Showing posts with label Bobbie Christmas. Show all posts
Showing posts with label Bobbie Christmas. Show all posts

Ask the Book Doctor: Why Did You Change My Writing?

Saturday, January 25, 2025

By Bobbie Christmas

Q: Your track changes on my manuscript show that you want me to delete a lot of words from my manuscript. Why did you make that recommendation?

A: Please be assured I didn’t randomly select words to delete, and as you can see, many of the words are the same, meaning they were overused. I also rarely removed entire sentences. First let me address a few of the specific words I’d like to see deleted because they are repetitive, superfluous, and/or redundant. I’ll give examples. 

Original: He had objected to her demands when she made them, but she had insisted, and he had relented. 

Preferred: He had objected to her demands when she made them, but she insisted, and he relented. 

I recommended deleting the second and third use of “had” in the same paragraph (and in this case the same sentence) because one use of “had” sets the scene in past perfect tense. Repeating the word leads to loose writing, and creative writers should write tight.

Original: She stood up, walked over to the closet, and then grabbed a scarf.

Preferred: She stood, walked to the closet, and grabbed a scarf. 

I recommended deleting “up,” “over,” and “then” because all are unnecessary. Note how no meaning is lost yet the sentence is tighter.

The following is an example of a sentence I deleted.

Original: He thought she didn’t understand. He turned to her and said, “I don’t think you understand.” 

Preferred: He turned to her and said, “I don’t think you understand.” 

I recommended deleting the first sentence because it tells, rather than shows, and the second sentence, the dialogue, shows and repeats what the first sentence told. It’s always best to show, rather than tell and never wise to show and tell duplicate information.

Q: I see that in my manuscript you changed the order of pronouns and names in some places. Please explain why.

A: In polite language, especially in the narrative, we put our own pronoun last. For example, instead of this: “I and John went to the store,” the correct order is this: “John and I went to the store.” Completely incorrect (although I see it and hear it often) is this: “Me and John went to the store.” We wouldn’t say “Me went to the store,” so you can see why it’s incorrect to say, “Me and John went to the store.”

In other places in the manuscript I saw “me” used correctly, but in the wrong order. For example, this: “He gave orders to me and John.” In this case it should be this: “He gave orders to John and me.”

A writer may, however, intentionally use incorrect grammar in a specific character’s dialogue to indicate the character isn’t well educated or refined. I’d be careful not to have many of the characters speak that way, though, or readers may think it’s the writer who isn’t well educated.

Q: Why did you change some of the pronouns in my manuscript?

A: I substituted names or identifiers in place of pronouns for clarity, especially when more than one character of the same sex appears in the same paragraph. Each pronoun should clearly refer to the last stated noun. Especially when starting a new scene or chapter, names or identifications should precede the use of pronouns. I’ll create a paragraph to show how confusing pronouns can be. Let’s assume the paragraph is the start of a new scene. Here goes:

She combed her blond hair before she applied blush to her cheeks. Janice looked in the mirror to examine her makeup and saw her aide standing behind her. She held a leather portfolio brimming with papers. She turned around before she handed her the papers. She studied the papers before she said, “I’ll take care of this.”

With all those uses of “she,” how can the reader tell who did what? As an editor I would revise the paragraph this way:

Janice combed her blond hair before she applied blush to her cheeks. She looked in the mirror to examine her makeup and saw her aide standing behind her. The aide held a leather portfolio brimming with papers. Janice turned around before her aide handed her the papers. Janice studied the papers before she said, “I’ll take care of this.”

*

Bobbie Christmas is a book editor, author of Write In Style: Use Your Computer to Improve Your Writing, and owner of Zebra Communications. She will answer your questions too. Send them to Bobbie@zebraeditor.com or BZebra@aol.com. Read Bobbie’s Zebra Communications blog at https://www.zebraeditor.com/blog/.
Read More »

Ask the Book Doctor: About Literary Agents

Monday, December 16, 2024
Designed by Freepik

by Bobbie Christmas

Q: Do I really need a literary agent if I want to sell my book to a publisher?

A: The answer depends on your manuscript. Some publishers—it seems mostly smaller publishers of nonfiction—accept submissions directly without the need of an agent. Most bigger publishers and publishers of fiction accept submissions only through agents. Their logic is that the agents do the hard upfront work of reading through hundreds of submissions and picking only the best to submit to the publisher. 

Research the publishers you’re interested in and see if they accept unagented submissions. If they don’t, then yes, you need to find an agent, and no one claims that the process of finding an agent is easy.

Q: What’s the best way to find a literary agent?

A: You’ll find listings for agents and their preferences on several websites, including Reedsy and others. Some websites claim to list agents but want you to pay for or subscribe to something or other to get their lists. Don’t fall for gimmicks when the same information is free elsewhere. 

Finding a list is just the beginning. You’ll next need to go to agents’ websites to see if they’re accepting submissions and what genres they prefer. Sending a mystery novel to an agent who represents only nonfiction would be a waste of time, for example. Once you have a list of a few agents who represent the type and genre of your manuscript, you must then read and follow the exact way each one wants to receive submissions. Most agents these days no longer accept submissions through the mail. Some accept email submissions; others accept submissions only through Submittable, a digital way for writers to connect with potential agents and publishers. Some agents have a form to fill out on their own websites.

The vital thing is to know exactly what agents want in a submission. Some want only a query letter. Some want a query letter and ten sample pages. Some want a query letter, a proposal, an outline, and thirty sample pages. Agents’ requirements differ, so you must be sure to follow the method each agent wants. 

The next step is patience. Most agents need a month or two to wade through the many submissions they receive every day. In addition most agents won’t get back to you unless they are interested, so all you get in return is silence. A few have automatic email responses that at least reassure you that they have received your submission.

Q: Is it okay to submit my manuscript to more than one agent at a time?

A: In the old days when agents received only printed submissions, it was standard to include the mention that it was a multiple submission. Some agents didn’t accept multiple submissions. Now that we’re in the digital age it’s become common to submit manuscripts to multiple agents, but with a few courtesies in mind.

If more than one agent requests the full manuscript, let both or all of them know that you may be considering multiple offers. You may even set a deadline for when you will make a decision. 

Some agents will ask for exclusivity when they request a full manuscript. Respect that agent’s request and don’t submit your manuscript elsewhere until the end of the exclusivity period. 

Q: How much do I have to pay a literary agent?

A: If an agent asks you to pay a fee before representing you, run! You’ve found a scammer. Legitimate literary agents don't charge upfront fees. They work on a commission basis, usually taking 15 percent of any royalties the publisher pays. They are able to get your manuscript in the hands of publishers you couldn’t have reached on your own, and they work hard to negotiate the best deal on your behalf. They definitely earn their fees. 

*

Bobbie Christmas is a book editor, author of Write In Style: Use Your Computer to Improve Your Writing, and owner of Zebra Communications. She will answer your questions too. Send them to Bobbie@zebraeditor.com or BZebra@aol.com. Read Bobbie’s Zebra Communications blog at https://www.zebraeditor.com/blog/ or visit https://www.zebraeditor.com/.
Read More »

Ask the Book Doctor: Advice for Writers Who Couldn't Sell Their First Book

Saturday, November 23, 2024
 

by Bobbie Christmas
 
Q: I have several acquaintances who have given up writing because they could not sell their first book or two. One is a woman who wrote two excellent stories, so it is really a shame. I do not know what to tell them. Any advice?
 
A: If only we could sell the first book we write! Talk to many published authors, and most will tell you their first book turned out to be practice, but a future book finally got accepted. Some authors were able to sell their first or second book, but often only after selling their third, fourth, or fifth book and then going back to sell the first, once the authors had a following.
 
If writers wrote only for the purpose of selling books, few books would be written, because a dismal percentage of books get sold to publishers, and self-published books rarely sell more than a few hundred copies.
 
What advice would I have for writers who stop writing because they didn’t sell their first or second story? None. Anyone who quits writing because of a little rejection is not a writer at heart. True writers write because they have a passion. They have stories, information, or opinions they feel compelled to put on paper. That’s what passion is about.
 
Look at Olympic athletes. They had a passion for their sport. They didn’t one day decide to high jump, practice for a few weeks, and then expect to be accepted into the Olympics. No, they spent years learning, practicing, competing, and honing their skills. Writers—serious ones—do the same. We write for years. We learn, practice, and produce multiple stories, articles, essays, or books. We may submit them and get rejections, yet we still write more. Writing isn’t an easy craft to conquer. It takes time, patience, knowledge, and dedication.
 
Like sports, success with writing takes a great deal of practice before reaching a level of proficiency. A strong story is a great start; following the tenets of good creative writing helps. Sometimes getting to know the right people helps too. Many writers have found success by attending conferences where they pitched their books to agents or publishers seeking new clients. Even combining our writing skills with perseverance and good marketing doesn’t guarantee success in sales. Luck also plays a part. In the interim writers must learn to brush off rejection and keep going.
 
Most writers have faced rejection. Those who were successful didn’t give up. I’ve been successful in selling enough of my writing to feel satisfied, but trust me, my works have been rejected more often than accepted. I recently recycled all the rejection letters I kept in a thick notebook. In this era when writers submit works through email and Submittable, most publishers and agents simply don’t respond at all, if they don’t accept a submission. Maybe no response is better than a rejection letter. At least we don’t end up with copious rejection letters to recycle.
 
Success? Maybe writers need to redefine the word. Simply having completed a writing project should be considered a success, because success can otherwise be temporary. I was successful in selling the first edition of Write In Style to a publisher. Ten years later I created an expanded and updated second edition, but by then my publisher had closed the imprint that bought the first edition. With much help from BookLogix, I self-published the second edition. Sales have been moderately successful, but nothing like the sales of the first edition, when my publisher distributed my book to bookstores and libraries across the country, a feat nearly impossible with self-published books.
 
I’ve written three more books that have received rejections, but I keep submitting them to agents and publishers, and I keep writing. I feel joy while writing. I lose all sense of time. The mere act of writing is my true success. I will keep writing as long as I am able, because I am a writer.
 
Writers write, which is the reason I can’t give advice to those who stop writing when they don’t meet with immediate success in selling their work.
 
I hope your friends don’t stop writing, though. Quitting is a foolproof way to fail.
 
***
 
Bobbie Christmas is a book editor, author of Write In Style: Use Your Computer to Improve Your Writing, and owner of Zebra Communications. She will answer your questions too. Send them to Bobbie@zebraeditor.com or BZebra@aol.com. Read Bobbie’s Zebra Communications blog at https://www.zebraeditor.com/blog/.
Read More »

Ask the Book Doctor: What Agents and Publishers Want

Friday, September 13, 2024

By Bobbie Christmas

Q: I just received an encouraging response from an agent I queried regarding my manuscript of fiction. The agent is requesting, among other things, a description (approximately one-page summary) and a synopsis (approximately two- to five-page-summary). 

I don’t want to blow it now. What do you think the agent is looking for in the description? Do you think it’s supposed to be just a more condensed version of the synopsis?

A: Congratulations on getting an encouraging response from an agent—a rarity!

A description is a summary of a novel, and like a teaser, it should entice a reader to want to read the story. Here’s a brief imaginary summary: 

What happens when a forty-seven-year-old woman finds herself divorced and destitute in Chicago? In 1942 Mary Devine, rather than become homeless, turns her abode into a house of ill repute. In 80,000 words The Escapades of Madam Devine, a quirky, irreverent novel, covers Devine’s adventures, challenges, setbacks, and triumphs with several hilarious twists.

The description might go on to compare the book to one by John Irving or some other humorous writer.

A synopsis, on the other hand, covers the entire plot from beginning to end. The synopsis never talks about the book, only about the story itself. It never asks questions, compares the book to other books, or teases the reader the way a description can.

Q: I’ve written a self-help book for people living with a specific chronic disease. Now I don’t know what to do next. I’d rather not self-publish because I’ve heard that a traditional publisher is more likely to get the book into bookstores. What’s my next step, though? Do I just send the manuscript to lots of publishers and hope for the best?

A: If you hope to find a traditional publisher, don’t send the manuscript anywhere until an agent or publisher requests it. You now need to know how to get them to request it. I’ll explain. You have a few major steps to take before you submit anything anywhere.

Your next step is to write a strong query and a full proposal. The proposal is a big undertaking, and before you start, research and learn how to write a proper book proposal.

Once your query letter and book proposal are ready to send out, research publishers that are interested in the genre of your manuscript. Although you can perform a search online, what worked better for me was to go to a bookstore. There I found the shelf that held books in the same genre as my book. I noted the companies that published them. I then researched those publishers to determine how they preferred to accept submissions. If they don’t accept unagented submissions, you’ll need to find an agent, which is another large and complicated step. If their information indicates that they accept unagented queries or proposals, send them whichever item they accept. If they respond and request the manuscript, only then should you send the full manuscript for consideration.

Yes, even though you may have finished writing your book, you have to write a query or proposal, and that’s a big step and a learning curve for new writers.

Here's a bonus for those who haven’t yet completed their nonfiction book. Some publishers will buy your book based on a strong proposal and give you time to complete your book. Your proposal will have to include a few sample chapters, as all book proposals do, but you can state in the proposal how long it will take to finish your book.

Always keep in mind that when a publisher shows an interest in your book, almost everything is negotiable. If the publisher offers you an advance against royalties, the amount may be subject to negotiation. If your proposal says you’ll complete your book is six months and the publisher wants the book in three months, you may be able to negotiate to a time closer to your original completion date.

Two final warnings: 
  1. Traditional publishers never contact you before you contact them. Those that do may possibly be scammers. 
  2. Beware of any publisher that asks you to pay for anything. The ones that ask for money are not traditional publishers. If you pay for any part of the production, you are self-publishing.

I’m not disparaging self-publishing; I’ve done it myself, but you said you don’t want to self-publish, so my information is for those who hope to sell a nonfiction book to a traditional publisher.

***

Bobbie Christmas is a book editor, author of Write In Style: Use Your Computer to Improve Your Writing, and owner of Zebra Communications. She will answer your questions too. Send them to Bobbie@zebraeditor.com or BZebra@aol.com. Read Bobbie’s Zebra Communications blog at https://www.zebraeditor.com/blog/.
Read More »

Ask the Book Doctor: How to Handle Numbers

Saturday, August 24, 2024
 
By Bobbie Christmas
 
Q: When am I supposed to write out numbers or use the numeral? Do I use the actual number, for example, 5, or do I write five? Are there certain times when I should write it out and other times when I use the numeral? Does it even matter?
 
A: It matters if you hope to get your writing published. It doesn’t matter if you’re just writing an email to a friend. 
 
I understand your confusion with numbers because you’ve seen them handled in differing ways, depending on what country you’re in and what you’re reading—a newspaper or a novel, for example. 
 
The first thing you need to know is that professional writers follow specific style guides—a list of rules to follow depending on the intended country, industry, project, or periodical. In America most periodicals follow AP style, most scholarly publishers follow MLA style, and most fiction and nonfiction publishers follow Chicago style, and the styles differ in how to handle numbers. 
 
Back in the 1970s when I was a journalist writing for newspapers and magazines, I had to follow AP style. Its style guide had about six hundred pages. When I became a book editor in 1990, I had to unlearn AP style and adhere to Chicago style. The Chicago Manual of Style had more than a thousand pages. To make matters more complicated, Chicago style changes a little every few years, and editors must keep up with all the changes. 
 
In Chicago style the format for numbers also depends on what the numbers refer to, for example sports scores, dates, or times of day. It also depends on whether the numerals appear in the narrative or dialogue. No wonder writers are confused!
 
If you hope to write an article for a periodical, ask the editor of that periodical what style guide to follow. 
 
Because I’m an American book editor, I’ll explain how numbers should be handled in fiction and nonfiction books for American audiences. 
 
Spell out whole numbers one through one hundred. Also spell them out when followed by hundred, thousand, or hundred thousand. Examples: Only four people applied for work, when I expected at least fourteen. I’ll never forget the three thousand customers who frequented my store. Some 2,500 more came in only once or twice. 
 
Always spell out numbers at the beginning of a sentence. Example: Forty-seven people fell ill. 
 
Dates are always in numerals. Example: We wanted to find an area still living in the 1960s, so we left town on October 16, 2006, to begin our search. 
 
Numerals in dialogue, with the exception of dates and uneven numbers, are usually spelled out. Examples: “I’ll meet you at six o’clock.” “I’ll be there at one-thirty.” “I live at three oh one North Elm Street.” “I won 5,241 dollars.” “She hasn’t visited since 1999.” 
 
Avoid informal use of dates in narrative. Instead of William King was born in ’02, write out the whole year. William King was born in 1902. 
 
Numbers with decimal points can be used as numbers in narrative, but not in dialogue. Examples: The average age of dogs is 12.1 years. Tom said, “The average age of dogs is twelve point one years.”  
 
Centuries are spelled out and lowercased. Example: The artist copied works from the sixteenth century. 
 
Depending on the publication, sports scores may be used as numerals. Example: The final score was 7-0. 
 
Always spell out numbers at the beginning of a sentence. Example: Seven people fell ill. 
 
Approximate numbers above one hundred are written out, whereas exact ones are in numbers. We spent about a thousand dollars on airfare, but only $242.50 on food for the trip. 
 
In ratios it is better to spell out the numerals instead of using a colon. He has a ten-to-one chance of winning. In technical text, however, it is okay to use numerals and a colon with no space between the numbers and the colon: a 10:1 ratio. 
 
Use the number in percentages followed by the word, not the symbol. Example: Only 40 percent of the people voted. 
 
The details about numerals can be too much to digest. You can see why many writers are confused about how to handle numbers. When in doubt check the appropriate style guide or use a professional editor familiar with the style guide your piece should follow. 
 
*
 
Send your questions to Bobbie Christmas, book editor, author of Write In Style: Use Your Computer to Improve Your Writing, and owner of Zebra Communications. Bobbie@zebraeditor.com or BZebra@aol.com. Read Bobbie’s Zebra Communications blog at https://www.zebraeditor.com/blog/.
Read More »

Ask the Book Doctor: About Author Intrusion

Sunday, July 14, 2024
 
By Bobbie Christmas
 
Q: Someone online the other day inquired about a quick, easy way to look up questions about writing. People suggested The Elements of Style by Strunk and White, as well as The Chicago Manual of Style. Those are well known. I suggested Bobbie Christmas’s Purge Your Prose of Problems.
 
Now I’ve just looked through that book and your other gem, Write in Style. I think I remember reading something in Write in Style, where you said when writing in third person, the writer’s voice should not have opinions about the story or characters that they impose on the reader. I hope I'm remembering this correctly.
 
I want to be sure I’m not advising a client wrong about her story. If the main character says someone’s a jerk, that’s fine, but the narrator should not be calling that character a jerk. Right?
 
I’d like to quote you (if that’s your position) but I can’t find it in the book.
 
A: You're absolutely right. The issue is one of author intrusion. If the narrative calls a character a jerk, it reflects the author’s opinion and is therefore author intrusion. If a character calls someone a jerk, that’s the character’s opinion, and it’s fine.
 
Example of author intrusion: The jerk who stole Marie’s purse threw it in a trash bin.
 
Example of character’s opinion: Marie looked at her battered pocketbook and said, “The jerk who stole it threw it in a trash bin.”
 
Although I may have covered the issue briefly in Write In Style, I covered it more in depth in Purge Your Prose of Problems. Here’s what Purge Your Prose of Problems says about author intrusion:
 
Strong writing shuns author intrusion, which can happen when a portion of a novel is not written in the viewpoint of a character in the book.
 
Minor author intrusion can be a word choice that implies personal feelings, rather than using a true description.
 
Example: The weather was beautiful. (Beautiful is a personal opinion.)
 
Better: The weather was perfect for kite flying because a slight, steady breeze blew through the treetops. The sun peeked through thin clouds, imparting a warm glow to the vast green slopes of Rocky Top Park. 
 
Sometimes a one-word intrusion occurs when an author chooses adverbs that reflect a personal opinion. Examples of minor author intrusion: Luckily, the car was unlocked. Hopefully, she would heal quickly. Better: He found the car unlocked and breathed a sigh of relief. She hoped she would heal quickly. 
 
We also sometimes see the two-word intrusion, of course. Of course the door was locked. Delete it in narrative. The door was locked. 
 
Sometimes thoughts not attributed to a character can sound like the author’s opinion and therefore constitute author intrusion.
 
Example: (author intrusion) He had better hurry; someone might catch him breaking in. 
 
Better: (action) His hands shook, even as he tried to hurry. (thoughts) I’d better hurry, he thought. What will I do if someone catches me breaking in? 
 
Example: (author intrusion) She shouldn’t have yelled at him. Now he would be angry. 
 
Better: (dialogue) “I’m sorry. I know I shouldn’t have yelled at you. Please don’t be angry.” (thoughts) Why did I yell at him, she wondered. Now he’s going to be angry with me. 
 
Major author intrusion stops the action and dialogue and goes into an explanation.
 
Example: Junior Sol wept into his hands. He felt bad because even though he was a doctor, he couldn’t do anything to save his mother.
 
Better: Intern Junior Sol wept into his hands. A nurse patted his back. He turned to her, almost shouting. “What good were all those years of medical school and all this training? I still feel like a little boy.” He pointed to the body in the hospital bed. “I can’t even help my own mother.”
 
All that said, creative writing has only guidelines and no actionable rules. If an author wants to express a personal opinion in a novel, no police officer will come and make an arrest, but in fiction it's wiser to let those opinions come out of the mouths of characters, rather than the author. Nonfiction is the place where we can express our personal opinions without going against any tenets of creative writing.
 
***
 
Send your questions to Bobbie Christmas, book editor, author of Write In Style: Use Your Computer to Improve Your Writing, and owner of Zebra Communications. Bobbie@zebraeditor.com or BZebra@aol.com. Read Bobbie’s Zebra Communications blog at https://www.zebraeditor.com/blog/.
Read More »

Ask the Book Doctor: About Formatting a Manuscript

Monday, April 01, 2024

By Bobbie Christmas

Q: How important is the format of my manuscript? If I don’t follow standard manuscript format, can my book get rejected?

A: I can’t speak for every agent and publisher in the world. I can, however, address some of the things that are standard in the industry. If you have any hope of landing an agent or selling your book to a traditional publisher, the format of your manuscript could possibly stand in the way if it doesn’t follow standard manuscript format—SMF. It’s hard enough to land an agent or find a publisher willing to buy your manuscript, so it’s important to show your professionalism by following the standards in the book publishing industry.

When you go for a job interview, the person who interviews you will make a few snap decisions based on how you present yourself. Are you dressed and groomed in a professional manner, or is your hair in disarray and your clothes raggedy? Agents and publishers are likely to make the same snap decisions about a manuscript. In SMF a manuscript looks professional and reflects well on the author, as it should.

If you plan to self-publish, perhaps your manuscript format won’t matter, but I’ll address that issue in a minute. First let’s discuss the settings in SMF.

Microsoft Word is the standard word-processing program for manuscripts, although Pages in Mac is often accepted. Don’t bother with Google Docs or other programs that are set up to design the book layout while you write. While you write your draft you need only to write, not design.

Before you start typing, go to Home in Word and choose twelve-point Times New Roman for the font. Next ensure the document is aligned flush left, not justified. Next check 2.0 for the spacing and check Remove Space After Paragraph. There are several ways to set up an automatic indent for new paragraphs. I select all and then move the top triangle on the ruler at the top of the page so that new paragraphs always automatically indent five spaces. You will have to click on the top of the page to add a header with your name, your manuscript title, and automatic page numbering, and that’s it. You can then click back on the body of the page and type your story, and Microsoft Word will format your manuscript correctly.

Don’t get confused. Manuscript format and book layout are separate operations. After a manuscript is written, revised, and professionally edited, and after a publisher buys a manuscript, the publisher will layout and design the book.

On the other hand, if you plan to self-publish you may not need to concern yourself with double-spacing or font type or size, because you or your layout person may be able to work with any format your original document uses. Nevertheless, the book layout is done after the manuscript is complete and not while the manuscript is being written.

Finding an agent or a publisher is tough. Following SMF tells those folks that you are knowledgeable about publishing industry standards. It makes you look professional, so it’s worth a little trouble to set up before you ever start writing.

Q: I keep having formatting issues when I'm writing my book in Word. What software do you recommend? Google Docs?

A: If the manuscript is set up correctly in Word, there should be no formatting issues. Perhaps you are trying to layout the manuscript like a book while you are still writing. Layout should be managed only after the writing and editing are complete. Use Word; the standard in the industry. Later you can learn a good layout program or let a professional person layout the book if you intend to self-publish, but don't let format get in the way of the first writing. Doing so will thwart your creativity.

Q: I have seen books where long quotes were indented on both sides instead of using quotation marks. How can I do this in Word?

A: First, the quote must be at least five lines long once indented. Don’t use the Tab key or the space bar to perform this operation. If the quote is long, highlight it. Go up to the ruler and put your cursor on the triangle for the left margin. Move it five spaces to the right. Put your cursor on the triangle on the right and move it to the left five spaces. Your long quote will then be indented. You may have to return the triangles to their previous positions to return to the original formatting.

***

Bobbie Christmas is a book editor, author of Write In Style: Use Your Computer to Improve Your Writing, and owner of Zebra Communications. She will answer your questions too. Send them to Bobbie@zebraeditor.com or BZebra@aol.com. Read Bobbie’s Zebra Communications blog at https://www.zebraeditor.com/blog/.
Read More »

Ask the Book Doctor: About Tight Writing and Voice

Wednesday, February 14, 2024

By Bobbie Christmas

Q: There is someone in my current critique circle who keeps saying, “Write tight.” Is he just being incredibly critical, or is he just trying to say something I should know?

A: “Write tight” is one of the basic tenets of creative writing. In truth it should be “Edit tight.” We need to write first, in any way that comes to mind. After we complete the first draft, though, we need to go back through the manuscript and examine every word to see if it is vital to the sentence, paragraph, or plot. We can then delete almost every superfluous, redundant, or unnecessary word, sentence, paragraph, or chapter. As an example, I could edit your initial question to read like this: Someone in my critique circle keeps saying, “Write tight.” Is he being critical, or is he saying something I should know? Recasting reduced thirty words to twenty-one without any loss in meaning.

Tight writing produces powerful prose. To write tight, seek and destroy weak wording in second and future drafts, and you will polish your prose.

Q: Please tell our writers’ group what is meant by a writer’s voice and if it is okay to change it from one book to another.

A: In creative writing voice refers to a mixture of things, such as word choice, punctuation, personality, perspective, point of view, opinions, preferences, interests, and subject matter. Voice can refer to a writing style, too, such short, tight sentences versus flowery, descriptive ones. Hemingway’s voice was tight, journalistic, without flowery descriptions. Here’s a quote from The Old Man and the Sea: “He is my brother. But I must kill him and keep strong to do it.” On the other hand, think of Dickens, who wrote more descriptive prose and who added humor and social commentary to his works. Here’s a short quote from A Tale of Two Cities: “A wonderful fact to reflect upon, that every human creature is constituted to be that profound secret and mystery to every other.” Yes, Dickens’s voice definitely differed from Hemingway’s.

A writer’s voice can reflect the way the author thinks, speaks, and expresses opinions. Some writers’ voices reflect simple thoughts. Some writers express only popular opinions through their voices, while others may address controversial subjects.

Because voice reflects the writer, though, I’m not sure a writer can easily change voices from one book to another unless the writer changes the point of view. For example, my memoir would have to be in my point of view—how I perceived things that happened to me and around me. It would definitely be written in my voice. If I wrote a novel from the point of view of one of the characters, however, I could conceivably change the voice. If my character was incarcerated, for example, I might use more slang, graphic terms, and cuss words.

Consider as an example The Catcher in the Rye, which J. D. Salinger wrote from the point of view of a teenaged boy. Examine the following quote from Holden, the point-of-view character: “I’m standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff—I mean if they’re running and they don’t look where they’re going I have to come out from somewhere and catch them. That’s all I’d do all day. I’d just be the catcher in the rye and all.” We clearly know Salinger himself didn’t speak that way.

Writing in a voice other than the author’s can be difficult, but it can be done. Easier, however, is to change writing styles from book to book. For example, one might write in a simpler style for a young adult novel, using small words and short sentences and paragraphs. The same writer might also write a literary novel with more complex sentences, less dialogue, more description, and longer sentences and paragraphs. In both books, though, the writer’s voice would probably be similar, because the same person conceived the stories and decided how they would play out.

Yes, it’s possible to write in varying voices, as long as the voice is consistent throughout the book in the case of omniscient point of view. If using the point of view of more than one character, it’s necessary to keep each scene in a singular point of view, but the point of view—and therefore the voice—can change with each new scene or chapter.

***

Bobbie Christmas is a book editor, author of Write In Style: Use Your Computer to Improve Your Writing, and owner of Zebra Communications. She will answer your questions too. Send them to Bobbie@zebraeditor.com or BZebra@aol.com. Read Bobbie’s Zebra Communications blog at https://www.zebraeditor.com/blog/.
Read More »

Ask the Book Doctor: About Agents and Publishers

Saturday, January 27, 2024

By Bobbie Christmas
 
Q: I just received an encouraging response from an agent I queried regarding my fiction manuscript. The agent requested a description (approximately one-page summary) and a synopsis (approximately two- to five-page-summary).
 
What do you think the agent is looking for in the description? Do you think it’s supposed to be just a more condensed version of the synopsis?
 
A: Congratulations on getting an encouraging response from an agent—a rarity!
 
As I understand the difference, a description describes the book and can include teasers. It talks about the book, rather than just the story in the book. It might start this way:
 
“What happens when a forty-seven-year-old woman finds herself divorced and destitute in Chicago? In 1962 Mary Devine, rather than become homeless, turns her abode into a house of ill repute. In 80,000 words The Escapades of Madam Devine, a quirky contemporary novel, covers Devine’s adventures, challenges, setbacks, and triumphs with a few hilarious twists.”
 
The description might go on to compare the book to one by John Irving or some other humorous writer.
 
A synopsis, on the other hand, has no teasers. It covers the entire plot from beginning to end. The synopsis never talks about the book, only about the story. It never asks questions, compares the book to other books, or teases the reader the way a description can.
 
Q: I’ve been submitting my manuscript to several publishers and agents. One publisher gave lots of praise for the submission but said it didn’t accept unagented manuscripts. One agent said he “saw the talent,” but said he’d had problems placing similar proposals recently. Do these niceties mean anything, or are they just letting me down gently?
 
A: Most agents and publishers have little time to let people down gently. While rejections used to be sent by preprinted letters, boilerplate emails, or rubber-stamped rejection notices, today most agents and publishers simply don’t respond at all if they aren’t interested. Agents and publishers have nothing to gain by taking extra time to write a nice note. A personal comment of any kind is rare, and when a comment is complimentary, frame it! You have the rarest form of rejection, and it means you are getting close.
 
Keep revising and submitting your work. Keep creating more. Ponder the point that similar proposals have been difficult to place. Think how you might revise your proposal or book to make it more marketable. Look at bestseller lists to see what’s selling. Keep going, and take pride in any “good” rejection.
 
Q: Do you have a suggestion for a book I have produced in Canada? I have sold 4,000 copies in Canada and am considering submitting it to a US publisher, but I haven’t a clue as to who publishes history books in America.
 
A: It’s the author’s job to perform the research. Go to bookstores or check online for books in your category and see who published it. Buy Writer’s Market (about $21 for the Kindle version) and make a list of publishers that publish history and don’t require an agent. Also use the book to look for agents who handle books on history.
 
Some publishers won’t take pre-published work, but because yours has a strong sales record and great reviews, if you’re willing to speak and promote it, you may be able find a publisher in America.
 
*
 
Send your questions to Bobbie Christmas, book editor, author of Write In Style: Use Your Computer to Improve Your Writing, and owner of Zebra Communications. Bobbie@zebraeditor.com or BZebra@aol.com. Read Bobbie’s Zebra Communications blog at https://www.zebraeditor.com/blog/.
Read More »

Ask the Book Doctor: About Common Errors

Saturday, October 14, 2023

By Bobbie Christmas

Q: I was watching a reality show some years back wherein celebrities were competing in attempts to win money for their favorite charities. Something happened in it that has bothered me for years. Cyndi Lauper said something like, “I felt bad about that.” The MC, who I thought was supposed to be the smartest person in the show, corrected her and said, “You felt badly, Cyndi. The correct word is badly.” Cyndi dropped her head and with embarrassment “corrected” herself and said, “I felt badly.”

Am I crazy? Wasn’t she right in the first place?

A: You’re not crazy. You felt bad about the MC’s response, because he was wrong. To feel badly means that you aren’t able to feel with your fingers. To not feel well emotionally, you feel bad. I could go into great grammatical explanation of the difference, but grammar is boring. Just know that your gut feeling was right. I feel bad for Cyndi for having been correctly so badly.

Q: For some reason I keep seeing and hearing people say “I’s,” as in “That was the end of John and I’s relationship.” Is “I’s” now accepted in the English language?

A: Oddly the answer is yes, but not when “my” is the correct pronoun. “I’s” can mean “self,” but it’s rarely used in that sense these days. In your example, “John’s and my relationship” would be the correct form.

Q: Lately it seems everyone is saying “based off of” instead of “based on” and “based out of” instead of “based in.” For example, I’ve heard “Based off a survey we learned that our home office should be based out of Chicago.” What do you think of these uses?

A: First, while both “based out of” and “based in” are correct, they need to be used to mean what they intended.

“Based out of” means that a place may have headquarters in a specific place, but most of the work is done at other locations. “Based in” means that the person or company is in one location most of the time. “Based off of,” however, is a variant, whereas “based on” is the preferred usage. “Based on the better roads in that area, we chose to drive the southern route.”

Q: I want to know what you think about the use of “me and,” as in the following example: “Me and my mother went to the store.”

A: What I think doesn’t matter. It’s wrong. The correct usage would be “My mother and I went to the store.” We wouldn’t say “Me went to the store,” so the correct pronoun is “I.”

***

Send your questions to Bobbie Christmas, book editor, author of Write In Style: Use Your Computer to Improve Your Writing, and owner of Zebra Communications. Bobbie@zebraeditor.com or BZebra@aol.com. Read Bobbie’s Zebra Communications blog at https://www.zebraeditor.com/blog/.
Read More »
Powered by Blogger.
Back to Top