I kind of think I probably don't need that....

Two years ago (!) I posed about the word "that"; how most sentences retain their meaning without it, how it's overused in writing (I definitely overuse it in my first drafts!), that kind of thing.

In editing The Last Song, I've noticed a couple of other words or phrases I've overused, the removal of which seem to strengthen the sentences, and the writing overall. "Probably" is one; it's one thing to use probably in conversation. It happens. It's cool. But in descriptions? It can be very frustrating to read "probably" over and over. You just want to know, "well is it or isn't it? Why won't you tell me?"

The same with "kind of", which has two meanings. There's "What kind of dog is that?" which okay, fine. You can say "type of" or "What breed" or whatever instead, but not too terrible. Then there's "It was kind of a pain". Is it or isn't it? "It was a pain." Say that instead (and there's that word again).

It's occurred to me to wonder if, organically, I've begun the attempt at removing most/all "weasel words" from my novel but no, apparently weasel words are something else and not like this:

Writing Tip: Eliminate 'Weasel Words,' like 'stoat' and 'ermine' from your writing. That's the tip, right? RIGHT?!?
— Troy Blackford (@TBlackford3) August 22, 2014

But whatever words one might want to get rid of, suffice to say the "find" function you can do in a document is a Godsend.  Called somebody by two different names? Find and replace. Can't remember what kind of guitar it was? Find guitar. Did the thing with cats happen before or after this conversation? Find cats.

Something to aspire to

So Janet Reid, from whom much literary wisdom flows, posted about Michael Seese. He's a writer who just spent all of October submitting a story or poem or something each day. Which is awesome.

See, if you want to get published, it isn't enough just to write. This is a grave disappointment that each of us reaches at some point in our, er, "development". As I commented on Ms. Reid's post, nobody's going to do this for me. It isn't like Emily of New Moon by L.M. Montgomery where her Uncle Jimsy finds her trunked manuscript, thinks it's good, and sends it off to a publisher who accepts it right off and BAM Emily is successfully published. She's one of my favorite L.M. Montgomery characters and, unlike the Anne books, the Emily books are only a trilogy.

So. We write but it isn't enough. We much write and spit shine and sand edges and shellack and polish. Then, we must write the Dreaded Query Letter™, which must be hooky and snappy and explanatory and not clichè unless it's just the right kind, and which must be a distilled 250 word form of mind control to make somebody want to read your pages. And request your full. Then talk contract. Then sign. Then send it around to publishers. The Dreaded Synopsis™ is in there somewhere too (and I need to write one for Learn to Howl come December, if I'm going to make the Angry Robot Books open submissions deadline).

So it's important to get your work out there. Get eyes on it (or ears on it, as I did last week with the help of my friend Jacob Burgess). Write, write, edit, write, and submit. Since I just received a rejection from Glimmer Train, I looked the story over again, edited it a bit more, and sent it off to Agni. I sent another one to Lakeside Circus, which is published by Dagan Books (I actually almost sent this one to Strange Horizons, then realized I'd already received that particular rejection from them. It pays to keep a spreadsheet for your submissions and rejections, kiddies!).

I don't have 31 spit-shined works of fiction to sub so I can do 1 a day for a month, but I've been poking around in my "Writing" folders, looking at what I thought was finished, what I know isn't finished, and all of those irritating files I have which are only a couple of sentences and were clearly meant to go in a direction at one time. I have stuff I can work with, and stuff I need to "bring up to code", as it were (removing 'that' whenever possible, that kind of thing). It's funny how organic a process writing is, how things change shape even as you're doing them.

Use of the word "That"

So, not only have I been remiss in blogging here, but I sort of dropped off the face of Absolute Write as well. That's all right, they probably don't miss me. Not because I've made myself a nuisance there; more because I haven't made a name for myself there yet either. No big.

But, one thing I keep in mind when I write, or think about writing or revising, is a thing that the Absolute Write-rs really try to hammer home when people are all "LOL, I have a first draft I just finished, will somebody read it for me?" is a very simple trick, really: look for instances in which you use the word "that". You can probably remove them safely, leaving the meanings of your sentences intact.

I'd never heard this before, and it boggled and intrigued me. I of course went to the anthology which I'm editing and hit "Find", and typed "that". Then I read every sentence which continued the word "that", and damn if they weren't right. Most of them, I could remove. Some I left intact, because really, that's how people talk. They say "that" all the time, sometimes twice in a row. I kind of like a colloquial voice, depending. It's once reason I enjoyed Stephen King for as long as I did, I think; the writing is very easy to read, which might draw you in.

I haven't tried counting the "that"s in published books I have laying around. I wonder if there will be fewer in fiction versus non fiction? Fewer in a classic versus a contemporary work? It's an interesting thing to have brought to your attention.