Editor-Proof Your Writing: 21 Steps to the Clear Prose Publishers and Agents Crave (Great Books for Writers)

Editor-Proof Your Writing: 21 Steps to the Clear Prose Publishers and Agents Crave (Great Books for Writers)

Don McNair

Language: English

Pages: 215

ISBN: 1610351789

Format: PDF / Kindle (mobi) / ePub

Editor-Proof Your Writing: 21 Steps to the Clear Prose Publishers and Agents Crave (Great Books for Writers)

Don McNair

Language: English

Pages: 215

ISBN: 1610351789

Format: PDF / Kindle (mobi) / ePub


Veteran editor Don McNair lays out an easy-to-follow and systematic method for clearing up foggy writing--writing that's full of extra, misused, and overused words--in this guide to producing sparkling copy that attracts readers, agents, editors, and sales. McNair explains the common mistakes made by most writers and shows how eliminating unnecessary words strengthens action, shorten sentences, and makes writing crackle with life. Containing 21 simple, straightforward principles, ""Editor-Proof Your Writing"" teaches how to edit weak verb forms, strip away author intrusions, ban redundancies, eliminate foggy phrases, correct passive-voice sentences, slash misused and overused words, and fix other writing mistakes. A superb addition to any writer's toolkit, this book will not only make writing clearer and more grammatical, it will also make it more concise, entertaining, and appealing to publishers.

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the pauper’s glue words to show the contrast. Your novel will be the better for it. 36 Don’t discuss sows’ ears with silken words YOUR ASSIGNMENT Study each scene of your first chapter to determine the POV character’s education and socio-economic level, and change words not in his vocabulary, as we did in the examples above. 37 chapter 9 You say your heroine doesn’t hate your hero? Too bad! S everal years ago, I picked up a self-published book that became one of the favorites on my

rejected because they lacked it. I personally had a novel returned by a large publisher whose editor said, “I just don’t see the romance here.” You can bet my next novel—which sold, by the way—was packed full of sexual tension. What is sexual tension? It’s made up of several things, including physical attraction (of course), anticipation, emotion, and even conflict. Of these, emotion is probably the most important. When you yearn for another person, you’re experiencing sexual tension. This

talking with the man. (-1) Betty talked with the man. Loren began thinking about the plan. (-1) Loren thought about the plan. He began shaking the tree. (-1) He shook the tree. He started yelling, and they looked around. (-1) He yelled, and they looked around. He began picking up the marbles. (0) (No change; we don’t know if he picked them all up.) It was growing larger as she watched. (-1) It grew larger as she watched. She was hoping they would stop. (-1) She hoped they would stop. Something

admitted, explained, mimicked, suggested and so on—are actually the author’s efforts to tell, not show? Absolutely. The author is standing by the character, serving as his interpreter. Well, we don’t need him. All these words—and many, many more—can be substituted for by the one word, “said.” (Some say frequent use of “said” in dialogue does not sound strange to the reader, that it’s an invisible word. I disagree. More on that in the next Step.) Authors must fight the urge to interpret for the

in front of her, out of breath. “No, you’re the one who doesn’t seem to understand,” she yelled. “I think you’re the most despicable person I’ve ever met.” She saw a car stop behind hers and heard its horn. “I think you’d better move Judy’s new car,” she said, tossing the car keys at him. She saw them bounce off his chest. “I see you don’t understand,” he said, plaintively. “Understand what?” She felt her guard go up. Was this another trick, she wondered. “Of course, you don’t,” he mumbled. “I

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