Posts Tagged reading like a writer
The books that are our teachers – and 5 of my favourite reads (at @muddysurrey )
Posted by Roz Morris @Roz_Morris in How to write a book on July 15, 2021
Today I have a guest spot at Muddy Stilettos, talking about five books I can read again and again. I read them chiefly for pleasure, but also with awe and envy.
Writers learn from reading as much as from writing. I can’t tell you the number of times I have advised an editing client: read more. The problems I’ve found in your manuscript would be solved by tuning your awareness through reading. This goes for problems with style, use of back story, dialogue, descriptions, interiority…
Writing prose is not just storytelling, or plotting, or worldbuilding, or character development, or structure management. It is also a performance, like an elaborate magic trick, enacted on the reader’s mind through your use of words. To do it well, you must understand how your reader thinks, what they are interested in, how they are second-guessing you, how they are responding to the visual shape of every sentence, every comma. Some of this can be taught, but a lot is picked up by constant exposure, by reading like writers.
How do we do that? Here are a few recent posts.
Reading as a duty and reading for pleasure.
All about reading groups and writing groups – an episode of So You Want To Be A Writer.
Are you a writer? Don’t neglect your reading – post at Writers Helping Writers.
Reading vs watching and The Night Manager – why I prefer the book.
How to read like a writer – another episode of So You Want To Be A Writer.
Why you should read poetry as well – 11 poets to help you polish your prose, an interview with poetry evangelist Joe Nutt.
Three books I wish I’d written. And another five.
Circling back to the top, here are the five books I nominated at Muddy Stilettos (which I always want to spell with an e, stilettoes). These books were milestones for my latest novel Ever Rest, and they will continue to influence and inspire me, whatever I write. Which books are your eternal teachers? (And do come over. High heels are optional.)
PS If you’re quick, you can enter this giveaway to win a signed print copy of Ever Rest.
PPS If you’re looking for writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.
Reading as a duty and reading for pleasure… plus the oldest book on my shelf. At @jaffareadstoo
Posted by Roz Morris @Roz_Morris in Interviews on May 23, 2021
A quick interview at the online home of book blogger Jo Barton, aka Jaffareadstoo. The questions are lighthearted, but they raise interesting issues about reading.
Writers and book bloggers have something in common – a TBR pile that’s neverending. We’re reading to keep up with recent releases. We’re reading as research. We’re reading to help our friends. And we’re reading a lot – an awful lot – to do our jobs. When do we read for ourselves?
Do you have a rule that if you start a book, you finish it? I used to. It was a habit instilled at school – abandoning a book was bad manners. I almost felt the author would know I’d sneaked out before they’d said their piece. I remember there was a moment when I decided I had to let go of that rule or I’d never get everything read that I had to. And I’m a slow reader. I like to appreciate a book, not bolt it. That raises another question – if reading is our job, do we still allow ourselves to read for pleasure? I know plenty of people in publishing who have lost their joy of the written word.
Anyway, tell me your thoughts, either here or at Jo’s blog. You’ll also see Jo and I discuss this, the oldest book on my shelves.
If you’re looking for writing advice, try my Nail Your Novel books. If you’d like to know more about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk (and my very exciting new novel), look here. You can subscribe to future updates here.
3 creative writing exercises to help you read like an author – at Reedsy
Posted by Roz Morris @Roz_Morris in How to write a book, Plots, Rewriting on March 25, 2018
Want to learn some ninja plotting skills? Try these exercises at Reedsy.
Reedsy is principally known as a marketplace for authors and publishers, but it also offers a range of useful lists, from review sites to writing tips. It’s just compiled a set of 100 creative writing exercises from its favourite bloggers (thanks, guys!).
I was invited to contribute three short exercises and I’ve chosen subjects that help you read with a writer’s mindset. They are:
1 Foreshadowing plot twists so they are surprising and fair (the clue hunt)
2 How to keep the reader gripped (the page-turner)
3 Using your material with economy and elegance (the observant writer)
And psst … there are plenty more insider plotting tips in Writing Plots With Drama, Depth & Heart: Nail Your Novel 3
Reading vs watching and The Night Manager – why I prefer the book
Posted by Roz Morris @Roz_Morris in Inspirations Scrapbook, Writer basics 101 on June 12, 2016
I recently watched the BBC’s adaptation of John le Carré’s The Night Manager, and of course went straight to the novel afterwards. I thoroughly enjoyed the TV adaptation, but I’m loving the novel more.
You might think that’s an obvious thing for a writer to say. But I’d like to think about why.
Let’s put aside certain practicalities. Obviously the book had to be reshaped to translate it to TV, and updated for 2016 (technology, current world events, making a key character female).
That’s not what I want to talk about; I’m interested here in the medium of delivery. The watching senses compared with the reading ones. Why do I find reading the novel is more special than watching the show?
Books are interior
A key difference is the organisation of Jonathan Pine’s back story. In the TV version this is streamlined into simple chronological order, but the novel shuffles the material to us in digressions. A character makes a remark and Pine is taken back to an earlier event. At first this seems quite digressive, but gradually you’re bedded more deeply into Pine’s buried layers, his stifled memories and his slow awakening into a new man.
This interority is something that’s difficult for TV or film to achieve, although Krzysztof Kieślowski is a notable example of a writer-director who does. But usually, watching makes us outsiders. So the BBC’s Night Manager is an adventure story – and a gripping one. The novel is that too, but it’s also more secret, troubled and private.
Characters and reality
Somehow, I’m finding the characters on the page are more tangible than when they are played by actors. Le Carré’s descriptions seem more potent than seeing an actor physically embody a person. In a film, a character comes to you complete – with hands, voice, expression, stance, clothes. In prose, a character usually appears in fragments. Those fragments are the magic.
For instance, describing Richard Roper’s charm. An actor could play charm, but a writer can pinpoint the essence of that charm – and make us notice something about how charm works:
He let you know that you could tell him anything, and he would still be smiling at the end of it.’
The author is not a camera giving head-to-toe details; he is a judging, communicating intelligence who can show us what it’s like to be in a person’s presence, at a given moment. It gives you experience as well as observation. Describing Roper’s girlfriend Jed:
Her wit and language have a hypnotic draw. There is something irresistibly funny to everyone, including herself, about the convent-educated English voice enunciating the vocabulary of a navvy. “Darling, do we actually give a fart about the Donahues?” ’
Could a camera or an actor ever express that, and so precisely? And this, when Jonathan Pine is increasingly troubled by the siren Jed:
He watched her in fragments forced upon him. A chance view of her entire upper body in her bedroom mirror while she was changing…’
How would a camera say ‘forced upon him’?
I find this to be a wonderful paradox. A good writer can make a character more alive in your mind than a flesh-and-blood actor can. An actor seems to give just physicality. No matter how closely a camera observes their face, it’s happening at a distance. But a writer is inside your intellect and your feelings. With a well-turned line they can they give you the experience of being with a person – or indeed of being them. You’re passing a door, arrested by a glimpse of a girl undressing.
The cleverness of a good author makes you feel a bit ennobled, better with words yourself. More intelligent, perceptive. Words are far, far more fun than watching.
Take a bad toupee. (Go on, you know you want to.) Le Carré describes it as ‘like a black bear’s paw’. Isn’t it far more fun to read that description than to see a bad toupee in a picture? In a million years, would you have thought of that line? When you read, you share the mind of someone who does.
Women with chiselled faces they never had when they were young, and tucked stomachs and tucked bottoms … but no surgery on earth could spare them the manacled slowness of old age as they lowered themselves into the pool…’
A good writer knows how to go ‘straight to the switchboard’.
Stop – isn’t that an excellent line? It’s not mine, it’s le Carré. A phrase used by Roper’s security guard when describing a technique of interrogation.
Interrogation. That’s a difference I should also mention: how you contribute so much of a book’s experience from your own grey matter. The pictures, places, sounds, significance. For Franz Kafka, books were ‘the axe for the frozen sea within us’.
Your own pace
And here’s another difference I like. You take a book at your own speed. Dawdle as long as you like over a page, a paragraph, a phrase. In a movie you obey the director’s clock, or the editor’s. In a book, the author sets the pace, of course, but you can adjust it. Linger over a passage you like. Skim the parts you don’t.
I hadn’t considered how important that was until Husband Dave and I read the same book simultaneously. We found we had two copies of William Boyd’s Ordinary Thunderstorms so we did them in tandem, like a real-time book club. It was fun. We could say ‘I didn’t like the bit where…’ or ‘I’m hoping the character won’t do such-and-such’. I was aware, though, that I was reading to a schedule, so I didn’t let myself linger or dawdle as usual – and I felt rushed.
Reading a book you enjoy isn’t, actually, a hop from this word to this then this, like watching subtitles on a movie or the lyrics prompt on karaoke. It’s not a linear trot through the page from top to bottom, in order. If you want, it can be more like snakes and ladders. You can check a fact or a character name. Wander back to enjoy a favourite fragment again. You can take a book in your own time, your personal journey.
Ultimately, a book plays with your mind more, yet belongs to you more as well. Perhaps that’s it.
Tell me your thoughts.