than working for a publisher and paying an agent because they landed you that gig (like an employment agency), you're working for yourself. And your readers.

Here's how I line up those steps right now, thanks in large part to advice from LJ Sellers. I invite discussion from everyone, and enlightenment from those that have gone before me. But this is what I think a writer has to do to do it right:

1. Write your manuscript.
2. Rewrite and edit as many times as necessary until you think it's as good as you can write it. For now. This would include getting feedback from critique partners as applicable. At this stage, your manuscript is still green. Young. Kind of stupid.
3. Find a few readers you trust. Provide them with the full manuscript and a list of things you want them to keep an eye on. I'm talking between three and five people. Two readers are simply not enough. Fifteen and your goose will be cooked. Guaranteed. UPDATE: Check out today's blog post at Crime Fiction Collective regarding beta readers.
4. Rewrite again based on the feedback (qualified by you) that comes in. Your manuscript has just gone through another critical stage. It truly is the best it can be without professional intervention.
5. Get professional intervention. Pay an editor to go through the entire manuscript. Argue with said editor. They will make you prove your position; make them prove theirs. They will usually be right.
6. Hire a formatter. You could probably learn to do this yourself, but wouldn't you really rather be working on your next manuscript? You will want something that will be beautiful in numerous formats. You want your novel to be perfect whether someone buys it on Amazon or Barnes & Noble.
7. Unless you have amazing graphic art skills (some do, most don't), you'll want to hire someone to design your cover. "What? It's an e-book." Well, yeah. But the eye still buys. Well, maybe not buy exactly, but a great cover will get someone to at least take a closer look.
8. Now it's time to proof-read the final product from your formatter. Do not skimp at this point in the game. And don't believe for one minute that you can catch everything. Even if it was perfect when it went to the formatter, strange things can happen. Have your manuscript proofread. By more than one other person.

1-8 are things you need to do at a minimum. The rest are things I think you need to do to get your novel to the highest level possible.

9. Form a publishing company. You are the owner. You are the publisher. You will probably be the only author. But, pick a cool name, and maybe even a logo.
10. Go to CreateSpace (or something similar) and make arrangements to provide print copies of your book. There will be some readers who do not have access to e -readers. Even some who have dug in their heels and refuse to consider them as options. Make sure your book is available to as wide an audience as possible.
11. Look at your distribution options. You will probably want to handle Amazon and Barnes & Noble, but what about all the other small players out there? For them, you want someone else dealing with the nuances. Again, your want to make sure your book is available to everyone.
12. Don't forget audio. It's not a huge market, but it is a market. Don't neglect it. It might take awhile (and here, you'll be dealing with gatekeepers again), but don't write this one off.


Anything you disagree with? I need to expand on? Add?



CR: Where's Billie? by Judith Yates Borger.

It's all better with friends.

Creating Words that Sell

Deciding whether or not to take the step to hire an editor is a big decision for every writer, regardless of genre. It's a little like moving to a country where you don't speak the language and trying to negotiate a real estate transaction. Your feet turn to clay and your decision is . . . to not decide.

Instead, you reach for the chocolate.

Today, my good friend, Susan Lohrer, is giving us some basic information about this critical element of writing.

When does someone need an editor? Actually, you don't always need to work with an editor in order to get an agent or a publishing contract. But there are a few circumstances in which you may choose to work with a professional editor. Say an agent or an acquisitions editor is seriously interested in your work but wants you to submit your manuscript once it's cleaned up-this is a great time to have a copy editor spiff up your grammar and typos. Or if your manuscripts consistently final in writing competitions or you get requests for full manuscripts, yet a contract remains elusive-this is a great time to have your manuscript critiqued or evaluated in preparation for a structural edit edit. Some people, if expense is not an issue, choose to shorten their learning curve by working with an editor the way a student works with a one-on-one tutor. Occasionally, a nonfiction writer who has an established marketing platform may make an informed choice to self-publish-in this case, working with a professional editor is essential. There are as many reasons to work with an editor-or not-as there are authors.

Should I wait to see what an agent or publisher thinks first? Why or why not? By all means. :-) Just don't keep revamping and sending in the same manuscript. Agents and acquisitions editors have excellent memories. Work on your craft and submit new manuscripts that are more well-written than the ones you submitted before. When your craft reaches a certain level, agents and acquisitions editors will take notice.

What do editors do? We help you polish your craft. From catching typos and fine-tuning grammar to refining scene and story structure, a good editor will show you what you need to to do make your manuscript more marketable.

Doesn't the publisher have an editor? Yes, traditional publishing houses have several editors working on each manuscript. If you and your acquisitions editor are happy with your manuscripts, it might be silly to spend money on extra editing. However, if you've tried repeatedly to break into a bigger market or a different imprint, working with a professional editor could be just the thing to get you past that hurdle.

How much do they charge? What if I can't afford one? Rates depend on the editor. Someone who's edited many best sellers will charge on the high end of the scale, and someone who's just starting out will charge on the low end. The old caveat applies: You usually get what you pay for. If you can't afford an editor, don't despair. Study books on writing. Dissect the novels you love and discover how the authors use setting, characterization, dialogue-and all the other components of a novel-to create a gripping story. Join a critique group. Attend workshops and conferences if that's feasible for you. Work hard. Persistence is the defining quality of the published author. (Peg, here's a link with the rate info your readers want: Christian Editor.)

Is Cousin Clarice who teaches English good enough? Or my roommate in college? If all you need is a second pair of eyes to catch a few typos, sure. But if you need more than that, look for someone who has experience in the world of publishing, someone who can guide you through the intricacies of contemporary story structure-a professional editor.

What kinds of questions should I ask when I'm looking for an editor? Ask for references from published clients and follow up on them. Authors who work with great editors are happy to give great references. If an editor can't or won't produce references, you can assume that person has either no experience or no skill as an editor. Ask the clients whether the editor delivered the level of service that was agreed upon, within the agreed timeframe, and without messing with the author's voice. Get a firm estimate on price and the level of editing required, and get a sample of the editor's work. Some editors charge a small fee for this, but keep in mind a brief critique can take several hours to prepare; a good critique also addresses your specific needs as a writer so that you can move forward with improving your weak areas even if you don't pursue further editing at this time.

What should I expect? You should expect the editor to clearly outline your writing's strengths and weaknesses and offer a plan for improving what's not working. A good working relationship is a must, so if you want an update every five minutes and your editor prefers to keep in touch once a week, or the other way around, you're not a good fit. If you need a gentle hand of correction and your editor makes excellent but blunt suggestions to improve your manuscript, you may not be a good fit. And most important, you should expect the editor to help you elevate your understanding of the craft of writing so that you can produce marketable manuscripts.

What shouldn't I expect? You shouldn't expect an editor to whip your 100,000-word manuscript into shape in three days. That kind of project often takes weeks or even longer, depending on the initial condition of the manuscript. Even the start date may not come as quickly as you'd like it to. Editors who are known to have successfully published clients tend also to have full schedules and often book projects months in advance.

What if I don't think they did a very good job? If you get references and a sample of the editor's work, this should not happen. When in doubt, ask for a contract before the work starts. Though many excellent editors regularly work without a contract, every reputable editor can provide a contract that outlines what will happen if either of you decide the arrangement isn't working out.

Susan Lohrer specializes in substantive editing of women's fiction. She works one-on-one with authors, encouraging them to learn their craft and consistently produce compelling, marketable stories. Her editing style: gentle persistence. Many of her clients have won or been finalists for prestigious awards including the Christie, Excellence in Media Silver Angel, American Christian Fiction Writers Book of the Year, National Readers Choice, Beacon, and Jessie Cameron Alison Writer of the Year.

It's all better with friends.