Tag Archives: writing advice and tips

100 Ways to Improve Your Writing

Posted on by
101 Ways to Improve Your Writing

If you’ve read much writing instruction, you may have seen this well-known paragraph:

This sentence has five words. Here are five more words. Five-word sentences are fine. But several together become monotonous. Listen to what is happening. The writing is getting boring. The sound of it drones. It’s like a stuck record. The ear demands some variety. Now listen. I vary the sentence length, and I create music. Music. The writing sings. It has a pleasant rhythm, a lilt, a harmony. I use short sentences. And I use sentences of medium length. And sometimes when I am certain the reader is rested, I will engage him with a sentence of considerable length, a sentence that burns with energy and builds with all the impetus of a crescendo, the roll of the drums, the crash of the cymbals—sounds that say, “Listen to this; it is important” (p. 58).

The author of that masterpiece is Gary Provost, who wrote “more than a thousand published article and stories” (p. 160) as well as two dozen books. He was also a writing teacher and the founder of a semiannual Writer’s Retreat Workshop.

101 Ways to Improve Your Writing: Proven Professional Techniques for Writing with Style and Power was his second instructional book about writing, The Freelance Writer’s Handbook being the first. Some of the material here originally appeared in the Writer’s Digest magazine. The first edition of the book came out in 1985. This 2019 edition has been updated, mostly concerning changes in technology, by his wife, Gail Provost Stockwell, and one of his students who became a teacher and then the director of his writer’s conference, Carol Dougherty.

This book is laid out in eleven sections which are divided into several fairly short topics within the section. Some sections cover broad topics like overcoming writer’s block, developing style, giving words power, and making your writing likeable. But others get into the minutia of grammar, punctuation, and editing. The short pieces on each topic make this book very readable. Since they were so short, I read a handful at a time. But when I read this again, I think I might take one or maybe two at a time and digest them before moving on.

Gary sprinkles succinct but helpful side-by-side good and bad examples to illustrate what he advises.

One aspect of his writing I really appreciated was his saying that his tips are just that: “Tips, not laws” (p. 159). For example:

Never violate a rule of grammar unless you have a good reason, one that improves the writing. But never choose good grammar over good writing. There is nothing virtuous about good grammar that does not work. Your goal is good writing. Good grammar is only one of the tools you use to achieve it (pp. 118-119).

Try to use the active voice. But realize that there are times when you will need to use the passive. If the object of the action is the important thing, then you will want to emphasize it by mentioning it first. When that’s the case, you will use the passive voice (pp. 78-79).

For the past several years, I’ve tried to read at least one book about writing each year, as well as blogs about writing. Much of the information in this book wasn’t new to me, but I benefited from the reminders and the different way of expressing them. Plus, even though I have heard and read many of these things, I certainly haven’t mastered them yet. However, some of the advice touched on subjects we discussed in my last session with my critique group and helped me think through those issues. 

I think this book would be an excellent introduction for new writers and a great “refresher course” for more experienced writers.

Murder Your Darlings

Posted on by

Murder Your Darlings is not a detective mystery or true crime drama.

Murder Your Darlings is writing advice. You see it a lot in writing circles these days, but it originally came from Sir Arthur Quiller-Couch, a British author and professor (known as Q, not to be confused with the WWII spy-gadget-maker). This phrase was first delivered in a lecture to his students in 1914 which was later published. In context, he said, “Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—whole-heartedly—and delete it before sending your manuscript to press. Murder your darlings” (p. 17).

Roy Peter Clark interprets Q’s advice thus: “Ask yourself, ‘Am I including this because it provides the reader with a memorable and delightful piece of evidence to prove the point of my text? Or is it beside the point even though it reveals what a good wordsmith I am?'” (p. 21).

In other words, the phrase, sentence, or paragraph that’s the most precious to you, but doesn’t really add anything to your thesis, must go. Clark opines that you don’t have to “commit verbicide on the words you love the most” (p. 17). You can save them in a file for another day.

Clark, known as “America’s writing coach,” shares advice from over 50 other writing sources in Murder Your Darlings: And Other Gentle Writing Advice from Aristotle to Zinsser. Clarks says, “I am not trying to steal their thunder. I am trying, instead, to amplify it, to pay back my debt to the authors who shaped my craft” (p. 8).

Some of these books are filled with writing advice, and Clark pulls out a lesson or two to discuss. “Most of what you will read here is why I appreciate them, what I or others have learned from them, and what I think you, the reader, can take away and apply to your own work” (p. 23).

Clark begins each chapter with a “toolbox,” a brief summary of the particular principle or writing instruction he’s going to discuss. Then he’ll give a little background about the work he is drawing from, the author, illustrations of the writing advice under consideration, whether he agrees or disagrees and to what extent. He ends each chapter with a short list of “Lessons” summarizing the main points of the chapter.

Clark’s book is quite readable. The Lessons at the end are particularly helpful to remind oneself of the salient tips from a chapter. Some of the writers he quotes from are well-known, others are not.

As you can imagine, I have multitudes of passages highlighted from the book. Here are a few:

It turns out that the internet is not an information superhighway. It is, instead, a polluted ocean with buried treasure sitting here and there on the bottom. Neutralize the poison of the propagandists, hackers, conspiracy theorists, trolls, and bullies by devoting your online efforts to the public good (p. 83).

Early writing is not sculpture, but clay, the stuff in which you will find the better work (p. 105).

An implied social contract exists between the reader and an author of nonfiction and that the contract reads, “Please believe me, my memory of events may be flawed, but none of this was intentionally made up.” If the author decides to veer from this standard, say, by using composite characters, the author must be transparent, revealing the strategies before the story begins, not in a footnote at the end (p. 222).

Donald Murray . . . advised writers to use “Shorter words, shorter sentences, shorter paragraphs at the points of greatest complexity” (p. 231).

Another Roman author, Horace, steps into the light with a sense of mission that is both public and aesthetic, arguing that the purpose of great literature is to delight and instruct or, on the good days, to do both! (p. 237).

This is a secular book, and there are words I wouldn’t use and situations and philosophies I wouldn’t agree with. But I found it fairly easy to sidestep those things just to glean the writing advice.

Clark’s book will help you hone your craft by sharing wisdom with you from sources that you might not have found yet. And the sources he quotes might inspire you to look up the authors’ original works.

Writing for the Soul

Posted on by

Writing for the Soul: Instruction and Advice from an Extraordinary Writing Life by Jerry B. Jenkins is part memoir as well as instruction, advice, and tips about writing. But even the biographical parts are written to share what he learned.

Jenkins started out working for a newspaper writing for the sports section while he was still in high school. His goal was to write for the Chicago Tribune until a message at camp about surrendering his all to the Lord led him to do just that. A job editing a Sunday School paper for Scripture Press under a tough editor caused him to hone his skills. An interview led to his first book, a biography. Many of his next books were biographies or “as told to” stories. Then he branched into fiction. Left Behind, the book for which he is probably most well known, was his 125th book.

In Writing for the Soul, Jenkins covers everything from his family policy, motives and tools for writing, discovering what to write and your audience, characters, plot, perspective, and much more. Some of the chapters end with a question and answer section. Interspersed through the chapters are smaller sections covering topics ranging from working with celebrities to the need for humility to internal dialogue of characters. In a paper book, these might have been sidebars: in the Kindle version I read, they were paragraphs withing the chapter but set off by dividing lines.

In-between chapters, Jenkins shares experiences with some of the people whose biographies he has written, from Meadowlark Lemon and other sports figures to musician B. J. Thomas to Billy Graham.

I especially appreciated the sections on making inspirational writing not sound “preachy.”

As you can imagine, I have myriads of quotations marked in this book. Just a few:

Know where your audience is coming from, imagine someone you know or know of who fits in that audience, and pretend you’re writing to that person alone (p. 5, Kindle version).

What’s your passion? Your strength? What field do you really know? Write about it. Fashion a short story, write a poem, interview a leader in the field, or work on a novel. Put yourself and your interests into it (p. 11).

Big doors turn on small hinges (p. 13).

The most attractive quality in a person is humility. Sometimes money and fame will come whether or not you expect or seek them. But if you become enamored with the trappings of success, they become your passion. You need to return to your first love . . . Don’t let success or pressure change you. If you become a success, stick with what got you there (p. 38).

Choice words in precise order bear power unmatched by amplified images and sound and technical magic (p. 54).

Don’t confuse inspiration with initiative. Initiative solves your procrastination problem and pulls you through writer’s block. Inspiration gives you something worth writing about (p. 57).

Variety still keeps the batteries fresh (p. 71).

The stuff that comes easy takes the most rewriting. And the stuff that comes hard reads the easiest (p. 194).

This book was first published in 2006, and my copy was updated in 2012. Just a couple of places seem a little out of date, like working with cassette tapes for interviews (unless people still do that. I’d assume most recording is done digitally now).

He also doesn’t have much esteem for self-published books, thinking the goal of self-publishing is to be picked up by a major publisher. But self-publishing has increased exponentially in the last few years and garners much more respect now than when the first self-published books came across as “homemade” and unprofessional. I wonder if his views have changed on that.

But the majority of his advice is timeless, and I gained much from it.

You can also find Jerry Jenkins’ advice at his web site and blog.

(This book would work for either the memoir or arts category of the Nonfiction Reader Challenge.)