Category Archives: self-editing

The Verbosity Cure

by
Charlotte Firbank-King


We all know how to tell a story. But just because anthropologists say Homo sapiens (Latin: wise man—but that’s debatable given the state of our planet) are storytelling apes, doesn’t mean we know how to transfer a story to paper. An articulate person with a mellifluous voice can make a good story sound great. But once we put pen to paper, we must follow the rules of the craft.

First, GRAMMAR.

Creative writers are allowed some license to tweak and reshape the content to convey a meaning, but we need to learn the rules and correct use of grammar before we get the badge allowing us to modify those rules. If you don’t have a solid understanding of grammar, take a class or do some studying on your own. Nothing will kill a story faster than poor grammar or punctuation.

Now, WORDS:

Use the KISS principle—Keep It Simple, Stupid.

Examine each sentence with the diligence of a hobo sifting through a garbage can. If a paragraph uses five words, cut it down to two or three. If you’ve taken half a page to convey an image, cut it down to ten or fifteen words. If absolutely necessary, you can add a few more words later.

Read a section aloud. Do you trip over words? Or did you use rhymes or alliteration that draws the reader’s attention away from the story?

Then ask someone to read it aloud to you. If he stumbles or has to read a section again, there’s probably a problem with how a sentence or paragraph was constructed. Then listen carefully to how he reads it and take note. People often, subconsciously, translate written words from how they are written to how they are said comfortably or smoothly.

Examine every sentence in this manner. If even one sentence doesn’t pass muster, the whole scene could fall flat.

Words should be chosen because they express a meaning, not because they impress readers. Readers don’t care that you spent hours going through a thesaurus looking for the most impressive word to show how literate you are. Individual words should never draw attention to themselves or be more important than the story. Your reader JUST WANTS A STORY that doesn’t require a dictionary to decipher the words used to tell it.

Make every word count, and I mean EVERY word. There is no such thing as, “Oh, that will do.” Edit and edit again, making sure you’ve said what needs to be said using the exact right words to say it.

When conveying an emotion, again, brevity is the key.

His eyebrows dipped, and his eyes flashed as his mouth tightened to a hard line.

We get it. He’s angry.

His mouth tightened or His eyes flashed or He glared will convey the same message and we’ve cut our description from fifteen words to two or three. It may not sound as impressive, but that’s where creativity comes in. Find your own way to say it using as few words as possible.

Conjunctions are invisible words, but even those can exhaust a reader.

The old man walked along the road, and every step seemed to jar his body, and he was also weary to the depths of his disturbed soul as his rheumy eyes shifted back and forth across the verge.
Instead, say:

Shoulders slumped, the old man shuffled along the road, his rheumy eyes searching the verge.

Let your writing speak for itself. If the old man’s shoulders are slumped, then he’s despondent. Shuffling indicates possible pain or weariness. It’s not that difficult to cut this sentence from thirty-eight words to fifteen—and we could even dump “his” if we wanted.

Edit. Then edit again and again. Eliminate as many unnecessary words as possible, especially the easy ones like “that” and “had.”

Test yourself—pick any paragraph from your manuscript, count the words, then see how many you can remove and still convey your meaning. Go one step further and take out all the adjectives and adverbs. Then put one or two back. In other words, slim the paragraph to an anorexic state, then fatten it slightly to perfection.

Verbose means using more words than needed to express something. Don’t let your precious story suffer from verbosity.

Remember, we have professional editors on staff who can help you recover from a severe case of verbosity. It’s what we do.

Let’s Dabble in Drabbles!

by Jessica Nelson
I imagine your first thought upon seeing this post title is Awesome internal rhyme! I imagine your second is What the heck is a drabble?
Allow me to introduce you to the shortest form of short stories. A drabble is a story that is exactly 100 words. No more, no less.
“Why would I ever want to write a drabbble?”
Funny you should ask that. Here’s why:
Drabbles force you to write your story succinctly. There can be no extra fluff. Every word must advance your story. Every word must be carefully chosen to describe as much as possible by saying as little as possible, because you only have 100 words to play around with. That’s it.
Short stories, by nature, tend to be character driven. As the shortest category of short story, drabbles demand that you get down to the nitty-gritty of your character. You have to find out what makes your character tick and convey that to the reader in less space than most scholarship essays.
Since this is a short story, our friend Rhonda Browning White reminds us to keep these things in mind:
  •  One consciousness (point of view)
  • One central action
  • One major change in the life of the character
  • A single emotional impact
  • A single understanding

She also reminds us to “use our zoom lens:”

  • Focus on one specific moment in time and/or place
  • Start at the flashpoint—the instant when something is different
  • Focus on one simple plot line
  • Focus on one main character
  • Focus on one internal conflict and one external conflict
Drabbles are the ultimate test for a writer. It’s easy to tell a full story in 1000, 5000, or 80,000 words. You have all the time in the world to move your characters around and reveal who they are. To do all that in 100 words tests your very nature as a writer. As writers, we tend to be wordy and long-winded, waxing poetic about the sunset at the beach or the less-than-pleasant fragrance of our character’s son’s gym bag after a week in his locker. (If that last sentence had been part of my drabble, I would have used up a third of my available space.)
The best way to start a drabble is to begin as you would any other short story. Just start writing. Word vomit all over the page, and get everything out. Once that is done, we can get to the hard part.
Here’s my example:
          Kara clutched the gun in her sweaty palm, her trembling finger resting on the trigger. Part of her worried that the gun would accidently go off. A larger part of her just didn’t care anymore. That part of her played words on loop like a broken record, over and over again.
          I’m sorry, Mrs. Peters, but the insurance won’t pay any more. Unless you can find the money to keep up the payments on your own, we have to send him home.
          Her jaw clenched as she saw her son in her mind’s eye. He was lying in a hospital bed, surrounded by beeping machines and tubes that tangled all around him. His hair was gone, and his face was gaunt, but still he smiled at her, his big blue eyes shining with warmth and love.
          It’ll be okay, Momma. It will.
          An errant tear ran down Kara’s cheek. She sniffled, then lifted her chin and deliberately pulled back the hammer. “Put the money in the bag,” she said. “Now.”
 Not bad, if I do say so myself. There’s not an exceptional amount of plot going on here. It’s almost like a snapshot from a longer story, but that’s okay. You can still infer what the big picture is from this brief excerpt. Now, here’s the thing: that version is 170 words long. Not a drabble—yet.
Let’s try again.
           Palms sweaty, Kara clutched the gun in her sweaty palm, her trembling finger resting on the trigger. Part of her worried that about the gun would accidentally go off accidentally firing. A larger Part of her just didn’t care anymore. That part of her played words on loop like a broken record, over and over again.
          Words echoed through her mind. I’m sorry, Mrs. Peters, but the insurance won’t pay anymore. Unless you can find the money to keep up the payments on your own pay yourself, we have to send him home he can’t stay here.
          Her jaw clenched as she saw her son in her mind’s eye. Jaw clenching, she envisioned her son. Head bald and cheeks gaunt, he was lying lay in a hospital bed surrounded by beeping machines and tubes that tangled all around him. His hair was gone and his face was gaunt, but still he smiled at her, his big blue eyes shining with warmth and love.
          He smiled. It’ll be okay, Momma. It will.
          An errant tear ran down Kara’s cheek. She sniffled, then lifted her chin, and deliberately pulled back the hammer cocked the gun. “Put the money in the bag,” she said. “Now.”
This is what you’ll see if you use Microsoft Word’s Tracking Feature. It’ll keep track of your edits, and for our purposes, allows you to see just how much I had to take out and all the things that were rephrased. By keeping myself to a firm 100-word limit, I had to think outside the box to get my point across.
Let’s take a look at it without all the marks. Here’s the final product:
           Palms sweaty, Kara clutched the gun, her trembling finger on the trigger. Part of her worried about the gun accidentally firing. Part of her didn’t care.
          Words echoed through her mind. I’m sorry, but the insurance won’t pay anymore. Unless you can find the money to pay yourself, he can’t stay here.
          Jaw clenching, she envisioned her son. Head bald and cheeks gaunt, he lay in a hospital bed surrounded by beeping machines and tubes.
          He smiled. It’ll be okay, Momma. It will.
          She sniffled, lifted her chin, and deliberately cocked the gun. “Put the money in the bag. Now.”
Eureka! 100 words. Is it super frilly? No. But does it tell enough of the story that you understand what is happening? Yes.
Perhaps that Great American Novel you’re working on needs some bells and whistles. Truth be told, it probably does. But much like cars, if your story has an exorbitant amount of them, your reader will get frustrated. Use drabbles as an exercise in brevity and succinctness. It will greatly improve your writing and please your reader—and your editor!
Now, I challenge you to try it. Write your own drabble, and leave it in the comments here for a chance to win a 1000-word free edit! This contest will run until Saturday, July 12, at 12:00am Eastern Time. May the best drabble win!
And for more information about how to use the Microsoft Tracking Feature, email me at jgirl126@gmail.com for a How-To manual.