Trust Your Reader & Yourself

Trust Your Reader & Yourself

Ruth E. Walker

As an editor, I see a great deal of overwriting. Sometimes, it’s just an occasional dip that needs correcting — a moment of unnecessary description or repetition. But when overwriting overtakes the story, it slows pacing, deflects from the story’s core and distracts readers with “window dressing”. My job as an editor is to help writers see when they overwrite and discover ways to fix it.

Overwriting can find its roots in a lack of trust. A writer may not trust that the reader will “get it” and so puts in extra material to ensure complete understanding. Or a writer may not trust themselves– that they’ve created enough detail that the reader will see what is intended.

Three Deadly Sins of Overwriting

Overwriting covers a lot of sins in stories. Three of the most common forms of overwriting are: over-emotional writing, hammers, and know-it-all writing.

Over-emotional writing leads to sentimentality, theatricality and hyperbole. For today’s Top Drawer blog, I’ll focus on this one. But first, a quick summary of the other two. Next week we’ll take a closer view of them.

Hammers are those phrases and sentences that “hammer home” something a writer wants to make sure their reader “gets.” Repetition and over-use of imagery and metaphor can turn into hammers in your work.

Know-it-all writing is similar to hammers but it’s related to research or knowledge that the writer has and adds in to “prove” they know their stuff. Not restricted to historical writers, know-it-all writing can come across like an author “info dump” of details.

Let’s get emotional

Here’s an example of overwriting for emotional impact.

As she sat before her vanity mirror, Camilla lowered her gaze and placed her right hand on her beating heart. If she could, she would squeeze the life out of that heart and fling it to the floor and stomp all over it. He was leaving her without saying goodbye and the sadness filled her very being, her soul. How could she live without him? Her throat constricted with a burning lump of pain and tears welled up from her eyelids and trickled down her cheeks. They fell from her chin and plunked one after the other onto the letter she clutched in her left hand, resting on her lap.

Of course, without having the whole story before us, it’s hard to know what part of this scene is window dressing and what is essential to both plot and character development. But if we look closely at the work each part of this scene is doing, we could decide what to cut, what to tweak and what to leave as is.

So let’s examine:

As she sat before her vanity mirror — is this a reflection scene? Is it, literally, a mirror moment where a character reflects and realizes something about themselves? Is this “scene setting” even necessary? With “As she…” we’re pretty sure that Camilla is already sitting there, the line or two before this likely put her in front of that vanity. Trust your reader to make that connection.

Get right to the moment. Camilla lowered her gaze and placed her right hand on her beating heart. All hearts beat. Does it matter which hand? Cut beating and right. Your reader doesn’t need it.

Be true to your character. If she could, she would squeeze the life out of that heart and fling it to the floor and stomp all over it. He was leaving her without saying goodbye and the sadness filled her very being, her soul. How could she live without him?

Is Camilla a drama queen? Is she petulant, angry or heartbroken? Is she all three at this moment or do her feelings progress? What is the overriding fear? Start with that. He was leaving her without saying goodbye. And then the deeper, primal fear: How could she live without him?

Squeezing her heart, flinging it to the floor and stomping all over it — that’s hyperbole and petulance — in this moment keep us in the sorrow, the grief. And as for sadness filling her very being, her soul — that’s far too cliché and a full on “tell”. Her behaviour — hand to heart, tears falling unchecked — shows us her sadness.

Show me the sorrow

And it’s there, in those last two descriptive sentences that with some careful paring and tweaks, we can move this scene from sentimentality to deep emotion. A simple constriction of the throat — don’t we all know that feeling when sorrow moves up from our aching hearts to tighten our throats? And tears that we can’t stop, coursing down our cheeks and sliding off our chins? Simple short images that call up our own experiences with sorrow –without any window dressing.

Camilla lowered her gaze and placed a hand over her heart. He was leaving her without saying goodbye. How could she live without him? Her throat constricted, and tears welled up and trickled down her cheeks. They fell from her chin onto the letter in her lap.

In any high-emotion scenes, you can double-check your approach and seek out any phrases or sentences that are more than what is necessary to convey the emotion. But also look for what is necessary to stay true to your character and your plot and then decide what can be cut or amended.

Just remember to ask yourself: am I trusting my reader? and am I trusting myself?

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