Avoiding Clichés

Clichés make everyone cringe. They hurt your writing, and they usually trigger an involuntarily eye roll or groan from readers. It's best just to avoid them altogether. But sometimes it's hard to determine whether or not something is clichéd. Colors are easy. If it's something you've heard quite often--fire engine red, pitch black, or sky blue for example--you know it's probably one of those descriptions with a cliché tag attached. But what about characters, opening scenes, and individual lines? Though clichés vary from genre to genre and there are many of them, there are a few key ones that spread across all genres that you'll want to watch out for. Mary Sue/Gary Stu If you've been writing for any length of time, you've probably heard of a Mary Sue (Gary Stu for the male counterpart). These characters are very predictable, stereotypical, and downright boring. They are neither very well-developed nor original. Though not always true, Mary Sues/Gary are often protagonists, and can even be a reflection of the author's personality. While sharing just one or two quirks, habits, or interests with the author isn't a big deal, the protagonist shouldn't be a portrayal of the author. In fact, each character needs to be his/her own person. No two people on this planet are exactly alike, and no two characters should be either.

Tips for avoiding clichéd characters:

1.      Give each character a distinct and different personality.

2.      Avoid making them a Plain Jane or an outcast. This type of character is way overdone, especially for a protagonist. If you're going to make your main character typical in either of these ways, be sure to include something extraordinary about them, setting them apart from the rest.

3.      Avoid using stereotypes for characters, such as nerd, jock, dumb blonde, etc.

4.      Give characters a realistic body type. Having no physical flaws at all--or at least not having a body part the character is unhappy with--is impractical.

5.      Be specific. The more details you provide about your character, the clearer and more unique he/she will be.

6.      Make them well-rounded; give them more than one interest. Pick hobbies that fit the individual.

7.      Give them several faults of any type. Everybody has them. Just as there are no perfect people, there should be no perfect characters.

Life Stories and Death Scenes One of the quickest ways to diminish any interest a potential agent or publisher might have in your book is by having a "My name is..." opening. This is a habit many inexperienced writers develop during their early years of writing. They use this type of opening in an effort to show the importance of the story itself. I've certainly been guilty of it before, and I have to force myself to dive right into the story sometimes. It's tempting to give an introduction to the main character; after all, they are usually the most important person in the story. However, if a book is well-written, introductions aren't necessary in the general sense. The author does not need to make the character address the reader in any way. If the plot and action are good in the beginning chapters, the reader/agent/publisher will be hooked regardless.

Another often used opening is a death scene. It's a great, dramatic entrance, and lets the reader know that something big happened. The idea is to make the reader want to read more about what happened, capturing their interest and preparing them for the rest of the book. But sometimes method has the opposite effect. When someone picks up a book to read, they expect a good story to be told. They expect there to be a plot with substance, one that builds up and leads to a climactic point. By starting with a huge death scene, the author has already given away a valuable asset in storytelling, the climax. My advice is this: If you're going to start with a death scene, make it make it odd. Make it small or meaningless. Make it a joyous event, or something else unexpected. Have it be a cause and effect event. In other words, make it completely unique to any other death scene you have ever read, or make it so ordinary that that reader flips through it without much thought. This will give you a personalized opening without giving away key moments in the story right off the bat.

Tips for avoiding clichéd opening scenes:

1.      Avoid introduction speeches.

2.      Avoid giving away a climactic moment.

3.      Make the scene have at least one unique element to any other story.

4.      Research clichéd opening scenes, and avoid them. These include dreams, storms (especially at sea), and daily morning routines. Here's a great source about clichés when writing scenes: http://kathytemean.wordpress.com/2010/05/06/8-common-cliche-mistakes/.

Dark and Stormy Nights Clichéd lines are just about as annoying as clichéd characters. These lines include those such as the infamous, "It was a dark and stormy night," "Houston, we have a problem," and "Is it just me, or is it hot in here?" Most of the time, these lines are part of dialogue, but not always. However, there is a way to overcome clichés: avoid them, or make fun of them. If you use them and it's obvious that you're poking fun at the line, go right ahead. Some of the most successful television series are ones that make fun of themselves from time to time. Just use this tactic sparingly.

Tips for avoiding clichéd lines:

1.      Research. It's pretty easy to know what is a cliché and what isn't, especially if you've heard the line before, but here are examples of a few just to get you started: http://digitalderon.com/top-ten-lists/digitalderos-top-10-worst-cliche-lines-of-dialogue/.

2.      If it's a line that doesn't just hint at what's coming but makes it blatantly obvious, skip it.

3.      Pay attention to the weather. Yucky weather can certainly make a bad day worse, but that doesn't mean it always has to rain. If your character is heartbroken or depressed, making it dark and rainy outside just sets you up for one of those used-one-too-many-times lines.

Learn the Rules Before Breaking Them

I know grammar is a touchy subject for a lot of people. No one likes to be corrected or reprimanded for using the wrong word in the wrong place. I know many people who simply say, "Isn't that what an editor is for?" They don't care if they get a few words wrong, because they know it can be fixed or that people will get the gist of what was meant anyway.

I also know people who treat grammar like it is the be-all and end-all. They shudder if they see a conjunction at the beginning of a sentence and a preposition at the end (Which, interestingly enough, is generally accepted as proper English now.) They're seen by many as old-school grammar junkies.

What neither of these groups realize is that it's a combination of these things that can create perfect harmony in a creative work of fiction. Upholding a high standard for correct grammar ensures a well-constructed narrative, and it makes for excellent readability. On the flip side, being a bit lax on grammatical structure can allow for a more creative flow of the prose, making it rather musical in nature. It also gives the author of the piece a distinct voice, and can really make a book come to life. But there's a catch to this balancing act; one first has to know andpractice good grammar before break it.

If you read my blog series on why good writing matters, you probably came across the post about grammar. From a professional editor's standpoint, good grammar is essential for giving the author credibility. It assures the reader that the author knows what they're doing, and the reader will not only buy into believability of the story more, but they will be more likely to read past the first few pages. An agent will also be much more receptive to a book with good grammar than one without. This makes the book more marketable.

Once you have a well-written manuscript, you can start using grammar and sentence structure to your advantage. Use variation of sentence structures to make the prose flow, leading one sentence into the next according the mood and pace of the scene. For example, using shorter, choppier sentences and paragraphs mixed in with standard text can set the pace for a suspenseful action scene. Sometimes, a bit of non-standard grammar or even slang is appropriate in order to enhance this effect, particularly when dialogue is involved.

Carol dropped the bloody corpse she had been holding but held the knife firmly. The door had been kicked in. Two dozen FBI personnel surrounded her within seconds.

"Hands where I can see them!" one of them barked.

Carol chanced a glance out of the corner of her eye at the men surrounding her. Each had a handgun, and a few were packing larger weapons. Much larger. With a small smirk, she loosened her grasp on the knife. It clattered to the ground.

"Now!"

This was her chance. She yanked the chain off and threw it on the ground. The glass vial broke and immediately released a thick cloud of white smoke.

Idiots.

She leaped out a nearby window as her pursuers coughed and sputtered at the toxic fumes.


Notice how the purposefully short paragraphs, dialogue, and sentence fragments were used. The variation of sentences mixed in with just a hint of non-standard grammar gave this scene the desired effect. If the sentences lengths and grammar were changed, one might expect a different outcome, such as surrender of the criminal. Apart from the cues of the woman's body language, the short and direct sentences give the reader additional insight to what's coming other than what is directly written on the page.

Knowing how to productively bend the rules of grammar can be a powerful tool in the right hands. It's how good writers achieve those suspenseful, steamy, and action-packed scenes. But there's a big difference between blatantly poor writing and incorrect grammar being used purposefully and methodically to enhance well-written text.

On Becoming an Editor

Advice regarding editing careers can be tricky. I've seen numerous posts discussing the subject, and several comments regarding which degree to pursue. Those commenting often suggest studying English. However, I would suggest an alternate path. Although it is possible to obtain an editing position with a degree in literature, creative writing, or another similar subject, you will likely be limited in what you can do with it. Not only does editing take a great amount of skill in grammar and the basics of good literature, but it takes training in technical writing, plot/character development, and the publishing industry in general, as well as experience in style and flow of prose. Depending on the types of documents you edit, a background in other fields might also be necessary. Being able to monitor consistency and accuracy of information is a must.

So what is the best option? That depends on the specifics of where you want to work, what type of editing you wish to do, and your personal strengths. First, focus on a major that will teach you as much as possible about English and writing while still giving you a variety of skills. One area of study I always recommend is professional writing. It's a major that teaches you things such as critiquing methods, writing in groups, peer editing, review writing, knowledge of the English language (including grammar), technical writing, how to be concise, and a bit of web design. Plus, if you can minor in a few non-related subjects on top of a major like that, you have even more of a competitive advantage.

Professional writing was the right major for me. I was able to pursue a degree in that while obtaining minors in German and psychology. I also took several classes in science, math, and creative writing. That experience gave me the opportunities to hold positions in technical writing (both for a medical company and for welding companies), document design, copy editing, substantive editing, developmental editing, web design, and other similar fields. I was able to work in a variety of environments and discover which paths I enjoyed the most.

That's not to say English degrees are useless; they do have their merits. English majors usually do a lot of reading and discussing what they read, which can really help you learn about different styles of writing and the pros and cons to each. But I think there are additional options available for those looking to go into editing full-time. Professional writing and technical writing both include their fair share of reading, particularly if you minor in (or take classes) in similar fields.

Additional resources: If you haven't yet read This Crazy Industry's post about becoming an editor, I highly recommend it. The blog covers the types of editing as well as suggestions for ways to get there.

Edit: This article was updated with further information.