Posts Tagged ‘Fiction Writing’

Why Writers Must Know Grammar

Wednesday, June 10th, 2009

It surprises me how many aspiring fiction writers don’t know a thing about grammar. The majority can’t identify the eight Parts of Speech, explain when you would use ‘well’ instead of ‘good,’ or understand why you shouldn’t end a sentence with a prepositional phrase.

I am not a grammarian myself. There are many rules about language structure that I don’t understand, despite having studied grammar independently, taken a few college courses, and taught it to children. I forget, for instance, the difference between an embedded clause and a relative clause (or embedded relative clauses?). I could use more practice in sentence diagramming. I sometimes mix up British and American usage.

Like many writers, I make mistakes. There are also things that I have learned to do incorrectly. For example, it wasn’t too long ago that I broke myself of the habit of using an ellipsis (…) instead of a dash (–) to indicate an interruption. For some reason known only to my muse, I occasionally write her when I mean him or him when I mean her, not because I’m confused by the difference, but by some sort of defunct muscle memory.

My point is that I need a copy editor and a proofreader as much as anyone. However, I do not expect a copy editor to do my writing for me. I know the basics, and I make an effort to always be learning and practicing.

There are many writers who know next to nothing about grammar or punctuation. That’s okay as we all have to start somewhere. However, it is a problem when writers believe that they don’t need to know grammar, either because they don’t recognize how difficult their writing is to understand or because they assume it is the job of a copy editor to fix their mistakes.

Let’s dispel this myth! If a publishing house wants to print your manuscript, an editor will help you make your story better, a copy editor will go line-by-line through your work, and a proof reader will make sure all is set for print, but it is not the responsibility of any of these professionals to teach you how to write.

A writer who cannot form coherent sentences is not going to get published. At the very least, every writer should know the basics of grammar and punctuation. You should know all the Parts of Speech, what they mean, and how to identify them in a sentence. You should understand what a sentence is and how it differs from a clause. You should know how to use all punctuation marks, including commas, semicolons, dashes, apostrophes and ellipses correctly. Otherwise, your manuscript is going to resemble a garbled mess that no one will want to wade through in order to find the story!

At least have a grammar book! Everyone should. It wouldn’t hurt to have several.

Not all grammar books are stuffy and hard to understand. The basic ones are like encyclopedias, but some are written like narratives and can be entertaining. The best grammar books (in my opinion) are a mix of the two and explains the whens and whys with really clear and interesting examples.

My favorite grammarian is Grammar Girl, or Mignon Fogarty, who was one of the first people I started following on Twitter. I love her because she responds to my questions. She has a podcast and a best selling book. In fact, you can win a copy of Grammar Girl’s Quick and Dirty Tips for Better Writing by entering this contest at Writing the Cyber Highway (ends June 13, 2009).

You can keep up with Grammar Girl in the following ways:

* On Twitter: @GrammarGirl
* Subscribe to Grammar Girl’s daily tip newsletter.
* Visit Grammar Girl’s website and listen to the podcast!

Writing is a craft. If you are serious about writing, you need to understand the structure of your discipline. A writer who ignores grammar is like a chef who ignores ingredients. You need to understand the elements of language if you are going to tell a story you expect anyone to read! Doing so will not only make you a better writer, but also make the process of writing more enjoyable.

Secondary Characters Need Conflict Too

Thursday, May 28th, 2009

The middle section of my novel is STILL irritating me. Fortunately, I think I know what the problem is. My main characters are dragging their feet because the characters around them might as well be vapor. This is because I have been focused on cramming the main conflict into the allotted page count to the neglect of all other potential conflicts. Thus between ‘big scenes’ for my main characters there is an annoying lull.

I’ve been mulling over this for a few days. I don’t think I can get to the end of the first book (and have it make sense) without some scenes that develop my secondary characters–you know, those characters that are ‘friends’ of the main characters and help the main character either get into trouble or get out of it. In this case, those characters act as foils as well, so it’s really important that the reader gets to know them. They have depth already–in my mind. The challenge will be finding a place to explore it on paper.

I know I will be glad of the time it takes to develop a well rounded cast when the plot gets more complicated! I know the future (sort of…) and I will eventually NEED these characters. More importantly, I think giving the secondary characters some conflict NOW will the solve the problem I’m having with this section of the book lacking conflict for my main characters. Of course a larger plot is there, but I’m talking about the kind of immediate, gritty conflict that keeps a readers turning pages. More of that please!

So I have devised a clever solution:

I’m going to give my secondary character some background. I am going to write it into the present through an encounter with the past. I will have my secondary characters fight with each other over this event, and use that conflict to propel the rest of the story forward.

Oh. And there’s going to be a play within a play! Er, a play within a novel. How often do you see that?

I can’t help that I love theatre.

Is It Necessary to Outline When Writing a First Novel?

Wednesday, January 14th, 2009

In a word: yes.

Depending on what you mean by “necessary.”

Can you write a novel without an outline? Of course you can, and some people work best this way. Everyone has their own writing process. Some people write a discovery draft first, which they then shape into a book. Other people outline the story start to finish before writing a word.

Neither method is more superior to the other, and there are more methods than these.

I half outlined the novel I am working on now. I had the over arching story worked out into three books and the first book worked out into three major sections, with a climax at each section, but only a small idea of how character development and plot development fit together scene by scene beyond the first section. I drafted the first section until I ran out of outline. At that point, I had more ideas and was able to outline the rest of the book. That is what I am working on drafting now.

At any rate, by the time I am done I will have both an outline and a discovery draft. It is likely that both will undergo a transformation, possibly several transformations, before becoming a solid manuscript.

Why do I say an outline is necessary if I only “half” needed one? I say it is necessary to outline a first novel because stories with outlines turn out better than those that don’t. A few years ago I stubbornly refused to believe this, mostly because I didn’t want to go through the work of “outlining.” I told myself it was so much more fun to write when you didn’t know what was going to happen. As I have found out, it really isn’t more fun. I was being lazy.

As I grew more experienced I learned that outlining (at least for me) not only results in a better story but fewer rewrites and idea blockage.

An outline is basically a plan. It is a blue print. Many agents and editors request the first three chapters of a first novel and an outline. Even if you write the whole novel without referring to any kind of plan, it is likely that you will STILL have to write an outline.

So why not plan on having one from the beginning and save yourself the anxiety?

Remember that markets for first novels are slim. It is unlikely you will ever be published, especially in a popular market, if you are lazy. Whether you write an outline before or after drafting is irrelevant, but stubbornly refusing to write one at all is laziness. To get published, your work needs to be your BEST work–and even then it’s a game of pitch, luck, networking, and readership.

So give it your all.

Write an outline!