Be on everybody’s side

Writers try hard to evoke sympathy for their protagonist(s) from readers, but it’s not easy to make them feel that way for their antagonist as well. It’s not easy, but it’s possible.

Empathy definitely helps writers and editors, allowing us to understand not only the hopes and dreams of a character, but their deepest fears and motivations. What are their values and beliefs? Why do they make the life choices they do? Having them act ‘out of character’ or without clear, understandable motivation, is a surefire way to drop a reader out of your story, sometimes permanently.

The ability to walk a mile in the shoes of our characters, even physically act out scenes and speak the dialogue definitely helps to get these right. See also https://thewritepractice.com/likable-antagonist/

Fictional daydreams

We have all woken in the middle of a dream for some reason and snuggle back, trying to return to your dream. It’s very rare that you are able to return to the dream, well, at least for me.

This is exactly what your editor means when they warn that you can ‘drop your reader out of the story’. In the worst case scenario, your reader may be an acquiring editor who never reads any further. Or it may be a reader who purchased your book who may give it up and never buy another of yours.

What can drop a reader out of your story? Your words may be repetitive,
awkward or klunky, there may be an error of grammar, a plot hole or any of a multitude of other things, some of which may be entirely subjective in the mind of the reader.

What can you do about it? Consider your editor’s comments, polish it to the best of your ability and let it go. Write the best story you can and trust that your reader descends into that fictional daydream.

Writing, like sculpture

Don’t be afraid to overwrite your drafts. Revision and editing will sculpt the story into a publishable form. The better you understand your characters and their story, the better your book will be. Know that backstory but feed it sparingly through the story. Understand what happened to make your characters the people they are when your story starts. Know why their mother and father fought and why their grandparents died.

Just as the iceberg you see is merely the tip of a very large underwater berg, the published book is often just like it. The reader has only the book before her, yet it will be obvious that you know it all. Those 800 invisible pages are there.

First get it written

The best advice. Writing your ‘dirty’ first draft is merely the first stage of getting a book out. It’s all about getting to know your story and what it’s all about.

Once the story is down on the page, it’s time to let it sit for a while, get some objectivity and distance before diving back in.

Then, and only then, is it time to ‘get it right’, make sure the story is all there, that there’s nothing missing, layering in anything missing, and editing out extraneous details and unnecessary words.

None of this can be done before you get the story out of your head and written.

A classic book

Don’t you love a book that you can still discuss years after you first read it?

A classic can be one which gave you a new way of seeing an issue, an aspect of life, love or happiness. It may have changed your life forever.

A book you can read over and over again without ever getting bored.

A book you can argue about for years, each with your own interpretation, opinion and viewpoint over meaning, the best alternative ending, why a character acted a certain way and so on.

A book you can recommend to everyone you meet and which can mean as much to them for either the same or another reason as yours.