That Character Must Die!

Teeth and Bones Editing Contest:


We have a winner!


We had over 100 entries for the contest. We're grateful for all the entries. And keep watching the Novel Matters blog as we will be holding more contests like this one from time to time. We love offering these happy surprises to our readers. 


The winner of the Teeth and Bone Editing Contest (chosen from a hat by Bonnie's son)  is: 
Ellen Staley!


Congratulations, Ellen! You can e-mail Bonnie at our gmail address (in the contact section) for instructions on the next step. 
Hurray!



I happen to be one of those writers who loves to hear an editor say: "You have to kill off Joe and make Mary tons more empathetic. And that Sue doesn't step up to the plate. Consolidate her and those three other characters into one. Hey, have you considered making your protagonist a guy?"

(I also get my lip waxed. Keep that in mind.)

This is the truth of the matter--an editor won't ask you to make changes unless s/he is completely committed to the story and believes you're up to the task of making it sing. You want your editor to sharpen his red pencil. It's painful, but having an editor step alongside will help you write a story that will last.

And that's what we want, isn't it?

I've never trusted a critique partner who couldn't rip my writing apart. I figure the manuscript is beyond help, if they don't offer suggestions. I sure wouldn't trust an editor like that either. (I've never met an editor like this, but I've heard they lurk within the golden halls of the NYC publishing scene.) In fact, I edit my stories with every reading, even after publication!

And I love the challenge of revision from editorial notes in a I-will-climb-Mt. Everest-in-my-flip-flops sort of way. No, it's not a trip to Disney World, but it's a cognitive thrill ride that tests me. After all, I've spent the better part of a year writing my story. I want it to go off to the presses ready to please readers. More truthfully, I don't want to embarrass myself. Editors make me look much better than I am. For that, I love them.

Here's an example. If you haven't read The Queen of Sleepy Eye yet, please read the remaining part of this post through your fingers.

I submitted a proposal to sell Queen. Everyone knows stories can take on lives of their own once the writing process starts. In the synopsis, I killed off a character. By the time that part of the story came around in the manuscript, I loved my character too much. He didn't deserve to die. The story world was a better place because of him. My editor didn't think so. His editorial notes looked like this:

HE

MUST DIE!!!!!

My editor was right. I rewrote the last 25% of the novel, killing off my sweet character as originally planned. The story was stronger. The ending more satisfying and much sadder.

After the last two weeks, I think we agree that we need editors and heavy edits are a blessing rather than a curse. It's Friday. We're all edited out, so let's have some fun and give you a chance to enter the contest. So, what will you send your editor for Christmas this year? No budget. No size limit. Be generous.

Loose Ends Require Good Listening Skills

Debbie and Bonnie have done an amazing job talking about those pesky loose threads at the end of a story. Writers are admonished to write tantalizing openings to their stories, but a strong beginning only sells the first book. A satisfying ending builds reader loyalty.

Endings are extremely important.

Objective readers can help you develop your writing rhythm, knowing when to quick step past a dangling thread or to pause to tie a lovely bow, but only if you listen.

Here's a tip:

Mothers are not objective readers.

Start with the members of your critique group, and if you don't have a critique group, fast and pray until God sends incredibly gifted and fussy writers your way! My critique group is commited to my success, so they happily bracket wordy passages to delete and laugh heartily at my confusing descriptions. And, of course, they let me know if an ending leaves them feeling empty. This makes a critique group worth their weight in chocolate. Endulge them.

And listen to your editor. They are not three-eyed ogres out to ruin your art. Your success is their resume. You've already won them over by your voice and craft. Now, let them use their broad exposure to literature to advise you in writing a satisfying ending. There's always room for discussion and disagreement, but you won't know if you don't listen.

I know this to be true. I added 50 pages to the end of my first book at my editor's suggestion. She was so right.

And just a thought: The most satisfying endings offer hope of a continuing story. At the end of Gap Creek, Julie and Hank walk toward home under a burgeoning sky and a baby on the way. In

Levi's Will, Dale Cramer manages to bring hope out of a funeral when a shunned son reconnects with his high God and the coming of a buried spring. And Sara Gruen sets an old man free to join the circus in Water for Elephants.

I'm hungry to read more of each of these writers . . . thanks to their endings.