Vixie's stories: Guest post: George Elder's Child of Destiny Blog Tour

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.

About the author

Dr. George H. Elder has a Ph.D. from Penn State in Speech Communication and a Masters Degree in non-fiction Writing from UNH. He also has a very eclectic work and personal history. He has been a college teacher, custodian, upper-level scholar, drug addict, weight lifting coach, bouncer, and much more. He has authored numerous articles in the popular press and even a scientific text book that examines the neuropsychological basis of human communication. He has also addressed subjects such as philosophy, free speech, weight training, drug use, nutrient effects, street life, and a wide range of other issues.

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: