Tag Archives: writing advice

When Good Advice Goes Bad #amwriting

The craft of writing involves learning the rules of grammar, developing a broader vocabulary, learning how to develop characters, build worlds etc., etc. Most of us don’t have the money to embark on an MFA program in writing. Instead, we educate ourselves as well as we can.

Jack Kerouak on writing LIRF07252022Even if you have an MFA degree, you could spend a lifetime learning the craft and never learn all there is to know about the subject. We join writing groups, buy books, and most importantly, read. We analyze what we have read and figure out what we liked or disliked about it. Then, we try to apply what we learned to our work.

Most writing advice is good because it reinforces what we need to know about the craft, and simple sayings are easy to remember. They encourage us to write lean, descriptive prose and craft engaging conversations.

The same advice can be bad because it is so frequently taken to extremes by novice authors armed with a little dangerous knowledge.

  • Remove all adverbs.

This advice is silly. Without descriptors, you can’t show mood, atmosphere, or setting. Remember, not all adverbs end in “ly,” so use a little common sense and don’t use unnecessary adverbs.

I am a wordy writer and a poet. I love words in all their many shapes and forms. I know readers like lean prose, so I work to trim it, sometimes more successfully than others. In the second draft, I use the global search (find option) to look for each instance of ‘ly’ words and rewrite those sentences to make them more active.

Margaret Atwood on writing LIRF07252022

  • Don’t use speech tags.

Well, that makes things pretty confusing. Who said that, and why are there no speech tags in this nonsense?

  • Show, Don’t Tell. Don’t Ever Don’t do it!

We’ve all experienced intensely painful feelings, such as fear, sadness, and anger. If you have shared your work with a writing group, you have been admonished to show these emotions rather than saying, “Joe grew angry.”

You can see their point. So, you sit down and rewrite your scene graphically: Joe snarls, cheeks going hot, brows pulling together, eyes glaring, lips curling in a sneer, and fists clenching. Edith sits hunched in on herself with drooping shoulders, downturned quivering lips, shaking hands, nausea rising, and tear-streaked cheeks.

Maybe that much detail is necessary, but maybe it’s not. Set that scene aside and come back to it later. Then look at it with fresh eyes and decide what will be enough to show their emotions and what is too much.

An avalanche of microscopic showing can make your characters seem melodramatic and sometimes cartoonish. Truthfully, that much physical drama doesn’t show a character’s emotions. What is going on inside their heads?

You must either relay the thought process that led to those physical reactions or lay the groundwork with some crucial bits of exposition.

  • Write what you know.

Your life experiences shape your writing, but your imagination is the story’s fuel and source.

  • If you’re bored with your story, your reader will be too.

Flaubert on writing LORF07252022You have just spent the last year or more combing through your novel. This is another example of silly advice that doesn’t consider how complex and involved the process of getting a book written and published is. I love writing, but when you have been working on a story through five drafts, it can be hard to get excited about making one more trip through it, looking for typos.

  • Kill your darlings.

I’ve said this before, but it bears repeating. We can’t be married to our favorite prose. When a paragraph or chapter we love no longer fits the story, we must cut it, save it in a separate file, and move on.

However, cutting a passage just because you like it is stupid. Maybe it does belong there—maybe it is the best part of that paragraph.

  • Cut all exposition.

BE reasonable. Some background information is essential to making the story understandable to a reader. How, when, and where you deploy the exposition is what makes a great story. Hold the deep history back – like a magician, only produce the backstory at the time and place where the characters and the reader need to know it.

Good advice taken to an extreme has become a part of our writing culture. This is because all writing advice has roots in truth.

  • Too many descriptors can ruin the taste of an author’s work.
  • Too many speech tags can stop the eye, especially if the characters are snorting, hissing, and ejaculating their dialogue.
  • Too much telling takes the adventure out of the reading experience.
  • Too much showing can be tedious and is sometimes visually revolting.

Our task is to find that happy medium between too much and not enough. Our voice and writing style reflect our thought processes and the way we strive for balance.

Neil_Gaiman_QuoteWhen we first embark on learning this craft, we latch onto handy, easy-to-remember mantras because we want to educate ourselves. Unless we’re fortunate enough to have a formal education in the art of writing, we who are just beginning must rely on the internet and handy self-help guides.

Something to remember: most readers are not editors. They will either love or hate your work based on your voice, but they won’t know why. Voice is how you break the rules, but you must understand what you are doing and do it deliberately. Craft your work so it expresses what you intend in the way you want it said. So, the most important rules are:

  • Trust yourself,
  • Trust your reader.
  • Be consistent.
  • Write what you want to read.

F Scott Fitzgerald on Good Writing LIRF07252022We can easily bludgeon our work to death in our effort to fit our square work into round holes. In the process of trying to obey all the rules, every bit of creativity is shaved off the corners. A great story with immense possibilities becomes boring and difficult to read. As an avid reader and reviewer, I see this all too often.

Great authors work to learn the craft of writing and apply writing advice gently. Their work stays with the reader long after the last line has been read.

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Five Thoughts On Writing #amwriting

Today, I have five thoughts for your consideration:

One: Some people don’t know what to do with commas and attempt to do without them altogether. This is not a good idea. Commas are to clauses what traffic signals are to streets—they govern the flow of traffic, although, in the case of sentences, the traffic is comprised of words, not cars.

  • Commas follow introductory words and clauses. Instead, they took a left turn.
  • Commas set off “asides.” Her sister, Sara, brought coffee.
  • Commas separate words in lists: We bought apples, oranges, and papayas for the salad.
  • Commas join two complete sentences, and once joined, they form one longer sentence. When used too freely, linked clauses can create run-on sentences.
  • Commas frequently precede conjunctions but only when linking complete clauses. When linking a dependent clause to a complete clause, don’t insert a comma. “I intended to come back to the Swords but found myself here instead.”

Consider how many sentences you link together with the word and. Could brevity strengthen your prose? Conjunctions are the gateway to run-on sentence hell. If you are deliberate in your use of conjunctions you will also use fewer commas. Craft your prose, but use grammatical common sense.

Two: Don’t write self-indulgent drivel. Go lightly with the praise, adoration, and general lauding of your characters’ accomplishments.

Three: Use active phrasing. There were Small colorful flowers growing grew in each raised bed. and some slightly Larger flowering plants growing grew around the fountain at the center. With a mixture of mild pastels and vivid colors, it was beautiful.

Four: Don’t waste words describing each change of expression and mood. Consider this hot mess of fifty-one words that make no sense: Eleanor looked at Gerard with concern. His voice changed so much in the telling of the story as his emotions came to the surface that it still seemed so raw, as if Timmy’s death had happened only days ago. In addition, his expressions also changed and his current one was akin to despair.

It could be cut down to fourteen words that convey the important parts of the sentence: Gerard’s raw despair concerned Eleanor, seeming as if Timmy’s death had happened only days before.

Five: Simplicity is sometimes best. “Delicious sounds captivated their eardrums. Please, just say it sounded amazing. If music touches the protagonist’s soul, it’s good to say so. We want to convey the fact the music was wonderful, and we don’t want to be boring. But when we try to get too artful, the prose can become awkward. Odors and sounds are part of the background, the atmosphere of the piece and while they need to be there, we don’t want them to be obtrusive, in-your-face. This is an instance of prose working better when it isn’t fancy.

Five thoughts to get your writing week started–now, go! Write like the wind!

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