Height; weight; eye and hair color; nose, ear, and chin size; right- or left-handedness; etc., mandate consistency.
Stage management and choreography: Watch out for people going up to the attic only to shortly and directly step out onto the driveway; removing their shoes and socks twice over the course of five minutes; drinking from glasses they quite definitively set down, a few paragraphs earlier, in another room;*4 and reading newspapers that suddenly transform into magazines.
While we’re here: I recall one manuscript in which fully half the characters had names beginning with the letter M. You may not be surprised to learn that the author’s given name also began with an M. This is not a good thing.*5
I don’t know why or how writers end up laboriously and lengthily describing restaurant meals as if they—the writers, that is—have never experienced one, but: Pay better attention.
I don’t know why or how writers end up laboriously and lengthily counterfeiting newspaper articles as if they—the writers, that is—had never read one. At the least, remember to establish the whowhatwherewhywhen you were taught in high school, and terse it up a bit too.
Fun tip for counterfeiting newspaper articles with verisimilitude and panache: Yank out all the series commas.
Real-world details must also be honored. You may think that readers won’t notice such things. I assure you they will.
If you’re going to set your story on, say, Sunday, September 24, 1865, make sure that September 24, 1865, was indeed a Sunday. There are any number of perpetual calendars online.*6 (Also remember that if you’re rummaging through old newspaper archives to see what was going on on September 24, 1865, you’d do well to look at newspapers dated September 25, 1865.)
I recall copyediting a novel in which the protagonist made a journey by, respectively, cab, train, subway, and a second cab in three hours that couldn’t, as I proceeded to plot it out with maps, timetables, and a healthy respect for speed limits, possibly have been completed in fewer than ten.
If you’re going to set your story in, say, New York City, you’d better keep track of which avenues guide vehicles south to north and which north to south, and which streets aim east and which west.
You’ve likely noticed that the sun rises and sets at different times over the course of a year. Make sure you remember to notice that when you’re writing.*7
Not all trees and flowers flourish everywhere on Earth.
If you want to be terribly precise about characters’ moviegoing and TV-watching habits, as many writers seem intent on doing, make sure that, say, The Sound of Music was in theaters in the summer of 1965*8 or that That Girl aired on Wednesdays.*9 If you’re not up for that sort of thing, you always have the option of giving less rather than more detailed information, or you can just make up fictitious but plausible-sounding movies and TV series, which I think is a lot more fun anyway.
Five-digit zip codes didn’t turn up till the 1960s (and the additional four digits didn’t arrive till the 1980s); neither did the two-letter periodless state abbreviations we’re all now used to. An envelope in the 1950s would not have been addressed to, say:
Boston, MA 02128
It would have been, using the postal zone system devised in the 1940s, addressed to:
Boston 28, Mass.
If your epistolary novel spanning decades requires this sort of stuff, you’d do well to get this sort of stuff right.*10
Period authenticity also mandates technical and societal plausibility, and this covers everything from the invention and obsolescence of phone answering machines (especially the sort on which people were always, to their plot-twisting embarrassment, overhearing messages intended for others as they were being left), to the iterations and capabilities of the iPhone, to pre- and post-9/11 levels of security in airports and office buildings, to the existence and popularity of particular pharmaceuticals.*11
Some historical novelist out there may well find this useful, so here’s a bit of trivia for you: Recordings at the dawn of that technology were often introduced, right on the wax cylinder, by a sort of emcee, thus: “ ‘All Going Out and Nothing Coming In,’ by Mr. Bert Williams, of Williams and Walker, Edison Records!”
Period vocabulary is its own issue: A writer working on a novel set in eighteenth-century London certainly isn’t restricted to the extant words of that era (or its grammar, or its punctuation), but you do want to be careful not to insert glaring anachronisms. I once encountered the word “maverick” showing up a few centuries in advance of the birth of Samuel A. Maverick, on whom the word was founded, and a reference to a woman’s outfit as “matchy-matchy” in 1920s Manhattan, which: no.
Dictionaries are particularly helpful in providing the first known use of any given word, so avail yourself of one.
If you’re dabbling in historical pastiche—that is, going out of your way to imitate the word conventions of the era in which your story is set—only you can decide how heavily you wish to dabble. A novel set in the early twentieth century might well feature not a lightbulb, as we’d now style that word, but a light bulb or a light-bulb, and you may or may not want to refer to a telephone as a ’phone, an omnibus as a ’bus, or influenza as the ’flu.
Sometimes you just can’t win. Long ago, in the pre-Internet era, when it wasn’t quite so easy to know everything in a split second, I copyedited a novel set in the early 1960s that referred in passing to a Burger King. “AU,” I wrote in the margin, “PLS. CONFIRM THE EXISTENCE OF BURGER KINGS IN THE 1960S.” The author ultimately chose to change the Burger King to some sort of Grilled Sandwich Shack of his own devise, acknowledging to me that though he’d carefully researched the history of the food chain and was accurate in his citation, every single person who’d read the manuscript before I did had asked him the same question, and it wasn’t, he decided, worth the reader hiccup.*12
THE BASICS OF GOOD STORYTELLING
Many writers rely more heavily on pronouns than I’d suggest is useful. For me this sort of thing comes under the heading Remember that Writing Is Not Speaking. When we talk, we can usually make ourselves understood even amid a flood of vague “he”s and “she”s. On the page, too many pronouns are apt to be confounding. I’d strongly suggest to the point of insistence that you avoid referring to two people by the same pronoun over the course of a single sentence; to be frank, I’d suggest that you avoid it over the course of a single paragraph. (I know a few authors of same-sex romance novels who are regularly driven to tears by this sort of thing.) The repetition of characters’ names is certainly one possible fallback, and though you as a writer may initially think that that third “Constance” over the course of seven sentences is overkill, I as your copy editor strongly believe that your readers will be happier not to have to puzzle over which “she” you’re talking about; I think of this as basic skeletal stuff and believe that it’s all but invisible to readers. On the other hand, if your paragraph is awash with names and pronouns and you think it’s all too much, hunker down and do the sort of revision that eliminates the need for an excess of either. It can be tricky, but it’s worth it, and it may well net you a leaner, stronger bit of prose.
If your attempts to distinguish between unnamed characters of no particular importance lead to describing what “the first woman” then said or did to “the second woman,” you might want to step back and give these women, if not names, at least distinct physical characteristics that can be expressed in one or two words. The redhead. The older woman. Something.
One writer of my beloved acquaintance possesses, it seems, only one way to denote an indeterminate number of things: “a couple.” And not even “a couple of.” No, it’s a couple hours, a couple days, a couple cookies, a couple guys. Over time I attempted to introduc
e her to concepts like “few,” “several,” and “some,” but she remained largely unpersuaded, and I largely stopped nagging her about it. I urge the rest of you to strive for variation.
When you’ve come up with that piquantly on-the-nose, distinctive, wow-that’s-perfect adjective, you may—as I’ve noticed—be so pleased with it that you unwittingly summon it up again right away. If an idea is, say, benighted on p. 27, some other idea oughtn’t to be benighted on p. 31.*13 Consider jotting down on a pad your favorite five-dollar words as you use them to ensure that none of them appear more than once per manuscript.
Keep an eye on the repetition of even garden-variety nouns, verbs, adjectives, and adverbs of only moderate distinction, which you might not want to repeat in proximity—unless you’re doing this with a purpose, in which case: Do it.
Here, for instance, is a marvelous example. I’ve always cherished it, and I like to haul it out whenever I can, as it celebrates the skill of a writer who’s not often complimented on his writing.
When Dorothy stood in the doorway and looked around, she could see nothing but the great gray prairie on every side. Not a tree nor a house broke the broad sweep of flat country that reached the edge of the sky in all directions. The sun had baked the plowed land into a gray mass, with little cracks running through it. Even the grass was not green, for the sun had burned the tops of the long blades until they were the same gray color to be seen everywhere. Once the house had been painted, but the sun blistered the paint and the rains washed it away, and now the house was as dull and gray as everything else.
When Aunt Em came there to live she was a young, pretty wife. The sun and wind had changed her, too. They had taken the sparkle from her eyes and left them a sober gray; they had taken the red from her cheeks and lips, and they were gray also. She was thin and gaunt, and never smiled, now. When Dorothy, who was an orphan, first came to her, Aunt Em had been so startled by the child’s laughter that she would scream and press her hand upon her heart whenever Dorothy’s merry voice reached her ears; and she still looked at the little girl with wonder that she could find anything to laugh at.
Uncle Henry never laughed. He worked hard from morning till night and did not know what joy was. He was gray also, from his long beard to his rough boots, and he looked stern and solemn, and rarely spoke.
It was Toto that made Dorothy laugh, and saved her from growing as gray as her other surroundings. Toto was not gray; he was a little black dog, with long silky hair and small black eyes that twinkled merrily on either side of his funny, wee nose. Toto played all day long, and Dorothy played with him, and loved him dearly.
Gray, gray, gray. Nine of them over the course of four paragraphs. They don’t make a lot of noise—would you have noticed them had I not set you looking for them?—but they get the job done.*14
Even a “he walked up the stairs and hung up his coat” might, if you’re so inclined, benefit from a tweak—easy in this case: Just change “walked up” to “climbed.”*15 I’ll extend this advice even to the suggestion that you avoid echoing similar-sounding words: a “twilight” five words away from a “light,” for instance.*16
Also be wary of inadvertent rhymes, of the “Rob commuted to his job” or “make sure that tonight is all right” sort. By “be wary,” I mean: Don’t do them.
Writers’ brains, I’ve noted, have a tendency to play tricks when the writer isn’t paying attention, and in copyediting I’ve occasionally run across weird little puns, echoes, and other bits of unconscious wordplay. Every time I read Shirley Jackson’s “The Lottery,” I’m stopped in my tracks by this:
She watched while Mr. Graves came around from the side of the box, greeted Mr. Summers gravely, and selected a slip of paper from the box.
Somehow I can’t imagine Jackson stooping on purpose to such a thudding little joke.
With all the nodding and head shaking going on, I’m surprised that half the characters in modern fiction haven’t dislocated something. By the way, characters who nod needn’t nod their heads, as there’s really not much else available to nod. And the same goes for the shrugging of unnecessarily-alluded-to shoulders. What else are you going to shrug? Your elbows?
If everyone in your world is forever pushing their eyeglasses up their collective noses, please send everyone and their eyeglasses to an optician’s shop.
How often do you stare into the middle distance? Me neither.
A brief, scarcely exhaustive list of other actions that wise writers might do well to put on permanent hiatus:
the angry flaring of nostrils
the thoughtful pursing of lips
the quizzical cocking of the head
the letting out of the breath you didn’t even know you were holding
the extended mirror stare, especially as a warm-up for a memory whose recollection is apt to go on for ten pages
Also overrated:
blinking
grimacing
huffing
pausing (especially for “a beat”)
smiling weakly
snorting
swallowing
doing anything wistfully
“After a moment,” “in a moment,” “she paused a moment,” “after a long moment”…There are so many moments. So many.
This may be a particular peeve of mine and no one else’s, but I note it, because it’s my book: Name-dropping, for no better reason than to show off, underappreciated novels, obscure foreign films, or cherished indie bands by having one’s characters irrelevantly reading or watching or listening to them is massively sore-thumbish. A novel is not a blog post about Your Favorite Things.*17 If you must do this sort of thing—and, seriously, must you?—contextualize heavily.
For fiction written in the past tense, here’s a technique for tackling flashbacks that I stumbled upon years ago, and writers I’ve shared it with have tended to get highly excited: Start off your flashback with, let’s say, two or three standard-issue “had”s (“Earlier that year, Jerome had visited his brother in Boston”), then clip one or two more “had”s to a discreet “ ’d” (“After an especially unpleasant dinner, he’d decided to return home right away”), then drop the past-perfecting altogether when no one’s apt to be paying attention and slip into the simple past (“He unlocked his front door, as he later recalled it, shortly after midnight”). Works like a charm.
You writers are all far too keen on “And then,” which can usually be trimmed to “Then” or done away with entirely.
You’re also overfond of “suddenly.”
Yet Another Shirley Jackson Reference
A few years ago*18 I had the unforeseen-except-perhaps-in-work-related-dreams honor of copyediting my favorite author, Shirley Jackson, whom I’d not previously had the pleasure of working with because she died when I was in the first grade. Random House had contracted to publish a book of some of Jackson’s previously uncollected and/or entirely unseen stories and essays,*19 and I happily nominated myself to attend to whatever dusting off and polishing up the material needed.
Unsurprisingly, the previously published stuff demanded little of my time: It had been well attended to by the magazines that had been a regular and lucrative source of income for Jackson—Woman’s Day, Good Housekeeping, and McCall’s, believe it or not, not to mention The New Yorker. Some minor fussings-about aside, those pieces were republished essentially as they had been seen in Jackson’s lifetime.
But much of the unpublished material had been presented to us in photocopies of Jackson’s characteristic all-lowercase first drafts—I imagine her clattering away at her typewriter in bursts of determined creativity, not bothering to reach for the SHIFT key—and no writer dead or alive deserve
s to have their material sent to press without at least some review.*20 To say nothing of capital letters.
I assured the book’s editors, who happened to be two of Jackson’s grown children and literary executors, that being a lifelong devotee of their mother’s work and having read and reread her writing for decades, I knew Jackson’s voice as well as any copy editor could hope to know it. I promised them that the material was in safe hands and that I didn’t expect to do much more than correct the odd typo.
But: Once I got to work I realized that though the material was, throughout, first-rate—shockingly clean, I’d say, given that it seemed to have moved straight from Jackson’s brain to her fingers to the pages and never been touched again—it needed a bit, truly just a bit, of a helping hand.
Having no live author to query—though, to be sure, anything I wanted to do was going to be run past the heirs—I extricated myself from the horns of this dilemma by setting for myself respectful ground rules: I’d allow myself free rein with punctuation, turn the occasional unclear pronoun into a clearer noun (or, if a noun seemed uncalled for, do the reverse), and attempt otherwise never to delete or add more than two words—little words like the and that and which and and—at a time.
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