Craft and Intention #amwriting

You’ve heard the saying, “a little knowledge is a dangerous thing.” A small amount of knowledge can lead to overconfidence. A person might leap to invalid conclusions based on what they know without considering the things they don’t know.

New authors eagerly soak up the wisdom offered through writing groups, seminars, and handbooks on the craft of writing.

It is only when we begin reading widely, and in many different genres, that we discover a difficult truth: great writing is not simply a matter of following rules.

I know, the editor is implying that grammar doesn’t matter.

But I am not, exactly.

What I am saying is that applying rigid rules to literature is akin to expecting your two-year-old to behave perfectly every moment of every day. The books that move me are young and wild and have occasional tantrums. They’re sometimes messy, dirty little things.

Producing a book is a form of parenthood. Like the unruly toddler, when an author puts her manuscript to bed at the end of the day, it’s the most amazing creature she has ever seen.

As an editor, sometimes I discover life in a manuscript that has broken all the rules.

Grammar rules exist for a purpose, and if done wrong, this breaking of certain rules can destroy a reader’s enjoyment of a story.

However, sometimes when it is done deliberately by someone who understands how to write, this work shines because the writer’s style struck the right chord. Life is a natural consequence of the rush of creativity and is set into the manuscript when the first words are written.

Unfortunately, it is easy to murder what began as a beautiful story. Consider those writers who spend years carefully combing every spark of accidental passion out of their work, creating textbook-perfect sentences that are flat, toneless. When the prose is perfectly flat, the author has no voice and the reader may have no desire to care about the characters or their struggle.

Then, we find authors who randomly have characters swear, not consistently, but off and on, apparently for the shock value. Others might inject a little graphic violence or sex into the spots where they couldn’t think of what to do next.

When you do anything that breaks a rule, you must do it consistently and with purpose. “Shock value” has no value to offer a well-written manuscript, although a well-written manuscript may shock and challenge you.

When you have taken the time to understand how a story is constructed, you begin to find creative ways to phrase things so they keep the story interesting. My suggestion is to learn the rules. When what you write breaks with what is considered accepted practice, do it intentionally. Then, tell your editor what rules you are choosing to ignore and why, and she will make sure you are consistent.

Great authors (and good editors) understand balance.

You want to create a balanced narrative:

• Information must be delivered only as the protagonist (or reader) needs it. Speaking as an author, it can be difficult to know when to dole out the background, but this is where writing becomes work.
• The information can never be something everyone already knows, as that is boring.
• Write with intention, use good grammar, but write using the phrasing and words you think best conveys your story. Refuse to be bullied by people who don’t like work published in your genre and who can’t understand what you are trying to achieve.
• Write with consistency. If you choose not to use commas to join compound sentences, be consistent, or your narrative will look unedited. If you are consistent, most casual readers won’t notice, although they may think you use too many run-on sentences. However, many more readers are becoming authors, so be wary of breaking that rule.
• No one will die if you use an adjective or adverb when they are needed. The caveat is don’t use descriptors excessively—creative writers find many ways to show the story, but sometimes only a descriptor will do. At that point, use a “telling” word, rather than going to absurd lengths to show an awkward moment.
• Show who your people are but allow the reader to form their own idea of beauty. Do give the reader a good general framework to build their visualization around.
• For the most part, stick to simple basic speech tags like said and replied, and if the conversation has only two people, skip speech tags for an exchange or two. Not for more than two exchanges, however, as lengthy discussions with no speech tags will become confusing.
• Follow the story arc: it must have a beginning, a middle, and an end. A story consists of

1. A setting
2. One or more developed characters
3. A conflict that forces growth/change
4. A resolution.

Some authors are like pendulums, swinging wildly from one extreme to the other. They leave each meeting of their writing group confused and hurt, burdened with the notion that they are terrible writers. These people work hard and go all out in applying suggestions made by the group. Unfortunately, they’re making their manuscript more unpalatable with each misguided effort.

Their book is being written by a committee, and we all know how poorly some committees function.

First, we must realize that no one writes a perfect, completely flawless manuscript. Even Neil Gaiman and Alexander Chee begin their new works with imperfect first drafts. No novel emerges fully formed, no matter how brilliant the author.

This means we all begin at the same place as writers, all of us mortals with flaws.

So now that we understand we all begin with flawed work, I must ask you this question: are you writing for the critics who might be out there, or because you have a story you are burning to write?

If you are not writing for the joy of writing, quit now.

Otherwise, keep writing. Only by continued practice and attention to learning the craft will you develop the balance you know you need. Buy the Chicago Guide to Grammar Usage and Punctuation, and learn how sentences and paragraphs are constructed. Then learn how to fit those sentences and paragraphs into a story arc.

When you break a rule, be knowledgeable and do it with style.

You can gain a handle on balance by writing short-stories and essays.

With each short-story you write, you increase your ability to tell a story with minimal exposition and intentional prose. This is especially true if you limit yourself to writing the occasional practice story—telling the whole story in 1000 words or less. These practice shorts serve several purposes:

• You have a finite amount of time to tell what happened, so only the most crucial of information will fit within that space.
• You have a limited amount of space so your characters will be restricted to just the important ones.
• There is no room for anything that does not advance the plot or influence the outcome.
• You will build a backlog of short stories and characters to draw on when you need a good story to submit to a contest.

Go for the gusto, and try writing flash fiction–give yourself less than 1000 words to tell a story.

You can also challenge yourself to tell a story in around 100 words. That is called a drabble and is an art form in itself.

I write epic and medieval fantasy, but I also write short literary fiction and poetry. I read in all genres and learn from what I read—I learn many things I like and much I do not, simply by reading. I read everything from vampire romances, to science fiction, to classical literature. Think about this: the first superhero adventure, a pair of genre fiction novels written for the entertainment of the masses were two books written by Cervantes, and which are now known as “Don Quixote.”

Today’s novel has a chance of becoming tomorrow’s classic if you are brave and bold enough to write it.