If you read my post on how to be a good critique/revision partner, you will remember that one of the things I talked about was paying attention to the details and determining that all the facts were right. Obviously “facts” consist of verifiable data that can be looked up or compared against something in real life.
The “facts” of a work of fiction are fluid, they’re part of the world building done by the author. If an author decides he or she wants to make something up, they’re completely in their rights. Continue reading
It’s extremely important for those of us who are writers and those of us who read other people’s pieces in order to provide constructive criticism, to be mindful of what it really means to be a good editor.
All of us who want to write for a living dream of being published one day. The road to a published work is long, hard and bumpy. It requires a lot of patience, determination, a thick hide, and most importantly: a lot of editing.
One of the core facets of editing is having a critique partner (editor) who will revise your work and is really committed to helping you develop your story into its best incarnation. Continue reading
Why is it that so many articles offering advice on how to improve as a writer or have a unique voice start with the most common (and probably the worst) point? I was recently reading an article in the Search Engine Journal that promised to teach, “How to Develop a Writing Voice that People Recognize from a Mile Away.”
The article’s first point is that writers should employ more metaphors in order to have their work stand apart from others. This is probably the worst possible advice you can give a new writer. You know why? Because humans love to take things to the extreme. You tell people to use metaphors in their writing to stand out and they end up taking it overboard to the point where their “distinct voice” is distinctly telling me to run far, far away and not waste my time. Continue reading