Most writing advice is free, but the value varies
My primary source of income since 1988 has been writing. Most of that has been technical writing (and related jobs) in the software industry, but I find it really hard to discount the fact that the word “writer” has been part of my official job description for a bit over 31 years. So my day job and my hobby job for more than three decades has been “writer” — so maybe I have some idea of how to put words together? Plus, for more than two decades I was the editor of a semi-prozine that produced at least three issues a year for those two decades. Which were offered for sale and purchased in sufficient quantities to cover the cost of printing.
So maybe, just maybe, I have some correct notions about what it takes for a story to appeal to an audience, right?
But here’s something I am absolutely certain of: I can’t teach you how to write. I can tell you how I do it (the parts I understand—there’s a whole lot going on in everyone’s subconscious that remains ineffable). I can tell you techniques that work for me. But only you can figure out how you can write.
And that’s true of everyone. No one, no matter how accomplished, can tell you how to write. I love reading or hearing about how other people go about writing. I like attending panels and seminars and the occasional online class from other writers. So I’m not saying don’t take anyone’s advice or class, just remember that in the end you are the person who is telling your stories. So only you can figure out which things people suggest work for you, and which don’t.
A lot of advice gets repeated regularly, and it seems sound. When you’re feeling anxious about writing, it can be comforting to have these rules to fall back on. But these pieces of advice can be stumbling blocks or worse. For example, one frequently repeated piece of advice is to cut out the adverbs. “Search for words ending in ‘ly’ and delete them!” So take out things like terribly and gently and carefully and slowly. Supposedly this makes your writing clearer. It also makes your writing duller. Some adverbs are superfluous. But like every other kind of word (nouns, verbs, adjectives), sometimes they are exactly right.
Then there is that tired old chestnut, “Show, don’t tell.” I’ve written before about how that advice is more wrong than it is right. In a nutshell: the extreme version of the advice leads you to remove all exposition from your story and exclude people who don’t share all your (unconscious) cultural assumptions. For a writer of science fiction or fantasy, that makes it impossible to put the reader into a world that is different than our own. Better advice is to paint pictures with your words. Anton Chekov said it thusly: “Don’t tell me the moon was shining; show me the glint of light on broken glass.” So use exposition when necessary, but make sure it isn’t flat and boring.
Said is a perfectly good verb. So is snarled, whispered, replied, asked, shouted, demanded, muttered and retorted. So that advice about never using any verb other than said as a dialog tag is another one that is well-meaning, but not completely right. Now, it is true that a writer can go overboard with the dialog tags. I was cringing mightily during a recent audio book where the author seemed to take the flip side of the advice and never used said at all. Among the horrible tags he did use were: extrapolated, polled, nodded, puffed, interrogated, and the absolute worst: all-caps-ed. This is another one where the truth is somewhere in between. Don’t go bananas with the synonyms for said and asked, but don’t stick to only those two, either.
Also, sometimes you don’t have to use dialog tags at all. You can describe what the character is doing: He pursed his lips. “Do you want my honest opinion?” Or if you are telling the story from a particular character’s point of you, you can describe their thoughts or feelings: Sarah wanted to hug him. “You have no idea how much I needed to hear that today!” But again, you need to figure out what works for you. I have a bad habit in first drafts of putting a she/he/they nodded on about half the dialog entries. I think it’s because I nod when people talk to me (which is hilarious when I do it on conference calls!). But when I read the draft later—especially aloud to my writer’s group—it sounds like everyone in my story is constantly bobbing their heads wildly and can really distract from the scene!
Some people insist that you absolutely must write every day on your project or you aren’t a real writer. Bull. Yeah, some people write like that. And if that works for you, great. But some of us need to take days off. My day job involves writing and editing, so some days when I get home my brain is burned out, and I don’t get much if any writing done. And don’t tell me to get up super early and write before I go to work. I’m not a morning person, and frankly if I tried I have no doubt that some days I would be much less than good at my job. And I like my work. Work pays the bills! And I like eating. If writing every single day works for you, great, do it. But don’t feel like a failure if some days you just have to do something else to recharge the mental batteries.
There are two very common bits of writing advice that I do fully endorse:
- A writer writes. You can skip days, but you can’t skip writing altogether. If you feel stuck, force yourself to write a single word. Just one. Then, look at it, and decide what the next one is. If that’s what it takes, just make yourself put one word after another until you have a sentence, and then another and another.
- A writer reads. Read other people’s work regularly. Read things you love. Every now and then, read stuff from a genre you don’t like. Or a style of writing that you usually don’t take to. Not all the time, but make sure you are expanding your reading horizons, regularly.
Other than that, I just have to ask: why are you still reading this post! Go! Write something! The world needs your story. And no one can tell your story except you.