Getting rid of filter words

Image is from: http://inkslingereditorialservices.com/category/mechanics-of-writing/get-out-of-the-way/

Image is from: http://inkslingereditorialservices.com/category/mechanics-of-writing/get-out-of-the-way/

‘Show. Don’t tell.’ Every writer has heard this mantra. I hadn’t, though, heard of filter words till recently. Filter words are verbs that take the reader one step away from experiencing life as your POV character. Leah Wohl-Pollack of Invisible Ink Editing gives this list:

  • to see
  • to hear
  • to think
  • to touch
  • to wonder
  • to realize
  • to watch
  • to look
  • to seem
  • to feel (or feel like)
  • can/could/couldn’t
  • to decide
  • to know
  • to sound like
  • to notice
  • to be able to
  • to note
  • to experience
  • to remember

I’ve been through my draft evaluating each filter word as I find it. Here’s one passage before the changes:

She felt torn between railing at him for his arrogance and blurting out how uncomfortable she was with the constant prickly awareness he induced in her. Silence seemed safe. She said nothing as he coaxed the horses onto the bridge, then turned to pass the mill.

This became:

Should she rail at him for his arrogance? Blurt out how uncomfortable he made her? She was constantly aware of him; every nerve ending on edge and a strange hollow warmth in the pit of her stomach. Silence seemed safer. She kept her eyes turned away from on his strong hands as he coaxed the horses onto the bridge, then turned to pass the mill.

It’s a great tip. For more, just google ‘filter words’.

Why do I need a beta reader?

betasThe third draft of Farewell to Kindness will be finished this weekend; probably later today. Some wonderful people have volunteered to read it for me, and I’ve been fishing around for clues on what I should say when I brief them. I found a fabulous resource by Belinda Polland at Small Blue Dog Publishing. It explains what a beta reader is, and why we need one. It then goes on to link to more articles about how to find beta readers and how to brief them. Great stuff. Here’s Belinda’s list of reasons:

The fact is, we spend so much time on our own manuscripts that we can’t see them objectively — no matter how diligently we self-edit. These can be some of the outcomes (there are plenty more):

  • We create anticipation or an expectation early in the book, but forget to deliver on it.
  • We describe events in a way that is clear to us but not clear to a reader who can’t see the pictures in our head. (At least, we hope they can’t see them. Are you looking inside my head??? Eek!)
  • We leave out vital steps in an explanation and don’t realise it, because we know what we mean.
  • The characters in our books (whether fictional, or real as in a memoir or non-fiction anecdote) are not convincing, because we know them so well we don’t realise we haven’t developed them thoroughly on paper.

#amediting 3

Cover showing woman archer on village green

I’m in the final pages of the third draft of Farewell to Kindness. From this point on, almost every row in my plot-line spreadsheet has notes in the ‘needs work’ column. I’ve been averaging 35 pages an hour (the train trip to and from work takes an hour, so it’s easy to work out), but today’s output was six pages. Still, I have another trip tonight, and then the weekend.

Next, I do a final check for filter words and egregious spelling errors, and format it for the beta readers.

 

 

Cover page shows woman with horse

I have a whole lot of super people who have volunteered to read the novel and tell me what they think. I’m pretty nervous, but very excited.

While it’s with the beta readers, I plan to leave it alone, apart from writing the artistic brief for the cover and book trailer.

Oh, yes, and rewriting the book blurb on this site and on Goodreads.

I don’t expect any of those to take long, and I’ll mainly be focusing on the next writing projects.

 

Shows masked woman in a forestI want to write Candle’s Christmas Chair (a short story or novella, depending on how much I write, that I want to have ready to give away for Christmas). And, if I’m to have the first chapters in the back of Farewell to Kindness, I need to finish the chapter outlines and main character sketches for Encouraging Prudence and A Raging Madness.

So no boredom on the horizon yet, then.

In January, I plan to do any changes that come out of the beta read, then read the whole book aloud into a recording App on my iPad. This will let me be my own reader/listener for a complete copy edit, which can be my train-time project for January. I’ll send it for a professional proofread once I’ve done my own copy edit. And then whole heap more jobs to actually publish. I’ve got a little list. (But, if you’ve been reading my blog, you will have guessed that.)

Write with style

vonnegut1A grateful curtsey (in place of an anachronistic tip of the hat, or H/T) to the person who tweeted a link to the Brain Pickings article about Kurt Vonnegut’s 8 keys to power of the written word.

Here’s his list. Click on the link to find out what Vonnegut has to say about each one.

  1. Find a subject you care about
  2. Do not ramble, though
  3. Keep it simple
  4. Have the guts to cut
  5. Sound like yourself
  6. Say what you mean to say
  7. Pity the readers
  8. For really detailed advice…

 

Some like it hot

5696450I’ve been mulling over heat-level descriptions in romance novels. According to a discussion I’ve been in on Goodreads, readers hate finding themselves in a novel that gives them more or less sex than they expected. (Both seem to rub people up the wrong way.)

My hero and heroine in Farewell to Kindness have (I hope, or I’ve done it wrong) quite a bit of heat between them. They kiss several times, they have one memorable night, they think about one another a lot, and Rede’s thoughts are definitely carnal (what can I say; he’s a 34-year-old male who has been celibate since his wife died 3 years ago).

And my villainess is either having sex or thinking about it in most, if not all, of her scenes.

So the heat-rating ‘sweet sensuality’ doesn’t fit. And I’ve gone beyond ‘mild’ in a couple of places, too.

On the other hand, the heat-rating ‘hot sensuality’ seems over the top. The passionate encounters take up a tiny fragment of the whole, and I tend to use non-specific language and focus on emotions rather than physical descriptions (with a few notable exceptions).

As I’ve noted elsewhere, even this level of heat was enough to make me change my heroine’s name.

The villainess Lydia’s scenes are left largely to the imagination of the reader. Here’s the start of the scene where I introduce her:

The boy was enthusiastic, but unskilled and undisciplined. He grunted and heaved over Lydia, striving for his own completion without regard to hers. He would improve with a little tutoring, however. Yes, she would certainly teach him how to give pleasure. While that was by no means her reason for taking him as her lover, she saw no reason to deny herself the benefits of his teenage vigour.

A movement caught her eye. The boy was too far gone to notice Baron Carrington, lounging at his ease in the doorway.

She raised one eyebrow. She hated, feared, and loved her husband in equal measure, and knew better than to show any of those emotions.

He smiled coldly, then gestured with his head. She had no difficulty interpreting the command. “Come and see me when you have finished.” He didn’t wait to see her acknowledgement, fading from the doorway as silently as he had appeared.

The boy stiffened all over, letting out a shout as he reached his climax. She let out her own cry. Letting him think he’d pleased her would help to bind him to her. Bindings. There was a thought worth exploring. If she bound him to the bed, she could force him to slow down.

Later. For now, the Baron waited. And the Baron did not like to wait.

Not hot. Right? But certainly not sweet. Okay, she’s the villainess, so here’s a bit starring Rede and Anne. They’ve spent the night in a cottage, sharing the one bed, but she was asleep before he got into it:

Anne woke in the pre-dawn light, aware of a warm large presence enfolding her in the bed. Rede was wrapped around her, his front spooned against her back, one large arm flung over her body, and one leg over her hips.

She lay still, cataloguing each of the touch points. Rede’s hand brushed her breast. His leg hooked back to rest against the front of her thighs. Against her buttocks, something hard pressed. Was that what she thought? If so, it seemed bigger than she expected.

She resisted the urge to squirm against it. Instead, she lifted Rede’s arm, and carefully pushed it behind her. As it fell back against his side, he rolled onto his back, freeing her from the cage of his body.

She lay still for a few moments more, waiting to see if he woke, but his breathing didn’t change.

After a while, she wriggled a bit further away, so that she could sit up without disturbing him. He lay beside her, flat on his back, still sleeping. He had rolled from under the covers, which were all bunched up on her side of the bed.

She was a little disappointed to see that he’d come to bed in shirt and pantaloons. But his shirt was unbuttoned, and she could see a vee of his chest, with a dusting of golden hair. And she could see his feet. She had never before thought of feet as beautiful, but his were. Narrow and straight, with long elegant toes to go with the long elegant fingers that had cared for her so tenderly last night.

“My darling,” he had said. How she wished she really was.

She continued her examination. The strong curves of his chest, the flat planes of his abdomen. And, yes, there. Where the pantaloons were tented over… she had no idea what to call it. The male part of him.

Without thinking, she reached out a hand, stopping a few inches in the air above the stretched fabric.

“You can touch it if you wish,” Rede said.

She snatched her hand back and looked at him, feeling the heat as she blushed.

He hadn’t moved, except to open those blue, blue eyes.

So I’m calling the novel warm, following Tori Macallister, who did a lovely post on the various rating systems people use.

A necessary sacrifice

ackermann_mourningdress1819On the train today, I decided to kill one of my favourite characters. I’m sad, but I’m convinced it’s the right thing to do.

I completed the third draft edit on page 135 of 506 pages, so he has around 340 more pages to live. At the current rate, he’ll be dead by next weekend.

I’ve lost over 2000 words in the edit so far, but it’s still a bit of an epic (127,000).

#amediting part 2

I’ve always agreed with the aphorism that good books are not written, they’re rewritten. All power to the elbows of those who can write once and publish. I’m not one of those writers. So how am I editing?

First I went through the draft as I did it, each day checking what I wrote the day before.

Then, after attending the Romance Writers of New Zealand conference in September, I completely rewrote the 30,000 words I had up to that point.

Then, as I came up with new ideas, I went back and planted seeds in earlier chapters.

So by the time I finished Farewell to Kindness, I was calling what I had the second draft.

As I approached the end of the writing, I read up on editing, and I posted what I found.

Next, I worked out my own process, which was a kind of an amalgam of everyone else’s with a few of my own ideas thrown in.

I took a long weekend, and – in a marathon 35-40 hour sprint – went through the whole book in hardcopy, page by page, writing character names, plotpoints, story outline, and any ideas or discrepancies in a spiral-bound notebook.

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Then I decided that I needed to put some of this into a spreadsheet.

So I’ve spent every evening for the last week (and a few midnight hours) creating a three-tab spreadsheet. Tab one has all the plots across the top (four strands to the major plot, and 16 subplots), and all the scenes down the left hand side. I’ve marked where plots start, where they end, and where I’ve got lost somewhere in the middle.

This let me work out that I need to drop a couple of the minor plots because they aren’t needed, I need to work in a bit more about the Revenge strand of the major plot, because I pretty much forget about it in the middle of the book, and I need to close off some minor plots that I left hanging.

On tab two, I’ve listed all the characters in each scene. I’ve found (and fixed) some name changes by doing this. I’ve also put descriptions of characters when they appear in the book, so I could check that I didn’t change a person’s eye colour, height, or other personal characteristics.

Tab three is a calendar. I’ve added the phases of the moon, and moonset, moonrise, sunset and sunrise where they’re significant to the plot, and I’ve put the scenes in day by day. This allowed me to find out that Rede had an extra day up his sleeve, and could have been back in time to save Anne, so I’ve worked out something to delay him (which, not just incidentally, also allows me to close off my dangling plot lines before we get to the grand finale).

So here’s the spreadsheet. You’ll see it goes right from the left of my desktop screen to the right of my laptop screen.

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It’s been a little tedious, but I’m finding it a remarkably efficient way to work. My mind goes off on flights of fancy while my fingers are filling in character names, and all of a sudden a difficulty resolves itself.

Next step (already started) is to rewrite to bring all the ideas into the third draft. I’m pretty happy with the preface and first three chapters, and I’m excited about the changes and new scenes coming up.

The plan is to get the third draft done then prepare a copy for beta readers within the next fortnight. I’ll let you know how I get on.

Spring in the garden is a delight

The Black Evil One and the Henchcat love when I move the hens. They reckon that I just have to slip up and leave the cover off, and they’ll eat like queens for weeks.

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I have been neglecting everything else in favour of the novel. The hens were living in a moonscape; the tomatoes need to be tied up; I managed to treat the trees for curly leaf, but thinning the fruit? If the trees want their fruit thinned, they’ll just have to do it themselves.

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Today, the plan is to spend the morning catching up on the ever increasing to do list.

I’ve moved the hens, but still have to change the sand in the tray of their roost and put clean straw in their nest boxes.

And then catch the flibberty things to dust them with mite powder.

I’ve tidied up around the house a bit, but the grandkids that are staying with me for the weekend are going to help me wash the windows inside and out.

Tomatoes, I will get to you, promise.

Meanwhile, the PRH is going to mow the lawn (nearly 2 acres of it), but first, he tells me, he needs to cut some fillets so he can stack the wood for my new raised garden beds. Fillets, he says, are bits of scrap wood that go between planks to hold them off one another so the air can circulate to let the timber dry. Who knew?

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The title of this piece is the first line from a chapter in Farewell to Kindness. Yes, okay, that’s where my mind is.

Up to page 337 of 506 on the plot line review, and page 97 on the third draft edit. Wait for me, novel. I’m coming!