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Posts Tagged romance writer
This week I’m running a series of the sharpest questions from my Guardian self-editing masterclass. In previous posts I’ve discussed three/four-act structure, endings, characters who are either bland or too disturbing to write and making a character distinct through dialogue. Today I’m tackling a fundamental misconception about self-editing.
Editing is not just tweaking the language
One lady in the masterclass shared a story that illustrates a common misapprehension of novice writers. She said she had come close to a publishing deal, but the imprint folded. Before that, they mentioned the book had some problems and were talking about editing. On her own again, and unable to ask them any more details, she assumed they must be talking about the language, and so she worked to write it in a more suitable way. Still, though, she was unhappy with it and she knew she hadn’t solved the problems.
Editing veterans will be nodding sagely here, knowing that language is only one of our considerations. I’ve leaped into this trap myself. In the early days when I was querying agents, I’d get feedback that mentioned a few rough areas. I made the only possible assumption – that I needed to make the ‘writing’ somehow better. And so I fiddled, line by line, adding and pruning here and there. I probably ended up with an over-bloated muddle and didn’t touch the underlying problems. I had no idea about the mechanisms that work under the words, and that language is really the skin on top of the structure, pacing and character arcs.
Tomorrow: Putting the book away to get distance
How about you? Have you made the same rookie mistake about editing? Or a different one? Let’s discuss!
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This week I’m running a series of the sharpest questions from my Guardian self-editing masterclass. In previous posts I’ve discussed three/four-act structure and endings. Today it’s two questions about difficulties with characters.
The bland friend
One romance writer had a character who was the supportive friend for the protagonist. She worried that, in all the scenes of tea and sympathy, the friend was bland. I suggested giving her a rough edge that showed the limits of this tolerant soul. I drew inspiration from Dave’s mother, easily the most accommodating person I ever met. But she couldn’t abide spiders, and would not have been bothered if you squashed one while removing it from her presence. Suppose, I said to my romance writer, your nice lady is so mortally afraid of spiders that she always stamps on them?
The antagonist you’re afraid to write
Another lady had an antagonist who made her feel inhibited. She knew he should have more darkness than she had written but she feared to explore it. She also recognised this was cheating the book. What if, I said, she put that worry into another character, let them act out her discomfort? Would that free her to unlock the antagonist? She seemed to feel that would do the trick. I also encouraged her to look for the kernel of good that let him feel positive and justified about himself – and maybe even disturbed him.
Thanks for the pic, heyjoewhereareyougoingwiththatguninyourhand
Tomorrow: accents in dialogue
I’m really curious about this question of the character who upsets us so much we feel inhibited when we write them. Have you had experience of this? Let’s talk.
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- My kind of weird, my kind of wonderful – interview at Davida Chazan’s blog September 11, 2019
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- 9 tips to nail dialogue – guest post at Ingram Spark July 8, 2019
- The ‘under-arrest’ test – how to see the holes in your story’s ending June 20, 2019
- Roger Ebert, Werner Herzog, Antarctica … and a manifesto for maverick creatives May 23, 2019