Epilogues work well to cover “the rest of the story”, i.e, that which relates to proper closure of the plot, yet occurs after the story officially ends. Similar to prologues, epilogues can involve minor characters, or in some cases, someone who wasn’t in the main story at all. For example, it could be someone discovering years later what the effects were of your character’s actions. Sometimes they can even include hints of other stories to come, as opposed to closure.
Another way to cover an event that occurred before the story action starts, yet relates to the plot, is to use flashbacks. If its a somewhat long explanation, then a prologue works best. If it can be broken up into several short scenes, then flashbacks can work. Make sure you know how to introduce and then close them out, coming back to the present, by using past perfect tense.
In other words, to transition to the past, say something like “he’d gone to the movie” (past perfect) as opposed to “he went to the movie” (simple past). After that first sentence, switch to simple past until the flashback is over, then use past perfect again to alert the reader that the story is back in the present. If flashbacks are not introduced and closed properly, it can be very confusing to the reader and cause one of those “WTF moments” you want to avoid. In other words, it will throw them out of the story as they go back to try and figure out when something happened and whether they missed something.
Careful handling of such writing protocols is what labels you a professional versus an amateur.
If your story needs some background information essential to the plot, but it doesn’t involve the main character, you can introduce it by using a prologue. That way you can start Chapter 1 with your protagonist, which you should always do, because it immediately tells your reader who the story is about. Otherwise, they’re going to wonder what happened to the character they “met” first and whose story your book is really about.
Know the different types of editing, especially if you hire an editor. Otherwise, you may be disappointed or not get your money’s worth. I’m always amazed when I find a multitude of goofs in a book that has supposedly been edited. Just because a person can read, doesn’t mean s/he can edit! Furthermore, if they’re a specific type of editor, they may do a great job in that category, yet leave others flapping in the breeze, waiting for some discriminating reader of jump on them like a duck on a June bug.
Rather than reiterate what has already been said very well by another blogger regarding the different types of editors and what their duties are, check out this outstanding blog.
Whenever you’re reading and encounter something annoying that bumps you out of the story, take a moment to consider whether you do the same thing, but have been blind to it. You can increase your skill as an author by noting when something stands out in another person’s work, whether it’s positive and negative.
Try to maintain consistent and comfortable chapter lengths. If you find a chapter has multiple section breaks, maybe you should start a new one instead.
Most readers expect a certain rhythm regarding how long a chapter lasts. Many also prefer to stop reading at a chapter’s end; if it drags on and on, it can be frustrating.
However, on the other hand, it’s usually not a good thing for a reader to put down your book, even if it’s to go to sleep or back to work. You can remedy that by ending each chapter with a cliffhanger, so they either keep reading or can’t wait to get back to find out what happens next.
Omniscient viewpoint can confuse the reader; make sure it’s really necessary & the most effective option before using it. If you really want to get inside the head of other characters in addition to your protagonist, separate chapters and/or sections might work better. Readers will relate more strongly to your character(s) if you present their thoughts one at a time, rather than bouncing back and forth. If you really want your reader to relate to your main protagonist, you should stick to his or her viewpoint as much as possible.
Consider your story’s point of view carefully. If you really want the reader to relate to your protagonist, the story should be told through his or her eyes only, even if you’re using third person narrative. Avoid slipping into an omniscient viewpoint by including something your character couldn’t possibly know, such as what the other person is thinking, unless, of course, he’s telepathic. Instead, describe what your protagonist is seeing in the other’s expression and body language. Another way around this you can use occasionally is to preface it with, “He didn’t know it at the time, but….” Break point of view carefully, deliberately, and sparingly.
As part of the admonition to “show, don’t tell”, learn to render emotions as opposed to using a simple modifier. Compare the impact of “He fumed with anger” to “His eyes flashed daggers, fists tightening at his sides” or “His heart raced, fury surging through him like a fire storm.” Concentrate on the physical sensations of the emotion you’re trying to express to capture what it actually feels like. One of the marks of good writing is conveying emotions to your reader in an effective manner. If your reader feels something, then your story is upgraded to an experience and becomes much more memorable.
Scrutinize all prepositional phrases to determine if they’re needed or whether the sentence can be reworded to avoid them. If they’re redundant in any way, zap those suckers out of there! For example, saying “He put his hat on his head” could easily be shortened to “He put on his hat.” Where else would he put it? Economy of words for maximum impact should be your goal.
Marcha's Two-Cents Worth 