This isn’t the first time that the Libertà Hive has pondered the advice to writers to “murder your darlings.”
Indeed, Joanna got seriously confessional about doing exactly that a few months ago. Actually, in her case, it wasn’t so much wilful murder as a contract killing. Editors can be ruthless.
WHO WANTS YOU TO MURDER YOUR DARLINGS?
Well, Stephen King does a pretty good job of it in his On Writing: A Memoir of the Craft. “Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings.” He was following William Faulkner. But even Faulkner wasn’t the originator.
It turns out to be Sir Arthur Quiller-Couch — that’s the Victorian Arthur Double-Barrelled who was NOT the author of Sherlock Holmes. He did write novels, lots of ’em, signing himself “Q”. But I’ve never read one. (Hmm. Maybe this year?)
But he was also a serious critic and anthologist. And from 1912 to his death in 1944 he was the King Edward VII Professor of English Literature at Cambridge. I’ve always thought that he pretty much invented Lit Crit, in fact. Continue reading →
According to Fowler’s Modern English Usage, “between you and I” is to be condemned. Anyone who writes that abomination is living in “a grammarless cavern”.
What we should write,of course, is “between you and me”.
How to tell?
Without going into the grammar technicalities†, ask yourself whether you’d write or say “between I and you”. You wouldn’t. You’d say “between me and you”. Normally, we put ourselves second but that doesn’t change the rule on whether to use “I” or not.
It’s “between me and you”, so it’s also “between you and me”. Continue reading →
Empathy with characters:
what is it and who has it?
Empathy? Roughly, it’s feeling what another person is feeling, from their point of view. Even if that other person is fictional.
So readers may identify with the heroine in a romance, or with the spy in a thriller, or with the detective in a crime story.
Writing Regency romances, my aim was always that my [mostly female] readers would identify with my heroine and fall in love with my hero.
But readers don’t all react in the same way to our characters and our plots. And I’m beginning to wonder if age is one important factor in that. Continue reading →
Bonfire night and Halloween will be over by the time you read this. [And yes, I do know that the proper spelling is Hallowe’en, but the internet doesn’t cope well with apostrophes, so I’ve had to use the non-apostrophe spelling variant.]
Bonfire night, for all its somewhat gory associations, is at least a British tradition.
But Halloween? That Trick Or Treat abomination that seems to be everywhere? Rant time.
We’ve had an exceptionally busy week at Casa Libertà.
Joanna had serious train travel and a full diary, while still reluctantly convalescent. Sophie had much writing – blogging, a magazine article and catching up with belated Amazon reviews of recently-read books – together with a trip to see Wilde’s A Woman of No Importance.
Above all, we were running up to part two of our Sparkle editing workshop, otherwise known as Bling it Up. So we spent Friday on a full day’s dress rehearsal before Saturday when the curtain went up. Continue reading →
My Inner Reader and Editing have rather taken over my life in the last few months. This is for a range of reasons. The reasons were all pleasant – or , at least, interesting. But her arrival was a surprise. And, as it turns out, a game changer.
We all do it — fall in love with someone else’s hero. We always have. Robin Hood. Ivanhoe. Mr Darcy. John Thornton. Raoul de Valmy.
Also, in my case, Brian de Bois Guilbert, Humphrey Beverley, Faramir and Captain Carrot. I like geeks, loners and oddballs. Even those with the occasional dash of villainy, at least as long as I could redeem them. What can I say?
Indeed, I’d go so far as to say that a heart-stopping hero constitutes a good slug of the fun of fiction. Continue reading →
For some time now, people have been asking me to write about what copy editors do and why they’re important. This is a companion piece to last year’s little trot through the origins and history of publishers’ editing: “What Editors Do”.
Why now? I have just actually been reviewing the copy editor’s changes on the text of my new book. So the mind is focused on what I did and what it felt like.
I should point out that, like my blog on editors, this is highly personal. Though I have also drawn on conversations with copy editors and a great talk, some years ago at an RNA Chapter, by jay Dixon, a trained copy editor. Continue reading →
By pure serendipity, this last week has turned out to be all about editing.
It wasn’t supposed to happen. I had finished the substantial edits needed on my new book, The Prince’s Bride. I felt they made the story hugely better. The publisher’s editor accepted them. The book went up on Amazon for pre-order. It should all have been done and dusted.
I don’t know if I’m a particularly picky reader, but I do like a novel to have some sort of resolution. It doesn’t have to be a traditional happy ending – though, as a writer, I always end up with my characters looking forward hopefully. But that’s my quirk.
I can take bereavement, despair or the end of the world in other people’s books. Even enjoy them in a Having a Good Cry sort of way.
What I can’t be doing with, is to turn the page and find that there’s no more book. And in the last few months I’ve found that happening more and more.