GYWO is Get Your Words Out, a wonderful writing accountability community. I joined this year and I’m really enjoying it. I wrote this post for the GYWO community, and the moderators have kindly allowed me to mirror it on Story Hospital. My previous GYWO post was on how to write when you don’t want to.
I’ve done a great many things in and around publishing, and one tool that crosses over a lot of different disciplines is the style guide. Ideally a style guide will begin with the writer and carry through all the way to production. When you’re doing the sort of publication that involves a manuscript being passed from writer to agent to editor to copyeditor to designer to proofreader, it’s a really valuable tool for communication of vital information to someone you may never interact with directly. Even if you’re doing the entirety of writing, design, and publication yourself, you’ll want one to keep yourself on track and to share with your editor. In brief, it’s a way of saying “I did it this way on purpose.”
Hi Story Nurse,
I’ve completed a full draft of my romance novel with a political/dramatic twist (yay!) and i’m staring on the first round of editing (boo!). It’s my understanding that a lot of editing is about cutting, and I don’t deny there are a lot of sentences that could be shorter and a lot of stuff that is not required to be there. Usually, the cutting feels pretty good – especially when I catch hanging threads I meant to do something with, and dropped.
However, I do have some anxiety with cutting some of the longer threads of the story. When I wrote the story and read it in the earlier processes, I really like them. On this edit pass, they don’t seem that great – kind of awkward and not flowing as well as I remembered. However, the next day, they seem wonderful, and the story is really lacking something without them!
Anyway, the summary of the question is: How do you tell what to cut? Is cutting more better than less, or should you cut less the first time around so and come back and trim again, when you’re more sure?
Now I’m thinking that I should leave it in for now, because it will be hard to put it back if I change my mind. (Unless you have some amazing editor software that allows themes to be matched like Photoshop layers.)
Confused Editor (she/her)
Dear Confused Editor,
Congratulations on finishing your draft! I’m sorry revisions are stressing you out so much. I promise you and your manuscript will come through them just fine. Here are some straightforward suggestions to help you find your way out of your mental tangle. Continue reading
Hi Story Nurse,
I’m an aro ace writer with a few published stories under my belt, now beginning to venture into writing ownvoices stories. I wrote a fluffy fantasy story with an openly labelled aromantic main character and passed it to one of my usual beta readers (who I am not out to).
One of the notes in Beta’s response said that “aromantic” didn’t seem like the right word for MC because MC was clearly a nice, kind, warm-hearted person. When I asked cautiously for elaboration, it came with more microaggressions attached. /CN
Now I come to revise the story and the notes drain my energy for doing so every time I have to look at them, and it makes me wonder if I would be believed if I did come out. How do I separate criticism of my story from criticism of myself, when what is actually being marked down is the marginalisation my character and I share?
Thanks for your time
Flat Battery (she/her or they/them)
(For definitions of aromantic, alloromantic, and related terms, see this glossary.)
Dear Flat Battery,
I’m so sorry your beta reader responded in such a rude and biased way. Of course those notes will now make you feel bad about yourself and your work!
In this case you don’t need to separate criticism of the story from criticism of yourself. What you do need to do is reject the criticism as based in falsehood and therefore invalid.
Hi Story Nurse!
I started off writing fanfiction in a community with a lot of group and dyad critique. When I got into pro fiction I discovered I had built a great critique toolbox that I used to further myself into an excellent developmental editor.
I can do hard, deep critique for folks where I immediately see the bones of a story and how it is or isn’t fitting together. Structure and content problems are breeze to see and fix. I quickly come up with a fix or offer a variety of options (“You make it the uncle, not the dad, and what if he’s a veterinarian who specializes in rare tropical fish? Or give both tasks to the aunt and make her a world-renowned biologist?” “Hey that improves everything and allows X, Y, and Z, to happen more organically. Thanks, Ajax!”).
When I sit down to work on my own stories I rely heavily on friends, beta readers, and most especially my editor to help fix the broken and disconnected bones of my own story. Often I know something is wrong with my work, but I just can’t see what it is until someone else points it out. If someone shoots me a good fix idea I can run with it and make shine, but I can’t come up with it alone.
How can I turn those good editor eyes on my own work?
—Ajax Bell (they/them)
Dear Ajax Bell,
You’re not at all alone in this. Many, many editors have run into similar issues when they’re writing. (Editor and author Jessica Strawzer just wrote an op-ed for Publishers Weekly on her struggle to accept that all her editing expertise didn’t make it easier for her to write, or to get her fiction published.) Fortunately, that means there’s a known, tried-and-true answer to your question: you can’t.
Dear Story Nurse,
I wrote a novel (women’s commercial fiction) in 2008, and have spent the intervening years revising/editing/rewriting, including workshopping with a writer’s group. I got the piece to a place where I know it’s not 100%, but it’s as close to 100% as I can get it without serious professional help (editor/agent/similar). So I started trying to find an agent. I got a lot of positive feedback, a couple dozen requests for partial manuscripts, and two requests for the full manuscript. Both full manuscript requesters had the same feedback (writing is good, but there are—specific and clear!—issues, and those issues are too much for an agent).
Now I’m at a standstill while I try to figure out what to do. I think I need someone to tell me, “You need to walk away from this piece” or “You need to hire an editor.” Or SOMETHING. What is the next step when you know you’ve done all you can on a piece and it’s still not quite there?
I think a great next step would be for you to take a moment to assess what’s led you to seek outside advice and consider outside editing in addition to what you’ve gotten from your writing group and those helpful agents. You say you need “someone” to tell you what to do next. But you’re in charge. Hiring an editor, or not, is your call. Continuing to work on this book, or not, is your call. “Someone” is you. Sit down and listen to your gut. That process may be as simple as saying out loud “I want to walk away from this book” or “I feel like I should walk away from this book” and then seeing whether that statement rings true or makes you want to shout “NO! I’m sticking with it!” But you have to consult yourself, very directly and seriously, and not just rely on what other people recommend.