TECH: Eight Rules of Writing?

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Original posting 6 September 2008

Eight Rules of Writing?

I've forgotten exactly how I got on it, but I get e-mail odds and ends from Writer's Digest on a regular basis. The headline on one that came by recently intrigued me, so I went over to read it. Apparently someone summarized the eight key rules for writers at a recent conference. Here's the URL http://writersdigest.com/article/steve-berrys-8-rules-of-writing and there is a place there to sign up for your very own news, tips, and special offers. But let's take a look at these rules. Note that the numbered lines are from the webpage -- the commentary is me babbling. Feel free to disagree.

1. There are no rules. You can do anything you want as long as it works.

I think this may be the most important rule -- and the most important modifying phrase, "as long as it works." This is the engineering or pragmatic rule of thumb -- does it work? If it doesn't work, it really doesn't matter how pretty it is, how much time you spent on it, or anything else, it doesn't work. So make sure it works first.

2. Don't bore the reader. You can bore the reader in a sentence, in a paragraph, by misusing words, poorly choosing words, using the wrong length, etc.

MIT used to pay a writing consultant to come in and give a workshop for students and faculty. One of the first and last points that he reminded that group of was that business readers don't have to read your writing. Teachers and other students often read the whole thing, no matter how bad it is, because they have to. Regular readers just stop reading. So the first sentence, and every sentence, paragraph, scene, chapter break -- make it interesting. Make the reader want to keep reading.

3. Don't confuse the reader. Don't misuse point of view. Don't do too much at once.

Keep it simple. Sure, changing points of view, 39 plot lines woven into a complex braid, flashbacks and flashforwards and flashsideways all can be exciting and fun for the writer. But confused readers stop. You want the reader to enjoy it, which means they have to understand and follow it -- easily.

4. Don't get caught writing. Don't let you, the author, enter the story.

He would never come home again. Now how does the protagonist know the future like that? I always like the ones where someone walks into a city, and suddenly describes neighborhoods, history, the sewer system -- just from walking a few feet in. Amazing perception.

5. Shorter is always better. Write tight. It makes you use the best words in the right way.

Purple prose and gonzo writing fill up pages, but you probably don't want to overdo it. Papa Hemingway and The Little Book may be a bit sparse, but do try to keep it tight. You don't have to write haiku, but at least consider the lessons of poetry and keep the words close. And remember Twain's advice about the difference between lightning and a lightning bug.

6. Don't lie to the reader. It's okay to mislead, but don't lie. If you say the character's motivation is A and it turns out to be B (and you haven't foreshadowed it at all), the reader will feel cheated.

I think writers get into this because they're looking for that unexpected twist, and it feels easier to just lie to the reader, use that unreliable narrator and drag the reader into the morass of misunderstanding. But that's not the point! You want to play the mystery game, where all the clues are right out there in front of the reader, but until the great sleuth explains how it all fits together, no one realizes why the sleeping dog is important. Play fair with the reader -- don't lie to them.

7. Don't annoy the reader. Don't use names that are hard to pronounce or write choppy sentences throughout the entire book. It keeps people from getting close to your characters.

An upset reader? That's a confused reader taken one step further, isn't it? Names that are hard to pronounce are hard to remember. Several names that are very close to each other is also puzzle for the reader -- was this Amos the senior, Amos the younger, Amos the cousin -- oh, who cares! If all of the sentences are the same length, there's a certain singsong effect that builds up.

8. You must tell a good story. Bad writing can be forgiven with a good story. A bad story with the most beautiful writing cannot.

This is an interesting one because it is often to justify not doing one's best with grammar, spelling, and the other tedious details of the craft of writing. And to some extent, it may be true that editors and publishers will work with the writer who has a really good story to fix up the little stuff. But if the story just isn't there, then the best grammatical construction, proofreading, and other craftsmanship won't sell the missing story. So make it a story that you would like to read, that really makes readers interested and excited, and do the best you can with the nails and painting around the edges, but don't sweat it trying to get the last comma in or out. The easier it is to read, the more likely that the editor will see your great story without getting stuck on the grammar, spelling, and interesting font choices you've made in presenting it -- but you do need a great story under the wrappers.

Sorry, hopefully my little comments haven't hidden the eight rules. It's an interesting selection. And I think it's a good place to start, especially with that first reminder -- make sure it works.

So what do you think? Are there any of these that don't quite seem right for you? How would you illustrate or phrase each of these? Are there any other rules that really belong in the mix? What are they and why do they belong in your list?

Something to think about as we charge into a fall full of writing.

[Little Book? Look for the Elements of Style by Strunk and White. Excellent book. Looks like the original 1918 version is available online, while the 1950s versions with White cost something? Most used book stores have it cheap.]

TECH: Make A Scene #20: Climactic Scenes

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Original posting 8 September 2008

Chapter 20: Climactic Scenes

It must be time for another thrilling chapter from Make a Scene by Jordan Rosenfeld. Are you ready?

"The climax is the high point of all the action and drama in your narrative -- where the events that began with the significant situation come to a roiling, intense head." The events in the climax are the hammer for character change, and set up the ending of the story. The climactic scene is the most intense, dramatic, powerful scene. Normally there is only one. And once the climax is over, there shouldn't be much left to tie up and finish. This is really where the whole story comes together.

Successful climactic scenes include:

• opposing forces collide. The protagonist and antagonist meet and clash.
• the climactic event directly related to the significant situation
• a central conflict. The protagonist confronts something or someone, and changes or is changed
• the stakes should be as high as possible -- life and death, relationships destroyed, kingdoms won or lost
• a swift pace, but some room for emotional content

The climax is a point of no return. There's no turning back, the characters and the plot are changed permanently by what happens in the climactic struggle.

Setting up the climax. A climactic scene usually doesn't surprise the reader. It's often a relief, because finally the growing tension and suspense, the emotional drama, all of the threads are going to feed into the collision. Consequences, stress, conflicts -- this is where they are all headed, and readers expect that a climactic scene will tie things up.

So the climactic scene needs to open showing the reader that action and drama are about to unfold. Normally the scene before ends with suspense, tension, and a foreshadowing of conflict about to break out.

The climactic event. Openings of climactic scenes as usually get quickly to the action. Climactic scenes build quickly and steadily, like action scenes. Don't get stuck in exposition -- make the climactic scene march right along, with specific actions, dialogue, setting details that build atmosphere, and emotional content.

"The goal of the `event is to bring significant situation and the resulting plot consequences to a head so that there's some kind of transformation in your protagonist's life or struggle. The climax is the moment where the protagonist is tested, tried, and permanently altered by whatever happens."

Post climactic event. When you finish the climactic scene, there's not much left to do. Don't add new plot information or create suspense. You may need to sort through what happened and show how the protagonist has changed, but you want to do this quickly.

Rosenfeld's checklist for climactic scenes:

1. Does your climactic scene use as many elements as possible to build a well-rounded, complex event: action, dialogue, setting details, emotional content, dramatic tension?
2. Is there one climactic scene for each protagonist? the fewer the better.
3. Is the climax event directly related to the significant situation?
4. Does the climax change your protagonist permanently in some way? Is it a point of no return?
5. Are the stakes high in the climax?
6. Is the climactic scene at the high point of the action and drama? Are the scenes that follow slower, more reflective, and less action?

That's what Rosenfeld has to say about the climactic scene. So this is the one scene in the plot that all the threads are aimed at, where the protagonist faces the real test, problem, conflict -- and either makes or breaks?

We're getting close to the end of the list of scenes. But in the meantime, consider taking a novel that you really enjoyed, and analyzing the climactic scene. How was it set up? Sometimes the foreshadowing for a climactic scene seems to thread all the way through the novel, with various bits and pieces pointing towards the inevitable meeting. But check the scene just before, and look at what was done to hint that here it comes! And then take the scene itself apart. How much lead in does it have, and what happens to the pace in the scene? Think of the old mysteries -- when the guy in the big chair starts laying out the pieces, he rattles and thumps and makes everyone jump, but it goes pretty darn fast. And there are twists and turns as he explains that while everyone thought the butler did it, in reality -- the maid did it, wearing the butler's shoes! And then look at where the climax sits in the whole story, and what comes afterwards.

Then consider the climax for your story. Is it really a peak for the story? How can you make sure that the reader knows it is coming, how do you push them into it and drag them remorselessly through it, and how do you avoid spending too much time afterwards tying up all those odds and ends?

'saright? Write!

"The great thing about human language is that it prevents us from sticking to the matter at hand." Lewis Thomas