Novels Need An Oral Exam

Say AH. How do you spell that? Ah? Aaah? aaH? Would you believe it is properly written as “ah?” Though you may still write it as “aah,” that is a less common approach in novel writing. Things like this expression are often discovered in the edit phase of writing your novel, but you might be surprised to know it is often most discovered during the ORAL phase, that is, when you read your novel ALOUD.

What’s that you say? You don’t do that? Then you are short changing yourself and missing out on the most critical of all the edits, the oral. Oral readings do several things and all of them benefit both you and the reader.

First, a good novel has natural rhythm and flow to the sentences. The words in a novel flow, are varied and come and go like the tide. Sometimes words rush and sometimes they drift lazily by, the pages easy reading. Sometimes the novel swallows the reader with drama and other times creeps up like a sneaky growing tidal wave, filled with foreshadowing. An oral read through of your work lets you, and the one or ones who are listening (more on that in a moment) get a feeling of the natural undulation of your work. Too slow and the reader snoozes and drops the book. Too fast and the reader may have a hard time staying with the plot. Therefore, a good read thru provides the first actual feel of the story. When you read the words aloud you can hear and feel the advancement of your idea and decide if it has a good pace.

Second, an oral read through lets you hear the dialogue. Are your characters sounding stilted and unnatural? Do guys sound like guys? Do the YA girls sound current or more like your old mom? Getting the right dialogue is tricky and no matter how many times you read it to yourself, there is nothing like hearing it aloud. You find out if your jokes sound natural and if they are truly funny. You hear if an argument has the fury you intended or just becomes page filler. Once you hear the worlds aloud, you (and your listeners) start to know your characters. As the book progresses, so they stay true to how they began? Are the voices consistent? Do you have the right slang? Are the joikes dated or are your references out of the wrong era (or head of time)? Don’t forget to listen for the accents of your characters. Do they say “lemme” but later, “let me?” Be sure to capture the consistent. Have the listeners pretend they are listening to your audio book. You will hear all the oddities you never dreamed in your writing.

Next, the oral read through helps you define pacing. If you started out slow and are supposed to be building to a moment but suddenly drift away to a subplot, is it well-timed? Is it necessary? You can hear these things and you will miss them when you read to yourself. Things the author wants to be there may not sound correct when said aloud. Separate from the rhythm and flow, pacing tells you whether your story is hitting the marks for impact, plot and climax. Like how the words flow, the story must also flow and develop. Bumps in this area come when the reader stutters through certain parts of the oral review. You’ll hear it when it happens.

Of course, the next thing you can eliminate the repetitive or unnecessary. When you’re in the diner, do we need to know what the rest of the diner is eating while we’re having a romantic moment? Probably not. But if you’re a vampire slayer and everyone is eating raw meat, you might be in a zombie deli and be in trouble. Orals let you know whether the details matter. You may enjoy the scene when you read it to yourself, but when you read it aloud, you  tend to sense whether or not you have fluff. Again, you’ll hear it. Also, you’ll hear your favorite overused words:  said, but, so, maybe, just, and, and, and. In my case: smiled, turned, laughed, breathed. Look out for the adverbs too: suddenly, consequently, as a result. Remember the road to hell is paved with adverbs and readers are trusting you to take them to heaven.

In the end, maybe the most important reason to do the oral exam is because this allows you to slow down and really hear the story. Reading aloud is time consuming, yes. But it presents the novel to you in a way that no other edit will. Everything that is wrong – missing commas, overused words, odd phrasing, choppy sentences, rough dialogue – everything stands out in an oral. I tried to put in vampire parkour because my vampire loves to run the rooftops. But my story takes place in 1997 and my listener looked at that and realized that parkour didn’t happen until the 21st century. Things that look great on paper can jump out during an oral (feel unnatural or sound silly).

If you’ve finished a story or a novel, then you are ready for all those terrible edits – copy, line and developmental – but don’t forget the one that will make you dividends, the Oral. After all, an oral checkup for the writer keeps your mouth and you healthy. The oral edit, the novel checkup, makes the book strong and healthy too.

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I just finished the oral exam of my latest book, LOVE AND BLOOD, coming in Sept 2018. God Bless my friend, Terri Wilson, who sat through nine hours on day one and five hours on day two until we finished. Lessons from that read dramatically improve my work. Now my novel is ready for its close up and sharing all its secrets.

Get your Oral Exam done today!

Thanks for stopping by.

I remain, Yours Between the Lines, 

Sherry

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