Posts Tagged Dianne Doubtfire

The first book on writing I ever read – what was yours?

Most of us here probably have a shoal of books about writing craft. Here’s just one of my shelves.

writing bookshelf

But which was the first writing book you ever read?

For me, it was The Craft of Novel-Writing by Dianne Doubtfire. It was a gift from Husband Dave when we first met in 1992. It’s a tiny volume; just 87 pages including the index at the end and throat-clearing at the start. But it has everything you need – theme, viewpoint, planning, setting, characterisation, style, revision.

Dianne Doubtfire Nail Your NovelI flick through it now. At random, I can see sensible advice to use ‘he said’ instead of ‘she gushed’ or ‘he averred’. A section on writing description so the reader remains riveted, with examples from Iris Murdoch and Graham Greene. A paragraph about keeping a notebook beside the bed, including a torch. An explanation of style as ‘a quality as unique as your fingerprints’. A quote from Alfred Hitchcock that ‘drama is like real life with the dull bits cut out’. A section on first chapters, positioned nearly half-way through, because ‘it’s wise to consider … planning, scene and characterisation before you type ‘Chapter 1’.

Other books may cover all of these in more depth, but as a primer it will get you going with good habits. I’d recommend it still today.

To begin at the beginning…

I’d studied English literature at school and university. Yes, we considered theme, character, resonance, symmetries and counterpoints in character arcs and story structure. And historical and social context, an author’s place in the overall evolution in the artform. But I wanted more. I wanted to know why good was good. Reading Dianne Doubtfire was like meeting someone who thought and felt about books in the way I wanted to.

Studying literature can put it in on a pedestal as a thing to be revered. It can paralyse you with feelings that you could never, yourself, presume to write to a standard that’s even readable, let alone half-creditable.

Dianne Doubtfire’s succinct, wise book made writing seem possible.

3 nynsPsst … Speaking of writing books, and flashing forwards many moons and scrumpled drafts, I’ve been jazzing up the Nail Your Novel covers. Take a peek here…

Can you remember the first writing craft book you read? How did you come to read it? How did it affect you? Did it open possibilities? Did it make it all seem impossible? If you still have a copy, what do you think of it now?

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4 low-cost ways to get writing tuition if you can’t afford an editor

jurvetson

I’ve just finished writing my first novel. I want to get published but I can’t pay for an editor. What can I do? Edith

Every week I get emails from writers who want help but can’t afford the cost of an editor. And I can see why. Good editors cost a big chunk of money and the job can’t be done cheaply. I don’t think seriously committed writers assume anything otherwise.

But sometimes, the writing world can seem like those schools where rich parents hothouse their kids by hiring personal tutors. If you don’t have the spare dollars, will you be left behind?

Not necessarily. Many of the writers I know never hired editors, yet we earned our spurs somehow. And you can still learn the way we did. It still works.

I probably sound like I’m doing myself out of a job here. Certainly a good editor will zoom in on your individual weaknesses (and strengths), and will improve all the novels you write, not just the one they assess. Also I’ll state that I’ve learned heaps from the agents and editors I’ve worked with. But the bulk of my learning came from elsewhere.

It wasn’t all free, but it was considerably cheaper than hiring an editor.

1 Find a good evening class

For two years I went to a novel-writing course at an adult education college. This was fantastic – an intensive two hours each week in which we’d critique a couple of works in progress, guided by a tutor who was also a literary agent. In case you’re in London, it was Morley College in Waterloo. Almost any well-populated area should have adult education facilities, and you can probably access them online too.

Intensive weekend courses are also useful (in the UK Arvon is well regarded), though the cost is getting on for the price of an editor, but there’s definitely something to be said for a regular dose of writing tuition every week to realign your awareness. Writing minds are trained gradually, so hothousing doesn’t necessarily give you an advantage.

Cost: Evening classes at Morley College about £130 per term

2 Find a critique group

Your evening class might fulfil this function, as mine did. But if it doesn’t, find a critique group or a clan of beta readers you can trust with your WIP. They may not be as expert as tutor-level critics, but can still be very valuable as they will react to your work as real readers.

Make sure you pick people who read your type of book (I hesitate to use the word ‘genre’ after last week’s discussion 🙂 ) and who come together with the intent to help each other improve. You don’t want a mutual stroking society, you want people who’ll stop you making mistakes.

How expert do they have to be? Almost anybody can tell you the places where the book bored them, interested them, confused them, stretched their credibility or kept them up well past their bedtime. If they give you solutions as well, ignore them (diplomatically) unless they have reason to know what they’re doing. You find your solutions from your other experts.

A word of caution: although the participants don’t have to be expert, you need to make sure the group is moderated by someone witcakeh nous who can recognise when personality clashes or personal issues are interfering with the group’s criticism.

If you can’t find a group in the corporeal world, there’s nothing to stop you assembling a brief email list of trusted early readers.

Cost: Wine, cake and other standard bribes

3 Read craft books

For years I mainlined writing craft books. I gobbled up so many I can’t remember all the titles, and I gave loads away to friends, but the ones I still have are by Robert McKee, Jordan Rosenfeld, Stephen King, Dianne Doubtfire , James Wood, David Lodge, Bob Shaw, Syd Field and Blake Snyder.

roz birthday plus NYN2pics 052compAnd of course, I’m now adding to the writers’ reading burden with tomes of my own, distilled into practical tutorials based on the advice I regularly give when I critique. Hence the characters book.

Cost: the price of a book (or several)

4 Read like a writer

This is what I have always done. Each time I read something that impresses me, I stop and examine how it was done. This means I dither through books, often trapped by a sentence, a description or a wrenching twist. This extreme predisposition to wonder is what made me write in the first place and it’s what inspires and teaches me still.

Cost: what price can you put on pleasure?

The long and the short

It can’t be denied that an editor is a fast track to proficiency. But some of the necessary lessons can’t be learned in a hurry. We need time for unfamiliar concepts to become habit, to make the knowledge our own and to put it to full imaginative use. That isn’t bought with money. It’s earned with time and dedication.

Thanks for the money-burning pic Jurvetson Just for the record, the lady in the pic is not a financially challenged – or blessed – writer, but an entrepreneur making a point about energy wastage. But we’re both talking about money that may not need to be spent 🙂

Where are you in your writing journey? How did you learn and how are you learning still? Is there anything you’d tell Edith?

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