By Paula Berinstein
Tale advisor and Writing convey host Paula B. provides an annotated checklist of forty two universal errors she sees forever. Divided into characters, constitution, reader engagement, the industry, and mechanics, the item bargains every thing from the Tease--the author who will get readers all excited yet does not persist with via, to the Bleeding Heart--the author who will not "murder his darlings."
About 7000 phrases.
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Extra info for 42 Common Mistakes Novelists Make
37. The One-trick Pony. You use multiple occurrences of the same word, or variations of the word, close together. It's easy to use the same word over and over again without realizing it, so try to eliminate close occurrences unless you're trying to create a particular effect. Varying your vocabulary keeps your writing fresh and flowing. 38. The Edward Bulwer-Lytton. You force metaphors and description. A clever or stunning metaphor will enhance your work, but an awkward one just sticks out. Sometimes it's hard to know the difference.
Will tugged at his mother's hand and said, "Come on, come on . " But his mother hung back. She was still afraid. Will looked up and down the narrow street in the evening light, along the little terrace of houses, each behind its tiny garden and its box hedge, with the sun glaring off the windows of one side and leaving the other in shadow. There wasn't much time. People would be having their meal about now, and soon there would be other children around, to stare and comment and notice. It was dangerous to wait, but all he could do was persuade her, as usual.
If you think your cast is growing two fast, try introducing the characters over time. That way we can get used to one group before going on to the next. 14. The Passing Acquaintance. You don't know enough about your characters to make them interesting or believable. The secret to building a rounded character is knowing him so well that you can hear his self-talk. You know what he thinks and the words he uses inside his own head; what he wants and needs; how he reacts to what's going on around him; what bothers him and why; what he would do in almost any situation because that's always how he behaves; the seminal and trivial events of his life; what his daughter said to him this morning and his boss did to him last week.