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Sunday, July 5, 2009
writing like a ninja
Say you're reading a particularly good book, and you stumble upon a particularly excellent section, and you think, "That's what I was trying to do. How did she do that?" Has that ever happened to you? I was reading a Julia Quinn novel this week, and I was crying by page 35. Thirty five!! She had me so sucked into her characters, so immediately empathic of her characters, that I was crying for them in chapter two. How in the world did she accomplish this?
As most of you know, I'm a sucker for how-to and craft books. But those, while they can be useful, can only take you so far. And there have been plenty of times when I've written something, and I know what I want to convey, but I know that what I have actually conveyed on paper is not the same. It becomes blatantly clear when every email to a CP starts with the phrase, "Well, what happened in my head was..." Uh, yeah. Doesn't really help if it only happened in my head. It sorta needs to happen on paper to *g*
So I've learned a better way -- writing like a ninja. The solution was dumped at my feet last week in school, while I sat open-mouthed and thought, "Duh!". Therefore here, in probably more detail than any pirate cares for, are my notes for the recon mission. A step-by-step guide for figuring out where the weaknesses are in your own writing, and learning how to combat them, just like a ninja:
1. Read your own work objectively. Try printing it out if you usually read on-screen, or print it in a different font. Try going somewhere new and fresh to read. All these things help keep you from skimming, and help you look at your own work in a new, objective way. What is it that's not working? What's lacking? Most importantly, what were you trying to convey that didn't end up on paper? If you were trying to write a caring, empathic protagonist, did she really appear caring and empathic? If you were trying to show heart-wrenching grief, did you successfully show it enough to make your readers feel it too?
2. Find books for your recon mission. The goal here is to study how other authors have successfully done what it is you were trying to do. Sometimes, you want to find books across other genres, sometimes you want to stick to your own. Look for award winning books, not books on the best-seller list. Check out the recent RITA finalists, or the finalists for contests in your particular sub-genre. Look at recently published work from authors you admire. If you're goal is better characterization, think about those books with characters you can't leave behind. If your goal is better description, focus on those authors who suck you into their world and won't let you go.
3. Read! BUT, read only those pages you need. If you're working on characterization, only read the first 20 pages. If you're working on description, thumb through to find a few particularly good passages. Don't read them -- analyze them. Look at word choices, rhythm, what's said and not said. Read it aloud to see how it flows. Keep a pad beside you and write down everything you think works.
4. Pirate it, baby! Now, with your list in hand, go back to your own writing. We're not copying or plagiarizing here, we're critically analyzing what works and why and applying the technique to our own writing. Say you were studying dialog and you took all sorts of notes on when and how to best interrupt the dialogue and when to simply let it flow. Tweak your dialogue scenes with that in mind. If you were studying description and how to insert it, tweak your scenes with this new knowledge.
So pirates, your mission, should you choose to accept it, is to think about what areas of your writing need improvement. Think of a recent scene or section you wrote, where you knew you weren't quite getting exactly what you wanted on page, but weren't sure how to fix it. What are some books you can study as part of a recon mission? What are some authors who do something particularly well, who you can learn from?
As most of you know, I'm a sucker for how-to and craft books. But those, while they can be useful, can only take you so far. And there have been plenty of times when I've written something, and I know what I want to convey, but I know that what I have actually conveyed on paper is not the same. It becomes blatantly clear when every email to a CP starts with the phrase, "Well, what happened in my head was..." Uh, yeah. Doesn't really help if it only happened in my head. It sorta needs to happen on paper to *g*
So I've learned a better way -- writing like a ninja. The solution was dumped at my feet last week in school, while I sat open-mouthed and thought, "Duh!". Therefore here, in probably more detail than any pirate cares for, are my notes for the recon mission. A step-by-step guide for figuring out where the weaknesses are in your own writing, and learning how to combat them, just like a ninja:
1. Read your own work objectively. Try printing it out if you usually read on-screen, or print it in a different font. Try going somewhere new and fresh to read. All these things help keep you from skimming, and help you look at your own work in a new, objective way. What is it that's not working? What's lacking? Most importantly, what were you trying to convey that didn't end up on paper? If you were trying to write a caring, empathic protagonist, did she really appear caring and empathic? If you were trying to show heart-wrenching grief, did you successfully show it enough to make your readers feel it too?
2. Find books for your recon mission. The goal here is to study how other authors have successfully done what it is you were trying to do. Sometimes, you want to find books across other genres, sometimes you want to stick to your own. Look for award winning books, not books on the best-seller list. Check out the recent RITA finalists, or the finalists for contests in your particular sub-genre. Look at recently published work from authors you admire. If you're goal is better characterization, think about those books with characters you can't leave behind. If your goal is better description, focus on those authors who suck you into their world and won't let you go.
3. Read! BUT, read only those pages you need. If you're working on characterization, only read the first 20 pages. If you're working on description, thumb through to find a few particularly good passages. Don't read them -- analyze them. Look at word choices, rhythm, what's said and not said. Read it aloud to see how it flows. Keep a pad beside you and write down everything you think works.
4. Pirate it, baby! Now, with your list in hand, go back to your own writing. We're not copying or plagiarizing here, we're critically analyzing what works and why and applying the technique to our own writing. Say you were studying dialog and you took all sorts of notes on when and how to best interrupt the dialogue and when to simply let it flow. Tweak your dialogue scenes with that in mind. If you were studying description and how to insert it, tweak your scenes with this new knowledge.
So pirates, your mission, should you choose to accept it, is to think about what areas of your writing need improvement. Think of a recent scene or section you wrote, where you knew you weren't quite getting exactly what you wanted on page, but weren't sure how to fix it. What are some books you can study as part of a recon mission? What are some authors who do something particularly well, who you can learn from?
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Coxswain's Commentary (Hal)
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40 comments:
Well, the latest scene I wrote that didn't go right was on where I put it in the wrong character's POV. It would have been all right in the other character's POV, but it ran into other hazards like: having too many characters in the book (i.e. a secondary character who will turn out to be a scene stealer); no point to the scene; pacing slowed; main character seemed spineless and unempathetic. Terri read it and said, "Switch it back to the other character" and since I'd initially had it in this character's POV, I thought, Yeah, that's what I thought too. I whined that I had tried that but it was lame, but Terri assured me that was the way it needed to be. It worked out. I'm sure it'll still be cut in the final product because I have an awful habit of writing minutae about nothing.
Lately I've read: I Shot You Babe (good!); and My Sister's Keeper (well-written, bad ending); Plain Truth (awesome, really drawn into characters and subtle humor). Leslie Langtry does more over the top and sarcastic humor which I associate more with my writing; however, the humor in Plain Truth (the Bishop who talks in parables) fits one of my main characters really well.
Of course, maybe I shouldn't be reading books on how to be funny. I should be reading books on how to be BRIEF. Any suggestions there?
Oh, lord love a duck...I gots ta think what ain't workin' while I'm still figurin' out where I'm goin'? Sigh.
Well, might work wit' editin'... Me biggest problem is likely me lack a' patience. I wants ta know what be happenin' next, not what I already wrote! But I likes the process yer describin', Hal. I'll be finishin' me current WIP soon and I'll try yer technique...
There be a real argument here fer plottin'... I know. Fer me biggest problem right now be a saggin' middle...not sure how ta use yer sneakin' about ta see me thru that. I jus' gots ta finish it then mayhap redo what I needs ta get it right.
I jus' finished Jennifer Crusie and Bob mayer's Agnes and the Hitman... What worked so well I was jealous? The humor, the sex...the bits a' Agnes' columns... And I really liked how Agnes would make up her mind about what was goin' on or not goin' on wit' Shane...and then completley do the opposite with no apology. I likes how 'er character stayed true to bein' contrary. That's somethin' I'd like ta work into me current WIP. To do and make it believable, naturally almost... Hmmmmmm...
I have a few ideas about this that I'm starting to experiment with.
I use speech software a great deal (text to speech) and find that getting the computer to read your work aloud can be very helpful.
Thats old hat now though and many writers use it.
My innovative idea is to use voice recognition software and a method acting approach to record your thoughts.
So if you want to write a bath room scene, run yourself a bath and first think yourself inside your character's head. Then as you relax in the warm water and the thoughts in your head begin to buzz, start speaking your thoughts to the computer.
I tried this the other day, but without the software, and my imagination was producing very steamy scenes, with the words in my head beautifully capturing the emotions and tensions.
As things in my head started to heat up even more, Terri came into my thoughts, looking at me with a manager's critical eye. Is he really worth another 10K, or would it be money down the plug hole?
If I had recorded that, I could easily cut unwanted thoughts and been left with a masterpiece.
I'm convinced it could work! 8)
Helli, I have said it before, if you want to be brief, talk to a scientist!
recommended reading: 'Brief history of time' by Stephen Hawking
Chance, if you want to know where your going and peep into the future, talk to a scientist!
recommended reading: 'How to build a time machine' by Paul Davies
I think that sums it all up nicely. Any more questions? :lol:
I just choked on bagel while reading Q's first comment. LOL! I can't figure out if I should be more bothered by the idea of me coming to mind while he's in the tub, or the fact that I came to mind as a mean school teacher instead of something else. ;)
Now, I have to go think about the rest of this. It's too early on a Monday for all this thinkin'!
Hilarious Q!
I had a scene like that recently Hellie. It just wasn't working, and it finally hit me that it was because I was in the wrong POV.
But brief - that one's harder. I'm trying to think of authors who are especially good at not having any wasted words or scenes, but I'm not coming up with any off the top of my head. Anybody got any ideas?
Chance - that sounds like a great book! That'd be fun to break it down and see just how she managed to keep a contrary character likable.
A sagging middle is exactly what I'm struggling with right now too. And I'm with you -- once I get it all down on page, then I'll worry about tightening it up
Ter - I'm having trouble thinking this morning too.
Q - I'm dying laughing about Terri marching into your bath time to lecture you on word count! LOL!
I've heard great things about text-to-speech programs but I haven't tried it yet. I should though - seems much easier than trying to read the whole thing aloud on your own. Though when I try to record my own thoughts, I get all nervous about the tape recorder, and then I start talking like an LA cheerleader and using phrases such as, "So, like, what happened next was, like..." Yikes!
Good morning. :)
I think I'm the only person in the world with today off as a holiday.
Hal, dearest, if we're going to talk about what all areas I need improvement in today, you'll need one of those couches that I can lay down on and about 8 hours free to listen to me whine. LOL
Lately, I've been working on my dialogue. I suck at dialogue. I've been trying to look at books that are within my genre to see how they write dialogue instead of description.
But when I'm editing through, I always print it off instead of doing it on the computer. I can't see the things that need to be done while it's on the computer screen. And I absolutely loathe reading my own stuff.
Q, I have a talk to text program as well. But since it has to learn your voice (which is much quicker than it used to be) it still can't understand me half the time. And I don't think my accent is that heavy. Stupid program.
Do you find it easier to use the program than to type your story? I find that if I am not typing the words, they don't come to me as easily and therefore the story is not as it should be.
The idea of talking the story instead of writing it would feel strange to me. Which is odd since I used to get paid to talk and I'd rather *tell* a story, but there you have it. I'm weird, this is not news.
My worst area is setting and descriptions. Making the setting another character is my goal, but no idea how to do that. SEP does it brilliantly. I remember being amazed after reading Ain't She Sweet (set in a southern town) that SEP had never been to a southern town. Or at least I think I read that somewhere. She just made it up, but she did it so well that town had a pulse and a personality.
I'm finding that while reading, I'm noticing things if I've just learned them. I recently took a body language course so I'm noticing when authors reveal stuff through body language. Hopefully that's settling in as something that I'll be able to do. Great help for the showing instead of telling bit.
Ter, you write my dialogue and I'll write your setting and description. We could write one helluva book. LOL
That would be an interesting book, ya know! Terrio and Sin...what would be yer pen name? I been tryin' ta talk Jane-o into doin' something fun like that! She writes a chapter, I write a chapter...
A time machine! Q! How brilliant! When can ya build it fer me? ;)
The Crusie book was fun... I've never seen the woman but I'm lookin' forward ta the Nationals and a chance ta hear 'er talkin' 'bout writin'!
Hm, I'm not sure. It took me FOREVER to decide what my pen name would be and I think I remember that Ter is going to write under her real name. So if there were the case, I would have to use my real name and we could combine them. Ter- it could be Terri Taylor. LMFAO
Alliteration is always good. LOL! We could totally do that. But when I have people living ordinary lives and you keep trying to shoot them, we could run into trouble. LOL!
That's OK. If'n I can talk Jane inta foolin' wit' me we be mixin' it up with a Civil War historical and aliens...or pirates if she gets strict wit' me... (I think aliens would be more interestin'!)
Terri Taylor - lol. I'd totally read that book :)
Chance - aliens would totally be more fun *g*
"What time is it?"
"TOOOOOL time"
Every time I see "Terri Taylor" I want to put "The Toolman" between the Terri and Taylor...
I would type that grunting noise but no idea how to do it.
So who is Al around here?
Me, of course.
And you look great in that flannel too. LOL! Very becoming. Though there was no need to paint on the beard.
Hal, I'm so sorry I'm late! :)
WRiting like a ninja huh? I've been reading a lot of fantasy, paranormal, etc, recently, but I haven't found anyone I like better than JR Ward. I read Acheron by SK recently too and I liked the first half, before she started in on the more contemporary, almost snarky voice she does in the second half.
Funny you wrote this because I was reading Lover Awakened just last night, wondering how she did what she did. I like the idea. :)
Sin, I haven't bought the recognition software yet, just thinking about it! I have colleagues who swear by it though so I'm quite tempted.
I was only thinking of using the method acting approach for scenes that I have particular difficulties with. These typically involve high emotions from my heroines, and I hope that by acting them out so to speak, I may have a better chance of capturing the atmospherics.
Somehow it is very difficult for me to project into the mind of a woman who is bursting with emotions and passions. I think I'm probably too analytical. By talking rather than writing I anticipate that my mind may be persuaded to skip any analysis and get straight to the quick.
I would probably have to do it when Mrs Q is out though or she might think I'm talking to myself and have lost it completely! *grin
Chance, I'm a theoretical physicist. I don't actually make things. I could explain Davis's book on time machines if you need some plausible input.
Terri luv, don't ever think that you have lost your womanly appeal! :D
Haleigh, when I listen to women holding forth on pet topics they often come across as elegantly eloquent. I'll bet that Terri on her radio shows could talk the hind legs off donkeys if required.
It might need a little editing but just give it a try! 8)
Chance - I loved Agnes and the Hitman as well and thought she did some amazing things with that story and the characters.
I have a *feeling* that I'll have trouble with dialogue - writing business releases and contracts has made me a more formal writer and that won't work with dialogue.
One thing I tend to admire in books is a really well done setting that becomes its own character. One of my all-time favorite all-time books The Alienist by Caleb Carr (GASP - not a romance) does a fantastic job of bringing NYC at the turn of the century to life. When I read the book I feel like I can hear the noice, smell the stink, etc.
Likewise, I love, love, love how Johanna Lindsay creates her heros in the Mallory series. I love how they are fully developed and really drive the story - I can only hope my heros pop off the page like them!
Wow - did that post need editing! Sorry!
Q, my boss likes the voice recognition software. I still have to edit some stuff, because it'll come up with some weird crap.
Personally though, it freaks me out. Invariably the man will ask me to untangle some technology crapola in his office--he's comically inept with email--and we'll be discussing the problem at this desk, and the software will be listening and end up editing our conversation into the middle of whatever he's "writing". It's annoying to have a conversation about "Duh, I can't believe anyone did that. Go cardinals!" in the middle of a science education journal article.
Completely CREEPY. It's like Big Brother is watching me.
It did? Hmmm, sounds like ya need to feed yer inner editor ta the Kraken, Sabrina. No prob readin' it. This be a blog, honey, not a homework assignment!
Heros poppin' off a page...the first pop-up romantic novel! Great idea!
Q - If'n ya can't build it fer me, ferget it. Sounds like too much work ta actually understand. But I 'preciate the thought!
Sneaky Ninja Tarts fer everyone! I'm feelin' good, jus' got down 1000 words on me WIP and now I'm goin' ta the movies ta drool over Johnny!
I wish I could argue with Q's suggestion up there, but I can't. I could talk the legs off of just about anything. *sigh* It's a curse.
Sabrina - The Malory books are some of my all-time favorites. That's how my daughter got Malory for a middle name. LOL! The poor thing.
I think Julie Garwood was always good with descriptions like you describe there. And Elizabeth Lowell too. She has some set in the exotic places and just brings them to life.
I not be a massive Nora fan. But I do 'preciate how she brings Ireland ta life in the books set there...
Hel - Sorry. I think it t'would be hilarious ta 'ave some actual converstation in the middle a' some dry academic how to...
I 'member readin' Asimov's 'Foundation' and the voice recognition program one 'a his characters used recorded 'er entire rant 'bout somethin' silly. Was so cool!
Hi Marn! Glad it can help. I can see how JR Ward would be similar in some respects to what you're going for. Talk about deep characters!
Hellie - and the software will be listening and end up editing our conversation into the middle of whatever he’s “writing”. - LMAO!! I can totally see that happening to my boss. He writes horribly dry academic stuff, but when he talks, he uses "motherfucker" every other word. How funny to have all that in the midst of the academic stuff *g*
Q - You're right - I love a thoroughly impassioned speech. I should totally give the voice recording another shot!
Is there a speed to this voice recognition thing? Because I'd probably have to slow down.
Marn - I picked up those Ward books once in the bookstore and couldn't stand all that slang or whatever it is. Do you just get used to that?
I love your tip to print it out in a different font. I can see how that might make it easier to look at it objectively.
Terri, once I started reading Ward, I was completely imersed in her world and didn't notice the odd spellings and slang.
Di
Great Blog, Hal!
Hey Di! I agree - printing it to be somehow a bit different really made a huge difference in spotting the mistakes.
I'd have to slow down too. I talk way too fast *g*
I'm such a tree-hugger...I just can't print somethin' up fer no good reason! I try! But me environmental roots jus' scream at me that I be wasting resources! I 'ave tried changin' the font on the monitor and it 'elped me see mistakes...
Public Enemy was nice. Not great, but nice... very darkly lit and sound be a struggle. Could be me theater had it turned down too low.
And exited ta the smell of smoke. Ah, Summer and the state's on fire...somewhere.
I didn't care for Public Enemies as much as I would like. His role as Libertine was a more likable character than Dillinger...though that scene where he walks into the police station is a riot.
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