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[Here's something I've been working on, in dribs and drabs (mostly drabs), for the past four years. The idea was to share a few tricks of the writer's trade with Street Tech writers, many of whom were then new to the biz. I violate some of my own "rules" here. It's a bit...ah...windy and even more than a bit redundant, but I decided that, in this context, it was OK. For instance: "Garage Band Writing Style," "Shitty First Drafts," "For God's Sake, Have Fun!," and "Writers Write" are all saying basically the same concept, only expressed in slightly different ways. One may speak to you where another doesn't. Anyway, consider it a work in progress, one that I didn't feel like keeping to myself anymore.
Gareth]
Gareth's Tips on Sucks-Less Writing
(Or: Everything I know about writing, I swiped from other writers and editors)
I've always thought that it's important to honor teachers. Good teachers actually impart the knowledge and practical wisdom that makes a difference in the way you work, live your life, and even more fundamentally, the way you perceive your world. And they inspire. Unfortunately, at least in my case, I'm not talking about my formal teachers. Over the years, it's been those foot-sloggin' the trenches with me -- fellow editors and writers -- who've taught me the most about my craft. When I examine my work, I can see them lurking about within it. Whatever success I've had as a writer, I owe a great deal of it to them. So without further ado...
Some Lessons Learned:
* Split Your Writer and Editor "Heads"
The first book I ever bought about the craft of writing was called Writing with Power. It was a largely forgettable slab of tree pulp and it engendered in me a life-long suspicion of how-to-write guides, which BTW, seem to permanently appear on "What to get writer-boy?" holiday gift lists. (Note to friends and family: Please, no more how-to write books! If I haven't figured out how to do this by now... Oh, and while you're at it, you can stop sending me blank journals, too. Seriously, I don't have that many profound thoughts, and when I do, I have the 27 other blank books I've already been gifted in which to record them. Need gift suggestions? Liquor is always good. Writers love to drink.)
But I digress. Writing with Power wasn't a complete waste of time -- it did contain one core concept that changed my writing life: When writing, don't try to edit as you go. Say what you want to say, unencumbered by the constant commentary from that fussy little editor swimming around inside your head. First, get it all down. Then, have at it, keeping what works and bug-zapping the rest. By separating writing and editing functions, you can convince yourself that you're just doing a first draft. This way, you often end up with better-than-expected material. When I read this book, personal computers weren't even a gleam in Steve and Bill's beady little eyes (yes, I'm THAT old. Shut up!). Way back then, it was difficult to type and retype multiple drafts without the burning desire to edit as you went. Happily, word processing changed all that.
* Throw out the First Waffle
One of the first things I noticed when I began getting my work published, was how often my introductory paragraphs were unceremoniously hacked into the trash by miserly editors. I once heard the phrase "throwing out the first waffle" used to describe divorce in a first marriage. I've come to think of these intro paragraphs as the first waffle(s) of writing. Writers, especially newbies, often waste this first graph (or two or three) setting up their subject, gobbling up precious column inches, awkwardly warming up to their subject. When you're done with your initial draft, take a hard, dispassionate look at the first few graphs. See if you can slice 'em off. Be harsh. Which brings us to:
* Apply Occam's Razor
A friend, Andrew Lawler, a science and technology writer who's currently an editor at Science taught me this one. When it's time for a tight edit, go over every word. Ask yourself: is this necessary? Is this the simplest, most straight-forward way of saying this? If not, toss or revise it! You'll be amazed at how many words you'll be able to trash. (Then sit on the piece overnight -- no, not literally! The next day, whip out the Razor again. You'll be surprised how many other fat (and not-so-sassy) words you'll find still hangin' around, sucking up perfectly good electrons).
Important note to newbies: Never, EVER find yourself saying the following in email to an editor: "I know you only asked for [your assigned word count goes here], but here's [your outrageously flabby, up all night buzzing your brains out on caffeine until you've lost all perspective and restraint word count goes here]." Editors are busy, over-worked people, with little patience for sloppy, logorrheic writers. Getting the piece at least in the neighborhood of the assigned word count is YOUR job, not theirs. If they have to spend a lot of time wrestling your piece into the allotted space, you likely won't get the gig next time.
* Don't be Redundant. No, Really, Don't.
Sometimes you learn what not to do by watching others. I have a friend (who'll remain nameless) who's a supremely funny and talented writer, but he often slips into repeating himself. He constantly repeats concepts and sentence wording. When you constantly repeat concepts and sentence wording, you end up writing about 50% too much material, just like my funny and talented writer friend does. I've learned my lesson well from him, not to repeat concepts and sentences endlessly. He's really funny and talented though. He really is.
More on this: I often find, when editing writers, that they'll use the same word over and over again in successive sentences. So, if they're writing about a PDA, they'll use "PDA" in every instance. A good writer can come up with creative ways to avoid over-using the primary proper noun. So PDA can be "the device," "the unit," "the hiptop," "the handheld," "the tiny bugger," "the Lilliputian wonder toy," "next year's high-tech paperweight," etc.
* Damn the Cliches!
Many years ago, I contributed to a book on multimedia for Time-Warner. My editor was big on cliché busting. I'd never realized how many clichés I relied on until she pointed them out. So, in order to weed out these moldy chestnuts, keep your eyes peeled and your ear to the ground. Then, your work will be as fit as a fiddle and as fresh as a daisy.
* Read it Out Loud
William Safire says you should read your work out loud. Writing is not the same as speaking, but they each have (when done well) a lot to do with rhythm and a satisfying flow. If your writing sounds good spoken, it's likely to read well on the page.
* Give Good Headline
Writing great heads and subheads is an excellent way of framing the concepts of your piece and adding another level of wit and humor. I hardly ever do proper outlines. I usually come up with a general concept, create the heads and subheads, and then hang the story from there. Which leads us to:
* Know How to Get In and Get Out
A friend of my dearly-departed wife's, a “crime and grime” reporter for a DC-area newscast, in trying to give her some advice on "patter" (what a performer says to an audience between tunes), shared a TV journalist's tip: Know how to get in (how to set up what you're going to say) and get out (how you plan on finishing). Then you're free to bullshit your way through the middle. If you get stuck, or run out of things to say, you can jump to your closing. The same thing holds true in writing. Once you know how to set up your piece (obviously with a great attention-getting lede) and how to end it (with an equally clever and compelling exit paragraph), much of the heavy lifting's done. The rest is mainly filling in the facts and providing some painterly description of your subject.
* "Write Like Yourself, Only More So"
This motto comes from science fiction author Rudy Rucker who writes what he calls "transrealist" fiction. He takes real situations and people from his life and exaggerates them in his novels. He believes this creates a more honest, grounded, textural fiction, even when dealing with out-of-this-world subjects. Even though I don't write much fiction, this concept appeals to me since I often write non-fiction in a personal, first person style.
Writing in a first person, conversational style is a mixed bag. Some people like it, others don't. Some writers are good at it, others aren't. If you write this way, be careful not to come off sounding condescending or elitist. Aim for smart, friendly, funny, and unpretentious prose.
More on this: My approach to writing is based on the editorial policy of the old Whole Earth Review. "Write like you're writing to an intelligent but uninformed friend." This style may not work for, or appeal to, everyone, but it's worked for me.
Even more on this: If you write in a conversational style, be careful not to make it TOO conversational. Limit sentences that begin with "And," "So," "Well," "OK." Also avoid using qualifiers that wimp out your point: "In my opinion," "I think," "If you ask me," etc. Other weakening qualifiers that are used in conversation, but don't work as well in text are words like "just" ("I just think that Microsoft is a scum-sucking, dog-butt-sniffing evil Empire."), "pretty" ("Sex with you last night was pretty good.") and "fairly" ("I'm fairly certain that this sentence will communicate my point.").
* Writers Write!
Mike Gunderloy, editor of the zine review guide Factsheet Five, used to say that, even if you aren't a writer to begin with, after cranking out a million words or so, you're a writer! Gunderloy himself was a prime example. He wasn't much of one when he started F5, his "zine of zines," but he sure as hell was by the time he called it quits many millions of words later. By then, he had truly mastered the art of short-form, concise and spunky media criticism.
* Speling Counts (so don't grammar)
A lot of readers out there don't give a jot how clever you are if you have the grammatical chops of Dan Quayle. Computers have been a boon to the language-impaired, thanks to spell- and grammar-checkers, but these tools can't help if you don't use them. It astonishes me how many articles I get from writers -- allegedly pros -- who haven't bothered to spell- or grammar-check their work. This is NOT the way to an editor's (or an intelligent reader's) heart.
* Sometimes, the Best Things You Write, You Write by Mistake
Several of my most reproduced pieces came from rants I posted on The Well BBS that I had no intention of ever publishing beyond that forum. I was posting on the fly, as part of a written conversation. Unencumbered by my "editor head," I got something out of me that I may not have otherwise. Keeping a journal of your thoughts on anything (not just the mundane details of your so-called life), or engaging in good online conversation, are great ways of learning how to write with freedom and immediacy. You'll be surprised how much turns out to be useable material.
More on this: Your next big idea may occur to you at any time, so always keep a pen and notebook handy. (I have these tools by my bed, my chair in the living room, in our basement workshop, by my toilet, in my shirt pocket, etc.) And write down what comes to you, DON'T think you'll remember it! I've had brilliant brainstorms (at least that's what I've told myself) in the middle of the night, and being too lazy to write 'em down, I've tried to memorize them before I drift off again. Next morning: nothing. Once you get in the habit, you'll automatically reach for the pad even before the thought has even finished revealing itself.
* For God's Sake, Have Fun!
The awesomely talented Sean Carton taught me to loosen up and have fun with my writing. He not only writes in a relaxed, conversational style, but he loves to grab readers by their lapels and smack 'em around a little (in the nicest sort of way). Tapping into a cocky, humorous style (again, without condescension) has a lot to do with being relaxed while you write. That, and not caring too much about the final outcome. Which brings us to:
* Garage Band Writing Style
Writing is something that anyone can do, and do well, IF they know how to get out of the way of themselves, and then, how to massage what comes out into something that can communicate powerfully to others. Many of today's talented magazine writers started out in the zine publishing movement -- the writing world's equivalent of punk rock. Along with "writing like yourself," and "having fun," go ahead and toss "writing like you don't give a shit" into your toolkit. Shoot from the hip, write from your gut, be passionate. Write what turns you on. Don't be afraid to break all of the rules or piss on sacred statues. The results may suck, but they might not, and you might be onto something fresh and exciting. Elvis Costello was a punch card drone at Elizabeth Arden Cosmetics when he saw the Sex Pistols on TV. He thought: "***** this. I can play better than these idiots. If they can be rock stars, so can I." There are plenty of big name writers out there, with all of the questionable talent you need for this kind of "if s/he can do it, I can too!" inspiration (I'll resist the temptation to name names).
More on this: One of my writing teachers (and "life editors") is Peter Sugarman (with whom I did Beyond Cyberpunk! and who co-founded Street Tech). Peter and I have very different styles, but the emotional power and directness with which he writes has always inspired me. He seems to have a nearly direct link between his gut and his keyboard. He reads a lot of comic books and admires the poetry and economy of words inherent in that form. He's obviously been influenced by the genre and the immediacy of his writing reflects that. I've tried to let this approach inform my own.
* Develop a Thick Skin
My first professional gig was as the Computer Sciences Editor for The Futurist. I was nervous about the job and didn't feel like I was getting enough pats on the back from my editor. One day, I confronted him. His answer, although a bit of a cop-out, did contain a valuable lesson. He said: "You're here because we wanted the best. We hire people who are good at what they do. I expect great things from you and that's what you always deliver."
This was, of course, the kind of recognition I was looking for, but it also reminded me that the writing world is a fast and furious business and editors can't always (and rarely do) hold your hand or pat your behind. Being hired, THAT'S their big vote of confidence. Editors don't have time to respond to every email message and phone call. You have to be self-motivated, low-maintenance, and above all, thick-skinned. You're mainly going to hear from them when they DON'T like what you've done. And honey, when they tell you how badly you screwed up, they're not likely to mince words.
Then there are the nasty letters to the editor and the hate mail from readers. You have to suck all this up, too. Again, most likely, you'll only hear from people who think you stink. But that only makes it sweeter when you get mail from readers who say that what you wrote changed their lives, or saved their lives, or set them off on a brilliant career, or whatever. These letters may be few and far between, but when they arrive, they make all of it (dealing with surly type-A editors, readers from hell, inadequate pay) worthwhile.
* Watch Out for Mixed Metaphors
One of the things I've worked hard to cure myself of is the use of mixed metaphors. "Like a rock - standing arrow straight" or however that Bob Seeger ode to Chevy pickups goes, is a prime example. Sure you can force it to fit, but it's just bad writing. A rock might be tough, hard, long-lasting, but one doesn't normally associate boulders with lean, supple arrows. By the way, Bob, rocks don't really charge through gates, either.
* Take it "Bird by Bird"
One of those writing how-to books I got as a gift, and initially shelved with all the rest, was Anne Lamott's Bird by Bird. Since a writer-friend I love and respect had given it to me, I figured I should at least give it a whiff (after months of feeling guilty about not doing so). The book turned out to be extremely inspirational. It's filled with hysterical stories about the craft of writing and the art of living from someone who lives an unconventional, paint-outside-the-lines life. The central premise concerns getting over your laziness about writing. As mentioned above, "writers write," but often, this only happens when they can trick themselves into doing so.
The title refers to an incident when Anne was a child. Her brother had waited until the night before a school project on birds was due to start work on it. He sat at the kitchen table, with a blank pad of paper and a pile of bird books, overcome by the immensity of the task. His father sat down, put his arm around him and said, "Bird by bird, buddy. Just take it bird by bird." This has become Lamott's way of tricking herself into writing. She tells herself that she's only required to write a small amount each day, just one "bird." No matter how busy, how distracted, how depressed, how uninspired, surely there's time enough for one measly paragraph or character description or scene outline? Of course, once you sit down to bang out that one small block of text, you end up producing two or three or more. But you always tell yourself you're gonna take it one unintimidating chunk at a time: bird by bird buddy.
* Shitty First Drafts
One of Lamott's other "tricks" (which we've already covered above in "Split your writer and editor 'heads,'" "Garage band writing style" and "For God's sake, have fun!") is to perfect the art of the "shitty first draft." Get over yourself and get it out! Tell yourself it's your goal to craft a shitty first draft, that you LOVE shitty first drafts, that shitty first drafts are your friends. Amaze yourself by the impressive quality and quantity of the shit you can squeeze out, bow to the Buddha within that shit. Nobody but you ever has to see these first drafts. Lamott says her career might be over if readers saw some of hers, but it's this rough, let 'er rip copy that she's crafted into numerous and inspiring best sellers.
* Keep it Naughty AND Nice
I also highly recommend Connie Hale's Sin and Sintax: How to Craft Wickedly Effective Prose. My swear my writing literally improved with each completed chapter. The book is about the balance between sin (breaking the rules, writing with courage, being fresh and creative, etc.) and sintax (knowing the rules, applying them when appropriate, breaking them when not). The book mainly reads like a post-modern Strunk and White and is a good reminder of what you learned (or should have) in school. Connie, the former Copy Chief at Wired, uses a dizzying array of real-world examples (from the Bible to press releases to rock lyrics) to illustrate bad writing that follows the rules and good writing that doesn't (and how to smell the difference).
* Tell the Truth, the World Has Too Many Liars!
This is my final tip (then I'll go away and leave you alone). Here in our sucks-MORE 21st century, where most journalists have become corporate spokesbots who skew the news based on what polls and focus groups tell them their "demos" are interested in hearing (and what their advertisers will support), we writers need to tell the truth (at least as we see it).
When I was a teen and dreamt of becoming a writer, I had this romantic image of the writer as rebel, an enfant terrible who sat at a typewriter, with a pack o' smokes and a bottle of Jack, bleeding truth onto cotton-wove. While age, familial responsibilities, and a bottom line may have worn down some of my edge, I still try to do an honest day's work, to write the truth as I see it.
Given the current state of things, as I watch much of our future being flushed down the toliet, I'm looking to sharpen some of that edge back. One of my inspirations? A comic book character: Spider Jerusalem. The "hero" of Warren Ellis' brilliant Transmetropolitan series, Spider is a Hunter Thompson-esque bitraker who beats the streets of a sprawling city in an indeterminate near-future. His laptop has become a dangerous weapon in his fight against government corruption, corporate crime, and social apathy. He is journalist as superhero (albeit a flawed, drug-addled, vigilante superhero). If you're a writer who (like me) needs a Doc Marten-in-the-ass every now and then (to remind you why you got into this game in the first place), read Transmet! I even bought myself a Spider Jerusalem action figure. Half-naked, fully tattooed, he sits on my computer, along with his assault laptop and two-headed, chain-smoking mutant kitty, keeping me honest. Corny? Maybe. Childish? Maybe that too, but Spider is there to remind me how I can, right now, reach through this monitor and grab you by the throat. How? With the power of my words, 'cause in this closing paragraph, I'm here to remind you that I am a fully-armed goddamn Professional Journalist!
 Spider at the office.
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| Gar's Tips on Sucks-Less Writing | Login/Create an account | 3 Comments |
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Waffling
(Score: 1)
by eggboard on Nov 12, 2002 - 08:46 PM
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Your waffle graf (among other things) is dead on. I find that after years of writing and being edited, I finally remember to go back and hack the first 1, 2, 3...sometimes several grafs off the top. Almost always, I waste those words in developing the article in just setting tone or defining the space the article covers.
Now, I've managed to typically either write a good lead graf, or I chop down to the real starting point.
-- Glenn Fleishman (glennf.com)
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