April, 2010

A resource for writers, editors, and book clubs

Wednesday, April 14th, 2010

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Click to order from Amazon.com

ABOUT THE EDITOR’S LEXICON

Become a revision-savvy writer with the help of The Editor’s Lexicon: Essential Writing Terms for Novelists. It decodes, defines, and provides helpful examples of the editorial jargon used in writing workshops, critiques, and online forums. Written by an experienced editor and writing teacher, this dictionary-style reference book is a fundamental guide for writers across the spectrum of experience, editors who want to help their clients make better revisions, and book clubs and workshops that need a common language for discussing stories.

In the tradition of Strunk & White’s The Elements of Style, The Editor’s Lexicon is a concise, indispensable reference volume for every author’s shelf.

PRAISE FOR THE EDITOR’S LEXICON

“The writing world has waited for a crisp, clear guide for novelists equal to The Elements of Style. This is that book. Every fiction writer and every editor should own, read, and reread Sarah Cypher’s concise masterpiece.”

–Elizabeth Lyon, freelance editor for over 25 years and author of seven books on writing, including Manuscript Makeover

“The Editor’s Lexicon is not only an essential tool for new writers, it’s an invaluable immersion into the realm of storytelling.  It transcends its surface function as a dictionary of literary terminology to create a contextual world of meaning for writers, one that reminds us of how many variables are involved and how essential the various storytelling elements become.  Too many writers develop their stories outside of this awareness, they write organically and instinctively, and at their peril.  This valuable book introduces the writer to the requisite building blocks of successful storytelling in a way that makes them immediately useful.”

–Larry Brooks, book editor and author of critically-acclaimed thrillers and The Three Dimensions of Character

BOOK INFORMATION

The Editor’s Lexicon: Essential Writing Terms for Novelists

Glyd-Evans Press, 2010

ISBN: 978-0-9717960-7-2

80 pages, $9.95

Order now on Amazon.com

The kicker/screamer’s guide to endurance sports

Sunday, April 11th, 2010

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WARNING: Attempts to be a lone kicker/screamer will fail. Your training buddies, spouse, partner, or significant other must be enthusiastically committed to Ironman, ultra-marathon, or Xterra racing, have goals, and follow a strict training plan.

1. Commit to fitness, but refuse to form specific goals or said training plan.

2. Attempt to complete your partner’s workouts, especially as they increase in duration and intensity, but only on days when you feel like it. (Contravening factors may include fatigue, lack of interest, sore legs, hangnails, and clouds.)

3. Develop a robust OCD complex about exercising and a neurotic fear of being left behind.

4. Buy a heart rate monitor. Panic when your number looks too high, and back off.

5. Quit often, but only when you’re at the far side of an eight-mile loop. Un-quit when you get bored of walking.

6. Move to a neighborhood where all “convenient” run routes begin uphill.

7. Lift weights as much as possible. The workout yields the most minutes of sitting and doing nothing per hour of your time.

8. Place a spin bike in the apartment building’s basement. You can exert yourself in cool darkness, entertain yourself by visually cataloging the neighbors’ belongings, and startle anyone who comes downstairs to do laundry (unless they expect to find a sweaty person humming Lady Gaga next to their boxes of stuff). But on the bright side, the basement is a great place to feel sorry for yourself as you suffer through anaerobic threshold workouts.

9. Relentlessly berate yourself for slowness, tiredness, social awkwardness–anything will do–as your partner/spouse/training group tackles another hill interval. Follow. Repeat. Otherwise you’ll be left behind.

10. Reestablish your relationship with swimming. It is the only place where you don’t have to listen to Lady Gaga, commercials, and annoying cell phone ring tones. Listen to your breathing, and rejoice in the fact that you aren’t running, biking, or grunting through Sisyphean weights workouts. Just try not to pick the lane with the snorkler.

11. Sign up for many inexpensive half-marathons. At mile eight of each, remind yourself that you will never, ever, under any circumstance, sign up for a marathon, Ironman triathlon, or other extremely expensive race.

12. Trust your OCD to carry you through this routine, such as it is, for months. Attain a PR by finishing fifteen seconds behind your spouse/partner/training pal at the 2010 Race for the Roses, to complete the half-marathon course in 1 hour, 55 minutes, 41 seconds.

beat (n.)

Sunday, April 11th, 2010

beat, a moment of silence in a scene. Instead of always telling us “he paused” or “he was quiet for a moment,” you can add a beat of description instead.

EXAMPLE: When the point-of-view character needs to pause in the dinner scene, try adding a beat like, “He brushed some crumbs from his lap,” or, “The waiter passed, and the candle flame wavered.” It will create the necessary pause.

***Until April 12, the official release date of “The Editor’s Lexicon: Essential Writing Terms for Novelists,” I will be posting one definition a day here. Check back often! Read more about the book here.

plot point (n.)

Saturday, April 10th, 2010

plot point, any action a character takes that can’t be undone, which moves the plot ahead.

EXAMPLE: The fast-paced first 100 pages are dense with plot points, but while the main character is recuperating from the car accident, he doesn’t make enough progress in his investigation, and the novel drags.

***Until April 12, the official release date of “The Editor’s Lexicon: Essential Writing Terms for Novelists,” I will be posting one definition a day here. Check back often! Read more about the book here.

clarity (n.)

Friday, April 9th, 2010

clarity is the writer’s first goal, because without it, art cannot affect its audience. It eliminates vagueness, avoids awkwardness, and shies from over-writing. Revise for clarity by showing us what something—an emotion, a person, a setting, a gesture—is not, while also attempting to show us exactly what it is. Using precise details and your ear for language, aim to make the ordinary extraordinary, and the imaginary real.

NO: The woman would wait for the bus every day, looking tall and cold.

YES: She waited for the 61C. She resembled the bus signpost, but without the mantle of snow across her shoulders.

***Until April 12, the official release date of “The Editor’s Lexicon: Essential Writing Terms for Novelists,” I will be posting one definition a day here. Check back often! Read more about the book here.