Writing with a Good ‘Flow’

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How much of rhythm should prose have? It is obvious that achieving a certain rhythm (I would even call it a ‘beat’) is critical in poetry, but in prose… should we care at all?

Dictionaries, which, in fact, are perfect antithesis to poetry, say:

In writingrhythm is defined by punctuation and the stress patterns of words in a sentence. Long sentences sound smoother, while short sentences make your content snappier.

Well, honestly, this definition does not look complete to me. Some significant component is missing here, because this definition speaks only about the mechanics of writing, but says nothing about the author’s talent of creating individual ‘beat’ that makes every sentence sound like this author’s unique, personal accent.

When we describe our most favorite books of fiction, we often say, among other things, that “they are easy and pleasing to read and have a good flow.” Critics usually say that “this is all down to the structure and length of sentences”, as well as to the amount of syllables in each chosen word-combination, and the breaks / pauses which the author puts on certain places. [Richard GilbertBen Smith]

writing that flows

When the authors of prose discuss their work, they like to brag about ‘making it sound nice’,  but unfortunately, with tons of books being published today, readers are becoming less and less interested in having it ‘flow’. And writers in their turn, stop paying attention to the ways they put words together.

Still, some people are used to reading fiction aloud in their heads, I am one of them. This habit makes us look for the desired rhythm in the first place. We would never finish a book which ‘is not good in the sound and rhythm’, and to my mind, it is the sound and rhythm that immeduately gives away a talented author. It is the rhythm that will either keep the readers turning pages, or bore them to a stop.

Let us look at a few examples, I just made a little analysis for this article:

Rhythm and Sound in W.S,Maugham’s Prose

It’s a funny thing about life; if you refuse to accept anything but the best, you very often get it.” W.Someset Maugham

.._._._._;._._…_, …_._.

[A] [Y] [A] [A]  [jU]  [E] [E] [A] [E]

Rhythm and sound pattern: [a]-[a]  [e]-[e]  [a]-[e]

There are three rules for writing a novel. Unfortunately, (pause) no one knows what they are.” W.Someset Maugham

.._ _._.._.; ._..(pause) ._._.._

[E-U] [A] [A]  [O] [O] [A] [A]

Rhythm and sound pattern: [a]-[a]-[o]  [o]-[a]-[a]

Love is only a dirty trick (very short pause) played on us to achieve continuation of the species.” W.Someset Maugham

.._._._(very short pause) _…_…_._

[A] [eO] [Y] [A] [Y] [A] [Y]

Rhythm and sound pattern: [a]-[y]  [a]-[y]  [a]-[y]

In W.Somerset Maugham’s writing, the rhythm is complex, but you can sense the patterns which he follows in every sentence. There is a whole set of such patterns, but the set is unique for every individual writer.

This is what we call ‘авторский почерк’ (author’s unique handwriting or style) in Russian, and I am sure this is true for every piece of literature in every language of the world: the combination of rhythm and sound is the main criterion of every talented author’s unique manner of writing.

Here are a few more examples:

Rhythm and Sound in Ursula K. Le Guin’s Prose

What sane person could live in this world and not be crazy?”

Rhythm and sound pattern: [a]-[o]  [o]  [o]-[a]

When you light a candle, you also cast a shadow.’

Rhythm and sound pattern: [a]-[a]  [a]  [a]-[a]

Morning comes whether you set the alarm or not.’

Rhythm and sound pattern: [a]-[a]  [e]  [a]-[a]

Of course, rhythm is especially important in certain genres of prose, like fantasy, or — if we think deeper — also in mystery, in suspense, in romance, in… ah, everywhere!

Look at Neil Gaiman’s sentences: aren’t they truly poetic?

Rhythm and Sound in Neil Gaiman’s Prose

It is a fool’s prerogative to utter truths that no one else will speak.’

Rhythm and sound pattern: [u]-[o]   [a][u]   [o]-[y]

Tomorrow may be hell, but today was a good writing day, and on the good writing days nothing else matters.’

Rhythm and sound pattern: [a]-[e]   [a][e]   [a][e]   [a]-[e]

‘Sometimes that’s enough to see you safe wherever you go. But mostly, it’s not.’

Rhythm and sound pattern: [a]-[a]   [a]-[o]   [o][o]

Well, every talented author has a unique signature rhythm that keeps her readers turning pages. I think every writer should continuously explore their personal rhythms of writing. It is also very useful to study reader responses to different rhythms, melodies of speech and beats if we want to develop unique ways of writing and become recognizeable by our writing style.

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‘One Man’s Meat…’ (A few words about clichés)

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Every EFL (English as a foreign language) teacher always feels happy to find a new frequently used word or a popular phrase and share it with her students. As I was looking through recent publications about the art of writing this morning, I ran across an article called ‘The List of Clichés You Should Strike Down in Editing‘. The article offers great tips on writing for authors and provides “a non-definitive list of clichés to avoid”.

My first thought on seeing it was: “Oh, it is good to know for my future writing experiences.” But the longer I studied the list, the more interested I became.

“Wait a minute,” I said to myself, “as a foreigner, I didn’t even know that some of these word combinations have a reputation of hackneyed phrases, and probably people in other English speaking countries wouldn’t find them ‘hackneyed’, either.

hackneyed (1)

Then I thought that, as long as these phrases have gained the reputation of being used too often, they are probably well-understood and accepted by thousands of people, which means… that my students need to know them!

Really, what can disgust an editor becomes a desired tidbit for a teacher and her students. Here is the list from the article. Learners of English, enjoy!

Chip off the old block
Loose cannon
Ace up his sleeve
Scared of his own shadow
Add insult to injury
Avoid like the plague
Let the cat out of the bag
Bad to the bone
Cross that bridge when we come to it
Bald-faced liar
Trial by fire
Bark is worse than his bite
Beggars can’t be choosers
Armed to the teeth
Bee in her bonnet
Ugly as sin
Bent out of shape
Bend over backwards
The bigger they are, the harder they fall
Let off some steam
Burning the candle at both ends
Caught red handed
A checkered past
Until the cows come home
Take the bull by the horns
Fit as a fiddle
Chomping/Champing at the bit
Come hell or high water
Cute as a button
No stone unturned
The devil is in the details
All your eggs in one basket
Don’t rock the boat
Down in the dumps
Beat around the bush
Driven up the wall
Keep an ear to the ground
Level the playing field
Barking up the wrong tree
Everything but the kitchen sink
For all intents and purposes
Force to be reckoned with
In the nick of time
It goes without saying
Knock it out of the park
Neither here nor there
Bite the bullet
Nothing to sneeze at
Older than dirt
Open a can of worms
Pleased as punch
Quiet as a mouse
Weed them out
The whole hog
Go the whole nine yards
Work like a dog
Get up on the wrong side of the bed
Yanking your chain
Nip it in the bud
Tough as nails
At the end of the day
When push comes to shove
No use crying over spilt milk
Back to the drawing board
Phone it in

hackneyed

Learning to Outline

book_outlineIn the Soviet time, when I studied at school and later at university, no one ever bothered to teach us any methods of writing. We never did any training in organizing or planning compositions, not to mention such things as structuring book plots or writing marketable outlines. As far as I know, the situation has not changed much since then in the post-Soviet educational establishments, so many of my compatriots, even those with diplomas of journalists (no universities have ever had any programs for fiction writers here) have a good understanding of how to plan, or structure, or organize a text. So, I have been learning to do this from A to Z, previously as an academic books author and now as a beginner in fiction writing.

I really loved to study K.M.Weiland’s book “Structuring Your Novel” and I have her brilliant novel structure scheme on my table all the time:

RESIZED-structuring-your-novel-visual-chart-screenshot My other favorite guide is the 3-Act Structure guide, which is skillfully described by Emma Johnson  and a number of other experts in methodology of writing.

Three-act-structure_1

Yes, I prefer to call it by a boring word methodology, because in fact, it is always a method that turns any action into a skill.

Method is the only tool that can turn a spontaneous action into a skill.

In my culture the learners of this kind would be called “samouchka” (“самоучка”, Rusian: a self-studying person), which means that I often have to develop my own methods of doing things. So I do.

I have developed a convenient scheme of outlining fiction books for potential marketers, based on the existing novel structuring methodologies, which I mentioned above. Below, is my little scheme (or model):

A Novel Outline Model

With [some unusual condition that distinguishes him] [the main character’s name] is looking forward to a [the main character’s primary intention or goal]. Instead he walks into [First Disaster], and [Point of no return].


[The second main character’s name] has been [the 2-nd main character’s condition in the beginning of the book]. But [his/her initial intention/goal] is confounded by [the conflict of the story].


[The main character’s name] becomes involved into [Second Disaster (The Midpoint: the main character’s push to action, his move to different circumstances)], so he/she is seeking [the main character’s new goal]. Instead, he/she discovers [the 2-nd Pinch point event, when the antagonist’s power is reaffirmed], and faces [Third Disaster (an event that provokes the inexorable course towards the Climax].

I have played with the model, trying to create outlines for my books, and it seems to work well! With this structure (plus some time spent on polishing of the outline) I can create outlines a lot faster than just by doing it out of my mind. You are very welcome to try it, and please, tell me if you can think of improvements for this model.

I will greatly appreciate any comments and suggestions. Thank you!

author

Verbal Art Made Visible

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I’d like to begin this one with a quote:

“Conflict generates energy and that energy, at its best, reveals a universal truth. In almost every iconic masterpiece you will see this equation at work. Writers would be well served to seek out some of these iconic visual works and examine them closely.” Annie Weatherwax

These words belong to an artist, who found her way to writing fiction by studying masterpieces of visual art- a necessary component of education for every creative person, which so many representatives of the verbal arts world ignore today.

Conflict is a critical condition for plot development in fiction writing. Tension, its inevitable product, helps keep the story dynamics and thus, ensures its ripeness and thoroughness. As Annie Waterwax notes,

“Tension is a primary component in all forms of art, achieved by the conflict between opposing elements. It’s the tension that holds our interest. In a masterpiece, the energy created by that tension reveals a universal truth. And a masterful artist does this without the viewer knowing it. She slips the message into our collective subconscious unnoticed.”

This peculiar talent of knowing how to send ‘the message into our collective subconscious’ is often overlooked by writers as something irrelevant, and the reason why they cannot do it is lack of general aesthetic education. Sadly, fiction writing is rarely mentioned as an art form today (in my opinion, it still is); the widely accepted ‘standards’ of fiction writing focus mainly on genre, plot and structure requirements, while the artistic beauty of writing is just a nice additional bonus, welcomed mainly by publishers, because majority of readers are rather attracted by fast-pace plot development and intrigue than by the way it works to enrich our aesthetic personality. Overwhelming majority of people today prefer visual arts and music to reading, while appreciation for the beauty of writing style and its harmony with genre and structure of the story is regarded as an extravagant whim of the few.

a-of-w2

Still, knowing a lot about art in general helps every writer, because it broadens their imagination and develops their artistic taste. I am glad to see that the most appreciated fiction writers today (irrespectively of the genre they write in) are always people of good aesthetic taste (quite often, they are passionate art lovers). 

Putting it simply, developing a good aesthetic taste is a way to see more beauty around you, and- yes, one needs to learn to see beauty! And beauty is exactly that energy, mentioned above, which reveals universal truths to a person. Without learning about it, an author lacks necessary means of high-quality writing.

Our imagination is born deep inside our mind, in the storage of memory, knowledge and life experiences which we have accumulated during our lives. If we have a good deal of beautiful images, associations and emotional memories stored there, the final products of our imagination have more potential to be beautiful, too. Only an author who has a good taste for visual (musical and other) arts can create really beautiful verbal pictures and deliver them to other people’s minds. I think we should always remember this when we sit down to create our masterpieces in writing.

a-of-w3

Suspense… in Life and in Fiction Writing

 I have been reading about the role of suspense in fiction writing and, as it often happens in the world of writers, I found a number of excellent articles describing features and merits of suspense, but none of them provided a decent definition of the term. Some works characterize suspense as a “sense of anticipation or worry that the author makes the reader feel” (https://prezi.com/wyt6zmamrm9w/elements-of-suspense-in-literature/ or http://elementsoflit.weebly.com/foreshadowing-and-suspense.html), which provides general understanding of the role of suspense, but is a bit misleading because, according to this description, suspense is a human feeling: an emotion, that’s all.

The scheme which I posted above presents suspense in one row with other genres of literature: mystery, horror. It is not the first time that I see attempts to present suspense as a whole separate genre of litreature:

“So, you’ve been working on a new novel… what genre? Historical again?”

“No. Suspense.”

“Ah, I see.”

Maeve Maddox, the author of the article ‘Is Your Novel “Mystery,” “Thriller,” or “Suspense”?’ (https://www.dailywritingtips.com/is-your-novel-mystery-thriller-or-suspense/) calls suspense a separate genre of fiction, with a note that “sometimes the three are presented as separate genres, and sometimes they’re lumped together as Mystery/Suspense, or Suspense/Thriller”. This shows that many authors and critics today have realized that suspense is not necessarily a mystery or horror, it is something different, because its meaning has changed for the reader. The reader sees suspense as a puff of obscurity on her face.

Suspense2

Suspense is not necessarily a mystery or horror, it is simply a puff of obscurity on your face.

“SUSPENSE: the main character may become aware of danger only gradually. In a mystery, the reader is exposed to the same information as the detective, but in a suspense story, the reader is aware of things unknown to the protagonist. The reader sees the bad guy plant the bomb, and then suffers the suspense of wondering when or if it will explode.” (Maeve Maddox; Please, find the link above)

This description corresponds well with the above scheme and also shows specificities of suspense as a high-grade genre of fiction literature. So I have been wondering: isn’t it a sign signaling to all authors that a new genre has been born and is actively building its way into the list of “traditional” genres of fiction? Can I write in a letter to a literary agent: “My novel is a suspence with some elements of fantasy”, or would it be safer to call my novel a “suspense fantasy”, where the main accent falls on the word “fantasy”?

Can we call suspense a genre of fiction? If yes, how ripe is the genre today? Somehow I have no doubt that suspense will soon form into a separate, widely accepted genre of lirature, because in the 21-st century people who read are seeking for fast-paced, action-packed, yet emotional fiction, and suspense is exactly what they need, because it apeals to the readers’ hearts.

In their reviews of suspense, some authors just leave it without a definition and move right on to discussing the distinguishing qualities of suspense fiction in comparison with other genres. Here is, by the way, a very good analysis by Stephen James, called Six Secrets to Creating and Sustaining Suspense, available on Writers Digest at http://www.writersdigest.com/online-editor/6-secrets-to-creating-and-sustaining-suspense. In this article, the author looks at four factors necessary for suspense – reader empathy, reader concern, impending danger, and escalating rension – which are regarded as the author’s roadmap to the readers’ hearts. Then, the author suggests six ideas, or tasks, which a writer should set and achieve to create a good suspense effect in a piece of fiction:

  • put characters in jeopardy;
  • include more promises and less action;
  • keep every promise you make;
  • let the characters tell readers their plans;
  • cut down on the violence; and
  • be one step ahead of yur readers.

These tips, along with the detailed explanations provided in the article, must be very valuable for every author, as they set direction for an author’s effort, and still, these are just tools of suspense as a writing method, they are not the laws of a genre… yet.

Stephen James concludes his article with the words-

“No matter what you write, good prose really is all about sharpening the suspense.”

Well, if this statement is true, it does not make suspense a separate genre yet, but it surely makes it even more: a cross-genre requirement, a condition of achieving high quality of writing, a goal to which every author should strive, regardless of the genre they are trying to conquer.

Well, to me, the question is still there: what place does suspense have in contemporary literature? Is it already a separate genre or is it rather a method of writing?

Do you believe that in a couple of years, when more suspense masterpieces have arrived, all book stores will install shelves with a one-word sign “SUSPENSE”?

If you have answers to these questions, please, share. I will appreciate any comments on this. Thank you.

suspense3

Today, suspense is a method of writing, which is making its way to become a separate genre of fiction.

 

The Challenges of First-Person Narrative

“I would so hate to be a first-person character! Always on your guard, always having people read your thoughts!” ― Jasper Forde, Lost in a Good Book

Elephant-Sitting-Thinking-Contemplation-H

Writing from the first person is a big challenge, I realize it more and more every day. The most important thing is to keep the reader interested at all times, which means that the character has no right to be boring, even for a single moment!

When writing from the first person, it is very important to keep rational balance between narration and dialogue: if I allow my character to ramble, I’ll kill the readers interest in a few pages, but too many dialogues may be killing for the whole novel, too.

Then comes the necessity to follow “show not tell” rule: one of the most difficult tasks, because if I am the one who tells the story, I often have a temptation to simply tell it and go on.

Also, my character needs to have the voice – I mean, my character happens to be the one who experiences stuff and then learns the lessons and makes the conclusions – to accomplish the goal of the whole writing. My character becomes the one who sets the questions and answers them for the reader at the same time: the situation which seldom happens in real life and thus, is difficult to reproduce in a reader-attractive manner.

Finally, if I want to grab the readers’ attention and keep them excited to the very end, my character should continuously explore her own personality and “alter” it as she moves forward with the plot. The gradually accelerating pace of the narration should be inseparably connected with personality dynamics of the main character, and once this person is telling the story, she needs to take every step consciously, but then it is difficult to keep the air of mystery in the book: the story risks to become too predictable to be interesting! This is another challenge for the author.

It seems, I need to be a Mark Twain to do such a thing well enough! Talent, plus wit, plus tremendous life experience, plus really hard work, ah, yes – plus the ability to learn from one’s own mistakes: this is the formula of success for the task of writing a first person narrated story. Quite a complex one, don’t you think? 😉

 

Writer’s Self-Promotion: Short or Wordy?

self-promotion

This morning I came across a letter from a writers’ magazine to which I am subscribed. It suggested to take a look at ‘a special offer for readers’ from their trusted partner. As I have a habit to read every email I receive, I read it through. The announcement started with a massive energy injection in a form of a greeting:

“Fellow Writer,
What if I told you-”

The greeting was followed by a 1300-word-long biographical description of the author’s way to financial happiness, suggesting me to do the same and promising to tell me how to do it, for this price if I subscribe here, or for that price if I sign up there. In my case, the ‘energy injection’ stopped working after the first passage, so by the middle of the second passage I was beginning to regret loosing my precious morning time on reading something that I probably don’t need.

Still, my female curiosity took over, so I switched to speed-reading and finally, on the last passages of the email, I realized that the announcement was about membership in a writers club! Finally, the P.S. part of the email, which was two passages long itself, contained more practical information on the cost and free bonuses that the club membership offers.

All in all, I spent nearly quarter of an hour reading through and digesting the information; then I caught myself on thinking that, according to the length of the message, the membership might be so overwhelming that I would have no time left for doing my writer’s job in the end!

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Again, I remembered the main requirement dictated to us by present time: brevity. Probably, I am giving it too much attention, but I really believe that today, brevity is a crucial requirement, even for such a specific business as self-promotion. If I were to write that announcement, I would cut it down to two hundred words, or even less. It is so easy today to simply provide links to pages with more detailed descriptions of any ideas or events!

In the end, self-promotion is all about attracting your audience by a few keywords. When you want to attract visitors to a pub, you only need to write a short sign: “BEER HERE”; it is the same with the virtual world we work in. Create a short slogan, give it a short description on your website, and discuss it in your blog, then, don’t forget to link all those pieces of information to each other! Doesn’t this look easier than writing miles of text trying to convince your audience? Not to mention that time is the most precious thing we have, so we should not steal each other’s time by writing lengthy announcements.

Please, tell me if you think this is not right. I will gladly discuss every opinion. In the end, we are all in the same boat: we need to know how to self-promote. Thank you!

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Overcoming Writer’s Block

Writer’s block is a condition, primarily associated with writing, in which an author loses the ability to produce new work, or experiences a creative slowdown. The condition ranges in difficulty from coming up with original ideas to being unable to produce a work for years. (Wikipedia)

beautiful journalist looks typewriter

It was a surprise for me to discover how much has been written about writer’s block in English. In my culture (Russian), the same thing is called творческий кризис (‘creative crisis’) or творческий затык (‘creative block’), and quite often, authors are shy to discuss this intimate state of mind, because it is associated, in the first place, with weakness of character. Russian authors usually suggest three steps of overcoming the block:

  1. Push away your fear by allowing yourself to write bad. If you ignore others’ remarks about your bad writing and simply go forward, your writing will improve.
  2. Your lack of ideas comes from the lack of knowledge. Learn more about the subject of your writing (the time which you are trying describe, the psychology of people, the place where you build your scenes, etc.) and creative ideas will pour into your head.
  3. No procrastination! Do not allow yourself to think about doing it tomorrow. Sit down and write. Do it now.

These three simple rules really help. Why don’t you try them if you have a writer’s block?

“The secret of getting ahead is getting started. The secret of getting started is breaking your complex overwhelming tasks into small manageable tasks, and then starting on the first one.” — Mark Twain

As a bonus, here is a link to a wonderful collection of quotes by worldly-known writers about overcoming writer’s block from Ken Miyamoto’s blog

“I don’t believe in writer’s block or waiting for inspiration. If you’re a writer, you sit down and write.” — Elmore Leonard

 

The Principle of Brevity in Writing

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Today, in our fast-paced world, time has become the greatest of all values. We, people, still have not fully realized this fact, but it already dictates us the necessity to introduce some changes into our lives – first of all, in the field of time management

The dwellers of large cities (New York, London, Tokyo, etc.) were the first to sense the change: they had to reduce the time spent on walking, cooking, cleaning, driving, socializing, learning, and so on and so forth, including the time spent on reading. Today, smaller cities confidently follow megacities, while the pace of life continues to accelerate, forcing us to revise our professional habits, too.

Have you noticed that more and more people tend to skip reading long texts, even if they are beautifully written and contain brilliant ideas? We seem to give preference to visual, well-organized, simplistically laid-out, or even bullet-structured information. When we revise a book of fiction, we tend to say (more and more often these days), “It’s a good book, but a little too long. It would be better if it was one third thinner…”

The reality makes every author to face an inevitable phenomenon: we don’t only have to write quickly, we also have to adhere to the new principle: the principle of brevity in writing. The rule is simple: the shorter is your post (article, story, novel, etc.) the better, because brevity in writing shows the author’s respect for their readers’ time.

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This fact may upset those authors who love writing long pieces of speculative prose. Certainly, there will always remain people who will love reading very long novels, but the number of such readers will continue to reduce. Well, this is the trend of the new Millennium! I am afraid, we have nothing else to do, but adjust.

I will try to be short here, too, and wrap up this one here. As a postscriptim, to please your eyes, I will finish this post with beautiful words by Aldous Huxley, written in 1958, which have become even more timely today:

However elegant and memorable, brevity can never, in the nature of things, do justice to all the facts of a complex situation… On such a theme one can be brief only by omission and simplification… In practice we are generally forced to choose between an unduly brief exposition and no exposition at all. Abbreviation is a necessary evil and the abbreviator’s business is to make the best of a job which, though intrinsically bad, is still better than nothing. He must learn to simplify, but not to the point of falsification. He must learn to concentrate upon the essentials of a situation, but without ignoring too many of reality’s qualifying side issues. In this way he may be able to tell, not indeed the whole truth (for the whole truth about almost any important subject is incompatible with brevity), but considerably more than the dangerous quarter-truths and half-truths which have always been the current coin of thought.” A.Huxley, Brave New World Revisited.


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A Few Thoughts About Ethics in Writing

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Interestingly, while ethics are huge in technical and academic writing, it is not given the same attention in the world of fiction writing. As an author who belongs to both groups, I have been watching the difference and wondering why? Could it be because scientists have to be more accurate about every word they write? Or maybe, the fiction writers are in any way more (or less) ethical than technical writers, so they don’t need to set up any rules of fiction writing ethics? 😉 I want to believe that both groups equally care about their readers and this difference is nothing more than a tradition, so nobody ever asks the question.

Ethics codes are present at the workplace: even if they aren’t always enforced, they still exist and we obey them… often mechanically, without thinking. Summing up a dozen of articles which I studied in search for an answer to my question, there are a few basic points to adhere to whenever you are writing a professional document:

  • don’t mislead;
  • don’t manipulate;
  • don’t stereotype; and
  • always check the facts.

Well, I did a thing which I may regret doing: I tried to apply these rules to fiction writing this morning… and found the reason of my writer’s block! I realized that everything fiction writers do is exactly the opposite of the four rules!

Unlike academic writing, which is all about sharing facts to feed the work of mind, fiction writing works with reader’s imagination and emotions; it’s principal idea is to mislead, manipulate, hide (or distort) facts of real life with the only purpose of creating stereotype universes in the readers’ minds and enticing them into reading! 

Does this mean that fiction writers are unethical, immoral, dishonest, improper, corrupt, unrighteous, unjust and… (could not think of more antonyms to the word “ethical”, sorry)?  Uh-huh, I kind of regret I took up the topic already!

To calm myself down, I decided to accept the following explanation: fiction writers have to break those rules of ethics. Like mathematicians, who sometimes look for a proof by contradiction, fiction writers need to show their readers a ‘different’ world, where rules are broken and norms are corrupted; we only have one rule to follow: we must expose the fake in the end. If writers did not do this, the world would never get to know “Alice in Wonderland”, “Winnie-the-Pooh” or Harry Potter books! These books mislead, manipulate, create unusual stereoptypes, and distort our reality, but they do this so awesomely well that no one can resist reading them again and again!

So, what is the answer? Is it ethical for fiction writers to ignore the ethics of academic writing? 😉 The question is still up!

Please, share your thoughts, I am very curious to know your opinions on this.

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A.M.Bradley

One Writer's Journey

Writings from the Couch

Processes of Discovery in the Mind