While it is up for debate whether a book can be “good” or “bad”—which is generally attributed to personal taste and opinion—there are definite indicators whether a book has been well or poorly executed. Often, I think someone categorizes a book as “bad” when it is poorly written or edited, but the reader may be unable to pinpoint why they struggled to read and enjoy the book. The assertion by many readers and writers that bookstores are full of junk stems, in part, from poor execution.
This point struck me the other night as I read a book I’d picked up at the bookstore earlier that day. I wanted something light and fun, with a touch of romance. I wasn’t expecting a literary work, but I had hoped to find something easily readable and with a nice flavor. I was severely disappointed.
What I found was poor execution in numerous aspects. The plot was nice and simple like I’d hoped, but there were glaring inconsistencies, trite stereotypes, and unoriginality in language and dialogue that prevented me from enjoying my purchase. Each time I stumbled because of the writing, it pulled me from the story. That is the worst thing that can happen to a reader, and it often ends with the book tossed, unfinished, into the goodwill bag.
Let me share some examples to illustrate the point.
The most teeth-grinding error for me was the incorrect spelling of a main character’s name. Now, if it had happened once—maybe, maybe twice—I would have forgiven it. When that same mispelling happens so many times throughout the book that I’m not sure which is the correct spelling, it becomes a major problem. In this case, it was one letter that caused the problem. A simple “r” was either included or left out each time. Many would consider this an inconsequential error, but when it prevented me from forming an idea of this character in my head, that’s a serious error.
The next example involves the breaking of a certain “rule” that I actually condone on a limited basis: starting a sentence with “and” or “but.” In certain cases, this is perfectly acceptable, but to do so with numerous sentences on the same page—and an untold number of times throughout the book—exhibits a laziness during editing. I tend to start sentences this way when I’m writing a first draft, but then excise them ruthlessly during editing. As is generally the case, removing the “and” or “but” improves clarity and flow.
Grammar and punctuation are there to help the reader. When a sentence is so convoluted as to make it incomprehensible, no one benefits. There are times where bending or breaking rules of grammar add life to a sentence, but continually ignoring those rules makes the writer look foolish and novice.
As for stereotypes, I found so many that the book became little more than a regurgitation of childhood tales. In this case, I am currently editing a nonfiction book at work on the same historic period. While some of the misinformation could be attributed to lack of research, the assertion by the author at the end of the book that numerous facts were accurate made me cringe. Some research may well have been done, but not enough.
I’ll stop there with the examples, but just know that there were also problems with characterization, cliches, and other examples of lazy or uneducated writing. The author isn’t the only one to take responsibility in a case like this; everyone involved in a book’s production is accountable when a poorly executed book makes its way into the marketplace. While it may be easy to write off this book as a juvenile effort by a new writer, it is far from accurate. This writer has numerous books listed in her biography.
The lesson for writers? Don’t be like this. Even when you have several publishing credits, take as much time to polish and perfect each book as you did with the first. Poor execution reflects most often on you. It is not up to your agent or editor to make your book perfect. You should do this before ever sending your book out. It is your name on the line. Be proud enough to do a good job.
