I'm always happy to have Rayne Hall stop by. Her posts are always informative and, based on the response from my friends and followers, you all agree.
When I finished The Widow's Walk last year, it was way too long for a paranormal romance: a whopping 110,000 words. I knew there was some fat to be trimmed, and suspected that there was an entire chapter that I could delete. But that wouldn't have made a dent in the job. I had to get the novel down well below 100,000, in the 80-90,000 range if possible.
Having worked with Rayne as a critique partner for several years, I've learned how to cut and tighten my writing. And now she's offering a class, with her usual copious amount of information and feedback. Using her suggestions when I revised, The Widow's Walk topped of at just under 97,000 words
Rayne, can you summarize how to get started?
In thirty years as an editor, I've found the same fatty words bloat the style of many authors.
Here are two notorious phrases: 'begin to' and 'start to'. They contain empty calories without real nutrition. If you cut them from your diet your writing style will be come sharper and tighter.
Beginner writers are prone to overusing these two phrases. Editors need only glance at the first page of a manuscript. If it contains 'begin to' or 'start to' (or both, perhaps even more than once), they know a beginner wrote this.
'Begin to' and 'start to' are almost always unnecessary. If something happens, you don't need to tell the reader that it starts to happen. Just let it happen.
She began to run.
Rain began to fall.
She started to shiver.
His lips started to quiver.
His lips quivered.
The dog started to growl.
The dog growled.
Use your word processor's Find&Replace tool to count how many times you've used 'begin to' (begins to, beginning to, began to, begun to) and 'start to' (starts to, started to, starting to).
You don't need to cut every single 'begin to' and 'start to'. Sometimes, when an action starts and is abandoned immediately, they help clarify what's going on:
She began to walk home, but changed her mind after a few steps.
He started to paint the fence, but Jane halted his arm.
About four 'begin' or 'start' per novel are fine - but forty are a sign of fat-wobbling writing, and four hundred are definitely too much.
I'd love to hear from you. When you've checked your WiP for 'begin to' and 'start to', post a comment to tell me how many you've found, and whether you're going to cut some of them.
What other 'wordy words' do you think writers can cut from from their word diet?
If you have questions about writing style, or need advice on how to tighten your writing, please ask. I'll be around for a week, and I enjoy answering questions.
If your writing style tends towards wordy waffling, if your critique partners urge you to tighten, and if editorial rejections point out dragging pace, this class may be the answer. It's perfect for toning your manuscript before submitting to editors and agents, or for whipping it into shape before indie publishing.
JANUARY ONLINE CLASS: THE WORD-LOSS DIET
This is an interactive class with twelve lessons and twelve assignments, for writers who have a full or partial manuscript in need of professional polish. At the end of the class, you may submit a scene for individual critiques.
Dr Rayne's Word-Loss Diet is much more fun than depriving yourself of food, and you'll see real results fast.
The Word-Loss Diet, presented by Rayne Hall
1-31 January 2012
Registration deadline: December 29, 2011
Rayne's recent release, Storm Dancer, features Merida, a magician who dances for rain in the parched desert world in which she finds herself imprisoned. The novel is epic in scope and explores the concept of a djinn that possesses Dahoud, a former warrior, compelling him to commit terrible crimes against women.
He and Merida find themselves thrown together by circumstances beyond their control. Will he able to defeat his djinn, and will she be able to forgive his transgressions to accomplish the impossible and save the town entrusted to their care?
Mysterious, dark, full of political intrigue and meticulously researched, Rayne brings this Bronze Age world to life right before the reader's eyes with unique, fascinating characters, vivid detail, and a complex, compelling plot. She puts her expertise on writing fantasy, magical systems, and fight scenes to the test, leaving readers unable to resist turning the page.
Read an Excerpt
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