By John Gilstrap

I might have mentioned in this space a few dozen times that I am a self-taught writer. I learned by reading and observing and spilling gallons of ink–real and virtual–on projects that never went anywhere. I have also mentioned here my belief that in this business, there are no rules. There’s well-meaning advice, and lessons that have worked for other writers, but there are no inviolable rules.

One clue that there’s a charlatan in the house is the use of absolutes when teaching the craft to new writers. Words such as never, always, and must should ring a bell in your head that the advice-giver/teacher is one to be wary of.

One caveat: If the teacher is grading your work, and that grade impacts your academic future, then you absolutely live by the teacher’s rules and you compliment his or her brilliance for having so enriched your life. Academics are all about the grade, after all. If you learn something along the way, that’s good, too.

Any discussion of the rules of writing ultimately circles around to Elmore Leonard’s “10 Rules For Good Writing.” Here’s a refresher:

1. Never open a book with the weather.
2. Avoid prologues.
3. Never use a verb other than “said” to carry dialogue.
4. Never use an adverb to modify “said” . . . he said gravely.
5. Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.
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.

There is no denying Elmore Leonard’s talent or success as a writer, and these bits of advice have a lot going for them. Personally, I agree with 60% of his rules. The 40% I disagree with all begin with the forbidden word “never.”

I confess that I had not yet read Mr. Leonard’s rules when I wrote No Mercy, the first book in my long-running Jonathan Grave thriller series. Here’s how that book opens:

The fulness of the moon made it all more complicated. The intense silver glow cast shadows as defined as midday despite the thin veil of cloud cover. Dressed entirely in black, with only his eyes showing beneath his hood, Jonathan Grave moved like a shadow in the stillness.

Smart minds might disagree, but I like that opening. It sets the scene, and, frankly, weather is an important component of hostage rescue operations. I think the opening works, and I don’t believe mine is the only successful novel that begins with the weather. If there is a single exception, then “never” is the wrong word. It’s bad advice.

I never met Mr. Leonard, but I’m willing to wager that when he wrote his rules, he never expected them to be taken literally, but if you’ve ever taught a writing seminar, I think you’ll agree that many new writers take rules from such wildly successful authors as gospel. I think that’s a mistake.

I also sense, yet cannot prove, that one of the reasons that so many MFA graduates never publish anything is because they can’t get the professors’ rules out of their head, and as a result, they never discover their true voices as writers. But I digress.

The next “never” on Mr. Elmore’s list is actually the one that drove me to the keyboard this morning. To instruct writers never to use any dialogue tag other than “said” is just plain malpractice. There’s nothing wrong with whispered, hollered, yelled, bloviated, growled, parroted, or any number of dialogue attributions that might come to mind. To me, this advice is akin to saying that “walked” is the only descriptor for ambulation.

My critique group often chastises me for too many dialogue tags. While I respect their opinions, I reject the critique for the simple reason that a writer’s greatest sin is to confuse the reader. The fact is that dialogue tags become invisible to the reader, even as it keeps them dialed in to who’s saying what to whom.

I’ve learned that in addition to the reading audience for my books, I also need to write for the consumers of audio books, where the visual clues of paragraph breaks between characters’ dialogue are absent. Even though I’m blessed with Basil Sands as the voice of the Jonathan Grave books, there’s only so much real-time characterization that the narrator can do to differentiate between the talkers. Dialogue tags make that much easier for everyone.

The next one brings us to the ever-popular hatred of adverbs. I cannot and do not disagree in principle. That said JK Rowling never met an adverb she didn’t love, and her books did okay.

As for never using “suddenly” and “all hell broke loose,” well, I’ll grant Mr. Leonard the point.

I turn it over you, TKZ family. I will be on travel when this post lands on the page, so I’m afraid you’ll have to talk among yourselves. Enjoy!

The Abbey Bookshop in Paris

Cars are not nouns. They’re adjectives. — Fredrik Backman

By PJ Parrish

The best thing about vacationing in a foreign country is not being able to understand what’s on television. During our month-long stay in France, I was limited to the reality show Master Chef in French. A deflated souffle is the same in any language — pack your knives, knave!

So I got to read. A lot. I don’t use Kindles or tablets so I have to rely on tree books. I took three but burned through them fast. Restocked at the Abbey Bookshop in Paris, but still ran out of good stuff by the time we got to Provence. Luckily, our rental house had bulging bookshelves. Unluckily, most of it was non-fiction or Italian novels. Including Stephen King’s L’Ombra dello Scorpione. (No clue…)

I read 22 books in three weeks. Some were as great as the Basque Pikorra cheese we had. A few were as forgettable as Velvetta. One I tossed into the pool (yes, I will name names). Another, a bestseller from a great series, put me, and my dog, to sleep. Most entertained me. And almost all of them taught me something about this maddening thing we call writing.

Here’s a sampling and what I learned from each. Apologies for the long post today, and I forgive you if you skim read.

The Financial Lives of the Poets. By Jess Walter. Matthew Prior quits his newspaper job to gamble everything on a quixotic notion: a web site devoted to financial journalism in the form of blank verse. Before long, he’s in debt, six days away from losing his home — and spying on his wife’s online flirtation. Then, one night on a desperate two a.m. run to 7-Eleven, he falls in with some local stoners. Havoc follows.

I loved this book. It’s gasp-out-loud funny. Surprising at every turn. Darkly satirical yet achingly tender. You ever get a book you start to read more slowly because you don’t want it to end? This was it for me. I’ve read only one other Walter book, Beautiful Ruins, his paean to crazy love starring a weird Italian trying to build a golf course on a Ligurian cliff, Burton and Taylor trysting during Cleopatra, and a doomed starlet. Richard Russo called it “an absolute masterpiece.” Walter has written only 10 novels, snapped up countless awards, and won the Edgar for his crime novel Citizen Vince. (I’m off to get it today).

THE LESSON. Trust in your ability to be original. Don’t be a pale copy of someone else. Take chances. The two Walter books I read are blazingly different yet both quirky and deeply affecting. As Walter told the New York Times: “I judged a contest once — 200-some books — and another judge said: ‘You’ll be surprised how many good books there are, and how few great ones.’ Indeed, there were many ‘well-written books’ but the great ones stood out for other qualities: audacity, originality, thematic weight. I think writers sometimes fall in love with this idea of “the gorgeous sentence” and it becomes their only definition of writing. But other elements are also part of writing; to me, an elegant narrative shape is every bit as beautiful as great prose.” Amen to that.

Me and Archie and Ian Rankin.

A House Of Lies. By Ian Rankin. Retired detective John Rebus gets pulled back in when a skeleton of a private eye is found in the woods. His old friend, Siobhan Clarke is assigned to the case.

I’ve enjoyed other Rebus novels and was eager to sink back into this evergreen series. But the pacing was glacial and too many characters are introduced too early — except for Rebus who shows up late for his own party. The Scots are said to be folks of few words. Not here. The cop banter is numbing. It’s the 22nd outing for Rebus, so maybe the old fellow was a bit tired. I don’t know. I gave up on page 72. Very put-downable.

THE LESSON: Keep the focus in the early pages on your protag. Establish a compelling fissure in the norm immediately. Don’t crowd your stage with minor characters too soon. Make your dialogue advance the plot — less talk, more action. And never forget that you’re only as good as your last book.

A Man Called Ove. By Fredrik Backman

Ove, an ill-tempered, isolated retiree who spends his days enforcing block association rules and visiting his wife’s grave, has finally given up on life just as an unlikely friendship develops with his boisterous new neighbors.

I plucked this off the shelf not expecting much. The ho-hum opening line: Ove is fifty-nine. He drives a Saab. And the Ove character is just really nasty and off-putting. Plus it’s set in Sweden. But this quirky, funny, dark book unfolds with grace and perfect pacing, toggling between the present and Ove’s childhood. It’s heartbreaking and ultimately life-affirming. I’ve since found out it’s a word-of-mouth international bestseller. (where have I been?) And it will be released this Christmas as a movie starring — who else? — Tom Hanks (renamed as Otto from Pittsburgh). I love it when I stumble upon a book having no expectations and then am blown away. Oh, as for that opening line: The author says his editor all but demanded that he change it — you need something juicier, editor said. Backman fought for the Saab line.

The Lesson: Yes, an unlikeable character can carry a story. But you must, as Fredrik Backman does with Ove, give your hero a sturdy and believable arc, allowing the plot and other characters to affect his development.  Other lessons: Pay attention to your other cast members. Each one in this book has an impact — some small some major — on Ove’s life. Each is rendered with love and vividness.

A final lesson: Don’t agree with everything an editor tells you to do. Opening lines, at their best, telegraph to your readers the thematic heart of your story. The opening line about the Saab is a splendid example of what we here call “the telling detail.” The Saab comes to symbolize Ove’s very soul. Backman talks about this in a wonderful essay he wrote called “Something About a Saab”: Quote: “It’s a pretty weird process, writing a book…a lot of compromises are made, sometimes between the writer and the publisher…but mostly between the writer and the writer. Ideas are edited, dialogues are shortened, characters are fired. Editors like to call this process killing your darlings. If there is one thing in this whole novel process that wild horses and armed men could have never convinced me to get rid of it was that second sentence: He drives a Saab. I could have written twenty pages and never gotten as much said about Ove as with those four words…Above all you know exactly  what men who drive Saabs would have said about us. Because cars are not nous. They’re adjectives.”

Which is why, when I finally divorced my first husband, I got rid of my Honda Accord and bought a TR6 convertible.

Sea of Tranquility and Last Night In Montreal. By Emily St. John Mandel. 

You might know from my previous posts that I’m a big fan of this writer. Her Station Eleven and Glass Hotel are two of the best books I’ve read in the past five years. I splurged on a hardcover of her latest Sea of Tranquility. It involves time travel, love, and plague that takes the reader from Vancouver Island in 1912 to a dark colony on the moon five hundred years later, unfurling a story of humanity across centuries and space. Loved this book! So I grabbed a used copy of her first book Last Night in Montreal at the Abbey Bookshop, ready to be entranced again. Oh brother, what a hot mess. The main character Lilia was abducted in the night by her father. As an adult, Lilia wanders from city to city, lover to lover, eluding a PI who’s obsessed with finding her. There’s a second character Eli, also obsessed with her, trailing her like a sick puppy. Lots of dark hints about a tortured childhood, a bad mom, and such. But mainly, it’s Lilia and Eli whining about their useless lives, as the detective — totally without motivation –lets his relationship with his own daughter wither and die.

The Lessons: Sea of Tranquility taught me that you can indeed whiplash readers through time but only when you’ve got the firmest grasp of your craft. Mandel never gets you confused. Plus she’s a master at world-building. I totally believed her scenes set on the moon colonies. Last Night in Montreal taught me that SOMETHING HAS TO HAPPEN. (Boy, you haven’t heard that here before, right?) And that whining isn’t deep. It’s just boring. Oh, and that big secret about her bad childhood? A big meh at the end. Lesson: Don’t set up some juicy plot tease and then not follow through. (Montreal is the book that landed in the pool.)  And a final lesson for you all just starting out: Yes, your first book might be flawed but put it behind you and keep moving forward. There’s maybe a Station Eleven — it won the PEN and National Book Award and was an HBO series — waiting to claw its way out of you.

La Sentence By John Grisham

By my final three days, I had exhausted the rental house’s English novels. There was just John Grisham left. Now, I’m not a Grisham fan. I concede he’s a good storyteller but his writing sounds clunky to my ear. Also, this book was in French. It was called La Sentence, a translation of Grisham’s 2018 family saga cum mystery cum war novel The Reckoning. 

Thanks to years of adult ed and Babbel, I have a passable reading knowledge of French. So, dictionary in hand, I cracked open La Sentence, ready for a long slog. The story hooked me immediately. It is 1946 and wounded war hero Pete Banning has returned to his family cotton business in small town Mississippi. Page one: On a cold morning, Banning wakes before dawn and decides today is the day he will kill someone. He knows it will change the lives of everyone he cares for, but “the killing became as inevitable as the sunrise.”

I’ve tried to read French novels before — mainly Georges Simenon’s Maigret series — but the native language’s nuances frustrated me. But this was easier reading, maybe because it is so plot-driven. Also, I began to wonder if Grisham’s translator had added something, making the description and emotion more musical. When I got home, I got a used copy of The Reckoning in English and compared the two.

Take this line in the French version, from a scene where Banning is heading toward town, surveying the cotton fields and workers as he drives.

Les fleurs de coton, emportées par le vent, saupoudraient la route derrière les charrettes.

Here is how I translated it (and checked it via Google):

The cotton flowers, carried away by the wind, powdered the road behind the carts. 

But here is how it appeared in The Reckoning (original English) as Grisham actually wrote it:

Cotton blown from the trailers littered the shoulders of the highway.

Note the difference in word choice: “flowers” instead of cotton balls. “carried away by the wind” instead of “blown” and “littered.” And there’s the use of that verb saupoudre, which in French is used most often to describe powdering a cake with white sugar.

THE LESSON: Word choices matter. Given his massive success (and The Reckoning was well reviewed), maybe Grisham needn’t worry about finding the great word or well-turned phrase. But given this book’s sad opening and almost elegiac tone, I wish he had tried harder to give Pete Banning a better soundtrack. I’m going to finish the book, but sticking with the French version. I like a little powdered sugar with my plots.

So, what have you all been reading lately? And what did you learn from your reading that helped you as a writer?

I’m a hack, a terrible writer.

This is a horrific novel. My god, I never could write in the first place and someone gave me a contract.

 This part of the book is a wasteland that sucks all the energy from my soul. Nobody cares about these characters, and I hate them myself.

I’m gonna write The End on this stupid career and get a job mowing the sides of highways. At least I can look back and see positive results.

Many writers reach that point in the oft-dreaded second act. It’s where we stall, put off going to the home office or computer, and wonder why we ever invested so much time getting to that part of the manuscript.

Whether your own second act is fifty percent of the novel, or in my case crawls out of a dark, dank hole at the 30,000 word mark and taunts me until somewhere past 60,000, it’s a struggle for many authors, no matter how many books they have out.

And we wonder why the same thing happens every single time. It does for me, even though I’ve set everything into motion and breeze through the first 30,000 words. Then I hit the wall. The pace of my writing slows, and I force a thousand words at each sitting, but it isn’t pleasant.

One foot after the other. Keep on. Write something. I’ll be through this slow wasteland in thirty days if I just keep on keeping on.

The second act is the confrontation point in which your established characters and antagonists are on set, and in my case seemingly wandering without direction, as the protagonist says to hell with it and sits down with a cigarette and a glass of scotch.

Wait, that wasn’t the protagonist, it was me halfway through the last novel I wrote.

At this point, your characters are reacting to what’s happened in the first act and are now pursuing their assigned goals, whatever they may be, and if you don’t outline, it could be anything.

Here there be dragons.

Many times this part of the work in progress is a yawning blank wasteland requiring dedication to complete. Look at it this way, no matter what kind of novel we’re writing, the easy part was the first leg of a roller coaster ride that pulls us to the top. It’s fairly fast, because the author knows where s/he’s going, starting the excitement with that idea that leads to…something.

At the pinnacle of this elevated point of our amusement park ride, we look back from the lead car to those behind to see our hero, secondary characters, supporting members, and of course, the bad guys either out in the open or in some kind of concealing costume (hopefully not clown suits).

But when we reach the top, the ride doesn’t head straight back down, though we wish it would. The incline is shallow, but quickly turns to the left, a slight jolt in the plot if you will, but now we’re just cruising along in the wasteland.

The ride may be flatter than the opening chapters, but those on this roller coaster fill the air with excitement, anticipating what’s to come as they interact with each other and push the plot forward. This is where our hero develops a relationship with any secondary characters that we introduce and motivate.

Not every part of the story has to be about the protagonist. This is the time we can shift viewpoints, to see through the eyes of those other characters, and even wriggle inside the evil mind of the antagonist.

Maybe that’s what they’re doing back there in those cars.

Someone calls from behind. “Where are we going?”

The author shrugs. “Hell if I know. It’s the middle of the story. You tell me.”

We’ve arrived at the point where the characters will clash, providing much needed action at this juncture. Others go to work together, knowing there’s a drop ahead and preparing for it. They’ll agree we have a solid story structure, even though the author is doubting the entire project. Past a peeling sign proclaiming we’ve reached 50,000 words, halfway point, there’s another clatter of wheels on the rails as the cars lean right.

Yep, it was about time for a twist.

We’re building toward the climax, the rushing drop to the end, but before we can get there, a couple more things need to happen. Those folks behind the lead car will evolve and develop in order to push the story forward. They’ll collude, fall out with one another, or even branch out on their own for a short while until the author reels them in.

This is where an even more detailed world will develop as the entire cast of characters reacts to what happened back with that first major plot point in the first act.

But now as authors we need to be persistent and keep things interesting. Despite our misgivings, we show up for work because something needs to happen, because dialogue and discussion alone can’t hold our interest, and Michner-like descriptions get old fast.

So what does the author want out of the second act?

To get through into the third act, the fun part.

Hotamighty! Though persistence, either with our writing or the characters doing what they’re supposed to do, plot points converge. We finally look ahead from the cars and see nothing but sky, horizon, that razor edge of the drop and with it, exhilaration, action, and the big reveal in a mystery, or in thrillers, and that fast, breathtaking plunge to justice, Act Three.

The faded wooden sign reads, Over 60,000 words. We’re through it!

The third act writes itself with that fresh rush of adrenaline, and the manuscript soon flashes away in an electronic firehose of bits and bytes to its final destination. Weeks or months later, after copy edits, we open the file and read what we eked out in the course of several dismal weeks.

Dayum!

It works!

The first act sets everything up, and despite what we recall, the plot points and characters don’t mill around in the middle of the book because they hold our interest and make sense. It successfully leads to that exciting ending that satisfies.

So are you there right now? Still stuck slightly beyond that rotting sign that reads Act II, and creeping along one sentence at a time? I’ll leave you today with an alleged discussion that occurred at the Algonquin Round Table.

A few guys are talking about the same three act premise in screenwriting.

One asks, “How’s the play going?”

Another answers. “I’m having second act problems.”

Everybody laughs and another comments. “Of course you’re having second act problems!”

In summation about this discussion on Act Two, here’s a quote from Lone Waite, a character in Clint Eastwood’s blockbuster movie, The Outlaw Josey Wales.

“Endeavor to persevere.”

You’ll get through it.

A month ago, I wrote a post entitled Handwriting Versus Typing on the Kill Zone Blog. That post spurred a lot of comment, and BK Jackson suggested we conduct our own internal TKZ experiment to see what we might learn. (Thank you, BK!)

Seven intrepid experimenters hopped aboard the TKZ Handwriting research train: Priscilla Bettis, Patricia Bradley, Debbie Burke, Becky Friedrichs, Brenda (BK) Jackson, Robert Luedeman, and Kay DiBianca. We each agreed to do some or all of our writing in longhand over a seven-day period.

Each one sent the results of their efforts to the group. For the sake of brevity, I’ve excerpted part of their feedback below. I hope they will all add to their experiences in the comments.

Priscilla Bettis

Surprisingly, even without editing as I wrote, the first draft didn’t turn out as cringe-worthy as I expected. Writing slower gave my brain extra time to reword a sentence before it actually made it down my arm and through the pen to the paper.

Overall, I think writing by hand took a little more time (the drafting plus having to type it all in afterwards), but in the long run it has no doubt saved me an entire editing pass.

In my WIP, the MC is a poet. Each chapter has a poetic epigraph. Writing poems longhand produced much better results.

Will I keep it up? Oh, I hope so! I dread it a little because it takes more concentration to write by hand, but the result is better.

Patricia Bradley

I wrote for about an hour a day on my iPad using my iPen and the software Nebo, mostly brainstorming. I don’t seem to be able to write a scene yet longhand. Using the iPen and iPad I didn’t have to then type it in but it didn’t totally transcribe it the way I wrote it. I blame that on my terrible penmanship. It probably would’ve been the same way if I’d had to transcribe it myself. Ha!

I will keep writing longhand for about an hour before I start working on the WIP since it seemed to give me good ideas and direction.

Debbie Burke

My experiment with handwriting was a mixed success. I wrote out a list of scenes in my WIP, trying to figure out the best order. That helped b/c I rearranged some scenes. It also showed me that there were too many very short scenes from different POVs that felt jerky.

Drafting by hand didn’t work at all for me b/c I edit as I draft. Soon there were so many scratched-out lines, words inserted above or below, and circled phrases with arrows pointing in different directions, it was unreadable.

Becky Friedrichs

My plan was to start a brand new story so I could go into it without any preconceived ideas from books I’d already started. I wasn’t going to try to get each sentence, each word, exactly right, but just get the story down.

On day one, it took me exactly two hours to write 1203 words, which was discouraging. I once wrote a book of 85,000+ words in ten days, so this seemed terribly slow. On the positive side, the story unspooled as I saw it in my mind, and I completed 7,223 words in the seven days.

I think I have a different perspective on writing now. I no longer believe I must be sitting at my desk in my office and typing on either a desktop or laptop, with the door closed and no noise.

Brenda (BK) Jackson

I wrote 4,659 words during that 7 day period. That was 6.09 hours spent handwriting, plus it took another 2.2 hours to transcribe.

Pros:

• I found the time transcribing gave me time to add comments and thoughts about things I might want to revise later, ideas to add, etc.
• I definitely felt freer creatively to write longhand–there’s just something about pen/paper contact that breaks through mental blocks. I’m not saying I solved all my story problems as I wrote, but I got scenes down, instead of just staring at my computer screen & having nothing to show for it.

Con:

• It took a little over 8 hours to write/transcribe 4,659 words. That’s about 582 words/hour. However, while sometimes I can produce far more than that in an hour, there are plenty of times sitting at a keyboard where I can’t even produce that much.

Robert Luedemen

I tried it this week and it didn’t work for me at all. What I found was that using pen and paper slowed down the free flow of ideas, and I can try out different things at a better pace on the keyboard. Also, if I need to research a point about something I can open up another window and get right to it.

I still use pen and paper to jot down snippets of things I want to save for future reference.

Kay DiBianca

I wrote during six days of the past week, and only part of that was in longhand. Although I didn’t keep very careful note of word count, I’m guessing I managed between 1,500 to 3,000 words. The handwriting didn’t take as long as I thought it would. The problem was just having to type it in afterwards, but that gave me a chance to edit, so it wasn’t a total time waste.

I do believe the handwriting flowed a little better, though I can’t quite put my hand on why that was. It was just a different, and possibly more pleasurable, experience.

* * *

So there you have it. Empirical data from trusted sources.

* * *

So TKZers: What do you think of our handwriting experiment? Will you do part of your future writing with pen and paper? Any thoughts or suggestions?