To cuss or not to cuss -- that is the question.
This is actually a highly controversial topic. There are those who say they don't want to see cursing in YA literature at all, those who don't want to see it in ANY literature, and those who feel not cursing is unrealistic (particularly in the YA age group). And, I'm sure, there are plenty who fall into another category of opinion all together.
My personal opinion is that it depends on the story, and the characters within that story. I don't want to see EVERY character cussing up a storm, what's the difference between their mannerisms at that point. But, if it's forcibly steered clear of, it can come off as unrealistic.
I've said it once, and I'll say it far too many more times to count, every single word in any book should be deliberate, purposeful, chosen. This, for me, includes any word we consider a curse word. Every word, but especially those we count as "foul" or "taboo", has an impact on the reader. Every word will paint a certain picture, develop a certain character, speak to a certain audience.
Words have power.
"Bring it bitches!" has a far different feel, a different impact on the reader than, "Let's fight!"
A battered-wife type character, who has been meek throughout the story, suddenly screaming "Fuck you!" (sorry if that offended anyone) at her abuser, before fighting her way out of the situation, will have far greater impact than the character simply leaving (though that still shows great strength, don't get me wrong).
With all that said, I do feel that cursing should be used sparingly. If the F-word is on every single page, it loses its impact. It no longer shocks, or comes across as something necessary to convey the level of rage, or fear, or (fill in the blank) for a particular scene.
Still, if you have one particular character who is supposed to come across as foul-mouthed at every turn, cursing on every single page could prove to be a necessity. It all depends on the story, the character(s), the situation(s).
Tuesday, December 20, 2011
Wednesday, December 14, 2011
Revising Your Manuscript: Have it Read Aloud
"I think what can often help is asking someone else to read your work aloud to you, or better yet, ask him/her to record himself reading it, and then listen to that recording by yourself and then with others."
~ Ginger Knowlton (Agent w/Curtis Brown LTD) - on Jolie Stekly's blog Cuppa Jolie
The above quote was taken from Jolie Stekly's blog (clickable link above). This was part of an interview she did with literary agent, Ginger Knowlton.
This is an ingenious idea! Reading your own story out loud, so you can hear it rather than just see it, is something every writer should certainly do. But having someone else read it aloud? Even better.
When you read your own story, you may have a tendency to read it the way you want it to read, rather than the way it actually comes across to readers who don't hear the character's voices in their head, aren't in your head-space, and don't know what you meant to say.
Having someone record themselves reading your story, so you can go back over it whenever you want, would certainly be one of the most helpful tips I've ever run across. It could be your sister, a delightful beta-reader, your husband, whoever. If they trip up? Good! Then you'll know which areas a reader may trip up on, while trying to read your book.
A simple recording device, a willing victim, and your finished manuscript is all you need. And voila! A low-cost, utterly fantastic, invaluable way to improve your writing and your story, while helping you revise and edit your manuscript.
~ Ginger Knowlton (Agent w/Curtis Brown LTD) - on Jolie Stekly's blog Cuppa Jolie
The above quote was taken from Jolie Stekly's blog (clickable link above). This was part of an interview she did with literary agent, Ginger Knowlton.
This is an ingenious idea! Reading your own story out loud, so you can hear it rather than just see it, is something every writer should certainly do. But having someone else read it aloud? Even better.
When you read your own story, you may have a tendency to read it the way you want it to read, rather than the way it actually comes across to readers who don't hear the character's voices in their head, aren't in your head-space, and don't know what you meant to say.
Having someone record themselves reading your story, so you can go back over it whenever you want, would certainly be one of the most helpful tips I've ever run across. It could be your sister, a delightful beta-reader, your husband, whoever. If they trip up? Good! Then you'll know which areas a reader may trip up on, while trying to read your book.
A simple recording device, a willing victim, and your finished manuscript is all you need. And voila! A low-cost, utterly fantastic, invaluable way to improve your writing and your story, while helping you revise and edit your manuscript.
Monday, December 12, 2011
On Handling Rejection and Criticism...
Keep this in mind: you're not going to please everyone all the time.
When I was in high school, I was part of a program that frequently made us write what they called "interdisciplinary essays". These were essays that, as the name suggests, crossed disciplines. We were expected to take the theme given to us, use the knowledge attained (on said theme) from around 3 different classes, and write just one essay that incorporated everything into it. We couldn't use "what I learned in X class was..." or anything similar - these had to be college level.
We had various deadlines for various parts of our essay. First, we turned our outline in to the teachers -- each would make comments. Then, we turned in the rough drafts -- more comments. Finally, we would turn in the final draft, for our grade.
No matter what you did, you never received the same grade from all 3 teachers. Each one would find something they liked and another one hated, and vice versa.
What this experience taught me is that writing just to please your audience isn't a way to maintain your sanity, but receiving multiple opinions on your writing (however frustrating that may be at times) can dramatically improve what you've done (even when you don't employ every single suggestion you receive).
BUT, those opinions have to be honest. Being told that you're filled with awesomesauce feels great as it boosts your ego, but ultimately doesn't help you improve what you've written, so it can be the best possible work you can do. You need the criticism of your weaknesses, as much as the pointing out of your strengths.
Having an agent reject your novel, or a critique partner criticize your hard work can be frustrating, upsetting, even depressing. But, take a minute to breathe and realize that every opinion can help you. Every review, beta-reader report, critique, editorial comment, etc. can guide you to becoming a better writer -- can push you to create your best possible work.
Even if you become a highly successful, traditionally (or independently) published author - the next Stephen King - you won't please everyone all the time. You'll still have to deal with poor reviews and criticism from time to time. In fact, the more successful you become, the more criticism you may find yourself having to deal with.
It doesn't mean you're a bad writer. It doesn't mean you should give up your dreams. It doesn't mean you can't tell a good story. It just means you can always improve, and not everyone is always going to be thrilled by what you do.
Hey, not everyone likes Picasso or Mozart or J. K. Rowling either, but they've done alright in the history books, eh? ;)
When I was in high school, I was part of a program that frequently made us write what they called "interdisciplinary essays". These were essays that, as the name suggests, crossed disciplines. We were expected to take the theme given to us, use the knowledge attained (on said theme) from around 3 different classes, and write just one essay that incorporated everything into it. We couldn't use "what I learned in X class was..." or anything similar - these had to be college level.
We had various deadlines for various parts of our essay. First, we turned our outline in to the teachers -- each would make comments. Then, we turned in the rough drafts -- more comments. Finally, we would turn in the final draft, for our grade.
No matter what you did, you never received the same grade from all 3 teachers. Each one would find something they liked and another one hated, and vice versa.
What this experience taught me is that writing just to please your audience isn't a way to maintain your sanity, but receiving multiple opinions on your writing (however frustrating that may be at times) can dramatically improve what you've done (even when you don't employ every single suggestion you receive).
BUT, those opinions have to be honest. Being told that you're filled with awesomesauce feels great as it boosts your ego, but ultimately doesn't help you improve what you've written, so it can be the best possible work you can do. You need the criticism of your weaknesses, as much as the pointing out of your strengths.
Having an agent reject your novel, or a critique partner criticize your hard work can be frustrating, upsetting, even depressing. But, take a minute to breathe and realize that every opinion can help you. Every review, beta-reader report, critique, editorial comment, etc. can guide you to becoming a better writer -- can push you to create your best possible work.
Even if you become a highly successful, traditionally (or independently) published author - the next Stephen King - you won't please everyone all the time. You'll still have to deal with poor reviews and criticism from time to time. In fact, the more successful you become, the more criticism you may find yourself having to deal with.
It doesn't mean you're a bad writer. It doesn't mean you should give up your dreams. It doesn't mean you can't tell a good story. It just means you can always improve, and not everyone is always going to be thrilled by what you do.
Hey, not everyone likes Picasso or Mozart or J. K. Rowling either, but they've done alright in the history books, eh? ;)
Writing: Get and Got
During my first semester of college, on the very first day of English Composition, Mr. Taylor announced to the class that we were not to use the words "get" or "got" in our (many) essays. The man had a passionate hatred for these terms, as I found out -- his mighty red pen circled them each and every time you used "get" or "got", complete with a comment that reminded you of his dislike for the terms, in no uncertain way.
At first, I was annoyed by this. After all, neither word is actually incorrect. Who was he to say that we couldn't or shouldn't use words that worked perfectly well for what we were trying to say? But, it was his class. He was in charge of my grade. I would have to conform to his standards, if I wanted to pass (not unlike working with a professional editor/publisher). So, I worked really, really, really hard never to use either "get" or "got". Let me tell you, it is hard not to use a word you're used to being an okay word -- especially when someone tells you not to.
Eventually, however, I learned to appreciate why he didn't like these words. He was right -- there was almost always a better word you could use in place of either "get" or "got". "I got to the store late." vs. "I arrived at the store late". "I'll get the door." vs. "I'll answer the door." In the written word, the second sentences really do sound better, less lazy, than the first sentences.
To this day, I try not to use either "get" or "got" in my writing. And, to this day, both words mildly irritate me, when I see them in anything written. Mr. Taylor's tutelage has stuck with me, there can be no mistake about that.
So, what's my point here? When your editor, or critique partner, or (fill in the blank) fixes your word use, or tells you that certain words are coming off like you didn't really think them through - they aren't trying to be insulting, they are trying to help you become a stronger, better writer. And, after all, that's your goal too, right? No matter how good you are, how strong a writer you are, there is always room for improvement. Anyone and everyone can become an even better writer.
Every single word in your manuscript should be deliberately chosen. Every word should have a purpose. And, ideally, every single word is the perfect word -- the exact right word -- the word you meant to use in precisely the right place, and in precisely the right context.
At first, I was annoyed by this. After all, neither word is actually incorrect. Who was he to say that we couldn't or shouldn't use words that worked perfectly well for what we were trying to say? But, it was his class. He was in charge of my grade. I would have to conform to his standards, if I wanted to pass (not unlike working with a professional editor/publisher). So, I worked really, really, really hard never to use either "get" or "got". Let me tell you, it is hard not to use a word you're used to being an okay word -- especially when someone tells you not to.
Eventually, however, I learned to appreciate why he didn't like these words. He was right -- there was almost always a better word you could use in place of either "get" or "got". "I got to the store late." vs. "I arrived at the store late". "I'll get the door." vs. "I'll answer the door." In the written word, the second sentences really do sound better, less lazy, than the first sentences.
To this day, I try not to use either "get" or "got" in my writing. And, to this day, both words mildly irritate me, when I see them in anything written. Mr. Taylor's tutelage has stuck with me, there can be no mistake about that.
So, what's my point here? When your editor, or critique partner, or (fill in the blank) fixes your word use, or tells you that certain words are coming off like you didn't really think them through - they aren't trying to be insulting, they are trying to help you become a stronger, better writer. And, after all, that's your goal too, right? No matter how good you are, how strong a writer you are, there is always room for improvement. Anyone and everyone can become an even better writer.
Every single word in your manuscript should be deliberately chosen. Every word should have a purpose. And, ideally, every single word is the perfect word -- the exact right word -- the word you meant to use in precisely the right place, and in precisely the right context.
Revising Your Manuscript: Adverbs
Adverbs that end in 'ly' (hugely, beautifully, darkly, etc.) can bring your writing down. I see them a lot, in the manuscripts I edit/proofread/critique. And, honestly, I use them a lot in my rougher drafts, when I write as well.
The problem with using ly-adverbs is that people just don't like them. Here's why:
1) They have a tendency to trip readers up. They're getting into the story, they're immersing themselves in the world you've created, then bam! They're bombarded with a bunch of words that all have the same ending. This will bring many readers out of your world, and potentially harm their ability to fully enjoy your work.
2) They also have a tendency to annoy editors, publishers, agents, reviewers, fellow writers, etc. Why? Because it is often viewed as "weak" or "lazy" writing to sprinkle these pesky suckers throughout your manuscript. Why? Because there is usually a better description you can give, if you push yourself to think of something just a bit stronger. Example: "He smiled widely." vs. "A wide smile spread across his face." Try saying both of those out loud, and you'll see what I mean.
3) It's a style thing. "Frustratingly" is a very difficult word to say, and most people wouldn't say it in real life, so why try to make them?
Sure, adverbs that end in 'ly' are easy. And, go ahead and use them for your rough draft (that's what revisions are for - cleaning up and tightening that rough draft). But, easy doesn't equal good.
I'm not saying NEVER EVER use them. One or two, in the right places, might work very well (depending on the particular story). Throughout the book though? Not a good idea. You want to make the right impression - the first time, every time. So, make that book shine its brightest!
But, don't use them within character dialogue. Just don't. Again, maybe, depending on the particular story, once or twice -- you have to know your story well enough to know when and how you can pull it off.
Example: in the movie version of Harry Potter and the Order of the Phoenix. Professor Umbridge is interrogating teachers. She gets to Snape.
Umbridge: "You first applied for the defense against the dark arts position?"
Snape: "Yes"
Umbridge: "And, you did not receive it?"
Snape: "Obviously."
That is a well-placed ly-adverb. It's delivered well by the character. Done correctly, there is no reason you couldn't pull that kind of delivery off in your own writing, even though you don't have Alan Rickman's awesome acting talent behind your protagonist/antagonist. But, it needs to be VERY rare. In a general sense - you CAN do better. Your characters CAN do better. I have faith in you.
The problem with using ly-adverbs is that people just don't like them. Here's why:
1) They have a tendency to trip readers up. They're getting into the story, they're immersing themselves in the world you've created, then bam! They're bombarded with a bunch of words that all have the same ending. This will bring many readers out of your world, and potentially harm their ability to fully enjoy your work.
2) They also have a tendency to annoy editors, publishers, agents, reviewers, fellow writers, etc. Why? Because it is often viewed as "weak" or "lazy" writing to sprinkle these pesky suckers throughout your manuscript. Why? Because there is usually a better description you can give, if you push yourself to think of something just a bit stronger. Example: "He smiled widely." vs. "A wide smile spread across his face." Try saying both of those out loud, and you'll see what I mean.
3) It's a style thing. "Frustratingly" is a very difficult word to say, and most people wouldn't say it in real life, so why try to make them?
Sure, adverbs that end in 'ly' are easy. And, go ahead and use them for your rough draft (that's what revisions are for - cleaning up and tightening that rough draft). But, easy doesn't equal good.
I'm not saying NEVER EVER use them. One or two, in the right places, might work very well (depending on the particular story). Throughout the book though? Not a good idea. You want to make the right impression - the first time, every time. So, make that book shine its brightest!
But, don't use them within character dialogue. Just don't. Again, maybe, depending on the particular story, once or twice -- you have to know your story well enough to know when and how you can pull it off.
Example: in the movie version of Harry Potter and the Order of the Phoenix. Professor Umbridge is interrogating teachers. She gets to Snape.
Umbridge: "You first applied for the defense against the dark arts position?"
Snape: "Yes"
Umbridge: "And, you did not receive it?"
Snape: "Obviously."
That is a well-placed ly-adverb. It's delivered well by the character. Done correctly, there is no reason you couldn't pull that kind of delivery off in your own writing, even though you don't have Alan Rickman's awesome acting talent behind your protagonist/antagonist. But, it needs to be VERY rare. In a general sense - you CAN do better. Your characters CAN do better. I have faith in you.
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