Entr’acte: tracing the patterns of a life, or, just because something really happened doesn’t mean a writer is excused from making it dramatically appealing on the page

One of the great liabilities of editing for a living — or one of the great advantages, depending upon how one chooses to look at it — is that over time, the dedicated editor becomes decreasingly able to read anything without scrawling corrections in the margins. I’m not merely talking about manuscripts, synopses, and queries here, mind you, but all typed words on a page. The New York Times, for instance, once the standard of American prose, now seldom passes under my long-lashed eyes without picking up some entirely justified marginalia. Nor do any of my alumni magazines go unscathed: I’m looking at you, Radcliffe Quarterly. I routinely take a corrective pen to menus, fliers, and wedding programs. Last November, I had to be restrained bodily from correcting a grievous misprint on my ballot for a county election; the correction apparently would have confused the counting machine.

More confusing than asking the citizenry to select a superior court joge? I think not.

While in some walks of life this level of nit-pickiness would prove somewhat problematic, for professional readers like agents, editors, and contest judges (or, in this county, joges), it’s a positive boon. So what if in some benighted professions, it is neither expected nor considered particularly sane to look one’s coworker in the eye and say, “I like the content of you’re saying, Ziggy, but the fact that you uttered the word exciting fourteen times over the course of a six-minute speech, insisted — wrongly — that impact is a verb, and failed to define a good third of your basic terms detracted from its effectiveness,” without finding oneself cordially disinvited from all future meetings? Someone has to defend the language. And by gum, if that means rending our garments and wailing to the heavens, “You’ve used this metaphor twice in 137 pages! And phrased it almost identically each time, you…you?torturer,” well, we’re up to the task.

Oh, you thought I was kidding about that last one? Half the good professional readers I know would not only have become impatient at the metaphor repetition — they would have assumed that the writer did it on purpose. As opposed to, say, not recognizing the insight of today as the insight of three months, eight days, and sixteen hours ago.

How could you? You know how much such things upset Millicent the agency screener.

All of which is to say: I tried — really, I did — to devote this weekend’s post to the delightful task of critiquing and presenting two more reader-generated query letters, missives devoted to the promotion of what sound like some very interesting memoirs. In pondering the all-too-often misunderstood mysteries of memoir voice, however, and how to present it effectively in a letter as short as a single page, I found my text-addled mind drifting back to a novel-cum-memoir I had read, I kid you not, in junior high school. A pivotal scene in it, I felt, would provide such a glorious illustration of a common memoir querier’s mistake that I just had to drop everything and track down the book.

That’s how little girls with braids grow up to be editors, in case you had been wondering. Sometimes, even other editors are surprised at how well I remember text. A few years ago, when my own memoir was lumbering its way through the publication process, my acquiring editor scrawled in my margins, “Oh, yeah, right — you remember a biography of the Wright Brothers that you read in the third grade? Prove it!” I was able not only to give him a chapter breakdown of the book, but tell him the publisher and correctly identify the typeface.

Do I need to follow up with the story of what happened when one of my students at the University of Washington turned in the same term paper another of my students had submitted a scant five semesters before? I thought not. But the undergraduate disciplinary board couldn’t believe I caught the repetition, either.

So I had good reason to believe that my recollection of a fictionalized memoir ostensibly by a childhood friend of Joan of Arc was reasonably accurate. A lighthearted burrow through the roughly two thousand volumes I carted up from California after my mother moved from my childhood home, so she would have to take only the remaining eight thousand with her (long story), and voil? ! The author of the otherwise charming book had tumbled into a multitude of ubiquitous first-time memoirists’ traps. Including, of course, the one that had jumped up and down in my mind after so many years.

You know, the kind of thing that Millicent thinks so many of you writers of the real do on purpose, just to annoy her. Echoing the all-too-common verbal habit of using and as a substitute for a period in your first-person narration, for instance, in a misguided attempt to make the narrative voice sound more like everyday speech. (It works, but let’s face it, quite a bit of everyday speech is so repetitious that it would be stultifying transcribed directly to the printed page.) Or telling an anecdote on the page as one might do out loud at a cocktail party, with practically every sentence a summary statement. (Hey, there’s a reason that show, don’t tell is such a pervasive piece of editorial feedback.) Or, most common of all, not doing much character development for anyone but the protagonist.

Speaking of showing, not telling, here’s the scene that popped to mind. To render the parallels to what Millicent sees on a daily basis more obvious, I’m presenting it here in standard format for book manuscripts. (And if it’s news to you that such a thing exists, or that it differs from what is proper for submitting short stories, articles, or academic pieces, may I suggest a quick foray into the posts under the HOW TO FORMAT A BOOK MANUSCRIPT category on the archive list at right?) As always, my blogging program is a trifle hostile to page shots, so if you are having trouble reading individual words, try holding down the COMMAND key and pressing + to enlarge the images.



Come on, admit it — while you might have excused all of those ands if you had heard this told out loud, they’re a trifle eye-distracting on the page, are they not? Ditto with the word repetition — could this author possibly have crammed any more uses of to be, to get, or to see into these three pages? And don’t even get me started on concept repetition.

As a story on a page, it’s lacking quite a few elements. A sense of place, for one — is there a reason, the reader must wonder, not to give us some sense of what either the woods or the village were like? As so often happens in memoir, we’re just told that the action is happening here or there, with too little description to enable us to picture Joan and her young friends in a specific place. Nor are those friends fleshed out much, either in character or physically.

Heck, we don’t even get to see the frightening Benoist: instead, the memoirist merely tells us repeatedly that he and Joan were getting closer, without showing us what that might have looked like to a bystander. Like, say, the narrator.

Speaking of the narrator, do you get much of a sense of who he is as a person? How about what his relationship is to Joan? Are you even sure of their respective ages? Any idea what year it is? Heck, if you did not already know that the girl would grow up to be the patron saint of France — actually, one of four, but Joan of Arc is certainly the best known in this country — would anything but the children’s names tip you off about what part of the world these characters inhabit?

While I’m asking so many rhetorical questions in a row — another occupational hazard, I’m afraid — let me ask a more fundamental one: did you notice that while this passage is apparently about how the village’s children reacted to Joan, there’s practically no character development for her at all?

That’s at least marginally problematic, in a book entitled, wait for it, JOAN OF ARC. What, we are left to wonder, does she look like? Why doesn’t she stand up to her playmates (beyond, of course, the justification of being “so girlish and shrinking in all ways”) or, failing that, why doesn’t she simply walk away from the nasty little beasts? Most mysteriously, why can’t a kid brave enough to face down the village madman’s axe (or ax, depending upon where it falls in this passage; the error is in the hard copy in front of me), a rather interesting thing for a person to do, come up with more revealing answers to questions than a simple yes?

And would it be too much to ask the narrator to explain why the villagers left an axe lying anywhere near the madman’s cage in the first place? Might not the locals’ efforts be more productively expended making sure he can’t get out than chopping off his fingers?

More important to the story at large, if you did have more than an inkling of what the real-life Jeanne d’Arc achieved, wouldn’t you find it at least a trifle too pat that her playmates choose to picture her doing more or less what she grew up to do — and to laugh at her about it? If the girl had suggested this role herself, it might merely have been not-particularly-subtle foreshadowing, but honestly, can you think of any reason to include this at all except to make the reader feel cleverer than St. Joan’s playmates?

Millicent wouldn’t think of one. Neither would most professional readers; it’s our job to deplore this sort of narrative ham-handedness.

“Just how ill-informed would a reader have to be not to find that first bit clumsy?” we mutter into our much-beloved coffee mugs. “Isn’t it safe to assume that anyone who would pick up a book about Joan of Arc would know that she lead an army and was burned at the stake, even if that reader knew nothing else about her? And if your garden-variety reader knows that much, isn’t it an insult to his intelligence to drop a giant sign reading Hey, dummy, this is foreshadowing?”

Was that mighty gust of wind that just whipped the cosmos the sound of half of the memoirists out there huffing with annoyance, or was it the first-person novelists sighing gustily? Do you have some insight into this phenomenon that you would like to share? “But Anne,” both groups think loudly in unison, rather like the remarkably collective-minded children in the anecdote above, “this is how I was taught to write first-person narration: it’s supposed to sound exactly like a real person’s speech. So why shouldn’t St. Joan’s childhood buddy sound like anybody telling anecdotes out loud?”

A couple of reasons, actually. Yes, good first-person narration takes into account the narrator’s speech patterns. It also typically reflects the narrator’s social status and education, personal prejudices, and what s/he could conceivably know. And then there are those pesky individual quirks and, yes, the century in which s/he lived.

So I ask you, first-person writers: just how does the narrative voice in this passage indicate that this particular anecdote took place, according to the narrative, not too long after the Battle of Agincourt in 1415? As opposed to, say, the 1890s, when this account was first published?

Operating on the assumption that internal monologues have both always sounded pretty much like modern speech and don’t vary much from individual to individual is as common a mistake in first-person narratives as having all teenage characters sigh and roll their eyes is in YA submissions. Yes, some people do think and talk that way, but must everybody? Should Helen of Troy formulate her innermost thoughts in the same way as, say, Eleanor Roosevelt, Louisa May Alcott, or Confucius? (There’s a dinner party, eh?)

In case I’m being too subtle about it here: doesn’t it make for more interesting narration if your narrator’s speech bears at least some marks of time? And if she has some individual quirks of thought and expression?

Besides, if we are going to be true to the rules of first-person narration, shouldn’t we be objecting to how often our narrator here professes to read the other children’s minds — although, notably, not Joan’s? I don’t know about you, but I find that most of the time, my thoughts are located in my own head, not floating somewhere in the middle of a group of bystanders. So are we supposed to believe that our narrator in this instance is a mind-reader, or that the local children were too simple-minded to be able to form individual opinions about what is going on in front of them?

In fairness to the huffers and sighers above, however, it’s not beyond belief that they were taught to write first-person narration this way — in short stories in their high school English classes. In short bursts, run-on sentences do indeed come across as ordinary speech-like. In the professional examples of this type of narration that tend to turn up in class, it’s not all that unusual for the author’s voice and the first-person narrator’s voice to merge into colloquial harmony: Mark Twain tends to sound like Mark Twain, for instance, no matter whose perspective is dominating a particular story. That’s part of his branding as an author, right, a distinctive narrative voice?

As a strategy, adopting a chatty voice makes quite a bit of sense for narrative voice in memoir. The reader is going to have to like how the narrator/protagonist talks about her life well enough to want to follow the story for a few hundred pages, after all; we might as well get friendly. Yet in practice, the primary danger of relying on the repetitive phrasing, clich?s, and percussive and use to achieve realistic-sounding narrative cadence is precisely that it will put off the reader because as the pages pass, it can become, well, boring.

Think about it: even if a memoir were being told as a verbal anecdote, wouldn’t you rather listen to a storyteller with some individual flair for phrasing, instead of someone who just sounded like everyone else? No matter how inherently exciting a personal story is, a great telling can make it better reading. So can a narrative voice reflective of the time, place, and society in which that tale takes place.

But just try telling that to Mark Twain — who, as the sharper-eyed among you may already have noticed, wrote the scene above, in what he considered his best book. Although that retrospective assessment is a trifle hard to take seriously, in light of the fact that he published the book both under a pen and in serial form. Actually, he took it to even one more remove: he wrote a preface under a nom de plume, presenting himself as the translator of a memoir written by one of Joan’s contemporaries.

Why go to all that trouble? Because by all accounts, he felt that the poor sales of THE PRINCE AND THE PAUPER were largely attributable to his established audience’s expecting anything published under the name of Mark Twain to be a comedy.

Take that, purists who would like to believe that writing with an eye toward market concerns is a product of an increasingly cynical publishing industry over the last twenty or thirty years. Twain and his publisher worked out that tactic in the 1890s.

But I digress. As a reader, how well do you think his narrative choices worked here, either as fiction narration or as the memoir narration it originally professed to be? In your opinion as a writer, how do you feel about those slips into the first person plural — is the reader carried along with the we perspective as a narrative choice, as we were in Jeffrey Eugenides’ THE VIRGIN SUICIDES, or does it read like a perspective slip?

Moving back to my earlier point, do you feel that the mostly distinctly modern narrative voice, coupled with the almost entirely uncritical view of Joan, was the best way to tell this tale? Critics in Twain’s time did not think so — they believed (and I must say I agreed with them back in junior high school) that a protagonist who never does anything wrong is a trifle on the dull side, as far as the reader is concerned. Twain’s Joan never sets a wee foot wrong; even in her earliest youth, he tells us, she raised her voice in anger only once, and even then it was to voice a patriotic thought.

A taciturnity unusual in a rabble-rouser, you must admit. Also an unusual characteristic for someone who challenged social norms enough for anyone to want to burn her at the stake: Twain’s narrator presents her as a quiet, universally beloved little girl. Butter, as folks used to say, would not melt in her mouth. No matter how outside-the-box her observations or actions are shown to be (or, as we saw above, summarized to be), in this narrative, nothing she did or said from birth to the age of fourteen so much as ruffled the composure of the inhabitants of a querulous small village in wartime. Surprising, to say the least, in a young lady who by her own account had been engaging in frequent heart-to-heart chats with a couple of your more illustrious virgin martyrs since the age of twelve.

Perhaps the querulous small village where I spent my formative years was atypical, but I’m inclined to think that had I gone around snatching murder weapons from local lunatics or holding confabs with ancient Roman maidens, the Old Lady Mafia might have had a thing or two to say about it. I’m also inclined to think that their observations would not have been entirely favorable, regardless of how winsome and girlish I might have been while disarming the maniac in question. It doesn’t strike me as the type of endeavor best undertaken in a party dress.

I’m not saying that Twain is necessarily factually incorrect about all this; naturally, his best guess is as good as ours on a lot of these points. The lady lived rather a long time ago, so the issue here is less historical accuracy than dramatic plausibility. Still, just because something really happened does not mean it will necessarily come across as plausible on the page; as agents like to say, it all depends on the writing.

As an editor, I think it was the writer’s job to make me believe his take on this. Presuming you agree with me — speak now or forever hold your peace — I ask you: was this narrative choice the best fit for the story?

Literary taste is, of course, to a very great extent individual, so only you can answer that question to your own satisfaction. Am I correct in presuming, however, that you are at least a tiny bit curious about how an editor currently holding down the literary fort in the U.S. publishing world might respond to this particular set of narrative choices? Glad you asked.



What am I hoping you will take from this, you ask, eyes wide with horror? Not merely that being a brilliant writer does not necessarily preclude turning out a clunker of a first draft from time to time — although that’s not a bad thing for aspiring writers to bear in mind. The popular conception of true literary talent’s consisting of perfect creative phrasing dripping from the fingertips directly onto the page, with no further polishing necessary, does not match up particularly well with reality. As any experienced editor could tell you, most of the books people regard as productions of pure inspiration have actually been worked, reworked, and run past half a dozen critical readers.

Remember that, please, the next time you’re struggling with a scene that just doesn’t seem to want to hit the page gracefully — or with much specificity. In moments like that, it can be very tempting to embrace the tack Twain did above, to write up the scene in summary form as quickly as possible, with few vivid details, just to get the darned thing committed to paper.

What makes me think that this was written quickly? Editorial instinct, mostly: I find it hard to believe that a humorist as gifted at reading out loud as I know Twain to have been would have killed the comedy — or bored the reader — with this much word repetition unless he was writing on a deadline. Had he taken the time to revisit this scene and iron out its wrinkles, I don’t think there would have been quite so many references to eyes — and I don’t think that he would have had his narrator faint at the climax of the scene.

Certainly saved the author the trouble of having to figure out how the girl convinced the wild man to give up the axe, though, didn’t it? Trust me on this one: experienced editors — and Millicents — see this type of narrative shortcut often enough to recognize it for what it is.

So what should a savvy writer do when faced with this sort of first-draft dilemma? Go ahead: give in to temptation; there is value in getting a full scene on paper. Just make sure to set aside time later in the writing process to return to that scene and flesh it out. Unless you would prefer to have your future editor bark at you, “This is lazy writing, Ambrose. Didn’t anybody ever tell you to show, don’t tell?”

Just in case nobody has yet snarled that in the general direction of your manuscript: show, don’t tell. Immerse your reader in sufficient details for her to be able to feel as though she is part of the scene, rather than leaving her to fill in the specifics for herself.

Oh, you don’t think that’s what Twain is doing here? Okay, rise from your chair, grab the nearest willing partner, and try to act out this interaction between young Joan and Benoist, based solely upon the choreography the narrator above chose to provide us:

She stood up and faced the man, and remained so. As we reached the wood that borders the grassy clearing and jumped into its shelter, two or three of us glanced back to see if Benoist was gaining on us, and this is what we saw — Joan standing, and the maniac gliding stealthily toward her with his axe lifted. The sight was sickening. We stood where we were, trembling and not able to move. I did not want to see murder done, and yet I could not take my eyes away. Now I saw Joan step forward to meet the man, though I believed my eyes must be deceiving me. Then I saw him stop. He threatened her with his ax, as if to warn her not to come further, but went steadily on, until she was right in front of him — right under his axe. Then she stopped, and seemed to begin to talk with him. It made me sick, yes, giddy, and everything swam around me, and I could not see anything for a time — whether long or brief I do not know. When this passed and I looked again, Joan was walking by the man’s side toward the village, holding him by his hand. The axe was in her other hand.

Not much practical guidance for the actors there, eh? Other than all of that seeing, the actual movements mentioned here are pretty routine: one party standing still, the other moving toward her. The mover threatens, but we are not told how. Admittedly, a lifted axe doesn’t have to move much to seem threatening, but see how pretty much all of the sense of danger is conveyed via the narrator’s dread, rather than through showing the reader vivid, terrifying specifics? And how virtually all of that dread is summarized, rather than shown in any detail?

That lack of specificity distances the reader from what should have been a thrilling scene: by leaving the reader to fill in the details, the narrator abdicates his proper role here. Yes, he grounds us in his experience by telling us repeatedly that he is seeing this or that, and that these sights made him feel sick (and ultimately pass out), but great heavens, man, if you’re going to narrate a story like this, isn’t it your job to at least ask a bystander what happened, so you could share that information with the reader?

Don’t tell me that once you’ve seen one axe-wielding madman, you’ve seen ‘em all. As both a reader and an editor, I want to know what this particular madman looked, sounded, moved, smelled, and felt like. I want to know precisely what our heroine did that gave Benoist pause; I want to be shown how he crept up on her stealthily while apparently walking straight into her line of vision. And gosh darn it, I want to know how an axe of 1415 differed from one I might buy at the corner hardware store today.

Without those details, and phrased in fairly ordinary terms, this is indeed like everyday speech, despite the inherently exciting subject matter. Substitute a memo-wielding boss for the axe-bearing madman, and this could have been an anecdote overheard in a coffee house after work.

Distancing the reader from the action in this manner is an unfortunately common tactic in memoirs and first-person fictional narratives alike. Instead of showing the reader what happened through a fully realized scene, the narrator simply summarizes; rather than demonstrating relationship dynamics through dialogue or action, the narrator just sums up what was said. And by describing subsequent actions in the same words or in hackneyed terms (I believed my eyes must be deceiving me? Really, Mark?), the action may move forward, but the reader’s understanding of what’s going on does not.

Joan stood; Benoist glided. Then Joan stood while Benoist glided. Then she stopped — odd as the narrative had not shown her going forward. Then the narrator conveniently blacks out so we cannot see what is going on. Then the problem is solved. The end.

Seldom is this the most interesting way to convey a story, in my experience. Like having characters answer yes-or-no questions with yes or no, as opposed to more detailed (and thus more character-revealing) responses, the summary route closes off story possibilities. And by definition, repeated phrasing adds nothing new to the scene.

Neither, incidentally, do all of those thens: in a story in which events are being presented in chronological order, the occurrences in Sentence 1 are presumed to have happened before those in Sentence 2, which in turn came before what’s described in Sentence 3. Thens, then, as we have seen them used in that last example, are logically redundant; most editors would advise you to reserve them for moments when what happens next is genuinely unexpected.

Joan stood; Benoist glided toward her with an axe. Then the Wright Brothers and their sister, Katherine, swooped through an opening in the forest canopy in a motorized glider to snatch the weapon away.

Admit it — you didn’t see that last twist coming, did you?

Remember, there’s more to telling a story than simply listing its events in chronological order — or racing from its beginning to its end. You want the journey to be both memorable and enjoyable for the reader, do you not? And if the narrative can manage either to surprise the reader with an unanticipated turn of events, delight her with astonishing imagery, or intrigue her with beautiful phrasing — ideally, all three — all the better.

Before I release you to ponder the challenges of expanding a first-person narrative from the anecdotal level into a completely inhabited scene, I want to talk about another common faux pas: the further distancing effect of the narrative’s reminding us repeatedly that the narrator is seeing this or that. Obviously — at least from a professional reader’s perspective — if an action or object is depicted in a first-person narrative, the narrator perceived it; otherwise, she could not legitimately bring it up, right? So when Twain’s narrator tells us repeatedly that he saw Joan do this or Benoist do that, it’s logically redundant.

Of course, he saw it: he was standing right there. Why bother to remind the reader of that self-evident fact? Or, to put it as a garment-rending professional reader might, does the author think the reader is too brain-dead to remember who the narrator is and that he is present?

Oh, you don’t want the pros to take every word you commit to the page that seriously?

Again: if it’s on the page and the writer appears to possess even the slightest vestige of talent, Millicent is going to assume that it’s there on purpose. She’s also going to assume, with good reason, that if a writer has set up rules for how the story is to be told — in this case, from the point of view of a childhood friend of Joan’s, and only from his perspective — the narrative will follow those rules consistently.

This, too, trips up quite a lot of memoirists and other first-person narrator-wranglers. Once a narrative is committed to a single perspective, it cannot report anything outside of it without shattering the illusion of a limited point of view. Thus, when the narrator slips into the first person plural, informing us that we saw this or thought that, it’s jarring to the reader’s sensibilities.

And when, like Twain’s narrator, he professes to know what we all are thinking…well, let’s just say that maybe Joan isn’t the only one who needs to be worrying about going on trial for dabbling in the supernatural. Unless the narrative establishes some means by which a first-person narrator could possibly have reliable insight into other characters’ thoughts and feelings, he should really stick to his own. If his thoughts and feelings are somehow different from every Tom, Dick, and Benoist’s who might be hanging around in the same place at the same time, great; if he can manage to express them in language evocative, memorable, and tailored to his individual worldview, even better.

Which is not a bad definition of memoir voice, if you think about it: a narrator with a strong personality and specific worldview recounting situations of significance to an overall dramatic story arc in language and from a perspective unique to the teller. If every sentence of your memoir — and, to bring this back to our series-in-progress, every sentence of your query’s book description — does not rise to that level, you might want to think about revising it. Millicent will thank you. So will your readers.

So Mark, darling, as much as I admire your writing in general and short stories in particular, if I were your editor — oh, you thought that editors don’t hope this type of activity would be the first, best use of a time machine? — I would insist that you sat down and revised these three pages. Actually, I would do it because I admire your writing: your narrative voice, even in this rather serious book, is better than what we’re seeing here.

And that axe you keep telling us you’re seeing, narrator? That’s your editor, chopping away all of that phrasing and conceptual redundancy. Trust your reader’s intelligence a bit more, please.

I know, I know: this is a heck of a lot to absorb for a single post. Fear not; I shall be revisiting many of these issues after I polish off the last of the reader-volunteered queries. For that limited purpose — that is, for your edification prior to my next post — just bear in mind that not only does Millicent expect a memoir to have a well-defined voice and story arc; she presumes that by the time that memoirist sends her boss a query, the projected voice and story will be so clear in the writer’s mind that both can be adequately (nay, compellingly) conveyed in a paragraph or two.

Piece o’ cake, right? Well, no, but we can give it the old college try.

Just don’t turn in a term paper I’ve clapped eyes upon before, okay? Keep up the good work!

Pet peeves on parade, part XXIV, structural repetition, part II, or, are these concurrent series starting to get out of hand?

No, that image isn’t doctored — that’s a quick snapshot I took today of my garden’s first summer poppy. Eat your heart out, Georgia O’Keeffe.

I wasn’t playing hooky in the garden, honest; I was prowling my flowerbeds for bright, arresting color to illustrate our topic du jour. What, after all, would remind a self-editing writer more of structural repetition — the phenomenon of a writer’s falling in love with a certain kind of sentence and consequently over-using it throughout a manuscript — than a flower that might attract a passing motorist’s attention from half a block away?

“But Anne,” metaphor enthusiasts throughout the writing world protest, “I don’t get it. How are these two apparently unrelated things akin?”

That’s a perfectly legitimate question from a writerly point of view, metaphor-huggers, but from an editorial perspective, the connection is self-evident: both seem to leap out at the observer. To most of us who read manuscripts for a living, a manuscript that keeps recycling sentence structures, pet phrases, or even individual words might as well be covered with flashing neon signs.

Don’t believe me? Okay, here is a page stuffed to the gills with one of the more common types of repetition, the over-use of proper nouns in general and character names in particular. I’ve made the image a trifle larger than usual, to render the pattern easier to spot.

In fact, you don’t even have to read the text to notice it: stand up, back away from your computer until you can’t make out individual words, then walk slowly toward the screen. Ready, set — observe!

All of those Js and Ps were the first thing you saw on your return trip, were they not? A sharp-eyed pro like Millicent the agency screener would have that reaction scanning the page at a normal reading distance.

Now let’s take a gander at how the visual problem is exacerbated if the sentence structure is also repetitious. To render this tortured page even more likely to annoy our Millie, I’ve selected a common construction in the passive voice.

Quite a bit less amusing to read, isn’t it? I wouldn’t be at all astonished if you were tempted not to read it all the way to the end — although the page was not in fact made up entirely of it was X and it was as though sentences, it certainly began to feel like it by halfway down the page, didn’t it?

A trained eye would be drawn immediately toward those repeated patterns — and thus away from other aspects of the text a savvy writer might want a professional reader like our old pal Millicent to notice instead, such as the compelling storyline, the interesting characters, and/or the overall beauty of the writing. Because repetition in general and structural repetition in particular are so very common in submissions, Millicent and her ilk not only find it distracting; they tend to regard it a symptom of both a small authorial vocabulary and — you’re sitting down, I hope? — weak writing.

On the off chance that I’m being too subtle here: you might want to think twice about incorporating much repetition into your preferred authorial voice. Especially in your opening pages — which, lest we forget, folks who screen manuscripts for a living are prone to regard, rightly or not, as representative of the writing in the rest of the manuscript.

To put it rather less gently: if the sentence structure and vocabulary on page 1 don’t show much variation, Millicent’s unlikely to keep reading until page 50 to find out whether these traits are consistent features of the author’s chosen voice. Heck, she probably won’t turn to page 2 to confirm that suspicion.

It’s hard to blame her, given the provocation. As we saw in the second example, even when the word choices vary enough to keep things moderately interesting, it’s simply more tiring to read the same kind of sentence over and over than to read text where the form varies more.

That’s true, incidentally, regardless of the subject matter: even an inherently fascinating topic can quickly be rendered stultifying by the simple expedient of writing about it in structurally similar sentences. Repetitive phraseology can render even the most exciting, conflict-ridden scene quite a bit less nail-biting than its activity level should dictate. That’s true, surprisingly, even if the chosen structure is quite complex.

Did my reuse of the that’s true + adverb structure bug you more in that last paragraph, or the recycling of even? By this point, I would hope that neither escaped your attention.

Back to the principle at hand: let’s observe the soporific effect of a more complicated repeated structure in action. So I don’t plunge all of you into a deep, refreshing slumber, I shan’t subject you to an entire page of it.

Obviously, no one plans to crash a motorcycle into the side of a cross-town bus, but that is precisely what Barnaby did. Fortunately, he was wearing his inflatable jumpsuit, saving him from significant injury, but clearly, his morning was not going to be a smooth one. Resignedly, he collected his scattered belongings, including the small thermonuclear device he later planned to smuggle into the state dinner, but he could not resist cursing under his breath.

Something tells me that a scene with stakes this high could have been written about in a slightly more compelling manner. There’s more to good storytelling, after all, than just getting all of the facts down on the page. To see why this is true, we need look no farther than the early reader books of our youth.

You know the type, right? See Spot run. See Spot bite Dick. See Dick shiv Jane. Stab, Dick, stab.

Dull, from an adult perspective, weren’t they? But dull with a purpose: part of their point was to encourage new readers to recognize letter patterns as particular words. Varying the sentence structure enough to render the insipid story interesting to more advanced readers would merely have distracted from the task at hand.

So we were treated to the same sentence structure for what seemed like the entire book. I have a distinct memory of taking my kindergarten copy of FROG FUN home from school (Hop, frog, hop. Hop, hop, hop: hardly Thackeray), reading a two pages of it to my father, and both of us deciding simultaneously that no self-respecting human being would keep slogging through that much narrative repetition. He wrote a very amusing little note to my teacher about it.

Suffice it to say that my teacher quickly learned to send me to the library for alternate reading material. And stopped teaching kindergarten shortly thereafter. I’m told that she still winces whenever she sees a frog.

It’s even easier to make Millicent wince — at any given moment, her to-read pile overfloweth with submissions that, if not as word-repetitious as FROG FUN, have fairly obviously not been carefully revised with an eye to sentence variation. That’s a pity, because when a professional reader sees a manuscript that uses the same sentence structure or the same few verbs use over and over, the specters of Dick, Jane, and Spot seem to rise from the page, moaning, “This is not very sophisticated writing!”

Why? Well, when one’s eye is trained to note detail, it’s doesn’t take much redundancy to trigger a negative reaction.

In fact, a good professional reader will often catch a repetition the first time it recurs — as in the second time something is mentioned in the text. It’s not unheard-of for an editorial memo to contain an angry paragraph about the vital necessity to curb “your inordinate fondness for” phrase X when phrase X shows up only three or four times in the entire manuscript.

As in over the course of 382 pages. Had I mentioned that we pros are trained to be extremely sensitive to redundancy?

Imagine, then, how much more annoying they find it when every third sentence begins with a structure like, Blinking, Sheila backed away or George was…” or the ever-popular, As she was doing X, Y happened.

That last one caught you a bit off guard, didn’t it? I’m not entirely surprised: if an alien from the planet Targ were to base its understanding of human life solely upon the frequency with which protagonists in first novels do something while something else occurs, it would be forced to conclude that humanity is doomed to perpetual multitasking. Either that, or it would surmise that the space-time continuum is somehow compressed by the mere fact of someone’s writing about it.

Oh, you laugh, but how else could the poor visitor to our solar system possibly interpret a passage like this?

As Monique turned the corner, she spotted Clarence. He dodged as she came up to him. While he was looking for someplace convenient to hide, she calmly unearthed a crossbow from her purse.

Aiming, she cleared her throat. “The jig’s up, Clarence.”

That’s quite a bit of activity happening simultaneously — and quite a few logically similar sentence structures shouldering one another for prominence. But contrary to popular opinion amongst aspiring writers, the mere fact that two things occurred at the same time is not particularly interesting to most readers. Unless the simultaneity of the motions in question is crucial to the reader’s understanding what’s going on, as and while can be awfully easy to overuse.

How so? Well, let me put it this way: if our imaginative little run-in with the Targian had not tipped you off in advance, would you have noticed that there were two things going on contemporaneously in every sentence in that last example?

If so, you’re certainly not alone: most aspiring writers — i.e., the folks who have not yet had the professional opportunity to hear an editor go on a tirade about it — would not see a problem with that excerpt. Millicent, however, would, and that’s likely to spark some rather unpleasant consequences at submission time.

So how might a savvy reviser rearrange that passage so as to leave her eyebrows mercifully unraised? Vary the sentence structure — and cut out any extraneous activity. While you’re at it, reserve as for those relatively rare occasions when it’s imperative that the reader be made aware that things happened at the same time. The result might look a little bit like this:

Monique strode around the corner, surprising Clarence so much that he dropped his bullwhip. While he was looking for someplace convenient to hide, she calmly unearthed a crossbow from her purse.

Carefully, she took aim at his Adam’s apple. “The jig’s up, my friend.”

The contrast between this version and the previous one is pretty stark, is it not? To repetition-sensitive eyes, a page filled with structural and word repetition is like badly-done CGI in movies, where battle scenes between thousands of characters are created by filming 50 extras flailing at one another, copying that image, and plastering it seventeen times across the scene, perhaps alternated with two or three other images of the same actors in different positions. Honestly, to those of us who count patterns for a living, that level of repetition can be downright migraine-inducing.

“Wait just a nit-picking minute, Anne!” I hear some conscientious revisers exclaiming. “English grammar only permits so many ways of arranging sentences properly. Isn’t any manuscript going to exhibit a certain amount of pattern repetition, necessarily?”

Yes, of course — but that does not give writers carte blanche to use the same structures back-to-back, or to utilize a favorite complex sentence form twice per page. And that’s unfortunate, because it’s not as though your garden-variety writer is repeating herself on purpose: in the vast majority of instances, the writer simply likes a kind of sentence or a particular verb enough to use it often.

You lucky souls, however, are going to be one up on that kind of writer come revision time, because we’re about to take a run at spotting the phenomenon in its natural habitat. Since last post’s foray into A TALE OF TWO CITIES was so obvious, let’s try a comparatively subtle one on for size.

Rubbing his sides for warmth, Stephen glanced unhappily at his fellow cheerleaders. Waving his pom-poms in a wan impression of good sportsmanship, he reminded himself never to be stupid enough to accept one of his sister’s bets again. Pulling up his flesh-colored tights –- oh, why hadn’t he listened to Brian, who had told him to wear nylons under them on this near-freezing night? – he wondered if Tammy would be vicious enough to demand the performance of the promised splits before the game ended. Sighing, he figured she would.

How did you do? Individually, there is nothing wrong with any given sentence in this paragraph, right? Yet taken communally — as sentences in submissions invariably are — the repetition of the same kind of opening each time starts to ring like a drumbeat in Millicent’s head, distracting her from the actual subject matter, the quality of the writing — and, alas, even the blistering pace you worked so hard to achieve on the page.

That’s not just a voice problem — it’s a marketing problem.

Why? Well, think about it: very, very few agents and editors can afford to work with specialists in a single type of sentence. And don’t start waving random pages ripped from Ernest Hemingway’s oeuvre at me, either: present-day readers expect a narrative with a broad array of sentence structures.

The sad thing is, most of the time, writers don’t even realize that they’re repeating patterns, because unless the repetition bug has really bitten them, the redundancy isn’t in every sentence. Or if it is, the repetition often lies in words or phrases that are similar, but not identical, so the writer does not think of them as the same word. Consider:

Arnold began sweating, sweating as though his sweat glands were going on strike tomorrow. Should he go to the window and throw it open, beginning the cooling-down process? Or should he go downstairs, into the basement, to the cool of the pickle cellar? Or should he wait for the seller on the cooler porch?

Subtle, isn’t it? Sometimes, the structures a writer favors may be common enough in themselves that she would need to read her pages IN HARD COPY and OUT LOUD to catch the problem. As in:

“But I didn’t steal the payroll,” Claire insisted, “because I had no reason.”

“But you did take it,” Edmund shot back, “because you needed the money for your sainted mother’s operation.”

Claire’s eyes filled with tears. “You leave my sainted mother out of it, since you don’t know her.”

These three lines of dialogue feature different words, of course, but they sport identical structures. This may not seem like a serious problem on any given page, but once a professional reader notices a manuscript exhibiting this kind of repetition a couple of times, she will simply assume — feel free to sing along; you should know the words by now — that the pattern will recur throughout the manuscript.

How does s/he know, you ask? Experience, my dears, experience. How many horror films did you have to see before you realized that the monster/killer/Creature from the Black Lagoon wasn’t really dead the first time it appeared to be?

Go back and re-read that last example out loud: did you notice how similar those three paragraphs sound in the mouth — almost as though they were not the words of two different speakers? The repetitive structure here makes Claire and Edmund speak in essentially the same rhythm, as though they were echoes of the same voice. (Which, from an authorial point of view, they are.)

When two characters speak in the same rhythm, it mutes the conflict between them a little — not to mention making it harder for the reader to follow the dialogue. Check out how varying the sentence structure ramps up the tension between them, even in an excerpt this short:

“But I didn’t steal the payroll,” Claire insisted. “I had no conceivable reason.”

“You lie,” Edmond shot back. “You needed the money for your sainted mother’s operation.”

Her eyes filled with tears. “You leave my sainted mother out of it, me bucko, since you don’t know her.”

“Aha! I knew you were concealing a pirate past!”

“I ought to keel-haul you.” Sullenly, she removed her eye patch. “What gave me away, the parrot?”

Nifty, eh? That, in case you were wondering, is the kind of character development benefit a writer is likely to derive from reading her work OUT LOUD. I just mention.

But a writer need not only pay attention to how many times he’s using the same words or similar sentence structures in back-to-back sentences, but also on any given page, or even over the course of a scene. Let’s take a look at how non-consecutive repetition might play out in practice.

As the car door opened, Beatrice swallowed a horrified gasp. It was Harold’s severed hand, dragging itself around the latch mechanism, one grisly fingertip at a time. As she reached for the gun, her intestines palpitated, but she forced her arm to remain steady. While she loaded the bullets into the chamber, she thought about how much she had loved Harold, back when his constituent parts were all still interconnected as a human’s should be. It was a shame, really, to have to keep blowing him to bits. But blow him to bits she would continue to do, as often as necessary.

My, but our examples are violent today. To most self-editors, this paragraph would not seem especially problematic. However, to a professional reader, it contains two of the most commonly-repeated structures, our old friends, the While X was Happening, Y was Occurring and the It Was Z…. Standing alone as individual sentences, either form is perfectly valid; the problem arises when either appears too frequently on the page. To a professional reader, this is how the paragraph above would scan:

As the car door opened, Beatrice swallowed a horrified gasp. It was Harold’s severed hand, dragging itself around the latch mechanism, one grisly fingertip at a time. As she reached for the gun, her intestines palpitated, but she forced her arm to remain steady. While she loaded the bullets into the chamber, she thought about how much she had loved Harold, back when his constituent parts were all still interconnected as a human’s should be. It was a shame, really, to have to keep blowing him to bits. But blow him to bits she would continue to do, as often as necessary.

See how even spread-out repetition jumps off the page, once you’re sensitized to it? Millicent (and her boss, and the editors at the publishing house across the street, and even the average contest judge after reading the first handful of entries) is so attuned to it that she might not even have made it as far as the end of the paragraph.

To use the most overworked word in her vocabulary: “Next!”

Of course, you may strike lucky: your submission may be read by a screener who hasn’t been at it very long, a contest judge brand-new to the game, or an agent whose tolerance for pattern repetition is unusually high. Heck, your work may even land on the desk of that rara avis, the saint who is willing to overlook some minor problems in a manuscript if the writer seems to have promising flair. In any of these cases, you may be able to put off winnowing out pattern repetition until after the book is sold to an editor — who is most unlikely to be so forgiving.

Do you honestly want to gamble on Millicent’s possible saintliness at the submission stage?

Because editorial response to this kind of repetition tends to be so strong — I wasn’t kidding about those migraines — you would be well advised to check your first chapter, especially your opening page, for inadvertent pattern repetitions. (Actually, since quick-skimming pros tend to concentrate upon the openings of sentences, you can get away with just checking the first few words after every period, in a pinch. But you didn’t hear that from me.)

The most straightforward way to do this is to sit down with five or ten pages of your manuscript and a number of different colored pens. Highlighters are dandy for this purpose. Mark each kind of sentence in its own color; reserve a special color for nouns and verbs that turn up more than once per page. You probably already know what your favorite kinds of sentence are, but it would be an excellent idea to pre-designate colors for not only the ever-popular While X was Happening, Y was Occurring and the It Was… sentences, but also for the X happened and then Y happened and Gerund Adverb Comma (as in Sitting silently, Hortense felt like a spy.) forms as well.

After you have finished coloring your pages, arrange all of the marked-up pages along some bare and visually uncomplicated surface — against the back of a couch, along a kitchen counter, diagonally across your bed — and take three steps backward. (Sorry, kitty; didn’t mean to step on your tail.)

Does one color predominate? If you notice one color turning up many times per page — or two or three times per paragraph – you might want to think about reworking your structures a little.

If this all seems terribly nit-picky to you, well, it is. But the more you can vary the structure and rhythm of your writing, the more interesting it will be for the reader – and, from a professional perspective, the more it will appeal to educated readers.

Think about it: good literary fiction very seldom relies heavily upon a single sentence structure throughout an entire text, does it?

You know what kinds of books use the same types of sentences over and over? The ones marketed to consumers with less-developed reading skills. If that is your target readership, great — run with the repetitive structure. (Run, Jane, run! Don’t let Dick stab, stab, stab.) But for most adult markets, the industry assumes at least a 10th-grade reading level.

In my high school, Ernest Hemingway’s THE OLD MAN AND THE SEA was assigned in the 9th grade. If you catch my drift.

Then, too, agency screeners and editorial assistants typically hold liberal arts degrees from pretty good colleges. That’s a long, long way from the reading level that was contented to watch Dick and Jane running all over the place with Spot and frogs having fun hop, hop, hopping.

Let your structural choices be as exciting as the writing contained within them — and let your voice emerge as more than a repetitive collection of your favorite words and sentences. Incorporate your pet structures and phrases, by all means, but have them appear rarely enough that they will seem like revelations, not just narrative-as-usual.

Above all, keep mixing up those sentence structures. You may be pleasantly surprised at how much interest merely preventing a sentence from reading like the one before it can produce. Keep up the good work!

Telling it like it was: Author! Author! Rings True memoir winners Kathryn Cureton and Margie Borchers

Kathryn, author of One Great Big Not-Listening Party

Margie, author of The Betrayal Chain

I’ve a treat for you, campers, a reward for spending the last couple of weeks sharpening your self-editing eyes: the first set of winners from the recent Author! Author! Rings True literary competition. Today, we’re going to be taking a nice, intense gander at the page 1, 1-page synopsis, and author bios entered by memoirists Kathryn Cureton and Margie Borchers. Well done, ladies!

To render the festivities even more interesting, I’m also going to be chatting about these winning entries with Heidi Durrow, author of the recent literary fiction debut, The Girl Who Fell from the Sky, now available in paperback. In fact, as of this week, Heidi’s book is #15 on the New York Times’ paperback bestseller list, so kudos, Heidi!

In answer to what half of you just thought: yes, that distinction is exceptional for a literary novel, especially a first one. It’s an achievement that makes me cheer even more, because as we discussed my recent interview with Heidi on the joys of writing and marketing literary fiction, this novel circulated for quite some time before being picked up.

So take heart, everybody. It can be done.

The video feedback is an experiment — and an exciting one, I think — so please do chime in and let me know what you think of it. I shall also be doing my trademarked nit-picking, of course, but as those of you who have been hanging out around Author! Author! for a while already know, I’m a huge fan of writers getting as much feedback on their work as humanly possible. And since Heidi was kind enough to provide her trenchant insights, all of us benefit.

This methodology also will allow us to approach these first pages from a variety of different angles. That’s not entirely coincidental. Throughout our ongoing Pet Peeves on Parade series, I’ve been encouraging you to read and reread your manuscripts (preferably IN YOUR BOOK’S ENTIRETY, IN HARD COPY, and OUT LOUD, just in case you hadn’t added that mentally) not just at the story or proofreading levels, but also to spot repetition, favorite phrases, and other patterns in the text.

So as you read today’s memoir pages, try to apply that multi-level reading sense. And remember, please, that the Author! Author! community is about mutual support: while commenting on these entries is great, do try to keep the feedback constructive.

Constructive feedback is especially important for memoir-writers because, after all, the story on the page is a reflection of one’s life. It’s not as though a memoirist can hop into a time machine, revisit past choices, and change her past paths because a reader would prefer her story to work out that way. The art of memoir lies in how one chooses to write about life as it actually happened.

While we’re on the subject, is everyone familiar with the difference between an autobiography and a memoir? An autobiography is the story of an entire life, told by the person who actually lived it (or at least his ghostwriter). Like a diary, it actually purports to tell as close to everything that happened as is feasible in print. Because autobiography embraces such a wide scope, one’s own technically cannot be completed within one’s lifetime.

A memoir, on the other hand, is an examination of a specific aspect of the author’s life, often focusing upon a single choice, incident, or situation and showing its long-term results. I like to think of it as a portrait of a pebble thrown into a lake: the initial splash is a recordable event, but so are the concentric circles rippling out from it.

Bearing that distinction in mind, I’d like to start our discussion with each winners’ author bio. Both Kathryn and Margie were kind enough to submit their author bios as they would have included them in a query or submission packet, for the benefit of all of you out there who have not yet written and formatted yours. (At the risk of repeating myself: bios are hard to write, and the request often comes at the last minute. Trust me, you will be a much, much happier human being when the request does come if you have prepared your bio — and selected your author photo, also a daunting task for many — well in advance.)

Let’s start with Margie, our second-place winner. As always, if you are having trouble reading individual words, try holding down the COMMAND key and typing + to enlarge the image.

Makes you want to rush out and buy her memoir, doesn’t it? That’s the magic of a well put-together author bio: unlike an autobiography-style bio, it doesn’t just list everything that the writer thinks a reader might want to know about her. Instead, it’s a micro-memoir, concentrating upon the most surprising elements in the author’s life.

Now that we know who our second-place winner is, let’s take a gander at her first page and 1-page synopsis, presented as our old pal Millicent might first encounter them in a query packet. Try to read them not just as writing, but with an eye to the questions that will be uppermost in Millicent’s mind: is this a life story that grabs me, and is it told in a manner that draws me into it as a reader?

Fair warning: the page that follows deals far more explicitly with a physical relationship than may be comfortable for all readers. This is a memoir aimed specifically at an adult audience. Although I am habitually very careful about my younger readers’ sensibilities, agents and editors sees this kind of opening enough in memoirs and fiction that I think there is value to introducing you to the manuscript this way. So lace up Millicent’s moccasins and pretend you’ve just opened the submission envelope.


These pages have a few formatting problems — extra space between paragraphs, instead of every line being evenly spaced, an off-center title, inconsistent tabbing — but your mind is not on what I’m saying right now, is it? It’s either on that opening — ahem — activity or on the astonishing array of events in the synopsis, right?

So let’s jump straight to the story level — and, because memoirs are generally marketed on book proposals in the US, rather than a completed manuscript, consider marketing as well. Here’s what Heidi and I had to say on those weighty subjects.