By Raegan Teller
It took me three years to write my first
mystery novel, Murder in Madden. During
that time, I worked with several wonderful writing instructors. They taught me
how to make the shift from business writing to fiction, which wasn’t as easy as
I thought it would be. Much of my previous work focused on instructing readers
on how to do something, so step-by-step details were important. But writing
fiction was a different animal, as I quickly discovered. I found myself having
to unlearn many of my coveted business writing skills. While I knew how to
construct a sentence, where to put the commas, and how to apply the grammar
rules, I often stumbled, especially during my first attempts. And then, over
time, word by word, sentence by sentence, and paragraph by paragraph, I learned
how to write fiction.
When I began writing the second book, which only
took eight months from the first word to a first draft, I realized I had to
learn something else: what not to write. I’m not referring to merely avoiding ornate
language or eliminating you-need-a-thesaurus words. Fortunately, my business
background had taught me to write at an appropriate comprehension level and to
stay within the maximum word count. But, on those occasions when I did get
overly descriptive, I followed Elmore Leonard’s 10th Rule of Writing: Try to leave out the part that readers
tend to skip.
My form of overwriting came from
something one of my instructors called “temporal linearity.” I tended to
instruct the reader on how a character got from one place to another, in a
linear fashion, just as I had provided comprehensive details in business
writing. Of course, fiction readers need enough information to make logical
assumptions, but they don’t need to be led by the hand.
For example, if one scene ends with
“Sara” telling her boyfriend she’s going to the library, you can insert a break
and begin the next scene in the library. Unless it’s germane to the story, the
reader doesn’t need to know how she got in the car, backed out of the driveway,
and drove down the street to get to the library where she had to drive around
the block three times looking for a parking space. I wasn’t quite that bad, but
I did overwrite some scene transitions in my first draft.
Mostly as a reminder to myself, I
developed “Raegan’s Rules to Avoid Overwriting.”
1.
Trust
your readers to figure out how Sara gets to the library.
2.
Practice
writing six-word stories and other forms of micro fiction where you have to
tell a story within a strict word limit: writers should spend words like gold.
3.
Read
your work aloud. If it sounds boring, it is.
4.
Hire
a good editor—listen and learn.
5.
Keep
writing and eventually you’ll overcome inexperience.
6.
Continue
to overwrite, and you risk arrogance.
Perhaps all I really needed to do was re-read Leonard’s
10th Rule of Writing.
Yes, it's so easy to provide unnecessary details about physical transitions, but what about emotional ones? Understanding what not to write is key to good writing, and after six novels, that's something I'm still working on.
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