Real writing, no matter its form or intended audience, honestly reflects the passions and ideologies of the author. Any nuggets of advice that flit about on the internet, in books and newspapers and magazines, through conferences and classrooms only help tighten technicalities. Students or aspiring professionals wanting to galvanize their writing abilities should certainly explore the follow hacks in order to gain a much broader knowledge of the craft’s mechanical elements. They cannot teach creativity or lessen its subjectivity, however.
Fiction
1. Prologues are not always necessary.
As the stellar Daily Writing Tips points out, prologues work for some stories while failing on others. Use their tips on figuring out when springing for one may be entirely unnecessary.
2. Suspension of disbelief only goes so far.
Though science fiction and fantasy require more suspension of disbelief than others, all writers need to understand its limitations in all genres.
Short and longer fiction alike can benefit from keeping a detailed character sheet on hand in order to maintain consistency.
4. Analyze all points of view.
When penning a work of fiction, deciding what perspective the story will be told from can make or break its overall effectiveness.
5. Write about characters outside the main narrative.
Really get inside the head of main characters and their supporting cast by taking advantage of Sandra Miller’s imaginative exercises.
Like character sheets for the main players, story grids organize plot points and help prevent writers from veering too far off their narrative course.
7. Dialogue deserves description.
Do not just detail the nuances of people and places! Be sure to pick vivid, descriptive words to give life to how certain characters speak in given situations.
Kurt Vonnegut was not championing the use of whips and chains to get the creative juices flowing, but rather how fiction writers absolutely need to create conflict if they hope to tell a compelling story.
9. The best dialogue is not directly from life.
Rather, render speech in an abbreviated manner that captures the essence and rhythm of actual conversations without mirroring them completely.
10. Push the theme.
In as many scenes as possible, try to advance and explore the main overarching theme. Not doing so will cause the narrative to stagnate.
11. Don’t get too dialogue heavy.
Focusing more on what characters say rather than what they do and where they do it ties directly into the “show, don’t tell” cliché. Well, the adage exists for a reason, and writers ought to economize dialogue to moments when it is absolutely necessary.
A narrative’s or character’s past may not always end up explicitly expressed in the work itself, but writers should still consider it as a foundation to maintaining consistency and depth.
13. Use photos for inspiration.
When story ideas stall, pick a photo from the internet or periodical and try to form a plot around what happened before, during, and after.
14. Approach figurative language with caution.
Similes and metaphors definitely add punch to a written work and ought not go ignored, but using them properly and effectively requires delicacy and understanding. Be sure to research the ins and outs of figurative language to avoid a semantic mess.
One of the best ways to establish whether or not dialogue works is to read it out loud to check how flowing and natural it sounds.
16. Clichés are hard to avoid.
Writers familiar with the works of Joseph Campbell know all too well how archetypes can devolve into clichés over the centuries. They cannot always be averted entirely, but there are ways to avoid giving in too often.
17. Slowly intensify the conflict.
No story is compelling without some central conflict, and to keep readers’ attention, a writer needs to ratchet it up over time before building to a suitable climax.
18. “Do not shy away from grotesqueries.”
Edgar Allen Poe may not have actually penned this sterling bit of advice, but whoever wrote it certainly understood the appeal of introducing darker, uglier corners of human behavior into a narrative.
19. Get lyrical.
“Word music” may seem more appropriate a description for poetry, but those writing in prose may still want to find ways to incorporate alliteration, onomatopoeia, and other literary devices into their works to add color and flow.
20. Incorporate technicalities subtly.
Even with painstaking research, some writers may not be able to fully incorporate technical jargon and practices into a work as accurately as a professional. However, there are a few neat, subtle little devices to hide any holes in the information.
21. Summarize in one sentence.
Although the stories themselves can grow complex, the very core ideas should only fit in one sentence - anything more than that will just confuse readers.
22. Avoid redundant characters.
It is perfectly okay for characters to share common traits, as doing so helps build relationships between them. Just make sure to give them unique tics and quirks to keep both them and the story interesting.
Fiction may absolutely need adverbs and adjectives, but make an honest effort to practice economy when using them. Not every sentence requires extreme detail - readers only need enough to imagine the basics of a scene.
24. Don’t forget the subplots!
Longer works, especially novels, benefit greatly from the introduction of a secondary (perhaps even tertiary) plotline to add texture. Just be sure to wrap them up by the end.
While there is much to be said about simplicity, applying strong names to (hopefully!) strong characters only makes them all the more memorable.
Nonfiction
26. Outline!
More than any other style of writing, nonfiction (most especially that of the persuasive variety) should be outlined in order to keep information properly organized.
27. Suck it up when ghostwriting.
Ghostwriting can be thankless work, most especially when the “author’s” memoirs are concerned. Just chalk it up to experience and extra money, but never take an offer from someone who claims they can do it all themselves if they only had the time.
28. Work on one chapter at a time.
Since facts have to build on top of one another, writing nonfiction a chapter at a time helps keep the information (not to mention overall structure) better organized
29. Find a slant.
Persuasive writing especially requires taking a stance on one side or another, but even the more objective pieces need some techniques to keep even old information fresh.
30. Learn how to use a library.
Awesome as it is, the internet cannot always be used as a reliable source of information. Because of this, it definitely pays to learn all the ins and outs of researching at a library.
Especially when writing research papers, one absolutely needs to know how and when to properly use the MLA, APA, and Chicago styles of formatting.
32. Work from general to specific.
In both research and writing chapters, the mind processes information better when initially provided with a broad groundwork and slowly working its way towards more specific details.
To check the veracity of a book or article’s claims, one must dig a little further and compare what they have to say with others. Using poorly considered sources renders a work unprofessional and turns readers off from later writings.
When writing memoirs or a journalism piece, make sure to present the central figure as a sympathetic soul, as readers will quickly dismiss a work where they feel disconnected from the main focus.
35. Nonfiction can benefit from fiction strategies.
Even real people qualify as characters in a nonfiction book, and their true natures can still shine through when a few techniques from fiction writing are applied.
36. Why?
In doing research, one must constantly question why certain bits of information may be relevant to the thesis statement. Any inspiring a negative answer should be dismissed.
37. Do not ignore the introduction!
Because the introduction sets the overall tone of the piece, make sure to keep it just as solid and clear as the body of the text in order to ensure the best flow and consistency.
38. Be useful.
Write nonfiction because the world has a use for the information at hand, not for the money or the attention. If not one corner of society can benefit, then it may be time to re-think and re-prioritize.
39. Understand all the different letter styles.
Specific situations requiring letters call for specific formatting techniques, so the savvy writer needs to put forth the effort to know which needs which.
40. Include counter-arguments.
Be sure to address alternate points of view, especially when writing a persuasive piece. The ability to acknowledge and directly counter them using verifiable facts only strengthens an argument that much more.
41. Credibility is everything.
Scour every minute detail of every piece of nonfiction to make absolutely certain that they are recounted accurately. Factual errors only serve to damage credibility even more than not double-checking sources.
42. Nonfiction does not mean non-creative.
Not every literary device used in fiction can apply to its factual cousin, but writers can still find innovative ways to infuse the ones that work into their nonfiction pieces to punch things up a bit.
43. Know the different types of essays.
Although a humorous article, Chris Offutt still offers up a handy way of remembering what subjects fall under what nonfiction genres.
44. Approach the structure almost like a plot.
Fiction writers making the transition to nonfiction may find themselves more comfortable when thinking about how factual information builds to a definitive conclusion in the same fashion as events in an imagined narrative.
Not only will incorrectly relating a quote in a nonfiction piece damage credibility, but the writer opens him- or herself up to potential interpersonal or legal issues if the oversight offends (or, worse, defames) the original speaker.
46. Conclusions are not meant for rehashing.
Some readers may find it insulting to have conclusions completely spell out the main themes of the essay or book, so use the space to wrap everything up clearly without introducing any new information.
47. Ghostwrite in the client’s voice.
When ghostwriting, pay very close attention to how the “author” speaks and behaves, taking careful measures to preserve that in the text.
48. Learn how to conduct research on the internet.
Not all online resources necessarily contain true or verifiable information, so separating fact from fiction takes carefully honed research skills and search engine savvy.
49. Strive for coherence and efficiency.
Fiction writers can get away with a bit of puffery, but the most effective nonfiction streamlines arguments and displays no extraneous tidbits of information.
50. Use technical jargon bluntly and correctly.
Unlike works of fiction, nonfiction dealing with technical language ought to wield it in a straightforward manner and with absolute certainty. Do not try to obscure it using the same devices as more imaginative pieces.
Poetry
Read and write poetry for listening more than reading. As Dennis G. Jerz points out, even free verse has to flow well to appeal to readers.
Broad themes work for longer texts, but may seem awkward and clunky in the smaller, more intimate poetic forms. Aim for specifics whenever possible.
Giving a poem a proper title helps shed light on its main theme, though using the first line in lieu of a formal one works as well.
54. Learn how to analyze poetry.
Understanding the formal literary criticism behind poetry results in much more productive self-editing sessions.
55. Know all the different styles of poetry.
Become familiar with all the different types of poems out there and experiment with which ones work best to convey a certain personal message. Many unexpected surprises may pop up.
As one of the most important elements of poetry, the writer must pay extra special attention to starting a specific rhythm and preserving it until the end of the piece. Reading out loud can certainly assist in finding any hiccups along the way.
57. Go figurative.
More than any other writing genre, poetry makes use of similes and metaphors to convey its message. Become adept at using them in a way that stands out.
58. Determine meter.
Like rhythm and rhyme (in most cases), a competently executed meter will make or break the finished poem.
When applied conservatively and cautiously, puns can add an extra dimension of cleverness and engagement to a poem. Do not force them, however, as doing so can interrupt an otherwise fine work.
60. Stanzas: Know when to say when.
To put it bluntly, stanzas are basically the paragraphs of poetry writing. Keep a piece flowing by adding in breaks to denote shifts in rhyme or meter – or just to create a nice, clean presentation.
Because poetry is such a descriptive art, try to focus on concrete words to stoke the audience’s imagination rather than dealing in subjective and abstract concepts. This does not mean, however, that the finished piece must always read as literal if the poet wishes otherwise.
Poems rely heavily on every single line working in tandem to create a specific and sustaining rhythm, so any that seem extraneous or do not fit with the others may completely throw off the reader.
63. Free verse does not equate to “free-for-all.”
Though experimental in nature, free verse nevertheless remains most effective when playing around more with the established rules of poetry rather than ignoring them altogether.
64. Be sensual.
Prose, to some extent, does contain an element of the sensory. But poetry benefits most from a bountiful vocabulary that draws in readers and stimulates their imaginations.
65. Experiment with blank verse.
Similar to free verse, blank verse shuns the idea of requisite rhyming schemes and blossoms as a promising hybrid of prose and poetry alike.
66. Try starting with a skeleton.
Poetry obviously does not require an outline, but some writers may like the idea of scribbling down a basic frame before adding layer upon layer of more meaty rhyme, rhythm, and more.
67. Jump right into the action.
Leave backstory to the novelists! Launch the poem on an active note and flow seamlessly to the climax before wrapping it all up calmly.
Poets weave fascinating word tapestries by playing around with syllables to create unique rhythms and establish meter, so be sure to pay painstakingly close attention to their usage.
69. Face the music.
Even free verse poetry contains a level of musicality missing from most prose, so try and find melodies that match the desired tone for inspiration.
70. Pay attention to line breaks.
As with stanzas, the budding poet should also look closely at how effectively he or she breaks up the piece into lines as well.
71. Let the reader make interpretations, too.
Although a poem may contain a heavy amount of personal significance and symbolism, writers ought to consider how readers formulate their own meanings based on their own experiences.
Use poetry slams and readings as a way to network and get inspired by other writers in the area – hopefully picking up some useful critique along the way.
Although poetry on the whole does thrive on the metaphoric, no law dictates that writers must abandon the notion of writing literally. Find what works best for the intentions at hand.
74. Live poetically.
Treat every day as a conduit for discovering music in the mundane and allowing vivid, imaginative verses to sprout organically.
75. Value style AND substance.
The delicate art of poetry relies on writers capable of expressing themselves with a finely-tuned personal style that also has plenty of provocative and/or entertaining things to say.
General
76. “Writer’s block is a sham.”
This awesome and extremely useful blog post by Scott Berkun already overflows with sage advice (seriously - go read the rest of it!), but his postulation on how so called “writer’s block” deals more with subjectivities than actualities makes for the best tip of all.
77. “The shorter the story, the more important each word becomes.”
Jim Janke’s page offers up a multitude of pithy bits of advice worth looking at, but stressing how integral every word becomes as a work grows shorter is one of the best.
78. Don’t try too hard to imitate mentors.
Let beloved and talented writers influence a body of work, but strive to create a very personal style rather than a direct emulation of theirs.
Take the time to peruse a manuscript for any inconsistencies, grammar errors, and spelling mistakes. Just make sure to not go so far overboard in the process that the work goes into limbo!
80. READ!
It is generally accepted that the best writers are also avid and astute readers, and Zadie Smith notes that building these skills begins in childhood.
81. Know what constitutes libel.
All writers - especially those dealing with people’s reputations - must become as familiar as they can with defamation and libel laws in order to avoid legal issues down the line.
82. Work in as comfortable a setting as possible.
Try hard to seek out and establish a comfortable setting in which to write, as one with too many discomforts or distractions may begin draining creativity.
83. Practice “elegant variation.”
Obviously, William Fowler’s advice ought to be taken in moderation. But finding eloquent synonyms to replace more mundane words definitely adds a lovely little spark to a piece of work.
84. Know what separates a reputable agent from a swindler.
Anyone hoping to make money off their writing and desires the assistance of an agent must absolutely research what constitutes a valuable asset and a potentially dangerous scam.
85. Be passionate.
Audiences can quickly pick up on whether or not the author wrote with real passion or with dollar signs dancing about their brains. Respect readers by infusing a genuine love of the content into the story.
Sometimes even clichés offer sound and resonating advice, and this one discourages writers from attempting projects far outside their experiences at the risk of tarnishing their credibility.
87. Understand connotations vs. denotations.
Many words come with a multitude of meanings, sometimes veering completely away from their dictionary definitions. Writers would do well to study up on their etymology in order to avoid embarrassment.
88. Make notes, but do not throw them away!
Every flash of revelation comes saddled with an appropriate use, but they may not always crop up at the right time. Be sure to keep detailed notes as the ideas flow in and reference them for later inspiration.
89. Curb the ego.
Showing a talent for writing does not give anyone a clearance to flaunt their creativity and use it as a venue for condescension. Strive to stay humble and open-minded at all times.
90. Learn how to handle rejection.
Writers who intend to publish their works need to realize that rejection speaks little about their talents and more about whether or not editors believe it fits with their company’s output. Many famous writers dealt with this reality before making waves, so do not let negative letters preclude trying again.
And rest when inspiration never comes. Creativity is an unfortunately fickle concept, but writers must motivate themselves as much as possible to bring it back.
Writing may be a highly personal art, but those who intend to share their works should continuously consider the needs and wants of the demographics they would like to target.
93. Write in the active voice.
Readers become far more engaged in a text written in the active voice, which adds an extra dynamism to the words that the passive cannot.
94. Stay current.
Other industries expect their employees to follow all the latest developments, news, and trends in the field. Writers should be no different.
Accept critical analysis as a stepping stone to improving upon any weaknesses in writing style rather than a personal attack. Nobody’s manuscripts are ever perfect, so consider criticism a valuable tool.
96. Use proper spelling and grammar.
Spelling and grammatical errors greatly detract from the enjoyment of a text. No matter how compelling or informed a work may be, failure to correct spelling and grammar before publication prevents readers from fully absorbing the real message.
A clichéd maxim, but an extremely useful one. “Show, don’t tell” reminds readers that the more compelling stories out there illustrate the peoples, places, and things that populate their works rather than merely talking about them.
98. Take advantage of writing exercises.
No matter what style, books and websites alike overflow with writing exercise to get the creative gears a-whirrin’. Try searching for a few that seem best suited for the ultimate goal.
99. Know what constitutes bad writing.
One of the best ways to understand the rules of writing well is to look at what habits almost universally comprise a poor text.
100. JUST. BE. YOURSELF!
In all honesty, the majority of these hacks mean absolutely nothing if the writer refuses to remain true to him- or herself. Many of them can even be dismissed entirely in some cases!! This rule stands as the most steadfast and important of all. Be free! Experiment! Do what seems right! Everything else serves as a guideline, but pales in comparison to a finely-tuned sense of self-awareness and self-expression.
Hopefully the previous hacks opened a few mental windows and facilitated some degree of inspiration. Although they cannot imbue readers with creativity or change the subjective nature of the writing, taking advantage of what they have to say at least serves to strengthen the integral technicalities.
