F R E E A R T I C L E
!
THE TOP FIVE ERRORS OF NEW WRITERS by Carol Gaskin
In my ten years as a book editor, I have seen just about every
error a writer can
make—and not just from beginners, either! New authors have a
tendency to make certain kinds of errors more often than pros, however.
I hope this list of the top five mistakes I see from new writers will
help you avoid them.
#1: Imitation
How often have you read something wonderful, then thought, "I can do
that!" Well, maybe you can. But don't! Agents and publishers want to
see something new, or a novel twist on the familiar. I frequently see
versions of
The Celestine Prophecy, Silence of the
Lambs, Harry Potter, and other best-selling phenoms. Often
these manuscripts are well written and well organized. But I fear they
stand little chance in the marketplace, because they are too blatantly
imitative of other works.
We are all influenced by our favorite authors, as we should be. I
always recommend that writers read widely and learn from the best. It's
essential to read in your particular
market—then find something original to contribute. Naturally
you have more leeway to be imitative if you work in genre fiction,
because you must respect the conventions of the genre. But even writers
of romance, horror, western fiction, and so on, must find a way to
surprise their readers, even as they work within the comforts of the
genre. Don't discard those early derivative efforts, however! You can
learn a lot about how to write your next book from an early work
inspired by a bestseller.
#2 Sloppy Formatting
Your manuscript is far more likely to be read if it is easy to read.
Follow these guidelines when formatting a manuscript for submission to
an agent or prospective publisher: Use a bright white 8 ½"
by 11" paper and black ink. Avoid colored papers and inks, and fast or
economy-grade printing, which usually yields a gray, hard-to-read text.
Double-space your manuscript, and use a 12-point font, either Times New
Roman or Courier. Set one-inch margins at the top, bottom, and sides,
and justify the left margin only. Create a title page with the title
halfway down on the page and your name and contact information beneath
it. Include a table of contents with nonfiction. Set the header at the
top left margin of each page to read, BOOK TITLE: Author's last name.
Start each new chapter five inches down on the page. Begin numbering
the pages with the first page of text, and continue numbering
consecutively through the manuscript. (Do not begin each new chapter or
section with page 1.) Center page numbers at the bottom of the page.
If your manuscript includes a bibliography, footnotes, appendices, or
other such elements, you may wish to consult the
Chicago Manual of Style for proper
formatting.
#3 In
Fiction—Opening in the Wrong Place
New writers often get stuck trying to cram everything they know about
their protagonist into the first chapter and attempting to use every
word in their vocabulary as well. I know, because I did this myself in
my first novel! In most short or full-length fiction, you'll want to
open your story on the edge of the action, and then keep it coming.
First, engage your reader in the trajectory of the story. Then allow
your characters to gradually reveal their personalities and secrets.
Does your first chapter include a lengthy flashback? Have you spent the
first twenty or thirty pages explaining the context for your
protagonist's predicament? If so, chances are you have begun in the
wrong place. Don't let your protagonist wallow in the past until the
ongoing present is firmly
established—if ever. Ideally, your book should move forward
in time. You'll also want to cut any long passages of background
information from the front and integrate the material into later
chapters. Today's readers do not want to wade through pages of
description or history before discovering what the book is about. Your
characters' plight must capture your readers independently of the
background we will come to learn.
#4 In
Nonfiction—Saving the Best for Last
Jokes require a punch line, and fiction readers love a surprise ending.
But nonfiction readers need to know where you are headed, what points
your argument will support, and what benefits they will reap from
reading your book. In short, don't bury your conclusion in your last
chapter—many readers will never get there.
For example, I recently edited a manuscript in which the author made
point after seemingly unrelated point, offering voluminous evidence
from diverse fields that, taken together, eventually led to a startling
assertion about the origins of the universe. But because he failed to
state his thesis up front, the reader had no idea what the writer was
trying to prove and no context in which to consider the information he
cited until the final chapter, hundreds of pages later. I found myself
thinking,
"Interesting—but so what?" An agent or prospective publisher
would have dropped the manuscript after the first thirty
pages—which would have been a shame, because the book turned
out to be fascinating.
In nonfiction, it's useful to recall the first lesson of Journalism
101: "First you tell 'em what you're gonna tell 'em; then you tell 'em;
then you tell 'em what you just told 'em." You
want to gradually build on the material you present to allow the reader
to grasp your points in an orderly, satisfying manner. But let us in on
where you're going and why we should come along for the ride!
#5 Resisting
Revision
You know the old saying, "Writing is rewriting"? Here's another one:
"After the inspiration comes the perspiration." But some of the best
things in life are sweaty activities! Many writers tell me they enjoy
the rush of creativity that goes into a first draft, but they view
revision as a chore. Others report that they feel exhausted after the
effort of producing a complete manuscript and find the prospect of
revision almost overwhelming. And some tell me they are so teeming with
ideas that they only write first drafts, then succumb to the lure of
the new, never taking a project to completion.
I always reply that revision can be just as fun, creative, challenging,
and energizing as the first draft. The heavy lifting is over; you've
got the basic story on paper. Now you get to relax, take a deep breath,
and really work with what you have created. Stretch yourself. Get
ruthless. Play. Refine. Go deeper.
Every author is different. Some people like to dive right into the
revision process, while others prefer to rest between drafts. Many
writers like to knock out a short piece or two before re-approaching a
full-length manuscript. I encourage clients to find the balance that
works best for them. I usually recommend that writers take a break
between revisions to replenish their energy and gain some distance on
the
project—but not so long that their enthusiasm or ambition
wears off. Often a professional critique is just the ticket to help an
author push through the resistance and get back to joyous, productive
work.
Facilitating the revision process is a way I feel Editorial Alchemy can
really help writers, both experienced and new. Revisions are
considerably less daunting when you have practical, step-by-step
guidance to refer to, and are far more enjoyable when you have someone
with whom to share your quandaries and celebrate your successes.
Wishing you all success with your writing!
