Clarity in writing

CLARITY

Lack of clarity in a submission is the number one reason why an author’s work gets rejected. Think about it. Clarity can be, and for my purposes, is found in the previous nine reasons that lead to rejection.

1.      ! The use of symbols when words are better. An exclamation point has more than one meaning.

2.      Blasting queries. Using the one size fits all approach shows the agent or editor that you either didn’t think through your submission or you didn’t care.

3.      Not reading books on writing is like jumping out of a plane without a parachute. Reading clarifies in the writer’s mind which of many paths to take.

4.      Not joining critique groups, going to conferences or joining genre organizations leaves the author uncertain how to proceed (and without kindred spirits).

5.      Commas are much like exclamation points regarding clarity. Using commas to show breathing, pause, surprise, confusion, stroke etc. confuses the agent or editor. Because the comma isn’t a word, it’s anybody’s guess why those extra commas are there.

6.      Overusing complicated and multi-thought sentences is like knocking out an opponent in a boxing match. Except you are the loser.

7.      If the first chapter is used to set up the story by immersing the reader in the normal life of the protagonist, the agent or editor will reject the manuscript. They don’t understand because the author’s purpose is unclear.

8.      Head hopping or omniscient narration leaves agents. editors and potential readers confused.

9.      A lack of emotion in a character leads to a lack of emotional attachment in the story by the reader. To be clear, emotion in a character, as I define it, is not all about crying, laughing, smiling, etc. It’s precisely how a character reacts, acts, thinks or talks in any given situation. Done right, the reader is hooked, because they “get” (understand) and identify with the character.

10.  Clarity.

Clarity brings a scene and book into focus. Say Moby Dick and most people will be able to speak in metaphors and about memorable characters.

Crisp dialogue gives a story a magical or charming quality. Is there anybody out there who has not a clue what movie this came from, “I’ll have what she’s having” or “Here’s looking at you, kid”? Here's a harder one, "nobody's perfect". Stilted dialogue is often bogged down and defined by clichés, unnatural usage or wordiness. Less is more and original but understood expressions are what we all want.

Although interior intimate thought can meander to show indecision, we need to keep an eye on tentative resolution in the character’s mind or, at least, some change in the arc of the character. If the character is lost for too long, often the reader will find ways to lose the book.

A character cannot remain stoic while all hell is breaking loose about him scene after scene. Why? The character shows no change, no action. A novel is all about change. Otherwise it could be called the diary of a mad author.