Writing Wednesday: Making the Cut – Editing

Since I am working through the professional edit of my novel Intruders, I thought it would be good to post about editing.

Amazingly, in these days of ebooks you can publish yourself, some people write a novel and publish it without any further work. It gives ebooks a bad name when you see the rubbish that is out there, and it makes it more important that your book must be the best it can be in order to stand out from the crowd.

Intruders editI really thought I had done so much work on Intruders that it would need very little work. Boy was I wrong! Yet 98% of the edits are right, but I just couldn’t see them. Most of the other 2% are misunderstandings which were also my fault and need work. Believe me, however good you think your work is, try leaving it for a month and then re-reading it – you’ll have a shock.

Anyway, here’s an old article from Writing Magazine, July 2009 by Jane Wenham Jones:

Please can you tell me what is meant by a ‘damn good edit’? I have been told several times that this is what my short stories need and now that I have finished my first full-length manuscript, similar comments have been made. I have spent a year writing my novel and, as far as I am concerned, have done everything I can to make it as good as possible. So what am I supposed to do now to ‘sharpen and polish’ it as has been suggested? I know this sounds like a silly question but I really don’t know where to start.”
Chrissie Howerd, Edinburgh

It doesn’t sound silly at all. This is a very good question and one, as I’ve heard agents and publishers agree, a few more writers should ask! Editing is as much a skill as any other aspect of writing – the most important one, I would say – and none of us are born experts. We have to learn how to edit effectively and when we do, the difference it makes is profound. Which is why every successful writer I know goes over and over their manuscripts, cutting, tweaking and holding, until they feel they’re absolutely right. And still something may slip through – that’s why copy editors have a job. Lynne Patrick, managing editor of Crème de la Crime, believes that the months or years an author spends immersed in their manuscript leaves them ‘too close’ to their work and makes it difficult for them to see it objectively. Describing her read-through of a manuscript the company was planning to publish she says: “I found far too many repetitions on one specific expletive; three minor characters all with the same first name; a couple of acronyms whose meaning wasn’t clear from the context; and an incorrect Famous Name. This was after several rewrites by the author.”

Take a break

Lynne recommends putting the manuscript away for a few weeks after typing ‘The End’ and then working on it again before sending it out. This is an excellent piece of advice, albeit one that I’m usually too impatient to follow. It is true, however, that if you can manage it, all sorts of flaws will become apparent when you reread your work after a suitable break. And it’s getting rid of those flaws, making the writing smooth, seamless and effortless to read, that is the aim of that ‘damn good edit’ all manuscripts need if they’re to make their fortune.

Print and read

You ask where to start. The answer is at the printer. Do edit on paper. You may think you can save the rainforest and be just as proficient reading your work on the computer screen but believe me, you can’t. I check things a dozen times on screen and still find all sorts of typos, missing words and speech marks in the wrong place once I’m staring at a hardcopy. After it’s printed, many authors would suggest reading the manuscript aloud. If you find yourself stumbling then something is wrong with the rhythm of that sentence and other faults will show up too. “Repetition jumps out at you if you actually hear the words in the air,” says writer and tutor Sue Moorcroft, “and punctuation errors become obvious.”

Cut, cut and cut again

Biddy Nelson, whose had more short stories published than you can shake a stick at, likens editing to weeding the garden. “Go through the manuscript cutting out anything unnecessary to the plot or characterisation – i.e. do away with favourite bits,” she says wryly. “It can be done over and over again, there’s always something that could or should go.”

As a brief checklist, things to hoik out include repeated words and dull superfluous detail, any overuse of adjectives and adverbs and weakeners like ‘rather’ and ‘quite’. We often have one or two of these we use more often than we realise. I have a tendency to litter my dialogue with ‘just’ and ‘really’ as in ‘I just feel… ‘ or ‘I really thought’, and have to prune them out at the end, while writer Anne Catchpole tells how she recently edited a chapter of her work in progress – mostly dialogue – and had to delete “twelve Ohs, fifteen wells and several buts.”

Sift through for mistakes

Also, watch for places where you’ve stated the obvious: “he yelled loudly,” or “she whispered quietly” and keep an eye open for the sort of spelling errors and grammatical glitches that the spell check won’t pickup e.g. the misuse of ‘it’s’ instead of ‘its,’ ‘there’ instead of ‘their’ and so on. Make sure it’s clear who is speaking in any dialogue and that your paragraphs don’t continue for several pages.

Different authors have different methods of working at this. Penny Alexander believes in the ‘counsel of perfection’ which she explains as “only ever editing while focusing ferociously upon ONE aspect: e.g. punctuation, or repetition, or information dumping… And NEVER to get sidetracked from that.”

Others, myself included, look for everything at the same time. Whichever way you do it, try to be ruthless. “I have always found that you can edit out far more than you think,” says magazine writer Pamela Weaver. “I’ve even managed to get a 3000 word story down to 1,500 words and still sell it, so it can be done! If you think what you’ve written is quote of the month, you can always save it for another time.”

My first drafts are always too long, too fluffy, too wordy,” says novelist Hilary Lloyd. “So my approach to editing is to cut, cut and cut again. Like writing, editing needs confidence, only gained from sharp practice!”

So grab your red pen and practice away. Editing your novel may take some time but, like clearing out an old cupboard, is strangely satisfying and you’ll be very glad you did it. Good luck!


About Ann Marie Thomas

Married since 1974, Christian since 1986, 4 children, 4 grand children, disabled with fibromyalgia but was working almost full time until a stroke in May 2010 changed my life completely. Writing poetry and making up stories since I was a child, I only started to write seriously when my children were grown. My main ambition is to write science fiction, but along the way I got distracted by local history and poetry about my stroke. Taking early retirement gave me the chance to concentrate on my writing. My book, Alina, The White Lady of Oystermouth, was published in print and ebook at Easter 2012. The success of Alina led to the publication of Broken Reed: The Lords of Gower and King John in September 2013, and The Magna Carta Story at Easter 2015. I am still writing science fiction - a series of novels called Flight of the Kestrel. For all my author news, see me author blog at www.annmariethomas.me.uk
This entry was posted in Flight of the Kestrel, Writing Wednesday and tagged . Bookmark the permalink.

One Response to Writing Wednesday: Making the Cut – Editing

  1. Pingback: Writing Wednesday: 2015 Writing Roundup | Ann Marie Thinking Out Loud

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