Have you always wanted to a write a book? Do you want to become a published author? Do you find the whole process of writing a book and trying to work out what comes next daunting? Then Book Writing Boot Camp is for you. You might be interested because … you have an idea...Read More
Publish for Profit is a networking group that meets at the Busybird Studio ~ Gallery. It’s a great chance to meet other writers, brainstorm, and learn something new. Each session will also have a dedicated lesson that pertains to some facet of writing. Coming up: Write a media...Read More
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Be honest. Your impulse might be to say you do. But think about it. Think about your writing. Think about the way characters react. Think about how scenes unfold. Are they uninhibited? Are you uninhibited in writing them?
Astonishingly, many writers aren’t.
And they aren’t for a very simple reason.
What would people think?
Admit it: that’s an alert in your head.
What would your partner, you family, your friends, the general public, etc., think about the scene you wrote where the killer garrottes his victim, bathes in the gore, and then plays a spot of mini golf with the kids? Or the scene where the sweet, modest loving couple engage in bondage behind closed doors? Or when the tough, macho husband breaks down, and cries on the floor of the kitchen? Would your partner, your family, your friends, think you a creep? Or sick? Or gushy? Better to temper it all.
This isn’t about being shocking. Anybody can throw in a scene to shock, and sometimes authors do, because they feel that’ll captivate. It might, but not in the right way. Often, a reader will frown and even if they don’t recognise the scene as gratuitous, they’ll know there’s something not quite right.
Be true to what’s required in your writing. If that means you need to write an emotional scene which is going to have people thinking you’re just some big softy, write it. If you need to write a violent scene which is going to make people think you’re a sicko, write it. Whatever the scene, write it as it needs to be, devoid of boundaries, unfiltered, and free of judgement.
This applies to any form of writing. You could be a poet, you could be a novelist, you could be writing your biography.
You’ll know when you’ve hit a scene where you’re holding back. You’ll feel that tentativeness about the writing. It might even become diplomatic, couching the expression so that it won’t be confrontational, nor an indictment on you as a person. Other times, you’ll be racing through scenes and thinking you’ve nailed them, but because you’ve been doing this so long you’ve just learned to ignore your instincts. Have you been as real as possible? Have you been truthful with yourself and the narrative?
If you’re not going to be honest with your writing, be honest with yourself.Read More
This has grown so overused, it’s almost become a cliché. ‘Suddenly, this happened.’ It’s such an easy – and melodramatic – way to show urgency.
Think of ways you can communicate suddenness in the writing itself. For example, instead of
This is not to say you can’t ever use ‘suddenly’. Just make sure it’s required.
This is another version of ‘suddenly’. A lot of the time, you’ll find you can just cut it out entirely. Using the (first) example from ‘Luxuriance’:
This could just read:
Again, if you need something to happen ‘just then’, think about how you can express that through the writing itself.
‘However’ has become a cheat, a way to transition from one subject to another without any real logical evolution.
There’s no logical evolution there, but it sounds like a feasible transition due to the use of ‘however’. Think about how you’re getting from Point A to Point B. There should be a causality in how that happens.
Clichés simply have no meaning any more. If somebody tells you their ‘blood ran cold’, beyond your basic understanding that it’s meant to communicate terror, what does it mean? Think of relatable ways to say things.
We all have our favourite words and phrases. In this piece, it was ‘ominously’. Try to identify your own. Sometimes, a fresh set of eyes (e.g. a workshopping group, an editor) can help you find yours. Once you know of their existence, you’ll find yourself mindful of using them.
Keep it simple. You don’t really need to venture too far away from ‘said’ and ‘asked’. If you do, don’t get too fancy – you never want to use an attributor which is going to make the reader stop and wonder why that word is there.
‘It’s quite hot.’ What does that mean? How much is ‘quite’? Stay away from weak modifiers (e.g. quite, somewhat, practically, basically, virtually).
Make sure your narrative sets up what’s going to follow. Don’t throw in details later just because you’ve forgotten something should’ve been introduced earlier.
One of the best examples of foreshadowing is the movie The Sixth Sense. When the twist comes, we understand everything that we’ve been seeing in a new context. At no point do we feel either cheated or confused.
We need to introduce backstory to drive our narrative. Just be mindful of how far it goes. A good way of identifying exposition is how grounded is it in the current setting? Or do we digress into a shapeless overview of the past? Exposition, at times, is necessary and unavoidable. Just make sure it doesn’t take over.
What tense are you writing in? Stylistically, you might fluctuate from one tense to the other, e.g. you might be writing in past tense, but when something shocking happens, you bring the story into the present tense. There’s a justification in a shift here. But, often, authors flip around unknowingly. Be conscious of the tense you’re in.
Obviously, there’s plenty of other issues to look for in writing, but these are amongst the most popular.
What you’ll find as you grow aware of these issues is you’ll be challenged to find new and innovative waves of expression that avoid all the problems that can make writing so pedestrian.Read More