Many people, when they talk about wanting to learn creative writing, basically want the magic pill. They don't believe it when you say that there is no such thing. They will think you are trying to keep it for yourself. If there was e a magic pill for writing, some of us will get quite seriously rich.Roy Peter Clark's blog, PoynterOnline, offers toolbox, maybe the next best thing to a magic pill, with plenty of discussions on provides tools for your writing reporting, writing & editing. He also has a book, Writing Tools: 50 Essential Strategies for Every Writer. Not quite 5 easy solutions to writing but 50. In case, you hate reading, there are podcasts too.
Fifty Writing Tools is divided into four part: Nuts and Bolts, Special Effects, Blueprints and Useful Habits. The first advice is: Begin sentences with subjects and verbs -- Make meaning early, then let weaker elements branch to the right. Interestingly, isn't that what we were taught in primary school, but soon forgot in our 'hurry' to become clever?
"It was a bright cold day in April, and the clocks were striking thirteen." George Orwell -- 1984. What an incredible opening sentence! With no phoenixes or dragons, no dark and stormy nights, it was straight to the point, shocking to the core, yet simple. But contrary to the advice above, he did not simply let the weaker elements drift to the right. He positioned his sledgehammer there. (Of course, no one knows how many times he rewrote that. Our own Salleh ben Joned, laboured for three months over just one word! But that is another story.)
Many of these would be classified under commonsense, but one would equally disagree with others. Here are ten -- naturally, many of there rules are to be broken, but not for beginners (but if you think you are a genius without ever having written a book, then good luck to you):
. Activate you verbs -- Strong verbs create action, save words, and reveal the players.
. Be passive-aggressive -- Use passive verbs to showcase the "victim" of action.
. Order words for emphasis -- Place strong words at the beginning and at the end, and so on.
. Set the pace with sentence length -- Vary sentences to influence the reader's speed.
. Tune your voice -- Read drafts aloud.
. Learn the difference between reports and stories -- Use one to render information, the other to render experience.
. Use dialogue as a form of action -- Dialogue advances narrative; quotes delay it.
. Write from different cinematic angles -- Turn your notebook into a "camera."
. Prefer archetypes to stereotypes -- Use subtle symbols, not crashing cymbals.
. Recruit your own support group -- Create a corps of helpers for feedback.
Unfortunately, I feel he has left out the most important advice of all: Read, read, read and read some more. (Or does that come under the writing workbench rule?).
Poynter
