So I’m undertaking a major reading project right now, since I don’t want to push myself to write in the midst of some other project. (What was it again? Oh yeah, Operation Make-Rachel-Stop-Crying. It’s a full time job.) I picked probably twenty or so books that have been nominated for various awards in my genre or published by my target presses (and that were available at my library) and have plowed my way through several.

But not all. Maybe I’ve gotten a little burnt out on reading (is that possible?), but in the last week or two, I’ve suddenly had a hard time sticking to a book. This week, I tried two novels where the writing was so bad, I had to skip half the book or more. (I still wanted to know how it ended, though that was at least partially so I’d never be tempted to pick up the book again.) Telling vs. showing was the main problem. I said it was like the author was standing in front of me, holding up a curtain as he dictated the action on the other side.

Although bad writing is always a turn off, it’s not always enough to make me give up on a book, or at least half of it. Some of the books I just couldn’t not put down lost me in character soup. In one case, the story was told from one character’s POV, but by the end of the first chapter, we’d met so many people I couldn’t remember which character that was. And I kept forgetting in subsequent chapters.

I think it all boiled down to a basic factor: I just couldn’t get involved in the characters. Something about the narration style (telling) was too distant or confusing for me to make an emotional connection and sympathize with characters. And I’m realizing that life’s too short for boring books (or boring novels, anyway), so I’m not willing to persevere through a hundred pages to see if I suddenly start liking a character.

(And since life’s too short for boring books, I’d better work twice as hard to make sure mine aren’t boring!)

What do you think? What makes you put down a book?

Photo by Wade Kelly

To round up our week of inspiration, I thought it’d be nice to have the chance to share what you’re good at. Come on, you know there’s some aspect of writing that you’re pretty good at. You can claim that your critique partners say it’s good, or you can say that you’re pretty good at it on the second draft (first drafts don’t count here anyway), if you feel like it’s boasting, or you can qualify it with what you’re not so good at yet.

Personally, I’m pretty good at dialogue—or so I’m told. (I know a couple things I can work on in that area, of course, but “good” doesn’t mean “perfect on the first draft.”)

So what are you good at?

Photo by Joel Telling

Well, after all that tension, I thought we could all use some stress relief, eh? Every once in a while, after all, you do have to let it out.

The other day I was reading a blog post that mentioned making someone laugh. “Not just guffawing, but outright laughing,” they clarified (okay, that’s not what they said, but that’s basically the idea). But that note left me scratching my head: isn’t guffawing harder than laughing?

So today I bring you a game! From two thesasauruses (those are dinosaurs that know a lot of words), I gathered all the synonyms for laughter:

amusement be in stitches break up burst cachinnate cackle chortle chuckle convulsed crack up crow die laughing fit fracture gesture giggle glee grin guffaw heehaw

hilarity howl merriment mirth peal rejoicing roar roll in the aisles scream shout shriek snicker snigger snort sound split one’s sides titter wakka wakka wakka whoop yuck

In the comments, let’s rank these from the most hilarity/hardest laughter to lightest. (And feel free to leave out ones you don’t know. “Cachinnate”?!) Note that this list includes both nouns and verbs.

Photo by Jackson Carson

Well, we’re winding down the series on suspense, tension and surprise. We’ve looked into assessing our stories, ratcheting up the tension and increasing the suspense. We’ve used lots and lots of resources (the most I have for any series), and I’ve talked a lot about things I’ve found in looking at my own work.

But, man, that still seems a little one-sided. I’d hate to leave you in suspense over your greatest suspense, tension or surprise issues—and I’d hate for all of us to miss out on the things you‘ve found to make your work better in these areas.

So, do you have any other questions or fixes on suspense, tension or surprise? (Comments and questions here may get “promoted” into posts of their own, so ask or share away—and be sure to put your link in the URL box!)

Photo credits: question—Svilen Mushkatov

Most writers, of course, learned to write in school—the teacher stuck a pencil in their hand and showed them how to form the letters. Another teacher later on taught them about words and sentences and parts of speech and punctuation.

Of course, everyone learns those things, and not everyone goes on to want to be a writer. Personally, I learned a lot from writing—a lot. I wrote all through high school. I wrote in my freshman year of college, and then I drifted away from writing for several years while I finished school, got married, and started my family, though somewhere in the back of my mind, I still wanted to be a writer.

And of course, I’ve learned a lot in other ways as well. Writer’s conferences are a lot of fun and extremely useful, but most of the time aren’t designed to hit the techniques very hard (unless you go to a more one-on-one track). Critiques from trusted friends (and strangers!) have been invaluable.

And then there are the books, of course. I hit the public library and read almost every writing technique book they had, my favorites being How to Write a Damn Good Novel and How to Write a Damn Good Novel, II by James N. Frey, and Writing the Breakout Novel by Donald Maass, among others that escape me now.

But honestly, even these things are kind of advanced—they don’t, for example, cover basic things like showing vs. telling. And, um, I’ve kind of forgotten how I learned that.

So how did you learn writing—the basics and the advanced stuff?

Photo by Schmorgie13