some writer snob somewhere: Do not start sentences with But or And because doing so is grammatically incorrect.
me, writing my fic: But I don’t care. And you can’t stop me.
To my beta’s profound dismay.
Okay, writeblr, I have a genuine question: I understand the logistics of why this makes sense. That being said, the last ten critically-acclaimed books I have read do this on the regular – and that is not an exaggeration.
Am I missing something? Is this one of those “rules” (emphasis on the air quotes) that everyone unanimously decides to ignore? If so, should I follow in the others’ examples or should I follow the rules? The rule follower in me wants to die every time I see someone do it…but it also feels right?
If anyone tells you not to start sentences with “but” or “and” in creative writing, they’re full of shit. If you’re writing an academic paper, sure, avoid starting with and or but because that makes them incomplete sentences (though I majored in English, did this regularly, and got great grades in my papers, so it depends on your major too).
But with creative writing, as long as it’s like… coherent, do whatever the fuck you want. You’re trying to establish a character’s voice, not win the Most Grammatically Correct award. People don’t talk or think in perfect English and neither should your characters.
If you see a rule that’s being picky about grammar rules like this, assume it’s meant to apply to academic/professional writing only. Applying it to your creative work will not only bring you pain and suffering but also make your narration and dialogue stiff and awkward.
Speaking as a fiction editor, being a petty little grammar pedant is rarely useful outside of academia. As a writer you want to create something that flows, that engages the reader. Not sound like you were stunned over the head with a copy of “Eats, Shoots & Leaves”, which by the way, is a terrible book. Don’t read that. The author is an elitist snob, and they might know how grammar works, but that’s the extent of their skill.
Basic grammar, yes. Good. Smashing.
But you can safely ignore anyone that tells you “said is dead”. Said is not dead, said is undead and wishes people would stop trying to replace it when it’s a perfectly good word to use.
@thebibliosphere, could you possibly expand on that last paragraph? I mean I get what you’re saying, but….well, as an amateur writer I find that when I write and use “said” all the time it feels…redundant, for lack of a better word. Like I’m repeating myself over and over and over again in a glaringly obvious way.
Is this just that I’m writing it and thus more exposed to it? Because I don’t notice this phenomenon in other writing I didn’t take part in.
This whole issue is one I’ve struggled to understand >.<
You’re likely noticing it more because you’re the one using it, and also because you were likely the victim of teachers with no actual writing skill telling you not to use the word because it was dull boring and repetitive. (It’s a universal problem in the English speaking world I’ve noticed, I can’t comment on other languages)
Which if used with no variance or descriptors, yea sure. Anything done badly is done badly.
But I’d rather read a million and one he said, she said, they said, than ever be subjected to prose like “he ejaculated loudly” when what the author (in this instance, JK Rowling herself) meant “said loudly and with heartfelt feeling”.
Also, to a reader, “said” is one of those words that tends to be skated over and ignored, because we know it’s there, we just read the dialogue. It tends to be skipped 99% of the time. You can use words like “he ejaculated” (snigger), to shorten describing an action your character is doing, but you’re just going to call attention to the fact that the word “said” isn’t there. It’s not something that tends to be noticed until it isn’t there.
Just because a character says or does something considered “wrong” doesn’t mean the action/thought is automatically romanticized and that the author is endorsing it. Writing unrealistic consequences for that action/thought is where the trouble begins. If consequences can be escaped, then it helps to be clear as to how and why it worked out like that in the end (and even then, there may be secondhand consequences that the character can’t shake off so easily).
You have no idea how many people lurk on your work. No idea how many times people go back to revisit your work. How big they smile when they simply think about your work. How fast their heart beats, how excited they get when they see that you posted something.
People are shy with their feedback. Sometimes it’s because they’re simply shy. Other times it’s because they assume you already know how great and talented you are. Could be both.
My point is, even if you barely have any likes or reblogs, don’t get discouraged. You have a lot of silent fans, but they are still your fans. Keep on creating. Because there is always someone out there who will love what you have made.
hey!! so i’ve seen things like this for a lot of things but not for dyspraxic characters. so i thought I’d do it myself as a guide i guess?? disclaimer: i’m not an expert or anything!! just a local dyspraxic mess™ hoping to help someone
firstly, if you didn’t know, dyspraxia is a developmental disorder that affects your coordination and movement. it can also affect your processing skills in general like your memory. it’ll affect different people in different ways so i’m just gonna do a list of examples:
motor skills the big one. dyspraxic people will (probably) have problems with balancing, catching and throwing balls, driving, etc. because of. poor coordination and balance.
if your character is in high school, pe/gym will definitely be an issue. i was pulled out of pe lessons in my last year of high school just because i was so bad at everything.
even if they aren’t, you could show this by having them trip or bump into things a lot (not just when it’s plot-relevant) or mention that they walk or get the bus because they can’t drive/ride a bike.
they could have trouble tying their shoelaces (i was FIFTEEN when i finally managed to do it), or fastening buttons, etc.
i don’t know if it’s to do with my dyspraxia bc i never asked my doctor (i assume, though) but i can’t put on makeup at all without it going everywhere and i can’t style my hair beyond a simple ponytail.
or like, if your characters are in a club or something, mention that they’re a bad dancer, two left feet or something. you get the idea.
handwriting this is actually how my teacher realised i might have dyspraxia, so it must be a pretty significant thing?
when you’re writing on lined paper, and you come to the end of the line and you start a big word bc you’re a dumbass, and then you try and fit the word in anyway.
or just having messy handwriting overall, or not being able to stay on a line or write small. these are pretty simple character quirks you could do in just a sentence.
also, writing slowly. as in, much more slowly than everyone else- for example if the character is trying to take notes in class but the teacher moves the slide on too quickly, but no one else seems to be having problems.
dropping shit. just like, all the time.
in that vein, you could have a character who maybe gets fired or can’t keep a job in service (like as a waiter etc.) because they keep breaking plates or forgetting orders.
which brings me to memory problems, the bane of my existence.
dyspraxia can affect your perception and memory as well, which means a lot of dyspraxic people can have trouble planning and remembering stuff.
the one (1) dyspraxic character i’ve ever seen on tv had a notebook they took everywhere, and wrote down important things to remember, which i thought was a great idea and planned to start doing it. but then i forgot.
other stuff that i can’t think of a name for but all kinda go together:
being unable to concentrate in class, having trouble listening to one person, etc.
this might be more to do with my adhd but it’s also listed as a symptom on dyspraxia foundation so: taking way too long to finish something (even something you want to do/something important) bc you keep getting distracted or daydreaming or just staring off into the distance. you could maybe use this as a problem for your character or even just mention it/have them be interrupted doing this.
uhh that’s all i can think of for now but if anyone wants to add on, feel free! as a reminder, i’m not an expert and not all of these things will apply to every dyspraxic person- everyone’s different. and please consider writing dyspraxic characters!! there are so few of them about.
Let’s be honest – we all forget to leave a comment sometimes. We don’t always go out of our way to click the “come talk to me on tumblr” link on AO3 to scream about the fic in the author’s inbox. On August 21st I encourage you to take a moment and show fanfic writers that you appreciate them!
How can you do it?
leave a comment and kudos on every fic you finish reading. Doesn’t matter how short. Doesn’t matter if you’re just repeating what other people have already said. Just be kind! Keysmashing, Caps Lock, and live commenting appreciated! (Bonus points if you leave a comment on every chapter)
floaty review box for ao3 (super useful for commenting as you read + it has a ‘review tips’ button if you feel stuck)
reblog ficlets, drabbles, fics, fic rec posts, etc. Put a nice comment in the tags. Remember that likes, while appreciated, don’t give the writer any exposure, meaning the posts don’t reach more people
go to your local fanfic writer’s inbox and talk to them about their fic of your choice. Let them know how long ago you’ve read it and what story point/sentence/scene still makes you smile when you think about it
send thank you messages to fic writers. In a world where you have to pay for almost everything, they’re supplying you with countless hours of free entertainment. It can get quite lonely without getting messages acknowledging the hours they spend writing stories – let them know their time and effort is appreciated
make fic rec posts and @ the authors whose fics you’re recommending! (believe me, fic writers love to see their stories in these posts)
create something inspired by a fic! You can draw fanart, make a moodboard or aesthetic post, or even write a song for the fic you love. Whether you’re a beginner or a pro doesn’t matter – the thought alone is what counts more than anything ❤
buy the writer a coffee if they have a ko-fi page and you have some change lying around c: Caffeine keeps most fic writers awake when they struggle with a particularly slow draft or a difficult scene. More coffee, more content.
These are only some ideas out of the sea of possible ways to appreciate fanfic writers. On August 21st show the writers in your fandom(s) some love ❤
me: this scene is so boring i wish i could write this other scene i’m really excited about instead
brain: you can
me: explain how
brain:
DON’T DO IT! Trust me.
Once you write all the scenes you’re excited about it becomes twice as hard because you know you only have the boring stuff left. For every boring scene, you write reward yourself with one you’re excited about. Rinse and repeat.
Trust me, do not write the exciting parts first; I know it seems tempting but I find it makes me lose interest in writing the rest of the story. Like @pynki says, write a scene you enjoy writing about as a reward for writing boring scenes.
Why Just About Every Published Book in the World Does 57 Things That Just About Every Book About Writing Tells You Not to Do
#1 The author has made a name for themselves and can do anything they want.
Publishers aren’t as discerning about literary quality if they’ve got a writer who they know is going to sell books. Whereas a newbie might get rejected for having 200 pages of backstory and 16 prologues, an established writer with a sales record can get away with it.
#2 Mainstream readers are not as discerning as people who write books about writing would have you believe.
Books about writing are often written by learned literary folk, whose advice is then (sometimes mindlessly) repeated by everyone else. On the other hand, bestselling novels are often written, and read, by regular folk who don’t give a crap about high literary art. It’s kind of like the difference between what they teach in film school and the reality of blockbuster movies.
#3 Really good writers can do anything they want.
The most hackneyed, clichéd, classically do-not-ever-do-this stuff can be made into pure stylistic genius in the right hands. Two chapters of nothing but dialogue? A book written from the point of view of a dog? Excessive footnotes? Run-on sentences? It’s all been done, and been done brilliantly, by really, really good writers.
This can be frustrating for new writers, who want to be able to follow a clear set of rules in order to be successful. That’s why so many of my posts have caveats like “in general,” “as a rule of thumb,” and “most often.” Because the honest answer to every single question I get is It depends. Which is why I really recommend that writers try to connect with a mentor, editor, or teacher who can read your actual work and give customized feedback. This is rarely cheap. But one or two exchanges with a professional can be worth months or years of reading writing advice books with all their generalized Dos and Don’ts.
Which leads me to…
#4 Writing is art. There are no rules in art.
This truth is what makes writing great, and also what makes writing difficult. It’s also why writing books that claim to have all the “answers” sell so damn well. I’m not saying those books aren’t full of mostly true, super helpful guidelines. Back before I had access to any other kind of help and lacked experience, I learned a lot of the basics by reading. So keep reading them! But pay attention to the overstatements, the exceptions, the reality of what excites readers, and, perhaps most importantly, the reality of what excites you. Is a writing book telling you not to do something that sets your soul alight? FUCK THAT BOOK. Do whatever you want. Have fun. Figure out how to be one of the ones who gets away with it.
This inspirational message brought to you by the end of a long day at the end of a longer week. May it rekindle your spirit as it has mine ❤
It’s about more than just the mystery. You still have characters that need attention and room for some fun. Comedy is always a nice touch, typically dark comedy, but that isn’t your only option for some “fun”. You have to show the lighter moments or the dark ones won’t look as shadowed. The protagonist (often the detective) still needs to be well rounded and have a life of their own, but it’s true that mysteries have a tendency to be a little more plot-oriented than character oriented. The problem with anything too plot-oriented, is that a reader who guesses all the twists is no longer having fun because the story itself isn’t what’s good.
Setting is not just a background. Location and surroundings can be a big thing for any sort of mystery, so learn to exploit it beyond just a place for things to happen. Interact with the setting, let the setting influence the mystery by providing context and detail.
Cliches are not always cliches– if explored properly. This point is specifically about how some cliches actually do overlap with reality, just not in the way media can portray them. A murderer dumping a body in a dark alley is rather cliche, but what if that specific dump site actually means something beyond the “dark alley”? Were they specially placed there for easy finding in the morning or so someone could watch from a window? If the body is in a trash can, does that mean something about how the murder view the victim?
It’s not about never putting suspicion on a character, it’s about putting just enough suspicion on multiple characters to keep a reader guessing. Avoiding suspicion on a certain character is a quick way to make any reader who takes some time to think about it realize the culprit. that said, its often better to focus suspension well on fewer characters than to spread it out and dilute the suspense because there can’t be as much depth of character learning.
Don’t cheat readers of information. The reader needs to be able to trace the story back and recognize the logic that shaped the murder and how it was solved. How the detective manages to put the clues together is what makes them a good detective and lets them gain reader respect. If a detective has access to information that the reader never finds out until the crucial moment of reveal, then readers will feel cheated (or at the very least that the writer wasn’t creative enough to make the story work without withholding information).
Make readers care. About the detective, the suspects, the victim, the case. Make the killer’s motives believable and realistic. Make sure your story events have cause and effect and consequences. Even if the reader manages to guess the murderer, if they care about everything else then it’s still a good story to them.
Know you literary devices and how to use them. Foreshadowing, red herrings, symbolism etc. Each of them (and many more) have a very good place in a murder mystery, but you want to be careful not to go too far with any specific one or you’ll end up shooting the story into a dead end.
Author and doctor of clinical psychology Carolyn Kaufman has released a one-page body language cheat sheet of psychological “tells” (PDF link) fiction writers can use to dress their characters.
This is something I have always encouraged people to consider when writing. If you can afford it, and you have one in your area – TAKE A BODY LANGUAGE CLASS. It will open your eyes to a whole new world of subtleties you never knew existed. SO worth it as a “Real Life” skill and for all those times when you’re writing and you need your character to react nonverbally.
There is also, in addition to these others, the writer resource book: The Emotion Thesaurus by Angela Ackerman and Becca Puglisi
Just some notes, as a person who expresses ‘atypical’ body language — some characters, and indeed some humans in reality – will not conform to these norms in any way, due to certain disorders or conditions along the autism and neurological spectrums, among others. I jiggle my foot almost constantly when I’m sitting down, not because I’m bored or impatient, but because I have Tourettes and it’s one of my motor tics.
So, my point here is, do your research with your characters. If you’re writing someone who doesn’t conform to an allistic model, PLEASE look into atypical body language expression, and, for that matter, be mindful of it in your everyday interactions with people in reality who might not express themselves the way others do.
This brought to you by your friendly neighbourhood tourettic writer. This is a great resource, just don’t forget that not all characters will universally use normative body language.
Headcanonsandmore 