Writing a book is a big deal. It takes a lot of time and effort, especially if you want to do it right, which means creating something that people will find entertaining or useful and then polishing, marketing, and promoting it.
It all begins with an idea. A concept. It might start with a few characters or an intriguing plot you’ve dreamed up. It might start with an audience you want to write for or a topic you want to explore.
Many writers start writing as soon as an idea strikes. This approach works for some people, but for most of us, it’s a road to nowhere. If we attempt to write a book every time we get a good idea, we constantly leave previous ideas half finished. If we don’t stop to think about whether the idea is viable, we may get in over our heads or write a book that’s unpublishable or unsalable due to market saturation or lack of interest. Read more
Today, I’m sharing one of the oldest and most popular posts on Writing Forward. This one dates back to 2007, but it’s still one of the most-visited posts on the blog and one of my favorites. I hope you enjoy these writing tips and find them useful!
Brian Clark over at Copyblogger has issued a challenge to bloggers in his post “The Cosmo Headline Technique for Blogging Inspiration.”
The idea is to use headlines from magazines like Cosmopolitan for inspiration, and to write your headlines before composing your article.
I’ve taken Brian up on his challenge and as a result, I bring you the 22 best writing tips ever. Read more
The first time someone told me “show, don’t tell,” I had no idea what they were talking about. Show what? Isn’t writing, by its very nature, telling?
I was a young writer and didn’t yet understand the many elements that go into good writing. But I kept hearing that advice over and over: show, don’t tell.
Then, one day, it clicked. I got it. To tell was to write a synopsis. To show was to write a scene, to take readers through the events with action, dialogue, and detail. Show, don’t tell. Of course. It was so obvious.
Now, every time I read that advice, I have to smile.
You Can’t Have Too Many Writing Tips
Learning often happens through repetition. Oftentimes, the first time we hear something, we forget it almost immediately. Through review and repetition, we eventually memorize new information.
There is an infinite number of writing techniques and skills that the most advanced writers have mastered. We can’t expect to get our writing right the first time around, and we can’t expect to master all those techniques and skills as soon as we become privy to them.
You can’t collect too many writing tips, and you can’t brush up on your techniques and skills too often. In that spirit, I bring you fifteen quick and dirty writing tips. These are just the headlines, designed to jog your memory and remind you of all the writerly things we should be doing at any given time.
Quick and Dirty Writing Tips
This list includes a mix of some of my favorite writing tips and some of the tips I think are most essential.
- Read as much as you can (and make sure you read good stuff).
- Write every day – practice makes perfect.
- Acquire some resources: dictionary, thesaurus, style guide, grammar handbook, and books on writing.
- Join or start a writers’ group and get feedback on your work.
- Lower your expectations and allow yourself to write badly. It’s better to write crap than to write nothing at all.
- Feeling uninspired? Writer’s block is no excuse; find some writing prompts and exercises. Use them.
- Do you want to write a novel? Launch a blog? Submit your poetry? Set goals and then get busy reaching them.
- Be yourself. You have your own voice; let people hear it. Don’t compare everything you write to more successful writers. They started somewhere too.
- Tell your inner editor to take a vacation. Let yourself write freely and creatively. You can always edit and revise later.
- Get organized. All those notes, journals, and all that research! Binders, notebooks, and computer files. Put things in order so you can find what you need when you need it.
- Pay attention to your language: word choice and sentence structure is the difference between an award-winning novel and a book that sits on a shelf collecting dust (poetry exercises are great for this).
- Know your audience. Write for them using language they understand.
- Be creative and take risks. You’ll never know unless you try.
- Revise, edit, proofread, and polish everything you write before anyone else sees it!
- Show, don’t tell (you knew that was coming).
Do you have any writing tips to add to this list? If so, then leave a comment. And keep on writing!
When it comes to writing fiction, we each have our own unique challenges. For some of us, it’s a struggle to come up with names for our characters. For others, it’s hard to write realistic dialogue.
Maybe you’re like me, and find it difficult to write a really good villain–I mean–a really bad villain.
The funny thing about our writing weaknesses is that sometimes all we have to do is identify them and suddenly we start coming up with tons of solutions.
That’s what happened to me a few years ago when I realized I was having trouble writing a nemesis for my main character. Time and time again, it was one of the key elements that was missing from the stories I wrote. I was struggling to create a villain that would give my story the conflict it needed.
Once I noticed this pattern, I started seeing villains all around me–as if merely noticing their absence from my writing made them suddenly appear everywhere in my everyday life.
Villains Are Everywhere
Customer service would forget to return my phone call, and I’d imagine a self-absorbed boss who overworked employees and neglected customers. I’d see a story on the news about road rage and I’d imagine a crazed, angry egomaniac. Dirty politicians, people who committed heinous crimes, and generally creepy individuals all became infinitely more interesting once I stopped viewing them as a consumer of the news and started looking at them through the lens of story.
I would notice people’s flaws, mistakes, and bad moods, and think about what people would be like if those flaws were embellished and magnified to outweigh the person’s good qualities and positive traits. Suddenly, my villains were born, one after another, like a little herd of evil trolls.
Film, television, and books also became sources of villainous inspiration. Instead of cringing at them, I started examining them closer. I found some villains were bland and shallow. A villain driven to power for power’s sake lacked depth. A villain driven to power out of revenge for something terrible that happened to his or her family was compelling. Villains whose motivations were understandable, even if they weren’t acceptable, were the most interesting and the most believable.
Tips and Ideas for Creating Villains
I make up characters in my head all the time. Sometimes I write down my ideas, drafting character sketches. Most of them never make it to a story, but the really compelling ones do. Now that I’ve found a surefire way to harvest villains from the world around me, the character sketches have really started to pile up.
If you want to write good fiction, you need a character who creates tension and who is at odds with the forces of good. Even for poets and nonfiction writers, the ability to write a complex villain will improve your writing and help you better understand the subjects you write about.
Here are some tips and ideas for creating complex villains for your stories:
- Choose a model for your villain: an ordinary person, a celebrity, or a notorious criminal from the news; examine that person’s flaws and weaknesses. How have they wronged others? Discard their positive traits, magnify their negative traits, and write a brief character sketch. What’s the character’s name? What does he or she look like? What is going on in the character’s head that allows him or her to treat others with disregard?
- Give your villain a shady past: what terrible things has your villain done throughout his or her life? What terrible things were done to him or her? Some villains are just trouble makers; others are deranged psychopaths. How extreme is your villain?
- Identify the source: what happened to your villain to turn him or her so evil? Was your villain born that way?
- The most interesting villains are not completely evil. They have a soft spot for puppies or they write cheesy love poems. Contrary personality traits add depth and realism to all characters. Describe your villain’s positive traits.
- Put your villain in a scene: make sure you include dialogue so you can work out how the character speaks. Give your villain a distinct voice. Is your villain disguised as a benevolent character? Does he or she spend every waking minute committing evil deeds?
Most importantly, have fun! That’s what fiction writing is all about. Villains are the characters we love to hate because they are the harbingers of obstacles and challenges through which the heroes of our stories prove themselves. Whether you write totalitarian villains like Lord Voldemort of Harry Potter fame or more subtle, complex nemeses like Catwoman from the Batman comics, give your villains plenty of color, character, and complexity.
The more I explore fiction writing, the more complex and multi-layered it becomes. Through the processes of brainstorming, outlining, researching, writing, and revising, I have discovered countless details that authors have to consider as they set out to produce a viable work of fiction.
Over the years, I have collected a vast pile of notes and ideas concerning fiction writing. As I was going through these notes, I figured they could be compiled into a master list of writing tips that might help writers tackle a novel by offering different perspectives and by providing fodder for the creative process.
These fiction writing tips come from countless sources. Some were picked up back in my college days. Others came from books about writing. Many came from interviews with successful authors that I have read, watched, or listened to. And a few came from my own personal experiences as both a reader and writer.
Writing a novel is an ambitious endeavor, never mind editing, publishing, and marketing it. Hopefully, the writing tips below will help make the first part of your momentous task a little easier.
The writing tips below focus on the technical and creative writing process rather than the business end of things. You can take a few of these writing tips or take them all. And add your own fiction writing tips by leaving a comment.
- Read more fiction than you write.
- Don’t lock yourself into one genre (in reading or writing). Even if you have a favorite genre, step outside of it occasionally so you don’t get too weighed down by trying to fit your work into a particular category.
- Dissect and analyze stories you love from books, movies, and television to find out what works in storytelling and what doesn’t.
- Remember the credence of all writers: butt in chair, hands on keyboard.
- Don’t write for the market. Tell the story that’s in your heart.
- You can make an outline before, during, or after you finish your rough draft. An outline is not necessary, nor is it written in stone, but it can provide you with a roadmap, and that is a mighty powerful tool to have at your disposal.
- You don’t always need an outline. Give discovery writing a try.
- Some of the best fiction comes from real life. Jot down stories that interest you whether you hear them from a friend or read them in a news article.
- Real life is also a great source of inspiration for characters. Look around at your friends, family, and coworkers. Magnify the strongest aspects of their personalities and you’re on your way to crafting a cast of believable characters.
- Make your characters real through details. A girl who bites her nails or a guy with a limp will be far more memorable than characters who are presented with lengthy head-to-toe physical descriptions.
- The most realistic and relatable characters are flawed. Find something good about your villain and something dark in your hero’s past.
- Avoid telling readers too much about the characters. Instead, show the characters’ personalities through their actions and interactions.
- Give your characters difficult obstacles to overcome. Make them suffer. That way, when they triumph, it will be even more rewarding.
- Explore the human condition.
- Make sure you understand the three act structure. Every story needs a beginning, a middle, and an end.
- Memorize the Hero’s Journey. Use it.
- Cultivate a distinct voice. Your narrator should not sound warm and friendly in the first few chapters and then objective and aloof in later chapters. The voice should be consistent and its tone should complement the content of your book.
- Give careful consideration to the narrative. Is the story best told in first person or third person? If you’re not sure, write a few pages in each narrative style to see what works best.
- Is your story moving too fast for readers or are they yawning through every paragraph? Are the love scenes too short? Are the fight scenes too long? Do you go into three pages of detail as your characters walk from point A to point B and then fly through an action sequence in a couple of short paragraphs? Pay attention to pacing!
- Infuse your story with rich themes to give it a humanistic quality. Examples of themes include sacrifice, redemption, rebirth, life and death, faith, destiny, etc. These are the big shadows that hover over your story.
- Use symbols and imagery to create continuity throughout your story. Think about how the White Rabbit kept popping up when Alice was adventuring in Wonderland or how the color red was used in the film American Beauty. These are subtle details but they give your story great power.
- Every great story includes transformation. The characters change, the world changes, and hopefully, the reader will change too.
- Aim for a story that is both surprising and satisfying. The only thing worse than reading a novel and feeling like you know exactly what’s going to happen is reading a novel and feeling unfulfilled at the end–like what happened wasn’t what was supposed to happen. Your readers invest themselves in your story. They deserve an emotional and intellectual payoff.
- Focus on building tension, then give it a snap.
- Enrich your main plot with subplots. In real life, there’s a lot happening at once. While the characters are all trying to get rescued from the aliens, romances are brewing, traitors are stewing, and friendships are forged.
- There is a difference between a sub-plot and a tangent. Don’t go off on too many tangents. It’s okay to explore various branches of your story when you’re working through the first or second draft, but eventually, you have to pare it down to its core.
- If you write in a genre, don’t be afraid to blur the lines. A drama can have funny moments and a thriller can have a bit of romance.
- Make sure your setting is vivid and realistic even if you made it up.
- If you didn’t make up your setting, then do your best to get to the location and see it for yourself before you finish your manuscript. If that’s not possible, get busy researching.
- Don’t underestimate your readers. Assume they are as smart (or smarter) than you are.
- Give the readers room to think. You don’t have to tell your story in minute detail, including each minute of the plot’s timeline or all of the characters’ thoughts. Provide enough dots, and trust that the reader will have fun connecting them.
- Let the readers use their imaginations. Provide a few choice details and let the readers fill in the rest of the canvas with their own colors.
- Don’t focus exclusively on storytelling at the expense of crafting compelling language.
- Appeal to readers’ senses. Use descriptive words that engage the readers’ senses of taste, touch, and smell.
- Apply poetry techniques to breathe life into your prose. Use alliteration, onomatopoeia, metaphor, and other literary devices to make your sentences sing and dance.
- When rewriting, check for the following: plot holes, character inconsistencies, missing scenes, extraneous scenes, accuracy in research, and of course, grammar, spelling, and punctuation.
- As you revise, ask yourself whether every paragraph, sentence, and word is essential to your story. If it’s not, you know where the delete button is.
- Proofread carefully for grammar, spelling, and punctuation. The fewer typos in your final draft, the better.
- Before your final revisions and before you send your manuscript out to any agents or editors, find your beta readers: join a writing group, take a fiction workshop, or hire a pro.
- Do not send out your rough draft. Go through the revision process at least three times before handing it out to your beta readers. The stronger it is when you bring in editors, the stronger those editors will be able to make it.
- Collect and use these and other writing tips in a file or in your notebook. When something about your story doesn’t feel quite right or if you sense there’s something missing, your notes and other resources might provide you with a solution.
- Have fun. If you’re not enjoying writing, then maybe it’s not for you. If you’re not enjoying fiction writing, try something else like poetry, blogging, or screenwriting. Be open and you’ll find your way.
Did you find these writing tips helpful? Got any tips to add? Leave a comment!
If you’re the token writer at your office, among your friends, or in your family, then you are probably asked on a regular basis to edit, review, or proofread written documents.
Academic essays, business letters, and resumes will land on your desk with the word “HELP!” scrawled across the top.
Or, maybe you’re like me, a professional who offers editing services to writers and business people who want their text to be squeaky clean and irresistible to readers.
Most of us are happy to help. After all, it feels good to help people, especially when it involves doing something you love, like writing or proofreading and editing other people’s writing projects. And the good news is that practicing editing other people’s work makes you more proficient at editing your own work.
Editing Your Own Work
I spend most of my work hours editing other people’s work and self-editing my own writing. In fact, I spend more time on self-editing than I do on writing. So I thought I’d share a few of my favorite writing tips for self-editing.
1. Accept Favor Requests for Editing
When a friend, family member, or co-worker asks you to look at a draft, do it. Even if you’re busy, even if you don’t feel like it or have your own projects to write and edit, take it on. The more editing you do, the better you get at it, and that means you become better at editing your own work, too.
2. Know When to Turn Off Your Inner Editor
There’s a time and place for editing, and often, the first draft is not it. Some writers craft sentence by sentence, perfecting each paragraph before moving on to the next. If that works for you, great. But if you spend hours stuck on word choice or sentence structure and you can’t move forward with the project, turn off your inner editor, blind yourself to typos and grammar mistakes, ignore bad writing, and just let your fingers fly.
3. Make Sure You’re Wearing Your Editing Hat
When you do edit, make sure editing is really what you’re doing. In other words, be aware that editing is not scouring the text for typos and stray punctuation marks. Editing is when we strengthen story, sentences, and paragraphs. Proofreading comes later. That’s not to say we don’t do a little proofing while editing or that we don’t do a little editing while proofing. I know I do. However, I always do a full revision focused on editing and another on proofreading. For more complex pieces, I do multiple edits and proofs.
3. Edit On-Screen and Track Changes
Many writers and editors swear by the printed page. But that’s a messy and inefficient way to edit. If you start editing on-screen, you’ll adjust to the new format and soon find it’s much easier than marking up print. If you’re making big revisions (as you should during editing) and you’re worried about losing the original text, use Microsoft Word’s feature, Track Changes, which does just what you’d expect–it tracks all the changes you make as you edit. Then you can go through and review every edit and accept or reject those changes individually or collectively later. This is also a great way to edit twice–once to make the changes and again to approve them.
4. If You’re Not Sure, Look it Up (and Know What You Don’t Know)
Your greatest wisdom as an editor is knowing what you don’t know. Having resources in your arsenal is one thing. Using them is something else entirely. Don’t be lazy! Remember that every time you look something up, you learn something new and expand your own writing skills. Plus, the more you look things up, the less you’ll need to look them up in the future. Eventually, they become natural for you and part of your own writing process.
5. Keep a Grammar Manual and Style Guide Handy
When you’re proofreading and editing, you need to be meticulous. Don’t cut corners. If you’re not sure about grammar, spelling, punctuation, or context, you need to be able to open up a grammar manual or a style guide, so make sure you have the right resources handy. Be vigilant, be correct, and use good judgment, keeping in mind that sometimes it’s best to bend the rules (but only if you know what the rules are and why you’re breaking them).
6. Run Spell Check and Grammar Check First
Before you do anything, run spell check and use your word processing software’s grammar checking tool (if it has one). Automated checkers don’t catch everything, but they can catch a lot, and that means you’ll have more time and brain energy for manual editing. Also, use the find-and-replace feature, which allows you to quickly find or replace a single error multiple times. For example, many people are still in the habit of using a double space after a period. I always do a find-and-replace to replace all those double spaces with the modern standard–single spaces after every period or terminal punctuation mark.
7. Read Slowly and Out Loud
The most crucial aspect of proofreading and editing is reviewing every single word and examining the written work at the word, sentence, and paragraph levels. Plus, you should be able to assess every document or manuscript in its entirety to check for readability, organization, and flow. This means you’ll have to go over each piece numerous times. To separate yourself from the content so you can better evaluate the writing, read slowly and read out loud. You’ll catch a lot of minor mistakes and typos this way.
Bonus Tip: Don’t forget to check titles and subtitles!
8. Listen for Wording and Rhythm
Editing involves more than checking for grammar, spelling, and punctuation. When you read the piece out loud, pay attention to the rhythm. Does it flow smoothly? Do the sentences alternate in length or are there a series of really short (or really long) sentences that have a droning rhythm? Break up some of those longer sentences and join some of the smaller sentences together to give the writing better rhythm and more musicality.
9. Pay Attention to Formatting
Formatting is actually separate from editing. This involves things like font (size, face, and other formatting options, such as bold or italics), paragraph and line spacing, and indents. Chapter titles and subheadings, for example, should have the same font and spacing. Citations should be formatted the same (and preferably, adhering to a style guide). Just keep an eye out for inconsistencies in this area.
10. Review to Perfection
I like to follow a five-step process for editing:
- Read the entire text
- Second pass focuses on wording and readability.
- Third review focuses on editing for word choice and sentence structure.
- Fourth pass is proofreading (check for grammar, spelling, punctuation, and typos). This is where I read out loud, slowly.
- Final review and polish.
I repeat step five until I can’t find anything to improve.
Good Luck with Your Self-Editing!
If you have any self-editing tips of your own, please share by leaving a comment.
I love collecting writing tips. You never know when you’re going to stumble across a golden nugget of wisdom that will make your writing richer and more vibrant. One of the reasons I started this website was so that I could share the many valuable tips that I’ve acquired over the years. I figure that if some bit of advice helped my writing, it’ll probably help other people’s as well.
But writing tips are funny things. What works for me might not work for you. Maybe you are naturally inclined to show rather than tell whereas I need someone to say “show, don’t tell.” Or maybe you only write nonfiction and have no use for tips on creating believable characters or riveting plots. Maybe you only write far-out, abstract poetry and could care less about good grammar.
Writers and Naysayers
We writers are a varied bunch. If you look closely, you’ll see that the world of writing is comprised of many different types of writers, each with different needs, goals, and standards. But we do all have one thing in common: we write.
And because we all write, there are certainly a couple of writing tips that apply to each and every one of us. In fact, I’d argue that there are just two things that every writer absolutely must do in order to succeed: read and write.
I can hear the naysayers now — but I only write when I’m feeling inspired; that’s what makes it REAL! I don’t have time to read. If I spend my time reading, how will I find time to write?
These thoughts will mostly get you into trouble. Firstly, if you don’t read and write regularly, your work will be sub-par (at best). Secondly, people will think you’re just plain lazy. And they’ll be right.
The Value Sheer Necessity of Reading
You should know that if you’re not well read, it will show in your writing. More than once, I’ve reviewed written work and asked the author, “Read much?” Almost always, the answer is exactly what I guessed. If the writing flows effortlessly, the writer reads a lot. If the writing is jagged, confusing, and amateurish, then the writer is not a big reader.
What I don’t understand is why anyone who doesn’t love to read would want to be a writer in the first place. Can you imagine a musician who never listens to music? A film director who doesn’t watch movies? These are the arts, people. You’re in it because you love it, with fierce passion. You’re going to need that passion if you want to get anywhere, and you’re going to have to be immersed in the art to which you aspire. For writers, that means reading. Lots and lots of reading.
If you listen to the masters of any art, you will notice they often mention names of those who inspired them. Writing, like any art, comes with a certain heritage. We absorb the works of those who have gone before us, let them teach us the craft, and then we go forth and create.
Besides, if you read voraciously, you’ll reap the benefits:
- You’ll naturally grow your vocabulary and pick up better language skills.
- You’ll learn new information or be entertained by books, articles, and stories.
- You will be able to speak intelligently about literature and writing.
- You will observe a cacophony of styles and your own voice will emerge.
- Your grammar, spelling, and punctuation will improve drastically, especially if you have high reading standards.
There are many more writerly perks that come from reading. Can you think of any to add?
It pretty much goes without saying, yet it has to be said again and again: If you want to be a writer, you must write. But how much must you write?
According to neurologist, Daniel Levitin, to become a true master at anything, one must put in 10,000 hours:
“In study after study, of composers, basketball players, fiction writers, ice-skaters, concert pianists, chess players, master criminals, this number comes up again and again. Ten thousand hours is equivalent to roughly three hours a day, or 20 hours a week, of practice over 10 years… No one has yet found a case in which true world-class expertise was accomplished in less time. It seems that it takes the brain this long to assimilate all that it needs to know to achieve true mastery.“ – Daniel Levitin
Allow me to repeat the time it takes: 10,000 hours — three hours per day (or 20 hours per week) for ten years. That’s to become a master writer. Maybe you just want to be a published writer. In either case, you’re going to have to do a whole lot of writing. Take a few minutes today to think about how many hours you’ve spent writing (or reading, or both). A few hundred? A few thousand? Maybe you’re halfway there. Maybe you’ve passed the finish line and just need to start putting your work out there.
There’s no point sitting around daydreaming about becoming a writer, thinking someday I’ll write that novel. Someday is here. Someday was yesterday. It’s today. And it’s tomorrow. Someday is right now. So start writing — today and every day.
Learn from the Masters
Stephen King is an accomplished writer. He has sold an estimated 300-350 million copies of his novels and short stories. Many of his works have been adapted for film and television, including Carrie, Cujo, The Green Mile, and The Body, (which was made into the popular film Stand By Me). Mr. King has won numerous awards and received much critical acclaim. The sheer volume of his output is astounding. His success is vast, perhaps unparalleled. In fact, he’s one of the most successful writers of all time — if not the most successful.
Stephen King is exactly the kind of writer from whom the rest of us need to learn. Not just because he’s published (and published a lot), but also because his fans adore him, Hollywood loves him (writers make big bucks when they sell their film rights), and of course, there are all those awards and all that acclaim. But most importantly, Stephen King succeeded in doing what the rest of us writers strive to do — he makes a living as a writer.
Guess what writing tips Stephen King offers the rest of us? (Hint: watch the video below to find out).
Other Writing Tips
Like I said, I collect writing tips. I have a whole bunch of them clanking around inside my head. Some have been vital; others I could have done without. I will keep collecting these tips and sharing them with you, but none of them will be as powerful as read and write.
So keep taking notes. Look for new ways to get inspired, fresh approaches to language and story. Jot down all of your favorite writing tips and tricks in your journal. Use the ones that feel right and make your writing better.
But if you don’t do anything else, keep reading and writing.
Do you read? How often do you write? What other writing tips have been useful to you? Share your thoughts by leaving a comment.
Some writing tips are cryptic.
When I first came across writing advice that said “kill your darlings,” I thought it meant that we should kill off our favorite characters. That seemed ridiculous. I mean, there are situations in which a story calls for characters to die, but to make a sweeping rule that we should default to killing off our most beloved characters is pretty extreme.
Almost immediately, I realized it was so ridiculous that it couldn’t possibly be the intent of the statement, and I concluded that “kill your darlings” means that we should be willing and prepared to kill our favorite characters if the story calls for doing so. That’s solid advice, and I agree with it.
It’s all about being true to the story.
It’s not unusual for writers to form attachments to characters. Hopefully, readers will form attachments to them too. But we can also form attachments to scenes, chapters, and even words and sentences.
Some writing tips have more than one meaning. “Kill your darlings” isn’t just about being true to the story insofar as you’re willing to put your most beloved characters to death. What it means, in the broadest sense, is that we have to be willing to let go of any element of our writing that is not essential or at least beneficial to the story. Killing off characters is the most obvious way to “kill your darlings,” so let’s look at that first.
Kill Your Characters
Every so often, I read a story and think that either too many characters were unnecessarily killed off or certain characters should have been killed off because it wasn’t believable that nobody died.
Like many readers, I’m not a big fan of gratuitous violence. If the story calls for violence, then I’m fine with it, and I do think that literature needs to explore themes like violence because it’s a prevalent problem in our culture. But when violence is glamorized or when it’s inserted into a scene without having any relevance to the story, it annoys me. Gratuitous violence is often used to kill off characters and sometimes, it makes me feel like I’m being manipulated–like somebody wants me to be sad about a character’s death so I’ll forge a deeper emotional connection to the story. If it’s all done without relevance to the story or in a way that is unbelievable, it has the opposite effect. It kills my connection with the story because the story becomes formulaic in a bad way.
The same is true for when characters die by means other than violence. If I feel like the author is just having fun killing off characters to get a rise out of me, I get irritated and find something else to read.
Having said that, death is universal. Everybody dies eventually, so I think death is an important topic to explore in fiction. Stories that deal with death well resonate with me and do deepen my emotional connection to a story. When I’m reading a war story where bullets are flying and bombs are blazing and the five main characters, all of whom are fighting on the front line, manage to survive with a few minor injuries, I find it unbelievable. A story like that calls for the death of a darling because that’s the truth of the story.
Killing Scenes and Chapters
But let’s get away from killing off characters because “kill your darlings” goes beyond characters.
We all have scenes and chapters that we love. For whatever reasons, certain scenes resonate with us and as writers, we’re proud of them. If we realize that a favorite scene is not moving the story forward or doing anything for the story whatsoever, we have to contemplate cutting it. We might try to revise it and work something important into it so we can save it, but some scenes can’t be resuscitated. They must be cut in order to maintain the integrity of the manuscript.
And that’s another way that we may have to kill our darlings–by snipping or radically revising entire scenes and chapters that we feel represent some of our best work. It’s unfortunate. It’s a bummer. And it hurts to highlight huge swaths of text that we labored over and loved, and then press the delete button. But if these scenes are weakening the story, they’ve got to go.
Putting Story First
I believe that in fiction, the story has to come first. In an essay, the thesis or concept has to come first. In a poem, we have a little more wiggle room, but even then, the intent of the poem has to come first.
When I cut 40,000 words of a manuscript, I felt relieved and unburdened. I had to let go of some good stuff–characters, scenes, chapters, words, and sentences that represented some of my best work. A little of everything got cut. I wasn’t happy about it but I knew that it would make the story one hundred percent better. I also knew that I could save that material and reuse it if the opportunity ever arises.
It’s hard to let go. It’s especially hard to let go of something we’re proud of, something we’re attached to, worked hard on, or something we love. That’s the lesson of death–when death occurs in fiction and is carried out well, in a meaningful way, it’s almost always about letting go. That’s something everyone has to do, not just writers.
We writers have to learn to let go of our darlings. Whether they are characters, scenes, or sentences, we have to expunge pieces of our work that we admire because they do not speak truth to the story we’re trying to tell.
Have you ever killed off a favorite character, eliminated a great scene, or deleted a snazzy sentence? Was it hard? Did you save it? Share your thoughts and experiences with killing your darlings or share some of your favorite writing tips by leaving a comment.
Every writer has been there: staring at a blank screen, waiting for the words to arrive. But they don’t. The words just won’t come. They will, soon. Tick-tock, tick-tock. Time’s passing and the words still don’t come. Maybe they never will.
You sit there feeling frustrated and uninspired.
What’s a writer to do? Well for starters, you can use the writing tips below. Fighting writer’s block is easier than it seems. But sitting there staring at the blank page will only build tension and continue to hinder your creativity by reinforcing the blockage that you’re experiencing. The trick to combating writer’s block is to remove yourself from your writing for a short time and get that creative energy flowing again. Fifteen to thirty minutes ought to do it.
Writing Tips for Blocking Writer’s Block
In some ways, these aren’t writing tips at all, because the most important way to fight writer’s block is to move your body, which will bring on relaxation and relieve tension. Or do something that gets your mind completely off whatever you’re working on by mentally diving into something different for a while. Close your notebook and put it away, or stand up and walk away from your computer.
Here are five writing tips for non-writing activities that you can do:
- Exercise. Take your dog for a short walk, or go through some simple stretches or yoga poses. Moving the body gets blood flowing and when blood flows to the brain, you become more productive and more receptive to your inner muse.
- Chores. This is a great time to do the dishes. Fold that load of laundry that’s been sitting on the couch for a couple of days. It’s not spring cleaning, just a little daily maintenance that will get your body moving and your mind focused.
- People. We all have phone calls to make, emails to send, and letters to open. Okay, maybe there aren’t many letters to open, just bills and junk mail. But you can take this time to get in touch with friends and family. You’ll be pleasantly surprised when you hang up the phone or click send and suddenly you know exactly what you want to write. Bonus Tip: get in touch with people who are writers and start sharing writing tips with each other!
- Animals. Take some time to toss around the mouse toy for your cat. How long has it been since you gave your dog a good brushing? Spending quality time with pets has been scientifically proven to have health and relaxation benefits for both you and them, and you’ll find that it does wonders for your writing as well!
- Meditate. Meditation serves many purposes. It puts us in touch with our higher power, our inner being, and does wonders for clearing and cleansing the mind. Even a brief ten or fifteen minute meditation will ease the burden of writer’s block and inspiration will come to you in no time!
Good luck and let me know if any of these writing tips help you ward off writer’s block by leaving a comment!
It’s one of those writing tips that pops up everywhere–on lists of writing advice, in quotes bequeathed to us by the masters of writing, and even from the mouths of our teachers and professors: carry a notebook at all times.
After all, you never know when a great idea will strike. It would be awful to lose an idea just because you couldn’t write it down. And you never know when you’ll find yourself waiting around with nothing to do. As long as you carry a notebook and a pen, you’ll never forget a brilliant idea and you’ll never be bored.
Plus, you’ll be able to work on your writing projects whenever the opportunity arises. You might write the last line of your novel while standing in line at the grocery store!
But let’s be clear, the notebook isn’t actually necessary. Most of us have smart phones and other mobile devices that are in many ways better than pens and paper notebooks.
Let’s examine this much-loved writing tip a little closer. Just how critical is it that we tote notebooks and pens everywhere we go?
Don’t Leave Home Without It
Experience has taught me that keeping a notebook handy, like so many other writing tips, is more of a guideline than a rule. When I go for walks, I don’t bring a notebook but I do carry my iPhone, which is loaded with apps that I can use for writing and taking notes. In fact, I find that my iPhone is a far more versatile writing tool than any paper notebook.
Paper Notebooks and Pens
In my work as a writer, I must have access to notebooks and pens, and lots of them. I keep notebooks in my car, purse, nightstand, and on my desk. There are pens to accompany all of them. When I’m working through an idea, I have to brainstorm, make lists, and draw sketches. And I find that if I jot something down in a notebook or on a piece of scrap paper, I can set it on my desk or pin it to my bulletin board so that I don’t forget to execute that idea. So for me, writing down an idea is not only about keeping a record of the idea but making sure that I don’t forget to use that idea. For example, if I’m reading the news and come across a name that would be perfect for one of my characters, I jot it down on an index card or sticky note and then I add it to my manuscript later that night during my writing session.
On the other hand, paper and pens are not always the best or most reliable way to record thoughts and ideas. I’ve been stuck with a pen that ran out of ink on more than one occasion, and I’ve found that they are of no use whatsoever when I’m hit with inspiration while driving.
Apps and Gadgets
Admittedly, the better technology becomes, the less I use these paper notebooks and journals. On many occasions, I’ve typed notes into my iPhone instead of writing them on paper. In fact, my iPhone contains a host of apps that make writing and note-taking a breeze. Here are a few examples:
- Evernote is one of the greatest apps ever invented. I have it installed on my computer, phone, and iPad. If I’m running errands and get a writing idea, I can make a note in the app and it will automatically sync across all my devices, which means later that night, when I’m working on my project, the note is already on my computer and ready to be copied and pasted into my manuscript.
- I’m a visual person. I may not be much of an artist but I like to collect images that inspire me, especially images I can use to represent my characters. If I’m away from my desk and I see something that I want to use in my writing, I can snap a picture of it with my phone instead of trying to describe it so that I can remember it.
- The voice recorder on my phone has been an enormous convenience. A few years ago, I used voicemail to capture ideas while I was driving. Now, I can just click on the voice recorder. Coupled with voice-to-text software, this practically allows me to write while I’m driving, which is pretty amazing.
Technology has come a long way but I think it’s only scratched the surface in terms of what it can do for writers. Scrivener, my favorite program for writing book-length projects, is working on an app for the iPad, which I think will be a game changer, especially if it syncs across devices. And although tablets make sketching and brainstorming a lot easier than say, a traditional computer, they still haven’t reached the nuance of working with pen and paper (at least not the mainstream tablets and accessories). I’m looking forward to new technology for writers that is surely coming down the pipeline.
Relying on Memory
I want to say a few words about relying on memory because there are many writers who don’t carry notebooks and who don’t rush to make a record of every single idea that they have. Admittedly, a few years ago, I thought those writers were crazy, but lately, I’ve found that are some benefits to forgoing a notebook. Last year, I filled dozens of pages in a notebook with ideas for a novel and I ended up scrapping all of them. I will say that those ideas were the seeds for future ideas that I did use, but in retrospect, I didn’t really need to write it all down. Now, I often work through scenes and ideas in my mind before committing them to the page.
I don’t know if the following story is true or not, but consider it:
Ludovico Buonarrati, Michelangelo’s father. He was a wealthy man. He had no understanding of the divinity in his son, so he beat him. No child of his was going to use his hands for a living. So, Michelangelo learned not to use his hands. Years later a visiting prince came into Michelangelo’s studio and found the master staring at a single 18 foot block of marble. Then he knew that the rumors were true — that Michelangelo had come in everyday for the last four months, stared at the marble, and gone home for his supper. So the prince asked the obvious — what are you doing? And Michelangelo turned around and looked at him, and whispered, “sto lavorando,” (I’m working). Three years later that block of marble was the statue of David. (source)
A Writer’s Work is Never Done
Do you carry a notebook? A smart phone or other device? How do you keep track of all your ideas? Leave a comment!
It’s not easy to find time to write.
Even professional writers get caught up in paperwork and marketing and have to scramble to get the actual work of writing done.
But with careful planning and better time management, we can all learn how to carve out a little more time for writing.
Here are seven writing tips that will help you make or find more time to write, even if you have a packed schedule.
Writing Tips for Better Productivity
Try a few of these tried-and-true writing tips and productivity techniques and see which ones work for you:
- Make it a point to write first thing every morning. Most people feel refreshed after a good night’s rest (and a hot cup of coffee!) so there’s no better time to get creative than in the a.m. If you can get some writing done before you hop in the shower, you’ll already have made a great start for the day!
- Schedule writing sessions. If you have an over-packed, super busy schedule and your life is dictated by the notes on your calendar, then pen-in your writing time! Even if you can only squeeze in twenty minutes per day, you’ll see a dramatic increase in your output!
- Give yourself a break. Squeezing writing time into breaks and lunches at work can help you increase your daily word count. Even a ten-minute writing binge could mean a huge breakthrough in your plot or that perfect bit of dialogue you’ve been looking for. Because some of our best writing ideas come when we’re enmeshed in other activities, mini writing breaks scattered throughout the day can move your project along in small but significant steps.
- You can do it in the car. Don’t use pen and paper here, folks. Many cell phones are equipped with recording capabilities, and there are freestanding recording devices as well as apps for your smart phone or other mobile device. Use driving time to record your thoughts and you can transcribe them later. Bonus writing tip: Don’t have a recording device? Call yourself and leave a voice mail!
- Sacrifice. Sometimes in life we have to make choices. Give up one of your TV shows and use that time for a weekly writing session. Reconsider accepting every single party invitation, and ask yourself if extra-curricular activities like playing on a community softball league are more important than getting your writing done.
- Ask for help. If you have too much on your plate and simply cannot find time to write, try delegating other tasks to friends, co-workers, and family members. This will free up time in your schedule that you can devote to writing.
- Turn off the internet. Need I say more?
Do you have any writing tips or tricks of your own that might help others find more time to write? Please share them in the comments.
Writers are human, and sometimes we make mistakes. You’re probably aware of the most common mistakes in writing: comma splices, run-on sentences, mixing up homophones, and a variety of other broken grammar, spelling, and punctuation rules.
In my editing and coaching work, I’ve noticed another common mistake: redundancy. Sometimes, we use repetition effectively, but most of the time, by saying the same thing twice, we’re littering our writing with unnecessary verbiage. If we remove the excess, we can improve our writing by making it more concise.
Understanding and Identifying Redundancies
Dictionary.com defines redundancy as a noun meaning “superfluous repetition or overlapping, especially of words.” Its cousin, the adjective redundant, means “characterized by verbosity or unnecessary repetition in expressing ideas” or “exceeding what is usual or natural.”
Sometimes we clutter our writing without realizing it. We do this to fulfill word counts, to give our prose rhythm and meter, or to be descriptive. Sometimes we do it because we’re using writing as a tool to discover our thoughts and ideas.
There’s nothing wrong with cluttered writing as long as we unclutter it before putting it in front of readers.
One of the easiest ways to identify redundant language is to ask whether we can remove it without losing meaning. Here is an example:
The lecture was boring and dull. It was putting Olivia to sleep.
The words “boring” and “dull” mean the same thing. We are told a third time that the lecture was a drag because it lulled Olivia to sleep. We can remove most of the first sentence without losing any details or changing its meaning:
The lecture was putting Olivia to sleep.
Redundancies can also be identified through repetition. However, repetition means using the same word or phrase more than once whereas redundancy means saying the same thing more than once. It’s a subtle but significant difference. Also, repetition and redundancy can occur together:
Charlie smiled as he approached the cheese platter. He chose brie and Gouda from the cheese platter and wished they were serving baguettes instead of crackers.
We see Charlie approaching the cheese platter. When he selects brie and Gouda, it’s implied that he selected them from the cheese platter (because we just saw him approaching it), so it’s unnecessary for the narrative to say that he chose them “from the cheese platter.” The narrative is redundant because it’s not necessary to mention the cheese platter twice:
Charlie smiled as he approached the hors d’ouvres table. He chose brie and Gouda from the cheese platter and wished they were serving baguettes instead of crackers.
Some redundancies are difficult to spot, especially in cases where the exact same word or phrase isn’t used:
Donna realized she was hungry. “I haven’t eaten since breakfast,” she said. “Want to grab a pizza?”
When Donna says she hasn’t eaten since breakfast and suggests grabbing a pizza, the reader will conclude that she’s hungry, so the narrative doesn’t need to tell the reader that Donna is hungry in the previous sentence. When information is revealed through dialogue, it doesn’t need to be stated in the narrative as well:
“I haven’t eaten since breakfast,” Donna said. “Want to grab a pizza?”
As you can see, it’s pretty clear that Donna is hungry without the narrative explicitly saying so.
In addition to broad redundancies, there are a host of redundant phrases that pop up in writing. For example, it’s redundant to say “let’s collaborate together” because collaboration is, by definition, done together. Here’s a list of 50 redundant phrases to avoid in writing. Read through the list and see if you can find a few phrases you didn’t realize were redundant.
Eliminating Redundancies to Improve Your Writing
Try this for practice: choose a recently finished piece and review it, looking for redundancies. Highlight them, then make another copy of the piece, editing the redundancies out. If you catch an average of one redundancy per page (or more), then plan on dedicating one proofreading pass to eliminating redundancies as one of your editing and proofreading steps. After a few passes, you’ll start to catch redundancies in the drafting phase and eventually, you’ll break the habit and improve your writing.
Are redundancies one of your bad writing habits? Have you ever caught a glaring redundancy in a piece of your writing? Do you think you might have missed a few redundancies?