Tag Archives: Marketing-Zone: Market Yourself and Your Writing

3 Genius Ways to Tell If Your Writing Is Any Good

Fiction-Zone: Leaps in Fiction Mastery by Diane Holmes, Chief Alchemist of Pitch University

The longer I write, the more I know about good writing and what makes a great story.  But I also chafe at the one true thing about writing:

You can’t prove your writing is any good. 

crossroads success and failure

Not like you can in math or computer programming.  Not with a result you can point to and say,

  • That page right  there is ‘always true.’ 
  • It works ‘as expected” and is ‘fit for use.’ 
  • My project requirements are satisfied.  The glory is now mine!

You can learn and develop powerful skills.  Mad Ninja writing skills. 

You just can’t look at the end product and objectively test for “goodness.”

Michelle Davidson Argyle wrote a 2-part article over at Literary Lab on this subject, asking readers to choose between 3 paragraphs in search of goodness and post their thoughts in the comments.. 

The comments are full of insight on the logic behind the readers’ choices.  A must read on the topic of subjectivity.  And Part 2 is a must read on the topic of reality vs. preference.

And yet…

You can’t say that all writing is good, because it’s all subjective.  Surely there is some difference between those who have developed mastery and those who… have room for improvement.

And surely you can evaluate your own work, right? Just you, alone in a room, evaluating your own work.

But as Nathan Bransford, former literary agent, points out, clear evaluation is not what happens.  He wonders…

What is it about writing that makes people put on the blinders and fail to recognize their limitations and makes the talented unable to recognize their own goodness?

(The comments on Nathan’s post are worth the read!)

The “Someone Else” Solution.

Get someone else to reader your writing. That’s often the advice given.  A reader, a critique partner, a teacher, an editor.  If they like it, then it’s good!

  • Ah, okay, first there’s a quality issue. (Do they know quality when they see it or just what they like?) 
  • Then there’s a “good match” issue.  (Are they a good match for your topic, style, or genre?) 
  • And finally there’s a “will it sell” issue that becomes some sort of defining determination of goodness.  Everyone (especially editors, but even readers) has some sort of criteria called, “You can’t do that because it won’t sell.”  Or alternatively, “It’s not done like that.”  Or even, “Yeah, that seems like all the other books I read.” 

Behind almost every single first book is a trail of rejections where readers, critique partners, teachers, editors, agents, and contest judges who  thought it was or wasn’t good.

And then it sold.

The Touchstone Solution

Okay, here’s what I think. 

  • I think everything about writing and reading is, indeed, intangible
  • That you can recognize mastery, even if the mastery doesn’t equate to an excellent reading experience for you. 
  • And I think you can find touchstones to answer the Goodness question.

Here’s what I mean when I say touchstone.  I mean someone or some specific works that hold the standard (Ideal Beauty) of where you want to be. 

1) Specific Craft Touchstones

I think your touchstones should be narrowly defined if it’s to be of any value to you.

For example:  I admire the dialogue of Elmore Leonard, specifically the way it captures very conflicting personality traits, takes sharp left-turns on subject so that you feel punched by the truth, and is often full of threat yet totally cool and hip.

As I progress in dialogue mastery, I can use the specific aspects of Elmore Leonard’s dialogue as a touchstone to help me assess my own writing.

Not to mimic Elmore Leonard, but to achieve that level of mastery (and delight) of “left-turns” in my own dialogue.

2) Reader Touchstones

Writing is about delighting a reader. So, yes, other people are involved in deciding what they enjoy reading, what they consider good. 

So find the reader (critique partner, teacher, whoever) whose idea of goodness represents what you want your book to be judged against.  Delight that one reader.

You might think this is nuts, but quit trying to please everyone, including those people who disagree with each other.  Instead try to master storytelling for your one right reader.

How this is different from the “Someone Else” solution.

What I’m saying here is that all opinion is not equal.  You should chose the opinion because you agree on quality (not that you agree on their career path in the publishing industry somehow equals goodness).

And that the opinion should become a touchstone for you as you write.  “How much will this particular chapter delight this touchstone reader?”

This is about letting someone make a pronouncement about what you have written.  It’s about writing to delight a reader who cherishes the goodness you’re reaching for.  And then allowing you to evaluate if you’re reached that goal.

3) Vision Touchstones

One of the best things a critique partner (another writer) can do for you is to hold the vision of your story with you, to be able to see how great this story can truly be.

This is also the person who can discuss with you if you’re reached your own story vision.

And as you write, you’ll have some “other” out on the mental landscape who you know will be waiting for you to create “this page right now” in a way that fully captures that vision.

So you can get real feedback from the writer, but you’ll also have a sense, alone in a room, if you’re fulfilling your vision simply because you’re aiming at the story hopes of another writer.

And that is very cool stuff.

clip_image004Diane writes two alternating columns for Freelance-Zone:Fiction-Zone: Leaps in FictionMastery and Marketing-Zone:Marketing-Zone: Marketing Yourself and Your Book.

3 Definitions of Theme I’d Like to Flush

Fiction-Zone: Leaps in Fiction Mastery by Diane Holmes, Chief Alchemist of Pitch University

When writers talk about theme in fiction, the conversation quickly goes south.  It’s all abstraction and morning fog and candy that looks good until you bite into it.

No one responds, “Theme is one of the most useful tools I have.”

Because theme is usually defined in a way that is, what I call, “pure and content free.”  Knowing the answer doesn’t mean anything specific to your book in a way that’s different from other books.

flush Here are 3 ways I think theme should not be defined (and a call to action to define it in a whole new way).

#1 Theme Isn’t Just One Word

(Warning: this will probably go against what you’ve been taught. Be brave, buckaroo.)

Theme is not just one word. You can’t just say, “Family, that’s my theme.” Or, “My book is about loss.”

Why? Because if your theme is only one word, then all you need is one scene about family or loss and you’re done. Theme fully explored. Eureka.

Isn’t it the unfolding of understanding (of theme) that makes it, uh, the theme of the book? Theme isn’t a item you point to, it’s the meaning you demonstrate (another word for “explore”) over the course of your story.

Theme is exploration.

#2 Simplistic Mottos are Just as Unhelpful

And while I’m smashing the sacred cows of theme, let me also say you’d be well-served to move away from generic “truisms,” like…

  • The world is a hard place.
  • You have to fight for justice.
  • Hatred has negative effects on people.
  • Hard work leads to success.
  • Bad luck happens for no reason.

Heresy, I know.

But when you only look at theme like this, you’re pretty much looking to fiction as having a generic teaching message with a pop quiz at the end. “Read this book, and then extrapolate the one rule you need for real life!”

It’s sort of like watching comedy movie and coming out with the message, “Wow, banana peels happen out of nowhere. Great theme. And wow, I should make sure I teach this to my kids”

Or it’s like watching a romance, and saying, “People kiss when they like each other. I see it now. It’s a wonder I ever got married!  Why didn’t my wife tell me?”

Beyond the issue of “proving” something people already know, after the first banana peel, the first kiss, we readers don’t need any other movies or books to prove this point.

We’ve learned our lesson.

Message received.

And really, readers aren’t that dense. They don’t need 400 pages to get the message that the world is a hard place. Seems like one good scene ought to do the trick.

So while you can often sum up theme into a simplistic, overly-generalized motto, like the one-word-theme, this, too, is pretty unhelpful for the writer.

Aren’t you pretty sure, as a writer, that you have something fresh to say? A viewpoint that no one else has?

Aren’t you creating a story that is uniquely yours, characters and plot that only YOU could tell?

Do you really go out and say, “I’m writing a mystery novel that’s already been written before, and I have nothing new to say!”?

#3 Theme Is Not a Yes or No Question

And finally, another popular definition of theme is the Yes/No Question that the author then proves. Scientifically, one assumes.

  • Is it possible to find true love?
  • Can youth be recaptured?
  • Can a liar be reformed?
  • Will jealousy lead to insanity?
  • Will good triumph over evil?

Seriously? That’s your theme? In that case, I can just answer the questions and not read the books.

What this tends to lead to is a book filled with “Yes it does!” “No, wait, it doesn’t!” “Wait! Thank gawd I was wrong! It does!” “Oh, my broken heart! I was more wrong than I ever thought I could be!’ “Wait…!”

Yes, no, yes, no, yes, no… Just jerking the characters back and forth. And this has been scientifically proven to annoy readers.

At the end, the reader shrugs and says, “Okay, I guess it really is impossible to recapture youth. I give up. You proved it.”

The Truth About Theme in Fiction

Doling out the same fortune cookie advice over and over is not what’s really happening with all the thousands and thousands of stories available to read.

And we’re not providing the same pop quiz answer over and over or testing a true/false statement.

Why?  Because we’re not done inventing fresh stories. And if we could think about theme in a way that is specific, then maybe it would actually be more useful to us.

Using an example from above…

  • Maybe the world is a hard place in more than one way, for more than one reason, and with more than one result.
  • Maybe there’s a whole lot to say about how you cope with the hardness of life, how you absorb that hardness or dance with it as your circumstances change.
  • Maybe there are a thousand ways to respond to the world in all its callus glory and this response is more important than any desire to point and say, “Oh, life is hard. I get it. Tough out there in the world. Never knew that before.”

So the one-word theme, the generic “truism” approach, the Yes/No Question–maybe, at best, these create over-arching theme categories. Groupings of themes for the purpose of collecting them into genus and species.

But I think the theme for your book has a meaning that is much more specific to you and your story.

Maybe we can come up with a new definition of theme.

Yeah, let’s do that.  Let’s bring theme into the world of useful storytelling and story-creating tools.

TO BE CONTINUED NEXT WEEK…

clip_image004Diane writes two alternating columns for Freelance-Zone:Fiction-Zone: Leaps in FictionMastery and Marketing-Zone:Marketing-Zone: Marketing Yourself and Your Book.

Nomination For Worst Writing Advice: Show Don’t Tell

Fiction-Zone: Leaps in Fiction Mastery by Diane Holmes, Chief Alchemist of Pitch University

Let me just be upfront that this is a rant on my part, because I think this SHOW DON’T TELL advice is totally useless to advanced writers. And probably of limited usefulness to baby writers.

bad advice

I hereby (with my pointed ranty stick) lead the charge to remove the generic advice called SHOW DON’T TELL from the writer’s lobe of our collective brains.

We need showing and we need telling. We wouldn’t even be having this conversation, if all those people who said, “Show Don’t Tell,” actually looked at their favorite books and underlined all the telling.

<Insert Revelation HERE>

Die, Rule, Die!

Instead of this bad-bad-no-no-you’re-doing-it-wrong “rule,”  what we really need are 9 conversation starters that get to the heart of learning the power of both showing and telling.

(Better yet, they focus on what’s important: creating the most effective reading experience for your reader.  And what do readers like?  Story.)

1) When is it better to have the story unfold and experienced in real-time scenes vs. just skimming over details and summing up quickly what happened over time (transitions)?  Or even summing up a conclusion reached in an instant?

2) How do we authors know which details, which observations, which emotional reactions, or which physical actions are important vs. unimportant to the story experience?

3) How can we most effectively get to the stuff that matters in each scene vs. stuff no one cares about (especially the reader and viewpoint character)?

4) When is compressing (summing) the wisest choice vs. expanding experiences(squeezing out the last drop) for effect?

5) When should we focus on factual vs. emotional experiences (emotional to the character, to the reader)?  When should we linger in that focus and bring the full weight of the story to bear upon it?

6) How many details and at what magnification level should we use in this specific paragraph, when selecting fresh and riveting details?  Should they be observed before the point-of-view character’s thought kicks in, or after reason and logic have filtered the detail for meaning?  What about emotion?  Or is that pre-thought?

7) How does a distant point-of-view (experiencing story more as a “viewer”) vs. a deep-immersion point-of-view (experiencing at the level of “I am the protagonist’s brain cell”) affect the need to write about a certain detail?

8) When does it benefit us as authors to use generic details vs. specific and “in-focus” details?

9) What are the genre needs, story needs, reader needs, character needs vs. the number of pages I have for this book, reader attention span, etc.?

An Example

A friend recently asked a writer’s e-group for insight into showing vs. telling, and used the following example to see if she “got it.”  That’s what inspired today’s rant-a-post, of course.

Donna was pissed.

vs.

Donna’s jaw clenched.

But here’s what I wonder.

Do I care about Donna?

Is the character’s realization that she’s pissed more important than seeing the indicators of being pissed? Does having a clenched jaw mean that she’s even pissed? What if she’s in pain? Well, in that case, coming to an incorrect conclusion and having it pointed out might be important.

And what’s going on in the story? Are we being shot at by a police officer because we’re criminals? I probably care more about running at that point.

Well, unless Donna is my sister. Unless I’ve seen this jaw clenching that she does before. Unless I know it means she’s made a decision, and she’s already turning around, raising her gun.

Or then again, maybe time has slowed. I blink. I hear my heart. I turn to look at Donna. Her jaw is clenched. I don’t know why. Before I can figure it out, she jerks forward, reaches out, screams, and I know that she’s been shot.

Or maybe, it’s just the two of us in the carpool lane waiting to pick up my daughter. And she’s pissed. Been pissed. Still pissed. What matters is that I know this and am ignoring her. And the reason she’s pissed is because I told her that I was the one who called the cops on her son last year. What matters to the reader is that I feel guilty, cause this kid killed himself a couple months ago. And now we’re picking up my daughter who’s still alive.

As the author, I could ground us in that reality, that carpool lane, in a
hundred different ways. And maybe knowing the sister is pissed is enough. Maybe having my character refuse to look at her gets to the theme of “how we create the realities we live in, even the ugly ones, by the things we won’t acknowledge as much as those things we accept” better than “showing.”

Take that SHOW DON’T TELL!

clip_image004Diane writes two alternating columns for Freelance-Zone:Fiction-Zone: Leaps in Fiction Mastery and Marketing-Zone:Marketing-Zone: Marketing Yourself and Your Book.