The other day I was searching on Amazon for a good book to read. I like zombie fiction, and that’s the specific genre I zeroed in on on this particular day. I found one that looked interesting. Nifty, though a bit crude, cover. Good reviews. An editor listed in the description.
Because I didn’t know the writer’s other work, I followed my usual procedure and clicked “look inside.” I was a bit annoyed by the way the e-book was laid out – reviews, copyright information, table of contents, and so on all at the front, thus cutting down on the amount of actual book text I’d be able to read in my “look inside.”
Then I got down to the text.
I found a grammatical error in the second sentence. I found weak writing (to put it kindly) in the second paragraph, followed by several more examples of poor grammar, bad punctuation, and weak writing in the two or three pages I slogged through.
Did I pick up this book? No. No, I didn’t. Not even at the low-low-low price of free was this book worth it. The story sounded interesting. The writing turned me right off.
Now I have to add that a perfectly grammatical story peopled with cardboard characters and weighted down with a blah or confusing plot will also turn me off. I just can’t detect those flaws in the first two or three pages of the book.
Do you need an editor? Yes. Do you need an editor who’s not afraid to tell you what’s wrong? Also yes. Do you need an editor who knows his/her stuff? So much yes. Sometimes an editor has to be the Bad Guy and tell her client that a section isn’t working, that a word doesn’t mean what the client thinks it does, that the client is relying on the same word or phrase too much. When we do that, it’s not because enjoy crushing a client’s creativity or voice. It’s because that’s what the client is paying us for: finding those errors before they turn off the readers.
All that said, it’s also true that a lot of readers don’t know the nuances of grammar. That doesn’t mean they won’t know when the meaning of a sentence is unclear. They might not know why they’re uncomfortable, but they’ll know they are. After all, a person doesn’t have to understand music theory or be able to read music to know when someone’s singing off-key.
Indie writers have to be especially careful, I think. Readers are, unfortunately, a lot harder on indie writers than those published by Big New York Publishers. It’s like that old saying, “You have to be twice as good to get half the respect.” Is it fair? No. Will this perception change? Probably. Does that probable change matter now? Nope.
photo credit: gregparis at morgueFile.com
No. No they won’t. And if they do, chances are you won’t even recognise your idea after it’s worked its way through that other writer’s psyche.
I have heard several (inevitably new and/or unpublished) writers say things like, “I don’t want to join a critique group or give my work to a beta reader or an editor because they might steal my ideas.” I shake my head when I hear this sort of comment.
I have been in workshops where a dozen writers were given the same writing prompt (in other words, the same story idea) and produced a dozen entirely different stories. I’ve never been in a workshop where two writers wrote the same – or even a similar – story from the same prompt. Never.
The other day I was talking with a writer friend, J.M.Cornwell, and she began discussing an idea she had. Her idea sparked an idea in me which took off in a different direction entirely from my friend’s idea. I sketched out a story, and then became a bit concerned that J.M. might think I had appropriated her idea. When I mentioned it to her, she said, “For crying out loud, write the story! Your story won’t be at all like mine, and you know it. Go for it.”
So I did. The story’s still in the notes and planning stage, but when I write it, I know two things: It’ll be my story, not my friend’s; and J.M. Cornwell will be okay with my taking off on her idea.
I have never worried that my critique group, beta readers, or editors would steal my ideas. After all, how many variations on “boy meets girl, boy woos girl, boy loses girl, boy gets girl back again” have you read? Or variations on “guy murders other guy and detective brings the murderer to justice”? Or maybe “the zombie apocalypse erupts and only a few people survive”? Honestly, you could write variations on variations on variations of those basic ideas from now till twenty minutes past forever.
Idea-theft should be the least of your concerns. Write the doggoned story. Get it critiqued, beta-read, edited. Rewrite it as needed. Make it the best, most polished bit of writing you can. And there you have it. A finished piece worth reading.
I’ve never been terribly fond of talking (or writing, which amounts to the same thing, doesn’t it?) about myself. But I suppose I need to put something explanatory here.
I’m a writer. I write slightly snarky, humourous vampire stories, mostly set in the US South. I also write flat-out horror, often featuring my own version of zombies, and still often set in the US South. Then there are non-horror, non-vampire stories that come out of nowhere.
Fright Mare: Women Write Horror Edited by Billie Sue Mosiman
