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Self-Editing for Fiction Writers, Second Edition: How to Edit Yourself Into Print |
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List Price: $13.95
Our Price: $11.16
Your Save: $ 2.79 ( 20% )
Availability: Usually ships in 24 hours
Manufacturer: Collins
Average Customer Rating:  
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PRODUCT DESCRIPTION
Binding: Paperback
Dewey Decimal Number: 808.3
EAN: 9780060545697
ISBN: 0060545690
Label: Collins
Manufacturer: Collins
Number Of Items: 1
Number Of Pages: 288
Publication Date: 2004-04-01
Publisher: Collins
Release Date: 2004-04-13
Studio: Collins
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Editorial Reviews:
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Hundreds of books have been written on the art of writing. Here at last is a book by two professional editors to teach writers the techniques of the editing trade that turn promising manuscripts into published novels and short stories. In this completely revised and updated second edition, Renni Browne and Dave King teach you, the writer, how to apply the editing techniques they have developed to your own work. Chapters on dialogue, exposition, point of view, interior monologue, and other techniques take you through the same processes an expert editor would go through to perfect your manuscript. Each point is illustrated with examples, many drawn from the hundreds of books Browne and King have edited.
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Spotlight customer reviews:
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Customer Rating:
Summary: I love this book!
Comment: Great book! definitely the best book (I've read) on writing FICTION. lots of information. helped me out a lot in my writing.
Customer Rating:
Summary: A Summary By the Authors Themselves...
Comment: This is a verbatim handout in a clinic the authors taught in 1990 in New York. Each item on the following self-editing checklist is a deal-breaker for your blockbuster. Your manuscript likely has many of them. Buy this essential book; understand what the checklist items refer to, and start self-editing.
1) SHOW(ing) AND TELL(ing): As you re-read your work, watch for places where you tell your readers about personality traits, situations, or emotions, rather than showing them through actions and events.
2) DIALOGUE DIRECTIVES: Watch like a hawk for places where you've explained your dialog. Watch for "ly" adverbs and verbs for speech other than "said." And rethink your paragraphing.
3) SEE HOW IT SOUNDS: Read a passage of dialogue, narration, or description aloud and listen for the unconscious changes.
4) EASY BEATS: Beware of including either beats that describe dialogue or so many beats that the dialogue is choppy.
5) INTERIOR MONOLOGUE: As with beats, make sure your interior monologue isn't obtrusive or actually an explanation in disguise. Also, dispense with stage directions whenever possible.
6) SOPHISTICATION: Watch for "as" and "-ing" constructions and change the sentences that don't actually require these constructions.
7) BREAKING UP IS EASY TO DO: Break up lengthy sections of narration or descriptions with frequent paragraphs, or with dialogue, or even with the occasional one or two line paragraph.
8) POINT OF VIEW: Watch for places where you change point of view in the middle of a scene. If the change is necessary, insert a linespace and start a new scene.
9) ONCE IS USUALLY ENOUGH: Look for places in which you've accomplished essentially the same thing twice. Decide which of the two is strongest and cut the weaker phrase, sentence, or entire scene.
10) VOICE: As you read over your work, highlight the passages that please you most. Then highlight the passages that displease you and work to turn the one into the other.
11) PROPORTION: As ou read, ask yourself what interests you the most. Then take a look at what's left and decide whether it's really needed.
12) CHARACTER DESCRIPTIONAND EXPOSITION: Don't describe your characters all at once. Let your readers meet them slowly, naturally.
13) DON'T LET THEM SEE YOU SWEAT: Beware of words like "very" and "rather," strings of adjectives, fancy imagery, overuse of italics, and exclamation points.
14) ELLIPSIS: Check your work for blow-by-blow descriptions and work to condense them.
Customer Rating:
Summary: Great, great book
Comment: This book Self-editing for Fiction Writers were written by two professionals. These guys really know what they were doing. There were a lot of good points. I especially loved the chapter on Dialogue Mechanics. That was the most useful. The authors recommend using the word 'said' the majority of the time. This is done because 'said' is an invisible word. Many times author use words like 'he growled,' or propping the word like 'he said angrily' but this is not good because it dilutes the effect. The words within the quotes should show that he was growling or that he was angry. This helps your writing because it makes you show more instead of tell.
Other advice in the book was cut repetition, don't define character's personalities. For example, his father was mean. When you do this, you box in your characters and don't allow the character to show himself.
Also, the chapter on Sophistication was good since it told to cut off too many 'as' or 'ing' constructions, which can lessen the effect of writing.
Overall, you'll learn from this book. You can't go wrong buying it.
Customer Rating:
Summary: A wonderful tool for editing your work.
Comment: This book is an excellent resource for any writers looking to get their fiction up and running for publication. The instructions are very clear and well stated. The examples are very helpful. I especially enjoyed the use of "The Great Gatsby" as a comparison of good writing and poor writing. The end of each chapter provides a checklist of topics covered (for quick use while editing your own documents) as well as some exercises to practice editing on your own.
The topics covered include: writing to show your story, characterization and exposition, point of view, proportion, dialogue mechanics, dialogue sound, interior monologue, easy beats, breaking up long passages of text, repetition (and how to use it effectively), sophistication and voice.
The book also includes and index, a section for answers to the exercises and a selection of selected reading.
All in all this is a very helpful book and one that I will use while editing my fiction. I also recommend using this book with "Plot and Structure" by James Scott Bell.
Customer Rating: 
Summary: A breezy read
Comment: Renni Browne and Dave King have written a better than average book on craft for fiction writers. It covers the following topics:
1. Showing not telling
2. Characterization & exposition
3. Point of view
4. Proportion
5. Dialog mechanics
6. How the text sounds
7. Interior monologue
8. Beats (character actions between bits of dialog)
9. Sentence/paragraph/chapter breaks
10. Repetition
11. Sophisticated versus amateur style
12. Voice
They include passages from works of famous writers as well as of clients of their own editing service in showing how to address errors. They also provide exercises, and in the appendix, suggested answers to those exercises. Excellent.
The book is certainly worth reading, but I am concerned they missed the forest for the trees in certain places. The best example of my concern is in the first chapter on showing not telling. The authors take issue with the following line from F. Scott Fiztgerald's The Great Gatsby:
The two girls and Jordan leaned together confidentially.
The "problem" is the ly-adverb "confidentially". The authors suggest it would be stronger to eliminate this adverb explaining the girls' emotion, and instead write the following:
The two girls and Jordan leaned their heads together.
Their rule is to avoid using adverbs to tell the reader which emotions the characters are experiencing, and instead convey their emotion by dialog and actions. This is a perfectly reasonable rule, and I agree it should be followed, most of the time. In the above example however, the rewritten version doesn't quite convey what Fitzgerald intended. There could be many reasons for the girls to have leaned their heads together. They could have been tired from the party and from the alcohol they consumed, for example, and simply flopped their heads to one side in exhaustion. The notion that they leaned closer to gossip was lost when the word "confidentially" was removed. To address this, we could give a more detailed explanation of exactly how they leaned together. Here is my suggestion:
The two girls and Jordan leaned their heads together, glanced from side to side, and lowered their voices.
A problem with my version however, is that the longer explanation might interrupt the flow of the scene. None of us can get into Fitzgerald's head, but I'd like to offer a reasonable guess regarding his reason for using the dread ly-adverb. Most of us have a mental image of how a group of gossiping girls behaves. The word "confidentially" encapsulates this mental image, and adequately conveys the mood of the scene. It's a shortcut, and if it's not overused, it can be effective. I sense the authors are too rigid in the application of their rules.
FINAL QUESTION: Would The Great Gatsby have been a better novel if F. Scott Fitzgerald had not made "mistakes" like the one above? I doubt it. For me, Dave King and Renni Browne lost credibility when they began line editing a novel of that stature. Most readers agree the novel has an essence that goes beyond such mechanical issues. That's what I meant at the beginning when I said the authors may have lost the forest for the trees.
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