If we measure a board, cut it, find it too short, so we cut it again, are we ever going to end up with the correct length? No. So why, then, do we write and write, learn our manuscript doesn't quite work, so we do it over again in exactly the same way? It is this idea, this "how can we become better writers" question that I was discussing with two other educators a couple of years ago.
One educator said something like this: "The more you write, the better you get." I'd heard that many times--even thought it--but at that moment I disagreed with him, based on my belief that if all you do is write, over and over again the same way, nothing changes, especially not the writer.
So I responded with, "The more you're critiqued, the better you get."
"That's one way to look at it," he said, and when he left, I thought he seemed smug, but I, I'm ashamed to say, probably felt "smugger." After all, I "knew" I was right.
Since then, I've come to understand both viewpoints are correct. To become better writers, we do need to write. A Lot. One reason this is important is the more we write, the more we become familiar with language, story structure, and our own voice. Another reason is we develop two vital habits: reading (noticing how other authors develope ideas similar to ours) and writing (molding into our own when-and-how-to-write rhythms).
But, being "critiqued," especially by a knowledgeable critique group, is vital; it's a writer's life-blood. Why? Because, unless you're only writing for yourself (if that's the case, get a journal!), our audience is our whole purpose for writing. They are the ones we want to entertain, strengthen, or inspire. They are the ones we need to communicate with. And, a good critique group can not only tell us if we are doing our jobs well, but they can also suggest ways we can nudge our work in the right direction.
Critique groups are also great sources of emotional support. Let's face it, while writing a good book often requires help from many people, writing is, and probably always will be, a solitary occupation. Not only that, it's a little understood occupation. Sure, other writers, and sometimes other artists, understand our obsession, but most do not; and being able to connect with people just like us can provide validation more than anything else.
These are just a couple of reasons I love--rely on--my critique group. What do you appreciate about yours? Let me, and everyone else know by leaving a comment. Thanks!
Thursday, August 30, 2007
Friday, August 17, 2007
Themes
Houses reflect truths about their owners: what they care about, what they do, how they want others to perceive them. So, too, does our writing reflect the same truths about us. These "truths"--the reason we're writing a particular piece--are what I term "themes."
A few years ago, a middle school English teacher told me she had trouble teaching students how to write/recognize themes. I responded by giving her a copy of a few of my published articles/stories, including "Sparkly," and highlighting the elements I'd used to create the themes. Those elements included specific word choices, images, and thematic endings, as illustrated in the "Sparkly" exerpts below.
1)--Word Choice:
When Mom was gone, Mindy gazed at her reflection in the window. Am I really sparkly? she wondered. If I am, where is the light?
She nudged the angel. Its dress twinkled.
2) Specific Images:
Mindy sang the song again and again and again.
Finally Kate jumped into her arms and gave her a big hug.
Mindy grinned. She felt happy, tingly-warm—and sparkly.
A final note. In 1966, Robert C. Meredith and John D. Fitzgerald wrote an article titled, "Themes in the Traditional Novel." In it, they described themes as the nonfictional conclusion about life that the author portrayed through the experiences of his characters. This conclusion, they said, is best developed when the author begins with a statement of purpose, rather than a "theme" they want to moralize on, develops characters with oposing view points on that issue, and has the characters interact until the conflict is resolved and a "nonfictional" conclusion is determined. One example they cited was, The Lord of the Flies. In it, "the reader cannot help but come to the nonfictional conclusion that if people were left to themselves, they would revert to the primitive forms of society." That was its theme.
True, developing an effective theme may seem undaunting to the beginning writer, but taken one idea, one element, at a time--"baby steps"--it can be learned. I'm sure of it.
A few years ago, a middle school English teacher told me she had trouble teaching students how to write/recognize themes. I responded by giving her a copy of a few of my published articles/stories, including "Sparkly," and highlighting the elements I'd used to create the themes. Those elements included specific word choices, images, and thematic endings, as illustrated in the "Sparkly" exerpts below.
1)--Word Choice:
When Mom was gone, Mindy gazed at her reflection in the window. Am I really sparkly? she wondered. If I am, where is the light?
She nudged the angel. Its dress twinkled.
2) Specific Images:
“I’m counting the sparkly snowflakes. Four, five, six. … Mom, why is everything sparkly at Christmas?”
Mom sat beside her. “What do you see that is sparkly?”
“Snowflakes, angels, tree lights, wrapping paper, sugar cookies, …”
Mom took a tiny glass angel from the tree.
3) The message I wanted readers to take home with them--my theme--was: there is light, brilliance, and goodness within each of us. So, here's my "sparkly" ending.
When she finished, Kate clapped her hands. “ ‘Gain!” she begged.
Mindy sang the song again and again and again.
Finally Kate jumped into her arms and gave her a big hug.
Mindy grinned. She felt happy, tingly-warm—and sparkly.
A final note. In 1966, Robert C. Meredith and John D. Fitzgerald wrote an article titled, "Themes in the Traditional Novel." In it, they described themes as the nonfictional conclusion about life that the author portrayed through the experiences of his characters. This conclusion, they said, is best developed when the author begins with a statement of purpose, rather than a "theme" they want to moralize on, develops characters with oposing view points on that issue, and has the characters interact until the conflict is resolved and a "nonfictional" conclusion is determined. One example they cited was, The Lord of the Flies. In it, "the reader cannot help but come to the nonfictional conclusion that if people were left to themselves, they would revert to the primitive forms of society." That was its theme.
True, developing an effective theme may seem undaunting to the beginning writer, but taken one idea, one element, at a time--"baby steps"--it can be learned. I'm sure of it.
Tuesday, August 14, 2007
An Award
Tristi Pinkston has struck another unsuspecting blogger--me--with great news! Thank-you for this award, Tristi. I really appreciate it!
By the way, to all you struggling writers out there, awards can be a great way to not only gain writing "credits" but to also promote your work; so do the best you can with whatever writing project you're working on, and see what comes of it. Maybe it will be an award. Maybe publication. Maybe something that lifts another. But most of all, something you'll be proud to call your own
By the way, to all you struggling writers out there, awards can be a great way to not only gain writing "credits" but to also promote your work; so do the best you can with whatever writing project you're working on, and see what comes of it. Maybe it will be an award. Maybe publication. Maybe something that lifts another. But most of all, something you'll be proud to call your own
Tuesday, August 7, 2007
What I Learned from JK Rowling
Before the Harry Potter 7 craze fades, I wanted to create an "especially for writer's" list of what we learned from reading her books. Below is my list. If you have something you'd like to add, PLEASE comment. It can only help us become better writers if we learn from the "greats."
(Note: This list is in no particular order.)
1-Size isn't as important as Story. This was a BIG revelation to me, because prior to HP, I had attended one or two writer's conferences where editors stressed the importance of keeping children's books within a certain page range, and at that time, the page range was relatively small because readers literally "measured a book's spine to see which one was the smallest."
2-We MUST know the end before we write the beginning.
3-I discovered I enjoy reading well-written fantasy.
4-A book doesn't have to be "perfect" to be compelling; i.e., I'm sure we've all seen a few grammatical, etc., mistakes, but did that stop anyone from reading the books?
5-Even reluctant readers can be "caught" by a good book.
6-Everyone loves a REAL hero. By real, I mean one we want to emulate because he is inherently good.
7-Your readers will hate you if you kill your hero. I know this, because I had those feelings.
8-Once readers are hooked, they're hooked--but never, NEVER let them down.
9-Creativity is as important as Structure.
Okay, now who has number 10?
(Note: This list is in no particular order.)
1-Size isn't as important as Story. This was a BIG revelation to me, because prior to HP, I had attended one or two writer's conferences where editors stressed the importance of keeping children's books within a certain page range, and at that time, the page range was relatively small because readers literally "measured a book's spine to see which one was the smallest."
2-We MUST know the end before we write the beginning.
3-I discovered I enjoy reading well-written fantasy.
4-A book doesn't have to be "perfect" to be compelling; i.e., I'm sure we've all seen a few grammatical, etc., mistakes, but did that stop anyone from reading the books?
5-Even reluctant readers can be "caught" by a good book.
6-Everyone loves a REAL hero. By real, I mean one we want to emulate because he is inherently good.
7-Your readers will hate you if you kill your hero. I know this, because I had those feelings.
8-Once readers are hooked, they're hooked--but never, NEVER let them down.
9-Creativity is as important as Structure.
Okay, now who has number 10?
Saturday, August 4, 2007
"Friend"ly Questions
It seems to me that I read someplace (maybe at your blog?) that you've written for the Friend for many years. Is that correct? If so, I'm wondering ... were you employed by them as staff, or are you talking as a freelance writer?
I've submitted several times to them and never seem to get anywhere. Have you got any suggestions? There must be some trick I'm missing!:-)
Yes, I've written for "The Friend" for many years, and no, I was not on the staff. I worked purely as a freelance writer. As far as tips go, I think subject matter--as long as you write it decently enough--is one of the most important things to consider. For instance, I always think about what message I am giving the readers, who are, by the way, children, parents, and church (especially Primary) leaders/teachers. I also make sure that what I am "teaching," without being didactic, is exactly consistent with church policy.
Similarly, I not only narrow the focus of my message, but I also make it unique. That means, rather than simply relating a story that teaches "God answers prayers," I look for another, less covered topic that is also part of the same story. An example of this is my story, "The Walking Bible." In it, a missionary receives an answer to his prayers, but he also faces and overcomes the disabling effects of illiteracy.
Another thing I've done (more in the early years than now) is "study" the magazine--everything from what kinds of stories, articles, activities they are publishing to "how" they are written. One way to do this is to take apart, i.e., outline, them to get a feel for their structure. THAT really helped me get into other mags, too.
Finally, keep an eye, an ear, and your creative teaching mind open for good stories and good ideas for puzzles, etc. (if that's what you're interested in). Kids love them and teachers need them.
BTW, I believe they are only accepting non-fiction right now. It might also help you to know that their publishing schedule is at least one year in advance. For more information, see their guidelines at LDS.org.
Hope this helps.
I've submitted several times to them and never seem to get anywhere. Have you got any suggestions? There must be some trick I'm missing!:-)
Yes, I've written for "The Friend" for many years, and no, I was not on the staff. I worked purely as a freelance writer. As far as tips go, I think subject matter--as long as you write it decently enough--is one of the most important things to consider. For instance, I always think about what message I am giving the readers, who are, by the way, children, parents, and church (especially Primary) leaders/teachers. I also make sure that what I am "teaching," without being didactic, is exactly consistent with church policy.
Similarly, I not only narrow the focus of my message, but I also make it unique. That means, rather than simply relating a story that teaches "God answers prayers," I look for another, less covered topic that is also part of the same story. An example of this is my story, "The Walking Bible." In it, a missionary receives an answer to his prayers, but he also faces and overcomes the disabling effects of illiteracy.
Another thing I've done (more in the early years than now) is "study" the magazine--everything from what kinds of stories, articles, activities they are publishing to "how" they are written. One way to do this is to take apart, i.e., outline, them to get a feel for their structure. THAT really helped me get into other mags, too.
Finally, keep an eye, an ear, and your creative teaching mind open for good stories and good ideas for puzzles, etc. (if that's what you're interested in). Kids love them and teachers need them.
BTW, I believe they are only accepting non-fiction right now. It might also help you to know that their publishing schedule is at least one year in advance. For more information, see their guidelines at LDS.org.
Hope this helps.
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