Month: November 2024

Writing Advice

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Hannah (she doesn’t mention her last name) has a very good article on her website (Between the Lines Editorial) that provides a sensible rethink on several pieces of popular writing advice.

“I’m Hannah, an editor, author, and writing coach. I love helping writers like you polish their stories, enhance their craft, and chase their publishing dreams.”

She says, “There’s a lot of great writing advice, both free and paid, online these days. Whether you like to hang around the writing community on Instagram, surf Pinterest for new writing tips, browse your local bookstore for writing craft books, or find blogs (like mine!), there’s endless information available.

And while a lot of this advice is great, it’s not as black-and-white as many people make it out to be. I’m always talking about how writing is a gray area, and that’s true when it comes to certain popular pieces of writing advice.

We all work differently. No writing advice is ‘one size fits all.’ There are often elements that you can take and use, but nothing is absolute.

Let’s break it down into how some of the most popular writing advice isn’t absolute and what you can take away from those tips.

#1 “Real writers write every day.”

I’m not sure where this started, but you don’t have to write every day to be a “real” writer.

Writing every day can be helpful, and it’s great if you simply enjoy it! But it’s not realistic for everyone for multiple reasons. We don’t all live the same lives nor have the same amount of spare time to work on our craft. We also have different life obligations and energy levels that impact our writing time.

And yet…

You do have to practice if you want to improve your craft, and you definitely need to get words on paper if you want to finish your projects.

But taking days off–whether for school, a day job, family time, or a simple break–doesn’t mean you’re a ‘fake’ writer. Don’t stress out about writing all the time!

  • Not Great: Real writers write every day.
  • Underlying Nugget: Practicing your writing consistently is important to improve and get projects done! Find a pace and balance that fits your life.
  • Pro Tip: Even if you enjoy writing every day or are working on a big project, make sure you’re taking care of yourself and doing other activities outside of writing.

#2 “Show, Don’t Tell”

I’ve written an entire post about this one, but what this boils down to is that writing is about balance. That includes showing vs. telling!

I think this one is used a lot in beginner’s creative writing classes as a way to encourage newer writers to practice showing detail and emotion. That’s a huge part of how you build a scene. But what’s often neglected is that telling is okay sometimes–and it’s even encouraged when you need to add context or simple explanations!

  • Not Great: Show, don’t tell.
  • Underlying Nugget: Showing is really great, but don’t try to rework every sentence to be ‘showing.’ It’s okay to show and tell.
  • Pro Tip: Go read my other blog post about this for more details!

#3 “Writers must suffer for their craft”

This is said not just about writing but about art in general. Artists must suffer mentally, physically, and financially to be real artists, right? They must turn all of that pain into their art!

I think this is one of the most toxic things people say about writing and creative professions/pursuits. It’s not that writers don’t experience pain–as humans, we all do. It’s the idea that writers should or must be in pain to write good stories that’s the problem.

If writing is causing you excessive anxiety, depression, or other complex feelings you’re having trouble working through, I encourage you to speak with a mental health professional.

That being said, it’s okay to find inspiration from life and the journey you’ve been on. Great books and stories are about the human condition and how we can overcome struggle and pain to reconnect, grow, and heal. We can be happy, healthy, and handling life while also telling engaging, meaningful stories.

  • Not Great: Writers should suffer for their craft.
  • Underlying Nugget: The human condition will always be part of storytelling, and it’s okay to take inspiration from your life journey as you write.
  • Pro Tip: If writing is causing you excessive mental pain or discomfort, speak with a mental health professional in your area.
  • Pro Tip #2: If you find yourself talking really negatively about writing, try reframing it. For example, instead of saying. “writing sucks and it’s why I do it,” try saying, “writing is hard some days, but I do it because it’s important to me.”

#4 “Cut all adverbs”

There’s no denying that most of us overuse adverbs in the early drafts of our work. (Y’all don’t want to see some of the paragraphs I’ve self-edited in my current WIP!)

There’s even that famous quote about adverbs paving the path to hell.

As your friendly neighborhood editor, I want to remind you that you should cut unnecessary adverbs from your writing. But that means sometimes adverbs are necessary and totally fine!

  • Not Great: Cutting all adverbs from your project.
  • Underlying Nugget: Eliminate unnecessary adverbs, but keep ones that add to the meaning of your sentence. If you think there’s a verb that can be more descriptive/precise, use that instead.
  • Pro Tip: Search (Ctrl + F on Windows) your document for “ly ” (yes, include the space!) to find most adverbs in your manuscript. Make note of how many words it highlights, then evaluate each instance to decide if you should revise further.

#5 “Replace ‘said’ with strong verbs”

I see this advice often, and I think the idea is that strong verbs will make your writing more engaging.

While strong verbs are great, simple dialogue tags like “said” and “asked” are nearly invisible to readers. They’re a simple signal that doesn’t slow down the text like “shouted” or “murmured” can.

And obviously this section comes with the opposite advice as well. I see some advice urging writers to “avoid strong verbs and always use invisible tags.”

The truth is, there are many great ways to tag dialogue. Sometimes it’s with a strong verb. Sometimes it’s with a simple verb. And sometimes it’s actually no tag, or even using a sentence of action in place of that ‘said’ verb!

What’s really important is finding a flow and the right pacing for your scene.

  • Not Great: Replace ‘said’ with strong verbs.
  • Underlying Nugget: There are many great ways to tag dialogue, and you should strive for some balance that achieves the right flow and pacing for your scene.
  • Pro Tip: If you’re going to replace ‘said’ or ‘asked,’ try to use precise speaking verbs. In my editing work, I see verbs used as dialogue tags that don’t quite equal speech. This can risk readers being pulled out of your story to re-read your sentence. Just something to watch out for!

Bonus #6 “You have to be published to be a real writer”

Your writing is valid no matter why you’re doing it or what stage you’re at in your writing journey.

Hobbyist? Great!

Like to post fanfiction? Wonderful!

Want to self-publish? Awesome!

Agented and on submission? Very nice!

Sending out query letters? Amazing!

All of the above–and whatever is in between–makes you a writer. You don’t need to sell 50,000 copies of your book to be ‘legit.’ You don’t need to publish to be a ‘real writer.’ Work toward the goals you want to work on at whatever pace you want.

Because if you’re writing, you’re a real writer.”

Good advice!

Plot Design: Three Questions

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On the Writer’s Digest website, this article by Steven James appeared in Aril 24, 2018.

The writer claims that the answers to these questions will fix any problem you might be having with your plot.

Steven James is the critically acclaimed author of thirteen novels. He serves as a contributing editor to Writer’s Digest magazine, hosts the biweekly podcast The Story Blender, and has a master’s degree in storytelling. Publishers Weekly calls him “[a] master storyteller at the peak of his game.” Steven’s groundbreaking book Story Trumps Structure: How to Write Unforgettable Fiction by Breaking the Rules won a Storytelling World award as one of the best resources for storytellers in 2015. When he’s not working on his next novel, Steven teaches Novel Writing Intensive retreats across the country with New York Times Bestselling author Robert Dugoni.

Steven James

Steven says: “Initially, most authors land somewhere on the continuum between outlining and organic writing. If you try to fit your story into a predetermined number of acts or a novel template, you’re more of an outliner.

If you don’t care how many acts your story has as long as you let your characters struggle through the escalating tension of your story in a believable way, you’re more organic.

Both organic writing and outlining have their inherent strengths and weaknesses. (Yes, even organic writing can, in some cases, lead you astray if you don’t let all three questions listed below guide your writing.) Outliners often have great high-concept climax ideas. Their stories might escalate exponentially and build to unforgettable endings. However, characters will sometimes act in inexplicable ways on their journey toward the climax. You’ll find gaps in logic. People will do things that don’t really make sense but that are necessary to reach the climax the writer has decided to build toward.

Organic writers are usually pretty good at crafting stories that flow well. The events are believable and make sense. However, sometimes the narratives can wander, and although the stories are believable, they might also end up being anticlimactic as they just fizzle out and don’t really go anywhere.

So outlining often results in problems with continuity and causality, while organic writers often stumble in the areas of focus and escalation.

Outliners tend to have cause-effect problems because they know where they need to go but don’t know how to get there. Organic writers tend to have directionality problems because they don’t necessarily know where they’re going, but things follow logically even if they lead into a dead end.

Whichever approach you’ve been using, you can build on its strengths and solve its weaknesses by asking the following three questions and letting the answers influence the direction of your story.

1. “What would this character naturally do in this situation?”

This focuses on the story’s believability and causality—everything that happens in a novel needs to be believable even if it’s impossible, and because of the contingent nature of fiction, everything needs to follow causally from what precedes it.

2. “How can I make things worse?”

This dials us in to the story’s escalation. Readers always want the tension to tighten. If the
story doesn’t build, it’ll become boring and they’ll put it aside.

3. “How can I end this in a way that’s unexpected and inevitable?”

Here we’re shaping the scenes, and the story as a whole, around satisfaction and surprise. So the story has to move logically, one step at a time, in a direction readers can track—but then angle away from it as they realize that this new direction is the one the story was heading in all along. However, readers don’t want that ending to come out of nowhere. It needs to be natural and inherent to the story.

The first question will improve your story’s believability. The second will keep it escalating toward an unforgettable climax. The third will help you build your story, scene by twisting, turning scene.

Organic writers are good at asking that first question; outliners are good at asking the second one. As far as the third, organic writers will tend to have believable endings and outliners will tend to have unpredictable ones.

The way you approach writing will determine which of those questions you most naturally ask and which ones you need to learn to ask in order to shape effective stories. …

DIVE INTO THE QUESTIONS

I should mention that, in regard to the first of the three key questions listed above, some writing instructors teach that we should ask ourselves “If I were this character in this situation, what would I do?” rather than “What would this character naturally do in this situation?”

There’s a subtle but significant difference. One of these questions puts you in the scene, and the other emphasizes the character’s response.

It’s important that you move yourself out of the story and let the characters you’ve created take over. I don’t want to imagine myself as the character. I want to observe the character responding as she would, not as I would if I were her. Step further away from yourself, and remove your own views as much as possible from the situation.

Incidentally, the first two questions also help authors who strive to write books that are either character-centered or plot-centered (remember, however, that no story is character-driven or plot-driven because all stories are tension-driven).

The first question helps plot-centered authors develop deeper characterizations. The second question helps character-centered authors develop plots that are more gripping.

The central struggles of the main character (internal, external, and interpersonal) will only be ultimately satisfied at the story’s climax. As we write the scene-by-scene lead-up, we are constantly deepening and tightening the tension in those three areas.

Some climaxes implode because they lack believability, others because they don’t make sense or they’re too predictable, others because they don’t contain escalation of everything else in the story and end up being disappointing.

Let me reiterate: The solution to most of these problems is keeping the promises you’ve made to your readers by maintaining believability, creating endings that are inevitable and yet unexpected, tightening the tension, ratcheting up the action, relentlessly building up the suspense, heightening the stakes, and escalating to a finish that reaches its pinnacle at just the right moment for the protagonist and for your readers.

Let those three questions filter through every scene you write.

  1. “What would this character naturally do in this situation?”
  2. “How can I make things worse?”
  3. “How can I end this in a way that’s unexpected and inevitable?”

If you’re attentive to them, they’ll crack open the nut of the tale for you.”

Why Don’t Men Read Anymore?

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There is an article on The Standard’s website: “Men Don’t Read Anymore – What Happened?” that I think deserves our attention. It was written by Martin Robinson and dated 12 September 2024.

Today, the MailOnline website says: “Martin Robinson joined MailOnline in 2012 as a senior news reporter and became chief reporter in 2016. He has also worked at Westminster. Martin previously wrote for the Daily Telegraph, The Sun, The Daily Mirror and the Evening Standard, primarily covering London politics, crime and the London 2012 Olympics after starting his career in regional newspapers. He lives in London with his wife and three children. In his spare time he coaches youth football and follows his beloved Ipswich Town.” Apparently, he is also a freelancer.

Martin Robinson

He says,” Why don’t men read? Oh, I know dear male Standard readers do, those urbane, literary, poised and secretly perverted doyens of good taste. But those other men, they are not reading fiction. Oh sure, they read Sir Alex Ferguson’s book, Lewis Hamilton’s book, books about cage fighters and career criminals, but nice books that win literary prizes? Nope. The book buying public in the UK, US and Canada is 80 per cent women.

Is this why no-one wants my woe? Why my breathtaking work of utterly miserable fiction has been rejected by every literary agent in London, including a few I didn’t even send it to. Despite pouring my little spiteful heart and ugly soul into 350 pages of unrelenting male despair, everyone is chipping in with how much they hate it, how little it would sell, how much of my life I wasted on it. And those are just the gentle let-downs.

I could get all thicko anti-woke conspiracist about it — “I clearly wasn’t successful because I’m a man!” — but instead I’ll go thicko anti-male conspiracist: other men have let me down!

No-one wants to read my crushingly depressing glimpse into the masculine mind because no one is interested in what men think. Least of all men!

This sense of men lacking the sophistication to understand the nuances of existence has been at the centre of the analysis about why the modern man’s preferred reading choice is the captions on Rio Ferdinand’s podcast videos.

LitHub quoted an Irish novelist saying women are better novelists than men because they have a better grasp of human complexity, and the piece explored men’s reluctance to buy books written by, or about, women as indicative of a stunted view of literature.

Dazed put it down to the patriarchal late capitalist system, quoting one professor who said: “Our culture makes a fetish of practical outcomes, and perhaps because the outcomes of fiction-reading don’t patently lead to higher wages, it seems less worthy.”

All of which provides excellent food for thought when your thought revolves around: why is the book industry spaffing millions on Matt Haig’s global book promotion, while I can’t even get a non-automated reply?

Didn’t men used to be more engaged in the internal struggles of existence? I’m not going to reel off a load of male writers highly attuned to mysteries and complexities, but y’know, Shelley was hardly Andrew Tate was he?

Things have changed. Men have changed. Or the perception of men has changed. One which seems to be increasingly reductive. It becomes a self-fulfilling doom loop where men are considered by the literary world to be half-dog, half-machine, while men themselves take the excuse to act like robo-hounds because it’s easier and there are apps demanding their attention instead. They’re right, men are not buying women’s books, but they’re not buying men’s books either. They’re just not reading, OK?

And so you see. The abject failure of my rotten novel is not my fault, it’s the world’s…”

I don’t think we should be at all concerned, because you and I read plenty of fiction!

Review: The Thirty-Nine Steps

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This novel of only 119 pages is on the list of 100 best novels in English because it is the prototype of the tightly- written spy thriller.

The author is John Buchan, 1st Baron Tweedsmuir (26 August 1875 – 11 February 1940) was a Scottish novelist, historian, and Unionist politician who served as Governor General of Canada, the 15th since  Canadian Confederation.

As a youth, Buchan began writing poetry and prose, fiction and non-fiction, publishing his first novel in 1895 and ultimately writing over a hundred books of which the best known is The Thirty-Nine Steps. After attending Glasgow and Oxford universities, he practised as a barrister. In 1901, he served as a private secretary to Lord Milner in southern Africa towards the end of the Boer War. He returned to England in 1903, continued as a barrister and journalist. He left the Bar when he joined Thomas Nelson and Sons publishers in 1907. During the First World War, he was, among other activities, Director of Information in 1917 and later Head of Intelligence at the newly-formed Ministry of Information. He was elected Member of Parliament for the Combined Scottish Universities in 1927.

In 1935, King George V, on the advice of Canadian Prime Minister, R. B.Bennett, appointed Buchan to succeed the Earl of Bessborough as Governor General of Canada and two months later raised him to the peerage as 1st Baron Tweedsmuir. He occupied the post until his death in 1940. Buchan promoted Canadian unity and helped strengthen the sovereignty of Canada constitutionally and culturally. He received a state funeral in Canada before his ashes were returned to the United Kingdom.

John Buchan

The principal character and narrator of the novel is Richard Hannay, a wealthy mining engineer who has just returned to London, and finds his life boring. A panicked neighbour, Franklin Scudder, who is a journalist, knocks on his door and tells Hannay about a plot to kill the prime minister of Greece, Constantine Karolides, in a few weeks time – an event which the plotters hope will start the First World War. Hannay provides Scudder with a refuge against the plotters, but when he returns to his flat, he finds that Scudder has been murdered. Hannay discovers a coded notebook which Scudder had kept and which was what the plotters has been looking for. With the notebook in his possession and a dead man in his flat, Hannay realises that he will be sought by both the plotters and the police. So, he leaves his flat, disguised as a milkman and boards a train to Scotland. He alights from the train at a remote station in the Galloway Hills, and what follows is a cat and mouse game during which he eludes capture by the plotters and the police. Hannay manages to decode Scudders notebook, and he learns that the plotters are a German spy ring known at Black Stone, whose objective is to learn the disposition of the British fleet before the outbreak of war. Hannay resolves to inform  Sir Walter Bullivant, Permanent Secretary of the Foreign Office of the plot. As he hurries to escape capture, he enters what seems a disserted house, he finds himself face-to-face with with the leader of Black Stone. Hannay is locked in a storeroom where he finds a store of explosives. Using his mining experience, he blasts his way out and boards a train south. He finds Sir Walter at home in Berkshire, and convinces him of the truth of the plot except for the assassination of Karolides, until it breaks into the news. Hannay and Sir Walter travel to London to sound the alarm. At Sir Walters townhouse, Hannay sees a person he assumes to be the First Sea Lord leaving the meeting, but, as he goes by, Hannay recognises him as one of the Black Stone plotters in disguise. Realising that the plotters must physically transport their stolen information across the Channel, Hannay consults Scudders notebook which mentions a seacoast landing which is accesses by 39 steps. With the help of a coastal pilot, he is able to identify the place, the plotters in disguise and a German yacht ready to take them home. But they are captured before they can escape.

This is a fast-moving story, with many twists and turns. The settings, the events and the characters are credible, their credibility reinforced by the actual situation leading up to WWI. A pleasant and engaging read!