I know I talked about this only a couple of months ago, and yes, you guessed it. This is my 7th Deadly Sin of Writing. As an editor, I found that I kept correcting the same blunders over and over and yeah…over. The mistakes were so universal among new writers that I finally put together my Seven Deadly Sins of Writing so that these issues could be corrected ahead of time. This, then, would leave me more time to comment on the actual story instead of taking valuable time slashing through these common oopses. Feel free to ignore any of the Sins, but I will tell you that editors don’t sit up all night thinking of ways to make your lives miserable….we only stay up until ten doing that😀.
Editors are like engineers. We look at a writer’s race car (the manuscript) and look for parts that will cause drag, slow down momentum, or cause so much friction that a fiery crash or a dead engine is inevitable. The Seven Deadly Sins are designed to make sure your plot is sleek, fast and unstoppable until the finish line.
I would wager that most of us do not sit up all night thinking of ways to treat our readers like they’re stupid. Yet, it is a common problem, especially with newer writers who are still learning the craft. All of us can slip into these nasty habits, if we aren’t mindful. It’s as if we get so wrapped up in our story that we mentally stumble in that brief span from synapse to keyboard, and inadvertently end up treating our readers like they need a drool cup. So today, I put together a list of bad habits to make it easier for you guys to spot when you are coaching the reader.
Offender #1—Adverb Abuse
Here is a news flash. Not all adverbs are evil…just most of them. One of the reasons I am such a Nazi when it comes to adverbs it that they are notorious culprits for stating the obvious. “She smiled happily.” Um, yeah. “He yelled loudly.” As opposed to yelling softly? To be blunt, most adverbs are superfluous and weaken the writing. Find the strongest verb and then leave it alone.
The ONLY time an adverb is acceptable is when it is there to denote some essence that is not inherent in the verb.
For example: She whispered quietly. Okay, as opposed to whispering loudly?
Quietly is implied in the verb choice. Ah, but what if you want her to whisper conspiratorially? The adverb conspiratorially tells us of a very specific type of whisper, and is not a quality that is necessarily implied by the verb.
It is really unnecessary to qualify. We get it. Using qualifiers is similar to adding in needless adverbs. If we have just written a scene about a heated argument, trust me, our characters don’t need to “slam the door in frustration” (yep…got it) or “scowl with disapproval” (uh-huh) or “cry in bitter disappointment” (gimme a break).
The qualifiers add nothing but a cluster of extra words that bogs down the prose. If someone slams the door right after a heated scene of arguing, the reader gets that the character is angry, frustrated, upset. We don’t need to spell it out.
Like adverbs, it is perfectly okay to use qualifiers, but it’s best to employ them very sparingly (and only ones that are super awesome). Allow your writing to carry the scene. Dialogue and narrative should be enough for the reader to ascertain if a character is angry, hurt, happy, etc. If it isn’t, then forget the qualifiers and work on the strength of the scene.
Offender #3—Punctuation & Font as Props
You are allowed three exclamation points every 50,000 words—just so your editor can cut them and then laugh at you for using exclamation points in the first place. Hey, a little editor humor🙂. 99% of the time exclamation points are not necessary if the prose is strong.
“Get the kids out of the house!” he yelled. (Yep)
I recently read a non-fiction book where the writer used an exclamation point on every single sentence. I felt like I was learning marketing from Billy Mays. At best, the guy was shouting at me for page after page. At worst, he was monotone, because when we emphasize everything, we emphasize nothing.
Ellipses do not make a scene more dramatic, just…make…the…writing…more…annoying. Ellipses can be used but, again, very sparingly.
In fiction, bold font and italics are almost never acceptable. Again, if the prose is well written, the reader will stress the word(s) in his head. Trust me. We don’t need to hold our reader’s hand, or brain, or whatever.
Is it ever okay to use bold font and italics? Sure, if you write non-fiction. In non-fiction we are teaching, so certain key words or points need to stand out.
In the world of fiction?
No bold font. That is the tool of an amateur. And italics? We can use it, just not very often or we run the risk of insulting our reader’s intelligence. If you come to a point where you believe it is absolutely necessary to use italics, I suggest trying to strengthen the scene first.
Everyone who has ever argued this point with me was wrong. I don’t say this to sound like a jerk, I say it because if you are using all these props, you don’t need them. Have confidence. Your writing is stronger than you believe. I have read the writing samples sent to me by huffy writers who thought they were robbing the reader of some experience by removing the bold and/or italics, and guess what? I still found the bold and italics annoying and distracting. We readers really are smart. Really. We can figure out what should be stressed. Lose the prose training wheels to race with the big boys and girls.
And as far as italics for internal dialogue? Yes, that is technically correct, but internal dialogue should be used VERY sparingly. Too much internal dialogue, to me the editor, is a major red flag of an author not yet strong enough to maintain POV and keep the flow of narrative. Switching a reader from a third limited perspective to a first-person internal dialogue is jarring. Do you mind being jarred once in a while? No. But every five minutes? It gets tedious.
Offender #4—Telling Instead of Showing
Most of us have been beaten over the head with the saying, “Show. Don’t tell.” There is a good reason for that. Telling is a lazy method of characterization. Most readers are pretty sharp and like figuring things out on their own. Thus, if we spoon-feed information that should be given via the story, we risk turning off the reader.
New writers are almost always guilty of telling instead of showing. Why? Simple. They’re still learning techniques that are going to take time and practice to develop. Yet, all of us, regardless our skill level need to be wary of this narrative crutch. To be blunt, telling is far less taxing on the brain, so our lazy nature will try to take shortcuts if we aren’t careful.
Actions speak louder than words. Yeah, it is easy to just tell the reader our antagonist is a real jerk, but it is better to show our antagonist doing things that make the reader decide this for himself. We accomplish this by creating an antagonist who simply does things jerks do.
Good writers don’t tell readers a character is ticked off. Good writers show she is ticked off. Crossed arms. No eye contact. Clenched jaw. Slamming doors. Remember that over 95% of communication is non-verbal. Use this to your writing advantage. When creating characters, think about what actions will define your character’s nature or mood universally.
For a character’s nature: If you want to create a cad, think what actions cads do that would make everyone in a room label him the same way—checking out every woman who walks by, openly flirting with other women, using breath spray every 5 minutes, telling sexist jokes, etc.
For a character’s mood/mental state: Regardless of culture, we can tell if someone is mad, hurt, sad, or happy by body language. Make a list of all the body language cues for the mood you wish to create. A book on body language can be extremely helpful for the more subtle stuff. For instance, people who lie often rub a body part (wringing hands) or tap. Why? Unless people are sociopathic, it usually causes mental stress to lie, so the rubbing or tapping is a sign of energy displacement. See, these are the sort of details that make good writing into much better writing.
What are your thoughts? Are there some other pet peeves you guys have that I missed? What makes you put down a book? What methods transport you? What makes you hurl the book across the room?
I love hearing from you! And to prove it and show my love, for the month of September, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.
Okay, I am behind on announcing winners due to family drama, so catching up today.
Last Week of August’s Winner–Diana Stevan
First Week of September’s Winner–Donna Amis Davis
Please send 1250 word Word document to kristen at kristen lamb dot org.
Winner of fifteen pages of critique for the month of August is Susie Lindau
Please send 3750 word document to kristen at kristen lamb dot org
I will pick a winner every week for a critique of your first five pages. At the end of September I will pick a winner for the grand prize. A free critique from me on the first 15 pages of your novel. Good luck!
Note: I am keeping all the names for a final GRAND, GRAND PRIZE of 30 Pages (To be announced AT THE END OF SEPTEMBER) OR a blog diagnostic. I look at your blog and give feedback to improve it. For now, I will draw weekly for 5 page edit, monthly for 15 page edit.
In the meantime, I hope you pick up copies of my best-selling books We Are Not Alone–The Writer’s Guide to Social Media and Are You There, Blog? It’s Me, Writer . Both books are ON SALE for $4.99!!!! And both are recommended by the hottest agents and biggest authors in th biz. My methods teach you how to make building your author platform FUN. Build a platform and still have time left over to write more great books! I am here to change your approach, not your personality.
Until next time…