Book SummarySelf-Editing for Fiction Writers, by Renni Browne and Dave King

1-Page Summary1-Page Book Summary of Self-Editing for Fiction Writers

Narrative Techniques

Narrative Perspective

King emphasizes the importance of maintaining a consistent point of view throughout an entire scene. Readers perceive the narrative from a unique viewpoint that acts as their portal to the unfolding events. The authors describe the three essential perspectives in storytelling: a personal narrative through "I," an external narrative through "he/she," and the perspective of an omniscient storyteller. Every narrative perspective offers distinct advantages and limitations, shaping the depth of reader engagement, the perspective conveyed, and the potential narrative paths.

Narratives told from a first-person viewpoint foster a deep bond with the character's viewpoint, although they limit the range of possibilities for depicting the events of the story.

The narrative unfolds from the viewpoint of the main character, immersing the audience in their personal reflections and unique life events. This technique deepens the reader's engagement by offering a more personal view of the character's outlook and environment. The opening sections of Sharyn McCrumb's "The Ballad of Frankie Silver" exemplify the enthralling effect of storytelling through a first-person perspective. However, the authors warn that the narrative's breadth may be limited by what could realistically be within the storyteller's perception or comprehension. They also suggest avoiding a storyteller whose peculiar traits or detachment could hinder the formation of a bond with the audience.

The writers acknowledge that it can be impactful to use the perspectives of different characters within a single scene, a technique exemplified in Sol Stein's novel "The Best Revenge" and also portrayed by Mary Gordon in "The Company of Women." Mastering the skill of incorporating multiple perspectives and complex characters can enhance the narrative, yet it demands meticulous attention to fluid shifts and preserving the unique voice of each character.

Other Perspectives

• While the first-person perspective in "The Ballad of Frankie Silver" may be enthralling for some, others might find it too subjective, limiting their ability to form their own unbiased opinions about the events and other characters in the story.
• While Sol Stein's "The Best Revenge" and Mary Gordon's "The Company of Women" may use multiple perspectives effectively, it is not a technique unique to these novels, and there are numerous other works that could also serve as exemplars of this narrative approach.
• Managing multiple complex characters requires a balance that, if not maintained, can lead to some characters feeling underdeveloped or neglected.
• It's possible to incorporate multiple perspectives without meticulous attention to fluid shifts if the narrative structure or genre conventions allow for a more disjointed or experimental approach.
• Some genres, like science fiction or fantasy, often benefit from narrators with peculiar traits, as these can enhance the world-building and contribute to the sense of otherness that defines the genre.

Stories told from a third-person perspective offer a mix of intimacy with the narrative and a broader perspective, showcasing varying degrees of nearness to the story.

King maintains that third-person narratives strike a fine balance, offering an intimacy akin to that of a character's perspective within the tale, while simultaneously presenting a broader perspective akin to that of an all-knowing narrator. They facilitate a smooth transition from personal introspection to the broader narrative context. The authors emphasize the necessity of honing skills to manage how close the story feels to the reader. The language chosen, the influence of the character's emotions on the narrative, and the specificity of details shared with the audience modulate the narrative distance.

King advises writers to establish a strong rapport with readers by effectively engaging them in the narrative, particularly in relation to the story's main characters. The depiction of characters, expressed through their unique manner of speech and infused with their emotional subtleties, not only enhances the individual's representation but also adds complexity to the narrative's tapestry. However, they acknowledge that maintaining a degree of detachment in the narrative can be advantageous in certain situations, such as when the progression of the story takes precedence or when depicting the viewpoint of a character who plays a minor part.

Other Perspectives

• In some genres, such as memoir or personal essay, a first-person perspective might be more effective in conveying authenticity and emotional truth, which could be more engaging for readers than the broader perspective offered by third-person narratives.
• The effectiveness of the transition between personal introspection and the broader narrative context is highly dependent on the skill of the author, and not all writers may be adept at achieving this balance.
• Sharing specific details is often seen as a way to draw readers in, but there is a risk of overwhelming the reader with too much information, which can disrupt the flow of the story and detract from the narrative drive.
• Engaging readers doesn't necessarily require a focus on characters; some narratives are driven by plot, ideas, or the exploration of a setting.
• This approach can lead to stereotypes or caricatures if not handled with nuance and sensitivity, especially when representing cultures, dialects, or emotional states that the author is not intimately familiar with.
• Overuse of detachment can give the impression that the author is unwilling or unable to delve deeply into the characters' inner worlds, which might be unsatisfying for readers who enjoy psychological depth.

Omniscient narrators can provide a comprehensive perspective, yet there's a risk that this might diminish the reader's engagement.

Using an omniscient point of...

Self-Editing for Fiction Writers Summary Refining your previously crafted text.

Illustrating instead of just describing.

King underscores the significance of demonstrating actions and events through narrative instead of merely describing them to craft high-quality fiction. They argue that a deeper connection is achieved when actions, environments, and emotions are illustrated with clarity instead of just being summarized. Authors have the ability to instill a sense of urgency and amplify the impact of the story by crafting a narrative that progresses in an unbroken present context.

Engaging readers by vividly depicting events, environments, and emotions as they unfold creates a more captivating experience than merely offering a summary.

King illustrates this concept by comparing two passages: the initial one depicts a social event with general and indistinct language, whereas the subsequent one, drawing inspiration from the vivid and specific depiction of a party in F. Scott Fitzgerald's celebrated work "The Great Gatsby," enlivens the scene with unique conversations and character dynamics. The authors argue that such a method fosters a setting in which participants feel deeply involved, almost as though they are part of the celebration.

The...

Self-Editing for Fiction Writers Summary Employing literary techniques and advanced composition skills.

Sophistication through Technique

King emphasizes the significance of crafting writing with depth and nuance, which transcends simply employing complex vocabulary or intricate sentence structures. They advocate for a more nuanced approach, focusing on techniques that enhance the story's rhythm, imagery, and the uniqueness of the interactions through spoken words among characters. They also offer specific advice on avoiding common stylistic pitfalls that often mark amateur writing.

Enhancing the tone requires reducing reliance on frequently overused constructions, especially those ending in "-ing" or starting with "as," to achieve a more polished and refined quality.

King notes that novice or unskilled writers frequently betray their lack of experience by consistently beginning sentences with phrases that include "-ing" or "as." While they acknowledge the grammatical accuracy of these phrases, they argue that overusing them can weaken the impact of the narrative, making the depicted events seem more remote and less engaging.

The authors offer guidance on substituting such constructions with more potent and straightforward expressions. They advise breaking up extended...