As writers, we must stretch beyond our comfort zones, learn new aspects of the craft, implement the new knowledge, and rework sentences until they serenade our inner ear.
We must be Daring
Write something completely different from your norm: try dialogue using dialect without changin’ and wranglin’ the language; if you write macho-man sword-and-sandal pulp fiction, craft a tender romance where vulnerabilities keep a destined couple apart; romance writers can learn a great deal developing relationships in deep space.
Take sentences, the building blocks of prose, and twist them this way or that: beginning a sentence with a gerund can brighten necessary focus; articulating something in a sentence by setting it off with commas, like this, changes the entire tempo in the reader’s mind; experiment with colons and semi-colons, ellipsis . . . dashes even—each changes the pace and sentence focal point.
Have fun—it will prove profitable and time well spent.
Writing fantasy, many of my sentences flow long, use descriptive modifiers and parenthetical phrases, so I decided to write a story lacking those attributes—instead, short and pithy. The flash fiction story, “Boys ‘N Berries,” is now making the rounds. I learned a great many things during the process, some of which I will weave into future writings.
Beware the Dangerous Don’ts
All writers have reached a certain skill level. It’s impossible to know on what rung of the publishing ladder you now reside, or the untold number of rungs that lay before you.
Gee, Rick, thanks; that really helps (sigh).
There is a mystery to the writing craft no one can solve, a question all writers ask themselves, their agents (if lucky enough to have one), and their writing partners: How talented am I? Put another way, “Do I have what it takes?” The problem is the question itself.
Talent is weighed and diced into a million different pieces, and it depends on the audience, whether one or a thousand.
Talent and skill perception are arbitrary, and in the end, only an opinion.
The first Dangerous Don’t is asking the question in the first place. One could call it mental masturbation: editors and readers will determine your skill and the value of your stories. Your job is to write.
Write and your skill level improves, and thereby, you climb the talent ladder. How could it be any other way? The more you do something, the better you become—this is a natural progression.
The second (and nearly as important) Dangerous Don’t is attempting more than your capabilities.
I know, this post began by encouraging you to stretch and attempt writing in ways and types unfamiliar, and I stand by that.
Let me explain the concept of avoiding projects you are not yet capable of undertaking:
Most fiction writers begin writing short stories. The reason short stories are the first choice is because one can dash off a short story first draft in a few hours or a day compared to months (even years) it takes to create a 70,000 to 100,000 word novel.
A short story follows a single character (normally) and a pretty straight-line plot path. Even the simplest novel involves numerous characters, perhaps multiple POV’s, and a central plot underscored by any number of sub-plots depending on the complexity determined by the writer’s wishes.
This is daunting. My advice: don’t plunge into a fully developed novel until you have written a dozen or more short stories.
Writing short stories teaches brevity as every word must have a bearing on the character, plot, or theme—there is no space to meander from the chosen path like a novel can allow. (Some would say you should not “meander” in a novel either, but there is more room to take a side trail and make it pertinent to one of the novel’s plot paths).
Third Dangerous Don’t: don’t plunge into an idea without determining the costs
I have a novel idea deemed viable (see my post on determining writing projects) that is currently beyond both my skill and time requirements.
The story is a YA fantasy novel set in the ancient Mayan culture that thrived (and mysteriously disappeared) in Mexico’s Yucatan peninsula.
Having started the preliminary research, and despite a semi-complete outline, I realize at this time, the project is beyond my means.
Working full-time, I do not have the resources required to immerse myself into the research and writing necessary to complete such a project. An excuse? No, a reality.
That does not mean I ignore the idea; the idea simmers in my subconscious, and on occasion I scratch the research surface and jot notes toward a future when I will delve into such a complex and research-heavy project. Understanding that now is not the time is as important as knowing when a story has percolated long enough so the idea can be successful.
The Fourth Dangerous Don’t
Banish the critic that resides in all of us. The critic is a tempter, brow-beater, and thug. My friend, Richard Weir, wrote a terrific post dealing with the problems writers face when allowing the critic a foothold that quickly metamorphoses into a stranglehold. You can find the post here.
Why are the four Don’ts dangerous?
Time is every writer’s adversary: each of the four Don’ts involve wasting precious time.
Calculate your strengths, your weaknesses, use your abilities in the best way possible, and write. Experimentation conjures its own reward, but don’t undertake a project that is beyond your current capabilities or time allowance; only heartache will follow.
See you on the next page,
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