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- Herausgeber: John Wiley & Sons
- Kategorie: Lebensstil
- Sprache: Englisch
Unlock your creative potential and write something special Ever dream of writing a book, article, poem, or play that means something to you--and maybe to someone else as well? Do you have an idea you're ready to get down on paper? In Creative Writing For Dummies, you'll learn how to unleash your creative side and become a confident and productive writer. Discover the essential elements of storytelling, including structure, characterization, setting, dialogue, and plot, as you navigate the countless ways you can express yourself with the written word. Explore the media and methods you can use to help find an audience--from traditional to self-publishing, social media, blogging, and more! Creative Writing For Dummies also shows you how to: * Write in all sorts of different formats, including screenplays, scripts, creative nonfiction, poetry, short stories, novels, and beyond * Navigate the world of social media and learn how it can contribute to getting your work read by more people in more places * Understand the new, online nature of contemporary journalism and the proliferation of news and blogging sites A can't-miss roadmap to getting your first--or hundred-and-first--story, poem, or script committed to paper, Creative Writing For Dummies is an essential read for aspiring, amateur, and professional writers everywhere.
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Seitenzahl: 674
Veröffentlichungsjahr: 2023
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Creative Writing For Dummies®
To view this book's Cheat Sheet, simply go to www.dummies.com and search for “Creative Writing For Dummies Cheat Sheet” in the Search box.
Table of Contents
Cover
Title Page
Copyright
Introduction
About This Book
Foolish Assumptions
Icons Used in This Book
Beyond the Book
Where to Go from Here
Part 1: Getting Started
Chapter 1: You and Your Writing
Focusing on Writing as Well as You Can
Examining Why You Want to Write
Identifying the Kind of Writing You Want to Do
Discovering Your Own Specific Talent
Practicing Your Writing
Overcoming Common Writing Obstacles
Letting the Ideas Come
Playing with Words
Offering Tips for New Writers
Chapter 2: Getting into the Write Mindset
Finding a Writing Time that Works for You
Designating a Writing Space
Assembling Your Writing Tools
Avoiding Distractions
Overcoming the Blank Page Syndrome
Separating Drafting and Editing
Organizing Your Writing: Developing a Routine and Sticking to It
Learning to Live with a Degree of Chaos
Chapter 3: Finding Material to Work With
Writing from Experience
Engaging Emotions
Taking a Step Back: Reflecting on Your Experiences and Emotions
Trying Techniques to Transform Your Experiences
Part 2: Introducing the Elements of Creative Writing
Chapter 4: Creating Characters
Defining Different Kinds of Characters
Discovering Where Characters Come From
Detailing Clues about Your Characters
Portraying Personality
Revealing Character Indirectly
Avoiding Stereotypes and Tapping into Archetypes
Chapter 5: Giving Characters a Voice with Dialogue
Remembering that Dialogue Is a Two-Way Street
Distinguishing Voices
Talking in Varied Situations
Creating a Dynamic with Dialogue
Revealing the Subtext
Using Accents and Dialect
Laying Out Dialogue
Chapter 6: Choosing a Narrator
Defining Voices
Finding the Right Point of View
Deciding How Close to Be to the Character
Handling Multiple Narrators
Chapter 7: Describing Your World
Recognizing the Power of Description
Using All the Senses
Employing the Tools of Description
Creating a Sense of Place
Creating Mood and Suspense
Chapter 8: Plotting Your Way
Exploring Classic Plots
Plotting Consciously and Unconsciously
Asking the Central Question and Including the Essential Elements
Hooking Your Reader
Chapter 9: Setting Up a Solid Structure
Dividing Your Work into Chapters and Parts
Following the Three-Act Structure
Writing within a Time Frame
Chapter 10: From Drafting to Rewriting and Editing: Making Your Work Shine
Producing the First Draft
Becoming Your Own Editor
Recruiting a Trusted Reader
Part 3: Writing Fiction
Chapter 11: When Less is More: Crafting Short Stories
Defining the Short Story
Writing the Short Story
Exploring Short-Story Genres
Finding Short-Story Ideas
Developing Your Writing Skills: Entering Short-Story Competitions
Finding an Outlet for Your Short Fiction
Growing a Short Story into a Novella
Chapter 12: Writing the Novel
Aspiring to the Literary Novel
Creating Entertaining Commercial Fiction
Chapter 13: Once Upon a Time: Writing for Children
Dispelling the “It’s Easy to Write for Kids” Myth
Before Schooling Begins: Writing for the Under 5s
Learning to Read Alone: Writing for 5- to 9-Year-Olds
Captivating the Confident Reader: Age 9 to 13
Moving Toward More Mature Themes: Teenage Readers
Exploring the Variety of Books for Children
Chapter 14: Penning Plays
Setting Up the Dramatic Structure
Getting Started and Developing Your Play
Putting a Play Together: The Artistic Process
Sorting Out Types of Play
Formatting Your Script
Seeing Theater Spaces
Writing for Radio
Getting Your Work Out There
Chapter 15: Writing Screenplays
Writing a Screenplay: The Stages
Preparing for the Collaborative Process
Adapting an Existing Story
Formatting a Screenplay
Additional Considerations for Writing for TV
Selling Your Script
Chapter 16: Rhymes and Reasons: Writing Poetry
Getting Started with a Poem
Reviewing the Main Elements of Poetry
Listening to the Language of Poetry
Finding a Poetic Form You Prefer
Part 4: Exploring Nonfiction
Chapter 17: Breaking into Journalism
Stick to the Facts: Writing News Articles
Getting the Scoop: Putting Press Releases to Good Use
Penning Features
Providing Your Opinion: Writing Reviews
Lining up a Reoccurring Column
Interviewing Newsmakers
Pitching and Selling Your Articles
Considering Radio and Television Journalism
Chapter 18: Writing from Life: Giving a Voice to the Past
Writing about Yourself: Autobiography
Writing about Others: Biography
Structuring Your Story
Chapter 19: Crafting Narrative Nonfiction
Exploring the World of Narrative Nonfiction
Writing Narrative Nonfiction
Examining Genres within Narrative Nonfiction
Chapter 20: Travel Writing: Tales for Armchair Explorers
Reporting about Places
Doing the Actual Travelling
Tackling a Travel Book
Chapter 21: All About Blogging
Making Your Blog Work for You
Setting about Blogging
Publicizing Your Blog
Turning Blogs into Books
Part 5: Finding an Audience
Chapter 22: Finding Professionals to Publish Your Book
Getting to Know the World of Publishing
Looking at How Publishing Houses Are Organized
Tallying the Mathematics of Publishing
Being Accepted into the Publishing Process
Finding Out About Agents
Getting Your Book Ready to Send Out
Chapter 23: Staying in Control with Self-Publishing
Weighing Some Self-Publishing Options
Calculating the Cost of Self-Publishing
Assisted Self-Publishing Services: Hiring Help
Getting the Word Out: Marketing Your Self-Published Book
Securing Reviews for Your Self-Published Title
Chipping In to Help Cover Costs: Hybrid Publishing
Author Beware: Avoiding Vanity Publishing
Chapter 24: Becoming a Professional
Sharing Your Work with Other Aspiring Writers
Fielding Feedback
Taking In Local Readings, Events, and Launches
Attending Book Fairs
Frequenting Literary Festivals
Considering a Writing Retreat or Residency
Getting Out There and Read: Your First Work in Print
Upping Your Odds of Publication: Entering Writing Competitions
Part 6: The Part of Tens
Chapter 25: Ten Top Tips for Writers
Write for Yourself
Enjoy the Journey
Be Specific
Show, Don’t Tell
Read and Re-read
Be Open to What’s Around You
Learn from Others
Write and Rewrite
Anticipate Rejection
Don’t Give Up
Chapter 26: Ten Ways to Get Noticed
Practice Your Pitch and Keep it Short
Ignore the Opinions of Family and Friends
Be Focused
Perfect Your Work First
Don’t Argue with Editors and Agents
Be Modest
Attend Events and Maintain Your Image
Network Like Mad
Don’t Take a Rejection Too Personally
Stay Positive and Believe in Yourself
Index
About the Author
Connect with Dummies
End User License Agreement
List of Tables
Chapter 6
TABLE 6-1 Pros and Cons of Different Techniques
Chapter 15
TABLE 15-1 Technical Terms
Chapter 22
TABLE 22-1: Cost Breakdown of a $16.99 Paperback
Chapter 23
TABLE 23-1 Basic publishing costs for an average length book
List of Illustrations
Chapter 14
FIGURE 14-1: An example script.
Chapter 15
FIGURE 15-1: One complete page of formatted script.
Guide
Cover
Table of Contents
Title Page
Copyright
Begin Reading
Index
About the Author
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Creative Writing For Dummies®, 2ndEdition
Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com
Copyright © 2023 by John Wiley & Sons, Inc., Hoboken, New Jersey
Media and software compilation copyright © 2023 by John Wiley & Sons, Inc. All rights reserved.
Published simultaneously in Canada
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Library of Congress Control Number: 2023943639
ISBN 978-1-394-19666-1 (pbk); ISBN 978-1-394-19671-5 (ebk); ISBN 978-1-394-19669-2 (ebk)
Introduction
Creative writing may be fun, but it isn’t easy. It requires some imagination, a degree of application, and a great deal of effort.
This book gathers everything you need to know about writing and publishing all kinds of creative writing. It distills my more than 30 years of experience in journalism, novel-writing, teaching creative writing, and working in publishing, all in one place. I share the basics – and some of the extras – of writing novels, stories, poetry, plays, screenplays, biography, and autobiography. I discuss journalism and blogging and offer pointers on how to get published or successfully publish yourself.
I try to give you the essence of what a life’s work spent in loving reading and writing literature in all its forms has taught me, to help you avoid repeating some of my mistakes!
This book aims to help you gain confidence in your ideas, to inspire you, and to provide the knowledge and skills you need to get started on your writing journey.
About This Book
Most people who write start off by spending a lot of time alone, puzzling out how to tackle the various difficulties and challenges that writing brings up. How do you know what to write about? Where should you begin? What point of view should you tell the story from? How do you write dialogue that leaps off the page, invent intriguing characters, and describe places and objects so that the reader can see them? Should you write your story as an autobiography, or turn it into a novel? And how do you write plays, screenplays, and poems, or sell an article to a newspaper or news website?
Unfortunately, if you sit alone in your room, never reading about how to write or sharing your concerns with others, you may find yourself simply going round in circles. You may spend weeks making elementary errors you could have avoided had you known more about how writing works. Most people tackling matters in this way find writing so hard that they soon give up, which is a great shame because something unique is then lost to the world.
This book helps you avoid some of the common writing pitfalls and offers practical advice about how to write creatively, no matter what form that writing takes. Each type of writing has its own rules and techniques, challenges and rewards. In this book, I provide the rules and techniques – you get to reap your own rewards.
Reading a lot and thinking about how writing works is vital if you want to write well – reading is the best teacher of how to write. I refer to many different books, plays, and films as examples of good writing to illustrate some of the points I make. I also suggest a lot of books to read. I don’t recommend a book, film, or play unless I’ve read it or seen it, so inevitably these are very personal lists. You may not like some of these works, but almost all are highly acclaimed, so I’m not alone in thinking they’re great. (At least reading some of the books, watching some of the plays, and seeing some of the films I suggest is a good idea. Setting yourself some simple targets, such as reading a poem a day and finding some time to write each week, is also helpful.)
This book is also intended to be a companion for you as you explore the process of creative writing. I include exercises to help you try for yourself some of the techniques I describe. I believe that you learn to write by writing and not just by reading a book about it. Try out the exercises and see what happens!
You can read this book in a number of ways:
If you’re a complete beginner, thinking about writing creatively for the first time – or perhaps the first time since you left school – this book gives you the grounding you need. You can start at the beginning and work your way through to the end.
If you have a great idea and some experience of writing but have got bogged down, this book can help you to get unstuck. You can select the areas in which you feel you need guidance and read those first.
If you’ve written a lot and sent your work out but you don’t seem to be getting anywhere, this book can help you ask the right questions about what you’ve written and find the right answers.
If you want information about how to get your work into print, this book has the information and tips that you need to approach agents, newspapers, theaters, film studios, and different kinds of publishers.
This book uses various typefaces to highlight different bits of information. For example, I use italics when a term is first defined, bold for a key term in a bulleted list and monofont for website addresses.
You also see gray boxes from time to time. These sidebars contain information that you may find interesting but isn’t essential to understanding the text. So, you can read them if you want to, but you aren’t going to miss anything crucial if you skip them.
Foolish Assumptions
In writing this book, I make some assumptions about you – the person who’s reading this book. I assume that you:
Enjoy reading books and magazines or watching films and plays, and that you think about what you read and watch.
Have a fairly serious intention to learn about and do some writing.
Have a reasonable amount of self-discipline and are prepared to create some time to write.
Don’t expect to write a work of genius right away and make a million from the first piece of writing you attempt.
Icons Used in This Book
The little drawings in the margins, called icons, highlight information that’s especially interesting, important, or both.
Helpful advice, including time- or hassle-saving shortcuts, is highlighted with this on-the-target icon.
This icon indicates important information to keep in mind while you’re reading a chapter or for the rest of your writing life.
Information highlighted with this icon helps you to avoid mistakes and points out approaches that can get you in trouble.
This icon marks samplings of points I explain in the text. Sometimes an example makes an explanation come to life.
These exercises help get you writing and encourage you to try out some of the techniques I talk about.
Beyond the Book
In addition to the abundance of information and guidance related to creative writing that I provide in this book, you get access to even more help and information online at Dummies.com. Check out this book’s online Cheat Sheet. Just go to www.dummies.com and search for “Creative Writing For Dummies Cheat Sheet.”
Where to Go from Here
You have several options at this point:
You can flip through the chapters and read something that interests you, which highlights an area that you’re having problems with, or covers an aspect of something that you’re working on.
You can start by reading the contents and selecting those parts of the book that seem most relevant, while skipping any areas that don’t seem useful to you at the moment.
You can start at the beginning and read through to the end. Don’t worry if you pay greater attention to some bits than others – your focus clearly depends on which kind of writing you’re most interested in.
You can keep it on your desk and use it as a reference book, to refer to frequently while you’re working on your writing.
You can take this book and use it any way you choose, such as picking chapters at random, reading it from back to front, using it to sit on while you meditate, or even throwing it across the room if you’re feeling frustrated with your writing. Don’t worry – we’ve all done it!
Whatever you choose to do with this book, I hope you find it useful. Enjoy!
Part 1
Getting Started
IN THIS PART …
How to hone your writing skills
Determine the kind of work you want to write
The tools you need on hand
Find a place to write and a time and a routine that suits you
Chapter 1
You and Your Writing
IN THIS CHAPTER
Finding out why you want to write
Discovering what sort of writing is for you
Developing your talent
Creative writing starts with you – with your imagination, personality, and interests. Only you know what you want to write about and how you like to work. Only you can choose to spend time working at your poetry or prose to help your words communicate to others.
People often ask, can everyone write? Well, (almost) everyone can write, in the sense of creating a sentence and then stringing another after it, and so on. However, in contrast with other artistic skills, such as playing the violin or painting in oils, or crafts such as pottery and carpentry, people sometimes fail to realize that writing for an audience – writing to communicate to others – also requires study, hard work, and practice.
We all spend our lives telling stories, and in that sense, everyone does indeed have a book in them – or, if not a whole book, then at least a tale or two – but that doesn’t mean to say everyone is prepared to work at it in such a way that, as a piece of art, it communicates itself to other people.
This book gives you all the tools you need to take yourself seriously as a writer and develop your craft as best you can. And this chapter is a great place to start because it encourages you to embark on a journey of discovery and to develop the attitude you need to carry your chosen task through to the end.
Focusing on Writing as Well as You Can
A world of difference exists between writing for yourself and writing for others. Both are perfectly valid and can be approached in much the same way. Whether you’re aiming to record your experiences for your children, to write for therapy or personal development, or to get a novel published, you want to write as well as you can. Doing so doesn’t mean you need to think of yourself as a genius, but it does involve stretching yourself and learning as much about writing as you can.
When you start writing, don’t think too much about whether your work will get published. After all, on passing your third grade violin exam, you may congratulate yourself on having got so far, but you wouldn’t rush off a letter to Carnegie Hall to ask if you could put on a solo recital. Considering other people’s opinions of your writing – whether they like it, or will be interested in it, or whether it will suit the current market – is death to true creativity.
J. R. R. Tolkien spent years writing a history of an imaginary country, inventing languages and mythology and timelines and maps, purely for himself. He never thought anyone else would be interested in it. When his publishers asked him for a sequel to The Hobbit, he used this material as the basis for The Lord of the Rings, a work that went on to become one of the best-selling novels of all time. Completely unexpectedly, something in the deep recesses of Tolkien’s imagination connected with a vast number of people, all over the world. Yet at the time his publisher, Stanley Unwin, was so convinced the novel wouldn’t sell that he cynically offered Tolkien a profit-sharing deal – because he believed no profits would accrue!
By digging deep into yourself and your imagination, you can find the theme that you really want to write about, that gives you the greatest pleasure, and presents you with the greatest challenge – and paradoxically this subject is most likely to be the one that most interests others. So write for yourself and forget about what other people think until much, much later in the process.
Examining Why You Want to Write
Before you begin to write, ask yourself why you want to do so. If the reason is that you think writing’s the easiest way for you to become rich and famous, a bit of a reality check is in order. Every year more than two million books are published in the US alone. Admittedly this total includes everything from computer manuals and academic tomes, through cookbooks and knitting manuals to celebrity memoirs and mainstream fiction, but it still represents a huge amount of competition.
In addition are all the backlist titles that have been in print for years and are still selling. Of these books, very few sell in sufficient numbers to make anyone much money. In the fiction market, a handful of bestsellers make over half the income, leaving a lot of writers making very little money at all.
Of those books in print, very few are by writers who are household names. To achieve that degree of recognition, your book needs to be filmed, short-listed for the Pulitzer or The Booker Prize, picked by Oprah Winfrey, or become one of those rare runaway bestsellers that everybody dreams about but hardly ever happen.
Most writers earn very modest amounts, and the majority have other sources of income from work or supportive partners. So if money and fame are your main motivation to write, you’re likely to be extremely disappointed.
Here, however, are some good reasons to write:
Something is nagging away at you that you need to write down, an event from your life, perhaps, that has haunted or puzzled you.
You keep hearing a character’s voice in your head, and you want to find out who it is.
A situation keeps coming to mind –
what if
this were to happen, how would I feel, what would I do? – and you want to explore it.
You always loved writing stories at school and realize you’d like to feel that pleasure again.
These are all good reasons to write because the impulse is coming from you. This impulse isn’t dependent on anything outside yourself that you can’t control, such as the vagaries of editors, or the whims of newspaper reviewers, or prize judges, or the economic situation at the time your book is published. Your desire to write is dependent only on your imagination, commitment, and willingness to learn and develop your craft.
Various theories are propounded about why people write – as a wish-fulfilment fantasy, a form of therapy, or a way of achieving immortality and living on after death – and any of these might apply to you. But, ultimately, you want to write because you want to write. And you have to want to. No one’s holding you hostage and demanding that you produce your masterpiece. Enough written work already exists in the world, and people can probably do without your contribution. But then, as the famous choreographer and dancer Martha Graham said:
There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.
(AGNES DE MILLE, MARTHA: THE LIFE AND WORK OF MARTHA GRAHAM)
Identifying the Kind of Writing You Want to Do
When you start writing you may not have a clear idea of the kind of writing you want to do. Or you may know exactly what genre you want to write in to be writing for a very specific audience.
Considering different genres
The best and most practical definition of “genre” I have come across is “where books are shelved in a bookstore” You will see that books are arranged by broad categories such as “fiction” and “nonfiction” but each of these will be divided into main genres – in fiction you will find categories such as literary, historical, crime, romance, science fiction, horror, short stories – and under nonfiction you will find for example memoir, biography, travel writing, political and current affairs, health and psychology, and how-to books.
You will also find separate sections for poetry, children’s books (both fiction and nonfiction), and in some stores, magazines, and newspapers.
Nowadays, book genres tend to blend into one another, so that you could have a collection of short travel stories that include a large amount of memoir, or a science fiction novel that is also a romance, or a supernatural crime thriller. Although genre is important – it’s how publishers classify books and where bookstores shelve your work – I think it’s important to write what you want without being too fixed on what genre it is. Writing in a particular genre is important, but the book world is also always looking for something new that breaks boundaries!
Confirming your favorite form of expression
If you’re drawn to a particular form of expression, then go with it. Some people like to work in miniature, others love the grand gesture – temperament decides. If you love children and reading aloud to them, or have a story in mind for your own children or grandchildren, then go ahead. Many of the best children’s stories have started that way. Or if you love a grand canvas and big novels with sub-plots, twists, and turns, go for that. Don’t let other people talk you out of your natural way of writing.
Thinking, “I really want to write poetry, but no market exists for it, so I’ll write a novel instead”, is unhelpful. You may turn out to be a very fine poet but struggle as a novelist.
If you don’t know what kind of writing you want to do, just try out various forms. Jump right in and write whatever comes up. If you feel that you’d love to write but don’t have any ideas, then just open yourself up to people and situations around you. For example:
Sit in a coffeeshop and watch the customers.
Invent a story about who they are, where they come from, why they’re there, who they’re thinking of, what they want.
Look at your daily paper or news website.
Pick a small item from the News in Brief section; use it as the basis for a story.
Go into your garden.
Find a flower, tree, or view and describe it. Turn the writing into a poem.
Find an old photograph.
What does it make you think of? What does it remind you of? Where does it take you in your imagination? Write down your thoughts.
As to the form your writing takes, no rule states that you can’t write both prose and poetry – many writers do. Don’t worry about length when you start; sometimes you start writing a short story and then discover after 20 pages that in fact the tale’s so long and complex that it justifies a novel. Or, conversely, you may start what you think will be a novel and discover that it peters out after two or three chapters and doesn’t have enough material to amount to more than a short story.
Don’t worry too much about your audience either; you may start writing for young children and then find your material is actually adult fantasy. None of these details – length, form, or audience – matter. Just write, and let the material take you where it will. You can always go back and change elements later.
Discovering Your Own Specific Talent
Most of us have a particular talent for something – and the same applies to writing. Some writers love plot; they enjoy working out timelines, organizing different strands of their story, and weaving it all together. They plot their story on index cards or use a computer program to map it out.
Other writers love description; looking at something and finding the best way to capture it in words, and using images to convey its essence to the reader. Some have an ear for dialogue, for how people speak, accents and dialects, and for the silences that lie between the words. Some writers have a wonderful visual sense; others an ear for the rhythm and sound of words.
When you start out writing, you really may not know what you’re good at. Trying something new is the only way to find out. Don’t rely on the same techniques that worked for you when you were at school, or when you were working in an office, or that you use in notes or emails to friends. Stretch yourself. Try different ways of writing. You’ll never discover that you’re brilliant at writing dialogue if you never try it, or that the first-person voice gives you huge freedom, or that your story works much better if you set it in a different time or place. You’ll never find out that you’re a poet if you never try to write a poem.
As you write, keep these principles in mind:
Trust yourself.
Write what you want.
Try out new ways of writing.
Don’t expect to write brilliantly right away.
Learn from other writers.
Be prepared for surprises.
Practicing Your Writing
Creative writing’s a skill, and if you work at it, you’ll improve – becoming a good writer is as simple as that. Writers also use a range of techniques, which you too can learn.
LOTS OF PRACTICE MAKES PERFECT
Anders Ericsson studied violinists at the Berlin Academy of Music in the early 1990s. His study concluded that a violinist had to practice approximately 10,000 hours to become really good.
Strikingly, Ericsson and his colleagues couldn’t find any violinists who were naturals – musicians who became outstanding performers without practicing for the hours that others did. Nor could they find what are sometimes called grinds – people who practiced harder and longer than everyone else and yet didn’t succeed. Every student who put in the hours played at a high level.
Now, 10,000 hours of writing is an awful lot – if you wrote for, say, five hours a day, five days a week, 50 weeks a year, it would take you eight to nine years to put in that many hours.
In practice, of course, many successful writers have written less than this – and other writers may have written more without ever getting into print. However, without doubt, the more you write, the better you become at it.
Part of the problem with writing is its solitary nature. When you’re working on your own, a strong possibility exists that you’ll be reinventing the literary wheel. Through long hours and hard work you may stumble on the truths that other writers have discovered long before you. By talking to other writers, reading books, and perhaps going to creative writing courses, you can save yourself a lot of time and trouble.
Putting in the hours
No substitute exists for finding time to write. Whether playing the violin, excelling at tennis, or developing computer software, all the outstandingly talented people put in a great many more hours than their less successful peers.
You have to really want to write. Writers become writers by writing, not by wanting to write, thinking about writing, talking about writing, or planning to write!
Reading and re-reading
What teaches you most about writing is reading. Reading is so important because it demonstrates what you’re trying to do; you unconsciously absorb the rules of narrative when you read, and how the author achieves certain effects. Some writers don’t read because they say they’re afraid of being influenced by other writers. In practice, you’re more likely to find that you’ve inadvertently done what someone else has if you aren’t aware of others’ work.
If you’re attempting to be a writer, try reading more slowly – reading with more attention. When you come to a passage where you can actually smell the cabbage soup on the stairs, where time seems to have slowed right down and your heart is beating extra fast, stop and look back; try to figure out how the author achieved this feat. You are, after all, just reading words on a page. If a character walks into a room and you can see the whole scene before you like a photograph, or if you feel you know a character inside out, how she thinks and behaves – again, stop and look back. Look at the words the writer used, what they did to convey this sense of reality. Or if you read a poem and find that you’re crying or suddenly feel happy, or realize that you’re seeing something in a new way – again, re-read the poem to see why this has happened.
In order to see how a piece of writing is put together and learn from the techniques the writer uses, re-read a short story or novel that you’ve read before; not so long ago that you’ve forgotten it or so recently that you remember it in detail. Choose a book that you remember in outline and, in particular, how it ends.
When you first read a book, you often gulp it straight down just to find out what happens; the second time you don’t do that because you already know. Already knowing what’s going to happen can help you to see how the writer prepared for it, how they slipped in hints or how they concealed something important to keep you guessing. Re-reading in this way really helps you learn how a narrative works.
Read, read, and read some more! Whether you choose news articles, blog posts, advertising slogans on the back of cereal boxes, classic novels or contemporary pulp fiction, reference books or letters and journals, read widely – and think about what you’re reading and the effect the words you read have on you. Try to distinguish between good writing and bad writing, and read more of the good stuff!
Overcoming Common Writing Obstacles
When you sit down to write, you often find that a whole host of concerns distract you. First, you become aware of all the chattering that goes on in your head, and the long lists of undertakings to do that you feel you should do before you can justify the time spent on writing. Second, you may become uncomfortably aware of being alone, of having to manage without any help or input from anyone else. Third, you may suddenly discover that when you finally get the chance to write, you don’t know what to say, or you can’t put it into words.
Everyone experiences these obstacles, so in this section I look at them in a bit more depth.
Silencing your inner critic
Many people say that when they first start writing they’re convinced that what they write is rubbish. A voice in their heads tells them their work is useless and nobody will read it.
If all the students I’ve taught in my writing courses had given me just one penny for every time they said their work was rubbish, I’d be a wealthy woman.
Your inner critic torments you with thoughts such as:
You’re not a real writer, you’re just playing at it.
You haven’t got any talent.
Why bother starting when you’ll never finish?
You should be doing something better with your time.
Writing is self-indulgent and selfish.
This will never get published, so what’s the point?
Parents, teachers, friends, or colleagues who told you “you could’ve done better” or “this isn’t good enough” over the years are part of the problem. You probably experienced an education system obsessed with results and tests, where every piece of work was marked and graded. As a result, you now compare everything you write with the work of others and assess it in terms of a range of A+ to D-.
One of the flaws of this system of marking is that grading a creative piece of work is almost impossible. Consider the Impressionist artists who were turned down by the Paris Salon in favor of far more conventional artists of the day. Those artists are now forgotten, while those who were rejected are now recognized as geniuses. Obviously not every piece of rejected writing is a work of genius – far from it. However, judging creative work effectively, especially something innovative and new, isn’t easy.
Most writers, no matter how acclaimed, will tell you that the critical voice never goes away. Even prize-winning, many-times-published writers find the same voice nagging at them when they’re writing. Being aware of the voice isn’t a bad trait, though; if you’re aware of it, you can deal with it.
Good methods for silencing your inner critic include:
Just tell the voice to shut up and go away – out loud if it helps!
Use a meditation technique – when the voice comes into your head, just say to yourself “that voice,” and put the thought aside. The voice will return over and over again but don’t get upset, don’t beat yourself up, just gently put it aside and get on with what you’re doing.
Try to counter negative thoughts with positive ones. Talk to people who are supportive and encouraging. If your friends or family suggest that you’re wasting your time or that you’ll never get published, just don’t talk to them about your writing. Talk to people who know what writing involves and can help you along the way.
Give your inner critic a name. Call it something stupid or a name you don’t like. Think of it as a boring, tedious figure you might meet at a party. Then dismiss it.
Just get on with the writing. Decide that you can deal with the voice later.
Thinking creatively
Being led to believe at school that only one right answer exists for every question can create a creativity-blocking problem for writers. Remember putting your hand up in class and giving an answer that made everyone laugh? The “right” answer was the one in the teacher’s mind or in the textbook. But your answer wasn’t necessarily wrong – maybe it was just more original and creative.
No artists or scientists ever came up with something new by doing what was expected of them. They all broke the rules and produced the “wrong” answers according to the theories and expectations of the time.
Suspend logical thinking. Logic can kill the creative flow of new ideas. Of course, you do need to apply logical thinking in many situations but writing isn’t one of them. Think laterally, backwards, and back to front – or don’t think at all.
Letting the Ideas Come
Most great ideas don’t come when you’re sitting at your desk trying to feel inspired. Putting pressure on yourself and hammering away at something isn’t conducive to coming up with a solution. You’re concentrating so hard on the problem that your mind has no space for an answer to emerge.
Use these tips to help you come up with creative writing ideas:
Take time to relax.
Going for a walk, reading a book, or relaxing in the bath may inspire a great idea. Or you may suddenly find a solution to a problem blocking your writing. Alternating periods of working at your writing with relaxing activities is important.
Realize the importance of doing nothing. Make some empty time in which to think.
Today people are so surrounded by noise and activity that they seldom get time to let their minds free-wheel. Even when on the bus or train, people use cellphones, listen to music, or read. Try doing nothing but staring out of the window, watching the world go by. Or try sitting in the park for half an hour at lunchtime, observing the pigeons, trees, and people. Or sit at home on your own with a cup of coffee for just 20 minutes and relax.
Remember to play.
Ideas can also be generated by play as you will see if you watch young children make up games. You need to develop this kind of freedom to be inventive. If you can make your writing fun, you’ll find dreaming up good ideas much easier. If you think of writing as a game to enjoy, rather than a task to be completed, you’ll find yourself becoming more creative.
Ask “What if?”.
Many great innovators were successful because they asked “What if?” and didn’t stop with the first answer that suggested itself. “What if?” is a great question for a writer. What if a man discovers the secret of extending life? What if someone tries to steal the recipe for the drug from him? What if a rival pharmaceutical company decides to have him killed?
Don’t be afraid to make mistakes.
All creative activity involves making mistakes. People who don’t make errors never achieve anything. Sometimes mistakes can ultimately be fortunate; you may not only learn from them, but also reinterpret them to write something much more original than what you’d originally planned.
Playing with Words
The English language is one of the richest in the world, with a huge vocabulary to draw on. Apparently English contains over half a million words – and yet a normal working vocabulary uses only about 15,000 of them.
Most writers could benefit from expanding their vocabulary. You don’t have to use long, obscure words when a more familiar one is appropriate, though – doing so can just seem pretentious; but, as a writer, having more words at your disposal is useful. Words are your tools, and some you may not know will do the job far better than the ones you do.
If you’re reading and come across a word you don’t know the meaning of, stop and look it up. Too often you may think you sort of vaguely know what the word means and move on. You only realize you don’t really know when someone else asks you to define it.
As a writer, you should really love words. Collect good ones and store them away for future use.
Try these playing with words exercises.
Write down a list of words that you really like and love the sound of. Construct sentences around them.
Get a dictionary and find a word you don’t know. Read the definition. Write a couple of sentences using the new word.
Making nouns and verbs stronger
Nouns are words that name objects, places, people, and concepts. Strong nouns indicate something that a reader can easily visualize and connect with. In contrast, weak nouns are usually more vague and can cause confusion. Avoid general words like “thing.”
Verbs are words that describe actions, events, or states of being. Using strong verbs is one of the quickest ways to invigorate your writing. You may be tempted to be lazy and use an obvious word such as “went.” Think of stronger words, depending on how the person went: did she stroll, rush, limp, hobble, leap, ride, glide, shuffle?
So, instead of writing: “she got into the vehicle and drove down the road” write: “she squeezed into the sports car and sped toward the beach.”
Avoid using the passive voice (where the verb concerns what happens to something rather than who or what is making the action). “The man stroked the dog” is stronger than “The dog was stroked by the man.”
Taking out adverbs and adjectives
An adverb is a part of speech used to provide more information about a verb (a word describing an action); for example, “Mary sings beautifully” or “The midwife waited patiently through the labor.” Deleting the adverbs is one of the best ways to strengthen the verbs you use because you have to make them work harder.
Taking out all the adjectives also makes your writing more punchy. An adjective describes a property of a noun; for example, “The hairy dog stank.” Think about how you can communicate what you want to say without using lots of adjectives.
Writing in different tenses
When you start writing, you can be confused as to whether to write in the present or past tense. The tense is the time of a verb’s action or its state of being, such as present (it’s happening now) and past (it happened earlier). Try out both ways of telling a story or writing a poem.
Actually, the choice of tense is arbitrary because, in a narrative, the “past” isn’t really past and the “present” isn’t really present. Only the reader’s time, as they read your work, is real.
Using the present tense gives an immediacy to a piece of writing; events seem to be happening now. The present tense can also be useful in a story in which you’re switching between two time frames, for instance a “now” in which the character is remembering and a “then” in which the remembered event happened. The present tense is often ideal for poetry, but it can be hard to handle in a long narrative and may even seem clumsy and contrived.
Avoiding cliché
A cliché is a worn-out phrase, a figure of speech whose effectiveness has been lost through overuse and excessive familiarity, like “beating a dead horse.” If you use clichés too often, your writing will seem dull and uninteresting.
However, don’t let the thought of using clichés get you down. Most writing uses them occasionally. Only when a text is littered with clichés are they problematic.
When you’re drafting, clichés can be a kind of shorthand to help you convey what you mean. You can replace them later with fresher images – if you can’t, try deleting the phrases entirely.
Doing writing exercises
When you’re learning to write, completing some writing exercises – short pieces to get you going and help you try out different ideas and techniques – is a great idea. Try the exercises in this book and see how you do; they’re highlighted by the Exercise icon in the margin.
Attending a writing class can be helpful. Your tutor can give you lots of exercises to complete and you may have to read your work to the group, thus gaining useful feedback to help you develop your writing skills.
Writing exercises resemble playing scales to a musician. Often people say they hate practicing scales, but I loved them when I first learned the violin. I knew all the notes so all I had to do was try to make the warmest, fullest, loveliest sound I could. Writing exercises are the same. You know what you’re meant to do, so you can concentrate on the way you do it without worrying about creating an idea or fitting it in to what you’re already writing.
Exercise pieces don’t need to be finished or highly polished. They’re simply ways for you to explore techniques in your writing and help you develop more confidence in your craft.
Learning from imitation
New writers are often terribly afraid of plagiarizing – of copying others’ work. As a result they refuse to read good fiction because they don’t want to be influenced by it.
This situation’s a great pity. Many, many writers have been influenced by the rhythm and powerful language of the King James Bible. Many others have been influenced by reading the works of William Shakespeare, Jane Austen, Ernest Hemingway, Toni Morrison, and other great writers. You can learn a vast amount by imitating the techniques of great writers.
Oddly, people apply this principle to other art forms, but seldom to writing. Art students sit in galleries copying the works of the great artists into their sketchbooks. They do so to find out how to compose great pictures; how to handle perspective, use color, create effects with pen or ink. Artists are encouraged to sketch, create scrapbooks, and think about the influences on their work. And yet writers often expect themselves to come up with everything entirely out of their own heads.
Choose a book by a favorite author. Find a passage of description, dialogue, or action. Now imitate it and apply it to your own characters and situation. Borrow phrases, use the same sentence structure, and copy some of the words. Get a feel for what writing a great piece of prose feels like.
Although this exercise can initially seem strange and difficult, it can really help free you up to imitate the rhythm, sound, and feel of really good prose. Imitating someone else’s work means you internalize it and make it feel your own. You don’t have to use the same words, situations, or images, but you can learn how to use vivid imagery in description and to write rhythmically, powerfully, plainly, or colorfully.
Much literature is dependent on what has come before – so-called intertextuality. Some academics think that all writing is created in reference to earlier texts, whether their authors know it or not. Some famous works of literature that refer to others include:
James Joyce’s
Ulysses
, which, as the very title gives away, is based on Homer’s classic work,
The Odyssey
.
Ulysses
is awash with parody, pastiche, quotations from literature, and allusions to many different works.
John Steinbeck’s
East of Eden
, which is a retelling of the Genesis story, set in the Salinas Valley of Northern California.
Jane Smiley’s
A Thousand Acres
, which is a subversive retelling of
King Lear
, set in rural Iowa.
Films are also often based on the retelling of works of literature. The Lion King is a retelling of Hamlet; the events in Jesus of Montreal closely parallel the New Testament passion story. The characters in The Matrix have symbolic names: Neo is an anagram of One, and he plays the role of a savior figure, and the name Trinity has obvious Christian symbolism.
In addition, many books refer to or echo famous fictional incidents. In the highly successful Harry Potter series, author J. K. Rowling draws on many different sources, such as Greek and Roman mythology and Christian symbolism.
Developing an ear for good prose
Both poetry and prose need to sound good when read aloud. Writing has a rhythm, which is all-important. Sometimes when you’re writing, you recognize that you need a two- rather than three-syllable word, or that a sentence should be longer, or that you need to stop just there. Read your work aloud and listen to it. You can feel when your tongue trips up over words, a sentence is too long or short, a word’s missing, or it just sounds wrong.
Read poetry, even if you’re not writing it. In poetry, the sounds of the words – the rhythm and rhyme – are crucial.
Writing comes in so many different styles that generalizing about what makes a piece of good writing is impossible. Read a passage of fancy prose, for example the opening of Vladimir Nabokov’s Lolita. Look at how he uses words and alliteration (words starting with the same initial letter or sound), mixes short and long sentences, and asks and answers questions.
Then read a calm and plain piece of writing, say from a child’s book, but which still manages to be powerful. Compare how the two authors achieved the rhythm, structure, and emotion in their writing.
To write like the great writers, try imitating them – purely as an exercise.
Try writing a piece in the style of a work such as
Lolita
– something complex, original, and rhythmic.
Imitate a writer with a clear, unfussy style. Aim for utter simplicity.
Take a poem and adapt it, copying the structure, rhythm, and rhyme.
Offering Tips for New Writers
Many new writers fall into common traps that can block their writing or make the process more difficult. Instead of finding out the hard way, through trial and error, take note of the tips in this section to avoid these pitfalls and get your writing life off to a good start. Even seasoned writers may find this a helpful refresher!
Don’t worry about publication
When you start out, worrying about whether anyone will like or dislike what you’re writing is pointless. Don’t fret about what genre your work fits into or what kind of sales it may achieve. And thinking about which publisher to send your piece to before you even completed it really is a waste of time.
The minute you start thinking about sending your work to an editor, agent, or publisher, you can feel that person sitting on your shoulder and criticizing every word you write. You start altering it to squeeze it into narrow genres, make it the right length, or ensure the material’s less revealing of yourself.
Writing what you want and enjoying the process is what’s important.
Write for yourself
After you start writing, at some point you ask yourself “Who am I writing this for?” You may decide that you’re writing a piece for your friends, ex-lover, or dead grandfather. Maybe your novel’s intended for posterity, for your children’s grandchildren. Or you may desire to share your experiences, joys, and pains with people your own age or in your current situation. Agents and publishers may be lurking at the back of your mind. Or possibly you’re setting your sights on a huge global audience.
