# Common Fiction Writing Mistakes and How to Avoid Them
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Chapter 1: Introduction to Common Writing Mistakes
As an editor and publisher, I peruse countless narratives annually, and certain pitfalls consistently emerge, particularly among novice writers. While a compelling story concept can be promising, common mistakes can shift my decision from a “yes” to a “no” during the selection process for publication.
For a more focused discussion on genre-specific issues, check out my previous article:
8 Common Problems Editors See in SF & Fantasy Writing
What they are & how to avoid them (with examples)
In this article, I'll delve into broader issues prevalent in general fiction, along with practical solutions to address them. These recurring errors have prompted my publishing team, Fairfield Scribes, to develop our own terminology, borrowing some classic terms along the way. Below are nine common writing missteps we have encountered over the years, complete with examples drawn from various works, including a few of my own.
Section 1.1: Backed-In Sentences
A backed-in sentence occurs when a writer starts with a clause instead of positioning it after the verb.
Example:
“Wanting to help in whatever way possible, he ran to the store,” instead of “He ran to the store, wanting to help in whatever way possible.”
Though both constructions are grammatically correct, excessive use of backed-in sentences can negatively impact readability. Additionally, they can disrupt the narrative timeline, presenting the effect of a character's action before the cause, leading to reader confusion.
Section 1.2: Boxcar Sentences
A boxcar sentence connects two unrelated ideas using conjunctions like “and,” “but,” or “when.”
Many writers employ boxcars for transitions, but they often create pacing issues because the loosely related ideas clash, causing readers to stumble.
Examples:
“He picked up the newspaper from his front porch, and the aliens landed.”
“She went grocery shopping after her tour in Afghanistan.”
These examples abruptly shift the reader from one scenario to another without proper transition, resulting in an uneven narrative flow.
Section 1.3: Clichés
Avoiding clichés is essential! They raise the question: how can I express this differently? Writing from the heart can yield fresh perspectives that captivate readers. If a phrase has been overused, it risks becoming a cliché.
Challenge yourself by taking a cliché—such as “An old dog can’t learn new tricks”—and rephrasing it in an imaginative manner unique to your narrative.
Section 1.4: Vague Terms
Terms like “thing” and “it” can frustrate editors. What exactly is “it”? Offer rich details—describe the appearance, smell, and texture.
For instance, instead of saying, “It was small,” specify: “The furry brown animal was the size of her big toe.” The more precise the description, the clearer the imagery for the reader.
Section 1.5: POV Violations
Maintaining a consistent point of view (POV) is crucial. Straying into another character’s thoughts—often referred to as “head hopping”—can disrupt the reader’s immersion.
In fiction, the four main POV types are:
- First-person: “I” narrates the story.
- Second-person: “You” are addressed directly.
- Third-person limited: “He/she” focuses on one character’s perspective.
- Third-person omniscient: “He/she” knows everyone's thoughts.
Consistency in POV enhances coherence and keeps readers engaged.
Chapter 2: More Common Writing Issues
In the video "10 Common Issues Editors See in a Novel's First Draft," you can explore typical challenges writers face during the initial drafting phase. This will provide you with a deeper understanding of what editors look for.
Section 2.1: Repetition
While repetition can emphasize an idea, unintentional repetition often detracts from the narrative.
Words like “just” or “suddenly” can become overused, disrupting the flow. Unique language enhances engagement, keeping readers invested.
Section 2.2: Tell vs. Show
The adage “Show, don’t tell” is essential for strong storytelling. Overusing both can create redundancy.
For example:
Tell: “He hated his ex-girlfriend.”
Tell/Show: “He hated his ex-girlfriend. He spotted Sheri across the room and flinched.”
Show: “He spotted Sheri across the room and flinched. His hands trembled as he returned her wave, gritting his teeth in a strained smile.”
Effective showing enhances emotional depth and connection.
Section 2.3: Unclear Pronouns
Unclear pronouns can confuse readers, especially when multiple characters share similar traits.
Example:
“Maria, Jenny, and Heather walked into a room. Maria drank a coffee, but Jenny nursed a cup of tea. When she finished drinking, she threw her cup in the trash.”
Whose action is being described? Clarifying pronouns prevents confusion.
Section 2.4: Weak Verbs
Weak verbs introduce unnecessary distance between the reader and the action.
Example:
“She started to talk about the opera,” is less effective than, “She talked about the opera.”
Streamlining language enhances clarity and engagement.
Final Thoughts
This overview captures some common writing pitfalls I've encountered as an editor, though many more exist.
If you have additional writing issues you've noticed or questions about the content, please share in the comments. I'm always eager to provide feedback. Good luck with your writing journey!
A bit about me: As a freelance editor and ghostwriter, I’ve collaborated with thousands of writers, including notable figures and NY Times bestselling authors. I’m also the publisher of the all-genre magazine ScribesMICRO.
In the video "10 Common New Writer Mistakes (and How to Fix Them)," you will find guidance on overcoming common obstacles faced by emerging writers.