Author: Ann Aubrey Hanson

Good Editors Make a Respectable Writer Remarkable

/ Ann Aubrey Hanson / Leave a comment

“A good editor can make a respectable writer remarkable, just like a good parent helps a child become amazing.”―Justin Alcala

I have been working a great deal lately on editing fiction and memoirs. Both require a delicate touch from me as editor: in both, I strive to preserve the voice of the author.

The difficulty with this is that I must show them how to improve their writing while avoiding imposition of my voice in any way. This is where Microsoft Word’s Track Changes and Comments come in handy.

With the author’s permission granted, I make suggested changes to the text, always explaining my changes if I think the reason behind them might not be clear. This might be a grammar point, or it could be a change for impact, for emphasis. Anything I change or suggest is in their power to accept or reject.

Often, I make changes from passive to active voice, which is a concept that takes time to understand. The way I explain is that passive writing is “newspaper reporting” in which this happened and then that happened. More active writing will show what is happening in the moment, rather than reporting it in the past.

If necessary, I will make suggestions about character as well. All too frequently, authors have their characters do something or say something because they “need” them to do or say that to move the story along. But sometimes the author hasn’t clearly considered what the CHARACTER might want to say or do in that instance. Given their own voices, characters can surprise us with their reactions. Where we thought they might be acquiescent, they have another opinion. If, as writers, we allow the character to develop and grow with the story, it often impacts the story in marvelous ways that we had never considered, sometimes turning the book onto a completely different track.

I also discuss motivation, pointing out holes or lack of reason for characters to behave a specific way. Understanding the WHY behind a character’s actions or personality can improve the story and plot significantly, broadening the possibilities for that character within the story. Rather than answering, “I just see him that way,” an author can look deeper into the character and find his or her motivations, the driving force within him or her, which in turn can open up a wide range of story enhancements. I suggest that a character is not just evil because the author needs him to be evil, that is boring. And unimaginative. Rather, I encourage the author to create a backstory for the main characters, and even the supporting characters, so that the author can more fully understand how a character might act.

That is the way to surprise yourself as an author, and certainly to surprise your readers.

The author’s intent is to tell a compelling story, whether in fiction or memoir. To do that, the author must resist becoming predictable. As an author, you must seek the “other perspective,” whether character driven or in response to an event. Rather than walk blithely down a paved path, why not go in the same direction, arrive at the same point, by hopping on rocks in a river? Keep the reader guessing, or at least interested in the journey.

Those are the sort of suggestions I make as an editor. Each story, each memoir, is unique. I help authors to find the uniqueness in their story. Once we find that, the book is immediately more powerful.

That is the gift of a good editor.

Literary Liposuction

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I love that term. I was chatting with an author client of mine today and he referred to my editing as “literary liposuction.” I couldn’t have put it better myself.

Lipo, as it is called, is a fat-removal procedure used in plastic surgery. Lipo is not a treatment for obesity, nor a substitute for proper diet and exercise.

The same can be said for editing. Editors help to remove extra verbiage and tighten the writing, but it is no substitute for careful crafting of each sentence, and careful attention to detail in story and plotting.

That said, I do encourage my clients to give their ideas room to breathe during their first draft, concentrating on telling the story and creating memorable characters. In the editing process, we go through and take out the dross, the word waste. We suck the fat out of sentences, honing and sculpting. Think of the finishing work of a sculptor, starting with a shapeless lump of stone and whittling it down to perfection.

As Gras, my client, says, that’s the hard part of writing. The easy part is getting the story on the page, giving your imagination free rein. Editing is much less fun, requiring the writer to trim and streamline focus. But the result is shining prose and a work worth the effort.

Don’t fret if your writing is wordy in the first, or even second, draft. The fine-tuning comes during the edit cycles. Get the story on the page, and then trim, trim, trim.

Know When to Stop or Step Aside

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windingpath

I am guilty of the same error that many writers are guilty of: Because I fear rejection, I quit writing. I’ve done it in the past, I’m doing it now, and I will likely do it in the future. But the fear of rejection should not result in my NOT writing.

As a writer I know once said, “If they don’t like your stuff, write new stuff!” Rather than banging your head against a dead-end , wishing that your readers would respond to what you are writing, turn and try another path. This could lead to a new genre, or just a new idea in your current genre. It will certainly help to open new horizons for you, horizons that might offer pay dirt, or at least potentially a more fertile arena.

I have many starts in my writing files — and far fewer finishes. These arrested starts still call to me, and there is a chance that I will get back to a few of them in the future, though certainly some are fatally inert and best left that way. But I don’t see these unfinished creations as a waste of time, or as failures.

What I have found is that stepping away when I am having trouble writing often frees my blood circulation, literally and figuratively, allowing me to see a way around my writer’s block, or to recognize that the block is too massive to overcome and I’m just wasting my time assaulting it.

The best thing I can do at that moment is to abandon the path I am on and seek out another, where my creativity can thrive and sing on the page.

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HOWEVER, that is not to say that we writers should abandon every project when it gets hard. Certainly not. Part of the fun of writing is pushing through the obstacles, getting over hurdles, finishing what we started because we know it’s worth it. The fun is seeing how you can find creative ways past those obstacles. Typically, your writing is stronger because of those challenges overcome.

But know when it’s time to call a halt. Sometimes, certain paths just shouldn’t be followed. You’ll know when it’s time.

deadend

 

Editors Are Not Your Friends

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It’s a fact: Editors are not your friends. You pay us to be more.

So many times, I’ve received a manuscript to edit where the author has informed me that it has been read several times, “and my family and friends love it,” so it should need very little editing. They send the manuscript to me just to check off the Edit box before launching it for publication.

Inevitably, I have to tell the author that the manuscript needs so much more than a pat and a kiss before being sent into the world. This isn’t mean-spiritedness on my part; it’s what I am paid to do. I am both cheerleader and trail guide.

It is my job to look at all aspects of the book, separate from who wrote it, which is something that friends cannot do. I can tell the author that the characters aren’t fully developed, or that they are a bit stereotypical. Or I can point out flaws in the plot, or gaps in motivation. Again, I’m not being unkind. I am showing the author how to improve the story.

That’s not to say that I won’t be positive and encouraging. I am always happy to cheer, as well, emphasizing what is right and strong in the book. My task is to help an author achieve that power throughout the book.

By all means, let your friends read your drafts, and listen to what they have to say. But before you rush to publish, here are a few reasons why you should send your manuscript to an editor:

  • Editors take the broad view. While family and friends might find it difficult to unlink the author from the story, an editor takes the broader view, allowing the story to stand on its own merits, separate from any feelings about the author. This allows honesty without circumspection.
  • Editors ensure a solid foundation. Editors do more than just read the story; they take it apart to its basic elements and verify that all elements are where they should be, and that nothing is missing. This strengthens the structure of the story. After all, you can build a glorious tower, but if it isn’t on a solid foundation, it will quickly flounder and crumple to the ground. Editors ensure that foundation.
  • Editors question your characters. Too often, authors create characters who do exactly what they are told, exactly what they need to do for their role in the story. But a good editor will question your characters, ask why they are who they are and why they do what they do. This helps to make your characters come alive on the page, rather than existing as cut-outs for the story line.
  • Editors test your story line and plot. It is the editor’s task to test your story line and to challenge your plots, all in the name of strengthening your book. The editor will look for gaps in the story, lack of continuity, and errors in reasoning or motivation for the plot to develop. This is hard for the author to do alone, being close to the story and so very aware of where the story needs to go.
  • Editors give your manuscript the chance to thrive. Editors understand the effort you have made to create your story. We know the love and pain that has gone into the writing. Our only goal is to give your manuscript the chance to succeed in the vastness of the world.

It is a major, and costly, decision to hire an editor once you have finished your book. Absolutely. But it is a necessary step for achieving what you dreamed about when you started your story. Take the step.

“Sonder” — A Delightful Concept for Writers

/ Ann Aubrey Hanson / 1 Comment

sonder2

My son just exposed me to a new word, which now enchants me: sonder. According to the Dictionary of the Obscure, it is “the realization that each random passerby is living a life as vivid and complex as your own—populated with their own ambitions, friends, routines, worries and inherited craziness—an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you’ll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk.”

I have always intuited this idea, but never put it to words like this. We are in this life together, but living it uniquely. It is brutish to expect that others will live their lives as we do, to have the same values and purpose as we have. How could they? Their experiences of life are distinctive to them. We must embrace this concept of individual perspective, in life and in our writing.

This concept will now more consciously inform my writing. I make it my habit to know my characters inside and out, as complete creations, not as cookie-cutter personae who simply do what I need them to do on the page. With this concept in mind, I will be more aware of how life experiences can be diametrically different for each person involved, depending on their perceptions.

In grad school, I  wrote something that I thought incredibly profound, but which my roommates and friends found remarkably inane. I think, perhaps, it was my version of “sonder”: I think everyone in the world is exactly as I am, except those who are different, warped versions of the universal type, which is me.

Okay, not quite as profound now as it seemed then. But therein lies truth. I stand by it.

 

Characters Are Key

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Who would you be sadder to see die: Daenerys Stormborn or Bran Stark?

For me, it’s Daenerys, all the way. I care about her. I’ve rooted for her since we first encountered her. She has a story I have embraced, and I want her to succeed and become queen.

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As for Bran, his character (in the TV series, anyway) is so underdeveloped (though with great promise) that I simply don’t care about him. We haven’t been given enough to buy into him emotionally, at least I haven’t. His great knowledge has yet to be shared, and since he became the three-eyed raven, he is cold and aloof from everyone. Will he live, or will he die? Meh. (Even as I write this, I am aware that there could be a HUGE surprise awaiting us where Bran is concerned. Still, as of this moment, I say Meh. I might retract it, I know.)

bran stark game of thrones

Brianne of Tarth, on the other hand, has just been sent into harm’s way. Not Brianne! We want her to marry Tormund Giantsbane and have giant warrior children! They’re not main characters, but oh do we care about them!

When you are writing your characters, whether hero or villain, or even secondary characters, try to make your readers care about them. If readers become invested in your characters, you’ll keep them engaged in your story. If not, it won’t matter how wonderful your story or plot is, the reader will be able to put the book down and walk away.

We recently watched “Rectify” on TV. The characters were so engaging, even damaged, that we found ourselves talking about them as though they were real, discussing their reactions and fears, eager to watch the next episode to know how they were getting on. Now that’s good writing!

Even less-dramatic shows, such as “Better Call Saul,” can have us caring when someone does a favorite character evil. Are the stories unique and memorable? Not always. But they make us care about the characters and remember the plot because of those characters.

In your writing, do your best to bring your characters alive. Make your readers invest in them. Good or evil, your characters will make you story memorable.

Finding the Essence Is Crucial

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“Writing is easy. All you have to do is cross out the wrong words.” Mark Twain

As each year passes, I find that I require fewer words to write. I still love long, languorous sentences if they serve a purpose, but I find more often that pithiness is key, and powerful. Often, I review what I’ve written and immediately see what to omit. First, I get my thoughts out, and then I edit.

“I didn’t have time to write a short letter, so I wrote a long one instead.” Mark Twain

It takes time to write well. It takes time and effort to edit well. But the result is worth it.

How much better to write of the “spare Lincolnesque man who limped through the grocery aisles surreptitiously filling his pockets with soups and raisins,” than to write, “He was a tall, thin man, with chin whiskers and a top hat, who dragged his leg as he haunted the aisles stuffing the coats of his pockets with canned veggies and soup and bags of food such as nuts and raisins.”

“A successful book is not made of what is in it, but what is left out of it.” Mark Twain

I am currently forcing myself to finish a book where the author desperately needed an editor to clean up his prose. If the reader knows the facts of a situation, and one character goes to share those facts with another character, the author can imply that the facts were conveyed, not make the reader sit through yet another iteration of said facts. Cut that part and get to the consequence of sharing that information.

Assume intelligence on the part of your readers: they can remember facts, they catch implications, and they are likely ahead of the characters when it comes to tying things together.

Tighten your prose. Still paint with the glory of the entire English vocabulary, but write succinctly. Allow each word to carry its own weight.