Dickens knew Bleak house was going to be called Bleak house before he started writing. The rest must have been easy. 5 do restrict your browsing to a few websites a day. Don't go near the online bookies unless it's research. 6 do keep a thesaurus, but in the shed at the back of the garden or behind the fridge, somewhere that demands travel or effort. Chances are the words that come into your head will do fine, eg "horse "ran "said". 7 do, occasionally, give pdf in to temptation.
Roddy doyle 1 do not place a photograph of your favourite author on your desk, especially if the writing author is one of the famous ones who committed suicide. 2 do be kind to yourself. Fill pages as quickly as possible; double space, or write on every second line. Regard every new page as a small triumph 3 Until you get to page. Then calm down, and start worrying about the quality. Do feel anxiety it's the job. 4 do give the work a name as quickly as possible. Own it, and see.
If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the opening page. 10 Prayer might work. Or reading something else. Or a constant visualisation of the holy grail that is the finished, published version of your resplendent book.
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7 you summaries most likely need a diy thesaurus, a rudimentary grammar book, and a grip on reality. This latter means: there's no free lunch. You don't get a pension plan. Other people can help you a bit, but essentially you're on your own. Nobody is making you do this: you chose it, so don't whine.
8 you can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You've seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a romantic relationship, unless you want to break. 9 Don't sit down in the middle of the woods.
3, you don't always have to go so far as to murder your darlings those turns of phrase or images of which you felt extra proud when they appeared on the page but go back and look at them with a very beady eye. Almost always it turns out that they'd be better dead. (Not every little twinge of satisfaction is suspect it's the ones which amount to a sort of smug glee you must watch out for.). Margaret Atwood 1, take a pencil to write with on aeroplanes. But if the pencil breaks, you can't sharpen it on the plane, because you can't take knives with you. Therefore: take two pencils.
2, if both pencils break, you can do a rough sharpening job with a nail file of the metal or glass type. 3, take something to write. In a pinch, pieces of wood or your arm will. 4, if you're using a computer, always safeguard new text with a memory stick. 5 do back exercises. 6 Hold the reader's attention. (This is likely to work better if you can hold your own.) But you don't know who the reader is, so it's like shooting fish with a slingshot in the dark. What fascinates A will bore the pants off.
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You don't want descriptions that bring the action, the flow of the story, to a standstill. 10, try to leave out the part that readers tend to skip. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them. My most important rule is one that sums up the 10: if it sounds like writing, restaurant i rewrite. Elmore leonard's 10 Rules of Writing is published next month by weidenfeld nicolson. Diana Athill 1, read it aloud to yourself because that's essay the only way to be sure the rhythms of the sentences are ok (prose rhythms are too complex and subtle to be thought out they can be got right only by ear). 2, cut (perhaps that should be cut only by having no inessential words can every essential word be made to count.
7, use regional dialect, patois, sparingly. Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won't be able to stop. Notice the way annie proulx captures the flavour of wyoming voices in her book of short stories. 8, avoid big detailed descriptions of characters, which Steinbeck covered. In Ernest Hemingway's "Hills like white Elephants what do the "American and the girl with him" look like? "She had taken off her hat and put it on the table." That's the only reference to a physical description in the story. 9, don't go into great detail describing places and things, unless you're margaret Atwood and can paint scenes with language.
one of my books tell how she used to write historical romances "full of rape and adverbs". 5, keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way tom Wolfe does, you can throw them in by the handful. 6, never use the words "suddenly" or "all hell broke loose". This rule doesn't require an explanation. I have noticed that writers who use "suddenly" tend to exercise less control in the application of exclamation points.
A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck's. Sweet Thursday, but it's ok because a character in the book makes the point of what my movie rules are all about. He says: "I like a lot of talk in a book and I don't like to have nobody tell me what the guy that's talking looks like. I want to figure out what he looks like from the way he talks." 3, never use a verb other than "said" to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose. But "said" is far less intrusive than "grumbled "gasped "cautioned "lied". I once noticed Mary McCarthy ending a line of dialogue with "she asseverated" and had to stop reading and go to the dictionary. 4, never use an adverb to modify the verb "said".
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Elmore leonard: Using adverbs is a mortal sin 1, never open a book with weather. If it's only to create atmosphere, and not a character's reaction to the essay weather, you don't want to go on too long. The reader is apt to leaf ahead looking for people. If you happen to be barry lopez, who has more ways than an Eskimo to describe ice and snow in his book. Arctic Dreams, you can do all the weather reporting you want. 2, avoid prologues: they can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in non-fiction.