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Writing Resources

Posted on December 14, 2011

I’m far from an expert on the craft of writing, but I do know what’s helped me and what hasn’t. This is a very small group of writing guides, but it’s my “marooned on a desert island” list. It also doesn’t include what I consider the indispensable basics, either, like Elements of Style or Garner’s Usage. These titles are more concerned with the intangibles of writing and its result.

On Writing, A Memoir of the Craft
Stephen King

On Writing is fittingly called “a memoir”, as much of it is made up of autobiographical musings by King. But the narrative style actually works well in putting the reader at ease, standing in stark contrast to other style, grammar, and writing books that can be terse and dry. I found it especially helpful when I began my first novel, as King touches on just about everything you need to get started: approach, commitment, daily word count, the importance of action, when to let yourself off the hook and when to put yourself back on. You won’t find a lot of hard and fast rules about writing or grammar here; as the title says, the book is more about the intangibles of craft. Worth reading in its entirety before you fully commit to a novel-length project. The book ends with a sample chapter of King’s with hand-written proofs and corrections followed by a short list of authors King admires.

Get it on Amazon

On Writing Well
William Zinsser

Zinsser’s books are primarily intended for those writing non-fiction, but his tips, guides, and anecdotes are a goldmine for any writer. Zinsser uses his own personal experiences to illuminate his career as a journalist, and result is a homey and comfortable approach to writing. Unlike King’s On Writing, however, he also has a lot of the “bolded-header” type of rules and regulations you might find in a manual: when to drop in an exclamation point, using the right word for the job, avoiding the wrong or hackneyed word, paragraph length, the best place for contractions and so on. He uses quoted examples of his own pieces as well as writers he admires so that you see the lessons in action. There aren’t any exercises, per se, as the whole book is meant to be instructional.

Get it on Amazon

Self-Editing for Fiction Writers: How to Edit Yourself Into Print
Renni Browne and Dave King

Self-Editing is the kind of book that puts a keen edge on the dull knife of your writing. It’s a more business-oriented version of the traditional help manual, pointing out the common errors, trite phrases, and basic mistakes that drive agents and editors crazy–and result in your manuscript being rejected. Browne and King aren’t just mercenaries with a red pen, however; they’re obviously concerned with good writing, just good writing that gets published, too. There are dozens of examples of bad and good attempts–made-up excerpts as well as famous ones–and each chapter has particular exercises meant to strengthen your writing in important areas: point of view, dialogue, tempo, sophistication, voice.

Get it on Amazon

The Art & Craft of Novel Writing
Oakley Hall

Hall’s Art & Craft is structured almost like a manual, with sections for dialogue, point of view, plotting, etc., but has always felt a little nebulous to me, with a suggestion here and a guideline there, and no real structure to sink my teeth into. Despite that, it’s the book I return to when I feel “rules” aren’t working anymore and I want to get back in touch with what makes writing, as the title implies, an art. There are many demonstrative examples of good, nuanced writing and many of the chapters are annotated. The book ends with a detailed examination of the entire first chapter of The Columbus Tree by Peter Feibleman, an example of a synopsis of one of Oakley’s own novels, then a lengthy reading list of other authors, focusing on the writing process and craft.

Get it on Amazon

Don’t Murder Your Mystery
Chris Roerden

This book and it’s less genre-centric big sister, Don’t Sabotage Your Submission, should be within arm’s length of all novelists of mid-level experience and onward…that is, those of us that know just enough to be dangerous (mostly to ourselves). Roerden addresses a host of writing mistakes that even veterans are known to perpetrate, from subtly bad POV to poor exposition to bad word choice. This is the book that will buff your writing to a high gloss.

Get it on Amazon

What’s helped you with your writing? Share it here with an explanation of how and why!

Posted in: Excellence in Writing | Tagged: amazon, chris roerden, craft, novel, stephen king, writing

Coincidences, Vacuums, and MacGuffins

Posted on December 8, 2011

Sue Grafton once said, “Coincidence can get you into a plot, but it can’t get you out.” I’m going to paraphrase her by adding, “And you can even have coincidence, but you can’t have a vacuum.”

Let me explain. A good thriller writer I enjoy is known for his action scenes, humor, and the complete implausibility of most of his novels’ key premises. His ability to push the reader forward and keep the suspense high is so masterful that most readers shrug at the no-way-in-hell inventions and proceed to the next shootout.

I’m one of those readers. I’m okay with colossal coincidences if the rest is working. What I can’t abide, however, is the middle dropping out of a story.

By that I don’t mean the literal middle of the book—the plotting, the dialogue, the consistency of voice, though all those things are important—I mean the central premise that got us going in the first place. When I get to the end, and there’s no meat, no substance, not even a coincidence, just a vacuum, then I start waving the red flag.

It’s a little tough to explain without actually revealing the plot, the title, or the author, but to summarize, the entire premise of one of his novels is built around discovering a MacGuffin* that, should it be found and exposed, will reveal horrific and damning truths about the several Very Important People connected to it. The world holds its breath as the protagonist races to find the MacGuffin and discover the secrets about the VIPs. Bad guys are mowed down by the dozen, allies are maimed, buildings explode. Finally, the villains are defeated and the MacGuffin falls into the trembling hands of our hero…

…who doesn’t have a clue what’s what it means. Nor does anyone involved, including the Very Important People who are Very High Up in the government that are mentioned in connection to the MacGuffin. And that’s it. Our hero gets tired of thinking about it and moves on. The book ends.

This is a profound disservice to the reader. It can’t have been that hard to think up some reason—any reason, even a bad reason —why dozens of minor characters were willing to sacrifice their lives over this object.

And for anyone who would defend this by saying, in effect, life is messy and sometimes things don’t make sense, let me introduce you to an aphorism that most fiction writers learn in Creative Writing 101: Truth is stranger than fiction.

This bon mot isn’t meant as a guide, it’s a warning: the essence for writers isn’t that they should look at our crazy, mixed-up world and use it as justification for their poorly plotted novels, it’s that no one cares about random events. We all know life has its oddball moments; we turn to tabloid newspapers and internet chain letters to keep us abreast of them. What we want from our fiction writers is to construct things that make sense, not for more of the same crap we see on the news and experience in our daily lives.

It’s not enough when a main premise is just a vehicle for us to experience the shooting, the chases, the love scenes. There has to be some there there. I’ll hang with you and your crazy reasons for getting me to read in the first place. But don’t leave me hanging.  As we all know, when the center doesn’t hold, things fall apart.

* A MacGuffin was Alfred Hitchcock’s phrase for the interchangeable “thing”–Maltese Falcon, diamond ring, voodoo doll, etc.–that drives the plot forward.

Posted in: Craft | Tagged: craft, ebook, fail, novel, publishing, suspense, thriller, writing

Creative Tithing: The old 80/20

Posted on December 6, 2011

I was nearing the end of a seven-week writing class held at the Smithsonian. The teacher was wrapping up both the evening and the course and was trying to leave us with some food for thought.

The advice ran a familiar gamut: write every day, read what you want to write, work through rejection. Then, the instructor veered into foreign territory.

“Tithe,” she said, paused, and said again, “You have to tithe.”

She went on to explain what should’ve been a simple–but for me what was at the time, a radical–concept: in order to get a little (or a lot) you have to give a little (and sometimes a lot, too).

All artists enter their craft hoping and believing, at some level, they will be a success. That belief sometimes promotes a self-centered, solipsistic view of the world. Sometimes it takes someone else to point out that the rest of the creative world is trying to do the same exact thing…and we could all help each other if we glanced up from our own road map once in a while.

You want that magazine to accept your short story? Buy a copy. Desperate for a 5-star rating and gushing review for your latest epub novel or short story? Write a couple reviews yourself. Sad that your local indie book store is going out of business? Buy something there, even if you could get it for $4.99 $1.99 on Amazon.

Recently, the concept has been put more crudely as the “80/20” rule: put 80 percent effort in to get 20 percent out. It’s a stark way of quantifying what should come naturally: that we should be supporting fellow artists, outlets, and industries by giving something back. I prefer the more archaic term tithe, as I think it implies more about the relationship of giving and receiving, of obligation and reward, than the industrial digital inputs of the 80/20 rule, but the gist is the same: if you want success, hold out your hand, not for a gift, but to help.

If you’re a writer or artist, consider doing the following:

  • Buy a copy of the journals, magazines, or the books of the publishers (especially small publishers) that YOU would like to see yourself in. If you can afford it, subscribe.
  • Tithing can be time, as well. If you belong to a writers organization, suck it up and run for office or participate on a board or panel. You’re busy? Guess what, we’re all busy. Don’t know what it takes? No one does. The important part is to breathe life into the organizations that keep your craft going.
  • Attend book signings, readings, and panels of fellow authors in your organization or just your local area. Introduce yourself, thank them for their work and time, offer your congratulations, buy their book and get them to sign it.
  • Share insights and tricks you’ve gleaned on your blog, in chat rooms, listservs, and in meetings.
  • Introduce others at events, work at making connections and bringing creative people together.
Posted in: Art and Obligation, Craft, Deep Thoughts | Tagged: 80/20, art, craft, creative, giving, novel, obligation, publishing, writing

I ain’t no Superman

Posted on November 17, 2011

For my own pleasure and education, I write personal critiques of popular books, books I admire, and books I think would be better used to level a wobbly table. I record my thoughts on voice, style, and especially great passages. I also write down weaknesses and issues I find grating. Recently, while reading through a critique I’d written on a well-known crime writer’s novel, I came across this note I wrote to myself:

The lead character is a former Army Recon sniper, now a forensic expert despite a career spent only as a beat cop. He’s sexy, willing to sacrifice anything for a friend, a former friend, or a loved one without complaint. Children and animals like him. In short, he’s phony as a $3 bill.

Please…I want my heroes to be tough, sophisticated, and softies at heart. But when the protagonist can’t be beat at anything, is morally superior than everyone around him, has the answers and the experience to respond to any situation, the air goes out of the balloon.

Inner turmoil, self-doubts, shady pasts (that actually affect him or her…not token problems) are not contradictory to having a compelling lead character and, in fact—as story-tellers have known for several thousand years—actually the key to creating a powerful, memorable protagonist and a moving story.

The Flawed Protagonist is nothing new or groundbreaking. Where is Samson without his vanity? King Arthur without his bad judgment and wounded pride? Would we care as much about Philip Marlowe if he didn’t have a shaky set of ethics? Robert Parker’s Spenser stopped being interesting once he became bullet-proof and unquestioning. When his self-doubts vanished, so did our deeper interest…the later Spenser for Hire books are worth reading only to see what new crooks get their asses kicked by the Boston PI and Hawk.

Broken lives need a less-than-perfect protagonist. Anything else becomes a cartoon and at that point we’re just killing time until the hero is admitted into the Justice League. Subsequent novels become conflicts not with antagonists (because they aren’t true challenges to our hero), but with abstract elements, like time (defuse the bomb) or a natural crisis (a volcano!). And these are fine forces to array yourself against. But they aren’t interesting characters and they don’t allow the protagonist to mature or grow.

Keep your Superman. I’ll take a flawed Philip Marlowe any day.

Posted in: Art and Obligation, Craft | Tagged: author, craft, ebook, fail, mystery, novel, publishing, suspense, thriller, writing
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