Guest Post: The Curse of Continuity by Epic Fantasy Author Carol Browne...

You’ll hear writers complain about the number of typos that get missed during the editing and proofreading processes, so their work is published with errors it is too late to fix. This is something that happens to even the most well-known authors, regardless of what publisher they use.

As a proofreader who is also an author, I have seen typos in my own published work and have no idea how I missed them. There is some kind of brain glitch that sees what it expects to see, hence, for example, ‘to’ becomes ‘do’, and the meaning of an entire sentence is lost. We just have to hope that readers suffer from the same glitch or like our work enough to overlook the mistakes.

Proofreading errors are bad enough, but far worse are errors in continuity and these may be harder to spot. For example, a character may sit at a table while having already done so on the previous page; someone claims to have come by bus, yet we know he left his car in the car park; the protagonist is shown into the boss’s office by a blonde secretary who is a redhead when he comes out.

I have just finished editing a book I wrote over several years. It started as three novellas which were then glued together into one novel. Revisiting old material is a challenge anyway but more so when a book has been written in sections with not enough thought to the sequence of events. Continuity errors have been a nightmare with this particular work, and chunks of the narrative had to be rewritten to iron out the inconsistencies. Proofreading errors, conversely, have been a doddle.

While storytelling is an author’s main function, there are many other factors that must be borne in mind. An author must:

1.     Create interesting, believable characters that the readers will care about

2.     Provide them with a plotline that works

3.     Weave any necessary subplots seamlessly into the narrative

4.     Be fluent and grammatically correct in the language of their choice

5.     Avoid spelling and style errors and typos

6.     Create a consistent atmosphere to suit the genre of the work

7.     Do sufficient research to support the credibility of the work

8.     Decide if certain themes, social commentaries or observations are to be included

9.     Maintain the interest of the readers throughout, regardless of their demographic, and

10  Never disappoint their readers with weak endings and plot holes.

While juggling all of the above, continuity might slide under the radar, but an author must keep track of what their characters are doing: their movements; appearance; clothes; dialogue; relationships; backstories; ages; emotions, and so on. Added to that is the need to be aware of changes in time and place.

That’s a lot of plates to keep spinning! No wonder errors creep in.

Alas, after you’ve written and submitted your book and you’re sure you’ve created perfection, you might see one of those plates smashed on the ground when a continuity error is finally discovered—but it’s too late, because your book’s been published! A case in point is the book I am currently reading. It’s well written and compelling and the author is prolific and professionally published; however, I noted that the main character asked someone if they had any kin, to be told no, only to ask that same person the same question two pages further on, again with the same response. Given all those spinning plates the author had to keep an eye on, I’d say it happens to the best of us.

Here is a brief intro to Book One of Carol's exciting trilogy.

Banished from Elvendom and forced to seek refuge among the Saxons, young Elgiva faces a grim future - until she crosses paths with Godwin, a Briton enslaved by the people she must now call allies.

When a dark power rises to claim dominion over Elvendom, Elgiva and Godwin set off on a dangerous quest for the legendary Lorestone: the only thing that can stop the looming darkness. With a reluctant elf boy as their guide and a stubborn pony by their side, they must navigate the treacherous land and harness ancient magic before it’s too late.

As battle lines are drawn, Elgiva must embrace her true heritage, and Godwin must learn to wield the secret power he possesses. But can they find the Lorestone in time - or will Elvendom fall forever?

An historical fantasy adventure set in 6th century Britain, THE EXILE OF ELINDEL is the first book in Carol Browne's The Elwardain Chronicles series.

UNIVERSAL BOOK LINK

Once upon a time a little girl wrote a poem about a flower. Impressed, her teacher pinned it to the wall and, in doing so, showed the child which path to follow.

Over the years poems and stories flowed from her pen like magic from a wizard’s wand.

She is much older now, a little wiser too, and she lives in rural Cambridgeshire, where there are many trees to hug.

But inside her still is that little girl who loved Nature and discovered the magic of words.

She hopes to live happily ever after.

Stay connected with Carol on her website and blog, Facebook, and Twitter. 

Guest Post: Understanding the Editing Process by Carol Browne...

I met with a new proofreading client recently and looked at his manuscript. It needed a lot of work. In fact, he needed an editor not a proofreader. He had no idea what the difference was any more than he knew what an editor does. As I tried to explain it all to him, it took me back to my own beginnings as a newbie author and I remembered what a shock the editing process had been. I had no idea what was involved; writing the book turned out to have been the easy part! So, aspiring writers, here is a brief description of what lies in store for you.

 Let’s assume that you were able to construct a fairly presentable manuscript and submit it to a publisher with strict adherence to their submission requirements and that said publisher has agreed to publish the work. Let’s also assume that you have thrown your hat in the air, danced on the table, bought a round of drinks for everyone in the pub, day dreamed about fame, fortune and winning the Booker Prize and now await the next step. Once the excitement has worn off, the real work begins.

This is what happened to me: I was told who my editor was, that they were editing my manuscript and it would then be emailed to me so I could address the editor’s changes and suggestions. I had done a fair bit of proofreading by then but proofreading is to editing what a string quartet is to the London Symphony Orchestra. Straightaway, I was shocked when I saw that most of Chapter One had been removed (“You can condense it into a small paragraph somewhere if you really must.”) and great chunks of the narrative had been torn out. Thousands of words were scattered to the four winds, never to be seen again. Thousands! The book I had given years of my life to was purged and purified. And this is what you call a structural edit.

And guess what … I ended up with a much better book. Did I manage to condense the pruned pages into one small paragraph? You bet I did! It was the sort of exercise that tones up the writing muscle. I learnt how to write more succinctly and move the narrative along without unnecessary clutter. Editors I’ve had since have not been so ruthless, but it’s probably because I have become a more competent writer.

Once the structural editing is done, it’s time for line editing. This is exactly what it sounds like: going through the narrative line by line, addressing punctuation, spelling, typos, syntax and word choice. The editor will often suggest the author uses a better word or adds some description or makes the dialogue more natural. There will be all kinds of errors or inconsistencies in continuity. Have you used the same word three times in quick succession? Perhaps a character does something incongruous and you never noticed? Did you just mention someone, having forgotten you killed them two chapters ago?

You can imagine how long and involved a process this can be, particularly if you have a book as long as mine was. (‘Was’ being the operative word!) But your editor is trying to make your book the best it can be. You may have to lose your favourite metaphor, pluck out padding you enjoyed reading, delete swathes of dialogue that made you laugh but did nothing to further the plot or develop the characters. In the end it is all worth it.

Hopefully it is at this point that your publisher will give their blessing to the final edits of the manuscript.

But that’s not the end of the process, because it‘s then that a proofreader takes over and that proofreader is very often YOU. Having worked your way through your manuscript umpteen times already until you could happily throw it at the wall and walk away forever, it is up to you to read through ALL of it carefully and look for any errors that have been missed.

Yes, the editing of a manuscript is a lot of work: Weeks of daily toil; long hours at the keyboard; chewed finger nails; bloodshot eyes; gallons of coffee. And finally, if you are lucky, your book emerges, all sparkly and beautiful, like a polished jewel!

One more thing – and this is extremely important advice for aspiring writers – you need to familiarise yourselves with the Track Changes function of Word, because you are gonna need that knowledge! I was lucky in that I had a proofreading course under my belt before I started, so Track Changes didn’t come as a complete surprise to me. This is a function that allows many people to edit and proofread a document without the changes they make to that document being lost – hence the changes are tracked, very much like sending a parcel – but Word also remembers the original document so nothing is lost (we can’t always say the same about the mail service!). Delete a paragraph, say, and it will be held in the margin in a sort of bubble. Only when the author accepts that deletion will that paragraph be completely removed from the document.

Well, this isn’t an article about Track Changes! Suffice it to say, as with many things, there are tutorials on You Tube if you really feel this is beyond you. Trust me, it isn’t. If I can manage to use this function, anyone with a modicum of computer skills will have no problem.

So, budding authors, prepare yourselves for the editing process; but don’t worry about it because it’s not all hard work and learning the craft, it can also be a lot of fun.

Godwin's adventures in Elvendom left him a changed man, and now bereavement has darkened his world.

In another dimension, a new Elvendom is threatened by the ambitions of a monstrous enemy. Who—or what—is the Dark Lady of Bletchberm?

And what has become of Elgiva?

Reeling from the loss of their Elwardain, the elves ask Godwin for help.

Transported into a strange world of time travel and outlandish creatures, will he succeed in his quest against impossible odds, or will the Dark Lady destroy everything the Elwardain fought to preserve?

EXCERPT

His heart thumping in his throat, Godwin took in all the details of the goblin’s appearance. The creature was probably four feet tall at most and was wearing a sleeveless leather tunic and short leggings over his skinny frame. His arms and legs were hard with thin bands of muscle; sinews moved like taut wires beneath the scant flesh. Godwin fancied that the goblin’s skin had a sickly, greenish tint, but in the firelight it was impossible to be sure.

The goblin moved in an awkward manner, not upright like a man or an elf, but slightly stooped and with bent knees, as though on the verge of pouncing. The dome of his head was as bald and smooth as a pebble, and his very long, pointed ears were attached on either side like those of a lynx. His large eyes glittered like wet malachite and between them a long, sharp nose protruded with all the aesthetic attributes of a small parsnip.

The goblin’s large eyes widened as they swivelled in Godwin’s direction, making his stomach curdle in fear and revulsion.

“Only two of you, then?” said the goblin with a smirk. “Not much of a challenge, is it?” He beckoned with his sword and others of his kind began to creep into the circle.

Godwin glanced around. There were six more of them, each carrying a sword of a curious design, the blade like a thin, metal spiral with a very sharp point. A visceral fear welled up inside him at the sight of these weapons, but he didn’t know why.

AMAZON BUY LINK

Born in Stafford in the UK, Carol Browne was raised in Crewe, Cheshire, which she thinks of as her home town. Interested in reading and writing at an early age, Carol pursued her passions at Nottingham University and was awarded an honours degree in English Language and Literature. Now living and working in the Cambridgeshire countryside, Carol usually writes fiction and is a contracted author at Burning Willow Press. Being Krystyna, published by Dilliebooks on 11th November, 2016, is her first non-fiction book.

Stay connected with Carol on her website and blog, Facebook, and Twitter.

Guest Post: Let's Talk Formatting by Marci Clark...

As an editor/designer, I see manuscripts come at me with all kinds of crazy, wonky, how-the-hell-did-you-do-that formatting. Be kind to your editor/designer, peeps. Clean up your mess a little before submitting it.

Some houses provide a style guide. Double check for any submission rules before sending your book and risking a default rejection. If the house is relaxed on their formatting, that doesn't mean you shouldn't bother cleaning up the formatting any less than you'd bother cleaning up the content.

If they don't have a style for submissions, a pretty basic format is appreciated. Centered chapter headings, .3 to .5 indent on new paragraphs, 1.5 spaced lines, all black text in a basic font/typeface (making it "pretty" won't impress your editor), and no all capped or underlined words (use italics for emphasis).

Here are a few shortcuts when it comes to cleaning up your manuscript. Note: I have a PC, so I don't know if these translate to a Mac.

Extra Spaces: We are no longer a society of the double space after ending a sentence. One space. One. But if you have a habit of adding two, no problem. There's a quick fix. Open up your find/replace option. In the find box, hit the space bar twice. In the replace box, hit the space bar once. Then select replace all. Do that until the find/replace reaches zero.

Tabs: No. Just no. Do not use the tab button when indenting. Go to the top of the document, select the page layout tab an set your indent for the document there. Sometimes hitting the tab is natural. You can fix that as well. In the find/replace option, find ^t and replace with nothing. Leave the replace box blank. Replace all. Then select all on your document and set your tab as indicated above-through the page layout option.

Spaces Before or After Paragraphs: These hidden spaces may seem innocent enough, but if you are self publishing, these extra spaces can cause the designer a lot of stress depending on which program they use to convert your document. Remove extra spaces by again using the find/replace option. Find: space bar^p, and replace with ^p. Replace all. Do the same, but with the space on the other side of the paragraph break. ^pspacebar, replace with ^p. This will give you clean returns throughout.

Soft Returns: These also are pain when formatting. Find/replace ^l with ^p.

As for the document, please, please, PLEASE do not hit the enter button multiple times to start a new chapter. Nooo!!! Use a solid page break. Ctrl+Enter will break the page and give you (and your designer) a clean start on the next chapter. The problem with hitting enter over and over is that while it may push the chapter heading to a new page on your computer screen, it doesn't always work out that way on your editor's screen. If not, your chapter headings end up in all kinds of crazy places. Just do a page break, and nobody has to wonder WTH.

There are a dozens of little things that could also be done, but this really hits the big ones. Follow these tips, and your editor/designer will love you just a little more.

Marci Clark is a freelance editor, book/cover art/promo materials designer, published author, and all around publishing nerd. She's worked for Kensington Publishing since 2014, as well as several indie houses over the years. She is proficient in self-publishing and would love to help you with all your publishing needs, including premade or custom cover art.

Reach out to her at marci.clark.editing@gmail.com if you'd like to discuss your project with her.