Here’s a piece of advice about A Strategic Path to Writing Mastery or any book on writing mastery: “Do not ignore professional advice.” If you are lucky enough to get help from professional writers, don’t ignore their suggestions. If you disagree with something at first, think about it for a while. In the end, you may see that the professional is correct. Sometimes a professional’s advice may not be right for you. You can tell by researching how many other professionals agree or disagree.
An economy of words is what fiction/nonfiction writing is about, so—it is one of the main concerns of editing. Get your story across, develop your characters, and describe your settings—with as few words as possible. There is one necessary contradiction, but far more is gained with more words. Showing usually takes more word space than telling—but it is worth it. Showing provides the reader with an experience. Telling reduces the reader to a listener.
You can think of this book as a manual of script-tightening rules. Who are they for? They are for the new writer, amateur writer, and the self-published writer mostly. These three types of writers usually have not mastered the craft of writing, and some probably don’t realize there is a craft.
Who Can Break the Rules?
Look in many books published by long-established writers and you will find several of the writing rules that are in this book broken to pieces. They can break the rules because they have what the new and self-published writers don’t have—an established following of readers. One of the wealthiest authors on the planet allowed initial books in a series to be professionally edited. Then, when that author’s following grew huge, the author took over the editing task. The quality of the work suffered. However, it didn’t matter because the readership had already been established.
Reality Check: The Publishing World
Writing is a creative process enjoyed by writer and reader. Unfortunately, there is one major obstacle separating the two: publishing. Unless you go the self-publishing route, you must jump through the commercial hoops of a business whose first interest is profit. They usually take a toll on your creativity, but they are doing what they think is best to turn the highest profits. That is our publishing world whether we like it or not.
From the Reader’s Point of View
If someone reads your book edited by the script-tightening rules, the book ‘feels’ right to them. They don’t understand why, because they are not accomplished authors who have mastered the art of writing. When they read a book that violates the script-tightening rules, they ‘feel’ something is wrong. They’re uncomfortable reading it. If you are a first-time novelist making the reader uncomfortable, they will probably not finish your first book and skip reading your second. The truth, as I suspect it, is that readers are not nearly as discriminatory as agents and editors are.
Then there is the satisfaction you get knowing that, in following the script-tightening rules, you are providing a ‘quality’ experience for the readers; and that your book is technically better written than most—even those by some of the biggest names in ‘Authordom.’ Let’s equate it to acting fame. The movie Speed launched Sandra Bullock into stardom. Being a little-known actress at the time, she probably had little creative input in the movie’s production, as you will have little input with your publisher on your first traditionally published book. Years later, in a movie like Miss Congeniality, Sandra probably had a lot more creative control because she had established a large audience following—she had box-office draw. You need box-office draw for your book to have more creative influence.
So—look at every phrase, sentence, and paragraph, and throw out all those excess words. It will make your message simple and lucid.