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Performance Pressure and the Diamond in the Manuscript

20130125-172029.jpgHave you ever finished writing a manuscript, and after months of blood, sweat, and tears, you realize that even after all that work, your story doesn’t look at all like you imagined it in your head? In fact, after a second glance, you’re sure a toddler temporarily overtook your brain and scribbled 400 pages of crayon doodles? Of course you have…you’re a writer. You’ve probably felt that way about everything you’ve ever written…like I have.

Up until this point in my writing “career,” that hasn’t mattered much. Mostly my readers have been friends and writing groups. I post fiction online too but even in that venue, readers are generally pretty forgiving. Not so with publishing industry professionals. There is very little room for mistakes and if you make them, they better be small. Tiny. Miniscule. Talk about pressure.

Getting in the (Publishing) Game

Over the next couple of weeks I’m preparing for my first writing contest ever. I’m talking the big deal with two rounds, multiple judges, announcement of the finalists at the next conference, and the final round judged by editors of major publishing houses. Yeah…that kind of scary.

It’s an exciting adventure to be sure, a thrill to imagine where it could lead. The final judge for my category is an editor at Free Press, an imprint of Simon & Schuster. Never before has every word, every period, and every character of my manuscript been under such scrutiny. Sometimes the anxiety to get it all right leaves me panic stricken. I only get one chance to put my best work in front of this woman who could potentially be my gateway into the holy land.

Previously, I’ve never had a reason to get this far into the process of editing. I guess I always imagined entering the chaos of the publishing world as something that would happen way down the road. Like, way down. I’ve taken my time, learning more about this, fiddling with that, but after five years of writing, getting critiqued, editing, and dreaming, it’s time to dive in, sink or swim. So despite my fear, I’m going through the first 20 pages of my manuscript with a fine-toothed comb. I’ve re-understood my characters, re-worked motivations, re-invented the details, and rewritten this novel so many times that I have more loose ends than the hem of grandma’s skirt.

Upping the Ante

Before I started this final-for-now edit, I had a long brainstorming session with my writing partners and nailed down what was working and what wasn’t, for better or worse. The time for flip-flopping has come and gone. And now, with that focus in mind, I’m sifting out the dirt and looking for the gems. And you know what? They are there. Actually, never before have they shined brighter. And I don’t think anything less than the pressure to perform at my best would have gotten me here.

I’m the ultimate perfectionist at heart, especially when it comes to my writing. I think every artist is that way. But putting myself in this position has taught me that I know more than I ever realized about who I am as a writer, what I want to bring to this ever expanding sea of literature, what my writing voice sounds like, what I can accomplish when I put my mind to it, and what process works best for me. The deadline and the stakes have forced me to stopped questioning myself and realize the truths that were already there, clouded by the uncertainty an unlimited time frame allows.

Get Out There

Do it. I know you’re scared. I know you don’t think you’re ready. Guess what–just like getting married and having kids–you’re never going to be ready. You learn as you go. Underneath all those scribbles is your story, and as soon as you trust yourself enough to find it, you will. Make the decision. Raise the stakes. And watch yourself rise to the occasion.

What’s holding you back from taking the next step? Or, what deadlines are you working toward? What steps have you taken that have forced you to grow as a writer?

Photo by Steve Jurvetson

 

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Common Comma Issues

A lot of people seemed to like my post on how to use past perfect tense, so I wanted to continue today with another grammar rundown. I’m going to go through some common comma issues I see in manuscripts. I know we are getting into the weeds a little with grammar, but it’s amazing how some small tweaks to your manuscript will help sentence structure, story understanding, and an overall better reading experience for your reader. Misplacing or misusing a comma can alter the meaning of a sentence, so yeah, they’re pretty important.

Comma Splice: Use commas to separate independent clauses when they are joined by a coordinating conjunction (and, but, for, or, nor, so, yet). A comma splice is when a comma without a conjunction joins two separate sentences. A comma splice is incorrect. There are a few ways to correct a comma splice. One way is to use a semicolon to connect the two clauses without using a conjunction. You can also break the sentence into two separate sentences.

Examples that are all correct:

  • My favorite book releases soon, and I am so excited.
  • My favorite book releases soon; I am so excited.
  • My favorite book releases soon. I am so excited.

Serial Comma: Use commas to separate words and groups of words with a series of three or more.

Examples:

  • This book has awesome dialogue, plot, and characterization.
  • Sebastian, Biggie, and Loki are my four legged babies.

Using commas to separate two or more coordinate adjectives that describe the same noun: This is a big one all writers should pay attention to. Use a comma to separate two or more coordinate adjectives that describe the same noun. Be careful not to add a comma before the final adjective and the noun or between non-coordinate adjectives. Here’s a helpful hint: if the word and can be inserted between the two adjectives, use a comma. If you can swap the adjectives around and they still make sense, use a comma. A coordinate adjective separately modifies the noun that follows it. Cumulative adjectives do not modify the noun that directly follows it.

Examples:

  • This is a strong, funny manuscript.
  • He wrapped me in an amazing power hug.  *You do not use a comma here because they are non-coordinate, and you can’t say, “He wrapped me in an amazing and power hug.

Comma to separate essential phrases and clauses: An essential phrase or clause is used to modify the noun. It also adds critical information to the sentence. You do not set essential phrases or clauses off with commas.

Example:

  • The people who work in publishing are awesome.

A nonessential phrase or clause adds extra information to the sentence. The phrase or clause can be eliminated without changing the meaning of the sentence. You should always set nonessential phrases or clauses off with commas.

Example:

  • Hugs and Chocolate, an awesome blog, is a great community. *Hugs and Chocolate is named, so the description is nonessential.

I could go on and on. There is so much information out there, but this is a good start. Let me know if you have any questions, and I’ll answer them in the comments.

 

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Editing, Proofreading, And A Contest With Karen S. Elliott

Happy Hump Day, Tribe. We’re happy to host Karen S. Elliott once again. This post bookends DIY Editing and Proofreading Part I. Karen shares tips for finding the right editor/proofreader and offers an amazing treat for one lucky commentator. Following the post, you’ll find the rules and prize choices for a H&C winner. (Of course, in our book, you’re all winners.)  Many thanks to Karen for her insight and willingness to share a few lessons to ease our revision pains.

Hiring an editor or proofreader – don’t get stung! 

Planning – Start looking for an editor or proofreader the minute you start your book or soon thereafter. Don’t decide you need a proofreader on Monday and hire one on Tuesday. Shop around. Ask other successful writers for recommendations. Ask the editor/proofreader for a sample.

Ask for specifics – Ask the proofreader to outline exactly what they consider “editing” and “proofreading.” These standards differ significantly throughout the industry.

Put away the hatchet, please – When I edit and proofread for a client, I suggest changes; I do not make edits for the writer. What will your editor/proofreader do?

Research online – Look at the proofreader’s website, Linked In, Facebook, Twitter, and blog. Are they positive? Do they share tips and links? Are their online pages clean?

Stylebooks, references – Ask them what style book(s) and references they use. If they hem and haw or say, “Oh, I don’t use those things,” run away.

Testimonials – Get testimonials or references and then look at the publications of the testimonials. Contact the people who have provided these testimonials.

Turn-around – Look at the proofreader’s turn-around time. If a proofreader says she’ll have your 100,000-word work of art back to you in two days, that’s just not gonna happen. Have realistic expectations.

Contract – Sign a contract. I would caution that if the proofreader doesn’t use contracts, again, run away. Be sure you can accept the contract payment terms, turn-around time, cancellation terms, additional cost for phone consultations, etc.

NDA – Ask the proofreader to sign an NDA – non-disclosure agreement. You don’t want your hard work to end up in the proofreader’s e-book!

Can’t afford a proofreader? Jump in with all eight legs! 

Even with more-than-reasonable proofreading rates, I’ve had several writers say they just can’t afford it. I can dig it!

There are other options available for getting your manuscript proofread and edited.

Writer’s group – If you feel you can’t afford a proofreader, join a critique group in your area. A good group is invaluable. If you can’t find one, start one!

Exchange services – With other professionals – I’ll read yours if you read mine. Or trade one service for another. I proofread a monthly newsletter for Anne Hillerman and her Wordharvest workshops and in turn got a free ad in her newsletter. This exchange was a benefit to us both.

Join Linked In – This is a great way to find other professionals in the publishing industry. There are hundreds of groups for writers broken down by genre, e-book vs. print, and just about everything in-between.

Online exchange – Join an online exchange group or forum like Fictionaut, Dropbox, Backspace.org, or Yahoo groups for writers.

Join Facebook groups – On Facebook, there are pages and groups galore!

Proofreading sites and blogs – Search for sites and blogs that share proofreading and editing tips.

Dictionary Plus – It’s not enough to have a dictionary (or to use an online dictionary). You should have a couple other desk references for grammar and punctuation like The Blue Book of Grammar and Punctuation by Jane Straus, Diane Hacker’s Rules for Writers, or the ever-popular Strunk and White’s The Elements of Style.

Subscribe – Pick one or two magazines that are geared toward writers like Writer’s Digest, Writers’ Journal, or The Writer. If you don’t want to fork over the subscription price, ask for them at your local library.

Start saving – Perhaps you could afford a proofreader if you did a little belt-tightening. Do you really need a five-dollar peppermint mocha every morning?

Give-Away

Make a comment on this blog post by Friday, October 5, and be entered 
in a random drawing to win one of the following (your choice) from 
Karen: 1) Free six-page edit/proofread, any project, double-spaced 
text, 2) Free website review and critique, or 3) Free FB Fan Page 
review and critique.

Bio
Karen S. Elliott was raised by a mother who wanted to be an English teacher and who worked for Merriam-Webster as a proofreader and an aunt who could complete the Sunday New York Times crossword in a day. Their favorite expression was, “Look it up!” Karen is an editor and proofreader, blogger, and writer. Her short stories have been featured in The Rose & Thorn Journal, Every Child is Entitled to Innocence anthology, Valley Living Magazine, BewilderingStories.com, and WritingRaw.com. Connect with Karen on her website, blog, Twitter, LinkedIn, and Facebook.

Photos from this Proofreading Two-Pack are courtesy of Gwen Dubeau. Please stop by and see some of her fabulous work at Gwen Dubeau.

 

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Writing in Past Perfect Tense

Naturally occurring iron springs in Telluride, Colorado.

First off, look at the gorgeous picture. I took that a few weeks ago in Telluride, Colorado. It’s naturally occurring iron springs. Stunning.

Okay, now we get into the fun stuff.

Regardless if your book is written in present tense or past tense (also referred to as simple past), there are times in your story when you’ll probably refer to something that has already happened. Sometimes a flashback is necessary to the story. When going into a flashback, or describing something that has already happened in the past, you’ll want to use the past perfect tense.

Well, when/how do you use past perfect?

Believe it or not, there’s a formula for past perfect: (had + past participle = past perfect). I’m not sure about you, but I learn better when I have an example in front of me, so here we go. I’m going to start off in past tense, go into a past perfect to describe something that has already happened, and then transition back to simple past.

Sebastian meowed over and over, trying to get my attention. He either wanted food or love. (Notice this first sentence is in simple past. The reader knows it’s in past tense, all the events that are happening in the story are told in the past.) I’d just graduated from college when I’d made the decision to get my very own cat. I’d always wanted a pound kitty. (Going into a flashback, switch to past perfect. Make sure your reader knows you’re talking about something that has already happened.)

Sebastian picked me as much as I picked him. (Here’s where it gets fun. When you go into past perfect, once you establish that it’s in the past, you switch from past perfect to simple past tense, because the word “had” becomes quite cumbersome, even when used in a contraction. The thing to remember is, when we come out of the flashback, make sure the reader is aware by, and the transition to “now” is clear.) He was such an energetic kitten. He played with my roommate’s cat and loved sitting in my window seat. Now (I’m establishing that the flashback is over, making the transition from past perfect to simple past tense), he’s (notice this is in present tense. That’s because it’s an absolute. Sebastian is still alive and kicking, therefore we use the present tense. I’ll have to do another blog post on absolutes, if you’re interested) fat and lazy, but full of personality. I wouldn’t have it any other way.

Hopefully that wasn’t too painful, and yes, I do love my animals an absurd amount.

The key to using past perfect is transition. You have to clue your reader in on the timeline. Make sure it’s smooth. This will eliminate confusion, and it allows you to tell more aspects of your story by using things from a character’s past.

If you have any questions, ask away, and I’ll answer in the comments.

Useful links:

This is a great article about writing effective flashbacks.

Visit this page for more past perfect examples.

 

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DIY Editing and Proofreading Part I with Karen S. Elliott

The indomitable Karen S. Elliott, known to many as the Word Shark, offers some tips and tricks to H&C readers. We know many of you story-tellers and alchemists of words and worlds need a little expert advice as you revise, edit, and drink too much caffeine. We will feature Part II October 3rd. For further information regarding Karen’s professional editing service, follow the links at the end of the post. Thank you, Karen, for throwing us a life line.  ~Tonia

DIY Editing and Proofreading Part I

With self-publishing comes great responsibility. Whether you self-publish or go the way of an agent/publisher, you want to be sure your manuscript makes it to readers as cleanly as possible and makes sense from Chapter One through to The End. This is the challenge of editing and proofreading.

Editing – getting the bugs out  

Editing- Getting the Bugs Out

Editing can cover everything from consistency, subject-verb agreement, verb tenses, to word choice or denotation; more in-depth editing might include substantive paragraph and chapter re-writes through developmental rewriting (overhaul).

Consistency – One of the biggest problems I see is lack of consistency. It’s not the story’s structure – it’s keeping that structure cohesive with consistent language, proper names, and characters’ personalities.

Character – Check for inconsistencies – where your characters live, where they work, their likes and dislikes, their phobias (don’t say your character is afraid of snakes and then have her holding a python in Chapter Ten), favorite foods/allergies (someone is allergic to shellfish and later eats a lobster), and so on.

Names, Proper Nouns – Did you call your main character’s boyfriend Allan in the first chapter and Alan in all the other chapters?

Electronic Age – The jury seems to be in a dead-lock over new language and emerging language terms that describe the electronic age and new gadgets. Whether you agree with the AP Stylebook or not, if you are going to use words like e-mail or email, web-site or website, on-line or online – each of these words needs to be consistent throughout your manuscript.

Who’s talking? – If your English-teacher character is talking prim and proper English in Chapter Three, make sure she doesn’t go all street in Chapter Twenty.

Know your props – If you have your police officer with a Glock in Chapter Four, he should still have a Glock in the final chapter.

Where are you? – I have often drawn my own maps on a large sheet of paper to maintain perspective. Or use Google maps. If you write Route 83 and Burdick Expressway intersect in Minot, ND, they’d better intersect. If the Sandia Mountains are east of downtown Albuquerque in one chapter, don’t put them west in a subsequent chapter.

Proofreading,an inch at a time

Proofreading, an inch at a time

I cannot define proofreading in finite terms – neither, it seems, can anyone else. I’ll stick my neck out and say “proofreading” is your garden variety punctuation, typos, and spelling. But it’s more than just having a dictionary handy. It’s more than what you think you know.

Adjust your mind set from “writer” to “proofreader.” Forget that you are looking at your baby, your pet, your sweat-stained manuscript. Once you are ready to proofread, it’s a whole ‘nother animal. It’s a project. You are looking for things that are wrong.

Spell check – Do not – DO NOT – depend on your computer’s spell checker.

Read out loud – Read the piece out loud. This will help you hear where there are stops and starts, what’s awkward. Take it a step further – read your MS or short story into a tape recorder, and then listen to it while looking at a printed copy.

Change the font – Seriously. If you have been looking at your MS in Times New Roman for a long time, change it to Palatino Linotype. It will look completely different.

Print it – Sounds silly, but it works. You’ve been looking at your project on the screen for a year or two – you need a new perspective – you need to see it on paper. Red pen at the ready!

Dictionary and Style Guides – Use the dictionary and style guides like The Associated Press Stylebook or The Chicago Manual of Style, and desk references for grammar and punctuation –
The Blue Book of Grammar and Punctuation by Jane Straus, Diane Hacker’s Rules for Writers, or the Strunk and White’s The Elements of Style.

First Reader – Do ask someone to look at your MS with a critical eye. If they come back to you and say they loved it, they are not critical enough.

Mom or BFF – Don’t ask mom or the BFF to proofread – unless mom was a proofreader for Merriam-Webster (my mom was!). Your peeps will probably tell you, “It’s wonderful!” or “Fabulous!” Not that you shouldn’t trust them, but you shouldn’t trust them with proofreading your manuscript.

Sounds like – Look at words like there and their, you’re and your, and its and it’s. If you know you have trouble with a certain word(s), search for that word throughout your manuscript. Labor-intensive – yes. But it works. Also check for words like wet and whet, rain, reign, and rein.

Take a break – Put the manuscript aside for a few weeks or a month or two. Then go back to it with fresh eyes.

Bio
Karen S. Elliott was raised by a mother who wanted to be an English teacher and who worked for Merriam-Webster as a proofreader and an aunt who could complete the Sunday New York Times crossword in a day. Their favorite expression was, “Look it up!” Karen is an editor and proofreader, blogger, and writer. Her short stories have been featured in The Rose & Thorn Journal, Every Child is Entitled to Innocence anthology, Valley Living Magazine, BewilderingStories.com, and WritingRaw.com. Connect with Karen on her website, blog, Twitter, LinkedIn, and Facebook.

*Photos from this Proofreading Two-Pack are courtesy of Gwen Dubeau. Please stop by and see some of her fabulous work at Gwen Dubeau.

 
 

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Is my Novel Adult, Young Adult, New Adult….or?

First, I want to apologize for being somewhat absent. Life has been…interesting lately. I wish it were full of awesome and wonderful things, but unfortunately, that hasn’t been the case. Just know that I’m here, rooting for everyone, loving you all, and hoping for a better tomorrow.

Second, the picture I used for this post strikes me as funny. I don’t know why, but hopefully you’ll laugh, too.

Now that’s out of the way, I want to touch on genre and target audience. I say “touch” because this is a conversation that could go on and on.

A lot of writers don’t know what type of book they are actually writing. That’s okay! You’ve spent your time writing your book, polishing it (the important parts), and now you’re ready to send your baby out into the world. Well, how do you market it? Which agents/publishers do you target? Would you send an agent who clearly states they do not rep young adult your novel about a sixteen-year-old girl who is trying to swim through the ocean of adolescence? Probably not.

A good rule of thumb is to look at your main character’s age. Are they ten to fourteen? It’s probably middle grade. Are they fourteen to eighteen? Then you’re probably looking at a young adult audience. Let me go ahead and state that “young adult” isn’t actually a genre–it’s a marketing term. The target audience is fourteen to eighteen (although statistically, more women ages twenty to forty buy the majority of young adult books).

Well, you say, my main character is eighteen (or insert any age here), but the issues are clearly meant for an adult. This can all be a bit confusing. Look at George R. R. Martin’s Game of Thrones or Room by Emma Donoghue. George Martin has several main characters who fall into the young adult category, but the overall theme of the book is definitely meant for a mature audience, and it’s marketed as adult epic/high fantasy. Room is told from the point of view of a five-year-old. But it is marketed as a piece of literary fiction.

The rules aren’t crystal clear. You will have to do some research to figure out where your book best fits in the market and find which readers will best connect to your book. Knowing your genre is important, but it’s also important to write a good book. If you’ve written, workshopped, edited, rewritten, and polished until you think you can’t polish anymore–you’re going to have a good piece of fiction (or non-fiction) on your hands. People of all ages will want to buy your book because it’s a good book.

 

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Questions to ask When Hiring an Editor

You’re finished. The End has been written, and you’ve tweaked to the point that if you look at it one more time you’ll curl up in the fetal position with your hands wrapped tightly around your knees and weep.

After you’ve given it your best, you decide the next thing you want to do is hire an editor. If you Google “freelance editor,” a million searches will overwhelm you, threatening to send you back to the fetal position. Finding someone to work with can be a scary task. There are many editors out there with different areas of expertise. You’ll want to ask different editors about their speciality in order to pick the right one to work with on your project. Be aware that the different editors often use different names for the type of work they do. I’ve included those in this post. Here are some questions to keep in mind during your search.

  • What types of editing do you do? Like I said earlier, different editors have different areas of expertise. There are developmental editors, copyeditors, and proofreaders. Developmental editing (sometimes called content editing) is pretty extensive and comes before copyediting. This is when an editor will look over your work for the overall picture. They’ll analyze the characters, their motivations, the flow of the story, plot holes and inconsistencies, sometimes rewrite and restructure the work, and look for any other major big picture problems. A copyeditor (sometimes called a line editor) focuses more on grammar, style, punctuation, sentence structure, etc. and comes before proofreading. A proofreader is someone who looks for anything a copyeditor would miss. Their skills lie in looking over a piece that’s already pretty polished. They will look for grammar, punctuation, and misspelled words. All of these different types of editors are important, but make sure you choose the right kind for your project.
  • Do you have references? Most experienced editors will have references. Ask to see them. You’ll want to look at what their previous clients said about them, and note their strong points. Ask yourself if they match what you want for your project.
  • Do you edit my genre? Crucial question. You want someone who is familiar with the type of writing you do. Some editors work on multiple genres, and that’s fantastic. But someone who edits primarily adult romance may not be the right pick for your young adult fantasy, and someone who edits mostly children’s picture books may not be the right fit for your adult thriller. You get what I’m saying.
  • Do you offer a sample? A lot of editors offer a sample, even if it’s a small one (and honestly, that’s still generous. It takes me an hour to perform developmental edits and hard copyedits on 4-5 pages). I am highly favorable of this. This gives you the chance to see what type of editing the editor sees for your manuscript, and it gives the editor a chance to preview your work to determine what type of editing they recommend. Both are important. Once you receive your sample, go over it. Is your writing stronger? Were they thorough?
  • What can I expect from you? This is important for a variety of reasons. You’ll want to know what their communication style is like, what is offered with the editing package, how long it will take them, and how they go about giving updates on your work. Everyone has different communication styles. Some people prefer email, and others prefer Skype calls. Find out what your editor likes and decide if it fits with your style. The editing package will vary for every editor. Some will offer a consultation, others may not. Find out what is offered and decide if it’s best for you. It’s important to know how long it will take them because you’ll need to make sure the editor can meet your expectations or deadlines. I’m pretty confident that most editors are aware of how stressful the writing/editing process can be. Most are mindful of this and will give updates to make sure you’re comfortable with how things are going. Ask the editor when can you expect to hear from them. Will they contact you once a week? Will it be the same day every week? What will they provide in an update? Don’t expect them to take a ton of time to go over things they’ve done that week, that’s a waste of your money. Just ask them to check in, and maybe include where they are in the project. Figure out if this works for you.
  • How much will it cost? This one is tricky, and it will definitely vary. Some editors will be more expensive than others. You have to decide what’s best for you. The most expensive editor may not be the right one for your particular project. The cheapest one may be what you need. Just make sure you’re not choosing someone strictly based on price. As long as you’re educated in your decision, you’re probably making the right choice.

Make sure you ask these questions, and you’ll probably think of more. Like I said, the best decision is an educated one. Have you worked with an editor before? What questions did you ask?

 
16 Comments

Posted by on March 9, 2012 in Craft, Uncategorized, Writing

 

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Filtering Filter Words in Your Writing

image from Wikipedia

Editing. Is it painful? Yes. Is it necessary? Yes. I’ve been an editor for seven years and counting. I’m still learning about the craft of writing and editing on a daily basis. One thing that’s really helped make my writing stronger is taking out filter words.

What are filter words? You know when you’re reading a story and you just can’t connect to the characters? You want to like the story, but there’s something about it keeping you from experiencing the story with the character.

On Writing by Janet Burroway has a good section on filter words. “Filtering is when the writer forces the reader to look at rather than through the point of view character’s eyes” (Burroway 2010). Deleting these words shows the reader what’s going on instead of telling. They distance the reader from the story. It’s one extra step the reader has to take in order to experience action with the character. Only use filter words when it’s critical to the meaning of a sentence. Here’s a list of filter words I’ve compiled over the years. Look out for these in your manuscript (this is for past and present tense):

  • can
  • to hear
  • to look
  • to realize
  • to notice
  • to feel
  • to touch
  • seem
  • to know
  • to start
  • to sound like
  • to seem
  • to think
  • to see
  • to decide
  • to watch
  • to wonder
  • begin
  • to try

Here are some basic examples. Of course you’ll want to add some flavor with the sentences, but this is just to help you get an idea of how filtering out distance words make a sentence stronger.

With filtering word: The white cat started licking its paws.

Without: The white cat licked its paws.

Why would the cat start to lick its paws? Why not have the cat just lick its paws? Make it immediate. Take that extra step out of the equation.

With filtering words: I heard the woman scream for help.

Without filtering words: “Help me!” the woman screamed.

Why did we have to be told the woman screamed instead of shown? Do a search for these words in your manuscript. Delete them and replace them with more vivid imagery to make it more immediate.

Can you think of any other filter words I can add to my list?

 
19 Comments

Posted by on February 24, 2012 in Uncategorized

 

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