Your Best Writing May Not Be What You Think

Your Best Writing May Not Be What You Think  

By Carolyn Howard-Johnson 

One of the biggest writing problems I see among people in my mentoring program, and others who hire me to improve their writing, is that they're afraid to write like they talk. Perhaps they fear “wordiness”, but sometimes writing like you talk is less wordy. 

For instance, they never use one-word sentences. Or fragments. Those, for sure, are not wordy!

They refuse to start sentences with words such as "and" and "but" because an elementary teacher way back when told them not to.

They try to sound important when they write. So they use long words in long sentences that make up long paragraphs.

They remove all slang from their writing so it's clean and pure. And often, boring.

Business coach Michael Angier agrees.

"Too many times, I see people who are good verbal communicators try to put
on a different air in their writing," he says. "It doesn't work. It's much
better to be conversational."

Writing like you talk is one of thirteen tips Michael offers for writing clearly and convincingly. It was one of the lead articles in an issue of Joan Stewart’s free subscription newsletter, The Publicity Hound.

 

Lisa Cron’s book, Wired for Story (http://bit.ly/Wired4Story), shows us how humans were storytellers long before they were writers and how the processes in their lives wired us for story. Story and anecdote. It works for articles like this. It works for novels—great novels. And you’ll see it appearing more and more often as part of news stories. Another book I recommend is Tom Chiarella’s Writing Dialogue (http://bit.ly/Chiarella) published by Writer’s Digest. You may find it inexpensively on Amazon’s New and Used feature. 

 

In the newest book in my multi award-winning HowToDoItFrugally Series of books for writing, How to Get Great Book Reviews Frugally and Ethically, I remind authors that the best blurbs and endorsements come from people who compliment their books and their style in off-the-cuff conversations. When asked to write a blurb or endorsement, the same people may use language that is stiff, official—and unconvincing. I tell them to ask their contacts (or reader) if they can use what their reader just said to them rather than having them back up and make it into a brittle, lifeless twig. 

And in the second edition of my Great Little Last-Minute Editing Tips, to be released September 1 and now in pre-sale mode on Amazon, I talk about how fear of breaking grammar rules (that often, by the way, aren’t really “rules” at all!) leads to unnatural dialogue. This little book also contains some of the word trippers I see most frequently in my clients’ work, and that is where there is no room wiggle room for making the wrong choice. 

 

Readers probably spent many years reading staid textbooks. They may now prefer to learn what they need quickly. When authors make their point with stories (and do it colloquially), they find their readers more easily bond to them. It’s about connection. Think loyalty.

 

Have you ever wondered why many are turning to the Web for information even at the risk of fake news and unprofessional advice. They are in a hurry. They’re after easily absorbed information (retention). You can provide both. Sure. Watch for wordiness. But don’t skip the story your readers’ brains crave. They’ll love you for it. 

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Carolyn Howard-Johnson writes fiction, poetry; and the #HowToDoItFrugally Series of books for writers including the award-winning third edition of, The Frugal Book Promoter: How to get nearly free publicity on your own or by partnering with your publisher; The multi award-winning second edition of The Frugal Editor; . and the second edition of The Great First Impression Book Proposal. The newest in the series is the second edition of her Great Little Last Minute Editing Tips for Writers. Her blog  TheNewBookReview.blogspot.com, lets authors recycle their favorite reviews absolutely free. Find submission guidelines in a tab at the top of the home page.

MORE ABOUT THE BLOGGER 

 Carolyn Howard-Johnson is the author of fiction, creative nonfiction, and poetry. She is also a marketing consultant, editor, and author of the multi award-winning HowToDoItFrugally Series of books for writers including the award-winning second editions of The Frugal Book Promoter and The Frugal Editor. Her latest is in the series is How to Get Great Book Reviews Frugally and Ethically. Learn more on her Amazon profile page, http://bit.ly/CarolynsAmznProfile. Great Little Last Minute Editing Tips for Writers is one of her booklets--perfect for inexpensive gift giving--and The Great First Impression Book Proposal, another booklet, helps writers who want to be traditionally published. She has three FRUGAL books for retailers including one she encourages authors to read because it will help them convince retailers to host their workshops, presentations, and signings. It is A Retailer’s Guide to Frugal In-Store Promotions: How To Increase Profits and Spit in the Eyes of Economic Downturns with Thrifty Events and Sales Techniques. She helps writers extend the exposure of their favorite reviews at TheNewBookReview.blogspot.com. She also blogs at all things editing--grammar, formatting and more--at The Frugal, Smart,and Tuned-In Editor (http://TheFrugalEditor.blogspot.com). Her SharingwithWriters.blogspot.com blog focuses on the writing life and book marketing and promotion. It is a Writers' Digest 101 Best blogs pick.

Time Magazine Reports New "Rule" on Spit and Image

It's been a while. Just couldn't resist popping in to tell you, there's one thing you don't need to worry about these days. Or is there?

Editors have always needed to be on the lookout for the corruption of the true form of “spit and image.” It comes “from the notion of God’s using spit and dust to form the clay to make Adam in his image.” Garner’s says it’s now OK now to use the incorrect form, “spitting image.” 

I think that’s foolish in this digital world where everyone is an editor (and an expert) and only too eager to dis something as “incorrect” with no leeway for style choices. And when your career could be affected by the judgment a gatekeeper like an agent or publisher makes about what they consider your lack of interest in the written word.

But even those who choose to write on the side of caution, the exception for "spit and image" might be its use in dialogue when people tend to talk the way they always have--regardless of what reference books say. After all, the way characters use words tells something about their—well, character. For more on dialogue, I suggest Tom Chiarella's book published by Writer's Digest.  

ABOUT THE EDITOR AND BLOGGER

 Carolyn Howard-Johnson edits, consults, and speaks on issues of writing and publishing. Find her at http://howtodoitfrugally.com. Find the second edition of her multi award-winning The Frugal Editor: Do-it-yourself editing secrets for authors: From your query letter to final manuscript to the marketing of your bestseller. (HowToDoItFrugally Series of Books for Writers). Learn more about her other authors' aids at www.howtodoitfrugally.com/writers_books.htm , where writers find lists and other helps including , Great Little Last-Minute Editing Tips on the Resources for Writers page. She blogs on all things publishing (not just editing!) at her SharingingwithWriters blog. She tweets writers' resources at www.twitter.com/frugalbookpromo . Please tweet this post to your followers. We all need a little help with editing. (-:

Wanna Discard Perfectly Good Punctuation Just 'Cause It's Dialogue?

My question . . is about punctuation in dialogue.

In my real life critique group, one member commented about a paragraph of dialogue I had. The paragraph contained a semicolon, correctly used for prose. However, this member’s point was that we should not use semicolon, colons and the like in dialogue, because we don’t actually use them when we speak. He believes they throw the reader out. When someone talks, you can hear their voice go up on a comma, you can hear the question mark intonation etc. But you certainly can’t “hear” a colon.

Susan Stephenson, editor of Musings at The Muse Marquee ( http://themusemarquee.tripod.com/id185.html

Answer:

Susan, like so many other things, a rule like this is never firm. Basically, you want dialogue to feel as real as possible. Thus, when you write dialogue you don't always use complete sentences. Characters might occasionally repeat themselves or not finish a sentence or stutter. So semicolons may seem too formal or attract attention from a natural speech pattern.


Though I agree--in general-- with your critique group partner, you might find times when punctuating dialogue with a semicolon would work in your favor.
What if a character is an academic and talks like he writes? Semicolons might still be iffy but they might help make a point about the stiffness of this particular character's speech. MIGHT. You could try it and run it by some fellow writers and readers. Ask them if their use takes them out of the dialogue or contributes to their understanding of who this character is, how that might be reflected in what he says and how he says it.

BTW, people may want to know about Tom Chiarella's Writing Dialogue. It is published by Writers' Digest. I loved that book. This may be the only point on dialogue he didn't cover, Susan! (-:

The other point he didn't cover is in Stephen King's On Writing. Go find the referral to it in The Frugal Editor or King's book. You'll find other great learning in the searching process. Ha!
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Carolyn Howard-Johnson edits and consults on issues of publishing. Find her The Frugal Editor: Put Your Best Book Forward to Avoid Humiliation and Ensure Success on Amazon. Learn more about her other authors' aids at www.howtodoitfrugally.com.