W.O.E. Is a Necessary Evil and Why you must endure it

Back in 1998/1999 I knew an aspiring writer who made and sold CDs of her books. I thought what  an original idea this was — to record your book onto a CD and sell it. Never heard of such a thing. This writer included pictures and music too, since the CD was designed for use with your desktop computer. Selling price $5-$10. Amazing! I never bought one thinking this was too expensive and was probably a personal fad.

We see now that this author was way ahead of the times (Hello Audible!) but her CDs didn’t catch on with any mainstream group. They did illustrate something I’ve never forgotten:

Listening to the words and reading the words are NOT the same. The mood, tone, nuances, emotions and even characters are different when heard instead of read. Little did I know then that this lesson would be more important to me almost 14 years later.

This brings me to W.O.E. – Writer’s Oral Edit – and why it is a necessary evil and why you MUST endure it. 

Writers today are repeatedly admonished to complete their edits by reading every word aloud. I hear the advice from every recognized authority on publishing from established authors to writing coaches, to established editors and agents. They will harp on this issue and bloggers keep posting about it. Why? Because it is probably the MOST NEGLECTED of the self-edits. And it is the easiest!

When I ask writers if they are reading their works aloud, invariably I get a shy but resounding “no.” I hear, “I want to. I know I should. I should have. I feel embarrassed. I don’t read well out loud. I didn’t have time.”  Excuses and not even good ones.

Their answers do not surprise me because I can tell from their work that hey didn’t have a WOE. I’ll explain how I knew in a moment.

• First, why is reading aloud so dang important?  Because the human speech has a modulating rhythm that has natural highs and lows like undulating water. Sometimes we are calm and other times excited, angry, scared, giddy and this rocks the smooth waters. This is how a written story moves, too, with the emotional impact of your words. But the undulation continues to flow smoothly despite the switch from calm waters. Therefore, writers must achieve a natural rhythm to the story when they write but these shifts in rhythms cannot be verified unless you hear them.
• Second, reading aloud allows the writer to hear the character voices. Not in the head where imagination can fill in the gaps, but out loud where the voice cannot hide. If the tone is wrong coming up off the page, the writer will hear it and feel it. The feeling is a critical fix. Also, each character must have a clear personality which can disappear when reading silently. But when a character is heard, it is easy to sense when elements are missing. The same goes for POV (Point of View).
• Third, reading aloud showcases overused and over extended words. Typically mine are: so, just, as, but, and, very, and perhaps (just to name a few of my worst mistakes). When a writer reads aloud escaping the frequency of the words is impossible. The words will pop up and make you hear how annoying they are when overused and how it drags the story down.
• Fourth, reading aloud lets a writer sense when transitions aren’t working. The story feels wrong because the smooth shift didn’t happen. You didn’t hear it so the reader won’t find it either.
• Finally, reading aloud tests the emotional impact of your words. If you don’t feel anything when you hear it then guess what? You have failed your readers! (and Green Arrow will put you down). Sure, we writers love our words but hearing them lays them bare and the feelings are bared too. We need to feel the whole of it and we can do that only when we hear it. 

These five reasons for reading aloud I lovingly called the Writer’s Oral Edit, my WOE, because woe to the writer who thinks there isn’t any time, that it is a silly tool, who fears the outcome will create more work (isn’t that the point?), or who claims not to read well aloud.

Okay, you have issues. So how do you fix your woe over WOE? Practice. Every day read what you write when you journal or when you do your writing exercises (because I know you are writing every single day!) Read your WIP (work in progress) aloud at the end of your writing session. LISTEN to yourself. Record yourself and play it back. Let the computer read to you. Have a friend (who reads out loud well) read to you and hear what you are writing.  Most of all — LEARN TO READ YOUR WORDS OUT LOUD. 

No matter what. NO MATTER WHAT. The WOE is critical to a writer’s success.

As I indicated earlier, many times I can tell when a writer skipped the WOE because the characters all sound alike, the book is clipped, or the sentences ramble on forever. All of those mistakes, and more, are easily heard and fixed by just one WOE.

I do at least three oral checks. One as I write. Two after the content edits and the third when all the other edits are complete and the book is considered finished. You’d be surprised at the nuances you hear when you think your work is done. Also, I read to a friend, a beta reader or my Personal Author Assistant (PAA). It is very important to have someone else give you feedback.

And here’s a tidbit — WOE is important for me because I have 12 different characters who speak in my upcoming novel. I have 12 points of view and each character must have a unique voice. You only hear the difference well when you read them aloud and then tweek them! It’s like a house full of people who need a voice that stands out from the crowd, 12 times. I need the WOE!

Embrace your WOE. Let this be a lesson for you here and now. When you practice this and embrace the WOE you’ll enjoy a better quality novel and so will your readers (who are also reading aloud whether you realize it or not).

One last thought about reading aloud in general. If you hope to be published (or are published), you must engage in live author events like book signings or panels. You will be asked to read aloud from your novel. Unless you are a hermit, you cannot skip this moment. You don’t have time to be shy, feel silly or awkward. You must step up and become the voice of your book and do so comfortably. What you give the readers in that moment stays with them forever. You are the book’s voice — so practice until you read aloud well and with confidence.

Now, go write. I’ll be listening.

Thank you for coming by.
I remain, Yours Between the Lines,
Sherry

Truth. This morning I realized it was Monday. I hadn’t written my blog post! Honestly folks, I’m neck-deep in final book edits, did a live chat on Facebook on Saturday Aug 26, watched Eclipse 2017 last Monday and had a variety of workers/delivery people at the house — okay, so maybe I’m making excuses but real life does have a way of pushing some things out of your mind. Despite my PAA reminding me last Thursday to start my blog, I let it slip away. So let’s catch up.

First, the eclipse last week was incredible. We live in one of the “almost total” area, 98.7%. Not total darkness, not even a real twilight for us, but then everything turned a bit hazy green, shadows sharpened, crescent shadows were everywhere and I was as excited as a kid going to her first birthday party. The shadow shot is from my driveway and the crescent shot my husband took with his smartphone through glasses (that’s why it looks dark). That’s as close as we came to a full eclipse. For me, it was as if I experienced the big bang. I am so easy to please and hey, a once in a lifetime experience!

Confession. We plan to see the total eclipse in 2024 by going to Indiana (warning, family!).

Besides the multitudes of people passing through our place this last week (Sears, Trugreen, ValuePest, Salvation Army, Schwans, UPS) and being a total and complete distraction, not much else happened. Everyone’s been planning for the kids to head back to school, and wondering if a roundabout built in a major intersection would be done in time for school.

And yes, it is done and people are acting like they’ve never driven a circle before. Indeed most have not if they have never been overseas or to another large metropolitan area. It is a bit laughable to hear people cheering how they successfully navigated a circle. I don’t mean to be mean, but honestly, it’s a circle.

I suppose it isn’t nice to laugh at people’s discomfiture, but from the videos posted online, it is funny to listen to people breathe and laugh at themselves when they realize there was nothing to their fear. I laugh harder when they say, “oh I didn’t realize it was only a circle.” Too rich.

As for what’s happening with me? I’m working on the final edits of my new book, Time and Blood. Later this week, my PAA and I will get together for the oral read through. That’s always painful, long and often funny. Next week, I will write about why that is so important.

(Please note the reference books:  Words’Worth by Jane Riddell; How to Write Dazzling Dialogue by James Scott Bell; Writing Fight Scenes, by Rayne Hall; and Revising and Self-Editing, by James Scott Bell)

Also next week I should be working with my cover designer, Marisa-rose Robyn, owner of Cover Me Darling designs to do the exciting new cover. Marisa did the covers for my books, The Gypsy Thorn (my last book), Breaking the Glass Slipper and The Book of Now. She’s won several awards lately and will make my book shine. Her cover work on The Book of Now has won a couple awards. 

At the end of September/first of October, Cassy Roop of Pink Ink Designs will do the formatting for the new book. She did the formatting for The Book of Now and Breaking the Glass Slipper. The interior of The Book of Now won an award from Independent Press Awards (IPA). 

You can see why I revisit designers and formatters who do fine work. And yes, they are worth the money. Please pay for quality work. And if you decide to do your own covers, learn how to do them well and learn about the various genres including fonts and colors. Or do as I do and leave it to the award-winning professionals. They will make you look good!

A few personal notes. I do a Fireside With the Phoenix live Facebook chat at the end of every month. Most of the time I discuss a little something about writing, make some thanks yous, answer questions sent to me, and talk about upcoming events, giveaways, or contests. You don’t want to miss these going forward. Trust me. Keep an eye to my Facebook Author page for the when and time of each live chat.

Finally, every Monday I like to participate in #pinyourpen. It’s a fun way to showcase your favorite handwriting tool. Some like fountain pens and others like ballpoint. Some like gel pens and others collect quill pens. Whatever you like, be sure to join in on Facebook, Twitter and Instagram and show me yours. This is mine for this week.

Thanks for stopping by for a bit of this and that. See you next time.

Until then, I remain,

 BE A HERO AT VILLAINY

Lately I’ve been writing about characters, what makes them work and how to do them better. I’ve looked at the hero and anti-hero and we’ve examined how to write more depth and give our characters the real touch.

But what about the villains, the real antagonists, the truly bad guys (and gals)? (For our purposes here, I will refer to the bad guys as “he” or “they” and that is NOT meant to exclude the most terrific evil villainesses!).

What makes the reader love a villain? Is it the clothes? The style of your writing? The weapon he uses? Is it the POV or the struggle of his character? What’s the secret to a writing your best?

We writers are told to make characters relateable but how do we do that and make a villain seem true?  Some suggest that it’s good to use shame or guilt to inspire turning to the “dark side.” Using the character’s foibles against him makes a good backstory but doesn’t endear the character per say. Their personal journey into darkness is interesting but that alone will not keep me with him.

It’s the STORY and the one issue that motivates and drives the story that makes me go with an author to the dark side. What I can relate to is a problem and how the bad guy intends to solve it. The hero and the villain will tackle the problem differently and independently (most likely) and I am going along with each because I NEED to know how it works out and who does the best job.

Yes, I want to feel their pain but I don’t want to know why the pain matters. I want to be where they are, when they are. Then I will have empathy or sympathy, or even delicious hatred (as the author molds me). Why the pain exists isn’t as important as what the villain intends to do about it.

I’ve written about making characters real by using dialogue that feels authentic. You do that in character mistakes. Yes, your villain’s limitations are interesting but so are their screw-ups and their obstacles. When they mess up, they are suddenly human, and we FEEL for them, even when we know they are the bad guy.

We cheer for a villain who won’t go down. We love to hate the clever, the sneaky, the witty, the nice ones who can also be very mean. Most of all, we love their stories because they mirror the struggles and mistakes of the protagonist. They share the same goals. Different purpose. Different reason. Same desire. Different use of it. Think of when a bad guy and a good guy have a bonding moment (or a m/f relationship). They may share the same outlook or same desire, but the reason for their want is what makes the story hum. 

As American author Chuck Clousterman said, “The villain is the person who knows the most but who cares the least.”

Remember that most coaches and teachers will tell you that the villain IS the story:

• A murder isn’t about death. It’s about the mystery of it, the whodunit and why the villain hid it.
• A theft isn’t about the stealing. It’s about the reason, the need to steal. Whodunnit certainly but how. We need to know why yes, but more important is what happens next because of the theft?
• Do we always need a happily ever after? No, because real life doesn’t work that way and villains can keep us coming back because we’ll HOPE to find it and we’ll be nodding our heads when it doesn’t happen. 

We hear a great deal about the villains “moral dilemma” and this is the choice the villain made and why he must continue doing what he does or has planned. THIS is what separates the villain from the protagonist and why the villain is the most important character.

Most of all, I think most villains don’t see themselves as the “bad” guy. They are only doing what they think they are forced to do for personal, professional, or moral reasons. This is their whole reason for being.

Villains then are the most necessary, the most dynamic, and the whole reason for the story.

Look for darkness around the corner. Turn out the lights and create the drama. Make the reader – and me – believe in the darkness and we will become your villains “frenemy,” fall in love when the lights go out and, though I hope the good guys win, I can be convinced to be content when they do not.

Villains forever! Make yours work and you will be a reader’s hero of villainy.

Thanks for stopping by.
I remain, Yours Between the Lines,
Sherry