First, look up norovirus. As I write this, I am in the throes of my second day, and that explains why this will be a short post.
It might not sound like it when I’m done, but I really do have a lot of respect for copy editors. Their eye for detail and knowledge of the rules of grammar have improved every manuscript I’ve ever submitted. For my Grave series, Jeffery Lindholm has been my copy editor for at least the past four or five books. He knows the characters and remembers details from previous stories that might conflict with actions in the current story. That kind of interaction is truly remarkable. He’s part of the team, as opposed to the traffic cop that some copy editors can become–the folks who go out of their way to try to catch the author is an error that often does not exist.
Prior locking Jeff to my manuscripts, I dealt with a number annoying copy editors. One changed my sentence that “Jonathan holstered his Colt 1911” to “Jonathan holstered his Colt M1911A1 semiautomatic pistol.” Not inaccurate, but not what I wanted. The most egregious copy edit ever–and I’m sure I’ve written of it here–came from Rosemary, who changed “Jonathan looked at the door the the kid came through” to “Jonathan looked at the door whence the kid had come.” Whence. In a thriller. That’s a hard no.
About a week ago, I received the copy edits on a short story that I did for an upcoming anthology, and these edits trod new ground. In DIALOGUE . . .
Changed “Maybe we should call Triple-A” to “Maybe we should call AAA.” and
“That rifle looks like a three hundred win-mag” to “That rifle looks like a .300 Win-mag.”
In my worldview, dialogue is literally quoted speech, as it is heard. People would call AA for Alcoholics Anonymous, and Triple-A for the auto club. No one would ever refer to a rifle as a dot three-oh-oh win mag.
What do you think?
Okay, I’ve been up for an hour now. Time to go back to bed and sleep for three. Here’s hoping for a better tomorrow.
Funny, but I just read a line in a thriller where the Lead has a “tricked-out Kimber Model 1911A .45 automatic he kept locked and loaded 24/7 with eight hollow point Federal Premium HST rounds in his extended mag.”
Whew.
I know you like accuracy in weaponry, John, and readers of this genre do appreciate details. But not all details are essential, and less is probably more, as your example shows.
Wishing you a quick recovery, pal.
TMI, TMI!
🙂
“Whence”?????? Really? That’s awful.
Hope you feel better soon, John!!!
Dialogue is not narrative. Period. Get in the character’s head and stay there.
Get well soon.
I also agree that dialogue is not narrative. Hope you feel better soon!
Warning: What you are about to read goes against the establishment catechism for writers. This may trigger certain readers who will burn down Tesla dealerships.
I am an independent writer and no longer have an interest in being published by a traditional publisher. I have a deal with an excellent editor. She goes over my work and I make covers for her books. I consider myself extremely fortunate.
That said, I worry about editors for folks like me. We have to pay for our editing services. We can’t afford to have someone edit out our voice or the carefully constructed voices of our characters (to cut down on the he saids/she saids for one thing) for the sake of correct english. Mistakes yes. But tailoring the work just to meet the fashion of the day makes my stomach ache.
I’ve read a number of short essay’s on writing by Chuck Palahniuk, the author of Fight Club. He advocates breaking the rules (after you know them) even the rule of grammar to set up rhythms and repetition in fiction. To give it flavor and individuality. For instance, he repeats short phrases that substitute for connecting words even in narrative. It is an interesting idea.
How can we write something original if editors (and book cover designers) are homogenizing our work so it sounds like all the other books in the genre?
It is my opinion that most books fail because they have nothing new to say. They are just another domestic thriller or psychological thriller in a sea of similar books. Nothing to make them stand out. We try to substitute marketing for originality. Sadly, it sometimes works. I’m not saying we should go crazy but don’t loose you work for the sake of getting published. Be an artist. Did Picasso send his paintings to a painting editor who advised him to use colors other than blue? No. Are you an artist?
I am long on the record here at The Killzone that I believe there are no rules to any artistic endeavor, including the writing game. Creating a readable story is all about finding the perfect balance between plot, character, pacing, and the thousand other real and perceived elements that make fiction come to life in the mind of the reader. That’s all on the author.
But a good editor is an indispensable part of the process. Just as the best athlete needs a coach, even the best writers need editors–not just to correct grammar and spelling (those are the tasks of a copy editor, the subject of this post), but to keep the writer centered on what he or she is trying to say, and to make sure they present their case in the most engaging, persuasive way.
As an example, if I were your editor, I would urge you to reconsider the wisdom, in these politically turbulent times, of beginning your comment with a gratuitous poke at Tesla protesters. Does that focus readers on what follows, or does it perhaps alienate them?
Food for thought . . .
Protesters don’t burn down other people’s property. Criminals do.
“Jonathan looked at the door whence the kid had come.” I’m still laughing.
I had to look up Norovirus. I can see why you need rest. Feel better soon, John.
Norovirus? I thought it said nuruvirus.
Right off the top, John, I hope you defeat this NV soon. 🙂
Couple of comments:
WHENCE? Sounds like Shakespeare got dropped off in a thriller. ‘Nuff said about that…sheesh!
And that “AAA” thing. That would stop me cold as a reader. I agree, dialogue is how we sound to each other, not how we look on the page.
And, lastly, I’m an ardent fan of your writing, John. Except for the necessaries, don’t change a thing.
Happy Wednesday!
John:
Jeff Lindholm here! First, I hope you are felling better today than when you posted this blog entry.
And second, thank you very much for the notice of the work I’ve done for you and the words of support. Much appreciated. I had not heard of the Kill Zone until a few days ago, and I’ve only gotten two email notices so about new articles, and yours was the second. How fortuitous is that! Cosmic, almost!
And, oops! That should be “feeling better.” Sheesh.
I literally laughed out loud at felling! Who edits the copy editor?
Welcome to the blog, Jeff!
It’s the difference between working slowly and carefully at a job you’re getting paid for and dashing off a note in 20 seconds.
It was news to me that John was a lumberjack. JK. I read right through “felling better,” took it in context and saw “feeling.”
Oops! That should be “feeling better.” Sheesh.
They teach you not to say ‘oops’ in med school.
I was blessed with a fabulous substantive editor and an equally great line editors both of whom edited all the books I published with HCCP. The copy editors were pretty wonderful too. The worst editor I ever had was a freelancer hired by my first publishing house. He told me I should just accept all his edits and then read through. I would see how much better his editing made my writing. And in one spot he inserted the comment “you can go ahead and leave this if you want–if you don’t mind the readers laughing at you.” He probably thought he was being funny, but I thought it was snarky and unprofessional. (And I have a pretty thick skin when it comes to edits.)
Feel better!
First: Hope you feel better soon.
Second: Someone actually recommended “whence”? That one blew my mind. LOL!
Third: RE:
“Changed “Maybe we should call Triple-A” to “Maybe we should call AAA.” and
“That rifle looks like a three hundred win-mag” to “That rifle looks like a .300 Win-mag.”
In my worldview, dialogue is literally quoted speech, as it is heard. People would call AA for Alcoholics Anonymous, and Triple-A for the auto club. No one would ever refer to a rifle as a dot three-oh-oh win mag.”
Maybe I’m the odd one, but I prefer the suggested edits. It may be dialogue, but writing it as “.300 Win-mag” helps the reader read it MUCH more quickly than the more cumbersome wording of “three hundred win-mag.”
RE: Triple-A vs. AAA – same feedback. And in this case, with it written as “AAA” that triggers instant reference to the company brand, per se, more so than Triple-A.
We as writers may care about issues of writing dialogue precisely like it’s spoken, but does the reader care? In the case of these examples, from a reader’s standpoint, I want writing that allows me to read in the quickest fashion possible. I don’t want it to be slowed down.
Dialogue is definitely quoted material, but a reader might process the information easier to read when it’s spelled the way we see it in the real world. When we see “AAA” we say “triple-A.” So, we run the risk of making the reader pause and try to recognize what “triple-A” actually is. Because I don’t see it in the real world, it would take me a minute to process that it’s actually AAA.