Redundancy – as in being redundantly redundant

6a0120a85dcdae970b01287770508e970c-piRedundancy: the state of being no longer useful or the inclusion of extra components that are unnecessary.

If there’s one thing that drives me crazy in amateur/unedited/poorly-edited writing, it’s when the writer insults my intelligence by being redundant. I know it takes months and sometimes years to write a book. I know it’s important that the reader understands the characters, their motivations, their wants and needs. I’m convinced some writers and editors don’t realize it only takes a few hours to read a book.

Case in point:

I just finished a story that contained a side-character: an old busy-body woman who lived in the town. The main character ran into this woman in the first chapter. Let’s call her Mrs. Beeman.

Mrs. Beeman owned a cat that was unfortunately stuck in a tree and the main character got suckered into helping rescue said cat. For the next six hours, each and every time Mrs. Beeman’s name was mentioned, I had to stop the progression of the story so the writer could remind me who Mrs. Beeman was and force me to re-live her tragic cat incident.

“Mrs. Beeman, the woman whose cat was stuck in the tree, entered the room.”

“Mrs. Beeman, who Billy had helped early that day when her cat got stuck in a tree, stomped out of the room.

“Mrs. Beeman, yadda yadda cat yadda, sobbed.”

I am not stupid. I know who Mrs. Beeman is.

Keep in mind, unless you’ve penned a tome as lengthy as “War and Peace,” it will only take the reader a few hours to read it. We can and do remember the characters and the names. We don’t need to be reminded over and over of who a character is. And, if we do need to be reminded, then you did not make their entrance as grand as you should have. Write all the details of your characters at our very first meeting. Once the reader has a solid picture of who this person is, you don’t ever need to remind us again. Ever.

Give your reader credit for having at least an iota of intelligence. Do NOT remind them who Mrs. Beeman is or mention her stupid cat who has nothing to do with the story. We got it.

So, did you hear about the day Mrs. Beeman’s cat got stuck in the tree?

Saturday Snippets – Coming Soon – Culpepper’s Rebellion

Culpepper4I’m finishing up the final revisions of the fourth book in the Culpepper Saga, Culpepper’s Rebellion.

In the first book of the series, John Culpepper struggles to realize his dreams, never seeing eye-to-eye with his father. His dad sends him to law school, and John hates every moment of it, wishing instead to own a ship and become a merchant between London and the colony of Virginia.

In the second book, the English civil war breaks out, and John’s ship is the only lifeline that saves the family from certain execution.

In the third book, John becomes the patriarch of the family, struggling to hold his family together on two continents.

In this final book, John finds himself in the middle of  Bacon’s Rebellion in Jamestown, Virginia. He is so wrapped up in the Jamestown drama, he doesn’t realize his youngest son is beginning his own rebellion in Carolina. When all is finally calming down in Virginia, John’s son is arrested in London on charges of treason. John’s law training, which he so desperately despised in his youth, becomes the only thing standing between his son’s life and death.

Here’s the first chapter of the new book. Culpepper’s Rebellion will be released October 31, 2015.

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CHAPTER 1

1680, The Tower, London

John followed the guard down the winding hallway. It was narrow and dark with only the light of an occasional torch resting in its iron holder, flickering shadows on the stone walls. Where John could see, the walls looked dark and damp, covered with a slimy layer of green mold, but the musty smell didn’t mask the overwhelming stench of urine and feces. He shook his head and wrinkled his nose at the insult.

As he passed intermittent arched doorways, prisoners yelled at him through small, bar-covered windows and pounded their fists on the wooden doors. Some begged for mercy, others pleaded for food and drink. The desperate voices echoing off the walls should have made John uneasy, but he only felt sheer hopelessness for those imprisoned. He didn’t look up when they called to him. He walked behind the guard with his head down, his heart heavy. How could any man endure this dreadful place? He remembered his older brother serving a short sentence within these walls during the civil war more than thirty years earlier, but in all of John’s seventy-four years, he had never seen the inside of the Tower. The unfortunate occasion that had brought him all the way from Virginia to be here on this day was more terrifying than the actual place.

The guard slowed when he rounded the corner, reaching inside his tunic pocket and noisily producing a ring of iron keys. John waited while the man found the appropriate key and placed it in the keyhole. When he turned it, there was a loud metallic snap. The guard pushed open the door, which moaned softly on its rusted hinges, and John entered.

The small room was lit by only a sliver of a window placed so high on the wall that none could see in or out. As the guard closed and locked the door behind him, John’s heart melted at the sight of the figure lying in a ball on a wooden platform, facing the moldy wall. John assumed the platform was a bed, but there was no blanket, no warmth, no comfort. A mouse scampered across John’s boot and disappeared into the tiniest of holes in the wall. At least the prisoners didn’t have to sleep on the floor with the mice.

“Johnny?” John said quietly.

Johnny sat up and spun around. “Father! What are you doing here?”

“I came to see to your welfare.”

“They’ve charged me with treason.” He ran his fingers through his disheveled curls.

“I know. That’s why I’m here.” His son looked so thin and worn. “You need a lawyer and I know of none better than myself.”

“You hate practicing law.”

“I’d hate it more to see your head on the scaffold.”

“I don’t think you can prevent it. They believe I embezzled the king’s funds.”

“Did you?”

“Of course not.”

“Then we’ll find a way out of this. Your mother will be very displeased with me if I allow you to lose your head.”

Johnny rose and wrapped his arms around John. “Thank you for coming, Father. I hate to admit it…” He paused and swallowed hard. “But for the first time in my life, I’m truly frightened.”

“I am too, son.”

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The first three in the series are available at Amazon. After you read them, please stop by the Culpepper Saga Facebook page to see pictures, paintings, and documents from the real history of John Culpepper.

culpepper saga-001

What Type of Editing do I Need?

Types of Editing

pencil-1979pxWhat Type of Editing Do I Need?

If you’re an author, you’ve undoubtedly heard someone along the way say something about getting an editor. You may have a sneaking suspicion that your work could probably use a little polishing. Are there paragraphs that just don’t feel right? Parts of the story line that feel rushed or too slow? Did you get a C in high-school English? Yes, you need an editor. Depending on your writing experience, you can use one or all four edits on your book, and those edits can be done by one person or four different people. Stephen King has an editor, you should too.

So, what are the different kinds of editing available and which do you need? Here’s a breakdown of editor services.

Developmental Editing

When you are stuck anywhere in a story, whether you are at the initial stages of creating an outline, or you are at the end of writing the rough draft, but the pieces aren’t lining up, you need a developmental edit. A developmental editor will review the whole story for you and tell you where there are holes in your plot, where your characters aren’t developed, where you’ve left story lines dangling with no conclusions. They will make suggestions on where and how to fix your story. In short, a developmental editor will help you develop your story.

Substantive Editing

When you are finished with your manuscript, you may consider a substantive edit. An editor will help you put your story into its final form. They may change points of view, look for inconsistencies in your character’s behavior, rearrange your paragraphs, and rework your dialog. You want your story and your characters to be believable. This is the outcome of a good substantive edit.

Copyediting

Once you’ve completed your “final” manuscript, you want to have an editor do a copyedit. A copy editor will read each sentence and fix grammar, punctuation, spelling, and voice. If you give them enough latitude, they will rework tangled sentences and paragraphs. They will also check your captions and footnotes for accuracy against your text. You may get the work back with ideas to improve or delete parts of your work. Your book should be close to finished after this step.

Proofreading

Proofreading is the final step in editing. When you a sure your work is finished, a proofreader will go over your manuscript one sentence, one word, one comma at a time and make sure it is all correct. If you have photos or charts, they will also review those. They will correct any errors overlooked in the copyedit. They will also check all elements of design, including headers, font styles, and page numbers.

 

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Lori Crane is a bestselling and award-winning author of historical fiction and the occasional thriller. Her books have climbed to the Kindle Top 100 lists many times, including “Elly Hays” which debuted at #1 in Native American stories. She has also enjoyed a place among her peers in the Top 100 historical fiction authors on Amazon, climbing to #23. She resides in greater Nashville and is a professional musician by night – an indie author by day.