Tag Archives: Suzan Lauder’s Learning from My Mistakes

Learning from my Mistakes: Theory of Relativity for Writers, or how to use Point of View

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Over the last few years, Romance novels have undergone a profound change, where the point of view (POV) within the story is now almost always Third Person Limited, Close, or “Deep POV.” This is hard for some writers who are accustomed to writing in a voice called Omniscient Narrator (ON), which is much easier to tackle and is familiar, especially to older writers, since so much of what we have written during our lives has been impersonal, particularly professional writing.

The up-and-coming New Adult romance genre almost exclusively uses first person POV. This preference is a result of New Adult’s growth out of the Young Adult genre, which uses first person POV a great deal. It also focuses on Deep POV, where the reader is not just being told the story, but the reader’s head is almost inside the narrator’s head.

What does all this mean? Here is a summary of what I’ve learned, with some more of my Learning from My Mistakes rules and external links.

ON versus Third Person Limited

Think of the POV as a camera: if you are writing in ON, you are allowed to see and show everyone’s point of view. In this case, the camera is up high, almost an eagle’s view, showing the entire scene on behalf of all the characters in the story. It can focus on one or more characters, but there’s a catch—the voice is that of the narrator, and not that of the character. That is, the narrator tells the story, expressing the viewpoints of each character.

Head-hopping can add confusion as to whose point of view is being represented.

It’s advisable to limit the number of characters who are “speaking” and to show clearly when that character’s viewpoint is over. Otherwise, the story winds up having a condition known as “head-hopping” where the reader can become confused as to who is having these particular thoughts.

Suzan Lauder’s Learning from my Mistakes Lesson 10: Avoid head-hopping like the plague!

 

Both ON and Third Person Limited are third person voices. The main difference is that in Third Person Limited, the story is told in the voice of the character and not a narrator. Using the camera analogy, the camera is sitting on the shoulder of one of the characters, and is almost in their head. This is as close to first person as third person gets. In fact, you can write Third Person, Limited POV in first person then change to the person’s name or a pronoun to achieve this POV for each of your characters. Further limiting the number of characters with a voice, this POV should have no more than four lead POVs, and Lesson 10 is imperative, not just a great idea.

One point of view per section or chapter, with clear markings when it changes.

Many Romance novels use only the voices of the hero and heroine, and change them by chapter. I recently read a novel by mature Regency romance author Tessa Dare where the character’s voice changed within a chapter; however, she used an extra line break to signal the reader to the change in POV speaker within a scene. I prefer changing only by scene and using a section break or scene separator, which is a graphic like a curlicue, to show this change within a chapter.

Suzan Lauder’s Learning from my Mistakes Lesson 11: To avoid a choppy or head-hopping effect within a chapter, use an extra line break, a graphic section break, or a scene separator when changing point of view.

In the initial draft of Letter from Ramsgate, I’d used Deep POV with four characters and section breaks for all character POV changes, but had a longer section where I showed reactions of all the characters in the scene, including a minor character, and had it as one section. My anonymous beta editor suggested that I cut those who were not main POV characters and reword so the information could be told by a main POV character.

A good way to discover which POVs are important is to put in the section breaks as per Lesson 11 through one chapter that’s busy with characters. This will show the choppy head-hopping sections, encourage the author to change the story to reduce unnecessary POVs, and help set a direction as to what is the most important information to retain. It’s always possible to find a way to reveal a non-POV character’s motivation and character without “telling” it.

Deep POV

A further enrichment of Third Person Limited, the great advantage to Deep POV is the reader is so close to the character, they almost feel as if they are in the story, and a more profound effect results. I recall the first time I read this style. It was a novel by author Catherine Gayle with a hilarious and very realistic virginal sex scene from the female protagonist’s POV. It was such amazing writing, I wanted to write like her and wanted to know how to do so! I thought it was just Catherine Gayle’s personal style until I read Jill Elizabeth Nelson’s Rivet Your Readers with Deep Point of View from a recommendation by MP author Karen M. Cox.

Deep Point of View is achieved with a character-driven story with tight characterization, a minimum of POV characters (usually two), a lack of filter words, a “show, don’t tell” style, and a certain amount of introspection, though care must be taken not to overdo this latter aspect.

What are filter words? Because the story is being told by the character and not the ON, there is no “He thought, knew, felt, saw, smelled, heard, wondered, pondered, etc.” The character just does these things without thinking. The author is challenged to show, not tell, these filter words, as in Lesson 9.

Suzan Lauder’s Learning from My Mistakes Lesson 12: Change filter words of thought, feeling, and senses to make the POV deeper and enhance the reader experience.

 

This useful article by Jodie Renner covers many of the main points of Deep POV. Deep POV is not just for third person, but can also be used to enhance first person writing.

First Person

This is the “I” POV. Not much else to say, except you’re stuck with one character’s eyes through the entire story.

I thought I’d never use this until I started writing A Most Handsome Gentleman (my latest novella, in editing for publication by Meryton Press this fall) and it just came out of me that way. I had a lot of fun with it, and it worked well for a comedy!

Many famous books use this POV, but for some reason, a certain number of readers don’t much care for it. It can be difficult if the author wants to sneak in a second person’s POV, but it’s always possible to do excellent characterization and motivation of another protagonist through a first person narrator’s eyes, as is done routinely in Young Adult and New Adult writing these days.

As noted, deep POV can be used for first person—just eliminate those filter words as in Lesson 12 above.

Mixed POVs

One of my earliest A Happy Assembly stories Performing to Strangers mixed first person and ON, and separated them by scene. In the ON scenes, the POV was clearly the male protagonist, and the female protagonist was in the first person scenes. It was a moderate success, with a bit of reader confusion. That’s why many experts recommend against switching from one style to another in a story. Changes in POV style are not recommended and if done, section breaks are even more necessary than with the POV character changes.

A slight exception is Deep POV, where it’s permissible to break up the depth by brief ON scene setting every so often at the start of a scene. A scene in Letter from Ramsgate was about to be told by Georgiana, but first, I described the guests at Pemberley as they lazed on the lawns. I tried to make it seem like Georgiana’s POV until I read about this exception. It could easily have been her thoughts or a camera high in the sky, but the generalized tone broke up the heaviness that can come with being in one head at a time for long time periods. It was one short paragraph, then I zoomed tight for her POV.

I read a JAFF novel where the bulk of the story was in ON, then all of a sudden, the author had gone into the character’s thoughts, using an introspective type of style different than the bulk of the novel, and head-hopped while doing this, without enough cues as to who was doing the thinking. I was jarred and had to go back to re-read.

Suzan Lauder’s Learning from My Mistakes Lesson 13: Be consistent with your POV selection.

 

How to Choose?

With several main POV types to use and four rules suggested by my experience in writing and reading, an author can be overwhelmed in deciding which is best for their story. Sometimes the easiest style is not the best for your readers, and you have to work for good communication. Sometimes you have to be consistent with the genre in which you are writing. For example, Third Person Limited, Deep POV, two speakers (male and female protagonist) is best in most romance novels, though hipper subgenres such as New Adult and Chick Lit utilize first person a great majority of the time. Sometimes, like in my experience with A Most Handsome Gentleman, the choice is easy.

There are tons of articles touting one POV over the other, and a lot of what you’ve read in this one may assist you. However, if you’re still unsure, check out this excellent article by Janice Hardy that explores the pitfalls of each POV.

Of course, there are exceptions to everything, and many famous authors have achieved success with exceptions. But when you think you can be the exception, ask yourself: are you truly as talented as that Pulitzer-Winning author? A reply of “yes” is rather bold. Don’t be caught as a diva by kidding yourself in your vanity! The rules are made for us “regular” authors who love to improve our craft and don’t ever sit on our laurels and say we’re the best.

Have fun picking your POV!

 

Disclaimer: I’m not a writing expert. I’m just a writer who learned some stuff other writers might like to know instead of learning the hard way. My approach is pragmatic, and my posts are not professionally edited!

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Take a pause: LfmM on commas.

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Remember back in school when they told you that if you read a sentence and there’s a natural pause, a comma is necessary? I followed that advice until I realized that half my commas were in the wrong places, so I had to learn to forget that advice. I don’t know about you, but I pause where commas are not appropriate and vice-versa.

The better habit is to learn to recognize when you need that comma by “the rules” and practise, practise, practise. The first and most common situation is the complex sentence.

Before I continue, I must clarify that I’m going to speak only to the simplest of cases.

To recognize a complex sentence, look for two complete sentences of equal importance with a joining word (conjunction) but different subjects. This is best done by looking for the new subject in the second part of the sentence then checking to make sure it has its own verb. In a complex sentence, each of the two sentences are properly referred to as an “independent clause.”

You also have to learn which conjunctions (joining words) deserve a comma. But, and, which, yet, for, or, and so are the most common ones. The Editor’s Blog’s article has many examples of where they are used and not used.

Because I read pauses before the conjunctions that don’t normally get a comma (they signal a dependent clause), I found it important to learn some of them as well. As, where, since, that, while, when, and because are the most common ones. This article from Grammar Monster has a listing that’s helpful as well as examples to help you understand more than my little explanation.

Watch carefully not to use the comma when the object end of the sentence has two complete sentences, though! In that case, they’re called “dependent clauses” because they sort of lean on the first part of the sentence rather than form a new one. Grammar Monster has a useful link with examples to help learn these situations.

If a chunk in the middle of the sentence can be pulled out and the sentence makes sense if you read it with the chunk missing, it’s probably what’s called a “parenthetical phrase.” Think like you could put it in parenthesis, except that parenthesis are rarely used in fiction. This phrase is usually separated out by two commas, but if it’s a total change in direction of thought, the em-dash is used.

If you re-name a noun in a sentence, the second one is called an appositive. My trick to knowing if the appositive deserves commas or not comes from the editing of Alias Thomas Bennet for publication. Meryton Press copy editor/proofreader/layout editor (yes, she’s all that and a cover artist too!), Ellen Pickels marked explanations on two sentences similar to the following:

Mr. Darcy’s cousin Colonel Fitzwilliam joined him in the call to Hunsford.

Lady Catherine was speaking to her daughter, Anne, on the settee.

My “trick” is to remember the “Mr. Darcy’s Cousins” examples. The simple explanation to the reason there is no comma for Colonel Fitzwilliam and commas for Anne deBourgh:

  • Mr. Darcy has more than one cousin, so Colonel Fitzwilliam doesn’t get commas.
  • Lady Catherine has only one daughter, so Anne gets commas.

The “proper” explanation relates to restrictive and non-restrictive appositives. Yeah, sounds scary! In the first italicized sentence, “Colonel Fitzwilliam” is a restrictive appositive. The appositive is necessary for the reader to know which of Mr. Darcy’s cousins is there. In the second sentence, if Anne was removed, the sentence would have the exact same meaning. This is called a non-restrictive appositive. It’s easier for me to remember many cousins and one daughter, though. Chicago Manual of Style has another way of explaining it that may help if I’ve mucked it up worse in your mind!

When a sentence appears to be complex with a parenthetical phrase (perhaps a prepositional phrase) that can be pulled out, it becomes confusing as to where the comma goes—before or after the “and?” That is, the “and” may appear like it should stay with the sentence, leading you to believe the comma goes after it. In some cases, that is correct. But when?

Gail Warner, my Meryton Press editor for my two novels and most recent novella, taught me a trick. “If you pull out the phrase, would you use the comma in front of the ‘and?’” So if the second sentence is part of the end of the first sentence (dependent clause) you wouldn’t use a comma if the phrase was missing. In that case, the comma goes after “and.” If you have a pair of independent clauses, there would be a comma before the “and.”

A comma is used before the closing quotation mark if a dialogue tag like “she said” is used, like the example on the left.

As in the picture below, a comma is necessary to break off a name when a person is addressed below.

Wow, we’ve learned a lot about commas today. Trouble is, there are about 100 other rules for them. Just another reason to have a good editor who knows the details!

Speaking of which, Gail Warner and I are working on my latest, A Most Handsome Gentleman. She’s removed dozens of commas that I put before the subordinating conjunction “as.” I need to practise more!

Yeah, I know. Preaching to the choir! Thanks for continuing to read, but how about those comments? There will be a draw for a prize at the end of the series!

Disclaimer: I’m not a writing expert. I’m just a writer who learned some stuff other writers might like to know instead of learning the hard way. My approach is pragmatic, and my posts are not professionally edited!

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Suzan Lauder’s Learning from My Mistakes: Show, don’t tell

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I’m a “tell” kinda gal. I’m better at narrative than dialogue, and after all the experience and practice on “show, don’t tell” writing techniques, my beta (unpaid editor) stills calls me out on my on blunt statements where I should have immersed myself in description. It’s not that I can’t do it or do it well, it’s just that being straight and to the point worked well for me in business and academic writing, and I got used to it. Well, in fiction writing, we must get over that bluntness!

So what does this mean?

Suzan Lauder’s Learning from my Mistakes Lesson #9: Show, don’t tell: Describe the feelings and senses to show your readers what is happening rather than stating them in plain language.

The writer wants to make the reader feel like they’re in the moment, and descriptive phrasing is more engaging. This style issue ties in well to Deep Point of View, which will be discussed in a later post.

I find there are three places which benefit from this rule: in comments about observing senses and feelings, in dialogue instead of boring old dialogue tags, and in scene-setting.

Example 1: Observations about senses and feelings (good for Deep POV).

Original:

She smelled it before she saw how embarrassed he was. It must have been him.

Show, don’t tell:

The air became heavy with a distinctive odour. Someone had passed wind, and she’d bet it was the fellow whose face was now crimson to the tips of his ears. His lack of eye contact confirmed it.

Example 2: Basic dialogue with a boring old dialogue tag.

Original:

“Oh, I wondered about that,” he said angrily.

Show, don’t tell:

He clenched his fists at his side much the same as he set his jaw. His full lips were turned down in a decided scowl. “Oh, I wondered about that.”

Example 3: Dialogue where you think you’ve been pretty descriptive already is a combination of the two above examples.

Original:

She was distraught about the situation. “Why would you do such a thing?”

Show, don’t tell:

Her eyes filled with unshed tears and she swallowed deeply to prevent a sob, moving away before anyone could see her reaction. How could this be happening? “Why would you do such a thing?” Her quiet voice broke at the end.

Although there’s nothing wrong with the original, can you see how much better the revised version is from a reader’s viewpoint? How could you further improve on the paragraph?

Example 4: Scene setting.

Original:

The boy seated himself on the grass in the dog park to eat soup from a Styrofoam cup on this sunny afternoon.

Show, don’t tell:

He spent little time considering the place where he dropped himself down on the lawns of the dog park, just a short perusal of the ground to make sure there was no shit there. No assessing how close to sit by the path, whether to go nearer to the trees or farther from the street, or considering watching the other kids in the skate park as he ate, even if it was noisy over there. He just plopped down, crossed his legs, peeled back the lid to the fragrant soup, and sipped its hot goodness.

As he adjusted himself in his seat, the parched grass crunched and crackled below him and scratched him through the hole in his jeans. He squinted into the sun.

~~~

Notice how the senses are used in the latter example, and more deeply than “he smelled” or “he heard.” Describing these features is “show, don’t tell,” and it’s one of the most powerful tools a writer can use.

As an author, this may not be your problem. Some writers use helpful descriptions with ease, but it’s a theme some of us are constantly working on improving, and it’s another way you can learn from my writing mistakes.

 

Disclaimer: I’m not a writing expert. I’m just a writer who learned some stuff other writers might like to know instead of learning the hard way. My approach is pragmatic, and my posts are not professionally edited!

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LfMM Suzan Lauder’s 100-Word Editing Checklist

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I said in an earlier post that I’d share my list of words to search for if you want to un-muddy your writing to help you self-edit. (Lesson #2 and #3 at end of post). This list is a golden gem of mine that started after I read a book called Editor-Proof Your Writing by Don McNair. I’ve used the ideas he suggested in the book and added many of my own to create a list of 100 words to search for to improve your writing.

“100 words?” you ask, “Isn’t that tedious?”

Yes it is. And if you don’t use these words, or get in the habit of it after having searched for the 100 a few times, your writing will shine. It’s worth tedium of a few rounds to get better as a writer. In addition, if you, like may authors, want to shave some word count off your novel, this review can often cut 5% of word count at first. Yes, my writing was 5% muddy before it ever got to an editor!

My over-used words at one point or another: that, look, act, then, such, all, as, about, turned, smile, scowl, however, in fact. What are yours?

But there’s more: I like to pare down adverbs to the minimum by rewording (including considering the adverb as the verb or adjective instead) or cutting, but I don’t believe in removing them totally, as they do have their purpose. A good rule of thumb is an average of no more than one -ly adverb per page of text. Adverbs like really, totally, only, and just can almost always be cut.

There are words I’ve taught myself to limit use, and the top of that list is another adverb: very. Most of the time, this adverb is your story begging for a better adjective. Very small: diminutive. Very old: antiquated. Very pretty: beautiful. Very late: tardy. Very lazy: lackadaisical. You get the idea. Get to be friends with a good thesaurus for better word use.

Some word formations can signal passive tone, such as a verb ending in –ed with to, or some –ing words, or had with another verb. Keep it active.

If you want to be a good POV (point of view) writer in third person deep point of view, you must get rid of “filter” words. More on that in a POV post, but I mention it because it’s on the cheat sheet.

If you’re like me, and write period fiction, you’ll also want to find words that were not in use during the period and exchange them for something more appropriate to the times. For example, the word “high-tech” is from the 1970’s, so you don’t want it in your Second World War story or older. Since I write Regency, I’ll have a post on Regency language later in the series.

How to use the checklist? In MS Word, there’s a function called “Find” on the “Home” tab. Type in the letters of the checklist item, then use the arrows in the pop-up box to go from one to the next. Evaluate each case, and if needed, reword, watching not to get into the rut of using another muddy style. You don’t have to change them all, just the ones that are easy to change. Soon, you’ll recognize your style and which words are never a problem for you.

After using the list a few times, you’re bound to customize the 100-word list for yourself, adding words your beta reader has indicated are over-used and crossing off those you have no issues with. These change from time to time, so be flexible with your checklist.

Suzan Lauder’s 100 word Editing Checklist

The applicable lessons to this post:

Suzan Lauder’s Learn from My Mistakes Lesson #2: Several full author edits are the preferred norm for ensuring quality writing.

 

Suzan Lauder’s Learn from My Mistakes Lesson #3: Keep a checklist of your most common errors and use a “Find” function to clean them up during your later editing process.

I hope a few of you share some words that would be on your list in the comments for this post. Enjoy your self-editing experiences!

~~~

Please note the new widget on the right panel of my blog main page at the bottom. It takes you to my newest story posting for free at AHA, A Most Handsome Gentleman (formerly known as “Hot Collins”). It’s funny!

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Who gets to talk first? #LearningfromMyMistakes by Suzan Lauder

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Today, you’ll hear all about how I had to do a complete re-write of four chapters and learned from it.

When my latest novel, Letter from Ramsgate, was accepted for publication, but before I submitted the manuscript, I was asked by my editor, Gail Warner, to make some changes. No big deal. The same thing happened with Alias Thomas Bennet. In that case, I cut the verbatim letter from Mr. Collins, a rehash of the Lucas Lodge party, and minor redundancies with Austen that added no value to the novel.

This time, Gail asked me to shuffle and reword the first few chapters of the book to try to get more face time for Darcy and Elizabeth, the protagonists.

In Letter from Ramsgate, our dear couple don’t meet for several chapters in the novel, so their early scenes are separate. Gail explained that this could be the reason I found my AHA readership slow to grow when I was posting a year ago: not enough D&E at the start of the story.

“Eureka!” moment! Readers want D&E and are dead bored without them. No author wants dead boring in their first chapters! Yeah, I know readers want more D&E than any book can handle! So we’ll give them D&E!

Portrait of Léon Riesener as Mr. Darcy in LfR. Artist: Eugène Delacroix.

I thought about it for a while, and decided to write a short new scene. The basics of the scene had been originally told from a minor character’s point of view (POV): one Mrs. Isabel Younge. Mr. Darcy got to tell the story instead, and the novel now opens with that scene. (Click on the thumbnails to see a better view of the artwork for the “casting” of the main POV characters in Letter from Ramsgate.) We carried on in a linear time line—more about that in a minute—and I rewrote the bulk of the first three chapters into Elizabeth’s POV, with minor scenes going to Georgiana starting in Chapter 2.

 

Suzan Lauder’s “Learning from My Mistakes” Lesson #8: Avoid telling too much of your story through the voice of a minor character, particularly in the early chapters. Let your lead characters’ voices shine through.

Now, exceptions to Lesson #8 will take place when a skilled author attempts a complex approach to POV by showing the protagonist through the eyes of a lesser character as a narrator who will never be important. In that case, the narrator is often omniscient and carries their POV through the entire novel. I’m going to talk about POV choices and my own learning curve with POV in a later post.

Caroline Murat, Queen of Naples, 1812 as Elizabeth Bennet in LfR. Artist: François Pascal Simon, baron Gérard.

Amélie du Bois, wife of Lt.-Gen. Emile Joseph Frison, aide to King Leopold II, as Georgiana in LfR. Artist: Alexandre-Jean Dubois-Drahonet

As for Letter from Ramsgate, once I’d established with my readers that Elizabeth was the protagonist, then and only then did we have Georgiana’s minor scenes. The flashback from Isabel’s POV was all in one chapter later on rather than in the beginning of the novel.

Marie-Denise Smits née Gandolphe for LfR Isabel Younge. (Courtesy Christie’s)

With Alias Thomas Bennet, there were a half dozen flashbacks within the main story, and a few reviewers gave feedback that they didn’t care for flashbacks. To find that others find something I enjoy reading as a confusing style was a surprise, but rather than question their position, I decided to learn from the knowledge of their preferences. So Letter from Ramsgate has a very linear time progression in comparison.

Suzan Lauder’s “Learning from My Mistakes” Lesson #9: Take care with the use of flashbacks or “in media res” as some readers are confused by details that are “out of order” of a linear time line.

 

Don’t get me wrong, I don’t lament the style for ATB. I recently read it for pleasure for the first time (after a couple of dozen times reading it as a writer and self-editor!) and I like the way it turned out, how the flashbacks doled out the hints for the mystery at a slow but steady pace. It wouldn’t have been the same without them, and the mystery is a gem of that novel.

I’m going to talk about how to choose point of view in a later post!

Disclaimer: I’m not a writing expert. I’m just a writer who learned some stuff other writers might like to know instead of learning the hard way. My approach is pragmatic, and my posts are not professionally edited!

Writers, Betas, and Editors: all top Writing Resources for Learning from my Mistakes

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Who taught me the best writing lessons, hard indeed at first, but most advantageous?

First, I have to ask: where do you as an author learn to become a better writer? Like most others, I try to read to find ways to improve. I find it easier to read short articles or blog posts than a book. The books recommended to me are written by well-known authors, and the writing advice I’ve heard quoted from them seems a bit fishy, so I don’t trust that their book is going to be helpful. In fact, many sound like marketing and vanity tools.

The best lessons for me personally came from other individuals, including other writers, beta editors, and my Meryton Press editing team. I think the best talent to help a writer grow and excel is a willingness to listen and change, even if it’s hard at first.

Learning from other writers by extensive reading goes back to Lesson #1: As an author, your goal is to provide a reading experience with the greatest level of satisfaction that is within your control. I evaluate the pluses and minuses of other books and try to improve my own work based on that reading experience. I also act as a beta editor for other authors, which is a great way to learn, as I have to look up items such as in Lesson #5: If in doubt, look it up.

A not-so-secret technique is to have several friends review my chapters as I write.
Beta readers help keep me on track by critiquing all aspects of the story. I’ve learned a lot of techniques to help me grow as a writer from listening to these cherished advisors, who are generally writers and readers in the author’s genre.

Usually by the time I’ve finished incorporating their suggestions, the plot flows well, the style is consistent, no glaring continuity problems remain, anachronisms (errors in history and language in a non-modern novel) are corrected, the characterization is consistent and will please readers, good habits are employed with the storyteller’s point of view, the spelling is error-free, most of the punctuation follows rules we as well educated persons can agree upon, and so on. Different authors have different weak spots, and a trusted beta can help from brainstorming prior to writing to final cold reading for typos and everything in between.

Suzan Lauder’s Learn from My Mistakes Lesson #6: Beta readers can help an author at all points in the writing process.

They’re also free help, and with love and respect for the huge leaps and bounds my betas have taken my stories through, I must stress that, unless the story is not all that complex, problems will remain within the novel that none of us have experienced before.

That’s why I need professional editors for my work, and I strongly encourage all authors to consider this valuable resource. That impoverished journalism student, the English major who offered to help, a teacher you know, or your sweet Aunt Sally may be free or almost free help, but they’re not necessarily aware of all the details of proper copy editing and proofreading for a novel, which has rules and conventions of its own, never mind how to fit them into the layout for an e-book or print book.

My viewpoint on this is strengthened by experience reading novels written or edited by teachers and English majors that contained numerous simple errors like we discussed in our “Lesson 5” last post, never mind editing conventions they had no clue about! I read a novel by a professional editor who should have hired a professional editor. We just don’t see our own mistakes, and amateur editors don’t recognize them.

Another important issue is that writers must listen to their editors and not disregard their good advice. There’s no use in getting good advice if you sell a book full of problems that you could have avoided, but your vanity wouldn’t let you modify. Amazon readers like to attack those problem areas, and a disclaimer is insulting to both you and your editor.

Suzan Lauder’s Learn from My Mistakes Lesson #7: Every author listens to and incorporates the advice of one or more professional editors who know the conventions specific to their style, content, sub-genre, etc. There are no exceptions.

My sympathy goes out to those who have hired poor quality editors. As in any job situation, impartial references and entrance exams are important. Most editors will give you a few free pages to see if they are a “fit.” Also, read a published book they’ve edited.

Next post: some examples of when I had to suck it up and listen to my editor.

Disclaimer: I’m not a writing expert. I’m just a writer who learned some stuff other writers might like to know instead of learning the hard way. My approach is pragmatic, and my posts are not professionally edited!

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