Tag Archives: improving writing

Why It’s Okay to Write for Fun (Part 8): The Importance of Finding Useful Education and Resources

Missed Part 7? Read it here:

“The Importance of Finding Useful Education and Resources”

Writing should be fun. But it becomes more fun when we know how to do it.

Okay, so how do we write? Or better yet, how do we teach ourselves to write? I’ve spent seven parts building up this idea that we can become mavericks, writing whatever the heck we want, however we want, but that’s not really my goal here. My goal is to take away the stress of writing that professionalism often puts on those of us who want to succeed as an author. This, in no way, means that we should go into the game without the right education, or even without professionalism as a goal.

In “The Importance of Knowing the Rules of Writing and Storytelling,” I gave you a list of eleven tips to get you started, but the tips are purposely vague so that you have an understanding of what to look for in your path toward writing improvement, so that you actually go out and do the research to better yourself.

When we talk about research, we tend to limit it to items we wish to use in our books, but we often forget that learning how to write requires just as much research as learning what to write. Likewise, research is important for instructing us how to get our message out into the marketplace, should we decide to take that path.

As I said in “The Importance of Learning from Our Past,” college alone won’t teach us everything we need to know about writing, marketing, or any of the things we actually care about when we decide we want to be authors. It’ll teach us a few useful fundamentals, like how to write dialogue effectively, and it’ll do it as quickly and vaguely as possible, but even then we need to be careful, as the exercises we’re often given as warm-ups can lull us into a pattern of self-destructive story ideas, where simple actions like searching for the perfect jelly in which to put on a sandwich, can feel like a good idea at the time we write them, when in reality those scenes, if used in a real story, would probably waste a serious reader’s time, and if that happens, then why did we write that practice scene in the first place?

To get the full education we deserve, we need to look for outside sources, written or taught by experts in their respective fields. And I don’t mean experts on how to write a sex scene. Even though that’s helpful, we don’t need to start there. What we need is to start with the people who understand what drives a story, then work our way into learning from those microscopic masters who have so much knowledge of the steamy love scene that they can fill an entire book about it.

Of course, my message here is to read more. I did not improve by watching hours upon hours of reality television (though, I contend that watching reality television isn’t a complete waste of time, as they are edited to give viewers the maximum amount of conflict in an otherwise lukewarm scenario, so you can still learn the importance of storytelling from them, even from shows like Keeping Up with the Kardashians, I’m guessing). I improved through practice and reading the types of stories I enjoy. I also improved my skills from reading books I’ve found in the Reference section at Barnes & Noble or the virtual shelves at the Writer’s Digest shop.

As an author exploring the indie market, I’ve also studied from newly minted experts in their respective fields, like cover design, editing, copywriting, and so on, to better understand my place in this saturated market, and what I need to do to stand out. More and more this journey teaches me that it’s not always about writing for fun. But the more I learn, the more I realize that knowing nothing is merely ignorant, and there’s nothing fun about realizing either through education or a bad review that everything I’ve written up to a certain point has been crap riddled with more crap. At some point, I need to acknowledge that learning from experts (not just teachers at a high school or college) is just as important as reading the masters or tapping into my imagination.

This means that I need to study my craft, whether I go to college or not. This means I need to study, whether I’ve finished college or not.

There’s no end to the ways we can improve ourselves. I still stand by my message in “The Importance of Imperfection” that we should never wait until things are perfect to share our works with our intended audiences. But we still need to make sure we’ve done all that we can to properly educate ourselves with the expectations that readers will have of our works. This includes understanding the conventions of the genres we’re writing in, understanding what readers are buying our books for in the first place, and so on. To get there, we need to chart an educational path for ourselves. We need to start by reading those instructional manuals that the pioneers before us have written in order to prevent us from making the same mistakes they made when they first started. We need to start by putting into practice the sound advice that the experts give us.

If we write irresponsibly, then we may find that the fun in writing will eventually run out, as writing, while cathartic, is at its best shared, and we want to share what we know is good. Right? Writing well without doing the work to ensure great writing is hard to do. Our intuitions, our laziness, and our justifications for each will take us only so far.

Now, I cannot tell you how to chart your path. I do hope to begin a resource education series in the near future to make figuring out that path a little easier, but I still need some time to prepare that, as it will require a lot of reading and remembering. But, here’s a quick list of books I recommend you look into while you’re forgetting everything you learned in school or in this series:

On Writing by Stephen King

Story Engineering, Story Physics, and Story Fix by Larry Brooks

Hooked by Les Edgerton

The Story Grid by Shawn Coyne

Note that these books are great for foundations, but may not give you all that you need for settings, characters, dialogue, etc. But again, part of becoming a better writer is to do the research, and if you take my advice, you’ll find your way down the right path. Personally, I like reading newly released books to see these authors’ takes on a subject I’ve already learned, as every writing instructor will have his or her unique way of getting a message across, and inevitably somebody will teach me something new. So, even if you think you’ve learned everything you need to know, I can assure you that you haven’t. That said, you can still certainly learn enough from just the five books I’ve highlighted above to get you on the right track.

So, I hope you’ve gotten a lot out of this series, especially if you’ve thought about writing but weren’t sure you could do it. You can, but make sure you don’t do it blindly, and don’t expect to be great at it immediately. Like any skill, it takes a long time to get good at it. But I guarantee that your favorite author wasn’t always good at it, so don’t let the thought of learning stop you from starting or doing. Just forward-think a little before you start sharing.

Keep following Drinking Café Latte at 1pm for more articles on writing, storytelling, resources, and so on. You can also check out some of the stories I’ve written to get an idea how my journey has panned out. Many of them are available to read in their entirety via the “My Books” dropdown in the header above. My favorite is “Shell Out,” if you want to start there. It’s a short story in seven parts. Also, if you want to stay centered on your writing journey, I’d highly recommend you familiarize yourself with Writer’s Digest and visit its online bookstore. I believe it publishes 16 books on writing a year, and each book is tailor-targeted to a specific element in writing, including structure, characters, scene-setting, and even nonfiction.

Leave comments if you have any questions.

Why It’s Okay to Write for Fun (Part 5): The Importance of Balancing Priorities and Knowing Audience

Missed Part 4? Read it here:

“The Importance of Balancing Priorities and Knowing Audience”

In Part 4, we talked about how writing should be fun (the theme of this series). But that implies we should write only and always for ourselves, and that the moment it stops being fun, we should stop doing it. To that logic, I would say, we should stop taking care of our yards or helping our kids with their homework the moment we stop enjoying the process.

No, writing shouldn’t always be about fun. Sometimes it needs to be about business. Or expression, or something that may not necessarily leave us feeling warm and fuzzy inside, but will in some way leave us feeling vindicated for all the fiery knowledge that’s been heaped on us over the years.

But, whether we write for business or the heck of it should depend on why we’re writing, who we’re writing for, and what message we hope to convey (and how urgent it is to share that message with unsuspecting readers). Why are you writing? Or, if you haven’t started, why do you want to write?

I began writing as a way to explore my adventurous side, as I was getting too old for toys, and watching movies and playing video games ultimately limited my ability to freely explore. Sure, much of my imagination was sparked through watching futuristic action movies like The Running Man, which takes place in 2017, FYI. But sometimes I might find myself wondering what’s down the path the hero didn’t take, or what would’ve happened if Schwarzenegger had taken the contract to join the stalkers, etc. I started my writing journey to explore those dark corners that the mainstream wouldn’t show me and those epic events I could no longer simulate by throwing all of my action figures into a pile and see how many of them could survive the “Rumble by the Cliff Overlooking the Mile-long Drop into Lava.” Weirdly, it was an episode of The Jeffersons, where Florence, the maid, writes a detective story involving all of the show’s other main characters, that convinced me it was time to start writing for myself. It was in syndication by that point, but it happened to be on TV the day I was ready to move forward into storytelling, and it was enough to get me to break out the pencil and line paper and get to work. I was 13 at the time.

When I began writing, I did not have the business of writing in mind. I did not expect to share my work with the world, and I wasn’t even that interested in sharing with all but a few of my peers. I can’t remember if I was embarrassed or shy, but publicly displaying my story was not priority number one, and neither was displaying the dozens or so stories I’d written over the next ten years. Deciding on a creative writing track in college certainly forced me to get comfortable with letting basic strangers read my stuff, and taking a creative writing class in high school helped my productivity along—it also helped that the teacher would anonymously read student works to the class in such a way that we’d all get a laugh, and that getting picked for the public reading was an honor, not a curse; I daresay that that anonymous exposure was ego fuel, and made the prospect of having a readership more attractive, except for those times when classmates refused to critique my work because they thought it was too long.

Whether I recognized it or not, those early days of sharing my work exposed me to the reality of audience, and the importance of knowing who’s supposed to read what I’ve written.

Knowing our audience is imperative to all writing, whether we’re doing it for fun or for business. If our audience is ourselves, then we can probably get away with writing anything, for we are unlikely to write anything for fun that we wouldn’t also read for fun. But once we make the decision to share our work, then we need to understand the people who will be asked to read it.

Turning fun into business ultimately comes down to understanding the people we want reading our stuff. No one is going to buy anything we produce if we’re not giving them something they want to read (or watch, or listen to, or use, etc.). We can play in the playground all we want, but the moment we turn that playground into a staging ground for the next world war, we’ve ruined what was great about that playground, and the people whom that playground was designed for, the children, will no longer come around. That poor playground will get trampled by the wrong people. We don’t want that, right?

Regardless of our reasons for writing, we need to have an understanding of what we want to do with it when we’re finished. Ideally, we should know the answer to that before we start. Whether we keep it to ourselves or share it with the world, or limit it to someplace in between, the best thing we can do for our writing is to craft it in such a way that our intended audience will want to read it. And this doesn’t always mean that we should write in elevated language or elaborate scene-setting. It doesn’t always mean that we should wax eloquent the type of threading used to piece the hero’s spandex together or the heroine’s dress. Even if we have fun researching the composition of gunpowder before including all of our notes into the scene where the hero loads his weapon, it doesn’t mean those six pages of information need to be shared with our audience, especially if the scene requires heart-pounding action that moves at a clipped pace. Even if we like the descriptions of the clothing materials or gunpowder, there’s a good chance that we’re the only ones.

Okay, so how do we know if we’re harming the balance between business and fun, if what we’re writing is getting in the way of enjoyment for the reader, even though we ourselves may be enjoying every moment of it? Simple. Put someone else’s name on our work, shelve it for a few weeks, then come back and read it as a reader and not a writer. Do we still like that overblown description of gunpowder in that action scene that takes six pages to set up?

As I said in “The Importance of Managing Fun,” the author is the first reader. But if we want a second and third reader, then we may want to redefine our definition of “writing for fun” because writing for fun should lead to our audience reading for fun, and we may not achieve that goal if we write completely uninhibited. Some knowledge of structure, story fundamentals, understanding of vocabulary and grammar, and so on, will ultimately need a place in our boxes of writing fun if it’s to remain fun for everyone. If we neglect the essentials, we may find, unfortunately, that readers will neglect the stories we want them to read. So, even if we write for fun, we should still consider writing also for business, if for no other reason but to think of the future and the place our works have in that future. Just because Arnold Schwarzenegger didn’t start his 2017 breaking out of prison to outwit murderous stalkers on national television to the amusement of Richard Dawson, doesn’t mean he didn’t still find his way onto the set of a reality show to the scrutiny of those he should entertain. We should always consider the future when putting together the fabric of our present.

Next Week: “The Importance of Learning from Our Past”