mbarker: (Fireworks Delight)
[personal profile] mbarker
Original Posting 2021/3/5
Writer's Digest, April 1991, p. 40-42, had an article by Richard Hunt talking about how to avoid formula writing. This is where the twists are ones you've seen before, or maybe you're writing just like somebody else. Overuse, imitation, it just doesn't make the readers keep reading.

The basic strategy – don't take the easy way out. Avoid easy endings, well-worn phrases, and other trite repetitions. Now, how does formula writing sneak up on you? Well, Richard Hunt suggests three ways that it often weakens manuscripts. Imitating the style of an established writer, too many descriptive passages, and those stock scenes that we've seen so many times before.

Now, a good way for beginning writers to understand pacing, plotting, and other techniques is to mimic a famous author. But, you need to find your own voice, your own rhythm, your own style.

Now, descriptions sometimes choke out the other parts of the story. Kind of like kudzu! Pick your details, and clear out the kudzu in revision. By the way, be careful of adjectives.

Finally, make sure every scene has a purpose. Avoid stock scenes. Make sure each scene is interesting, and gives the readers some new territory to cover.

So, you can change the threat of formulas into original work. Twist the ending, mix in odd pieces, borrow from other genres, boost that ordinary uninspired story into the stratosphere.

Go ahead! Take something you've written, or are writing, and see if formula writing has crept into your work. Then try Richard's ideas. Work on your style, clear out the extra descriptions, and make sure that your scenes are all working for you!
mbarker: (Me typing?)
[personal profile] mbarker
Original Posting May 25, 2017

Writer's Digest, February 2000, on pages 40-42, has an article by David Curran with the title "Step up to Stronger Dialogue." In it, David recommends three exercises to help you learn to write good dialogue. Here we go!

1. One-sided conversations. Start out with a simple one, a one sided conversation. For example, pretend you're eavesdropping on one side of a phone conversation (yes, it could be someone with a cell phone standing in the checkout line in front of you). So, write the monologue without adding any observations about the speaker's thoughts or gestures. Just the conversation. Put in a bit of mystery, why does the speaker react to the other person in a certain way? Maybe build in a little bit of conflict. Work on the voice, so that this person sounds like they have their own way of speaking. Go ahead and free your imagination. Where are you likely to get one-sided conversations? Someone talking to their pet? Someone talking to their computer? Someone talking to the hand? Tell a story, beginning with a little hook, a middle that reveals the story conflict, and an ending. Try several different conversations, and read them to your friends. See how they react!

2. Real conversations. Now, go to a restaurant, food court, bar, someplace that people are talking, and try to write down some real conversations. Record is much as you feel comfortable with. Yes, you may have trouble hearing, the conversations may well be fragments and full of extraneous stuff. But, that's what real conversations are like. The speakers know the context – but a writer has to provide that context. Tone, gesture, facial expressions, all that stuff – the writer has to work around it. Still, you may have found some useful tricks. When you overheard feelings, what gave it away? "Say as little as you need to establish context. The only way to get the hang of this is to practice, and a good place to practice is with two-sided conversations."

3. Two-sided conversations. Find a newspaper with classified ads by men and women seeking mates (yes, you can use the web, too). Now, build some characters. What did they intend to say, what did they reveal that they didn't expect to. Combine the needs, feelings, flaws and so forth to build a character. Feel free to combine ads. Now, with some characters, work on a two-sided conversation. You know the motives: lonely people looking for something. Put that in dialogue. Tell us about these ad-crossed lovers talking to each other. Then, do it again!

So, one-sided conversations, a little research on real conversations, and two-sided conversations out of advertising. Then, have fun. Try mixing it up, perhaps with letters, perhaps with videoconferencing.

"These exercises should help you with more than just good dialogue. You'll also be learning to develop believable characters with unique voices."

There you go. Let the talking begin!


[identity profile] mbarker.livejournal.com
Original posting 2 Feb 2010

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:
"You have to be very clear and straightforward so an editor knows exactly what you're proposing, how well you're equipped, what material might be there, etc. But at the same time, they're listening to your voice. I think it's the voice as much as anything that really sells the story." Caroline Alexander
Now that's an interesting observation -- voice, not story, is what sells? I suppose if we consider music, many of the classical operas and other pieces are well-known, so it is the voice, the performance, that really sells. But normally we consider that writing is somewhat different. Still, the basic plots, many of the characters, settings... so much of it is tried and true. That's when the writer's voice becomes important. I see arguments that many of Shakespeare's plays are based on older material, and yet... it's Shakespeare's plays that we all remember.

Craft and art? There's a tension between the craft side of writing, where we want to make the words and the structure almost transparent to the reader, so that they submerge themselves in the story, and the art side, where the words and sentences and the arrangement sings to the reader, calls them into enjoyment, seduces them. Not too much, or someone will notice the powder on your characters' cheeks, the paper moon, and the other bits and pieces of the setting. But not too little, either, because it is your story, after all.

Write?
[identity profile] mbarker.livejournal.com
Original posting 18 May 2009

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:
"Voice is the combination of your writing style and your viewpoint. But voice is different from style. I don't think voice is anything you learn. Voice is who you are." Susan Elizabeth Phillips
Voice -- style, viewpoint, that elusive reflection of who we are in everything we write? What's particularly amusing about voice is that while various people praise it, try asking someone how you learn about it, how you practice it, how you can hone your voice -- and in general, you will not get an answer. I do think we have a voice in our writing, but it is more something that you achieve through pushing words through the horn umpteen times than anything else. Kind of like the blues. So don't fret too much about voice, just keep on writing and someday someone will admit to admiring your voice.
[identity profile] mbarker.livejournal.com
Kind of interesting. Over on Baen's Bar there's been some discussion about the right purpose for a writer's workshop. Apparently there are some bloggers who are arguing that you should never use a writer's workshop to fix your current work. They base this in part on  Heinlein's old advice:
1. You must write.
2. You must finish what you write.
3. You must refrain from rewriting, except to editorial order.
4. You must put the work on the market.
5. You must keep the work on the market until it is sold.
As I understand it, the suggestion is that you should always be working on new pieces. Keep crunching them out and send them. Part of the reason for this is to avoid losing your voice.

Somewhere in the fray, I suggested, "If you're using the workshop to avoid completing the cycle -- write, finish, submit, and keep submitting -- then the workshop is probably a bad idea. If you're using the workshop as a step in finishing -- it's a lot easier to see what's wrong when other people point it out."

BTW: Here's the link to Robert Sawyer commenting on this http://www.sfwriter.com/ow05.htm
and Dean Wesley Smith commentary: http://deanwesleysmith.com/index.php/2008/09/06/heinleins-rules-revisted/

What do you think? Do you use workshops and critiques? What for? What do you get out of the responses, and what do you do with them?

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