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David Watson
Submitted 2013-03-28 14:39:29 Some would-be excuse for an [url=http://www.jordanpascherofficiele.com]air jordan[/url] editor reads a book, learns three tricks, and holds them as absolute rules and commandments and the holy grail.
And then you, the poor unfortunate author, get stuck with that bully. He shoves your manuscript through a meat grinder like that teacher in THE WALL by Pink Floyd and sees how many times he can whip out those same three tricks.
Or as Mark Twain would say:
A favorite one was to make a moccasined person tread in the tracks of a moccasined enemy, and thus hide his own trail. Cooper wore out barrels and barrels of moccasins in [url=http://www.jeremyparendt.com/Barbour-Paris.php]barbour pas cher soldes[/url] working that trick.
Another stage-property that he pulled out of his box pretty [url=http://www.gotprintsigns.com/abercrombiepascher/‎]abercrombie pas cher[/url] frequently was the broken twig. He prized his broken twig above all the rest of his effects, and worked it the hardest. It is a restful chapter in any book of his when somebody doesn't step on a dry twig and alarm all the reds and whites for two hundred yards around. Every time a Cooper person is in peril, and absolute silence is worth four dollars a minute, he is sure to step on a dry twig. There may be a hundred other handier things to step on, but that wouldn't satisfy Cooper. Cooper requires him to turn out and find a dry twig; and if he can't do it, go and borrow one. In fact, the Leatherstocking Series ought to have been called the Broken Twig Series.
Some people edit that way. Their stage tricks include "never write a prologue," "never say 'thought to himself' because there's [url=http://www.sandvikfw.net/shopuk.php]hollister outlet sale[/url] nobody else to think to," and [url=http://www.jeremyparendt.com/jimmy-choo.php]jimmy choo paris[/url] "no head hopping."
The prologue as a way to make you swallow [url=http://www.rtnagel.com/louboutin.php]louboutin pas cher[/url] lame back story now for the vain [url=http://www.rtnagel.com/airjordan.php]jordan pas cher[/url] hope of a reward [url=http://www.jeremyparendt.com/Hollister-b5.php]hollister france[/url] later is an overworked device and a symptom of starting a [url=http://www.teatrodeoro.com/hollisterde.php]hollister deutschland[/url] manuscript [url=http://www.jeremyparendt.com/Hollister-b5.php]hollister[/url] too far ahead of when the story really gets started. If your book makes sense without the prologue, kill that bad boy, just as you would an epilogue or those lame chapters in the middle. But that doesn't make all prologues worth an absolute verboten.
And I think [url=http://www.mnfruit.com/doudounemoncler.php]moncler[/url] to myself, what a wonderful world. True, there is nobody else to think to unless you've got telepaths, but not worth a verboten. Sometimes it's cool to think to yourself. Just not all the time.
Head hopping. In the hands of an amateur, it's horrible. I'm looking at the world through this character's eyes, then I go over there and switch to that person's thoughts, then I move over to the other place and look at the world through somebody's else's eyes, then... The poor reader's getting whiplash.
Plus, there's no story without character, since everything that happens must happen to somebody, so why make it impossible for the reader to identify with your somebodies?
One point of view per chapter is fine. More than one per chapter, but no more than one per scene, is fine. Just be sure that every transition tells the reader right away that you've shifted perspectives. But you always want the reader to care about your new POV character, and certainly to be aware there is one. Confusion is bad. Enjoyment is good.
And, of all the rules to possibly harp on, why those three? Or two, or seven, or whatever? But why those and not these? It's like asking why "American Music" in Asia is Happy Birthday and something by The Carpenters rather than [url=http://www.mnfruit.com/airjordan.php]jordan[/url] the Alphabet Song and something [url=http://www.fusong.gov.cn/kfq/E_GuestBook.asp]barbour pa[/url] by James Taylor. Just don't ask. There's no damn reason.
Breaking rules out [url=http://cgi.www5f.biglobe.ne.jp/~gifu/honey/honey.cgi]hollister france L'expo de l'[/url] of ignorance is inexcusable. Breaking rules because you have a reason is fine. Breaking rules in such a way as to lose, confuse, or abuse a reader is not a good thing to do. Breaking rules because it makes your story better is probably mandatory. Pretending that rules must never be broken makes a so-called editor a hack and a butcher. And a looser and a moran. (I meant to do that.)
I tell you what's verboten. Boring me. And this post is starting to do that, so buh-bye.
No, wait, something else is verboten. For me to [url=http://www.sdzzxx.com/top/guestbook.asp]louboutin[/url] edit something that you wrote so that it looks like I wrote it. That's not my job. Editors are not meant to strip their manuscripts of all individuality. We're just supposed to make the author's voice come out clearly. Not my voice, not James Patterson's voice. The author's voice. And we're supposed to make the reader's life as easy as possible. Remember the reader? He's our friend. You'll edit, and write, much better if you walk a mile in his moccasins.