Here’s a post I wrote originally for the lovely and talented Marni Graff, who runs the Auntie M Writes Blog – don’t tell her I borrowed this, okay? It’s about a subject I loathe… cutting down your manuscript:
You would think that cutting your manuscript was relatively easy. I mean, compared to getting the words down on paper in the first place, cutting what’s already there should be a snap. Didn’t Michelangelo say airily, “I just took a chisel and cut away everything that wasn’t David”?
Well, that sounds simple enough. You drop an extraneous phrase here, a flabby sentence there—and suddenly your manuscript is ten pages shorter and a million percent better, and you’re all ready for the next step. Nothing to it, right?
I hadn’t realized how much I needed to do it until I began a much-needed revision this summer on FORWARD TO CAMELOT, the 2003 time-travel thriller I co-authored with Kevin Finn. We had both loved the book as written, but with a 50th-anniversary edition about to be published (commemorating the 50th anniversary of the Kennedy assassination, which is the subject of our novel), we felt it was a good time to fix some of the usage and grammar errors that had slipped by us the first time, and especially to tweak a couple of small historical points that had bothered me for ten years.
That was the intention. Make sure the quotation marks are facing the right way, check the history and turn in the book to our publisher.
Then Kevin and I began to look at what we had, and we realized there were other issues we wanted to address. What started as a simple fix became a much more complex, line-by-line scrutiny, and what we were eventually looking for were the words, sentences and even paragraphs we could cut to bring down the length. Our publisher, Drake Valley Press, explained gently that a book as long as the original version (almost 500 printed pages) would cost so much that we might not see any profit on it at all in paperback, and it could affect eBook sales as well. But if we could significantly reduce the word count, we would do a lot better. And besides, the narrative really did have its flabby moments. Keep the story, by all means—just make it, you know, a lot shorter and simpler.
I began to feel as though I had an “Everything Must Go!” sign on my computer screen.
While I began the historical fixes, Kevin began streamlining the manuscript, pulling out sections he felt could safely be cut while maintaining the pace, the plot and the flavor of the original. While we both resisted cutting entire scenes—we cut only one full scene, and that one only reluctantly—there were certain scenes that we also knew we wanted to rewrite; we hadn’t got them right in 2003 and we had another chance now.
But when I finally saw Kevin’s long, meticulous, detailed (and did I mention long?) document listing all the changes—which ran about 30 pages—I almost cried. Then began the bargain-with-your-partner phone calls: “Look, we have to keep the hunt scene at the end.”
“But it’s ten pages; that’s way too long.”
“Okay, okay. I’ll cut it way down, as long as I can keep the gist of it.”
“You can have the gist. Just get rid of the gristle!”
Thus began the slash-and-burn portion of the rewrite, where I began incorporating Kevin’s notes. (“Did you realize you write everything twice?” he asked me. “If you could cut it down to one telling, we could really cut through this manuscript.” By this time the word ‘cut’ or ‘slash’ made me queasy.)
We argued, and we both agreed to accept less than what we wanted. Kevin let me keep almost all the scenes intact, as far as intent; I swallowed a good deal of bile and pride and slashed away at anything that wasn’t strictly necessary.
Within a couple of weeks we’d brought down the 488-page original manuscript to a lean-and-mean 382 pages, cutting 100 pages (25,000 words) in the process. It was still the longest book either of us had ever written, but the word count was at least in the ballpark.
Did I enjoy the process? Losing all those threads of story, no. But on some level I did like examining each paragraph and finding a way to cut straight to the heart of what we were trying to say. It’s a process writers need to go through all the time—understand what we want to say and say it as effectively—and as simply—as we can. We can never afford to forget that part of our process, especially writers who become very successful, and whose editors then seem to somehow mysteriously evaporate (or more likely, are intimidated or overpowered by the author at that point).
I know I’ll do the same process from now on: I’ll look for stuff I’ve said twice and hack away at it, along with everything else the reader doesn’t absolutely need to know.
And maybe that snob Michelangelo was right: when you finish slashing with your machete, what you end up with looks a lot less like a flabby ‘before’ picture and a lot more like that glistening David in marble.
That alone makes it worthwhile.
Good luck with your own machete …
Let’s face it, I was a reader (and so were you) before we became writers. In fact, most of us became writers in part BECAUSE we were such devoted readers. At some point in that process, the thought occurred to us, ‘I can do this too, and I have a story I want to tell’. And that’s how we ended up here …
As part of my journey to a writer’s paycheck, I have for years read, analyzed and edited others writers’ work. On one hand, it’s a wonderful way to be reminded of what’s good in the writer’s life (and to read some terrific new work); it’s also enough, on my bad days, to make me want to run screaming from the written word – and part of that, I have to say, is because of the way others choose to write it. (Remember, if something bothers you, it’s never YOU – it’s always THEM.) 🙂
Today I’d like to talk about some of those no-nos on which I turn a firm thumbs down (2 thumbs, if I’m feeling especially ornery). Here’s my Top Ten List of Things I Never Want to See in a Book I Read:
10. The word ‘stated’. This is one of the toughest words to use well, because ‘stated’ implies that whatever you’re ‘stating’ has immense weight. About the only way I think it works is “Here are God’s Ten Commandments,” Moses stated. And even that is dicey. Whatever happened to plain old ‘said’?
9. Over-stating (or melodrama). The more overblown your prose, the more silly your words will sound. And if you then compound that error by writing metaphors and similes as old as the hills (there’s one), you have no one but yourself to blame if your readers put the book down. Do any of us really need to be exposed to stuff like “wrapped in a voluminous shimmer of white tulle, feeling as though the night will never end”? C’mon. There has to be a more original way to say this stuff.
8. Dialogue that goes on forever and says nothing. “What do you want to do?” “Oh, I don’t know. What do you want to do?” “I’m not sure.” “Well, what should we do?” Don’t laugh, but there are writers who have PAGES of this stuff, in which characters discuss their options and never quite make up their minds. This makes for a long, drawn-out and exhausting ride for the reader. I’m a big believer in dialogue, IF IT HAS A POINT AND IS ALSO SHOWING CHARACTER. Make your dialogue work to be included. Give us story information AND show us how the characters feel about it; dialogue should have at least two functions in order to make your final cut. And if you can write wonderful dialogue, feel free to lean on it heavily to tell your story; it’s easier for a reader’s eye to absorb than pages and pages of narrative.
7. Characters we’ve already seen somewhere else. I’m not suggesting here that if you want your romance hero to be, say, a blacksmith, that you have to check every romance novel ever written and give up if someone else has used that profession before. What I am saying is that sometimes characters have EXACTLY the same personal qualities that other characters you’ve written or someone else has written already has. Do we really need more romance heroes with chiseled features, staunch independence, a maverick streak and a tough-but-tender persona? (I know I have NO CHANCE of persuading you of changing this, because that’s what sells – sigh – but it gets SOOOO old after awhile.) For the record, my favorite author actually did this all the time – but he did it cleverly. Dick Francis essentially wrote the same hero over and over again — smart, strong, courageous, someone who took quick action and defended those who were weak. BUT – he mixed up their backgrounds, their professions, their interests, etc. So while the heroes all definitely had qualities in common, they were so well drawn, and seemed like such individuals, that nobody cared.
6. Cardboard characters. This is usually a result of an author not asking enough questions to draw the character distinctly in his or her mind before writing him. Don’t go with the easy answers on character questions; usually it means you’re copying someone else, even if you can’t recall whom. You can have two characters who are strong, brave, romantic, etc. – but one can be cardboard and the other can be breathing and real. Judith McNaught did this very well in her historical novels. Sure, they were mid-list romance novels, but the heroes had had enough worldly experience that they had become cynical through exposure to the wrong people. Their first instinct now is to mistrust any women they meet who seem guileless and innocent, and as the twists and turns of the plot unfold, they genuinely decide at some point that they were right; the girl they love is not who she seemed to be, and they’re right in mistrusting her. (I’ll also admit that Ms. McNaught is guilty of #7 – she writes the same people over and over – but frankly, there’s so much dimension in her stories that I tend to overlook it. Shoot me.)
5. The easy ending. Easy endings aren’t satisfying endings. This one is a mistake usually made by a new writer, who either runs out of invention or decides his characters have suffered enough and throws in something ridiculous and coincidental to make things turn out okay by page 300. The point of any story is to have the hero or heroine face a challenge and have to WORK (and change internally) in order to overcome the challenge and achieve their goal. If you make it easy, you also make it unnecessary for the hero to change – and without that, there is no satisfying story. Put up a high wall, not a low one. Make your hero work.
4. The straw villain. This is related to #5–having a villain it’s easy to defeat makes life very easy for the hero, and makes the story not worth reading. C’mon, make that hero sweat! (That’s how we know he’s a hero worth rooting for.) Your bad guys – whether it’s a blizzard, a group of drunken Cossacks or the landlord about to evict – have to be formidable. They don’t all have to be wielding swords, but they absolutely have to hold a significant threat for the hero, something he’ll have to work like crazy to overcome. You build character (in your children and your fictional characters) if you make them face real challenges. Make your bad guy REALLY bad.
3. Horrible (or no) editing. I side firmly with Stephen King here: I think if you’re a writer, part of knowing your craft is knowing how to spell and punctuate, and which usage is correct. When you turn in a draft, it should have been spell-checked and gone over meticulously (and yes, I mean every word). Every good writer I know does it, even if it means going through the same manuscript ten times during the final editing and production. Hire an editor, if you can, before your book goes out to a publisher, and know that a traditional publisher will bring in an editor as well. Be open to what they tell you, including suggestions for word changes because yours are wrong. DON’T take the attitude that you’re a creative person and therefore not bound to silly rules as lesser beings should be. If your book goes out over your name, YOU ARE RESPONSIBLE. Do you want people to notice you for being a brilliant storyteller–or put the book down because they can hardly understand what you’re saying, your usage and grammar are so atrocious? If you don’t know this stuff, pick up a style book and learn it. Authors learn what they need to know in order to put out a superior product.
Before my books go to my publisher, I’ve edited and re-edited, spell-checked and sometimes brought in my own editor. Then my publisher brings in an editor. Once I’ve dealt with their notes, the formatting and typesetting begin, and the publishers look to catch more errors. THEN I ask for the book back, to do my own final check–and I inevitably find more errors we all missed. It’s my last chance to go through it again, for which I’m always grateful. Be prepared for this; it’s not fun, but it’s part of the writing life.
2. Sloppy research. I’m treading lightly here, because I have myself made some errors of fact (fortunately just a few and most of them were totally hidden in the story). But I don’t like getting things wrong historically; it’s too easy for someone to step forward and pull the curtain on our ignorance. Unless your story has a reason for mixing up historical facts, and that’s part of the style of the story, don’t do it. I love reading historical stuff (fiction and non) and look forward to learning when I do. So when an author says Bonnie & Clyde died in 1936 (uh, no – they were killed in 1934) or Henry VIII had 7 wives, I see red. Get your facts right, ok? (That said, Kevin Finn and I have a doozy of an error in our novel, FORWARD TO CAMELOT, which we only learned of after the original edition had been published in 2003. But because it’s an error that drives our plot, we dealt with it by keeping it and then writing an Afterword in the new version, FORWARD TO CAMELOT: 50th Anniversary Edition. ) On the other hand, the original edition had about 6 small errors of fact that we fixed in the new edition. This pleases me; I do NOT like getting caught in an error of fact. Writers should be able to get the research right!
1. TYPOS!!!! Sorry, while I do sympathize with how hard it is to get them all, I think you should make every effort to keep typos to the absolute minimum. It’s sloppy, it’s unprofessional and it brands YOU as not a very serious writer when you let them slip through. Remember always that YOUR name is on the book; is that how you want to present yourself? (Would you go to a job interview without ironing your shirt?) For a lot of readers, the book they’re holding (or reading on an eReader) is their first introduction to you. If you sprinkle enough typos throughout the story, it will be the last time they read your stuff.
Sophisticated readers welcome good new writers and will often read and review them again and again (which is great–a built-in cheering section!) If you put them off with bad grammar and spelling, sloppy usage, awful formatting and a mass of typos, don’t count on their being in your corner again. You’ll have branded yourself, all right — and it won’t be a brand you’ll enjoy carrying.
What are YOUR Top 10?
Look for a JFK-related post from me on Thursday, to commemorate the 50th anniversary of his assassination, which I’ll be doing for the next two months.
Now back to the keyboard, and watch those typos …