Karin Beery's Blog Member of the National Association of Independent Writers and Editors

The Fine Line Between Good & Great

Turning good manuscripts into great books.

My business motto sets a standard for my clients so they understand my editing style, including why I tend to be nit-picky about details many readers might not notice—my goal is to help create great books, not good ones.

There are a lot of good books out there. They have decent plots, characters, and conflicts, but they’re largely forgettable. People read them and rate them 3- or 4-stars, but they never talk about them again. Or worse, they confuse them with someone else’s book and talk about the wrong one!

So, what is it that boosts a book into greatness?

  • Attention to detail.
  • Honing the writing craft.
  • Doing what’s best when other writers do what’s easiest.
  • Time.

Here’s the hard truth: Well-established authors can get away with breaking the “rules” because they already have a fan base. Their fans will forgive them if their latest plot isn’t quite as engaging or the characters quite as unique. For new writers, however, the standard is higher—they need to develop that fan base, that tribe, first, and that means writing to that higher standard.

Unfortunately, meeting that standard almost always means years of writing, learning, and revising, and many authors aren’t interested in investing that much time. They want to get their books out as quickly as possible, so they publish a good book instead of waiting to make it a great one.

I’ve told many writers that their manuscripts are good, even admitting that I’ve read some published books at the same level as their manuscripts. But I don’t turn them away and wish them luck with a good book; I ask them if they want to work harder to produce a great one. It takes time and a lot of work, but the result is always a better book. It’s a book that sticks with people, that they share with others because it captured their hearts.

If you’d like to see if your good manuscript can be better, leave a comment or contact me at karin@writenowedits.com.

For more fiction-writing tips and advice, follow me on Facebook at Writing Now Editing, or sign up for my monthly newsletter and learn the easiest way to make a good impression with agents and publishers!

Dialogue: More than Talking

Every novel needs dialogue, but what is it, and how do you write it well? I’m glad you asked.

What is dialogue?

At the most basic level, dialogue is a conversation between characters. Like conversations in the real world, it contains several aspects:

  1. Spoken words.
  2. Unspoken words.
  3. Body language.

How do you incorporate dialogue into your story? Let’s look at each of these three parts for some tips on strengthening your book’s dialogue.

Spoken Words

In books, the spoken part of dialogue is set apart by quotations marks, i.e.

“How did you do that?” Mark asked Michelle.

Knowing what your characters will say is one part of spoken dialogue, but you want to consider these other factors to write realistic and engaging conversations.

  • We’re lazy, y’all. Imagine someone saying, “We are lazy, you all.” Sounds a bit stiff, doesn’t it. If that’s your character’s personality, go with it! But most people speak with contractions, so make sure your characters do too.
  • Vocabulary matters. An English professor with speak differently than a biology professor, who will speak differently than the cable repair man. Dialogue should represent the character’s vocabulary, not the author’s.
  • Well, that makes sense. Is it realistic to start sentences with well, so, yeah? Absolutely. But there’s a fine line between realism and engaging writing. Your general rule of thumb: If it doesn’t add context or clarity, cut it.
  • I don’t like that rule, Billy. Think about how many times in a conversation you say the other person’s name. Then look at how many times your characters say each other’s names. Another general rule of thumb: unless there are more than two people in the conversation, they don’t need to call each other by name. They know who they’re talking to.

Unspoken Words

The unspoken part of dialogue—a.k.a. thoughts—have a few specific rules you need to know.

  • Each scene can only show one character’s thoughts. Whether you’re writing in first- or third-person point of view, there’s only one POV character. That means you can only show the thoughts of the POV character.
  • The POV character IS the narrator. Unless you’re writing in omniscient, there isn’t a narrator in your story. The POV character for each scene is the narrator, which means the thoughts need to reflect that character’s speech patterns. Just like the spoken part of dialogue, the thoughts need to include contractions, the appropriate vocabulary, and any other spoken quirks of your character.

Body Language

Human faces and bodies speak loudly; so can your character’s faces and bodies. By using body language, you can show your reader what’s happening instead of telling them. Check out the examples below.

This: “Let’s go,” Linda said, eager to leave.
Or this: “Let’s go.” Linda grabbed Matt’s hand and pulled him through the door.

This: “I love it.” Beth lied. She didn’t like the sour candy.
Or this: “I love it.” Beth’s mouth puckered, her eyes watering. She chugged a glass of water.

Incorporating body language into your dialogue shows the reader what’s going on, allowing them to feel and interpret the scene with your characters.

By including all three aspects of dialogue into your writing, you’ll create more vivid and engaging scenes that pull your readers into the story.

If you have questions about dialogue, leave a comment or contact me at karin@writenowedits.com.

For more fiction-writing tips and advice, follow me on Facebook at Writing Now Editing, or sign up for my monthly newsletter and learn the easiest way to make a good impression with agents and publishers!

Research & Revising: Two Paths to Novel Writing

Most writers know that the first draft of their manuscript will never sell, but how many drafts does a writer have to write?

Honestly, the writing portion of a novel takes the shortest amount of time. The research and/or revising will likely (and should likely) take up 75% or more of the process. Depending on how you prefer to spend your time (research or revision), you’ll have different numbers of drafts (though the first draft will never be your final). And regardless of which method you prefer, you’ll have to invest time to create an engaging, readable story.

Write type of writer are you? Here’s a quick quiz:

  • Would you rather:
  1. Plan every detail of your trip before you leave so you maximize the experience and don’t miss anything?
  2. Hop on the plane and see what happens, even if it means you miss a few things?
  • When buying clothes, do you:
  1. Try things on in the store to make sure you know how everything looks and feels, then buy only what you need?
  2. Buy arms full of things to try on at home and return what you don’t want later?
  • Before going to a new restaurant, do you:
  1. Find the restaurant and menu online so you know what to order when you get there?
  2. Maybe you’ll scan the menu online, but you don’t make any decisions until you’re in your seat and everyone else has ordered?

If you answered A to most of those, you’re probably a researcher. If you answered B, you’re probably a reviser.

Researcher

Researchers like to know all the details before they start writing their stories. They have notes on:

  • Characters, include goals, motivations, conflicts; appearance; character arc.
  • They know their stories transitional moments (inciting incident, breaking point, point of no return, etc.).
  • They’ve calculated where in the story each main plot point and reaction should occur.
  • They’ve tracked the setting, including building details, topographical information, and historical events (if needed).
  • They have binders or folders full of notes on all of these details.

By the time a researcher sits down to write, they know almost everything they need to know about the story. They’ve spent weeks (or months) writing things down and organizing them before they ever type the first word of their manuscripts.

Reviser

Revisers tend to start with a solid understanding of either their plot or characters, but most of the details have yet to be discovered. Sometimes called seat-of-the-pants writers, they do minimal prep work before writing (usually a few days or maybe a week or two). Their process is more trial-and-error: if something doesn’t work, edit out and try something different.

Revisers (as you might imagine) spend more time revising their manuscripts. It may take 1-2 (or three or four) big revisions before they’re ready to let anyone read or critique their manuscripts.

Neither of these paths is right or wrong. Neither one yields better results than the other. They’re just different. Don’t get discouraged if your best friend is a researcher and only needs to edit her story instead of revising it. That method works for her; your method works for you.

Not sure which type of writer you are? Email me at karin@writenowedits.com and we’ll figure it out!

For more fiction-writing tips and advice, follow me on Facebook at Writing Now Editing, or sign up for my monthly newsletter and learn the easiest way to make a good impression with agents and publishers!

First or Third Person Point of View: When and Why?

When it comes to captivating your audience, point of view (POV) matters. While there are no right or wrong places to use different POVs, there are absolutely genres and styles that work well with specific POVs. Before we jump into that, let’s look at the different POVs often used in fiction.

First, Third, and Omniscient POVs

For the sake of this post, we’ll refer to the three main POVs as First Person, Third Person, and Omniscient. Kathy Tyers, author of Writing Deep Viewpoint, defines them as:

  • First Person: Narrator uses the “I” voice.
  • Third Person: Narrator is present as a named character, using the “he” or “she” voice.
  • Omniscient: Still “he” or “she,” the narrator’s consciousness is godlike in knowledge.

Each of these POVs provides s different depth of perspective.

First Person is the deepest, putting the reader directly into the mind and body of the narrator and allowing the reader to experience the story life as real life—only knowing, feeling, and sensing situations from one perspective.

Third Person can keep the reader close (Deep Third) or at a distance (Shallow Third). In today’s market, Deep Third is preferred. Similar to First Person, Deep Third pulls the reader into the mind and body of the narrator (again only showing what the character knows, feels, and senses), but the use of “he” and “she” pronouns adds a bit of space between the character and reader. Shallow Third adds even more space, as it doesn’t rely as heavily on the POV character’s thoughts, feelings, and emotions and often focuses more on external descriptions and plot points.

Omniscient is a third-person POV (as it uses “he” and “she”). Its perspective creates the most space between the characters and the reader as it doesn’t ever allow the reader to get into the main character’s head or heart. The narrator can describe what a character does (and possibly even the motivations) but can’t convey the feelings and emotions of each character because the narrator is, in fact, its own godlike, all-knowing character.

When and Why to Use Each POV

Technically, authors can use any POV in any novel or genre, but there are certain POVs that work better in different genres. Here are a few examples and why they do/don’t work.

First Person—Yes: This intimate perspective is excellent for books with one main character, such as young adult or women’s fiction novels that follow the growth and character arc of one person. There may be best friends, enemies, and love interests, but their main purpose in the story is to motivate the main character to change (or to highlight how the main character changes).

First Person—No: Most romance novel readers want to see the story from both the hero’s and the heroine’s perspectives. Because of this, the majority of romance novels are written in Third Person, so readers expect (and even demand) that perspective. While you technically can write a romance novel in First Person, there are readers who simply will not read it because of the POV. Since it’s possible to create a similar POV depth by writing Deep Third, that’s usually recommended for romance novels.

Third Person—Yes: Any book with multiple main characters is the perfect book for Third Person POV. I already mentioned romance novels, but it also works well in speculative fiction, historical, suspense, thriller. Anytime you have two or more main characters (characters with goals/motivations/conflicts and character arcs), it’s a good story for Third Person.

Third Person—No: I honestly can’t think of a time when I would encourage an author to avoid this POV. Because it’s so widely accepted, it can be used in just about any genre.

Omniscient—Yes: Omniscient works well in literary fiction, where the emphasis in on the theme instead of the plot and characters. It can also work well in epic novels, where the story takes place over large periods of time or space, again taking the focus off of a few specific characters and instead putting it on several people throughout time or across the world. (Think Hawaii by Jame Michener.)

Omniscient—No: Aside from one specific genre to avoid, it’s really a specific type of story that doesn’t work well with Omniscient: stories about or that highlight deep emotional connections. For that reason, romance novels are out. For all other genres … it depends. If you want to tell the story of six soldiers in the Civil War, omniscient might not be the best fit, but it could work perfectly for the story of a regimen of soldiers and their impact on the war.

I’ll say it one more time because it can’t be said enough—there are no right or wrong ways to use POV in your books. But there are ways to use POV to improve your chances of getting noticed, getting published, and developing a fan base.

Still have questions? Let me know! karin@karinbeery.com

For more fiction-writing tips and advice, follow me on Facebook at Writing Now Editing, or sign up for my monthly newsletter and learn the easiest way to make a good impression with agents and publishers!

For more fiction writing tips, try these:

Backstory: The Right and Wrong Ways to Use Dialogue
Why Novels Need Structure

How to Write a Novel: Book Recommendations for All Writers

With 15+ years of experience writing and editing fiction, I can teach you a lot about plot, characters, style, pacing, and more, but I didn’t invent most of the techniques that I teach. To be completely honest, I’m still honing many of those skills myself. To do that, I continue to read books on writing, and I regularly recommend them to my clients.

Even if you hire me to edit your manuscript or coach you through the process, having these books on hand is a good idea for your own continual education and growth. These are the books that have helped me and countless others develop their fiction-writing skills.

General Fiction Writing

The Art & Craft of Writing Christian Fiction by Jeff Gerke

“There is skill involved in writing excellent … fiction. There is craftsmanship to be learned. And there are the long hours pounding away on a manuscript that, by the time you’re done with it, has you convinced it’s the worst piece of garbage ever penned by man.”

 

The Story Equation by Susan May Warren

“You can plot your entire book by asking one powerful question, and then plugging it into an “equation” that makes your plot and characters come to life. You’ll learn how to create compelling characters, build the external and internal journey of your characters, create a theme, create story and scene tension, plot your novel organically, and even pitch and market your bestseller. All with one amazing question.”

5 Editors Tackle the 12 Fatal Flaws of Fiction Writing by C.S. Lakin

“5 Editors Tackle the Twelve Fatal Flaws of Fiction Writing demonstrates the deadly dozen pitfalls on the road to a strong story, along with revisions that show writers exactly how to avoid novel failure. No other writing craft book offers such detailed instruction in how to spot and remedy the major flaws of fiction writing.”

 

Writing Deep Viewpoint by Kathy Tyers

“Deep viewpoint can convince your readers that they have become your characters. This powerful writing-craft skill set includes showing instead of telling, maintaining story flow, attributing dialogue effectively, and showing characters interact with convincing antagonists and believable settings. Writing coach, editor, and New York Times best-selling author Kathy Tyers presents a short powerful set of writing-craft tools in Writing Deep Viewpoint.”

Plot/Structure

Save the Cat! Writes a Novel by Jessica Brody

“[A] comprehensive story-structure guide for novelists that applies the famed Save the Cat! screenwriting methodology to the world of novel writing. Revealing the 15 “beats” (plot points) that comprise a successful story–from the opening image to the finale–this book lays out the Ten Story Genres (Monster in the House; Whydunit; Dude with a Problem) alongside quirky, original insights (Save the Cat; Shard of Glass) to help novelists craft a plot that will captivate–and a novel that will sell.”

How to Write a Novel Using the Snowflake Method by Randy Ingermanson

“How to Write a Novel Using the Snowflake Method is a “business parable”—a how-to guide written in story form. It’s zany. It’s over the top. It’s just plain fun. Most important, it’s effective, because it shows you, rather than telling you.”

 

Plot and Structure by James Scott Bell

“How does plot influence story structure? What’s the difference between plotting for commercial and literary fiction? How do you revise a plot or structure that’s gone off course? With Write Great Fiction: Plot & Structure, you’ll discover the answers to these questions and more.”

 

Characterization

Getting Into Character by Brandilyn Collins

“Want to bring characters to life on the page as vividly as fine actors do on the stage or screen? Getting Into Character will give you a whole new way of thinking about your writing. Drawing on the Method Acting theory that theater professionals have used for decades, this in-depth guide explains seven characterization techniques and adapts them for the novelist’s use.”

Plot Versus Character by Jeff Gerke

“What’s more important to a story: a gripping plot or compelling characters? Literary-minded novelists argue in favor of character-based novels while commercial novelists argue in favor of plot-based stories, but the truth of the matter is this: The best fiction is rich in both. Enter Plot Versus Character. This hands-on guide to creating a well-rounded novel embraces both of these crucial story components.”

What are your favorite fiction-writing resources?

For more fiction-writing tips and advice, follow me on Facebook at Writing Now Editing, or sign up for my monthly newsletter and learn the easiest way to make a good impression with agents and publishers!

Why Do You Need a Novel Synopsis?

Most novelists know they need to write a synopsis for their books, and there are lots of resources to teach you how to write your synopsis, but why do you need one?

Here’s the good news—a synopsis is not an example of your writing style or skill. That’s not why agents and publishers request them, so don’t worry about whether or not the synopsis demonstrates your mastery of fiction-writing techniques. It’s not supposed to. Instead, your synopsis demonstrates the following:

  • Can you follow directions? Agents and publishers will request everything from a one-page to a ten-page synopsis—you can’t submit the same one to everyone. Agents and publishers usually post their submission guidelines on their websites, including synopsis length. Sending the right length shows the recipient that you can and will follow directions.
  • Story structure. The best novels have structure (such as the three-act story). Your synopsis will show the reader if your story has structure and where the weaknesses are.
  • Characterization. You should include brief descriptions of your main characters in your synopsis, and those will help the reader see whether or not you have stereotypical or complex characters. The synopsis will also highlight character growth and development.
  • Other big-picture problems. Does the pacing work? Is there enough conflict? Your synopsis shows this.

It’s actually pretty easy to help an author polish a strong story with fiction-writing problems (too much telling, not enough sensory details, etc.). It’s much more time consuming to fix those issues if they’re layered on top of plot holes and weak characterization.

When you’re writing your synopsis, remember that it’s a story summary—it shows agents and publishers how well you can plot a story and create relatable characters. Don’t get bogged down in the details. Let the story shine (your sample chapters will do the rest).

Still not sure about your synopsis? Don’t hesitate to contact me and let’s see how we can strengthen yours.

For more tips, connect with me online at Facebook, Twitter, and LinkedIn!

Keep It Simple, Stupid: 3 Fiction-Writing Rules for Success

When it comes to fiction writing, simple is best.

Too often, new writers want to do something new and original to capture an agent or publisher’s attention. They create over-the-top characters, put them into unbelievable situations, and describe every encounter and setting with Victorian-era poetry. They break all the rules because they’re convinced their unique approach to novels will wow their readers.

That rarely works.

Here’s the hard truth that many new writers struggle to understand–the rules exist for a reason, and understanding (and applying) those rules will increase your chance of signing a book deal (and selling more copies of your book). By understanding and applying basic fiction-writing rules, you’ll capture your readers attention and keep it until the end.

When it comes to fiction, remember to K.I.S.S.: Keep It Simple, Stupid (or Silly, if you prefer).

At it’s heart, a great novel includes three main things:

1. Believable characters. Stereotypes won’t cut it. Neither will random characters thrown into situations they’d never find themselves in. Characters don’t need to be off the wall, they need to be multi-dimensional and believable (even if the reader can’t relate, she should at least understand the character’s motivations).

2. A structured, forward-moving plot. If your characters don’t have goals–if they aren’t actively working toward something–your readers will lose interest. But it’s not enough to have them struggling over and over and over again toward the same thing (that would move the plot backward). Give the characters something to work toward and keep adding new plot points.

3. Appropriate showing. Novelists have heard “show don’t tell,” but showing in and of itself isn’t enough. The showing needs to be appropriate to the characters and the time period. Six year-old children don’t talk in complete paragraphs with three-syllable words. Turn-of-the-century characters don’t say groovy.

Don’t worry about unique plot twists or unconventional points-of-view until after you have a few novels under your belt. Instead, master these basic fiction-writing elements and you’ll create stories people will want to read.

K.I.S.S.

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