Are You READY For an Editor?

In the last two weeks, I've had to turn down three clients.

Why?

They weren't ready.

Nobody's perfect, and one or two issues are expected in any manuscript submitted for edits. But if simple problems like improper punctuation, hundreds of instances of smiles and looks (She looked at him, he smiled at her...) rather than true body language signals, no indication of setting or time, too many dialogue tags or incorrectly placed dialogue tags, starting the story in the wrong place, and other rookie errors litter your manuscript, you'll easily be pegged as a newbie writer with a rough first attempt.

Sure, I could shove my conscience into a dark closet, take their money, fix their typos and punctuation errors and send them into the self-pub world without properly preparing them. After all, who am I to judge them?

Who am I? Well, I'm not just an editor. I'm an author. And I'm a reader. And if I allow a writer to release a shoddy product with my blessing, I'm basically peeing in my own pool. I'd rather not. I take great pride in my profession and in helping other authors achieve publication status. But I'm not about to tarnish someone else's dream to line my pocket with a little cash.

So...are you really ready for an editor? Answer the following ten questions honestly:

1. Do I have a complete story?
2. Do I understand and utilize the concepts of GMC, POV, and Show vs. Tell?
3. If my story is more than fifty pages long, does it include chapter breaks?
4. Have I used punctuation properly to the best of my knowledge?
5. Is this work entirely my own with no issues where I've cut and pasted info?
6. Am I confident in my research?
7. Has a beta reader or critique partner reviewed this work?
8. Do I use a good balance of description to convey mood and tone?
9. Have I properly formatted the manuscript according to the editor's requirements?
10. Can I handle criticism and make educated decisions regarding changes my editor will recommend?

If you can't answer, "Yes" to all ten of these questions, you're not ready, either.

I apologize if this bursts your dream, but your editor is not your ghostwriter. The emergence of self-publishing has opened doors to writers who might never have seen their work published otherwise. But that doesn't mean you don't have to learn your craft before you publish. A concert violinist doesn't just pick up an instrument, pluck the strings, and become first chair at the Met. Athletes don't just decide to play one day and sign a multi-million dollar contract with a professional team the next. Practice and education are crucial! You need to know the ins and outs of writing, grasp and utilize the concepts of good storytelling, and most of all, you have to work hard at it. 

Join writing organizations, find critique partners, read. Don't just read for pleasure. Read to learn. Notice the way an author manipulates his characters to evoke emotion in you. Absorb the way the story unfolds naturally, smoothly, with you going along for the ride. Even if it's just to figure out how to end a sentence, pick up any newspaper, magazine or storybook and take a look at the sentence structure and punctuation.

By the way, if you can answer, "Yes" to all ten questions and you're looking for an editor, let's talk.

Dive Into Deep Point Of View!

Oftentimes, when dealing with critique partners or editors, you’ll hear the phrase, “deep Point Of View.” What is deep POV? It’s getting so deep into your characters’ shoes you not only experience their five senses, but their innermost thoughts as well. As if the author has become the character and isn’t just writing about him/her. Sounds complicated? It’s an acquired art, but totally do-able… with practice.

A few things to remember with POV, deep or otherwise.

1. Avoid distance words such as, “She saw,” “He heard,” “she smelled,” “he felt,” etc. “She smelled smoke.” can easily become, “Smoke tickled her nostrils.” “He heard her approach.” works better as, “Her high heels clicked over the marble tiles.” And “She saw the birds fly overhead,” more clearly sets the scene when, “A flock of geese flew across the chambray sky.”

2. If the POV character doesn’t know about it, you can’t tell the reader about it. This is probably one of the most glaring errors I’ve seen in contest entries and excerpts for editing. Lines such as, “Jenna didn’t notice when Sheila slipped the knife into her sleeve.” are impossible if you’re writing in Jenna’s POV. If we’re in Sheila’s POV, you could go deeper by saying something like, “While she kept her gaze locked on Jenna’s face to distract her, Sheila slipped the knife into her sleeve. Jenna never blinked. Good. She hadn’t noticed.”

3. Use “anchors.” Remember balance? Well, sometimes the easy cheat is the best. Words like, “obviously,” “suggested,” “apparently,” and “seemed” can keep you firmly in one character’s head, but divulge information about a different character. “Louisa apparently didn’t get the joke. She frowned and shook her head slowly.” “The hair plastered around his head suggested Mark had been caught in the downpour.” “The dog seemed to sense his master’s presence and relaxed his stance.”

4. Exceptions: Certain facial expressions and body movements can be told from either side of the POV coin. If Joe smiles, he knows he’s smiling. And Daphne can see him smile. Same with frowns, furrowed or arched brows, narrowed or rolled eyes, snorts, smirks, stiffened spines, fisted hands, and good old-fashioned foot-stomping. To save your sanity, put yourself in your character’s shoes. Stand up (or sit down, if that’s what your character’s doing), face the wall (or your dog, your desk, or any object except something that reflects), and act out whatever you’re writing. If you can feel yourself do it, you can write it in your character’s POV.  

In deep POV, you’re not only following the four rules outlined above, you’re using your POV character’s voice and thoughts to communicate the message, as if (s)he is talking directly to the reader,  without the fourth wall of words on a page.

For example, in standard POV, you might see the following paragraph:

Maggie lifted the hood on her rust-pitted ’67 Camaro and stifled a curse. She’d promised her nephew she’d stop using bad words, but a five-year-old couldn’t possibly understand the sheer frustration that could only be soothed by a loud expletive at the right time. The damn car was deader than her love life. Since the radio still played, her battery wasn’t the culprit this time. A bead of sweat rolled down from her hairline and, on a sigh, she brushed her arm across her forehead to wipe it away. The urge to swear overwhelmed her. Mumbling a quick apology to Steven, she shouted out, “Shiiiiitttt!”

Now, let’s rewrite this paragraph with a little deep POV:

Maggie lifted the hood on her rust-pitted ’67 Camaro and stifled a curse. She’d promised her nephew she’d stop using bad words, but a five-year-old couldn’t possibly understand the sheer frustration that could only be soothed by a loud expletive at the right time. The damn car was deader than her love life. The radio still played Let’s Groove by Earth, Wind & Fire.

Not likely. No grooving would commence tonight or any other night in the near future. Not with this extinct dinosaur as her main transportation. At least her battery wasn’t the culprit this time. Maybe the starter? The alternator? Who knew? Who cared? The upshot was still the same: Maggie was wheels-down in the middle of nowhere.

A bead of sweat rolled down from her hairline and, on a sigh, she brushed her arm across her forehead to wipe it away. Sorry, Steven, but sometimes a gal’s gotta let go. “Shiiiiittt!”

Notice how, particularly in the second-to-last sentence, Maggie is no longer just a one-dimensional figure in the story: she's become a live actor in the play going on around her, telling the reader exactly what's in her thoughts without the barrier of "she thought" or "She said a silent apology to her nephew." I didn't even acknowledge that "Steven" is actually Maggie's nephew, but the reader instantly infers it, simply by the way she mentions his name in that statement.

Deep POV can help you:

1.                  Reveal a character’s secret:

“I can’t believe we haven’t met before now.”

In mid-sip, Maggie nearly choked on her Coke. Yeah, right. Wouldn’t Jake be shocked if he knew she drove past his house every morning before work, in the hopes they might run into each other?

2.                  Reveal a character’s internal conflict:

The man had a pet cockatiel. Of course, he did. Because Maggie had been terrified of birds since that escapade at the petting zoo when she was six.

3.                  Reveal characteristics of a non-POV character:

This was the woman Jake called down-to-earth and uncomplicated? This perfectly-coiffed ice blonde with five-hundred dollar shoes and a bag to match? Was the man an idiot? Or did her 36DD boobs blind him to the truth? Because despite what Jake thought, Lucinda was a superficial, snotty, money-grubber. Maggie had seen her type a thousand times before.

Keep practicing. As you write your story, become your POV character and directly connect your thoughts to your reader. Imagine yourself sitting in a local Starbucks or restaurant with a friend across the table from you. You, as your character, are conveying what happened to you that day, last week, or when you jumped back to the 15th century. Then just write down what you would say, exactly as you would say it. Don't worry about using all five senses or noting the friend's reaction. Get the dialogue down first. You can always go back and layer in actions and reactions during edit/revision phase.

Need an editor to help you make your manuscript sparkle? Look no further than Excellence in Editing! You'll receive one-on-one attention, timely turnaround, and great rates.

Ask the Editor: Multiple POV

Caren H. wrote: Do I have to start a new chapter every time I change point of view? How many POVs can you have before it's considered "head-bouncing"?

Great question, Caren! Thanks for asking.

First, let's define POV:

In any work of fiction, you as the writer have the option to tell the story from one of three points of view. There’s first person (I, me), second person (you—rare, but I’ve seen it done really well!), and the most common, third person (he/she, him/her). There is a fourth POV, omniscient, wherein the author is the viewpoint person. But omniscient wreaks havoc with Show vs. Tell (a lesson for another time).

Third person POV is the most prevalent because it allows an author to tell more than one side to a story. But…it has a major drawback: the possibility to waffle between characters’ heads from one sentence to the next, aka head-hopping.

When you’re in one character’s POV (or shoes, if you will), you can only describe what that particular character sees, feels, tastes, hears, etc. So if I’m in Joe’s POV in a particular scene, I can’t tell my reader Daphne is hungry (unless he hears her stomach growl), afraid (unless he sees her pale features and wide eyes) or hot to jump his bones (unless she actually does jump his bones.) If your viewpoint character doesn’t personally experience something, you cannot tell (or show) the info to your reader through his POV!

Joe can’t (or shouldn’t) describe the color of his own eyes, hairstyle, build, or facial expression. So a sentence like, “Joe brushed his sandy brown hair from his cobalt eyes and set his firm jaw.” should be avoided as much as possible. Does this type of sentence happen? Sure. And it’ll slip past an editor, too. But the more you write and become cognizant of the pitfalls, the more these errors will leap out at you when you’re reading someone else’s work—or your own.

This is why a lot of writers have their characters describe their features while staring at their reflection in a mirror or other shiny object. (Please don’t do this. It’s weak and easy. Your reader deserves better.) And please don’t tell me you should be able to head-hop because “Nora Roberts does it.” When you’re churning out as many bestsellers as Nora every year, then hop into a different head in every sentence if you’d like. ‘Til then, you might want to stick to one person’s mind at a time.

So, we're clear on POV? Good, let's back to Caren's question.

How long do you have to stay in one character’s head? Generally, I like to remain rooted for a full scene, but there are exceptions. Love scenes, for instance, are a perfect place to show two different points of view. But like lovemaking itself, the act requires some delicacy, balance, and good timing.

Does every POV switch require a page or chapter break? Not necessarily. Many publishing houses prefer at least a scene break, but if the scene is seamless, you can generally get away without it. By “seamless” I mean that there’s been no change in time or location. There are ways to transition from one POV to the other without actually skipping lines or ending a chapter. I like to use a touch. Almost like playing tag, if my POV character touches another character, I use that device to seamlessly switch POV. Dialogue can help transfer you from one POV to another. For instance, if your POV character, Joe, says, “What do you think, Daphne?” you can describe Daphne’s thought process and seamlessly move into her POV. Just don’t slip back into Joe’s POV the moment Daphne stops talking! Once you’ve switched from one POV to another, spend some time in the new surroundings.

POV purists will insist you need at least a page break for either of these instances, but I’ve yet to have an editor force me to make the change. So if your critique partners bust your butt about it, you can choose to add the page break or to leave the scene whole until an editor or agent won’t acquire the manuscript unless you make the change.

Email questions to Gina at ginaardito@gmail.com!