I took my wife for a short vacation this week to Lake Quinault, Washington, in the heart of the Olympic Rainforest, following advice for writers and non-writers alike to try a change of scenery for inspiration and renewal. It worked. I’m wasn’t surprised, since I’ve been visiting every winter since 2019 for the Rainforest Writers Retreat.

Taking a change of scenery is good advice to change things up. What about the so-called rules of writing–is it worth changing them up, in other words, break them?

Today’s Words of Wisdom tackles this possibility, with contributions from Clare Langley-Hawthorne, Kathryn Lilley and PJ Parrish.

I borrowed Elmore Leonard’s 10 Rules of Writing the other day from the library – although I had read many of his rules before, I realized I hadn’t actually read the whole (albeit very short) book. Since we have been doing our first page critiques, I thought it was probably a good time to highlight his rules – many of which we have already discussed in our critiques – and to also fess up to my own shortcomings…

Here are his 10 rules…

1. 1. Never open a book with weather
   2. Avoid prologues
   3. Never use a verb other than “said” to carry dialogue
   4. Never use an adverb to modify the verb “said”…
   5. Keep your exclamation points under control
   6. Never use the words “suddenly” or “all hell broke loose”
   7. Use regional dialect, patois, sparingly
   8. Avoid detailed descriptions of characters
   9. Don’t go into great detail describing places and things
   10. Try to leave out the parts that readers tend to skip

While these are excellent rules, I have to confess to breaking at least half of these in my own work. I have used a prologue and (mea culpa) even the word “suddenly” on the odd occasion.

As a writer of historical fiction I also admit to giving pretty detailed descriptions of places, things and people in order to give the reader insight into the time period. However, the hardest rules for me, are rule number 3 and 4. While I certainly try and avoid overusing adverbs and bizarre speech handles such as “asseverated” I find when I try and limit my dialogue to using only “said”, it becomes stilted and hollow. My solution has been to try and limit my adverb use and to highlight gestures, actions etc. to provide appropriate texture to the scene – but still, I fear my dialogue drafts are way more ‘flowery’ than Elmore would like:) As part of my editing process I am extra vigilant when it comes to this rule, but also equally aware that stripping my work down too much saps it of its color. It’s a balancing act, as with most things in writing.

Clare Langley-Hawthorne—April 4, 2011

 

Right now I’m reading AN EXPERT IN MURDER, a bang-up mystery written by Josephine Tey (a pseudonym for Scottish author Elizabeth MacIntosh, 1896-1952). Tey was a writer who delighted in breaking the formulaic mystery writing rules of her era. Those rules, as proclaimed by a group of London-based mystery writers, had been set forth in a manifesto called “The 10 Commandments of the Detection Club”. (Agatha Christie and Dorothy Sayers were founding members of the club.)

TEN COMMANDMENTS OF THE DETECTION CLUB

1. The criminal must be someone mentioned in the early part of the story, but must not be anyone whose thoughts the reader has been allowed to follow.
2. All supernatural or preternatural agencies are ruled out as a matter of course.
3. Not more than one secret room or passage is allowable.
4. No hitherto undiscovered poisons may be used, nor any appliance which will need a long scientific explanation at the end.
5. No (archaic ethnic term) must figure in the story. (Editor’s note: At the time, popular mysteries frequently included a character of Chinese descent. The writers used an archaic ethnic term that I don’t care to repeat here).
6. No accident must ever help the detective, nor must he ever have an unaccountable intuition which proves to be right.
7. The detective must not himself commit the crime.
8. The detective must not light on any clues which are not instantly produced for the inspection of the reader.
9. The stupid friend of the detective, the Watson, must not conceal any thoughts which pass through his mind; his intelligence must be slightly, but very slightly, below that of the average reader.
10. Twin brothers, and doubles generally, must not appear unless we have been duly prepared for them.

***

Josephine Tey gleefully broke most of these rules in her mysteries. Twin imposters? Check. A sleuth playing a hunch? Check. In some of her books, Josephine Tey herself featured as a sleuth. (The Detective Club probably never dreamed of creating a rule against doing that).

Because she was a gifted, excellent writer, Tey got away with jettisoning the standard writing tropes of her era.

Katherine Lilley—March 8, 2016

Don’t use adverbs!

Don’t use passive voice!

Keep backstory under control!

Write every day or you die!

It’s a wonder we get anything down on the page. Except maybe our own blood.

Writer’s rules aren’t anything new. A guy named S.S. Van Dine’s set down his Twenty Rules For Writing Detective Stories in 1928. (“There must be a corpse, and the deader the corpse the better.”) Many other famous writers have been compelled to weigh in with their own lists. Here are a few tidbits I culled:

• Margaret Atwood: Don’t sit down in the middle of the woods. If you’re lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page.
• George Orwell: Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
• Jonathon Frazen: It’s doubtful that anyone with an internet connection at his workplace is writing good fiction.
• PD James: Don’t just plan to write – write. It is only by writing, not dreaming about it, that we develop our own style.
• Joyce Carol Oates: Unless you are writing something very avant-garde – all gnarled, snarled and “obscure” – be alert for possibilities of paragraphing.
• Ian Rankin: Have a story worth telling.
• Zadie Smith: Protect the time and space in which you write. Keep everybody away from it, even the people who are most important to you.
• Hilary Mantel: Be aware that anything that appears before “Chapter One” may be skipped. Don’t put your vital clue there.
• Henry Miller: Work on one thing at a time until finished.
• Mark Twain: Write without pay until somebody offers pay.
• Richard Ford: Don’t have children.

I can agree with most of that. But then again, I have dogs. There are some rules, however, I found that I can’t endorse:

• Mario Puzo: Never write in the first person.
• Robert Heinlein: You must refrain from rewriting except by editorial order.
• Jack Kerouac: Write what you want bottomless from bottom of the mind.

If someone can explain that last one to me, I’d be grateful.

It used to be that you had to read a book to get advice from the famous on writing. When I first read Annie Dilliard’s The Writing Life, I didn’t learn how to write but I was relieved to learn I wasn’t alone in my self-doubts. But now, thousands of writing tips are available to us at the tap of a finger, and anyone can hang out a how-to shingle. So how do you sift the wisdom from the chaff?

Rules can be confusing, arbitrary, and deeply frustrating. I guess the only good advice I can offer is what Bruce Lee suggests in the quote at the beginning of this post. Adapt what you find useful, reject what is useless, and find your own path. I’ve been writing novels professionally for about thirty years, and whenever I see someone — famous or not — laying down rules, my hairs go up.  Still, I have discovered a few “rules” along the way that I have found deeply useful:

Kurt Vonnegut: Every character should want something, even if it is only a glass of water.  This taught me to dig deep for motivation for every character I put on the page, especially the villains.  Later, I heard Les Standiford preach the same principle when he said that until you understand what your character wants, not just on the surface but at his deepest levels, you can’t write a good story.

Linus Pauling: The way to have a good idea is to have lots of ideas. This taught me that not every story idea will work.  Some are good maybe for a short story. Some are ugly babies that might need a few years to blossom into beauties — ie, you might not be ready to tackle that story at that point in your life or technique. And many ideas  are just dumb or dull and you have to let them go. Sometimes you have to drown them.

David Morrell: Know your motivation. I’ve heard David speak at conferences about this and he has lots to teach writers. But this one always stuck with me. Here’s more from him: “Before I start any novel, I write a lengthy answer to the following question: Why is this project worth a year of my life? If I’m going to spend hundreds of days alone in a room, I’d better have a good reason for writing a particular book.” I urge you to click here and read the full post. It’s instructive and poignant.

Ernest Hemingway, who didn’t put his rules on paper, but did confide this to his friend Fitzgerald: “I write one page of masterpiece to ninety-one pages of sh*t. I try to put the sh*t in the wastebasket.”

So yes, study the rules. Learn the rules. Many even write a few unpublished stories that adhere to rules and old formulas so you can see the departure point. But then have the courage to break the rules.

***

My personal opinion is the rules of fiction writing are, as a cinematic pirate once said about the Pirate’s Code, more like guidelines. Important guidelines. Guidelines that are often vital to learn. In some cases, extremely helpful guidelines to follow at the start of your writing journey. But don’t turn them into absolute commandments always to be adhered to no matter what.

1. Do you believe there are rules to writing? Or are they more like guidelines?
2. Which “rules” do you agree with?
3. Have you broken a writing rule or rules? If so, why and how?

Once again, I’ll be on the road for much of today but will try and reply to comments when possible. In the meantime, please share you own thoughts on breaking the rules.