I've done quite a bit of editing lately and discovered that aspiring writers possess some of the same problems, in particular, overuse of passive voice.
Let's refresh our third grade English class: the verb "to be" is a state of being verb, meaning it's passive voice. Here are the forms of "to be"--am, is, are, was, were, be, being, been. If you see one of those words used alone or in conjunction with another verb, then writer is using passive voice.
Passive voice works particularly well for declarative statements: "I think, therefore I am." It does not advance action. In fact, passive voice slows pacing down. It makes the story drag.
So, how do you punch it up and get the juices flowing? Use active voice.
Read the following paragraph from a post-apocalyptic story I started editing:
Sambol's mother, Moranta, had a very strict personality in regard to; time management, cleanliness and honesty. But in the end she was very kind as well as a thoughtful being. At the moment her son rushed through streets and thin alleys, to make it home on time. Now that the food reserve was decreasing, food rationing was more important, hence the new scheme gave allowance for only breakfast in the morning along with dinner in the evening. Especially with the land now barren there was no hope for rehabilitation.
Going beyond the punctuation errors, let's tighten and strengthen the paragraph and eliminate what we really don't need:
Sambol rushed home. His mother, Moranta, held to strict standards with regard to time management, cleanliness, and honesty. The decrease in the food reserve mandated food rationing which allowed for only two meals daily. The barren lands offered no hope for rehabilitation.
So, it's not a literary masterpiece, but it provides the necessary information in a succinct manner without once using a state-of-being verb. More than that, it moves.
Use of active voice is a key tenet of the "show, don't tell" philosophy of good storytelling. Look at what you write and then ask yourself, "How can I improve that?" Or better yet, hire me to improve it.
An author contacted me to ask a favor: Would I read two of her novellas and post reviews for them? Sure, I responded. The books were in a favored genre and I had some time to kill.
Wow. Not in a good way. The cover art was the best part of both books. That proves one really cannot judge a book by its cover.
Anyway, I read the books; they were short stories, really, fewer than 50 pages each. So, what complaints did this cranky reader have? Let's compile an abbreviated list:
Those are just the "mechanical" problems. In both books, the big reveal that explained the "why" of each heroine's tragic predicament was executed like the "surprise confession" of an accused criminal on trial in a cheesy crime drama. Here's an example straight from the book: "Since you had great sex with your boyfriend earlier, it was a simple matter to drug you with a cloth full of chloroform. You went out like a light so easily and that should explain why you are suddenly naked and all tied up."
Egad. Who speaks like that?
Not only is it cheesy, it's so badly written it makes my teeth itch. I'll be the first to admit that I don't write great or profound literature, but even my rough drafts are better than that. Do you think I'm kidding? Here's the first paragraph of the book I read:
"I can still remember that fateful day in the fields. The sun was bearing down on me and my back was already beginning to slightly ache from all the bending that planting entails. Still it was nothing for me. I was used to planting in the fields. It was the daily work and grind for someone in my country. It was the means for my seeds to grow and for my livelihood and family."
Let's compare. Here's the first paragraph of Tiger in the Snow. This is the unedited rough draft.
"Dmitry healed. Stuck alone on the fourth floor of a seedy hotel in Cairo, the lacerations and bruises healed quickly. Atlas Leonidus, who had hired him to track down and detain his mate, had beaten him to a pulp. Dmitry could not deny that he had deserved it."
Yes, mine needs work, but even as a rough draft it's more strongly written than what that author published.
Do you think that's a fluke? That I chose the best of my best? Here's the first paragraph of Russian Lullaby, again the unedited first draft.
"Six books hit the sidewalk with an untidy clatter as Giancarla’s arms were jerked behind her. Three seconds and it was over, a black bag over her head, her wrists bound behind her, and a slam dunk onto the smelly floor of a panel van. She struggled. Of course. She yelled. Of course. But a brutal kick to the abdomen cut off the yelling with a wheezing gasp."
Yipperdoo, it needs work. I don't deny that. But it's still better than either of those two already published books.
I kept up my end of the bargain. I read the books and posted reviews. I'm sure that author will never again ask me to review her work again. That's OK. I'd prefer she hire me to edit her work because she desperately needs an editor.
I've said it many times: It's not enough to have a good idea, you have to execute it well.
If you want something written or edited, hire me. I can help.
Every word counts.
Back on the soap box about proofreading.
I recently read a novella. It had all the poor quality hallmarks that I have, unfortunately, come to expect from an independently published book, which proclaims that the author had no one proofread her work before taking it public. I saw:
Y'all can stop laughing now.
Spell-check is not an adequate substitute for proofreading. Each of the incorrect words above is correctly spelled. Unfortunately, because the words are so blatantly wrong, they confirm the author's incompetence.
I really, really, really try not to make errors like that. Sometimes I do. The occasional error is expected; we're human after all. But when content is riddled with references to a patient's "comma," then what might have been tragic becomes laughable.
Proofreading is important, folks. Get that fresh second set of eyes to look at your manuscript before going live with it.
Authors are a needy lot. Conflicted, too.
We want reviews of our books: specifically, we want positive reviews. That generally means we have to sell books or pay for a book promotion service to distribute our books to people who agree to review them in exchange for a free copy. It's hoped that the cost of promotion will be less (by far) than the income realized from the sales that positive reviews are supposed to stimulate.
I'm still working on the whole marketing thing. Like most authors, I don't particularly like marketing my own books because I'd rather be doing other things like writing, sleeping, eating, mucking out stalls.
But I will admit that there's nothing like an excellent review to make a day worth living.
I found that my recent book promotion through Fire & Ice Book Tours yielded the sale of one copy (at a discounted price) of Pure Iron. That reader left an outstanding, 5-start book review. Happy, happy, joy, joy.
Because I'm a glutton for punishment, I checked my books on GoodReads and got another happy surprise. The Barbary Lion (ugly old cover still displayed--why, I don't know) got a 5-star review just a couple of days ago. Yippee! That reviewer left no details, though. I'd wish I could know what she liked about the story--and what she didn't like. Because no book is perfect, even with a 5-star review.
So, in the interest of book promotion for all authors: Please buy our books and please leave a review for those you read. Oh, and don't forget to recommend those you like to all your friends and acquaintances. Use social media. We need the help.
I received a free copy of a book in exchange for an honest review. It's a common enough deal. Unfortunately, I detested the book so much that I didn't read the whole thing.
I'm not disparaging the author. She writes well. The editing was clean. Technically, the book was darned near flawless. It was the characters I detested.
There's a reason I avoid "New Adult" romance and this book book exemplified that reason. "New Adult" romances often have stock characters: the naive and innocent heroine, the heroine's wild and reckless best friend, and the "bad boy" hero who's a man-whore and proud of it. The author nailed each stereotype, then it went downhill.
The heroine is not only sheltered and innocent, but she's a blithering idiot. A musical prodigy, she's led a sheltered, rigidly scheduled life. She's 19 now and wants to loosen up and have some fun before heading off to college. Understandable. But, does she sit down with her parents and talk to them about feeling stifled before resorting to subterfuge? Of course not, she lets her best friend persuade her to sneak out, go to a club, get drunk right off the bat, and have unprotected sex with the club's owner within half an hour of meeting him. Further idiocy comes in when she thinks that she won't get pregnant and implies to our hero that she's on birth control.
The best friend isn't going to college because her mother--who works three jobs to put food on the table--can't afford it. It doesn't occur to this young woman to get a job, apply for student loans and scholarships, etc. to pay for tuition. No, she'd rather spend her mother's limited funds on obtaining fake IDs and booze. With a best friend like that, our heroine doesn't need an enemy.
The hero is a swine. He's the stereotypical wealthy, handsome womanizer. He sees our heroine, practically drags her to his apartment, and deflowers her. I can suspend disbelief to accept werewolves and vampires, but not enough to believe that an admitted man-whore doesn't have a condom available and can't figure out that he's breached a young woman's hymen. The next day, he takes her again. And so on and so on. No condom involved.
Shortly after that I quit reading. I'm not prudish in either my reading or writing, but I don't tolerate blatant stupidity and irresponsibility.
The sad part is that the author's storytelling is very good. Now she just needs to write a book worth reading that's populated by characters worth knowing.
This review doesn't mean that a book should be populated only by wonderful, good, and perfect characters. Far from it. Flaws are what makes characters interesting. But there ought to be at least one main character who has some sense. So, even though the writing may be good, the grammar flawless, the punctuation and syntax error-free, if your reader finds nothing in any of your characters to admire or at least cozy up to, then you've failed.
Hard boiled, scrambled, over easy, and sunny side up: eggs are the musings of Holly Bargo, the pseudonym for the author.