Thursday, March 10, 2011
Writing Tips - Learn From the Pros! Writing Tips From Writers - Part One
1. Never open a book with weather. If it's only to create atmosphere, and not a character's reaction to the weather, you don't want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways than an Eskimo to describe ice and snow in his book Arctic Dreams, you can do all the weather reporting you want.
2. Avoid prologues: they can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in non-fiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck's Sweet Thursday, but it's OK because a character in the book makes the point of what my rules are all about. He says: "I like a lot of talk in a book and I don't like to have nobody tell me what the guy that's talking looks like. I want to figure out what he looks like from the way he talks."
3. Never use a verb other than "said" to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But "said" is far less intrusive than "grumbled", "gasped", "cautioned", "lied". I once noticed Mary McCarthy ending a line of dialogue with "she asseverated" and had to stop reading and go to the dictionary.
4. Never use an adverb to modify the verb "said" ... he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances "full of rape and adverbs".
5. Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.
6. Never use the words "suddenly" or "all hell broke loose". This rule doesn't require an explanation. I have noticed that writers who use "suddenly" tend to exercise less control in the application of exclamation points.
7. Use regional dialect, patois, sparingly. Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won't be able to stop. Notice the way Annie Proulx captures the flavor of Wyoming voices in her book of short stories Close Range.
8. Avoid detailed descriptions of characters, which Steinbeck covered. In Ernest Hemingway's "Hills Like White Elephants", what do the "American and the girl with him" look like? "She had taken off her hat and put it on the table." That's the only reference to a physical description in the story.
9. Don't go into great detail describing places and things, unless you're Margaret Atwood and can paint scenes with language. You don't want descriptions that brings the action, the flow of the story, to a standstill.
10. Try to leave out the part that readers tend to skip. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them. My most important rule is one that sums up the 10: if it sounds like writing, I rewrite it.
1. Read it aloud to yourself because that's the only way to be sure the rhythms of the sentences are OK (prose rhythms are too complex and subtle to be thought out – they can be got right only by ear).
2. Cut (perhaps that should be CUT): only by having no inessential words can every essential word be made to count.
3. You don't always have to go so far as to murder your darlings – those turns of phrase or images of which you felt extra proud when they appeared on the page – but go back and look at them with a very beady eye. Almost always it turns out that they'd be better dead. (Not every little twinge of satisfaction is suspect – it's the ones which amount to a sort of smug glee you must watch out for.)
1. Take a pencil to write with on aeroplanes. Pens leak. But if the pencil breaks, you can't sharpen it on the plane, because you can't take knives with you. Therefore: take two pencils.
2. If both pencils break, you can do a rough sharpening job with a nail file of the metal or glass type.
3. Take something to write on. Paper is good. In a pinch, pieces of wood or your arm will do.
4. If you're using a computer, always safeguard new text with a memory stick.
5. Do back exercises. Pain is distracting.
6. Hold the reader's attention. (This is likely to work better if you can hold your own.) But you don't know who the reader is, so it's like shooting fish with a slingshot in the dark. What fascinates A will bore the pants off B.
7. You most likely need a thesaurus, a rudimentary grammar book, and a grip on reality. This latter means: there's no free lunch. Writing is work. It's also gambling. You don't get a pension plan. Other people can help you a bit, but essentially you're on your own. Nobody is making you do this: you chose it, so don't whine.
8. You can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You've been backstage. You've seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a romantic relationship, unless you want to break up.
9. Don't sit down in the middle of the woods. If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page.
10. Prayer might work. Or reading something else. Or a constant visualisation of the holy grail that is the finished, published version of your resplendent book.
1. Do not place a photograph of your favourite author on your desk, especially if the author is one of the famous ones who committed suicide.
2. Do be kind to yourself. Fill pages as quickly as possible; double space, or write on every second line. Regard every new page as a small triumph –
3. Until you get to Page 50. Then calm down, and start worrying about the quality. Do feel anxiety – it's the job.
4. Do give the work a name as quickly as possible. Own it, and see it. Dickens knew Bleak House was going to be called Bleak House before he started writing it. The rest must have been easy.
5. Do restrict your browsing to a few websites a day. Don't go near the online bookies – unless it's research.
6. Do keep a thesaurus, but in the shed at the back of the garden or behind the fridge, somewhere that demands travel or effort. Chances are the words that come into your head will do fine, e.g., "horse", "ran", "said".
7. Do, occasionally, give in to temptation. Wash the kitchen floor, hang out the washing. It's research.
8. Do change your mind. Good ideas are often murdered by better ones. I was working on a novel about a band called the Partitions. Then I decided to call them the Commitments.
9. Do not search amazon.co.uk for the book you haven't written yet.
10. Do spend a few minutes a day working on the cover biog – "He divides his time between Kabul and Tierra del Fuego." But then get back to work.
1. Finish the day's writing when you still want to continue.
2. Listen to what you have written. A dud rhythm in a passage of dialogue may show that you don't yet understand the characters well enough to write in their voices.
3. Read Keats's letters.
4. Reread, rewrite, reread, rewrite. If it still doesn't work, throw it away. It's a nice feeling, and you don't want to be cluttered with the corpses of poems and stories, which have everything in them except the life they need.
5. Learn poems by heart.
6. Join professional organisations that advance the collective rights of authors.
7. A problem with a piece of writing often clarifies itself if you go for a long walk.
8. If you fear that taking care of your children and household will damage your writing, think of JG Ballard.
9. Don't worry about posterity – as Larkin (no sentimentalist) observed "What will survive of us is love".
1. Never worry about the commercial possibilities of a project. That stuff is for agents and editors to fret over – or not. Conversation with my American publisher. Me: "I'm writing a book so boring, of such limited commercial appeal, that if you publish it, it will probably cost you your job." Publisher: "That's exactly what makes me want to stay in my job."
2. Don't write in public places. In the early 1990s I went to live in Paris. The usual writerly reasons: back then, if you were caught writing in a pub in England, you could get your head kicked in, whereas in Paris, dans les cafés . . . Since then I've developed an aversion to writing in public. I now think it should be done only in private, like any other lavatorial activity.
3. Don't be one of those writers who sentence themselves to a lifetime of sucking up to Nabokov.
4. If you use a computer, constantly refine and expand your autocorrect settings. The only reason I stay loyal to my piece-of-shit computer is that I have invested so much ingenuity into building one of the great autocorrect files in literary history. Perfectly formed and spelt words emerge from a few brief keystrokes: "Niet" becomes "Nietzsche", "phoy" becomes "photography" and so on. Genius!
5. Keep a diary. The biggest regret of my writing life is that I have never kept a journal or a diary.
6. Have regrets. They are fuel. On the page they flare into desire.
7. Have more than one idea on the go at any one time. If it's a choice between writing a book and doing nothing I will always choose the latter. It's only if I have an idea for two books that I choose one rather than the other. I always have to feel that I'm bunking off from something.
8. Beware of clichés. Not just the clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought – even of conception. Many novels, even quite a few adequately written ones, are clichés of form which conform to clichés of expectation.
9. Do it every day. Make a habit of putting your observations into words and gradually this will become instinct. This is the most important rule of all and, naturally, I don't follow it.
10. Never ride a bike with the brakes on. If something is proving too difficult, give up and do something else. Try to live without resort to perseverance. But writing is all about perseverance. You've got to stick at it. In my 30s I used to go to the gym even though I hated it. The purpose of going to the gym was to postpone the day when I would stop going. That's what writing is to me: a way of postponing the day when I won't do it any more, the day when I will sink into a depression so profound it will be indistinguishable from perfect bliss.
1. The first 12 years are the worst.
2. The way to write a book is to actually write a book. A pen is useful, typing is also good. Keep putting words on the page.
3. Only bad writers think that their work is really good.
4. Description is hard. Remember that all description is an opinion about the world. Find a place to stand.
5. Write whatever way you like. Fiction is made of words on a page; reality is made of something else. It doesn't matter how "real" your story is, or how "made up": what matters is its necessity.
6. Try to be accurate about stuff.
7. Imagine that you are dying. If you had a terminal disease would you finish this book? Why not? The thing that annoys this 10-weeks-to-live self is the thing that is wrong with the book. So change it. Stop arguing with yourself. Change it. See? Easy. And no one had to die.
8. You can also do all that with whiskey.
9. Have fun.
10. Remember, if you sit at your desk for 15 or 20 years, every day, not counting weekends, it changes you. It just does. It may not improve your temper, but it fixes something else. It makes you more free.