Caroline Kepnes on Loving Joe... Even If You Don’t Want To

Mindy: Welcome to Writer Writer Pants on Fire, where authors talk about things that never happened to people who don't exist. We also cover craft, the agent hunt, query trenches, publishing, industry, marketing and more. I'm your host, Mindy McGinnis. You can check out my books and social media at mindymcginnis dot com and make sure to visit the Writer Writer Pants on Fire blog for additional interviews, query critiques and more as well as full transcriptions of each podcast episode at WriterWriterPants on Fire.com. And don’t forget to check out the Writer, Writer, Pants on Fire Facebook page. Give me feedback, suggest topics you’d like to hear discussed, and let me know if there is someone you’d love to see as a guest.

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Mindy: We're here with Caroline Kepnes, who is the author of all of the You books featuring Joe Goldberg, who is just about one of my favorite people which makes me feel somewhat guilty, which is what we will talk about quite a bit. First of all, the next book in the You series comes out on April 25th - For You and Only You. The You series is the basis for a very popular TV show on Netflix. Pretty much everyone I speak to I have told to read these books. Let's just start by you telling us a little bit about the new one and what Joe is going to be up to next in For You and Only You.

Caroline: Yes. Well, thank you for having me here, Mindy. I love your podcast, and I appreciate being here. And I think it's wonderful that you say that you love Joe and that it says something about you. I feel like that's what started me with this, of finding this voice and wondering why it put a smile on my face. And every book is like this journey into his problems, but also the problems with our society. So it's like a kind of pick your poison thing where I'm like... the first one, of course, starts in New York with these Ivy League elites who think they're better than him and the girl caught in the middle of that. And in every book, like that's the deal that he sees the world mistreating a woman who he loves and he goes and tries to fix it. So this time around, we have Joe at Harvard University. He was very good with the pandemic, with the lockdown. He wrote a book and pulled off a kidnapping and did his little online sleuthing and managed to get himself a spot in a fiction writing fellowship. He's in this fellowship. It's supposed to be for undiscovered writers. That is what it said. But that is not the case. And everyone has a life and some success. And if you know Joe, you know that that's kind of not fair. There is a girl in the class named Wonder who is from Boston and didn't go to college and works at a Dunkin Donuts. I'm not going to start speaking in an accent, I swear. Instead of dealing with his own insecurity and his ego issues about writing, I mean, how convenient that he gets to project all of it onto her.

Mindy: Like I said, Joe is somebody who... I think all of us have those darker instincts and some of us are more in touch with our shadow selves than others. I'm pretty deeply in touch with mine. There are things that I don't do either because they are immoral or illegal. It could be one. It could be both sometimes. But you know, there's something that stops me from doing some of the darker things that I want to impulsively do. Joe doesn't have that problem.

Caroline: For me, there's something liberating about that. I like going into that space of like, especially the way he's obsessed with calling everyone entitled... It's like, how could you be more entitled than if you just go breaking every law and every social code?

Mindy: But he doesn't see that. Which has a little bit of a charm to it in a way, because we all have our blind spots.

Caroline: Yes. Oh, do we. Yes. Part of this book... Wonder does a lot of reviews on Goodreads, and with every book too, I'm exploring some form of social media. And in this one, he learns about her through her Goodreads reviews that are very revealing about herself, but in a way where she's very intelligent. But it's part of my basic fear. I grew up in the 80s and I just basically have been taught to be afraid to tell people things. And it fascinates me the way we all joke and we all get into rabbit holes and we can know a lot about someone. But it's like, you really can. I guess I just love going into that fear of when you put yourself out there, sometimes Joe is watching. You probably are the same way with that overactive imagination and taking everything as evidenced in your work to a very dark potential place.

Mindy: All day, every day. I want to talk about that. That's really interesting. It's an odd mind space to live in where most of the time, because I live in the country, I live very much rurally in Ohio, but I travel a lot. So I'm in big cities a lot. And because of my fairly cocooned life that I have out here, I generally feel safe all the time. And so when I'm out in the general public in a larger place, I mean, most of the time I'm not in any danger. But because of my imagination...

Caroline: Yeah.

Mindy: Everyone. Everyone is potentially going to kill me. I am always looking for the exit in whatever room I am in. I'm identifying possible weapons in case I need them.

Caroline: I am sitting with my back against the wall. Yes. You live in that space - an open space. I in some ways am more afraid. There's this place I like to go hiking where I grew up. On the one hand, you're totally isolated. For whatever reason, there's no one ever there. And you're, like, deep in this marsh. And then in the back of my head, I'm like, "This is the most dangerous place in the fucking world. I am alone. My cell phone barely works. Anyone could be here. Anyone could jump out from those dunes." And in some ways in the city, I always feel safer, and even if I'm walking around with headphones on, I just feel like, "Well, there are all these witnesses everywhere." And like you said, the majority of us are okay.

Mindy: I had a friend who got married and, you know, went to live in the city, and she had a very difficult time adjusting. And she kept telling me, "I don't feel safe. I don't feel safe." And I knew the part of the city she was in, and I'm like, "Dude, you're fine. Like, nothing's going to happen to you." Really if you think about it, living out in the middle of nowhere like we have our whole lives is actually more dangerous because there might be less people, so there's less of a ratio of people that could possibly hurt you, but if only that one person decides to, you can scream your head off. Nobody can hear you. You're done.

Caroline: It's the In Cold Blood of it. I read that in high school. I read it over and over. I feel like I did two term papers because I was just like, I will only read and write about this book and the possibility that whether it's random or intentional, you're a sitting duck and you're an isolated duck. There's a reason the ducks are in a group together in the lake, you know?

Mindy: So off topic. You brought up ducks so I just have to follow up with this. Are you familiar at all with the duck penis?

Caroline: Oh, very familiar. I've watched many videos. I don't remember how I originally learned, but every once in a while it's a really good Google. Some new tidbit to learn when you go back to it.

Mindy: I'm so glad that I'm not a female duck.

Caroline: Yes. I mean the violence with them, and there's a spot near where I grew up where they kind of gather and you can see them together, like working things out. And I just feel like the nastiest courtship rituals and the possessiveness and the violence.

Mindy: Pretty often, if it's a water based sports that they're enjoying, the female will get drowned.

Caroline: Yes. Yes. I mean, and the way that that's like just built into their system. What a world. What a world.

Mindy: So I just ended up learning about duck penises, and then, you know, it was one of those things where all of a sudden duck sex was like everywhere. I listened to a podcast and there was supposed to be like hunting and trapping and stuff, and they ended up just like really going into explicit duck sex. And I was just like, "Oh my God!" It was a... It was a real day. I had to turn it off. Like I was going through the drive through, and I'm like, "Dude, I got to turn this off."

Caroline: But then again, like the person at the drive through, maybe they learn about it and get turned on to it. Not turned on. Wrong word. But you know... but yeah, it is one of those things that it's like when you're trying to find shoes. So everywhere you go, you see shoes.

Mindy: Yep.

Caroline: And with duck sex... I heard it, there was something about it in a TV show or movie, I'm not going to remember what, a few weeks ago. But I remember thinking, if you didn't know about that, it would just go over your head. It was just like part of the dialogue. It wasn't a whole thing, but it's out there. People know.

Mindy: People know. I mean as soon as I saw a duck penis to you, you were like, "Oh, yeah, I know."

Caroline: And I love that moment of like, you tee it up and I'm like, "I'm not going to know what she's talking about." And then, "Oh! Duck sex! I know about that." 

Mindy: We can absolutely converse about duck sex. So speaking of just like, sex in general. I read recently Penn Badgley, who plays Joe on the show, gave an interview where he said he doesn't want to do sex scenes anymore because he doesn't feel that it is appropriate within the context of being a married man and it's a way that he wants to show his fidelity to his wife. And for one thing, my first thought was, "Man, you must be the best actor in the world. Because you feel that way, and then you play Joe." 

Caroline: Yeah. Yes. I mean, I think that's a personal choice thing, right? It's so personal. That's where acting freaks me out. Even in season one, I remember being on the set. He has to do everything twice because the voiceover acting with his face and his body and thinking all those sick thoughts and standing there. Anyone can use that moment to say, "You know what? This doesn't work for me. I don't want to do it." I think it's just good for the world because so many jobs in life are the exact opposite... Where you feel like you can't express your personal feelings about them, your preferences, or if you do, you might not be in that position anymore. I say, this is good. You know, like, what do you think?

Mindy: I thought it was awesome. I don't think that monogamy is cool in our society. Anybody can do whatever they want. It doesn't bother me at all. Like everybody has their own ways and they should go about that.

Caroline: That's you. I think that's the best thing to take away from it, because I can just as easily imagine a couple, whether they're both actors or one is, and they're good with it. It's such a thing between you and your partner and also your personal comfort zone. And it's an interesting thing too, because it's part of the age of hyper communication and just so much knowledge, you know. You figure years ago, there were probably actors that had this policy, or some degree of it, that we didn't know about because we just didn't have so much information thrown at us every single day. That's the thing that blows my mind about living the way that we live now. That's just so overwhelming when you think of us being a kid and waiting for Sassy Magazine to come out once a month.

Mindy: Oh yes, my Sassy and my 17. If I can just get one more glossy photo of Christian Slater, I will be so happy.

Caroline: Yes.

Mindy: It's really interesting what you're saying about the amount of media that we have in our faces all the time, because I was not even looking for information about you, about the show, about Penn Badgley. Nothing like that. It was on the front page of CNN.

Caroline: Oh, my God! I didn't know that. Wow! For the writers doing the show, it's like having a new circumstance and twist to deal with in storytelling. You and I can do whatever we want in our book. Have anything happen because no one has to use their physical form to bring it to life. The reader does that in their head.

Mindy: Then talking about the media. Like I said, that story was front and center for me on CNN, and I wasn't even searching for it.

Caroline: And that's fascinating because like, I love that that's news.

Mindy: Let me tell you, I scrolled past everything else and I read that. So... You were talking about how each of your books also in some way is kind of about or focusing on some form of social media in a way that is a little bit darker... A darker shade. And of course now everybody has their favorite podcast. Has someone else's voice in their ear constantly.

Caroline: Yes.

Mindy: I'm just curious if you could talk a little bit more about how you approach that because You, the You series, very much is social commentary.

Caroline: Yes. It's a commitment that I made in the first book. I remember the day that Lou Reed died, and I put it in the book. I didn't intend to write a series. Toward the end, when I wanted to do another, it was like, "Oh, boy. These take place now in this world right now." When the pandemic happened... Oh, this is an interesting conundrum because, yeah, like the way as a writer, you have those choices. You can write a world where it doesn't happen. You can mention it, or you can full on tell a story about it. And I loved the idea that we were all kind of living in this and figuring out how to deal with it in our stories and as we deal with it in real life.

So that's what got me started with this book where I had ended You Love Me with him in Florida in this place of mourning. And I had thought a lot about Florida Joe. I was alone. I'm like to me... Everyone was in some situation that is not the way they intended for their life to be right? If you're married and you love someone, you never meant to be together 24 hours a day. I like to be alone, but I never meant to be alone 24 hours a day. My first draft was... I started doing it with him having the fellowship over Zoom. Him using all of these new tools to get to people. And then it was like, "No, this is a book." And we're still, especially at that point I was like, "I can't write about this at length yet. Not that much." You know what I mean? So then it was like, okay, I'm going to send him to school. And he's going to be in the room smelling all the people and seeing them and eating with them. And yeah, it was, it was exciting because it was living vicariously through him, you know?

Mindy: It sounds like there's going to be a lot of inside baseball as far as writing and publishing goes in this one.

Caroline: It's his perspective on it, and he's very sure of himself. You know, he wrote this novel and I feel like in the way of living vicariously... oh God, to have his ego for an hour. What we could do with it! And then to see him be around these people and slowly realize that these people have done their work, and that if he shares his work with them, they're going to be allowed to say bad things about it. Which of course requires that he find a way to  kind of one by one, discredit, find every flaw, so that they can't affect him. And then that was the fun suspense for me with it. Because there's such a difference, right, between sitting alone and drafting it out and looking at your pages and exposing yourself to the world. I loved him sitting there with this bomb, with his book, in the sense that, like, what's going to happen if someone doesn't believe in him? And what's going to happen. And in that way, the girl that he liked, the books, the way they're always kind of talking to each other. Wonder writes, and Wonder is very sure of her process. And she is in no rush to get published. He takes it upon himself to change her approach to writing. Which is, in part, because he cares about her, but also because, of course, it allows him to avoid dealing with his own insecurities. It was very fun to give him a new job. Yes. To put him around other people who can handle their shit.

Mindy: That's the best place to put him.

Caroline: Yes. It just did feel like tingly good, right? Like I'm excited for you to read it. It's a good way to feel before a book comes out, right? 

Mindy: Oh, yeah. It's an amazing way to feel before a book comes out.

Caroline: I had so much fun naming the other writers and their books. And now when I go into a bookstore, I'm like, "Wait a minute. They don't have one book by Sarah Beth Swallows?" And I'm like, "She's not a real person!" Like, of course they don't. They're all fake.

Mindy: It's a good example of how real your characters are to you. Something else I wanted to bring up. A book that I just love that I think probably gets lost a little bit because of the fact that You is just so amazing and so popular. But you wrote a novel called Providence. I love that book! It's really good. I wish people would talk about it more.

Caroline: I know. Thank you so much. And that's like... It moves me so much when people say that because, exactly... Like You. I feel like it's like a middle school bully situation where not only are there now 4 You books, right? So Providence is just on its own out there, and it's its own thing. And it makes me so happy when I learn that someone has found it and enjoyed it, and I have such a soft spot for them in my heart.

Mindy: I love that book. I listened to the audio. It is quite good. I just loved it. I loved it so much, and I ran it down because I had... I had read at that point I think the first You book. And I was in a slump, and I could not find anything I liked. It was one of those weird times, and I was like, "Hey, I'm going to go see if Caroline Kepnes has written anything else." Then I was like, "Oh, she has." And I listened to Providence and God, I just loved it so much. So I was wondering, as a person that has had just a tremendous amount of success in this one arena, and you kind of already answered the question, but is there a part of you that is just like, "Man, I wish more for this other book."

Caroline: First of all, I want to go back to something you said about the moment for a book, because I love that so much. And something that makes me crazy about book culture is that like, here are the books to read this month! Here are the books to read this week! Here are the books to read today! And it's like the beauty of a book is that it never goes away. Sure, even if it goes out of print, you never know what you can find in a clearance bin at a used store like anywhere. And so I love when we're reminded that we can go find books. That there is no expiration date. Yesterday, I did a podcast and they were talking about Providence too. And the woman started out with like, "I am the biggest fan. I love it so much." And it's such a nice surprise that, yes, it just makes me happy because I would love for more people to find that book. And especially when it comes from readers, and especially author readers, who have that reaction to it, it's just a very good feeling. So right, you just always want more people to know that there's this other thing that I did that you might also like.

Mindy: You said, author readers... I wrote a book called Be Not Far From Me. It's about a girl that's lost in the Smoky Mountains. And she's out there for like a month, and she has to survive with just the clothes on her back. I started working on it, and as I was writing it, I was so pissed at myself because I had never thought about the fact when I pitched this idea that my main character is alone for 99% of the book. Alone. She has nobody to talk to. There's nothing for her to bounce off of. The environment isn't changing. She's in the woods alone for 99% of the book. And I was like, "Mindy, you fucking idiot. You have done this to yourself, and you are stuck. And you are in the woods with her." But the best thing that happened with that book is I would get, you know, texts, emails, DMs from fellow writers that would say, "How did you write a book where the main character was alone pretty much the whole time? That is incredible." And I was just like, "Thank you. Thank you for understanding how hard that was."

Caroline: That gave me such a good feeling to hear you say that, because that's my favorite part of writing once you're through it. But you know that moment when you're... You said it like, "What the fuck did I do to myself? What did I do?" Because I think that's where the best of us so often comes from. When we screw ourselves over, both in the way of deadline and also procrastinating and writing fast go together. You accidentally paint yourself into a corner and that just like you... Then you have no choice but to get out. Like you can always eventually feel that in the writing. In the pages. 

Mindy: Absolutely. Absolutely. My panic is inside of that girl who's trying to get out of the woods. Last thing. Why don't you let listeners know where they can find you online and then, of course, where they can get For You and Only You which will be out on April 25th.

Caroline: Yes. Well, you can get For You and Only You at your local bookstore. You can find it online. Hopefully, if they don't have it in your bookstore, you can go in there and be like, "Hey, you know what book you should have?" You can find me on Twitter for my wonderful retweets. Like, that's the bulk of what I do when I go on there and participate. You can find me on Instagram with book pictures, and I do have a Facebook page. And then there is kind of a secret place on Facebook that is called Caroline's Cage, and that's run by some readers who have been there ten years because it was 2013 when they got advanced copies of You. So yeah, that's a good group. Is that it? Are those the places?

Mindy: I think you got all the places.

Mindy: Writer Writer Pants on Fire is produced by Mindy McGinnis. Music by Jack Korbel. Don't forget to check out the blog for additional interviews, writing advice and publication tips at Writer Writer Pants on Fire dot com. If the blog or podcast have been helpful to you or if you just enjoy listening, please consider donating. Visit Writer Writer Pants on Fire dot com and click “support the blog and podcast” in the sidebar.

Marin McGinnis on Common Mistakes a Copyeditor Can Catch

Mindy:   Welcome to Writer Writer Pants on Fire, where authors talk about things that never happened to people who don't exist. We also cover craft, the agent hunt, query trenches, publishing, industry, marketing and more. I'm your host, Mindy McGinnis. You can check out my books and social media at mindymcginnis dot com and make sure to visit the Writer Writer Pants on Fire blog for additional interviews, query critiques and more as well as full transcriptions of each podcast episode at WriterWriterPants on Fire.com. And don’t forget to check out the Writer, Writer, Pants on Fire Facebook page. Give me feedback, suggest topics you’d like to hear discussed, and let me know if there is someone you’d love to see as a guest.

Mindy: We are here with Marin McGinnis. Marin is here today to talk about a lot of different things, but one of the things that I wanna focus on specifically is that Marin is a copy editor. So, we're gonna talk a lot about the importance of copy editing and the different things that an individual can do... Maybe beforehand to catch those small mistakes, the most common mistakes. But first... Marin is my cousin, and we found each other because we both have an interest in genealogy, and we found each other through ancestries. How are we related specifically again?

Marin: We are fifth cousins once removed.

Mindy: Our last shared ancestor died in 1825, is that correct?

Marin: That is also correct. One day, maybe, we'll figure out who his parents were and where he came from.

Mindy: I shall never cease. Also, I just think it's really interesting that we are both individuals that are writers and we move in the publishing and the book industry. There could be an argument made that some of it is innate. We'll call it a gift or a talent that you definitely still have to learn some things in order to hone it, but I think it's interesting that we found each other and they we're both writers.

Marin: I think we have a lot of things in common like that, and it is very curious that even though we are five generations and about 12 years apart, we have a lot of similar characteristics. Thinking about that is kind of funny when you think about genetics.

Mindy: We will talk about writing soon. Genetics kind of blow my mind because the old nature versus nurture argument, of course, is always there, but I have friends who have children whose fathers are not present or vacated early on. These children have their mannerisms... Ways that they hold their fork when they eat, like very intimate things that they didn't learn by watching him 'cause he's gone. But they have these very specific little things in facial expressions that man, it's their dad. It's bizarre.

Marin: My kid has some of my father's mannerisms, and they didn't know each other very well at all. So, it is interesting.

Mindy: So, you are a writer, first of all. You are a full-time lawyer and you're really smart, and that's cool.

Marin: Thank you.

Mindy: I kind of introduce you that way to people in my mind, or whenever I'm thinking about you. It's like my cousin Marin, who's a lawyer, because I don't get to say that often. Also a writer, you are published in the romance category, and you are also a copy editor, which is one of the big reasons that I have you here today. So you do offer copy editing and editing services. So that's something that I wanna give you some room to talk about. But first of all, I would love to have you talk a little bit about copy editing, specifically. What it is, how it's different from broad editing, and why it's so important.

Marin: The services that I provide are proofreading, copy editing, and line editing. Proofreading is kind of obvious. You're looking at a finished edited work to just make sure that you catch the little errors that people make in spelling and punctuation and grammar. Copy editing is a step above that, and it is a more substantive review of a manuscript to correct the same kinds of errors, but also to look at syntax of your sentences, ensure consistency in spelling, how you hyphenate things, the fonts that you use, what words you capitalize, and then to note ambiguous or confusing words or sentences. Line editing is a step above that as well, and it's intended to flag issues of overuse words, unnecessary words, run-on sentences, passive voice - just stuff that needs to be tightened... Pacing, structure, use of filler words like "that," and words that can slow down the pacing of your writing to ensure consistency in language. Make sure you spell the character's name the same way every time.

Mindy: One of the things that I hear people getting confused about sometimes is the difference between copy editing and proofreading. Because proofreading, like you said, is a little more just like searching specifically for errors. Copy editing comes down to many different things. They are searching for those as well, and they catch them... Also grammar. 'Cause I do write small town rural areas, often the copy editor will go through and they will fix grammar in dialogue, and I will reject the fix. That is not true to how this character would speak. I am college educated, and I've written 12 books. And I cannot tell you the difference between lay and lie. I've never said whom in my life. So those are things that copy editing will catch, and if it doesn't fit the voice of your character, those are things that you can reject and say, "No. I don't want this character to be speaking with proper grammar." Or even their internal dialogue, at times. To keep the voice correct, grammar may not be your highest priority. 

But one of the things that my copy editors catch the most often - continuity. Continuity is something that we don't always think about - even a timeline. That's my big problem is time. My timelines are always a mess. One of the ways that I specifically get away from it is that I'm not specific ever. So, my characters will say, "Hey, do you wanna go to movie sometime?" They don't say when. They don't say where. They don't say anything specific. I usually, if you're paying attention, won't say anything about time in terms of what month it is. Typically, I will mention a season or an upcoming holiday, if there's like Halloween or Christmas, but I'm not gonna say it's Tuesday, October 27th. I'm not gonna do that because I will mess it up. If I have an anchor somewhere, I won't be consistent. Along those lines, what are some continuity errors that you see occurring really often?

Marin: Time is definitely one of them. Geography is something that I pay attention to. Somebody's writing about somebody who is driving in a car from one place to another, and it takes 15 minutes. I'll actually look at a map. It does not take you 15 minutes. It takes you 45 minutes. If you're gonna use that kind of really specific detail, you have to make sure that it's right. So that's another one that I notice. Somebody has their eyes closed, and they never open them and all of a sudden they're looking at somebody. Point of view kinds of errors, I also note. So somebody is talking to somebody else, and the writer mentions the eyes of the person who's speaking. Well, you can't see your own eyes unless you are looking in a mirror. So those kinds of things are fairly common.

Mindy: Absolutely, in my very first book, Not A Drop To Drink, it was my first experience having a professional copywriter go through my stuff and it was amazing. The things that you don't think about as a writer. There was a scene where the two main characters, they're in a basement. This is a world that doesn't have electricity. It's night. They're underground. There is no light source, and they're having a conversation. And one of them smiles, and the other character sees it. And my copy editor's like, "No. They didn't. Because it's pitch black, and you've said that multiple times. So no. You might be able to hear a smile in their voice, but they didn't see it."

Marin: Those are the kinds of things that you just don't always think about when you're writing the book, and it takes an outsider looking in to say, "Hey, you might wanna think about this."

Mindy: You were talking about level of detail on your end. Looking at a map and deciding how long it would take someone to drive from this place to the next. I had, in one instance... I had said Tuesday, October 27, and my copy editor was like, "Well, Tuesday, October 27th only occurred in the year 2012 or the year 2044." So you have to pick which year this is set in. I'll mention there's a full moon, and they will check the lunar schedule.

Marin: Copy editors are a funky breed. We really get into those weird nitty-gritty details that most people probably don't care about, but if you keep them in there, there will be at least one reader who will say "What?" and throw the book across the room. So you don't want that. You want to be as accurate as possible. If your book is set in the real world on some level, then you need to be precise.

Mindy: That's the kind of stuff that just, as a writer, I get hung up on. And like I said, timelines are my biggest thing. I'm never specific about what my characters look like either. I actually was interviewing Laurell K. Hamilton, she writes the Anita Blake, Vampire Hunter series, and she told me that she has a character whose eye color changes. The series is like 30 books long. So, it's bound to happen. His eye color changes across the course of this series because she just forgot. She forgot what color his eyes were.

Marin: That's what I tend to do the same with my own writing, is that I don't go into too much detail about what the characters look like. Partly because I want readers to be able to imagine the character however they picture them.

Mindy: I also do not physically describe my characters in very much depth at all, if I can avoid it. Partially because, yes, I wanna be consistent, and I know that I won't. But mostly because, like you said, I want the reader to be able to envision this person however they want. I know that when I was younger, junior high, I was reading Lord of the Rings, and for whatever reason, I had the hugest crush on Faramir. Like Faramir was my dude, and I was into him. And at some point, Tolkien says he has a beard, and I was just like "ugh." I was like 12. So I was just like, "That's gross." But I immediately was like, "No, he doesn't. He doesn't have a beard. No, he doesn't." It pulled me out of the story because I had a picture of what Faramir looked like. It was probably Cary Elwes, let's be honest.

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Mindy: Something that I have come across in my own editorial business, and I just actually yesterday was working on a first 10 pages. And the book was written in first person, and I read all 10 pages and they were pretty good. And I gave him some notes, and then I said, "So here's the thing. I don't know your main character's name." Because when you're writing in first person, it's all I and me. They never said her name. What are some other common mistakes that you run into that are either POV or sometimes tense. Tense is the other thing I run into that people have made mistakes.

Marin: I do see tense issues sometimes, although that's rarer. When you start out writing a book in first person, you do generally stay there. You don't tend to switch. I have noticed that if somebody starts a book in one tense and then switches and goes back and re-writes in a different tense, then you can find errors that way. But other errors I see are they have some statement about how one character is feeling or thinking about something, and your POV character cannot possibly know that. There needs to be a little bit of explanation using body language, for example, or expressions or some other indication explained in the narrative about how the POV character can tell how the other character is feeling.

Mindy: Yeah, absolutely. They can infer how they might be feeling, but they cannot say with absolute definity what that character is feeling on the inside because they are not that person.

Marin: Right.

Mindy: So, as someone that moves in both the traditional and the indie world... HarperCollins copy edits. They also then have a proofreader go through them as well. That's all taken care of for me. On the indie side, I do hire out that work, as you know, because I hire you. It is an expense, but it is also a needed one. I can send you something that I think is pretty damn clean and you send it back and it's red marker city. And you just don't see them yourself. So if you can talk a little bit about the importance of a copy editor, if you don't have one built in, in the traditional publishing world.

Marin: A lot of people who are self-publishing probably think... I'm a little guilty of this too. I'm pretty good, and I have beta readers. And they catch a lot of stuff, so I don't really need an editor. Let me give you an example of a book that I edited very recently. It's a romance, and the hero in the book is unwilling to find love, experience love, and tie himself to another person because his mother has a terrible disease that he will pass on to his children. The disease itself, if you yourself don't have the disease... So if your mother has it, but you don't have it and you don't have the gene to pass on the disease, you can't pass it to your children. And no one had caught that. The author didn't know. That kind of thing can really cause a serious issue with your book and readers who know about that disease, unless you make it up, would be like, "This is ridiculous. Totally unbelievable," and will give you terrible reviews. So that's just one kind of extreme example of why you need a copy editor - why you really should spend the money to have someone else do it for you. Because it will catch those kinds of issues in addition to all the nitty-gritty, how you use a comma, how you use a colon.

Mindy: I am super curious. How did that client then fix that book if the entire premise was faulty?

Marin: She hasn't fixed it yet. Afterwards, we were brainstorming ways that she could fix it without rewriting the entire book. She could give the hero the gene for the disease, so he knows that he's gonna get the disease eventually. But that's not really great for a romance when you want them to be a happily ever after, but you know the hero's gonna die of a horrible disease. Another one was finding a different disease. And then another one was not specifying which disease, and I thought, "Well, yeah, you could do that, but the heroine is a nurse. So she's gonna ask."

Mindy: Oh man. She really wrote herself into a corner.

Marin: Yeah, and I feel really bad that I pointed it out, but it's better to point it out before you publish the book and have a reader point it out to you.

Mindy: Oh, absolutely. You want that stuff to get caught ahead of time. And speaking of things getting caught or not caught, what's amazing is that things still get through. One of the reasons I think why you definitely need a copy editor and a proofreader is because the brain is fantastic at auto-filling. The brain will fix things automatically, even though your eye is relaying the visual that is incorrect of the text. Your brain fixes it and doesn't recognize it as an error. So, I don't know if you've seen this before, but your brain actually only processes about every third word that you read, and everything else is auto-filled... That you're not individually processing each word. I thought that was ridiculous, but I remember years ago finding an example of a paragraph that someone had written where they took out every third word, and of course, if the third word is endometriosis, then maybe not. But it was amazing because my brain... I read it and I knew what it said. Even though it was specifically purposely missing words. It is amazing, especially when you as a writer already know things. So your brain auto-fills things or assumes things that isn't actually on the page for the reader. In my first book, Not A Drop To Drink, in the hard cover editions, there is a line of dialogue that is attributed to a character that is dead. There's a mother-daughter duo and the daughter passes away, and they have similar names. When the mother is talking about the daughter who has passed away, she doesn't say her name, but she's speaking about her in the dialogue tag, "dead daughter said." That made it to print. Nobody caught it. The brain was like, "Yeah, we're talking about this person. That's the person that's talking."

Marin: That is actually a common error. When you are using dialogue tags and say that so and so said something, it is very often the wrong character. I do notice that a fair amount. You see it at least once in just about every book.

Mindy: That's amazing. So is that something like... Let's say I'm thinking about my friend Amanda, and I need to call the dentist and make a dentist appointment. And I call my friend Amanda. Is that what's at work there? That the brain is just making free associations?

Marin: I think so actually, and I actually came across this in my day job as a lawyer the other day. One of my paralegals had written "Hi Ashley" in an email that she was drafting, and I said, "Her name is not Ashley. It's Angela." "Oh yeah. I was thinking about Ashley so and so, who is a different client." So I think that what you said makes a lot of sense. That you are... You're thinking about something else, and so your brain puts the two of them together.

Mindy: I did something similar myself just this week. I had a publicist reach out about their author. They wanted to get them on the show. And I emailed them back, and I was like, "Yes. I would love to speak to April in April." Cause April can also be a name. And I was looking at the calendar, and I was like, "This is when I could schedule it in April." And I emailed the publicist, and I said, "Yes. I would love to speak to April in April." I immediately like... Listen, uhh, I know her name. 'Cause she's a pretty famous person... So I was like, "Hey, so... I'm dumb." And she was like, "No. It's okay. It's no big deal." But yeah.

Marin: That's funny.

Mindy: The brain is a funny little thing. We're recording this on March 15th, and my 12th book just came out yesterday. A friend that is a writer, who sent me a text, and she was like, "Hey, congrats. Happy release day. There's a typo in your Goodreads write up. The blurb for the book is wrong." And I was like, "Oh, okay. Cool. Let me know what it is. I'll go fix it." One of the things that happens in the book is there is a flash flood, and on the Goodreads write up it said "flash food." Alright, flash food's not a real thing. I go into the metadata on Goodreads. I fix it to flash flood, and I'm going about my day. I'm trying to do social media. Doing all the stuff you do on release day, and then I was like, Hey, I better check my own site because when it comes to the blurb, but you just copy paste things everywhere. I wonder if I picked that up and used it on my own site. I better make sure that on Mindy McGinnis dot com it's correct. So I go to Mindy McGinnis dot com and sure enough, on the blurb for Long Stretch of Bad Days, it says flash food. I'm like, okay. I go in and I fix it.

And then all of a sudden, this little red flag goes up in my brain, and it's like, "Hey man. I'm pretty sure that you copy pasted that information from the official flap copy from your publisher. You need to go to make sure that that's right on Amazon." And I was like, "Yeah, that's a good point Self." I go over to Amazon, and I look and in the Amazon description it says flash food. Total stomach drop. I was like, "Oh shit." Because that's the catalog copy that gets loaded on Amazon and Barnes and Noble and all of the online stores. That's the official material. And I get up, and I go to my book closet where I have my books. And I pull out A Long Stretch of Bad Days, and I open up the dust jacket. I look at the flap copy on my hard covers. It says flash food. Well, shit. There's nothing we can do. Every single hard cover that was printed has a mistake on the jacket. It happened. There's nothing we can do about it. It's actually kind of funny, and my publisher was like, "Oh my gosh. We are so sorry. We cannot believe this happened." And I'm like, "You know what? That's okay. I didn't catch it either, right?" Like this passes through me and I approve things, but flash food translated in the brains of probably 20 to 30 different professionals in the publishing world as flash flood and nobody caught it.

Marin: I follow a bunch of authors on Facebook and every once in a while, one of them will have a new release and will say, "Oh my God. There's a typo in my book. 25 people looked at it." It happens all the time, and even if you have the world's most careful editors, you're gonna miss something.

Mindy: That's absolutely true. I was reading a book just last night. I was reading a hard cover, traditionally published, pretty big name author, and I found two mistakes in the first 100 pages. I'm pretty sure that's wrong. And I went back, and I read it again. Yep, that's wrong. That's how things are, and nothing is perfect, and this is life.

Marin: Correct.

Mindy: Speaking of having the best possible copy editor in the world... Why don't you, last thing, go ahead and let listeners know where they can find you if they would like to make their own work a little stronger by using your services.

Marin: Absolutely. You can find me at Marin McGinnis dot com. There is a page there which talks about all about my editing services.

Mindy:     Writer Writer Pants on Fire is produced by Mindy McGinnis. Music by Jack Korbel. Don't forget to check out the blog for additional interviews, writing advice and publication tips at Writer Writer Pants on Fire dot com. If the blog or podcast have been helpful to you or if you just enjoy listening, please consider donating. Visit Writer Writer Pants on Fire dot com and click “support the blog and podcast” in the sidebar.