TYWD's 1st Second Level Assignment

[ThisYouWillDo]

ASSIGNMENT ONE

Read the two articles at the top of the level - How I can become a better writer and More general writing tips. I want you to let me know what you liked about the readings, including points such as what tips you think might help you, what things you already do, what tips can't you wait to try or what tips don't make a lot of sense to you etc. Please feel free to add any other comments you have on the readings.



As How I Can Become a Better Writer is much shorter than More General Writing Tips , I shall discuss that article first.



How can I Become a Better Writer?


I have only recently tried my hand at writing in any real sense, so I am inexperienced and my canon is miniscule. Therefore my first comment has to be that, while I want to become a better writer, it is an open question whether I am even a good one - although I do believe I am not a bad one. (I'm not seeking reassurances here, just making a statement.)

I take note of the fact that there are various methods to follow that will help produce a properly finished piece of writing, and the first of these is to become aware of one's strengths and weaknesses. I believe I have good command of language. I suspect I am not so good, and perhaps even inadequate, when it comes to inventing characters and fitting them into realistic plots. I have to rely on the criticism of others to know whether my characters' actions are realistic and believeable, and I have not had enough feedback in this respect.

Currently, my writing has been structured as follows:

1. Here's an idea.
2. Write the story, making up the plot and the characters and individual scenes as you go along.

I have finished one such piece, and I have failed to complete another. I therefore do see the merit of working out what will happen as various points in a story. I have yet to open an ideas journal, but I shall do so.

I did edit and review my pieces. While I was willing to make any number or minor changes - a word here, a re-ordering of events there, and different punctuation all over the place, I tended to feel that the main story had been pretty much established during the writing and should not be interfered with excessively. The time for that was at the writing stage. After all, I will write a sentence five times to get it so that it pleases me. And I might very well delete it shortly afterwards as a result of something written subsequently: editing as you go, perhaps. Besides, in the final review I tend to read what I know I wrote. It's definitely time, at this point, to get another pair of eyes.

I am following this course in order to become a half-decent writer, and if that means fundamentally changing my approach, then so be it. I can do that. But I'm sure I shall try to cling on to things I believe work for me "to preserve my unique style" (ha ha). At least, until I really see the value of doing it the proper way.

Marking this assignment as a work-in-progress indicated I realise the importance of revision - but, so far, and subject to the correction of minor typo's, I'm happy with what I've done as I write!


More General Writing Tips


On Characterization: I understand the reasons for this, but currently I have always based my characters on people I know and reminders have not been necessary. Maybe later.


On Dialogue: I take note of this. I suspect dialogue will be an area I ned help with.


On Conflict: This is a bit abstract for me at the moment. I read the words, but haven't been able to comprehend fully them so as to be able to apply them to my own writing yet. This is because, I suppose, I have never analysed my writng to see where there were conflicts, whether they were "internal" or "external" and why.

I don't think "conflict" is the same as "tension" ... but what's that?


Note to Aussiegirl: where can I find out about "conflicts"?

On Scene and Sequel: Again, I have never been conscious of these categories. But I can understand what they are better than I understand internal and external conflicts. However, I should read up on them.


Burn the "Deadwood": Noted

(Any deadwood?)


Let Your Characters Lead You to Your Plot : I think I understand. But I'm not really the kind of person who wants to write about a person, just because I've invented him. I will never create a Superman and then make up stories about him. I will have a story in mind, and will want people to populate it.

Now I can imagine my characters telling me how they would react in particular situations, and I could develop the story that way. However, as I have said before, I need people to help me know what a fictional character might really do if the scene were taking place in real life. Or to put it another way, I need to be told, "A girl would not do that!"


Dialect: It's far too soon for dialects and accents to be a problem for me - although I have had to report the speech of a Japanese girl. (I imitated, very slightly, the way a Japanese friend speaks). I agree that too much dialect or accent is distracting and I remember reading somewhere that Sir Walter Scott, when writing Ivanhoe saw no need to reproduce 12th century English speech - which would have been virtually unintelligible to 18th century readers. Instead, he used the kind of language his great grandfather would have used, reasoning this was enough to give historical credibility to his story.

I do agree with the methods proposed to indicate regional differences in speech. (I wonder what Scott would have done if he deicded he needed historical and regional accuracy!) After all, when we include characters from foreign countries, we do not report their conversations in the relevant foreign language, unless we accept that many readers won't understand (then why bother including it at all: it can't be important?). We report the conversation in English, don't we? With maybe one or two affectations to indicate that it is a translation.


The Pros and Cons of Outlining : I cannot reject this advice: it is obviously sound.

However, I remember, as a boy at school preparing for examinations, my masters telling me that I should read the question, and then spend a few minutes marshalling the facts and ordering them. I would then be able to prepare a well-constructed answer and obtain good marks. Right.

Came the exam, I would turn over the paper, find a question, any question, that I thought I knew something about, and bowl headlong into my answer. Taking time to think? You must be joking: I was on automatic pilot. I managed fairly decent results anyway.

Thie difference is, during my studies, I was given the outline by my school masters: In 1066 William of Normandy invaded England. King Harold and his Saxon army, having just repulsed a Scandinavian invasion met him outside the town of Hastings and the most decisive battle in English history was fought ... This was all in my textbok: I just had to recall it.

But if I am making up a story about a battle between two fictional nations for imaginary reasons, maybe I do have to work everything out very carefully. It is a discipline I must learn to embrace willingly. I have just put out a plea for help with a story I'm writing where I have lost my way. Up to this point, I've done very well using the "seat of the pants" method. But the fact that I've now got stuck shows I needed to anticipate this problem and resolve it before I got started, as Razor would no doubt point out ... but to anticipate the problem, don't I have to have already taken the story up to this point. Catch 22?

Thank-you Razor and Dragonsmuse for your observations.

TYWD