On editing sci-fi stories
I
love Lord of the Rings’ story line, but many literary professionals feel
that the work needed a bit of editing. The same could be said of any number of
Sci-Fi texts, including some of the classics. Of course, Sci-Fi has changed a
great deal over the years, and the often gaudy literary style that typified early
books are now seen as gouache. Yes, woe is unto the writer who uses too many
“ly” words or adjectives. We now call such writing “pulpy,” as in the excess
paper that is needed to find a home for the verbiage.
Mind you, some folks like that verbiage.
Alas, a personal desire/taste cannot stand in the face of contemporary style’s
winds—however those breezes may shift. I wish more writers would understand
this basic truth, what we perceive as good or bad is context-bound. Hey,
popular music, clothing, and literary style are ephemeral by nature. Styles
change and evolve as time and shifting tastes dictates. Thus a writer’s words which
are seen as the “perfect exemplar” of today may be regarded as the fodder of
tomorrow’s humorists.
But
that does not excuse writing that is poor is terms of grammar, syntax, word
choice, and all that. I have a Masters in Writing from UNH and a Doctoral
Degree in Communication from Penn State, but I can’t spell to save my life and
my prose is certainly not the best. Yeah, I can spin a yarn, have good
imagination, and possess a knowledge base that is probably more varied than most.
I’m a former academic who knows that he does not “know,” so there is still a
small bit of hope for me.
For
example, I know I need an editor in the worst way, and I honestly believe that almost
all writers are in the same boat. Some of us fall in love with our words, but
that doesn’t mean they should all be there! A trained set of eyes that is not
invested in the text is a writer’s best friend. Those eyes can see what is
invisible to authors. Our passages become like children, along with the natural
reluctance to cast them adrift.
But
we have to let go, and herein comes the need to employ a person with the ability
to help polish our work. When writing Genesis, I used three layers of
editing—friends (including writers), an editor who proofed text books, and the
publisher’s editor. I am sure some things slipped through the process, and much
was changed. There were also disagreements along the way. For example, I like
putting dialogue with action descriptions because we often talk while doing
something, as in:
“You’re
an ignorant sot,” Anita said while glaring at George. “Can’t you see that
word’s like ‘while” and ‘as’ will become redundant if you use this approach?”
She paused, shook her head, and added, “It is possible to use clauses that
separate words and actions, even if that interrupts what some call flow.”
Now
my publishing editor recently changed a bunch of lines in Genesis Book 2
to coincide with the advice Anita just gave us, and I just about had a fit! I
mean, I could feel something akin to the pain of childbirth setting in, and
I’ve had kidney stones! What I saw was edited prose that went like this:
"Let’s be reasonable about
this," Ragmor advised.
Perhaps he had overplayed his hand.
Wherein, I wanted prose that expressed
the ideas as thus:
"Let’s be reasonable about
this," Ragmor advised,
realizing he had overplayed his hand.
Another example is:
"And even Maglee’s name came to
you." Ragmor stared
through the pane. "So I suspect you also know what became of her."
Whereas
I wanted:
"And even Maglee’s name came to
you." Ragmor observed
while staring at Kara. "So I suspect you also know what became
of her."
The
point is, these are stylistic choices, and I often opt to connect a bit of
dialogue with a concurrent action. I like playwriting, where words and actions
are intermixed by way of stage directions. I suspect my writing shows a bias
toward this mixture, and some may find that annoying.
When editing, it is essential to think
about how others experience our text. Inevitably we must find a place of
humility, and understand that we often cannot see the forest except for the
trees. It is possible for an editor to be incorrect, but it is at least as
likely, depending on the editor’s skill, that some good advice is offered that
ought to be employed. In any event, I opt to accept an editor’s choices in most
cases.
At
the end of the day, the work has the author’s name, for better or worse. If the
editor cannot explain why X, Y or Z should be changed, then stand by your work.
However, if what the editor relates makes sense and is in line with current
trends, go with the flow. It hurts me to say this because I detest going with
the flow. Indeed, that advice violates every bit of who I am as a person. Yet
if we become beasts of ego, our writing will reflect this—and our words will
become pedantic and judgmental. We will pontificate on high without even
contemplating that we could be wrong.
Child of Destiny synopsis -book 1 of The Genesis Continuum trilogy
About the author
Dr. George H. Elder has a Ph.D. from Penn State
His varied life experiences and education
give him a unique and interesting perspective, and he often weaves
philosophical insights and pathos into his texts. His books are
action-oriented, but they do not have simplistic plots wherein good vs. evil or
some other hackneyed approach is used. Instead, Elder employs plot shifts that
allow the characters and readers to question the relationships we often take
for granted. For example, a hero may do great wrongs while a species once
perceived as malicious can be revealed to be honorable and wise. This offers
refreshing and exciting perspectives for readers as they delve into Elder’s
texts, for one never knows what to expect.
Child of Destiny synopsis -book 1 of The Genesis Continuum trilogy
The
universe is nearing its inevitable end, everything is being rapidly devoured.
The last hope of a dying universe is to awaken the Seeker, a legendary metaphysical
being known only through ancient tales. The Seeker has the capacity to link the
entire universe; they alone may be able to spark the rebirth of the universe.
Many of
those that remain desperately want existence to continue. As the remaining races
struggle to survive and fight over saving existence, lofty ideals give way to
brutal pragmatism. Missions are sent out in search of the Seeker. One such
mission encounters Kara an outcast noblewoman of the Labateen, a Stone-Age
warrior culture. Kara is well versed in the Seeker’s litany, beyond what would
be considered coincidence –to Kara the litany is simply the ways of God. Will
Kara be able to help locate the Seeker?
Those
who wish the universe to end in disorder, with no more than a whimper are not
willing to sit by as others race to alter the end universe. As these opposing
forces mount their defenses, racing to see their goals are achieved, one
question stands out…
Is Kara
the key?
Links:
Purchase link for Child
of Destiny: http://www.amazon.com/Child-Destiny-Genesis-Continuum-ebook/dp/B006LS2G48/ref=ntt_at_ep_dpt_1
George's website: http://www.ghe101library.com/
