Continuity

I’m glad I was never arrogant enough to criticize a writer for a continuity error (well, at least not before buying it in the bookstore), because I’m starting to think they’re even more sneaky than I suspected. I can’t believe I used to think I was good at keeping continuity errors from invading my book. Yeesh. I’ll be lucky if there aren’t any continuity errors at the end of this blog post.

See, I edit in passes, looking for specific problems like word usage or plot holes or whatever. When I find an issue, I fix it, and like a butterfly flapping its wings across the world, it can bring with it disastrous consequences. For example, I redid one section where the main character’s purpose just didn’t seem logical. I was of course aware that this important plot point resonated throughout the rest of the book and made sure to fix subsequent chapters, but…did I get everything?

I think I did, but it’s easy to get versions of the book mixed up in your head. And it’s not something that can always be caught by a beta reader, either. As useful as they are, the story’s continuity is on my shoulders. That’s why I’m starting to make notes of every change I make, and any issue that might get mixed up in my head, in a list titled “REMEMBER”. Remember how she lost her bracelet, remember that he is left handed, etc. etc. etc.

Continuity errors: AKA I edited the book out of order, so sue me.

Writer question time! How do you keep details, major and minor, straight in your head? And how do you find continuity problems while editing?

That Makes Sense

In order to be well received, a story must be coherent. This doesn’t mean that every detail must be accepted by every reader—that is a task I’m sure we can all agree is impossible. But everything in the book must fit together. If you want the picture on the puzzle box, you can’t force any which piece into another.

The best way to tell if your book makes sense is to have someone else read it, preferably someone with an analytical eye who isn’t afraid to tell you that the bloody footprints aren’t a red herring, they’re just nonsensical because the victim was strangled.

There are usually bits in books that jibe with most people, but not all. The twist seems contrived or the betrayal confusing…it happens. When I read SHUTTER ISLAND, I thought it was ridiculous that (first of all: SPOILER ALERT) everyone went along with the charade, including criminally insane mental patients who, as far as I know, had no reason to help. It bothered me that one woman scrawled “Run” on Teddy Daniels’s notepad when she apparently knew exactly who he was and that they would never let him leave.

Did this distract from the book? A little. Did it ruin the book for me? No. I think Dennis Lehane is an excellent weaver of words. It just didn’t fit with my mental processes. And maybe those of others, too.

While you can’t please everyone all the time, you should always listen to your critique partners. Especially if they’re all pointing out the same problems. Yes, it will mean more rewrites. But the truth about being a writer is that it’s actually mostly editing.

Stay minty fresh, everyone.

EDIT: Whoops. I accidentally clicked "do not allow comments." For shame!