In the last decade or so, the availability of word processors, the ease of research on the internet, and self publication convened into a sort of ideal setting for authors to reach out to the world in a way never before possible. As a result, now everyone is writing a book - or, at least, nearly everyone.
To take advantage of this trend, businesses and schools have begun to cater to the independent writer, with classes, programs, websites, tips, advice, books, and so on helping people understand how to be a better author. A lot of this is good, and certainly no author should ignore good advice and sound learning. Even the finest writers alive are always learning and honing their craft.
Some of these efforts are less valuable than others, and ultimately, it can become a bit overwhelming to the would-be author who tries to learn to be best at their art. With all the seminars, blogs, websites, videos, #writetips on twitter, facebook sites, local college classes, books, and so on, there's really too much for any one person to realistically take advantage of or learn from.
And if you do take advantage of as much as you can take in, you can learn a lot, but there can be a problem as well.
For example, there's this theory that was first popularized by a man named Joseph Campbell in 1949. In the book The Hero With a Thousand Faces, Campbell proposed that there really is only one heroic story: the Monomyth.
Campbell proposed that this is how all religious stories work as well. This Monomyth story takes many forms, but essentially all follows the same basic arc as depicted in this graphic.
Now, its obvious from reading this that its not really all that common a story, and in fact it doesn't really describe all religions either, but it is an interesting tool for an epic tale of a hero's growth and difficulties. And in fact it does describe many old tales such as the Knights of King Arthur's Court.
These kind of tools - and they are legion - are useful for writers, but they can begin to bog one down. What with the "rules of writing" and "tips for successful editing" and websites that break down your book and tell you what you're overusing, and so on, it can easily overwhelm an author.
If you find yourself fretting over your book's word count, or whether it has the proper 3-part story arc, or if you've skillfully executed the Monomyth, or if it has passed the "Bechdel Test," etc, etc, then you're losing your way as a writer. These hints and tips are to help shape your creative ability, not replace it.
These days its too easy to be focused on the technique and tools of writing and lose track of the art. Classes on creative writing can actually be a hindrance to good writing by piling so many devices and techniques on the back of an author they can't spread their literary wings and be free. Its true that every starting author needs training wheels and maybe some fences around to channel their gift. But they aren't meant to stay there, and they aren't meant to overpower you.
|Officer Bob loved this corner, he could hit his ticket quota in an hour|
The "rules" are there to help avoid common mistakes, not compel your style. And its too easy these days for writers to become overwhelmed with all of this and lose their way. So many times I've read of writers worried about their word count, or how long a chapter is, or whether they've built a strong enough female character. Blog post after blog post on Inscribed has been about these topics because they keep coming up. I feel bad for these people who are laboring under such a burden.
Writing fiction is first and foremost an art. It is to be creative and free flowing. Yes, you have to learn to do it properly, and to do that, you need to learn the rules. Spelling, grammar, sentence structure, proper writing and so on all help you do this. But these rules are not to produce a perfect novel. No amount of technique or device, no 3 part Monomyth following the pattern exactly enough will produce quality. That takes talent and skill.
The rules and fences of writing are there to produce work that communicates your ideas and story properly. If we had no rules of spelling, then no one could read anyone else's work. If we had no rules of grammar, then the book would be scrambled and nearly incomprehensible even to the author. These rules are about reaching your reader effectively. You have to write what you know because if you write about things you're ignorant of - things that others are familiar with - you'll come across as, well, ignorant and laughable. But that doesn't mean you can't invent or be creative with new things.
But when it comes to storytelling, that's creative and artistic. You can use those classes and technique to learn your craft to the point of being able to tell a solid tale, but that's as far as they should take you. Sooner or later you have to climb out of that nest and test your wings.
I don't mean you should go all E.E. Cummings and blow off punctuation and capitalization in some infantile gesture of rebellion or faux freedom. I mean you should set yourself free from the structures and ordered methods of writing you are taught. Use them as a reminder in the back of your mind, learn them to the point it becomes instinctive, then forget about them.
Writers such as Patrick O'Brian ripped the usual rules of sentence structure and description to pieces. Elmore Leonard rewrote the rules on dialog, leaving out words where people didn't use them. His narration is brilliant, if a bit odd to read at first, because it reads the way most people talk.
These authors learned the rules first, but when they had them down, they went their own way, expertly, with genius and a gift that leaves readers breathless. Learn, then set yourself free. Not too free - they still wrote in a manner they could be understood - but free.