I know some writers are diligent about keeping their journals pristine. The pages are crisp, the lines straight and legible, and every word is thoughtfully selected. The theme is consistent — a dream journal, an idea journal, a diary. It’s an orderly affair done up in a tidy fashion. And that works for some people.
But it doesn’t work for me.
If I’m going to be creative — if I’m going to let my creativity flow — then I need to let things get messy. I need to dig my toes in the mud, bury my fingers in the clay, and splash paint across the walls. I can’t be confined by order or logic. I need to write sideways and upside down. I need to doodle. Jot down song lyrics. Make smudges. I need to be free.
And I’m not the only one. Read More
Part memoir, filled with poetry exercises and activities, and sprinkled with poems, Poemcrazy is sure to inspire anyone who wants to delve deeper into the art of writing poetry and the lifestyle of a poet.
Poemcrazy is a delicious read with bite-sized chapters that give you a creative boost and a flash of inspiration before any poetry writing session.
The combination of Wooldridge’s stories about her life as a poet, her suggestions for poetry practice, and the poems she shares (written by herself and others) combine brilliantly for a fun and engaging yet practical read.
Live, Practice, Poetry
It’s not often that we get a glimpse inside the life of a poet. Susan Goldsmith Wooldridge is a poet and teacher who provides writing and creativity workshops around the U.S. In Poemcrazy, she shows us how her life and her poetry are intertwined, each feeding the other. From quiet moments walking alongside a creek to monumental events, such as the impending loss of a parent, we see how a poet finds inspiration, words, and a voice.
Each chapter shares a quick scene or story from Susan’s life followed by some suggestions for poetry practice. One of my favorite practices from the book was collecting interesting words and writing them on “word tickets.” You can stash your word tickets in a container or leave them around the house for random inspiration. Your collection of words form a wordpool, a body of words that you can dip into whenever you want. This is a practice that can truly expand your vocabulary, which is essential for poets. She also offers tons of prompts and other ideas that will both inspire your poetry and refine it.
There are poems and excerpts throughout the book. Some of these are Susan’s own poems, but she also shares the work of well-known poets and examples from pieces her students wrote during workshops. All of these serve as examples that show how Susan’s experiences, ideas, and exercises can be put into practice.
Writers who are diligent about studying the craft often immerse themselves in books that focus on writing tools and techniques. Sometimes we forget to look at authors who have gone before us by reading memoirs, biographies, and autobiographies. These works can provide valuable insight into what it means to be a writer. Poemcrazy shows us what it means to be a poet.
This is a book I recommend to anyone who’s interested in exploring poetry or refining their language skills. It’s fun, inspiring, informative, and will breath fresh life into your poetry and writing practices.
If you read only one book on storytelling, make it The Writer’s Journey by Christopher Vogler.
Over the years, I’ve read a lot of books on writing fiction. Many have been helpful, but some have left me feeling disappointed, especially those that promise their methods will result in a successful story or make grand claims that their way is the only correct way to write a story. I’ve seen these claims made in books on the writing process and in books on story structure.
The Writer’s Journey makes no such claims, but it does provide us with a story structure that was discovered, not created. It’s based on universal patterns in storytelling that are flexible yet proven. As you read through it, you’ll immediately recognize these patterns in almost every story you’ve read or watched.
A Little History
“The pattern of the Hero’s Journey is universal, occurring in every culture, in every time. It is as infinitely varied as the human race itself and yet its basic form remains constant.” — Christopher Vogler, The Writer’s Journey
Joseph Campbell was a mythologist who discovered recurrent patterns in myths, legends, and folklore. These patterns occurred in stories throughout human history and all around the globe. He recorded these observations in a book called The Hero with a Thousand Faces. This is the book that gave us the Monomyth, which is more commonly known as the Hero’s Journey.
Although it was brilliant, Campbell’s work was dense, highly academic, and spent a lot of time on the connection between psychology and mythology (as well as stories from scripture and religious traditions). It identified common patterns in storytelling, but it focused on myths, legends, and folklore, leaving out other genres. It was also rooted deep in the past, because it was based mostly on ancient tales. Human culture has since evolved, and so has storytelling.
Enter Christopher Vogler, a Hollywood script analyst who studied Campbell’s work and produced a seven-page memo for his peers to help them improve the stories in the films they were making. Vogler had reworked Campbell’s discoveries into a simple model for storytellers — a model that was applicable to all stories, not just myths and ancient legends. The memo became legendary in the storytelling world and was eventually expanded into a book called The Writer’s Journey.
The Hero’s Journey
“The self-conscious, heavy-handed use of this model can be boring and predictable. But if writers absorb its ideas and re-create them with fresh insights and surprising combinations, they can make amazing new forms and original designs from the ancient, immutable parts.” — Christopher Vogler, The Writer’s Journey
You’ve probably heard of the Hero’s Journey. There are hundreds of articles, videos, and blog posts about it all over the Internet. Many authors have created their own variations. I’ve studied many incarnations of the Hero’s Journey over the years, but nothing is as clear or useful as the book itself.
The Hero’s Journey is a structure for storytelling — a form, not a formula. It was observed, not invented, so it already existed and had a proven track record long before Campbell unearthed it or Vogler refined it. The pattern can be observed in stories such as The Wizard of Oz, which was created long before Campbell or Vogler came along.
The Hero’s Journey can be used to write stories, troubleshoot stories, or analyze and study stories. It also provides us with language for discussing common elements in stories, like the Herald, the Mentor, or the Call to Adventure.
I’ll provide a brief overview of the Hero’s Journey, but you’ll only get a fraction of what it’s all about if you don’t read Vogler’s book, which, by the way, is a fun and delightful read.
“The Hero’s Journey is not an invention, but an observation.” — Christopher Vogler, The Writer’s Journey
The Hero’s Journey starts with eight archetypes. They are often characters, but archetypes are better viewed as functions or energies in a story:
- Hero: Protagonist who undergoes a meaningful transformation through the story.
- Herald: Signals that an adventure (or change) is imminent.
- Mentor: Teacher and guide.
- Threshold Guardian: Blocks a threshold that the Hero must pass.
- Shadow: The villain and other characters that stand in the Hero’s way; often they embody the Hero’s negative or undesirable traits.
- Shapeshifter: A character or entity whose motives or intentions are unclear.
- Trickster: Comic relief; tricksters are often catalysts for change.
- Allies: The Hero’s friends and helpers.
Each of these archetypes has a very specific job to do in a story. Some characters may perform the functions of multiple archetypes, and some archetypal roles may fulfilled by events or objects (such as when a book provides the function of a mentor).
Stages of the Journey
“The model only shows the most likely place for an event to occur.” — Christopher Vogler, The Writer’s Journey
The Hero’s Journey then delves into twelve stages of a story. This is not an outline or formula. The stages can occur out of order, and they can overlap one another. This is a very loose guide that we can use to assess a story’s structure and identify its core beats:
NOTICE: This section includes spoilers for The Wizard of Oz, Star Wars: Episode IV A New Hope, Harry Potter, and Titanic.
1. Ordinary World: We see the Hero’s world before the story really kicks in. In The Wizard of Oz, this is Dorothy in the gray world of her family’s Kansas farm.
2. Call to Adventure: Something (usually a Herald) signals that change is afoot. A classic example is the white rabbit from Alice in Wonderland.
3. Refusal of the Call: The Hero refuses to answer the call to adventure, often citing excuses. In Star Wars, Luke Skywalker insists he can’t accompany Obi-Wan Kenobi because he must stay and help his uncle on the farm.
4. Meeting with the Mentor: The Hero encounters a Mentor, who will provide guidance and bestow necessary tools and skills. In Harry Potter, Hagrid (and many other characters) provide Harry and his friends with guidance and magical objects that will be essential in overcoming the series of challenges they will face.
5. Crossing the First Threshold: The Hero passes the first Threshold, leaving the Ordinary World and entering the Special World of the story. In the film Titanic, Rose boards the ship with her mother and fiance. This is an example without a Threshold Guardian, but often the Hero must pass a test and get past a guard to cross the threshold into the Special World.
6. Tests, Allies, and Enemies: The Hero acquires allies (often building a team), faces tests, and establishes enemies. In The Wizard of Oz, Dorothy finds allies in the Scarecrow, Tin Man, and Cowardly Lion. The Wicked of the Witch issues a threat, becoming Dorothy’s enemy. Dorothy and her friends overcome a series of challenges as they journey toward the Emerald City.
7. Approach to the Inmost Cave: The Hero (usually accompanied by Allies) approaches the story’s central Ordeal. In Star Wars, this is when the Millennium Falcon is being sucked into the Death Star.
8. Ordeal: The Ordeal often occurs underground or inside the enemy’s lair. The Hero (and team) face their biggest threat and undergo a metaphorical death and rebirth. In some stories, this is a love scenes, such as in Titanic, when Jack and Rose consummate their relationship in the vehicle storage section of the ship.
9. Reward: The Hero is rewarded for surviving the Ordeal. In The Wizard of Oz, Dorothy gains possession of the Wicked Witch of the West’s broom after she successfully kills the witch.
10. The Road Back: There’s one more big challenge ahead. In Star Wars, Luke and his team are going to attempt to take out the Death Star.
11. Resurrection: This big challenge includes another metaphorical death and rebirth. In Titanic Rose almost drowns but wakes up and swims through the freezing water to grab a whistle and get herself rescued.
12. Return with Elixir: The Hero has successfully completed the journey and can now return to the Ordinary World, often bringing an elixir, which can be something that saves the people of the Ordinary World but can also be personal improvement. In The Wizard of Oz, Dorothy returns to Kansas with a new appreciation for home and family, and having integrated and balanced the three traits of kindness, intelligence, and courage.
The Writer’s Journey is a Must-Read for Anyone Interested in Storytelling
The Writer’s Journey is a guide, not an instruction manual, for storytellers. And while the overview above will give you a broad sense of how it works, the book itself delves deep into each archetype and stage of the Hero’s Journey, providing clear yet detailed descriptions along with examples from well-known films, so you can easily relate the concepts to real-world examples. There are also in-depth analyses of films like The Wizard of Oz, Titanic, and Pulp Fiction to show how the Hero’s Journey works in some of the most successful stories of all time.
I cannot recommend this book strongly enough. And I’m glad it’s available in paperback, because I marked it up with notes and highlights, and I’m sure that I will return to it again and again, both in my work as a storyteller and as a writing coach.
Poetry is the music of language, the fine art of the written word. It demands a broad vocabulary and creative thinking. It promotes rhythm and meter, and it invites imagery. Poetry triggers the imagination, engages the intellect, and touches the heart.
Reading and writing poetry are excellent practices for any writer. Through poetry, we learn the nuances of language, the power of showing rather than telling, and the necessity for clear and succinct wordcraft.
Basically, poetry reading and writing improves all other writing.
So, whether you are a poet or not, as a writer, a basic understanding of poetry will improve your writing exponentially. Can you succeed without it? Of course. But with poetry skills in your writer’s toolbox, your writing will soar. Read More
“It’s the scene where we meet the hero, and the hero does something — like saving a cat — that defines who he is and makes us, the audience, like him.” — Blake Snyder, Save the Cat
Save the Cat has been on my radar for several years; it’s one of those books I kept meaning to read but never got around to, until now. And I wish I’d read it when I first heard about it. This book is packed with goodies for storytellers!
But Save the Cat offers more than just insight on storytelling. It’s an inspiring and entertaining read. I constantly found myself wanting to set the book aside so I could go write, but I also wanted to keep turning the pages so I could absorb more techniques and ideas.
Technically, Save the Cat is a screenwriting book. Along with Syd Field’s Screenplay, it’s a Hollywood staple — not just for screenwriters but also for directors and producers. But Save the Cat goes beyond screenwriting and delves into the art of storytelling. Therefore, most of the concepts in the book are applicable to all kinds of storytellers, including novelists.
Warning: Save the Cat is very much about writing screenplays that will sell and doing so efficiently. Therefore, the book takes an approach that is more commercial than artistic, but Snyder leaves plenty of room for artistry.
Before the Draft
“All of this is intended, of course, to ultimately save you time…It’s a lot easier to see and move cards around on a board than chunks of your own writage that you’ve fallen in love with.” — Blake Snyder, Save the Cat
Snyder spends considerable time on planning and preparation, what many of us call pre-production. This is all the work we do before we sit down to write the draft.
One of my favorite tips from Save the Cat suggests writing a logline before you write your story. A logline is a summary of your story in one or two sentences, an elevator pitch. It’s supposed to entice people to watch the movie (or read the book, for us novelists). Composing a logline forces you to figure out the core essence of your story before writing it, and this brings it into focus.
Writing a polished logline is no small exercise. It must be short, concise, and convey key details about your story, giving people a sense of what it’s about without spoiling the ending. As you work out your logline, you will undoubtedly discover flaws in your story ideas. Therefore the practice of writing your logline first allows you to fix those flaws before you spend weeks or months hammering out a full manuscript.
But a logline isn’t all you should figure out before you tackle your first draft. Snyder also recommends deciding on a title and coming up with an idea for the movie poster (for us novelists, that would translate to a book cover), and you should also identify its audience. All of this preliminary work is designed to help you crystallize your story before you write it, and this will save you time later, because you’ll need to do fewer revisions. It will also minimize the risk that you’ll end up with a draft that ends up in the trash.
Plot Types and Planning
“True originality can’t begin until you know what you’re breaking away from.” — Blake Snyder, Save the Cat
Another section I liked covered Blake Snyder’s ten genres. I have to admit that I had some trouble with his use of the word genres. What Snyder offers up are actually plot types, but this is just a matter of semantics. Plenty of story scholars have come up with lists of plot types, but I found these intriguing. Here’s a small sampling:
- Monsters in the House: Jaws, Tremors, Alien, The Exorcist, Fatal Attraction, and Panic Room.
- Golden Fleece (a hero goes on a journey in search of one thing but ends up discovering something else): Star Wars; The Wizard of Oz; Planes, Trains, and Automobiles; Back to the Future, and most “heist movies.”
- Rites of Passage: Every change-of-life story from 10 to Ordinary People to Days of Wine and Roses.
Once you’ve nailed your logline, audience, and genre (or plot type), you can start outlining. Snyder refers to outlining as writing beats or “beating it out.” He provides a very detailed formula for you to follow, titled “Blake Snyder’s Beat Sheet” or BS2 for short. Here’s a taste of Snyder’s beat sheet (numerals in parentheses refer to the pages of the script):
- Opening image (1)
- Theme stated (5)
- Set-up (1-10)
- Catalyst (12)
Snyder’s beats include fifteen distinct plot points that occur in a story and even specify which pages of a screenplay these points should occur on (page numbers wouldn’t be applicable to novelists). Within these beats, I found several that I thought were useful reminders of good, strong storytelling practices, like starting with a clear and vivid opening image and then using a closing image that is an inverse of that image, emphasizing the change that has occurred (most great stories are about change).
A Note on Formulas
“I have no fear that anyone will steal my idea (and anyone who has that fear is an amateur).” — Blake Snyder, Save the Cat
Snyder’s beat sheet is very much a formula. Keep in mind that this formula is designed to help screenwriters write screenplays that will sell — it may strike you as a little too formulaic.
Storytelling formulas are tricky. Al the great stories do seem to adhere to a clear formula. In movies, we can easily plug films like Star Wars or Titanic into the Hero’s Journey. And as I read through Snyder’s formula, I could see dozens of movies swirling through my head; I believe this formula can serve a screenwriter well. However, many artists think formula writing is a form of selling out, and we’ve certainly all seen utterly predictable movies that were formulaic to the point of being annoying. But since the greatest stories and movies of all time can also be matched to basic story formulas, they obviously work when applied correctly.
I think this and other formulas are useful as a kind of checklist for including certain beats and plot points. It would also come in handy as a tool for figuring out what’s wrong with a story or determining what’s missing. I would suggest exploring Snyder’s system and experimenting with it, adapting it to your own needs and working style.
“Most of all, you must try to find the fun in everything you write.” — Blake Snyder, Save the Cat
Snyder’s section about The Board was one of my favorite parts of the book. I started using a similar method while writing my third novel (the first one I published). It involves putting various bits of your story on note cards and putting them on a board (I use a huge magnetic white board). This is by far the funnest part of writing a story because it’s where all the ideas happen. It’s also tactile, because you’re working with paper and pens and using your hands, all of which is creatively stimulating.
Snyder goes into some really deep-level instruction here, laying out a system for organizing the cards on the board and insisting that when your board is done, you must have forty cards, each representing one scene. There are four rows (the first is Act One, the second and third are each half of Act Two, the fourth is Act Three). The specificity here is not for novel writing, but the gist of the board is one of my favorite tools for story development.
Get it Now
“What you are saying in essence is: This story, this experience, is so important, so life-changing for all involved—even you, the audience—it affects every single person that is in its orbit.” — Blake Snyder, Save the Cat
Save the Cat is packed with tips and ideas that will benefit any storyteller. Most of us won’t use it as an instruction manual, but we can use the strategies in the book to improve our own story writing processes. I recommend this book for anyone who wants to master the art of storytelling, for film or the page. Save the Cat is available at fine bookstores everywhere, including Amazon, where you can pick up a Kindle version or a paperback.
There are a million ways to approach writing a novel. You can outline your plot. You can create a series of scenes and use note cards to organize them. You can use a tried and proven formula from any number of plotting resources. Or you can create a couple of interesting characters and just start writing.
In 1999 Chris Baty rounded up twenty-one friends and together they set sail on a journey like no other. With no map and no compass, they each set out to write a novel in just one month.
Some of the crew got lost at sea. Others survived the voyage and reached dry land with scrappy but completed novels in hand.
The result? One of the most celebrated writing events in the world: NaNoWriMo.
“That [we] were undertalented goofballs who had no business flailing around at the serious endeavor of novel writing was pretty clear. We hadn’t taken any creative writing courses in college, or read any how-to books on story or craft. And our combined post-elementary-school fiction output would have fit comfortably on a Post-it Note.” — Chris Baty, No Plot? No Problem!
Despite their lack of talent and experience, and despite the fact that more than half of the original crew went overboard, Chris Baty and his friends had unlocked one of the secrets of novel writing, and with that treasure in hand, Chris went on to found one of the most beloved and exciting writing events in the world.
National Novel Writing Month
Today, National Novel Writing Month (NaNoWriMo) takes place every November. In 2007, the event’s ninth year, over 100,000 participants signed up from all around the world, and over 15,000 reported that they finished their novels. By 2010, over 200,000 people were participating, and the numbers continue to grow.
National Novel Writing Month has been expanded with Camp NaNoWriMo, which is basically NaNoWriMo in months other than November.
Some NaNos (that’s what participants are called) have even gotten book deals and published novels they wrote for NaNoWriMo. Others found that writing a book wasn’t as hard as they thought and went on to pursue a career in writing. A few discovered that writing a novel wasn’t the dream they thought it was and moved on to other endeavors.
But every person who signed up and went through NaNoWriMo came away with a valuable experience and new wisdom about what it means to write a novel.
Writing Resources Can Be Fast, Fun, and Functional
I read No Plot? No Problem! in one night. It only took a couple of hours, and I enjoyed every minute of it. The book is straightforward and easy to read, but it’s also packed with humor. I found myself laughing out loud as I made my way through the chapters. More importantly, the book proved to be a useful addition to my ever-growing collection of writing resources.
Chris takes you through his own journey to becoming a novelist and then dives into the lessons he’s learned and techniques he’s discovered. Much of his advice centers around plot development (which is no surprise, considering the book’s title), and I was ecstatic since plot was the one wall I kept crashing into every time I attempted to write a novel. I had plenty of characters, settings, and scenes. But no plot.
Chris Baty solved that problem for me. Oh sure, he touches on character creation, finding time to write, and why you shouldn’t EVER revise while you’re still plowing through your first draft. But more importantly, Chris revealed ideas for tackling plot that I’d never before considered (or even heard about).
A couple of weeks after I read the book, I diligently signed up for NaNoWriMo (2008) and hopped aboard my own ship. The voyage was sometimes smooth, sometimes rocky, but in the end, I reached the far shores as a novelist. And while I’m the one who wrote that novel, I have to thank Chris Baty not only for founding the event that led me to write my first novel in just thirty days, but also for his funny, insightful, and informative book on novel writing and plotting.
Believe it or not, there is a plot lurking around somewhere inside that muddled imagination of yours. There are also characters, scenes, themes, and a whole lot more. No Plot? No Problem! will help you dig through the muck and unearth the novel that’s waiting to be written.
Get Your Novel Off the Ground
Whether you plan on participating in NaNoWriMo this year or if you just want to write a novel at your own pace, this is one of the best writing resources for starting and finishing your novel. My own experience with this book is proof that by changing the way you approach novel writing, you can also change the outcome and finally succeed. Next time you have an idea for a novel or start a novel project, you’ll actually finish it!
Get your copy of No Plot? No Problem! today.
As a writer, it’s only natural that I pay attention to the mechanics of my craft, which is why I’m always on the lookout for new and useful writing resources.
Back in 2007, when I discovered the Grammar Girl podcast, my interest in grammar piqued, and I started writing more consciously than ever before. Sure, I still break the rules of grammar now and then. That’s what creative writing is all about, right?
But if you don’t know the rules, then you shouldn’t break them — otherwise your writing will come off as amateurish. Good news: Grammar Girl has a few resources that will fine tune your grammar skills quickly and easily while rounding out your own collection of writing resources.
Grammar Girl provides short, useful tips on grammar that are easy to remember and easy to put into practice. Her tips are available in audio format as a podcast, in text format on her blog, and as a full-length, comprehensive book that is informative and fun to read.
Her podcast has received much critical acclaim. In fact, Grammar Girl has had appearances and mentions on The Oprah Winfrey Show, The New York Times, and USA Today, to name a few. In fact, Grammar Girl is highly credited with sparking a fresh interest in grammar throughout our culture.
Listen and Learn
Each episode of Grammar Girl is available in both audio and text format. You can subscribe to the podcast through iTunes (search the iTunes store for “Grammar Girl”), or you can access the audio and text versions through her RSS feed. New installments are produced each week and each one lasts about five minutes or less. You’ll gain a wealth of information in that small amount of time. No matter how acute your grammar skills are, they’ll become even sharper! Visit Grammar Girl’s website for more details.
Buy the Book
Grammar Girl’s expertise is also available in a full-length book, which is available in paperback and for the Kindle. Grammar Girl’s Quick and Dirty Tips for Better Writing impressed me because it’s a resource book that you can read. A lot of grammar and style guides are designed to be reference books. You crack them open when you need to look up something specific. Grammar Girl’s book reads comfortably from cover to cover. She has a casual and friendly voice, and the book is packed with fun tips and mnemonic devices to help you remember the rules.
Another thing I love about the book is that it’s for general usage. Grammar Girl lets you know when something is a rule and when it’s a style issue. She also provides her own style preferences and supports them with logical reasons. I found her positions on style agreeable and well explained.
The book appears to be, at least in part, a composite of her podcasts and blog posts. As much as I’ve loved her podcast and blog for the past few years, it sure is nice having it all in one convenient package. I especially love the Kindle format because it’s searchable. There is also an extensive index, so you can get quick answers to your most pressing grammar questions.
Best of all, Grammar Girl is perfect for creative writers because she’s not a grammar snob. She keeps it casual and lets you know when you should stick to the traditional rules in formal situations and when you can relax and go with common usage.
Tour the Book
The book starts out with a bunch of short and fast tips. You could easily read through a few pages a day and learn several new grammar rules per session. When you’re warmed up, the book delves into deeper and more complex issues before shifting into proofreading tips and advice for coming up with writing ideas.
Here are some highlights from the book:
- It includes a discussion on whether to use they or one or he or she as the singular pronoun for unknown entities. (Example: A writer should always carry their/his/one’s/his or her book.)
- There is an entire section devoted to Internet- and tech-speak.
- It includes a list suggestions for additional grammar, style, and other writing resources.
- Grammar Girl offers practical solutions for common problems and scenarios that writers face every day.
- The book includes information about every aspect of grammar from homophones and punctuation marks to dangling prepositions (it’s okay to dangle!) and split infinitives (it’s also okay to boldly go somewhere!).
I actually think this is a book everyone should own but especially writers. If you’re a new or beginning writer, it will give you a solid foundation in the rules of grammar and sentence structure. If you’re an experienced writer who knows the rules (or most of them), the book works as an awesome refresher course. Plus it encourages you to think more clearly and carefully about how you construct your writing.
Meet Grammar Girl
Mignon Fogarty is the creator and voice behind Grammar Girl. She is also the founder of Quick and Dirty Tips. Mignon has written for magazines, worked as a technical writer, and is an entrepreneur. Much of her writing experience is in the fields of health and science. She holds a BA in English from the University of Washington and an MS in biology from Stanford.
Get Grammar Girl’s Writing Resources
Since discovering Grammar Girl, I’ve acquired plenty of fresh knowledge about grammar, some of which I’ve shared here in the Writing Forward grammar posts. Whenever I listen to her podcast, scan her blog, or read her book, I always pick up new insight into grammar and writing. I can’t recommend Grammar Girl enough. Creative writers definitely need to add this one to their libraries and writing resources!
Do you already listen to Grammar Girl or do you have any other writerly podcasts or writing resources that you’d recommend? Leave a comment and let us know!
We usually understand a journal to be a place for writing about ourselves, but journals can be used for plenty of other purposes, many of which are especially useful to writers.
I’ve had my share of adventures in journal writing. As a teen, I kept a diary. Later, I had a poetry journal. I tried dream journaling, art journaling, and sometimes I keep a gratitude journal.
I believe journal writing is a huge boon to writers, especially when we’re not working on a specific project or when we’re looking for our next big project.
Today, I’d like to share a few of my favorite journal writing tools and resources.
A Place to Create
It’s been said a million times: If you want to be a writer, you have to write. I would add that if you want to be creative, you have to create. Sitting around and waiting for a big, blockbuster idea won’t do you any good. You’ve got to practice. And keeping a journal is a great way to practice writing and foster creativity every single day.
What I love best about my journal is that there are no rules. It’s my own little creative space. I use it for freewriting, sketching, and writing down my thoughts. I don’t write in my journal every day, but before I started blogging and writing professionally, I was pretty diligent about using my journal for routine writing practice.
I’ve been poking around the web in search of some of the best tools and resources for journaling with an emphasis on creativity and writing. Here’s what I found:
Moleskines are the most popular notebooks for writers and artists. They come in various sizes ranging from pocket-sized to 8 x 10 (inches) and with various paper, including blank or lined pages, thick paper, or regular note paper. There’s a pocket in the back, a placeholder ribbon, and a strap that keeps the journal closed. Moleskines were popular with Vincent van Gogh, Pablo Picasso, and Ernest Hemingway, so they’ve got solid endorsement. I’ve had one for several years but only recently started using it and discovered that I absolutely love it.
The Artist’s Way
This classic book for writers and artists is well known for giving us “morning pages.” It has inspired writers and artists to create on a daily basis. The Artist’s Way has become a staple among all kinds of creatives from filmmakers to crafters. You’re sure to find something to help you establish a writing routine, improve your writing skills, or overcome writer’s block in this book, which includes a twelve-week program packed with activities and exercises that you can do.
Paper Mate Profile Pens
I’ve never been into fancy, expensive pens. Frankly, I go through far too many pens to spend a lot of money on them, and we all know how easily pens get lost. I also like to have a range of colors at my disposal. I’ll use a color that matches my mood, or I’ll use colors to create outlines and mind maps that are color coded and easy to navigate. These Paper Mate Profile Pens are the best! They write smoothly, have a nice grip, and are affordable. Plus, you can buy them singly or in a package of assorted colors. They’re also great for doodling and sketching in the margins!
Day One Journal App
One of the great things about technology for writers is that it provides a simple way to create, organize, and store your work. Gone are the days when we filled notebooks with novels and then transcribed them on typewriters. New technology is just as useful for journaling and keeping notes. Day One is a journal app available for the Mac, iPhone, and iPad. It’s one of the most popular journal apps with features that include password lock, calendar view, photos, and inspirational messages, plus it syncs with iCloud and Dropbox.
Wreck This Journal
Wreck This Journal unleashes your inner artist and allows you to be creative without fear of failure because the journal is designed to be wrecked. It’s a great way to get your creativity out of the box. As you work your way through the journal, you’ll cut, tear, and thrash the book. You start letting go of constraints and inhibitions, allowing yourself to make mistakes and create poorly crafted prose, giving your creativity the courage it needs to take risks.
A Few More Goodies
- I love this: 1000 Journals traveled from hand to hand throughout the world.
- Here at Writing Forward, we’ve talked a lot about writing groups, but did you know there are also journal groups? (I didn’t!)
- Before Moleskine, this was my favorite journal: The Watson-Guptill Sketchbook. I’ve been using these for well over a decade and they house my most precious journal writing material (freewrites, poems, reflective journals, drawings). They come in various sizes and colors, and they feature hard covers and blank, unlined pages.
- Last but not least, this lovely little video explains the art of journaling and the freedom that a journal brings:
People use journals for a variety of purposes: for self-improvement, personal reflection, heritage preservation, creativity, tracking professional progress, and writing practice. Do you keep a journal or use a notebook? How has journal writing helped you? Got any journaling tips or resources to add to this list? Leave a comment, and keep journaling!
Writing resources are easy to come by. But good writing resources, ones that will truly help you improve your writing, can be difficult to scout out among the many books on writing that are available.
Originally published in 1959, The Elements of Style has been a fixture among writers who want to compose words with poise and clarity. Coming in at under 100 pages, it’s a quick read packed with style tips, grammar usage, and general advice on writing.
The Elements of Style was the first writing book I ever owned. In sixth grade, when I was assigned my first term paper, one of the requirements was to use this book. It was only recently that I finally upgraded to the latest edition and read it in its entirety for the first time, and I was impressed beyond measure.
The Elements of Style
Of all writing resources, The Elements of Style is probably the most well-known. Since it was first published, it has helped millions of writers and is the only style guide that has ever graced the bestseller list.
William Strunk Jr., late professor of English at Cornell University, first wrote the book for his students. One of those students eventually became one of the most beloved writers of the twentieth century. E.B. White, author of such great literary works as Charlotte’s Web, Stuart Little, and The Trumpet of the Swan, was asked to prepare an edition of the book for the general public. He revised Strunk’s original work, added a final chapter, and The Elements of Style was born.
The story of this little book is fascinating – but its real value lies in the content.
Writing Resources You Can Actually Use
Most writing resources and style guides are presented as reference material. Using an index, you visit your resource only when you need to look up something specific. The Elements of Style is an interesting cover-to-cover read, one that you can easily finish in less than a day.
Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all sentences short, or avoid all detail and treat subjects only in outline, but that every word tell.
-William Strunk, Jr. from The Elements of Style
The book is so small, you can carry it in your purse, your pocket, or keep it conveniently tucked in your laptop bag. Each chapter is concise and and quickly gets to its main point. There are no fancy introductions or lengthy explanations — just hard-and-fast tips, rules, and recommendations.
There are only five chapters:
- Elementary Rules of Usage
- Elementary Principles of Composition
- A Few Matters of Form
- Words and Expressions Commonly Misused
- An Approach to Style
Within these chapters, you will find answers to the most common and nagging questions that perplex writers at all levels, from the young beginner to the mature master. Plus there’s a handy glossary that provides definitions for terms used throughout the book.
Essential for Writers
There are plenty of useful writing resources available. Some of them are designed for general usage and provide readers with the straight facts about style and grammar. Others offer information for specialists (fiction or poetry writing, for example). Few are as useful or convenient as The Elements of Style, a book that every writer simply must possess.
Do you have a copy of The Elements of Style? Why or why not? What are some of your favorite writing resources?
Human beings are built for story.
Story is how we perceive the world around us and how we understand ourselves and other people. Through story, we learn and make connections. We use story to map the future and study the past.
Stories are the single most effective tools for education, communication, and persuasion, which is why stories are prevalent in advertising and political campaigning. Marketers know the power of story.
Stories are powerful because we see ourselves in them. We put ourselves into the stories we read and experience things we could never otherwise experience.
Put simply, stories transcend.
Telling True Stories
Telling True Stories is, foremost, a book on the craft of narrative journalism, which is the art of telling true stories while adhering to the standards of journalism. It’s a dense book (the paperback is 317 pages) filled with essays and stories about reporting and writing, but its greatest value is the experience and wisdom shared by its authors:
“Stories are parables. Write and edit and tell yours with meaning, so each tale stands in for a larger message, each story a guidepost on our collective journey.” – Jacqui Banaszynski, Telling True Stories
This collection of essays features some of the most successful and prominent journalists and nonfiction authors. Every year, these writers gather for Harvard’s Nieman Conference on Narrative Journalism. Telling True Stories offers their best insights from finding the right topic to structuring a story, from ethical considerations to building a career.
Insights from Telling True Stories
In my experience, reading books on the craft of writing that are outside my form or genre is one of the best ways to gain a deeper understanding of the craft as a whole. If you’re a fiction writer and all you do is read fiction (and books on fiction writing), you’re missing out on the many nuances of writing that are not addressed in the realm of fiction. I have found that my studies of poetry have greatly enriched all my other forms of writing, from copywriting and blogging to fiction writing.
So I wasn’t surprised to find that, even though I’m not a journalist, there were plenty of wonderful nuggets of writing advice and insight that I could easily apply to my own writing. Some insights were new; others were welcome reminders:
- The ending must bring a payoff. (p. 28)
- Every deep story involves a subjective person slamming into an objective world. (p. 35)
- The first draft takes the longest and is the most painful. (p. 53)
- You start with an unformed, fuzzy idea, throw it into a funnel, and out comes a focused, purposeful story. (p. 55)
- Writing is like scraping off a piece of yourself; people can see beneath your skin. (p. 100)
- Why should the reader be expected to just lie flat and let these people come tromping through as if his mind were a subway turnstile? (p. 101)
- Every detail you select should help communicate your story’s theme. (p. 147)
- The editor is the reader’s professional representative. (p. 197)
- Successful rewriting requires a fierce sense of competition with yourself, not anyone else. You must be dogged in reaching for your personal best. (p. 205)
- When a good editor or another reader gives you feedback, listen hard to everything he or she says. This isn’t a time to protect your ego; it’s an opportunity to re-explore your story and force yourself to delve even deeper. (p. 207)
- One way to attract readers is to create an irresistible central character, one the reader truly cares about. (p. 219)
- Every story contains an engine: the unanswered question that keeps the reader going. (p. 220)
This is just a small sampling of the wit and wisdom that I discovered while reading Telling True Stories. But this isn’t one of those books that you can’t put down. I found that I needed to read it in small chunks, which is unusual for me since I usually either inhale a book or cast it aside after the first few chapters. With Telling True Stories, I wanted to read a few essays, then chew on what I’d read.
It also made me want to write. Sometimes I had to put the book down so I could work on my own story, (which is not a true story, by the way). Like I said, I’m not a journalist, but I learned a lot about my own writing craft from the narrative journalists who shared their expertise and experience in this wonderful collection of essays.
If you’re anything like me, you’re always looking for books on the craft and other writing resources that you can use to strengthen your writing skills or inspire fresh ideas. Telling True Stories will be a valuable addition to your collection of writing resources.