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How to Help Your Editor #AmWriting #WritingaNovel #WritingCommunity

An honest, professional yet friendly relationship between editor and client is crucial in order to make your manuscript the best it can be. Your editor wants to help you, to guide you, to advise and to encourage you in your writing journey. To do this, there are some things that your editor needs from you.

Read the FAQs

This may be the first time you’ve worked with an editor. You should have lots of questions and most editors will be more than happy to answer any concerns that you have. But before you send a lengthy email, have a look at your editor’s blog or website and see if they have a Frequently Asked Questions page. You will probably find a lot of the answers to your questions here.

Send your manuscript on time

If you have agreed a date with your editor, then do please make sure you send your manuscript on time. Even a morning’s delay can have an impact on your editor’s schedule. It is probably best to send the manuscript the day before, at the latest.

Read payment terms carefully and adhere to them

Editing can be an expensive business. But it is your editor’s job, their livelihood. They may be relying on the fee that you have agreed to pay bills, for example. Please pay on time – just because you have a sudden extra expense, it doesn’t mean that your editor should have to wait to be paid. You have entered into a professional agreement – be professional about it. And do accept that your editor is investing their time. Don’t expect them to edit for nothing, or for a pittance. I’ve seen editors and proofreaders offering their services for next to nothing. As with most things in life, if a deal seems to be too good to be true, then it probably is. Check your editor’s credentials and do bear in mind that old saying – ‘you get what you pay for’.

Be open to advice

You are paying your editor for their expertise and their knowledge. If they offer you advice take it in the spirit it is intended. It is there to help you.

Keep in contact

Let your editor know how things are going. I care very much about my clients and their books. I want to know how you’re doing, how the book’s doing, if you’ve had positive reviews (or not!).

Check if they want to be acknowledged

As an editor working mainly with independent writers, I have no control over what is eventually published. I can only correct, improve and advise. I cannot force a client to take that advice, make those improvements or even accept the spelling or grammatical corrections that I make. I have, on more than one occasion, advised clients, have had that advice ignored, have seen that client publish the book and then seen reviews making the points I have raised. It is excruciating to have a client ignore your advice and then to see a reviewer say that the book could do with a thorough edit. On the other hand, your book is your book and you are perfectly within your rights to ignore my advice and recommendations. But if you do so, then please don’t thank me for my editing in the acknowledgements. While I appreciate the thought, it makes me look like a terrible editor!

Give feedback

You know how lovely it is when your editor says good things about your writing? How it makes you feel wonderful? Well, it’s lovely when you tell an editor how pleased you are with their work, how you appreciate their help and advice. And it’s also really helpful, if not so lovely, to know if something wasn’t quite right.

Recommend them!

The majority of my clients now come from recommendations – something that makes me incredibly happy! It is a minefield out there. I am a member of a certain reading/writing website and I do belong to editors’ groups on that site. Almost every day I see people advertising their editing and proofreading services. Sometimes I have a look at their websites (it’s good to keep an eye on the competition after all!) and, while there are some fabulous editors, there are also people who set themselves up as editors with absolutely no relevant experience, qualifications or knowledge whatsoever. So what does a writer do? Apart from looking at an editor’s blog/site extremely carefully, I do think it’s a great idea to ask for recommendations from your fellow writers. And if you do work with an editor that you feel did a great job, then please tell everyone else!

 I am an experienced editor, and have worked on more than five hundred projects in a variety of genres including dystopian, romance, memoir, erotica, YA, fantasy, short stories, poetry and business. I am happy to edit in either UK or US English. 

I have a first degree in English Language and Literature and a master’s degree in creative writing.

Read testimonials from clients

Find out about my editing services

Contact me

‘Dark Corners’ by Darren O’Sullivan #TuesdayBookBlog #BookReview

You thought you’d escaped your past

It’s been twenty years since Neve’s best friend Chloe went missing. Neve has never recovered and promised herself she’d never go back to that place.

But secrets can come back to haunt you

When Neve receives news that her first boyfriend Jamie has gone missing, she’s forced to return. Jamie has vanished without a trace in a disappearance that echoes the events of all those years ago. Somebody is watching and will stop at nothing until the truth about what took place that night is revealed …

Neve left the mining village where she grew up after her best friend Chloe disappeared. Now, after the breakup of her relationship, and struggling to run a business with her friend, she returns to help in the search for another friend, and her first love, Jamie.

The story switches between the present day, and the events of twenty-one years ago. This is done very well, and there is no confusion. The plot is quite complex and there are lots of twists and turns to keep mystery fans happy, and the atmosphere is quite spooky. The writing is very good in places, particularly in the evocative descriptions of the abandoned mine, the headframe watching over everything.

But I did find it hard to really connect to the characters, which made it difficult to really feel the tension. and there were quite a few errors in the text, including a lot of unintentional switches from past to present tense in the earlier chapters.

I also found the ending a bit of a disappointment.

So, not for me, unfortunately, but the book does have a lot of really great reviews, so the author is worth checking out if you’re a fan of the mystery genre.

Verisimilitude – or Keeping it Real #writingcommunity #amwriting #writinganovel

Verisimilitude – what a fabulous word!

It means, according to Oxford Dictionaries, the appearance of being true or real. It’s incredibibly important when writing fiction.

Writing is always a balancing act. You want to transport your reader, to take them on a journey, possibly have them experience things that they wouldn’t normally experience through your characters. So why the need for realism, for truth? After all, this is fiction right?

Well, yes, it is, and in a way, writing fiction is lying. We writers of fiction spend our days lying. But as anyone who has ever successfully lied to their parents about where they were the night before, or to their teacher about where their homework is, or to their boss about how they were really sick the day before and just couldn’t possibly have made it to work knows, the secret of a good lie is that it rings true.

Fiction is just like that. You are methodically, carefully and imaginatively building a world for your characters. A world that doesn’t exist. The appearance of truth is essential to help build that world, that lie. One wrong move, one wrong word, and the illusion collapses.

So how do you ensure that you keep the ‘reality’ of your fictional world intact? Here are the pitfalls to avoid:

  • Something unusual happening in your fictional world that you haven’t prepared your reader for
  • A character that notices something they wouldn’t notice in real life, says something they wouldn’t say, or does something they wouldn’t do
  • In fantasy, a character not using a skill that you have given them when they should do so
  • Unrealistic dialogue that is used to convey information 
  • In historical fiction particularly, an object, custom, behaviour that didn’t exist or wouldn’t have happened in the time in which your novel is set
  • Continuity. This is as important in fiction as it is in films. For example, if your character has his hands handcuffed behind his back, don’t have them in front of him two minutes later (as with Nash’s handcuffs in Reservoir Dogs).

Much of writing is about building believable and compelling worlds, but those worlds must follow a logic that the reader can relate to, understand, and around which you can create interesting and dynamic stories. 

I am an experienced editor, and have worked on more than five hundred projects in a variety of genres including dystopian, romance, memoir, erotica, YA, fantasy, short stories, poetry and business. I am happy to edit in either UK or US English. 

I have a first degree in English Language and Literature and a master’s degree in creative writing.

Read testimonials from clients.

Find out about my editing services.

Contact me.

Using Flashbacks #amwriting #writingcommunity #writinganovel

A flashback in a novel is a scene that takes place before the story begins, taking the reader back to a situation or event that happened in the past. Flashbacks can work really well to give context or explain motivation, but they need to be written really carefully.

  • Make sure a flashback follows a strong scene. Flashbacks can be problematic in that they remove your character and therefore your reader from the action in your narrative. A strong preceding scene can ensure that the narrative is sustained.
  • Ensure your reader knows exactly where and when they are. Make the transition into the past clear.
  • Use the correct verb tense. If your main narrative is written in past tense, then the first sentences of the flashback should be in past perfect. You can then continue in simple past.
  • When the flashback is over, make sure the transition to the ‘present’ of the narrative is smooth and clear, so that your reader isn’t confused or disorientated.
  • Acknowledge the flashback. It should have an effect on the character who experienced it and on the narrative.

 I am an experienced editor, and have worked on more than five hundred projects in a variety of genres including dystopian, romance, memoir, erotica, YA, fantasy, short stories, poetry and business. I am happy to edit in either UK or US English. 

I have a first degree in English Language and Literature and a master’s degree in creative writing.

Read testimonials from clients

Find out about my editing services

Contact me

‘A Room Made of Leaves’ by Kate Grenville #TuesdayBookBlog #Bookreview

It is 1788. When twenty-one-year-old Elizabeth marries the arrogant and hot-headed soldier John Macarthur, she soon realises she has made a terrible mistake. Forced to travel with him to New South Wales, she arrives to find Sydney Town a brutal, dusty, hungry place of makeshift shelters, failing crops, scheming and rumours. All her life she has learned to fold herself up small. Now, in the vast landscapes of an unknown continent, Elizabeth has to discover a strength she never imagined, and passions she could never express.

Inspired by the real life of a remarkable woman, this is an extraordinarily rich, beautifully wrought novel of resilience, courage and the mystery of human desire.

There’s no question that this is a beautifully written novel from a very talented author. Some of the description is absolutely wonderful and there’s such a clear sense of time and place.

The opening chapters, describing Elizabeth’s childhood, worked the best for me, and the Elizabeth in these chapters felt very real and fully drawn.

Once the narrative moves to Australia, the novel didn’t work quite so well for me. I did feel that Elizabeth was a little too good to be true and that the portrayal of her husband was a bit superficial. I would have liked a bit more detail about the dynamics of their relationship, and also some more detail about the daily hardships of life in the new settlement. This aspect, in particular, was very glossed over. It must have been absolutely brutal, but it doesn’t really feel that way.

I think too, that, while there certainly is acknowledgement of the cruelty to the indigenous people of the area, this could have been more fully detailed. And is it really believable that Elizabeth would have been so enlightened, that she would have recognized that the immigrants from England were stealing land and food and lives from others?

That said, the book did leave me wanting to know more about the real Elizabth Macarthur, and it was, on the whole, a book that I’m glad to have read.

Writing with Clarity #amwriting #writingcommunity #writinganovel

‘Everything that can be thought at all can be thought clearly. Everything that can be said can be said clearly.’

Ludwig Wittgenstein
Tractatus Logico-Philosophicus, proposition 4.116

The Oxford dictionary defines clarity as:

 The quality of being clear, in particular:

The quality of being coherent and intelligible

The quality of being easy to see or hearsharpness of image or sound

In fiction writing, as in any other type of writing, you need to be clear – your words, your sentences, the pictures you build, must have clarity. Otherwise, who are you writing for? As an author, you have stories you want to share, so you must bear in mind your audience, your reader and what they will do with the words you choose to give them. This doesn’t mean you can’t be clever, that you can’t be creative, that you can’t build wonderful metaphors, use fabulous imagery and weave complex, intricate plots and storylines. But you must have clarity in all you write. What are those ingenious metaphors for? They are there to help your reader understand – to tell your story. What is that beautiful imagery for, if not to help your reader imagine your worlds, your characters, your visions? And if your plot makes no sense, then why should a reader waste time with your work? You are not writing in a vacuum, you are writing for a reader and your reader must know what you are conveying with those words.

So how do you ensure clarity in your writing?

Pronouns

pronouns

One common issue I deal with all the time when editing is confusion resulting from the use of pronouns such as ‘he’, ‘she’, ‘it’, ‘his’, ‘her’ etc. It’s crucial that the noun the pronoun is referring to is clear. For example:

The car hit the barrier but it wasn’t damaged.

What wasn’t damaged? What does ‘it’ refer to – the car or the barrier? In this sentence it could be either.

Similarly:

John gave Adam his money.

Whose money? Adam’s? Or John’s? Make sure it’s clear who the pronoun ‘his’ is referring to.

Passive voice

active passive

Passive voice can make your writing seem wordy and unnatural. Using active voice makes your words more immediate and gives them energy. Find out more about active vs. passive voice here.

Ditch the clichés

cliche

Clichés don’t work in fiction because they are stale and overused. They are phrases other people have made – your story and your characters deserve fresh, new words and phrases that are all their own. Again, think of your reader. If you fill your work with stale old clichés, you give the impression that you can’t be bothered; you can’t be bothered to think of exactly the right words to use, you can’t be bothered to think of something fresh and new, you can’t be bothered to create new phrases and sentences. So why should a reader be bothered with you?

Cut, cut and cut again

cutting words

One of the most common comments I use when I’m editing is ‘do you need?’ Writers should apply this to every word they write. Do you really need it? And if not, then cut it. For example:

When she went to the shops that morning, there were crowds of people thronging the streets.

Now if every word matters, what can be got rid of here?

It might be important that she went to the shops that morning, so we’ll leave that in, but you can cut ‘there were’. These two words are hardly ever needed.

When she went to the shops that morning, crowds of people thronged the streets.

So it’s only two words – but it’s two words you don’t need.

The same goes for ‘she felt’, ‘she saw’, ‘she knew’

As she walked to the shops, she saw two cyclists coming towards her.

Why not simply –

As she walked to the shops, two cyclists came towards her.

Another particular pet hate of mine is ‘she began’ or ‘she started’. Why write ‘she began to cough’ instead of ‘she coughed’? Or ‘she began to speak’ instead of ‘she spoke’?

And what about ‘Off’ or ‘off of’?

The short answer is ‘off’.

The long answer is:

You don’t need to say:

She pushed him off of the bridge.

Just

She pushed him off the bridge.

Other words that can often be cut are ‘seemed to’ or ‘appeared to’. Be firm and clear in your writing and your meaning.

She seemed to quiver at the sight of him.

is much better as:

She quivered at the sight of him.

These are just some examples of how you can bring clarity to your work. I’d love to hear other tips and advice.

 I am an experienced editor, and have worked on more than five hundred projects in a variety of genres including dystopian, romance, memoir, erotica, YA, fantasy, short stories, poetry and business. I am happy to edit in either UK or US English. 

I have a first degree in English Language and Literature and a master’s degree in creative writing.

Read testimonials from clients

Find out about my editing services

Contact me

‘The Bird in the Bamboo Cage’ by Hazel Gaynor #TuesdayBookBlog #BookReview

China, 1941. With Japan’s declaration of war on the Allies, Elspeth Kent’s future changes forever. When soldiers take control of the missionary school where she teaches, comfortable security is replaced by rationing, uncertainty and fear.

Ten-year-old Nancy Plummer has always felt safe at Chefoo School. Now the enemy, separated indefinitely from anxious parents, the children must turn to their teachers – to Miss Kent and her new Girl Guide patrol especially – for help. But worse is to come when the pupils and teachers are sent to a distant internment camp. Unimaginable hardship, impossible choices and danger lie ahead.

Inspired by true events, this is the unforgettable story of the life-changing bonds formed between a young girl and her teacher, in a remote corner of a terrible war.

I’ve read quite a few of Hazel Gaynor’s books and have loved every one of them. She has a really lovely way of writing about ordinary people in extraordinary situations, showing how those people find such strength of character in order to cope. The relationships between her characters are always a highlight too.

This novel is no exception. Elspeth and Nancy are authentic and likeable narrators, showing clearly their fear and bewilderment as their lives change so dramatically. What works particularly well is their belief that this can’t possibly be happening, that someone will come and hp them. It really made me, as a reader, think about what how I would react in those circumstances.

I did find, however, the storyline around the Girl Guides a little overdone. I can appreciate that it was something to hold onto, for the girls and their teachers, and something they used to give life in the camp a sense of normality, but it did take over the narrative in places.

Otherwise, another great novel by Hazel Gaynor, and definitely recommended.

A Very Happy Easter! #Easter #Eostre #Pagan

One of the things I most enjoy is finding out what lies behind many traditional celebrations. Whenever I’ve done this I’ve learned that what I thought I knew, what I was told at school, and by my parents, is usually wrong.

Since we moved to Wales, I’ve become very interested in Paganism, and the role of nature in many belief systems. We’re lucky enough to live somewhere that is truly magical, and it’s impossible to think that that there isn’t something spiritual about the natural world.

CENARTH FALLS

And it is paganism, and old beliefs that I often find are at the heart of mainstream celebrations today.

Easter is no exception. Easter falls in Spring – a time of renewal and rebirth, a time when we finally get some sunshine and warmth, and the countryside is awash with golden daffodils. It’s a time of hope, and optimism, and is full of promise of long, warm days to come (even here in Wales!).

The date on which we celebrate Easter each year is also governed by those old beliefs. Very old beliefs, in fact. Easter Day is set by the lunisolar calendar, which was created in Mesopotamia around 3000 BC. It falls on the Sunday following the first full moon after the spring equinox.

And the word ‘Easter’ itseLf has nothing to do with Christianity. Most European countries believe the word derives from the Hebrew word ‘Pesach’ – or Passover, the Jewish holiday. In English-speaking countries and Germany, however, it has been argued that the word is derived from the name of a Pagan springtime goddess – Ēostre.

Ēostre is the Germanic goddess of dawn. She was traditionally celebrated with festivals celebrating fertility, renewal and rebirth. The goddess is often depicted with hares or actually with the head and shoulders of a hare – which leads us to the rather strange Easter bunny!

The hare brings us back to the importance of the moon to the date of Easter. Hares, like the moon, were though to die and be reborn every day, making the hare a symbol of immortality, new life, and rebirth.

Of course, the egg is a symbol of new life, fertility and creation, which probably led to the inclusion of coloured eggs in the celebrations (they weren’t always made of chocolate!). Hares are my favourite animal (after dogs!), and the house is full of them (not real ones, of course, pictures, paintings and ornaments, even a teapot!). They’re beautiful, almost other-worldly, and I love too the story around the beautiful harebell flower – that witches turn into hares and hide amongst these gorgeous blooms.

As a child I was convinced that hot cross buns were a symbol of the crucifixion, which always struck me as a bit morbid, and a bit inappropriate, to be honest. In fact, the cross on the bun originated with the Ancient Egyptians, to create four sections, representing the four phases of the moon or the four seasons, depending on the festival being celebrated. Later, Greeks and Romans offered sweetened rolls to Eos, goddess of the morning and to Ēostre. Here, the cross represented the horns of a sacrificial ox.

So how is it that we now associate all these things with the crucifixion and resurrection of Jesus?
Following the rise of Christianity, many new feast days and celebrations were attached to the previous Pagan festivals. And as the older religions were ‘discouraged’ the new festivals took over.

I think I’ll feel a bit more comfortable eating my hot cross bun this morning thinking about the moon and the individual beauty that each season brings! And there will, of course, be lots of chocolate eggs!

However you’re celebrating, have a wonderful Easter weekend!

‘Pasta Mike’ by Andrew Cotto  #RBRT #TuesdayBookBlog

I read ‘Pasta Mike’ for Rosie’s Book Review Team.

Mike O’Shea and Andy Cotto knew each other their entire lives. Born days apart on the same block, baptized in the same water, the two friends were inseparable growing up and into adulthood.

After celebrating their 40th birthdays together, Mike falls ill and dies shortly after. The impact on Andy is enormous, and he spirals into a depression that threatens everything he holds dear.

Through memory and support, Andy is able to reconcile his grief and appreciate the power of male friendship and the beauty of life.

Pasta Mike is a testimony to the bonds men share and the vulnerabilities beneath the stoic surface.

Pasta Mike is loosely based on the author’s long-term friendship with his childhood friend, Mike, and mixes fact with fiction to give a truly authentic story of love, loss, grief and recovery. 

There are some gorgeous moments here, full of genuine feeling. The narrator’s sense of loss and bewilderment, the effect it has on those around him, his life and his addictions, go a long way towards showing the reader how grief can really have an impact, and shows too why we need to take those emotions seriously, be open about our feelings, and not be ashamed to grieve.

I enjoyed the wonderful descriptions of food – I’ve read previous books by this author and knowing that food would be involved here drew me to the book! 

This is, however, a novella, and, as such, I don’t feel that there was really enough room to explore all these interesting and important themes completely. I wish the author had made this into a full-length novel – there is so much here that would benefit from that, particularly memories of childhood, the narrator’s marriage, and the realities of depression

So a really great read, well-written, authentic and emotional – but, in my opinion at least, a novella that was crying out to be a full-length novel.

Inge’s War by Svenja O’Donnell #FridayReads #BookReview

What does it mean to be on the wrong side of history?

Svenja O’Donnell’s beautiful, aloof grandmother Inge never spoke about the past. All her family knew was that she had grown up in a city that no longer exists on any map: Königsberg in East Prussia, a footnote in history, a place that almost no one has heard of today. But when Svenja impulsively visits this windswept Baltic city, something unlocks in Inge and, finally, she begins to tell her story.

It begins in the secret jazz bars of Hitler’s Berlin. It is a story of passionate first love, betrayal, terror, flight, starvation and violence. As Svenja teases out the threads of her grandmother’s life, retracing her steps all over Europe, she realises that there is suffering here on a scale that she had never dreamt of. And finally, she uncovers a desperately tragic secret that her grandmother has been keeping for sixty years.

Inge’s War listens to the voices that are often missing from our historical narrative – those of women caught up on the wrong side of history. It is a book about memory and heritage that interrogates the legacy passed down by those who survive. It also poses the questions: who do we allow to tell their story? What do we mean by family? And what will we do in order to survive?

I recently watched The Final Account – over the course of more than a decade, the documentary film-maker Luke Holland collected interviews with surviving witnesses and participants of Hitler’s Third Reich. These were people who were there. Soldiers in the army, members of the SS, women who worked in the offices of the concentration camps. Those who lived nearby. It is a programme that was hard to watch. One man in particular was still proud of what he’d done. One woman, who worked in an office in a camp, said it was nothing to do with her. She said the treatment of the Jewish people horrified her. Then she laughed as she recalled hiding her boyfriend – a guard at the camp – when the allies came. There were those, of course, who were horribly ashamed, who took their share of the responsibility. 

A few years ago we visited Munich – a wonderful place, wonderful people, friendly, welcoming, beautiful. On our final day there we visited Dachau, and suddenly things weren’t so wonderful. What got to me most was that the camp was there for all to see. Everyone. No one could have not known. 

Of course we all hope that we would stand up to fascists. That we wouldn’t turn a blind eye, or worse, be involved. But documentaries like The Final Account, and the proof of places like Dachau niggle away – would we really be any different? Would we be brave enough to say no? 

Inge’s War, for me, is another story that poses this question. 

The writer’s grandmother, Inge, grew up in East Prussia, an area that was, in a lot of ways, removed from what was happening in the rest of Germany. On the whole, people just carried on with their lives, at least at first. Inge’s parents disapproved of Hitler, but they kept their heads down, not really believing that anything bad would happen. So removed were they, that they allowed Inge to move to Berlin in 1940, at the age of fifteen.

Here, Inge met Wolfgang, a young man who had avoided being called up. When he finally had to go to war, Inge discovered she was pregnant. He promised to stand by her, but his father forbade it, and feeling betrayed, Inge returned home.

The story then follows Inge and her parents, as the war does find them, and they too have to flee. What happens to Inge from them on makes for a dark tale, and the author comes to understand her stern, guarded, taciturn grandmother.

It’s unusual to read about German refugees, the terror they felt, caught between the Nazis and the Russians at the end of the war. It’s hard not to feel sympathy for them, for women like Inge, who were collateral damage in all of this. And when you read about atrocities like the Nemmesdorf massacre, the only thing you can feel is horror and disgust. But when you think about what happened to Jewish people, the Romani people, LGBT people, the disabled, and all the other groups targeted by the Nazis, it’s hard to feel as much sympathy for people fleeing who voted for Hitler, who may have watched their Jewish neighbours being taken away. Who turned a blind eye at the trains full of human beings. And the author recognises this, feels this conflict herself. But she asks the questions too of what would we, the readers, have done? Can we honestly say we would have intervened, spoken up, acted? 

The research here is, of course, impeccable, and the writing so accomplished. Accessible without dumbing down, thoughtful, respectful, and, unsurprisingly given the author’s relationship to Inge, completely genuine and authentic. This is, without doubt, an important book. 

Whole-heartedly recommended (as is The Final Account).