Thursday, April 20, 2017

Errata Be Mine

Zestful Blog Post #208

You’ve heard it before: “Don’t edit while you’re writing!” Fine. But for best results, you have to take it to the absolute extreme, which is, “Even if you know right now that you’re going to cut the sentence or section you’re writing, finish it.” Finish the thought, finish the little train, don’t stop now, keep going. [If you're in a hurry you can quit reading here, because now I’m just going to throw down a couple of somewhat relevant memories plus a photo.]

One has to be of an age to remember writing school assignments like book reports and essays longhand (using an “ink pen” (meaning a ballpoint)). Writing exams longhand is still done, I understand. Invariably, the teacher would say in advance, “If you make a mistake, don’t scribble it out, just cross through it with a single line.” Didn’t you hate that? The whole goddam point of crossing out was to hide something stupid you wrote. Because obviously the teacher would read the mistake through the cross-out before going on. Not only would that interrupt the flow, but the teacher would see that you started to write “government” as “goverm—” before noticing it. I never obeyed the single-strike-through rule; always scribbled the black hell out of a mistake so it couldn’t be read.

["Typewriter Eraser, Scale X" by Claes Odenburg and Coosje van Bruggen, in the sculpture park at the National Gallery of Art. Photo by ES.]

This carried over to typewriting as well. The teacher would see that you typed “gpvernment” at first. I spent extra on Eaton’s Corrasable Bond paper, which had a coating on it that allowed you to erase mistakes easier than scratching them out on ordinary paper.

These days it’s lovely how easy it is to digitally backspace, delete, cut and “paste” (how quaint that word!). Nobody need see your self-catchable errors, your changes of mind, your process.

But flow is king (or CEO, or top witch in the coven, whatever). Never lose sight of that. The best way to foster flow is keep going right on through anything weak. Let it out, let it lie for now, keep moving forward. This bears repeating now and then. Thank you for sticking with me.

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Thursday, April 13, 2017

Precision Because If Not Us?

Zestful Blog Post #207

So many things bug me. And the beauty of blogging is that I can air my grievances to you, my friend, who understands all. Mind you, I don’t air every damn grievance that comes up. This is neither a marital nor political blog. Today’s rundown:

I first heard the word “irregardless” from my band director in high school, who used it constantly. He also would, when conducting, occasionally remind us, “Alla grando!” mispronouncing “allargando.” (Allargando means the music should be played slower and with more oomph.) All one need note is that “regardless” is a word, meaning “nevertheless.” And “irrespective” is a word as well, meaning “notwithstanding.” They should not be combined.

Elizabeth Sims, ranch hand

[You can almost tell what those llamas are thinking. (See below.) And yes, that's me on ranch duty a few years back. Photo by MB.]

Now, here’s a Gordian knot that needs repeated untying. Many, many times I’ve heard people misuse and mix up the following:


We counted five traffic incidences at that crossing last month.
We counted five traffic incidents at that crossing last month.

Frankly, “incidences” should be avoided altogether. Usually somebody uses it when they mean “incidents.” Incidents is a clearer and simpler word. Going on, now:

My report shows a lower instance of sexual dysfunction in alpacas than in llamas.
My report shows a lower incidence of sexual dysfunction in alpacas than in llamas.
There were several instances in which male llamas attempted to mate with a fence post, despite the presence of receptive females.
In one instance, the veterinarian had to be summoned.

It just keeps getting better, doesn’t it?

One more:

Her exercise regiment consisted of an hour’s walk every day.
Her exercise regimen consisted of an hour’s walk every day.

A regiment is a group of military personnel. A regimen is a set course of action, or a plan, usually involving health/fitness/medicine.

As usual, I feel better. Thank you and you're welcome.

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Thursday, April 6, 2017

Magic Cure for Synopsis Paralysis

Zestful Blog Post #206

Everybody hates to write synopses. Your novel is finished, and now you want to shop it around, and you need a synopsis. Or you’ve written your seventh, but your editor requires a detailed synopsis every time, before they sign the contract. Or they require a synopsis before you even write the thing! You need a synopsis.

And synopses suck to write, they just do. I’ve critiqued synopses for clients, I’ve written my own, and the whole business of distilling your story to something that sounds fabulous is onerous and upsetting. You have to leave out so much, and whatever you put in is incomplete, so how do you decide, rrrrgh, rrrrgh, sucking, sucking. I’m not talking about a paragraph-long piece of cover copy, though those suck to write as well; I’m talking about the extended, multi-page synopsis you need to satisfy agents and especially editors. Gosh—this just occurred to me: A fabulous side benefit of self-publishing is that you don’t have to write synopses. But if you’re after a trad-pub deal, you gotta do ’em.

OK, I promised a magic cure, and here it is.

Don’t write your synopsis. Talk it.

That’s it, basically. Walk away from pen and paper, walk away from the keyboard. Get cozy with a voice recorder and start telling your story to it. Ideally, use a voice-to-text application and be in a private setting where you can’t feel inhibited about being overheard. Speak as if you’re telling a friend the story from the start. Don’t worry if you feel awkward/stupid, and have to start and stop. Keep at it, and things will go smoother. If you were talking to a (patient, interested) friend, you’d tell what happens, and you’d also talk about the story’s themes— “OK, and there’s this rebirth imagery that keeps cropping up, like when…” You might talk a little about the germ of the story, the seed that made you think, hey, I could write a novel about this! And you’d talk about the characters, both generally and specifically. You’d talk a bit about the settings, perhaps. You might repeat yourself, you might think of something out of order— “Oh! And yeah, the guy’s brother used to be on the bomb squad, so he’s got like this inside dope on how those robots work…” Natter on. If you do this, and do it naturally and in a relaxed way, you will not be gripping your head in frustration.

Then when you feel like you’ve pretty much got it covered, stop and transcribe it or print it out. NOW you’ve got something to work with! Let it sit for a day or two, then get it out and start editing. You’ll immediately see what sounds good and what doesn’t, which parts are more important, which ones less. You’ll cut redundancies, you’ll cut extraneous words, you’ll tighten things up with conjunctions that flow instead of stumble. Your text will already be in an informal, vocal cadence, and that’s good for a synopsis, which ought to sound fun, chatty, and quick. You’ll notice good turns of phrase, and poor ones. You’ll tighten things up more. You’ll have a synopsis.

This technique isn’t really magic (I confess), but it can help magic happen! I’ve tested it on my own material. If you try it, let me know how it goes.

[photo and photo manipulation by ES]

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