Monthly Archives: January 2018

The pain of discovering typos in published work

ONLY GOD HAS NO TYPOS

Pride goeth before a fall

I know that. I expected that. And my typo rate was, I thought, rather low, especially considering that I ended up being, for reasons too long to go into, my own proofreader.

And I worked my tail off at it. It’s very hard to be critical of your own work. So? It’s part of the job.

Now, I have found egregious (well, to me) typos in traditionally published books – one major book on writing that I use almost daily has ‘principal’ (main, or the guy who is in charge of a school) instead of ‘principle’ (fundamental truth or morally correct behavior) not once, but twice – so the author got it wrong and the proofreader failed to correct it; or a proofreader got it wrong, changed it, and the author didn’t catch the incorrect correction. Or they both have no idea they don’t know.

I earmarked the place, and occasionally toy with the idea of sending a note to the author (which I don’t do – not my circus, not my monkeys). For future editions, you see. Because it is the kind of book that gets future editions.

But it amuses me to know it’s there. And I still love the book.

Proud of having low error rate, until…

I had found ONE wrong word, ONE extra ‘s’ at the end of a word, and a couple of places where, when doing the final formatting pass through MS Word (to get widow and orphan control, running headers and footers, and right margin indents for the print version of Pride’s Children), WORD inserted some stupidities (specifically, leaving –” as the only thing at the beginning of a line, 5 or 6 times) after I published.

They’re on my list of things to correct on the CreateSpace file (yeah, it’s on the to do list, somewhere in the 9000s). No one who reviewed has commented on those tiny typos, so they’re not all that significant in the flow (or my readers are being kind).

And all but the first two are not present in the ebook, which didn’t go through Word.

Acceptable. Imperfect, but not too much.

Possibly because my youngest daughter mentioned it (she finally read the book!!!), I was a little more attuned to a particular possibility when I was sitting in the doctor’s office yesterday, reading my own book.

And then, wham! I saw it. I’m not even sure if it’s the same thing my daughter mentioned (though it may be), and I now know exactly what I did, and it really doesn’t affect the story that much.

But I am now aware of a FLAW that I, as a perfectionist, can’t let stand.

Easy to fix?

Can’t let it stand.

You know me.

I moved the idea of putting an errata page on prideschildren.com up on the list – so those lovely people who purchase the first book in the trilogy in paper can correct their own copies (not that many readers, but still…), possibly now aware that they have the coveted First Edition – flaws and all.

Or I can slink away, offering (consider yourselves offered to, if you are one of these wonderful people) a corrected copy as soon as I can make them, and being aware that they were either too kind to point this out to me, or, better, too engrossed in the story to even notice.

The ebook will be corrected (again, asap – not a fast possibility, either), so that anyone who downloads it again will automatically get the corrections. If they care. Because this new little typo is in both versions. [hangs head]

The good side

There’s ALWAYS a good side.

I caught it (before I had a chance to look up my daughter’s questioning whether I had it right). From reading it myself in a relaxed way, with nothing else to read. Rather than from it being scornfully pointed out by a reader. Rather less painful – or is it?

Because I’m indie and self-published, it is both my responsibility and my right to fix it (so I don’t have principal for principle for all eternity of this print run).

CreateSpace and Amazon make it easy to fix (haven’t done it yet, so that’s ‘easy in principle’ for now): I upload the corrected files (I believe), wait, and within a couple of days, I can hold my head up in public again.

I have added (mentally – that darn To Do list is so darn long) a few things to the ‘look out for’ list for my AutoCrit editing passes. Especially since my brain appears to be losing its mind, I will now examine every single ‘s in each scene because the world not understanding that plurals don’t have apostrophes is its problem, not mine. I will speak sternly to the brain, and it will whine that it’s so overburdened already, and I will remind it that I’m in charge.

Etc. I.e., I will improve my skills based on this little irritating contretemps.

And because I’m indie, I don’t have to deal with a proofreader about the whole thing.

So why am I making a big deal of this?

Because professional means that you worry about these details, and that you try to make the next one have fewer (not less) errors.

It’s good for me to see where improvement is necessary (believe me, there is a whole new process in place so this particular little error won’t recur).

And it actually bolsters my belief that self-editing, and learning from your self-editing how to be a better writer is critical.

I stand behind my own work, even in the tiny places.

For the future

It’s okay to point typos out to me if you notice them. I just got a wonderful email back after my beta reader read – and liked – the next chapter. I strive to send her finished work. And her wonderful nitpickiness tells me what she likes, asks questions which lead often to some wonderful back-and-forth, and always mentions the little things. She found two. I love her for that.

It also reinforces that doing the beta reading one chapter at a time has some significant advantages for me: a chapter is a reasonable size chunk of writing to deal with at a time. Things get noticed.

And I can’t see how this would possibly work with a traditional publisher, the timing, and the diffusing of responsibility. All while the writer is supposed to be writing the next book. Not for me, anyway.

So there it is. And no, you won’t find out from me what I did wrong (at least not until the Errata page comes out). If you didn’t notice, I’m not going to be the one to point it out. Nope.

Welcome to the wonderful world of independent writing. PLEASE feel free to contribute your own stories.


Thanks to Stencil and Quozio, my go to places for images. I’m resonsible for the silly words that appear in them.

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Welcome, drive-by lurker and reader

GLAD TO HAVE YOU VISIT A SPELL

It has happened a number of times, so I will remark on it: I get up in the morning, and, while drinking Diet Coke #1 (my preferred form of caffeine), I check my blog stats, and lo and behold, there has been a jump in ‘views.’

The pattern is the same: though there may be many views of the archives, I assume it’s mostly one new person because a whole bunch of posts get a single view. I think this person may visit the archives page to see which posts might be attracting a few minutes of their attention.

But they never leave a comment or a like or a name or…

And so, for those of you in this category, first I say Welcome!

And then I suggest that you leave a thought. A comment on a post somewhere. An opinion. A like. Even an argument, if civilly stated. I love to get readers, and I like even better having my conversational gambits (for that is what blog posts are, conversation starters) taken up by someone new.

I won’t sell you anything (beyond the gentle suggestion that if you like my prose enough to read that many posts, you might enjoy my fiction (free short stories available, one novel ditto on Amazon, and more to come). But it’s always nice to know who’s listening.

Stay a bit. Chat. Visit with an idea or another commenter (I don’t turn comments off for older posts). Gimme a few words back.

I don’t bite – I just have opinions, which I like to support with whatever data I have.

The internet of ideas depends on you, too.

What do disabled writers fear most?

FROM THE DRAFT POSTS FILE – 6/30/14

Waiting since June 30, 2014:

You fear getting worse. Because you can. Get worse.

And when writing is a marginal activity already, getting worse can be the snowflake that sets off the avalanche.

When I was young and able – a status not all people who are disabled can claim – I thought I could handle ANYTHING that Life tossed at me.

I was me – I’d figure out a way. Somehow. Eventually. And I always seemed to. I had a brain!

Now that the only way out is death – which is, I hope, still not close – I am facing the trauma of becoming even more disabled, more dependent on other people, less able to care for myself.

Frankly, it scares the hell out of me.

I fear losing even more of my mind. Now, if the planets are aligned, and I have done everything correctly, I get to live in the simulacrum of the mind I used to have – quick-witted and opinionated and so-often right – for at least a little while every day, or to feel it there, right beyond my fingertips if I take that nap, stop leaving the house so many times in a week, get to bed early: it’s there, it hasn’t gone completely, and I had it yesterday, maybe today, perhaps tomorrow.

I have already told my husband to put me in an Alzheimer’s/dementia facility if my mind goes – I don’t want his tender care, watching over me, stuck with that version of me. My mother and my grandmother sank into that hole, and it isn’t pretty – what if I got CFS because I am somehow genetically weak? And have already passed it on to my kids – the older two without knowing, and the third, the girl, after I was sick?

That way lies madness.

We all have SOMETHING wrong with us.

And it’s only going to get WORSE.

The happy seniors hiking in the mountains are in the minority: statistics tell me that if I live to 85 (I planned to live to 115), my chances of dementia are 50%.

On top of this unhappy state of affairs (and I have to my credit only one thing: I’ve never asked Why me, Lord?), I have been dealing, for a number of years, with the inability to walk properly – and here I thought it was ‘ONE disability to a customer.’ And it’s getting worse.

Actually, no – if part of you doesn’t work perfectly, if part of you is ‘disabled’ – it has a tendency to put other parts of you at bigger strain, and to make you more likely to get something else. Plus the statistics are exactly the same for you for anything unrelated to your disability as it is for other people: there’s no reason to think having ‘gotten’ your disability, you can now breathe free: people with one thing can be gifted with another unrelated one just fine (CFS and back problems do not usually go together, though possibly less exercise meant less fitness, which led to more susceptibility to back problems, or earlier, or…).

So why do I write about this potentially depressing subject?

You know the answer: because I’m that weird thing called a writer, and that’s how I get my jollies. No, really, I’m compelled to write down – anything that floats through my head. To get it out of there, of course, out where I can beat it with a stick (if you do that while it’s IN your head, there are problems).

There. I feel a bit better. Thanks. Thought you might like to know.


PS I speak only for myself – THAT I’ve learned. Finally.

PPS Going for that delayed nap I should have taken much earlier, but I couldn’t make the decision to, because, well, I’m over the age of consent and resent like heck that my mind needs frequent naps to work at all. Plus – oh, joy – the sheets finally came out of the dryer, and I always nap better on clean sheets. (Note to self – try to remember that, will you?)

PPPS Relentlessly dragging myself back from the brink.


2018: Still here, still writing.

Stubborn cuss.

And note I finally published in late 2015.

New Year’s Sale on Pride’s Children ebook

MARKETING 101: PERIODICALLY RUN A SALE – $2.99

People have new Kindles they got for Christmas, or they have downloaded the free Kindle app for their phone or desktop or tablet or iPad…

It reminded me that after all the hoopla is over may be a very good time to think what you want to spend time reading. Let me make it easier for my readers right now.

Pride’s Children: PURGATORY (Book 1 of the trilogy) is almost 170K of a novel of obsession, betrayal, and love – and I’m just getting started.

I’m working hard on Book 2, NETHERWORLD. I have plans to put Too Late up on Amazon as an ebook. My body has been giving me a lot of guff – maybe a sale will encourage everything to settle down and let me write.

Remember: Amazon lets you gift someone an ebook in the easiest way possible – check the product page. The sale will be worldwide – as soon as Amazon changes the price for me.

Enjoy!

Caleb Pirtle’s list of 100 indie books to read before you die

Caleb Pirtle, III, is undertaking a monumental task.

Mind you, he is vastly overqualified for it, as he has SEVENTY books published, and runs a well-known eponymous indie book site* with his wife, Linda Pirtle (also an author of mysteries), showcasing mysteries and other genres, and has been doing so far longer than I’ve been involved in the online part of writing and indie publishing (I started reading the blogs in 2011, having this one in 2012).

Here is why:

A similarly titled list on Goodreads ‘had completely overlooked, ignored, and paid absolutely no attention to novels written by indie authors.’

(*You may remember VentureGalleries)


DISCLAIMER

Caleb serialized Pride’s Children way back when I was starting to publish Book 1 one scene at a time.

We have become online friends through extended comments on his site – his opinions,  always well expressed and nuanced, lend themselves to conversations on writing and publishing topics.


Here are the first five and the second five.

I’ll update this post (and you should bookmark his and Linda’s blog) as he continues listing the books he thinks should be on the list. He is always open to comments, too.

The Stage for Love

A summary of three lives intertwined in China, and the parents who fought for their daughter. Her life – and theirs – are worth what it cost.

Flying Heart

Following a stream of people through a short curving passageway, we step into a brightly lit space. On our right are several rows of seats with red padding and back support. On our left sprawls a terraced floor like the one you’d see in a Chinese karaoke club, only a little bigger, built with tiles that resemble a starry night sky. It has three low steps leading to an LCD-screen wall roughly the size of the raised floor. The top edge of the wall is connected to a heart-shaped ring that circles around the entire floor like a floating crown, its jewelry being red lights attached in the center. What the wall displays can also show up there. Higher into the ceiling is a terrific abyss of steelwork designed with paths and rails for human access.

This is the Stage.

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How to self-edit fiction with AutoCrit

CAN A WRITER SELF-EDIT SUCCESSFULLY FOR PUBLICATION?

I keep getting into online discussions with editors (cui bono?) who insist that no writer of fiction can or should self-edit. Not for publication, they say. And they cite the example of so many self-published books which are full of typos and grammar mistakes and spelling errors as proof.

Yes, there are many self-published books which need better editing. According to Sturgeon’s Law (Theodore Sturgeon, 1918-1985, American SF author and critic):

90% of SF is crap, but then 90% of everything is crap.

My paraphrase, but it will serve. It is now being applied particularly to self-published work, but applies to traditionally-published work as well. We can argue about the percentages, but the point is that much work gets published without meeting someone’s standards.

Some of us care. A lot.

I happen to believe that the best gift an author can give herself is to learn to self-edit well enough for publication.

The reason is simple: If you can learn to produce quality work all by yourself, the READER gets the unvarnished best the writer can produce, UNALTERED by someone else.

Voice unaltered. Tone unaltered. Style unaltered. Judgment unaltered. Story unaltered.

The thing which makes a particular writer unique is preserved for the delectation of the reader. Artisanal. As all writing should be.

And it only comes from really being aware of what you write – and why.

Okay. Now that we have the WHY, let’s have the HOW:

Think of the best quality in published traditional work. You should aspire to better that standard.

This is not an easy task. There is learning. And failing. And getting appropriate feedback. And yes, making mistakes in judgment and execution.

But setting yourself a rigorous process, adding to that process as you learn, and following that process isn’t that hard. It just requires becoming aware of the difference between the story in your head, and the story on the page, and not quitting until the difference is as small as you can humanly make it. We call this ‘work.’ Hard work. I have made a contract with my readers that I will do this work before they get to read what I write.

It is work that is rewarded by making you a better writer. Big reward. Useful reward. And, in the long run, it will save you money, frustration, and dealing with people who don’t get your vision for your own work.

Enter the final mechanical stage.

Once I have used everything I have learned about writing from my teachers, books by Sol Stein, Donald Maass, Blake Snyder, the Dramatica team, and all the reference books off- and online, I have a scene or a chapter which needs to be cleansed of dead skin.

It isn’t ready for the beta reader until it is finished, but my ‘finished’ needs the final mechanical stage. I use AutoCrit for this purpose. As close as I can get to the original AutoCrit program which is basically a counter of terms and a comparer of those terms against a database. There is a new version; I’ve learned to ignore the new parts because the last thing in the world I would pay attention to is a program telling me what to write. Writing is my job.

I want the mechanical editor to tell me what I’ve done, in a very black-and-white way. I want it to count for me, because counting adverbs is the most boring thing I can think to do by human. Or counting the number of times a four-word phrase (each possible four-word phrase in my text) is used. Or counting the number of times I have used words or phrases (and showing me where they are). And making a list of unusual words.

For this I use certain specific sections of AutoCrit.

After pasting the text in, I visit the following menu items:

Strong Writing: Adverbs, Cliches, Redundancies, and Unnecessary Filler Words.

Word Choice: Generic Descriptions, and Personal Words and Phrases.

Repetition: Repeated Uncommon Words, Word Frequency, and Phrase Frequency.

For all of the above, I ignore the program’s nagging (such as ‘Remove about 3’ when it somehow decides that I have too many occurrences of ‘that’), because for me, AutoCrit is only an automated counter doing the dirty work for me because I’m too lazy to do it myself (and know that humans given mechanical tasks make huge mistakes because they get BORED).

I do NOT use other sections. Why? Because they judge me. Or someone wrote a little piece of text to put there that sounds just like it. Once we go from comparing the number of times I use ‘that’ to the average for fiction in their database, I have all the information I want from an algorithm.

Pièce de résistance: how to use the information.

This is the writer’s job: every single counted detail from my text, generated easily by a program, is now subject to the final test: Is this the way I want it?

In other words, it’s back to me. Not with suggested ‘improvements.’ Just counted, and displayed for me to decide if it serves my final intent to have the text stay the way I wrote it (remember, I considered it pretty much finished before I tossed it into AutoCrit).

If it shows me clichés from its database that I have used, I have to decide if the character using the cliches uses cliches. Some do, some don’t. Clichés are neither good nor bad. For some characters I will keep the cliché but try to make the sentiment unique again – which leads to some pretty interesting substitutions from that subconscious brain.

If it shows me I have used one of my personal words a certain number of times (my worst lately tends to be ‘get’ and its variations ‘got’ and ‘getting’ and ‘gotten’ – all of which I’ve input to my personal words file in AC), I will decide 1) if there are too many, 2) if they are the only way to say something (rare), 3) if they have a literary intention (parallel structure often leads to word repetition the database can’t account for),…

Generic Descriptions usually have to be separated into two piles: those in dialogue (and even those benefit by tweaking) which mark a specific character; and those in the internal monologue where I dump what other people use a narrator for (It was a dark and stormy…), ie, description. I may have a very good reason (really) for using the generic description, but it doesn’t hurt to be reminded to check.

I never, ever, use AC’s Homonyms tab, because it is excessive, and I can spell, and have NEVER yet found myself using the wrong homonym. Okay, maybe two or three times in the 3.5 MILLION words I’ve put through AC, but NOT by using the Homonyms tab. Too much stuff to process – there are a lot of homonyms in English, and they will find all of them and offer what seems like every other word in a red box. There must be a better way to do that mechanically (don’t mark every ‘you’ because it might be ‘ewe’); meanwhile, I put those words I might misspell by accident into my Personal Words file (though, thought, through, thorough).

Summary

First, examine every single kind of counted word or phrase that you might not otherwise catch, and

Last, decide whether and how to fix it: you’re the author – it’s your baby.

Very simple.

It still takes time, and a lot of effort, and a lot of thinking, and going back and forth to Scrivener with the text of a scene.

I find I can do about 5-10 corrections at a time, after which I save the results in Scrivener, get a fresh copy of the text, paste it into AC, and re-process that tab/menu/submenu.

All other types of errors – spelling, punctuation, point of view consistency, chronology and plotting, content (was this character a red-head?) – should have been eliminated (by me, the spellchecker, and a dictionary/thesaurus) before I use AC.

But I care – and I’m not using my beta reader except as a first reader. For what should be finished work, so she has as clean an experience as I can make. I don’t want her pristine read complicated by anything that distracts her from the flow; when she tells me something doesn’t work for her, it is going to be taken very seriously.


And that is how I use AutoCrit (I have a Lifetime membership – worth every penny) to do what no human editor should be asked to do (count) and what I don’t want an editor to do (change ANY of my words, which includes suggesting I change them). They may not be happy about this, but it is the least traumatic way for me.

I really should stop even clicking on those ‘everything needs an editor’ posts. Their authors, some of them editors, hate people like me.