The Editorial Maverick | Blogging freelance editing, writing, and life in general. You can also Like my Facebook page for more f
Description: Blogging freelance editing, writing, and life in general. You can also Like my Facebook page for more frequent updates: J.K. Kelley, Editor.
It’s a problem in some non-fiction, but it’s endemic in fiction. It is worse in semi-autobiographical fiction, because the au “experienced” the events and “saw” the places and people. The same effect occurs when the au has been working on the story (in mind, on paper, on computer, wherever) for a very long time. They “know” all of it so well that they can’t get back to where the reader will be: knowing none of it until told.
While it’d be great if authors learned how to overcome this, most will never make the effort. As long as they are working on details they lived, or might as well have lived given how long they’ve been crafting the story, they will “know.” The best way I can think of to un-know is what I call the readercam: the focus position of the reader’s view. Decide where the readercam is on this scene, and think about how much of it must be described to help your mom understand it over the phone. I can tell them to do
And that’s okay, because it does make my role essential. As long as I have offered my best professional guidance toward a better outcome, if the client declines it (as in “nah, I’d rather just let you catch that kind of thing”), that’s okay too. And I’m not just saying that because it means I have paid work to do. Another reason is that such worries can get in the way of creative flow. Let’s ask the question. Which would you rather have written?
The Editorial Maverick | Blogging freelance editing, writing, and life in general. You can also Like my Facebook page for more f