All writers have a process that allows them to create. However, the art of "Writing" is often mistaken for that "Process." Hopefully this blog explains the difference, and inspires people to develop their crafts, become writers, or just keep on writing.
Friday, July 24, 2020
Monday, July 20, 2020
Friday, July 17, 2020
Monday, July 13, 2020
Friday, July 10, 2020
We'll start with the verb - "entered." Very vanilla. Just a plain old verb getting us into the room, and maybe that's enough. However, can we get more work out of it. First, is there information to be added that can help express the mood? Action stories might prefer something more aggressive such as "leapt," "ran," or "burst" to get the blood flowing, or "crept," "sneaked," or "eased" to build tension.
To be fair, "entered" might still be the verb of choice and that's not bad because it explains the action. We should then consider whether to use an adverb (which modifies the verb) to inform about the character's motives or intention. By entering the room eagerly, cautiously, or hesitantly, the description gives us a hint about the character's approach to this dark room. By adding one word, we create a whole new dimension, and "I bravely entered the dark room" tells us not just about the action but perhaps the person, and possibly about the room as well.
Oh yeah - the room. It's dark. Another very vanilla word that might just be enough to do the job, but let's explore, shall we? Dark is a common adjective (describing the noun), so we could do the same tricks we did with the adverbs. However, metaphors and simile might also be used, and again, maybe to go beyond just showing how dark the room is.
"I entered a room dark as a crypt." Well now we've shifted the mood by incorporating ideas of tombs and crypts, and a little intensity sneaks in. Keep in mind that this may ruin a fast-paced action piece - remember our adjectives? "I leapt into a room dark as a crypt" throws some mixed mood around, while "I cautiously sneaked into a room dark as a crypt" really tightens the focus to the mood. And don't forget to hone in on the character if possible. "I cautiously sneaked in a room as dark as my heart." Holy crap, that tells us something about the character that changes our opinion about him and what he might be doing sneaking around that dark room.
This kind of writing is economical in that not a lot of words are used, but we really escape from that vanilla range. Some call it economical, but I prefer high-powered because that's what the story becomes as your writing gains this quality. And hopefully, you will be writing more than reports for some executive VP - but it works with those too.
Monday, July 6, 2020
Don't get me wrong - I could tell a story about the time I got two pounds of broccoli that would be quite amusing and you would enjoy those ten minutes. However, it would carry the voice, tone, and mood that matched what the story had to offer, and not try to oversell with a bunch of unnecessary dramatics. Within the realm of storytelling, nothing can do a greater injustice to our story than the wrong verbs.
As a refresher, a verb relates to action - what is happening in the sentence. The most boring verb around is the verb "to be," which is most often used with terms like "I am walking," "They are walking," "You were walking" and so on. The people are all walking, but the verb is am/are/were (all forms of "to be"). This is like saying that people existed - boring already. Use of this is called the passive voice, and is a big no-no in writing. There are plenty of articles explaining the details, so I will let Google explain that while I explain a little about mood verbs.
So let's say my story starts with me going to the store. I won't say "I was walking to the store" because that "was" makes it boring. I can instead say, "I walked to the store." However, let's think if "walked" is even necessary. This provides information. I didn't drive, or cycle, or run - I walked. At this point I should ask myself whether my form of transportation to the store important? If I walked, then bought thirty pounds of stuff and had to lug them back two miles in those crappy plastic bags, walking is important. Maybe as I shop, I think about carrying stuff back. However, if my transportation isn't important, why burden the reader with excessive information?
"I went to the store." Ta-da! I am at the store without concerning the reader about unnecessary stuff. I can save the important verbs for the parts of the story that matter. In fact, if I use the interesting verbs exclusively for the dramatic parts of the story, the reader subconsciously collects this information and focuses on the most important elements. They become engaged with the story, and, as I have said many times in this space, engaging the reader is the most important responsibility of any writer.
Being overdramatic is the flip-side of verb use. "I put on my walking shoes and rushed to the store," would pack on the details, information, and active verbs, but if none of that is important to the story, it creates a false sense of urgency - drama - that ultimately disappoints the reader. They become burdened with every little point and the story - no matter how interesting it may be - gets lost in the writing.
Try examining a story that really draws you in, and see how the verb use works. You might be surprised to see just how cleverly they are used. And someday when I write the broccoli story, you will realize just how funny it was.