[stylist] 25 ways to improve your writing

Fri Dec 30 23:46:09 UTC 2011

nope,
I am another jim/james, was here long before home james got here.
thank you for the praise, you'll find more enlightening folks on this list than me.  

over the past dozen and a half months I've suffered two computer failures, and huge medical problems in several critical ways.  so I didn't post much for most of that time.  

I'm still quite limited in how long I can sit at my computer, and pain is still an issue but thank God I am recovering and now walking a few times each week.  

happy new year to you jaquilyn.
jc

At 01:50 PM 12/30/2011, you wrote:
>Jim,
>Are you the previous "Home James? I have not seen his postings for a long
>time. If it is indeed you, did you change your e-mail address? Regardless, I
>find your responses illuminating, as I did his.
>Jackie
>
>-----Original Message-----
>From: stylist-bounces at nfbnet.org [mailto:stylist-bounces at nfbnet.org] On
>Behalf Of James H. "Jim" Canaday M.A. N6yr
>Sent: Thursday, December 29, 2011 4:20 PM
>To: Writer's Division Mailing List
>Subject: Re: [stylist] 25 ways to improve your writing
>
>often I'll daydream a scene or situation that's the climax of the story.
>then it's like solving a puzzle to figure out how to get there, and to the
>conclusion.  
>
>I also enjoyed that about thinking in pictures.  
>jc
>
>At 11:09 AM 12/29/2011, you wrote:
>>Chris,
>>Thanks so much for posting this. Which Writers' Digest is it from? There
>are
>>some real goodies that I think would make wonderful cores for articles on
>>writing, and if I actually get to it, I'd like to credit the authors.
>>
>>I particularly like the one which talks about daydreams and the one with
>the
>>axiom that went something like, "if you think in pictures, write; if you
>>think in words, paint."
>>Donna
>>-----Original Message-----
>>From: stylist-bounces at nfbnet.org [mailto:stylist-bounces at nfbnet.org] On
>>Behalf Of Chris Kuell
>>Sent: Thursday, December 29, 2011 10:46 AM
>>To: stylist at nfbnet.org
>>Cc: Susan Bedwell
>>Subject: [stylist] 25 ways to improve your writing
>>
>>
>>This is From Writers Digest.
>>
>>
>>
>>
>>
>>
>>
>>1. Flow
>>A piece of writing is a living thing. Our goal should be to serve it and do
>>what it wants, to be its instrument. The flow of words from our mind to the
>>page is impeded in two main ways-if we try to make the story do something
>>that it doesn't want to do, or if something in us isn't ready to face the
>>full implications of the work's theme and emotions.
>>
>>Avoiding those blocks requires developing a relationship with the piece
>>we're working on, as if it were a person. At the start of each writing
>>session, especially if you're having trouble moving forward, literally ask
>>your work-in-progress, "What do you want to do? Where do you want me to go
>>with you? Why are you stalling?" This is a psychological trick that almost
>>always creates an imagined response, along the lines of, "This scene is
>>boring. Why are you making me do it?" Or, "This section is full of
>gimmicks.
>>Why aren't you being true to the subject?" The device takes only one
>minute,
>>not 30, and over the years, it's saved me from writing a lot of passages
>>that would have been either unnecessary or else dishonest. 
>>-David Morrell
>>
>>2. Precision
>>In the study of traditional Chinese painting, the term hua long dian
>>jingspeaks to the need for precision. It translates roughly to mean, "Dot
>>the dragon's eye, and it comes to life." In other words, your subject
>>remains inert until you add the precise detail that brings it, in the
>>reader's mind, to life. Often when we finish a draft, we feel the piece
>>somehow isn't working. Our writing group says they found it dull in places,
>>or just "didn't get it." The culprit is often a lack of precision-the key,
>>specific details that bring the world of the piece alive.
>>
>>Develop the habit of dedicating time to reviewing your work with precision
>>in mind. How would that scene change if you add a sweet tang of honeysuckle
>>to the breeze? How might this character change if you fasten the top button
>>of his shirt? Henry James told us that writers are people "on whom nothing
>>is lost." The key to successfully creating or conveying worlds for our
>>readers is painstakingly observing those worlds, and then scribbling down
>>the precise details that tell the story. 
>>-Jack Heffron
>>
>>3. Voice
>>Your voice is how you write, the way you handle language, your style-if you
>>have one. Do I? I write like I think. I like spontaneity. I push and pull,
>>change speed and rhythm, balance short and long sentences. I compare it to
>>jazz riffs and drumrolls. I'm economical with words, but I won't interrupt
>a
>>nice solo.
>>I never have to think about this. It's me.
>>
>>But does it rise to the level of "voice"-and does it even matter? I've
>known
>>excellent writers who don't have a recognizable voice, but have earned
>>awards and attracted readers through their work. Your voice, ultimately,
>>will be what comes out of you. And you're entitled to it. But how you use
>it
>>will also depend upon the audience at which it's aimed and/or the market to
>>which it's sold.
>>
>>The desire to develop a voice of your own may make you wish you could write
>>like some others you've read. Feel no guilt; all artists stand on the
>>shoulders of those they admire. Thus, for 30 minutes: Rewrite a page of
>your
>>writing in the style of someone you admire. Don't worry about losing
>>yourself in the process-you'll be doing just the opposite.
>>-Art Spikol
>>
>>4. Originality
>>It is perhaps ironic that the exercise I consider most useful to spur
>>originality is one I borrowed from another writer (William S. Burroughs).
>>Then again, the best advice I ever received on writing in general was
>Oakley
>>Hall's two-word bromide: Steal Wisely.
>>
>>In truth, originality is like voice, an elusive quality that cannot be
>>created; it exists or it doesn't, all you can do is hone it. But we can
>also
>>strive to look at our own world and work in a fresh way. If you're in a
>rut,
>>change something in your routine. Write in a different place; write
>>longhand; dictate into a recorder; switch point of view; remove every
>>modifier in your text and start over-something.
>>
>>Or, try this: Print out a page of your writing, cut it into quarters and
>>rearrange them. Retype the text in this quasi-jumbled state. Where before
>>your logical brain laid things out in an orderly fashion, you'll now see
>>them in jump cuts and inexplicable juxtapositions. Return to your work and
>>revise with the best of these angularities intact, to the point they serve
>>the piece, without reordering them back into comfortable reasonableness.
>>Honor the deeper, inherent logic of your work by allowing its quirks and
>>hard edges to show.
>>-David Corbett
>>
>>5. Imagery
>>A successful image can plug right into your reader's nervous system at
>times
>>when explanation falls flat. Consider, "Donna felt weak," versus, "Donna
>was
>>unable to bring the spoon to her mouth." Which one makes you want to know
>>what happens next?
>>
>>To see how images give your writing a boost, rewrite each of the following
>>statements in a way that shows instead of explains:
>>
>>  a.. Her hair was a mess. 
>>  b.. The garden was ready for picking. 
>>  c.. I hate broccoli. 
>>  d.. You always change your mind. 
>>  e.. The moon is full.
>>Now, revisit a draft of your writing. Try making vague moments more vivid
>by
>>replacing explanation with imagery. This won't always be an appropriate
>>solution-sometimes a simple, unembellished statement will be the most
>>powerful choice. But you won't know until you try.
>>-Sage Cohen
>>
>>6. Pace
>>Much of screenwriter William Goldman's wonderful Adventures in the Screen
>>Trade can be applied to other types of writing. Goldman advises getting
>into
>>each scene as late as possible, and out of it as early as possible. Faulty
>>pacing in almost any work can be corrected with this advice.
>>
>>There's no need to begin scenes by laboriously explaining how characters
>>arrived there, or to open an article or essay with excessive setup or
>>introduction. If you find you've done this, chances are a more interesting
>>way to begin follows just after what you've written. Similarly, many
>writers
>>put an empty paragraph at the end of a scene or section. When revising my
>>novels, I experiment by cutting the first and last paragraph of each scene.
>>Suddenly, a sequence that dragged can become   speedy. Arrive late in a
>>scene and leave early. The reader will fill the gaps.
>>-Morrell
>>
>>7. Unity
>>One method for creating a sense of unity in a piece of writing is the use
>of
>>selective repetition. A detail or remark or even just a unique word
>>mentioned early in your piece can be echoed later, creating a sense of
>>wholeness through the reader's recognition of the previous mention. That
>>recognition also imbues the repeated element with a resonance, not unlike a
>>coda in a musical composition. The reader enjoys a satisfying sense of
>>progression, of having moved from one literary moment to another.
>>
>>Reread a piece you're working on with an eye toward finding that element
>you
>>could repeat in a subtle way, and then look for a place later in the piece
>>where you could drop it in. If you're unsure which one would be most
>>affective, experiment by trying several. Ask yourself: If you had to cut
>all
>>the details or images and retain only one, which one would you keep? That's
>>the one you want.
>>-Heffron
>>
>>8. Sentence Structure
>>Well. I don't know that any writer in the 21st century worries about
>>subjects and predicates. Or believes that one shouldn't begin a sentence
>>with and or but or or. Or thinks contractions are slang. So I don't have
>>much to say on this matter.
>>
>>But this is important.
>>
>>Generally, I don't like rules for writers. The First Amendment doesn't,
>>either. But the English language is democracy in action. It responds to its
>>users. If it didn't, we'd still be saying "prithee" and calling taxis
>>"hacks." Hence, my 30-minute recommendation is to sit down and write
>>whatever moves you, following only one rule:
>>Don't bore anybody.
>>-Spikol
>>
>>9. Word Choice
>>The poet Frank O'Hara is rumored to have given this advice: "If you think
>in
>>pictures, write. If you think in words, paint."
>>
>>This turns out to provide some guidance on word choice. If you're stuck on
>a
>>word, sketch what it is you're trying to describe. It doesn't matter how
>>good you are at drawing. What matters is the employment of a different
>skill
>>set, a portion of the brain distinct from the one that has been searching
>>for the mot juste.
>>
>>Or consider a soundtrack for the scene. Let the scene play out in time
>along
>>with the music, or read it aloud with the music as background. When you
>>employ a different depictive medium than mere words, different associative
>>threads (or synaptic connections) can be brought to bear on the task.
>>-Corbett
>>
>>10. Rhythm is the subliminal soundtrack in writing. To explore options for
>>moving a reader along, choose a dramatic passage from a published piece you
>>admire. How do you feel when you read it? (Notice your breathing, heart
>>rate, posture and emotions.) How did the writer provoke this response? How
>>do word pairings and sentence and paragraph structures contribute to its
>>momentum? How do these rhythmic choices serve the piece's meaning?
>>
>>Now, write a passage that echoes the patterns you've discovered. If the
>>first sentence is three short words, yours should be, too. Where a
>>descriptive image blossoms for a paragraph, let yours do the same.
>>Communicate emotion through your rhythm. You might let rage stutter through
>>the syncopation of words and halting punctuation, or stream through run-on
>>sentences. Notice how these choices support or squelch the surrounding
>>narrative. Just as a musician practices scales until they become second
>>nature, your attention to the mechanics of rhythm will help you improvise
>>over time.
>>-Cohen
>>
>>11. Inspiration
>>In my writing classes, I devote a session to daydreams, which are
>>spontaneous messages from our subconscious. After one of my presentations,
>a
>>puzzled member of the audience raised his hand and asked what a daydream
>>was. Others were surprised, but I wasn't. Not everyone has a
>>daydream-friendly mind. In fact, some people have been taught to repress
>>daydreams as mere distractions.
>>
>>As writers, however, we should not only welcome daydreams, but train
>>ourselves to be aware of them. In fact, the cores of most of my novels have
>>come from daydreams. Daydreams are our primal storyteller at work, sending
>>us scenes and topics that our imagination or subconscious wants us to
>>investigate. Each day, we should devote time (I usually do this before
>>sleeping) to reviewing our daydreams and determining which of them insists
>>on being turned into a story. Don't push away those daydreams that make you
>>uncomfortable: The more shocking the daydream, the more truthful about us
>it
>>is. Embrace that truth.
>>-Morrell
>>
>>12. Balance
>>Creating a sense of balance in your piece is similar to creating unity (see
>>the opposite page), but the repeated element is even more obviously
>>connected to its earlier use. A classic example: In The Great Gatsby, as F.
>>Scott Fitzgerald introduces us to the Buchanans in early summer, he
>>emphasizes the breeze blowing through the room, billowing the curtains and
>>the women's dresses. Later, the same characters seated in the same place
>are
>>shown in the heat of summer as weighted down, dispirited, languid. The
>>connection between these descriptions creates balance and gives the reader
>a
>>keen (if not necessarily conscious) sense of progression. It also implies
>>that the characters are no longer free and airy, but encumbered by the
>>circumstances that have arisen.
>>
>>Set aside 30 minutes to reread your work, looking for a description, scene
>>or metaphor that you can repeat later with some aspect changed to serve as
>a
>>counterweight to the first usage.
>>-Heffron
>>
>>13. Clarity
>>You have to lead your audience through a tapestry of facts, ideas and
>>events. No matter what you're trying to get across, you have to get it
>>across, so keep it simple-unless complexity improves it.
>>In 30 minutes, examine your work for the following:
>>
>>  a.. A Stake in the Action: Readers need one. Drop the first shoe early to
>>get them listening for the second, and give them something to care about. 
>>  b.. Logic: It's the most important element of clarity. If you've written
>>something that doesn't quite connect, try saying, out loud, "What I'm
>really
>>trying to say is ." and then finish the thought. Sounds crazy, but it
>>usually works. 
>>  c.. Bumps in the Road: Check your work for brilliant phrases that you'd
>>love to use somewhere, anywhere-but that interrupt the momentum. I used to
>>cut and paste my elegant gems into a "futures" file; it rightfully became a
>>cemetery. 
>>  d.. Verbosity: Avoid longish, meandering quotations by paraphrasing. Save
>>the quotation marks for particularly revealing or quotable statements. 
>>  e.. Jargon: Save it for cocktail parties-unless it's the everyday
>language
>>of your audience. 
>>-Spikol
>>
>>14. Effective Details
>>The key to effective description is to realize the importance of
>>contradictions. The telling detail is almost always one that at first
>glance
>>doesn't seem to fit, but by its being there creates the unique whole that
>>the object or action or person represents.
>>
>>Go to a good people-watching spot or a place you want to describe. What's
>>the thing that doesn't quite belong? Pair one or two more typical
>attributes
>>of the thing/person/scene with this anomaly, and judge the impression. If
>it
>>differs from what you meant to describe, figure out what's missing. Add as
>>few details as possible.
>>
>>A related point: Often, we read a description and think, If this is there,
>>then that has to be there as well. Many writers then think that both
>details
>>must be included, but usually the opposite is true. Provide the stronger,
>>more typical of the two, and the other is implied; the reader's mind
>>supplies it automatically.
>>-Corbett
>>
>>15. Creativity
>>Creativity is the secret sauce of the writing life. Its ingredients are
>>different for everyone, and may change over time, which can make it
>>difficult to keep the cupboards stocked. When you get stuck, take 30
>minutes
>>and try one of these:
>>
>>  a.. Switch genres. Write a poem before diving into a narrative piece. 
>>  b.. Review incomplete writing for a scrap of idea or language; let it
>lead
>>you in. 
>>  c.. Burn kindling. Keep a file of art, poems, quotes, pressed
>>flowers-whatever ignites your imagination. Sift through it when you need a
>>spark. 
>>  d.. Grow your own list of triggers. Repeat what works until it doesn't;
>>then try something new.
>>-Cohen
>>
>>16. Simplicity
>>The great film director Billy Wilder was once asked if he liked subtlety in
>>a story. He answered along the lines of, "Yes. Subtlety is good-as long as
>>it's obvious." The same can be said about complexity and simplicity. Some
>>stories are so complex that it's frustratingly impossible to understand
>>them. But others (like Wuthering Heightsor Bleak House) are complex in a
>way
>>that we don't find difficult to understand, and actually find enjoyable
>>because of the complexity. Conversely, Hemingway's famous simple style is
>in
>>fact very complex.
>>
>>What really matters is whether or not something is clear. Each day, as you
>>revise the pages from your prior writing session, take a few minutes to ask
>>yourself, "Is this clear? Will the reader understand it?" If you're not
>>sure, revise until the answer is yes. Don't be afraid to deal with a
>complex
>>topic in a complex way, but always keep in mind that clarity will make you
>>the reader's friend.
>>-Morrell
>>
>>17. Avoiding Clichés
>>Everyone "gets" clichés. That's why they show up virtually everywhere.
>>Clichés may be thought of as overused and predictable, but few people
>>complain about movie car chases. For every person who doesn't want "same
>>old," hundreds continue to enjoy stereotypical hard-boiled dicks helping
>>dames in distress. Depending on your audience, a well-placed cliché can be
>>more effective than an explanation.
>>
>>Nevertheless, we need folks like you to buck the trend. So here are some
>>ways to spend a half-hour:
>>
>>  1.. Create a cliché-free protagonist: you. Choose a career you once
>>contemplated. Change your age, gender, race. Investigate something that
>>intrigues you. Invent a situation that boosts your heart rate. Send your
>>character to a place you'd like to visit. Now write. 
>>  2.. Remove from a work unnecessary parts of speech-such as replacements
>>for the perfectly acceptable said, and words like angrily to reveal how
>>someone slams a door. Say no more than readers need to know; let their
>>imaginations work. 
>>  3.. I've intentionally loaded my five contributions to this article with
>>more than my usual share of clichés. Circle them. Do it now. The early bird
>>gets the worm.
>>-Spikol
>>
>>18. Communication
>>Good writing connects with readers. For each piece you write, ask yourself:
>>
>>  1.. Who is my audience? Imagine the people you'd most like to reach. 
>>  2.. What do I want the experience and result of this piece to be? What do
>>I want readers to know or believe? How do I want them to feel? What do I
>>want them to do when they're finished reading? 
>>  3.. How will I measure my ability to deliver on these goals? Workshop it
>>in a writing group? Post it on my blog? Submit it to a publication?
>>Pay attention to feedback. You'll start to see the types of people and
>>publications that are attracted to what you write, how you're meeting their
>>needs (or not), and opportunities for becoming more effective.
>>-Cohen
>>
>>19. Tension
>>Tension results from two factors: resistance and ambiguity. In nearly every
>>piece of narrative writing, fiction or otherwise, someone is trying to
>>achieve something. Tension results from external or internal opposition to
>>achievement of the goal (resistance), or uncertainty as to the narrator or
>>character's understanding of the situation in which she finds herself
>>(ambiguity), specifically its perils (psychological, emotional, physical).
>>Tension is essential because it keeps readers reading. Thus, in every scene
>>you write, strive to heighten tension by doing one of two things: Enhancing
>>the forces impeding achievement of the goal, or confusing/complicating the
>>narrator or character's understanding of the situation.
>>
>>At the end of every writing session, take time to find and stress those
>>elements within the narrative that serve these purposes. Trim away elements
>>that do not, unless they add necessary color.
>>-Corbett
>>
>>20. Evoking Emotion
>>Hemingway spoke of a story's "sequence of motion and fact." James M. Cain
>>discussed "the algebra of storytelling: a + b + c + d = x." What they meant
>>was a sequence of incidents in a story that, if arranged correctly and
>>dramatized vividly, will create a stimulus that compels the reader to feel
>>the emotion the author is trying to create. Talking about emotions won't
>>compel a reader to feel them. "He felt sad" won't make a reader feel sad.
>>Instead, the reader must be made to feel the situations in the story, to
>>experience what the characters experience; as a result, just as a sequence
>>creates emotion in the characters, it will do the same in the reader. This
>>is a case of stimulus-response.
>>
>>Writers can achieve this effect if they take the sense of sight for granted
>>and emphasize the other senses, thus crafting multidimensional descriptions
>>and scenes. Details of sight alone almost always create a flat effect, so
>>when revising, take a few minutes to make sure that each scene has at least
>>one other sense detail. In this way, the reader becomes immersed in the
>>story, feeling it rather than being told about it.
>>-Morrell
>>
>>21. Figurative Language
>>Figurative language can enrich our writing, adding nuance and depth, like
>>the addition of a harmony line to a melody. The right metaphor can enlarge
>>our subject and offer our readers new ways of perceiving it. The risk
>>involved, like adding a heavy sauce to your delicately flavored meal, is
>>that the language can distract the reader and obscure your meaning rather
>>than developing it. Figurative language calls attention to itself, can
>>easily descend to cliché, and asks for the reader's complicity, all of
>which
>>could break your reader's focus.
>>My advice, therefore, is to use figurative language sparingly, strive to
>>make it fresh, and understand the implications of the comparisons you're
>>making (directly or indirectly). Make sure it's serving the piece. In
>>creating an effective metaphor, trust your subconscious, which makes
>>connections our conscious minds cannot readily make. Don't reach for the
>>quick, easy one. Instead, take the time to plumb the depths of your
>>imagination. Risk a reach toward an unlikely comparison rather than a safe
>>one. You might be surprised at one you find, and your reader will be
>>delighted.
>>-Heffron
>>
>>22. Objectivity
>>The perils of subjectivity arise largely from overidentifying with a
>>subject, narrator or character in a narrative, and making it (or him or
>her)
>>the vehicle for a thematic point in which the author himself is overly
>>invested.. The antidote is at least as old as the New Testament,
>>specifically Matthew 5:43-48, where Christ instructs his followers to love
>>their enemies. If what I have to say seems old hat, therefore, I'll be
>>neither disappointed nor surprised.
>>
>>If you find yourself overidentifying with a topic or character, try to
>>identify within the sympathetic subject, narrator or even oneself a trait
>or
>>belief or habit that is repellent or inexcusable or just plain odd. In
>doing
>>so, you'll enhance the psychological or moral distance between yourself and
>>the object of familiarity
>>or allegiance.
>>
>>Another possible strategy is to rewrite the scene or section from the point
>>of view of someone other than the object of sympathy. This forced
>disconnect
>>can achieve a similar effect.
>>-Corbett
>>
>>23. Revision
>>There are two good reasons for revising what you've written: Either you
>want
>>to change something, or your editor, agent or client does. If the revision
>>is your idea, that's good. It means you know what you want, or what you
>>suspect won't fly. If the revision is by request, remember: The customer
>may
>>not always be right, but she has the money and the medium-as well as the
>>experience of buying for it. (You can fight for what you believe, of
>course,
>>but choose your battles carefully. Races are won or lost in the final
>>minutes.)
>>
>>I knew a writer who would write a first draft and submit it without even
>>reading it over. Others, myself included, substitute and trim and pinch and
>>juggle until the work pours like melted butter.
>>
>>With that in mind, here's your 30-minute assignment:
>>Reduce by a third the word count of one of your recent efforts without
>>losing its essence. (I did this myself, in fact, with my contributions to
>>this article.) Note: Don't constantly reread what you've written; if you
>>memorize it, self-editing will be tougher. Put it away for a few days. Then
>>read it fresh.
>>-Spikol
>>
>>24. Language
>>Think of your writing as a windshield. Ill-suited words can streak and
>cloud
>>your reader's view, and just-right language can be as clarifying as a
>>high-powered carwash. Once you have a solid draft, it's time to consider:
>>
>>  a.. Could a different word bring even more energy or resonance to a
>>poignant moment through sound, subtleties of meaning, or syllabic rhythm? 
>>  b.. Could the setting be conveyed more vividly? Is the natural world
>>palpable? 
>>  c.. Is the emotional tone consistently resonant? Are there neutral words
>>or passages that could be more charged? 
>>  d.. Does the language powerfully enact the action?
>>As you polish and prune, each piece of writing will teach you something new
>>about what is possible. Let yourself be surprised.
>>-Cohen
>>
>>25. Style
>>Writers sometimes speak of style as if it were an ingredient to be added to
>>their story or poem or memoir. Instead, style is the thing itself. E.B.
>>White said it best, writing, "Style takes its final shape more from
>>attitudes of mind than from principles of composition, for, as an elderly
>>practitioner once remarked, 'Writing is an act of faith, not a trick of
>>grammar.'" The key, then, to developing one's style is to write, as White
>>states, "in a way that comes naturally."
>>
>>Sound easy? It's not. In fact, finding the "way that comes naturally" can
>>take a lifetime, and the way can change with each piece you begin. One key
>>to beginning that journey is to think about style not so much as a matter
>of
>>addition, but subtraction-casting off feelings of awkwardness and
>>self-consciousness, affectation and pretension. Focus on presenting your
>>piece clearly, in a way that connects with readers. For practice, imagine a
>>single reader sitting across a table from you. Spend a half-hour relating
>>your piece to that reader, as clearly and honestly as possible. Spend
>>another half-hour striving to make the piece more clear, more honest, more
>>affecting. Then spend another half-hour making the piece more clear, more .
>>-Heffron  
>>
>>
>>-- 
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