 Hello, hello, writers. I'm Kristen Kiefer, author of fantasy fiction and creative writing resources. And you are listening to the Well-Storied Podcast, where I share insights, encouragement, and actionable advice designed to help you craft sensational novels and build your best writing life. Always in 30 minutes or less, so you can get back to writing, of course. Ready for the show? Let's get talking. Friends, it's so great to be back with you for a second week in a row again. That's something that I used to do all the time. I used to publish new podcasts weekly. And then this year, as I got into writing and revising my upcoming book, Build Your Best Writing Life, I found that it just took up so much more time than expected. Writing a book is hard work, guys, if you didn't know, you know now. And I just found that I was writing fewer blog posts, which meant that I was publishing fewer podcast episodes as well. But that's really something that I want to change. I want to get back into weekly blogging and podcasting. So thank you for bearing with me in the meantime, and I'm excited to be back. Today, I have a new blog post and podcast episode for you guys called Eight Things to Cut or Reconsider When Editing Fiction. In last week's episode, we talked about the big picture ways that you can improve your prose as you draft, revise, and edit. If you're someone for whom writing, the actual physical writing of involved in telling stories does not come easily, last week's article and episode was a great one for you. It comes directly from my own experience in working to improve the quality of my prose. And I was really excited to share that episode. Today, we're covering a very similar topic, but we're getting technical. So if you want to make your book as readable as possible, or even better yet, if you want to make your book as irresistible as possible, you need to tighten your prose. It's simply an essential step. So today, I am sharing the eight key areas that you'll want to address when your story is finalized and you're ready to polish your book to high shine before publishing. But first, let's do a quick behind the scenes update. First up, I'm really excited. I keep saying really excited in this episode, don't I? Wow, I'm thrilled to have early feedback, early beta reader feedback start to come in on my upcoming book, Build Your Best Writing Life. This is the first time I've ever received beta feedback or worked with betas on a project of this scale. And so I didn't realize until this feedback started to come in this week, how much worry and doubt and stress I was carrying about this project. And so early beta feedback, like I said, started to come in and it certainly had its constructive criticisms, no doubt. But overall, the feedback was highly encouraging and positive. And it was just this huge weight off my shoulders, a weight that I didn't even know I was carrying to finally realize that this book was out in the world with a small select number of readers. But it was out in the world and people were enjoying it. So that's really exciting. My beta readers still have just shy of two weeks to get their feedback to me. So the vast majority of feedback has not come in yet. But I'm I'm looking forward to receiving that feedback and using it to shape my next revision on Build Your Best Writing Life before it goes out to an editor. The other pretty cool thing that's happening this week is happening this week only from June 11th through June 18th. So if you are listening in from the future, I do apologize that this won't apply to you. But this week only there is a super awesome resource bundle happening called Write, Publish, Profit. This bundle includes 47 tools and resources. These are digital resources such as workbooks, ebooks, e-courses, templates and the like designed to help writers, both fiction and nonfiction writers craft their very best work and then publish it and make a profit from their writing. And the really amazing thing about this bundle is that it is worth in total over $5,000, but you can get it on SuperSale for this week only for $49. I know it's insane. It's really awesome. I am one of the people who has contributed to this bundle. My digital workbook, The Pre-Write Project, is included in this bundle. And this is certainly not, look, I kind of gave this caveat in the newsletter this week and I feel that I should share it here as well. I am very, very selective about the things that I choose to promote to you, especially the paid products. I have personally bought a lot of crappy resources and resource bundles in the past and that is never something I would want to try to sell to you just to make a quick buck because I am indeed an affiliate for this bundle. If you make a purchase through one of my links, I will make a commission on the sale. This resource bundle is packed with super awesome, valuable content, awesome tools and resources, and it's something that I have purchased myself. There are quite a few tools in here for people who are preparing to self-publish and build their author platforms and market their work, and since that's something that I'll be getting into later this year when I prepare to publish Build Your Best Writing Life, I seized on this opportunity to snag a few amazing resources at an incredible price. If you're not ready to publish yet, there are also many amazing resources in this bundle that have to do with pre-writing, like my own workbook that's included, drafting, writing, revising, editing, it's all in there, anything you need, there's probably a resource in this bundle for you. So if you would like to check it out and you would like to support Well-Storied if you make a purchase, I have a very specific affiliate link in today's episode description that you'll want to click through. Once again, this is the right publish profit bundle from InfoStack, and it's just truly one of the coolest things I've been a part of, one of the best collaborations I've been a part of since I've been blogging. So again, just go ahead and use that link in today's episode description to check it out, and thank you for listening to my quick ramble about it. Before we dive into today's episode, I have one quick and really awesome guest post to share with you all. This week's guest post comes from author and blogger Heather Curry. It's called Five Tips for Finding Writing Motivation, and as someone who blogs about the arts and positive living, Heather has a lot of experience in talking about this topic, and that shows in her article. So if you are someone who's struggling to just sit down and start writing, if you just cannot seem to make words happen, make sure to check out Heather's article at www.Well-Storied.com slash Motivation Tips. I'll include that link for you in today's episode description, as always. And if you would like to submit your own guest post for the WellStory blog, you can do so by checking out the guest post submission guidelines at www.WellStoried.com slash Guest. Today's episode of the podcast translates the latest article from the WellStory blog into audio, titled Eight Things to Cut or Reconsider when Editing Fiction. You can find the article that also serves as the episode transcript at www.Well-Storied.com slash Reconsider. Now let's dive in. Eight Things to Cut or Reconsider when Editing Fiction. I often say the magic of writing happens in revision. When you revise, you transform a lumpy first draft into a powerful and cohesive story. Cutting filler, strengthening the narrative, and shoring up your story's foundations. As you edit, that same magic manifests in your prose, helping you transform weak and clumsy writing into an irresistible read. In last week's episode, I shared an overview of how you can strengthen your prose at every step in the writing process, from drafting to revising and editing. Today, let's dive into the nitty-gritty. As you work to tighten your prose during edits, here are eight things in your manuscript to cut or reconsider. Item number one, adverbs. You've likely heard it said that the road to hell is paved with adverbs. Though it's not necessary to cut every adverb from your writing, bear in mind that adverbs are often a sign of poor word choice. Inexperienced writers frequently use adverbs in a vain attempt to strengthen weak verbiage. For example, the boy pushed him roughly to the ground, versus the boy shoved him to the ground. She moved clumsily as if drunk, versus she staggered as if drunk. And finally, he spoke nonsensically, and her frustration rapidly worsened, versus he blathered on, and her frustration spiraled. Seeking clarity, many writers also tack redundant adverbs onto their sentences. The bell clanged loudly, and the bell clanged carry the same meaning, right? The same goes for, he whispered softly, and he whispered. Can a person whisper harshly? Sure, but whispers are typically soft in nature, and readers will assume them to be so without the added adverb. As you edit, interrogate any adverbs you uncover. Some may serve a purpose. Earlier, I used the adverb frequently to indicate that inexperienced writers don't abuse adverbs at all times. But frequently, adverbs reveal an opportunity to choose a verb that packs a more powerful punch. There's nothing wrong with a well-placed adjective. The trouble comes when writers overuse adjectives in an effort to ensure readers can visualize their imagery. For example, the woman was tall and thin, with long, tanned limbs and beautiful pale-blonde hair. Or, the peeling walls in the tiny ramshackle room seemed to loom over me, dark and menacing. To tighten your prose, cut redundant adjectives and scale back on your usage. Remember that readers have strong imaginations. Choose the most pertinent and evocative adjectives, then trust in readers to fill in any details that remain. Let's rework our examples together. First up, the woman was live, her limbs tanned and blonde hair bleached by the summer sun. And, the walls in the ramshackle room loomed in the dark, setting my nerves on edge. Notice how these descriptions use far fewer adjectives? I also reworked the first example to deepen the woman's characterization. Readers now know she spends a great deal of time outdoors. While I crafted a more immersive description in the second example, by grounding readers in the point-of-view character's experience. Item number three, intensifiers. Intensifiers are a subset of adverbs designed to intensify the meaning of a verb. Common intensifiers include very, extremely, completely, utterly, rather, quite, and really. Like general adverbs, there is a time and place for the use of intensifiers. But consider Robin Williams' famous speech from Dead Poets Society. Avoid using the word very because it's lazy. A man is not very tired. He is exhausted. Don't use very sad. Use morose. Yet again, intensifiers are a sign of weak word choice. They exist to make a verb more extreme, yet rarely do. In fact, I originally wrote, They exist to make a verb more extreme, yet very rarely do. But what purpose does very serve in that sentence? Is a man described as really rather stupid, any more or less dull-witted than one described as stupid? Which description holds more power? She is extremely beautiful or she is stunning. Item number four, vocabulary. I've harped on about the importance of word choice in this episode and I am not done yet. Choosing the vocabulary in your fiction with care is essential. If you're writing from the perspective of a narrator or point of view character, that person will have a unique voice. Everything from their upbringing, experiences, education, cultural background, personality, and beyond will affect the words they use throughout their narrative. As you edit, be mindful. Is your character having oatmeal for breakfast or porridge? Would they truly know the meaning of the word anathema? Do they use improper language to describe their work, because you haven't done the proper research to understand their profession? I once read a fantasy novel set in a medieval Arab-inspired world, in which the point of view character described themselves as adopting a laissez-faire attitude. A French phrase that didn't even exist in medieval times. The anachronism pulled me out of the story in a flash. Don't make the same mistake. Item number five, metaphors and similes. Metaphors and similes are figures of speech that compare two objects to create imagery or deepen meaning. Unfortunately, many metaphors and similes found in fiction are too cliche or ill-considered to carry much emotional weight. Consider the following examples. His eyes pierced me like twin daggers. Anger rolled off her body in waves. The boy ran like a gazelle. Nerves fluttered in my stomach like a thousand butterfly wings. These examples are unlikely to make or break the overall success of your prose, but they are tired, and there's little power in tired writing. When you uncover metaphors and similes in your prose, consider their purpose. Would removing them weaken your writing? If so, consider your point of view character and craft a phrase unique to their voice. As I said in last week's episode, your character can't describe another's eyes as a storm at sea if they've never seen the sea. Item number six, dialogue tags. There's a good deal of contradicting advice concerning dialogue tags on the internet. Some writers insist that said is dead and encourage others to use flamboyant tags like barped, sniveled, preened, hissed, and cajoled, believing these verbs to be stronger word choices. But it's important to remember that dialogue tags are marks of authorship. Because they aren't a natural part of your point of view character's voice, they remind readers that an author exists behind each word, disrupting the flow of your narrative. To maintain this flow, consider using common tags, such as said, whispered, and shouted. Because they're common, these tags are unlikely to jar readers out of your story, while still achieving their purpose in indicating the speaker and tone of voice. When possible, cut dialogue tags altogether. The fewer marks of authorship in your story, the better. You can use action tags, such as the following examples, to replace them. Meg's lips parted. You can't be serious. Just a moment, please. I shuffled to my feet. He rolled the vial between his fingers. They say it's a poison. For more guidance on writing and editing dialogue, make sure to check out the article and episode I've linked in today's episode transcript. Item number seven, filter words. Certain words place a degree of separation, or a filter, between the reader and the point of view character's experiences. Examples include watch, heard, saw, felt, thought, realized, and wondered. Removing these words from your narrative will bridge the gap between reader and point of view character, without affecting readers' understanding of your prose. For example, I watched as the sun set low on the horizon, wondering if this would be the day daddy didn't come home. Versus, the sun set low on the horizon, would this be the day daddy didn't come home? Removing filter words is a key step in writing in deep point of view, a popular technique that immerses readers in the point of view character's experiences. For more on deep point of view, check out the article I've linked in today's episode transcript. And finally, item number eight, leading words. Leading words are those intended to draw readers from one sentence or clause to the next. In fiction, common leading words include then, suddenly, so, soon, shortly, a moment passed and in order to. Rather than add context or act as transitions as intended, leading words serve as filler that disrupts the micropacing of a scene. Consider the following example. I sat on the bench as the tide rolled out to see, a sense of calm descending as my mind emptied. Suddenly, a cry tore through the air, startling me to my feet. The word, suddenly, is intended to bridge the gap between calm and chaos, but consider its usage. If our character is sitting on the bench in a state of calm, a cry would prove sudden regardless of whether we explicitly state that it is. Let's review this example without the leading word. I sat on the bench as the tide rolled out to see, a sense of calm descending as my mind emptied. A cry tore through the air, startling me to my feet. The action in this scene is easily understood without the word, suddenly. If you did want to add a transition, try setting the second sentence on its own line. Paragraph breaks indicate a shift in focus, revealing to readers that the event in the second paragraph is unlike the first. Ready to tighten your prose? Remember, you don't need to cut every instance of these items from your work. Writing is both an art and a craft. Though reevaluating these items will generally lead to better quality prose, good writing is also subjective, and your writing style is your own. If including an unnecessary adjective improves the flow of a sentence, keep it. If your character is fond of using intensifiers or metaphors in their dialogue, let their voice continue to shine. Adverbs have their place, as do the occasional filter, leading word, and dialogue tag. As you work to tighten your prose, don't forget to leave it and yourself a little breathing room. Thank you for listening to today's episode of the podcast writer. I hope you found it helpful to your writing journey. If so, make sure to subscribe to the podcast so you never miss a new episode and to give the podcast a quick rating and review. Doing so goes a long way toward helping the podcast reach new writers and lets me know that you're enjoying what I'm creating. You can also give me a shout out directly on twitter at christen underscore keeper. For additional guidance as you work to craft sensational novels and build your best writing life, be sure to head on over to www.well-storied.com where I share blog posts, workbooks, e-courses, and other helpful resources for writers. Again, that's w-e-l-l-s-t-o-r-i-e-d.com. Thank you again for tuning in to today's episode, my friend. Until next time, happy writing!