Writerly Wednesday ~~ Novel Editing Tips

Good stuff on tap today, writerly blogging friends! Lynnette Labelle is sharing her top 12 tips to editing your way to a better novel. Her article will appear in RWA Online's site at the end of the month, so you're getting a sneak peak! After you enjoy Lynette's tippage, how about leaving your favorite editing tip or trick in a comment? Or a problem area you struggle with? Maybe some kind fellow blogger (or Lynnette, if she has time) will offer a possible solution.

I'm coming to visit, so put on some coffee, okay? :)

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Novel Editing TipsBy Lynnette Labelle


As a developmental copyeditor, I do more than correct grammar and punctuation. I also look at the big picture. In a fiction manuscript, I watch for mistakes made in plot, characterization, dialogue, pace, tension, conflict, and more. The beginning should hook, the middle shouldn’t sag, and the end should satisfy. Unfortunately, writers have a difficult time finding these flaws in their work. Sometimes they’re too personally invested in a particular scene or phrase. Other times, they simply don’t know what to search for. Here’s a list of several issues I encounter frequently.


1. Show, don’t tell: Put the reader inside the character’s head. Show him how the character feels and what she experiences. Avoid “telling” words like: heard, saw, noticed, smelled, thought, etc. For example, instead of saying, “She saw Jim kissing Joelle and wanted to kill them both.” You could say, “Jim kissed Joelle, and Nancy’s stomach turned. How could he do this to her after all they’d been through? Well, if that jerk thought he was getting away with betraying her trust, he was in for a big surprise.”


2. Unrealistic dialogue: Sometimes dialogue is realistic, but doesn’t suit a character. For example, a grandmother wouldn’t say, “Dude. That’s so rad, man!” However, there are times when dialogue simply isn’t realistic. If people wouldn’t say it in real life, your characters shouldn’t say it either.


3. Boring dialogue: Always make sure there’s a point to the dialogue and that one character doesn’t go on and on and on. We all know someone like that in real life, but we don’t want them slowing down our story.


4. Dialogue that reads like transcripts: This happens when two (or more) characters are talking and the writer doesn’t have them do anything more than that. In reality, people never just sit and talk, even when they’re sitting and talking. They might fidget, take a sip of coffee, look around the room, gaze into each other’s eyes, etc. All of these actions tell us more about the characters and possibly the plot. Conversations should also show the characters interacting with the scenery to remind us where they are. The atmosphere in a rowdy country bar would be different than at a quiet, romantic restaurant.


5. Scenes that don’t move the story forward: This is a tough one because there are times when a scene is well written, but it just doesn’t fit with the story. Always ask yourself what’s the purpose of the scene. If it doesn’t move the plot forward or develop the characters, then the scene’s purpose is in question.


6. Too many details: Some writers write beautiful passages that go on forever. Others describe every little detail in the scene, leaving nothing for the reader to imagine themselves. Both of these scenarios should be avoided. Readers like just enough information to allow their imaginations to fill in the rest rather than having the author spoon feed them every last detail.


7. Not enough details: On the other hand, sometimes writers don’t add enough details, so the reader feels like the characters are living in a box. Balance between both styles is key.


8. One dimensional characters: These characters haven’t been fully developed. We might know what they look like and what they do for a living, but we don’t have an idea as to who they really are. Show us their personality. How is this character different from that one?


9. Flawless/perfect heroes or heroines: Nobody’s perfect and people don’t want to read about someone who is. Boring. Plus, it’s harder for readers to relate to the hero or heroine if he/she seems too good to be true. Characters need to be at least a little flawed so they can learn and grow by the end of the novel.

10. Unlikable characters: While it’s okay for us to hate the villain, we don’t want to hate the hero or heroine. Granted, sometimes either one of these characters may come across as blunt, bitchy, aggressive, or strong willed, but they must have some sort of vulnerability, something that shows, deep down, they’re good people.


11. Flat beginnings: This often happens when a writer starts at the wrong place. Either too far in the past or too far in the present. (Prologues are an exception.) The ONLY place to start your story is at the inciting incident. What situation or event changed your character’s life forever?


12. Lack of GMCs: Many writers have never heard of GMCs. Others know the acronym stands for: goals, motivations, and conflicts, and may even believe they understand the concept, but more often than not, they don’t. If a story’s GMCs are missing or weak, the book probably won’t sell.


Writing a novel and writing one that’s publishable are two different things. In the end, it all comes down to knowledge. How well do you know the craft? This list is a good place to start.


Lynnette Labelle is a certified copyeditor and proofreader, and the editor of LoveBytes, RWA Online’s newsletter. She offers writing coach services and teaches courses one-on-one as well as in a group setting. Look for her next online course called “Hook, Line, and Sinker” coming soon. Check out Lynnette’s website and blog HERE! 

Wednesday Writerly Things

Hey bloggy friends. I've had scant little time to visit you lately because I'm in edit mode. As soon as I finish up the current project, I'll be back on my regular rounds. Until then, how's your writing, NaNo word count and/or current WIP project going?

Have you heard Deb Schubert's good news? Geaux Schube!!

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Looking for an online crit group? Lynette sends you this message: Lynnette Labelle at Chatterbox Chit Chat  is doing a little matchmaking for writers. If you’re looking for a critique group or partner, head over to her blog for details.

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Speaking of writing/critique groups, I'll leave you with an article I wrote on the subject~~

[And Jessica Faust with BookEnds Literary Agency posted on the crit group topic today also. Must be something in the air!]

Writing Group Wizardry

Get the Lead Out

Too busy to commit to a writing group? Don’t need to join because you’re already published? Think devoting time to critiquing others’ work is crazy when you have your own projects to craft? Think again. Writing groups have lots to offer, especially if you start and moderate one yourself.
 The key to finding or founding a successful group is establishing some ground rules at the outset. At the initial gathering of a few likeminded acquaintances, have everyone write an unedited synopsis about what they imagine as the perfect writing group. Include expectations, meeting dates and times, goals, benefits of membership, group size, meeting location, whether or not to include speakers and/or timed writing exercises, genres covered, and specifics concerning the critiquing process.

Iron Out the Wrinkles

After you’ve compared notes and come to a consensus on how your group will work, start recruiting prospective members. If you plan to stay small, it won’t take much effort. Posting notices in local coffee houses, college campuses, libraries, and bookstore fliers should do the trick. Word of mouth will also help. The most successful writing groups start small and grow slowly, giving them the best survival rates and incubating healthy productivity.

It is imperative that you decide whether you will read your work aloud at meetings and then discuss, or submit work via email for written critiques to go over during meetings. The first few gatherings will be a bit longer as you iron out your process and learn to balance exercise work and critique time. Encourage members to touch upon only the highlights from their crit comments instead of every niggling suggestion they’ve made on the printed submissions. This will help meetings flow smoothly and efficiently.

Leaving time at the end for general discussion of problem areas and writing successes and failures is a good idea. You may also want to trim group time by sending marketing information by e-mail. Unless the location where you gather has time restrictions, leave time at the end for chat.

For a group of six to eight writers, plan on approximately two hours per meeting. This will vary if you plan to incorporate speakers, small workshops, or timed impromptu writing exercises that exceed 30 minutes.
 Bookstores are usually a nice place to gather, as coffee is available and the hours are conducive to day or night meetings. Store managers are normally more than happy to host and/or advertise for your group.

Cyber Support

If joining a live group isn’t possible, consider one online. A larger search engine will bring up a good list of possibilities from which to choose. Concentrate on long-standing and national organizations that include critique and discussion groups such as the National Association of Women Writers. Seek groups that focus on your preferred genre and experience level.

Check membership benefits, requirements, e-mail load, and endorsements. Beware of groups that load up your e-box with tons of unwanted mail. Cyber groups offer busy writers the convenience of working around packed schedules. They also allow you the ability to try on several types before deciding which is best suited to your needs, goals, and skill level.

From the Horses’ Mouths

Don’t just take my word on the bountiful benefits of writing groups. Fellow writers lend their two cents on the subject:

"Being in a group has helped me learn what works and doesn't work. When I see something that doesn't work in someone else’s piece and it is something I also do, then I can hone in on it in my own work. Of course, it helps when others read your work in the same objective and perceptive way and catch things that you don't. They can say, 'This dialogue doesn’t sound natural,' and all of a sudden you see it. You become much more alert to what works and what doesn't. It also sets a fire under my arse to write more, as I don’t want to be left behind when I see others achieving their goals!" ~ KM, writer, editor, novelist

"The critiquing process has taught me to be a better editor, as the discussions are enlightening and thought provoking. Meeting in person has also helped me conquer my fear of speaking to an audience. Something I’ve long suspected has been proven; writers who make time to write every day are more successful than those who don’t. I love the networking and job ops we share in our group. I’ve enlarged my writing dreams by virtue of my membership, and there’s no greater thrill than sharing successes with others in this thing called writing." ~ AB, author, freelance writer, poet

"In terms of honing the craft, critiquing helps me step back and review my work objectively; using a discerning eye. There is camaraderie regardless of sex, color, lifestyle, background, and religious beliefs that unite us under one idea – that we want nothing more than to write it down. My life is more whole by knowing these people, and I’ve found that ideas come into my head faster than I can get them down sometimes. The support and kinship has been instrumental in making me realize that I am a writer, that I’m not crazy." ~ KF, writer

"My writing group forces me to oust the characters living in my head and to get them down on paper coherently." ~ ML, writer