Spy Toys: Seeing in the Dark

When writing our stories, we need to understand all aspects of our characters to help bring them to life on the page. Sometimes, that all important characterization is not about the way a character thinks or acts, but rather the toys that they have at their disposal. Let's face it, James Bond wouldn't be the captivating creature he is without all the gadgets and specially designed toys given to him by Q. Maxwell Smart would be nothing without his shoe phone. Batman would be just some spoiled billionaire without the famous gadget belt. And Judge Dread... Well, Judge Dread is Judge Dread, and he can do whatever he wants, even if it's blow up half the city.

But what about the men and women who are the real counterparts to our favorite spy-like fictional characters? Sure, they have their guns, the knives, and whatever other weapons they can get their hands on, but some gadgets at their disposal feel like they come out of science fiction. I'm talking about the toys they use to help them see their targets.

A Synopsis is NOT a Blurb

Over the past few weeks, I’ve been helping writing buddies prepare submissions for various writing contests. From PitchWars through to RWNZ’s Great Beginning, each of these contest required a synopsis as part of the submission packet. PitchWars required a query letter too. However, there was one thing that seemed to be a constant theme: there was confusion about the difference between a synopsis and a blurb.

To put it simply, a blurb is the short teaser that snags the interest of a reader, enticing them to read more. This is what is typically used on the back cover of a printed book. It’s a blurb that one will find in a query letter.

A synopsis is the spoiler alert, containing ALL plot points from the main thread of the story from start to finish, including the ending. It’s an editing tool that the public will never see unless you let them.

Let’s break this down a bit further.
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Using an Editorial Synopsis to Find a Story Split

So you've gotten into writing this story idea, and the word counts are steadily climbing. You're not even a third of the way through your intended plot, and already you've hit the industry accepted word count for your genre. Before you rush off to turn your manuscript into a trilogy, think this through.

As I've discussed before in the post Length matters, but story matters more, agents and editors use word counts as a first-level indication of the maturity of the writing. Going dramatically over what is considered to be an acceptable word count length could be a sign of over writing — writing that is filled with too much backstory or unnecessary description. Yet, coming under the word count could be a sign that not enough attention was given to the details — that a story is all tell and no show.

But let's say that you are the most gifted writer on the planet, and that every word in your manuscript has its purpose. (We'll ignore the fact that a professional editor will have different ideas, but we'll carry on.) There is no way that you can do your story proper justice in a single book. Or maybe you set out from the beginning to actually write a series.

The place where a novel finishes is NOT when you hit 100,000 words, but rather when a story plot arc comes to a conclusion. This is where the dreaded synopsis can help in a big way.

Writers who are heading down the traditional publication path are likely about to scream at me. Synopses are scary things — whittling that 80,000+ words into only 500. But that's a submission synopsis. What I'm talking about is an editorial synopsis.

Creating Focus for Your Writing

I don't know about anyone else, but I have a large number of writing projects on the go. Every time I turn around, there's another idea that pops into my head that calls my attention. However, one needs to find a way to focus their writing efforts, so they actually complete their projects.

Developing focus is one of the topics that I have found myself talking about with my mentoring clients and in my personal writing groups. There seems to be a general consensus. If you are wanting to eventually turn your writing into a way of making a living, you need to tackle this issue by compartmentalizing your writing.

Let me explain further.

Assassins, Spies and SAS. Oh My…

In a recent post, Fight Scenes: Instinct & Perspectives, I spoke about emotional engagement and the perspectives used for writing fight scenes. I touched on fight-or-flight, and how a writer can use that to their advantage. However, I also spoke about believability. If elements of your fight scene delve into the unbelievable, you will lose your reader.

While most people are able to easily visualize how the average Joe will respond in a fight, what their actions would be, and their capabilities, there is one type of fighter that is often used within fight scenes that majority of people can't truly relate to.

I'm talking about those characters who are highly trained to be assassins, spies and special forces soldiers (or SAS, as they are known in some countries). While all of these characters will have different backgrounds and different skill sets, there will be commonalities to the way they behave. Their reactions to a given situation can almost be predicted.

Fight Scenes: Instinct & Perspective

Recently, I have found myself in multiple situations where I’ve been shoulder-tapped to look over the fight scenes of others. It’s ironic that I’ve developed a knack (and a love) for those action-pumping scenes that often result in carnage and death. I’ve come a long way since my husband’s single feedback line of my high fantasy novel (feedback given nearly 8 years ago now): “Your fight scenes suck.”

(Geez… Love you too, hubby.)

However, as much as that original critique strung, I persevered, and analyzed to death what makes a good fight or action scene. (Pun intended.) Now, nearly 8 years later, those action-filled scenes that get the heart pumping pour out of me with ease—and the body count rises significantly.

Show the story. Tell the ride through the countryside.

Show the emotions. Show the setting. Show the complexities of your mind. Show this. Show that.

Oh, before I forget, tell that ride through the countryside. Tell that little backstory through dialogue. Tell the oral history.

When does one use tell? Should I always show? At what point is it too much show and not enough tell?

Show. Show. Show. Tell. Tell. Tell. It can seriously do your head in.

Understanding the difference between the two is one thing. Striking a balance between them to keep your reader engaged is another. For the moment, let's focus on the first issue.

The Real Cost of Editing

I have recently joined a freelancing site in an attempt to drum up business. Let's face it, struggling writers often don't have a lot of cash; however, in going through the job listings, I've noticed a trend. Many writers don't actually have a true understanding of how much editing really costs.

I have encountered many jobs where a person has a budget of US$10, but they are wanting their manuscript of unspecified length to be fully edited by an experienced editor. That in itself is a complete joke, but the sheer number of them (many of whom are located in the US) has driven me to write this post. I feel the need to highlight to my readers exactly how much time goes into editing, and why you need to be prepared to pay in the order of US$600 – US$3000, in some cases even more, depending on the type of editing you require and the editor's experience.

The Book Doctor is in the house!

There is a term that has been bandied around the internet and is starting to make the rounds of conferences and writing forums. It's a term that describes that type of person whom one might want to hire during the early stages of a manuscript's life (or later stages if a book is struggling to gain reader engagement). The term: Book Doctor or Plot Doctor. It's an interesting buzz term. However, I have encountered other terms that also refer to the same type of editor.

Book Doctor = Manuscript Assessor = Developmental Editor

Yep, you read that right, folks. Book Doctor is just another term for a developmental editor. And guess what... That's exactly the type of editor that I am.

So, what does a Book Doctor or Developmental Editor actually do?

How important really is grammar?

When I tell people that I'm a freelance editor (including other writers), they instantly assume that I'm a copyeditor, with a keen interest in working on the grammar and punctuation of my clients. I'm not surprised that writers often jump to that conclusion. Majority of editors that I encounter actually ARE copyeditors. However, what is the point behind looking at the appropriateness of a given word in a sentence when on page 152 the bad guys are setting up the bomb that will level the city, and the good guys find the bomb and disarm it by the end of page 154.

This may sound incredibly odd coming from a professional editor, but in all honesty, grammar takes a backseat to story and character.