A book map is a visual representation of a book’s contents. This allows for easy analysis of elements and can reveal gaps in the content of a nonfiction book or the storyline of a novel. You may have used a book map without even realizing that’s what you were doing. It’s really just a visual way of rendering an outline. You may also have heard book maps called story grids or plot charts. Anything more complex than a simple outline could be called a book map.
There are many different ways to map a book, and I think often writers find them by accident, just out of the necessity of keeping track of a complex work. I know that was the case for me. Continue reading
One of the hardest things about editing your book is keeping all of the information straight and in the right order. That’s one reason I advocate for outlining. A plain outline doesn’t suit everyone during the drafting process, but once we reach the editing phase, having a visual depiction of the story will help us edit more efficiently.
One technique that’s not often taught to novel writers is storybreaking, which is a screenwriting technique. Screenwriter Vik Rubenfeld calls storybreaking “The Most Important Hollywood Writing Technique You’ve Never Heard Of.”
When Rubenfeld wrote his article, he expressed surprise that more writers don’t know this technique. He linked to this interview with Vince Gilligan, a screenwriter for The X-Files and one of the creators of Breaking Bad. Continue reading
Last time I mentioned that when working in Track Changes with an editor, you should accept most, if not all, of the editor’s changes. It should go without saying, but listen to what your editor has to say.
Yes, there are bad editors who will try to impose their voice and vision over your own. And some editors have a tin ear—a writer at a conference once told me her copyeditor had replaced every gonna and coulda with going to and could have. When faced with those kinds of changes, reject away, kiddo.
At a conference last year, I heard Orson Scott Card say he had once received a manuscript back from a copyeditor who was apparently unfamiliar with science fiction and had therefore made hundreds of changes that ruined his story. The damage was so severe that he sent a copy of his original back to the acquiring editor and demanded a new copyeditor, because the first had fouled up the manuscript so badly that the job had to be started over.
Bad editing does happen. If you don’t trust your editor to give you good advice, then you need a new editor. Continue reading
April 16 • 9 a.m.–4 p.m.
I’ll be teaching a full-day workshop hosted by the Central Florida chapter of American Christian Fiction Writers. I’m calling it “Systematic Editing,” but it’s based on my Edit Like a Pro: Elements of Fiction series. I’ll walk attendees through the rigorous process professional editors use to evaluate and edit novels. We’ll look at 10 elements of fiction: Continue reading
As I noted when talking about editing a novel, writers often fall into an endless editing trap. You could go over your manuscript an infinite number of times and still find things to improve—or at least change.
A client and I once made two rounds of edits on his book. If he had asked for a third round, I would have had this talk with him, but he beat me to it. “How many times could we go back and forth like this?”
I said, “We have reached the point of diminishing returns.” He’s a finance guy, so he understood my meaning. There comes a time when further editing doesn’t produce a better book, it just produces a different book. Continue reading
I’ve written before about When Passive Voice is Permissible. Strunk and White admit that “Use the active voice … does not, of course, mean that the writer should entirely discard the passive voice, which is frequently convenient and sometimes necessary.”
Illustration by kikkerdirk • Fotolia
But one of the biggest problems writers face in critique groups is the problem of partners who flag passages as “passive” when they’re really not. Often verbs of being (be, is, was) are flagged as “incorrect” or “passive.” They are not. They are not particularly strong verbs, but they are not passive in and of themselves. Continue reading
Once you have worked your way through the Elements of Nonfiction Editing Checklist, taking as many passes as needed to address the Personality, Presentation, Voice, Information, and Mechanics of your book, what next?
The first thing many writers do is run their manuscript past some beta readers or critique partners. Maybe both. These are two different things, so let me explain. Continue reading