For all you folks out there who don’t yet know about Mike Allegra’s blog HeyLookAWriterFellow, here’s a post you shouldn’t miss:
Monthly Archives: September 2013
So in 1977—when the house I’m squatting in was built—I was a geeky kid who wanted to join the circus. I spent hours walking acrobat style across the narrow tailgate section of my dad’s Dodge pick-up truck. I didn’t pay attention to what my dad had to do to keep our little house from falling down—I had more of a big tent in mind.
After spending a few quality hours painting the underneath part of my ancient deck, I think living in a tent might be easier. Part of the deck is built over a gigantic tree trunk—read: big spiders. Part stretches over a tall berm—leaving just enough room for a back-breaking hunker. I got so much paint in my hair I had to get it cut off.
I’m thinking a nice Coleman four-sleeper with zip-up windows. Continue reading
Well folks, I’m back in the ‘hood! Entire buildings in Mission Bay and Dogpatch (two neighborhoods in San Francisco) were either razed or raised over the past five weeks during my holiday. Gone tooooooo long!
I read a few books while traipsing about the countryside. Here’s one that was recommended to me by another writer I met at the Squaw Valley Writers Workshop:
Bell covers everything from “Gaining Perspective” on your work, to the difference between macro and micro editing. She provides specific examples of how to gain perspective (some you may have heard of or tried before, but others may be new). I think the two most helpful chapters offer checklists for macro (intention, character, structure, etc.) and micro (language, redundancy, clarity, etc.) editing along with examples and discussion of timing for each approach.
Although Bell tends to be a little wishy-washy in her stances, I believe it’s her attempt to say “this may not work for you” or “it may be difficult to do this but you must try.” I also think that she struggles with the very issue she attempts to address: when the writer and editor are the same person, it can be profoundly difficult to do both effectively. Although this book may be helpful to you, I would suggest that you read it and then hand it to your beta reader(s) and have them use it to guide their responses.
I did find the exchanges between F. Scott Fitzgerald and his editor, Max Perkins, especially interesting. It shows how much a good editor can influence a manuscript at both the macro and micro levels.
Bell takes a chapter to broaden her scope, showing how two artists in other fields edit their work: Walter Murch (film and sound editor for movies such as The Godfather series, Apocalypse Now, and The English Patient) and Mitch Epstein (a photographer whose style “brings to mind a marriage of Edward Hopper and Jean-Luc Godard”). I don’t think, however, that the interviews with other writers in this chapter offer much new insight.
She then closes the book with a chapter on the history of editing, interesting but not necessarily helpful for the writer who wants to edit his/her own work.
Overall, I think it’s worth the $15.95 investment. It’s a quick read, and I do think it will not only help me weed out some of my more obvious errors, it will make me a better editor for others’ manuscripts.