Essential writing skills: the importance of styling

I’ve always argued that to write quickly and well means getting the fundamentals right first – the structure – and worrying about the style later. It’s a technique that’s really only come into its own with the advent of word processors – though, and without any sense of paradox, I also believe it’s important to at least plan using pen and paper, because of the way that different thought processes emerge.

Wright_Typewriter2Once you’ve got that draft, of course, the issue is that styling – and, in its own way, that’s as critical a part of the whole process as the structure. So what do I mean by styling? This is the front end of the writing; the way in which an author adds meaning, nuance and their characteristic ‘voice’. It can change the way the work is received – can drive readers off, or pull them in, depending on how it’s handled. It is, in short, a very powerful tool.

Styling involves getting the right words, the right phrasing, the right vocabulary and the right tone to the sentences. The word ‘right’, in this sense, is relative; it’s a value judgement. Different authors have different preferences – and so they should. If we all styled the same way, life would be boring. That said, a consistent style is often used by commercial magazines as a part of their branding. Take Time or National Geographic, for instance, where different contributions are re-styled in editorial to be consistent with the corporate ‘brand’.

In these and other magazines – including some I’ve written for – the author’s contribution is re-worked to meet a style without changing the meaning or content. And that principle also applies to your own novel – where the end point isn’t necessarily a ‘corporate’ style, but where you are trying to get it into a consistent shape that reflects your desired ‘voice’.

Some writers look on it as ‘re-writing’, but it isn’t – using the approach I recommend, it’s integral to the process. The time and effort required to get the styling right is often at least equal to the time and effort required to develop the structure and prepare an initial draft. The art of styling is also the art of preservation – keeping tight to the structure and themes you’d originally worked into the book.

If the book has been structured correctly – in the case of a novel, around the character arc with the narrative events and setting acting as backdrop – there should be no problems with extraneous scenes or extra characters, or padding, or any of the other irrelevancies that detract from the function of the character arc as the key device for capturing and holding readers.

Sometimes, of course, issues crop up structurally along the way as you review the work – meaning some re-work. But ideally, not too much.

So how does ‘styling’ work in the specific? More soon.

Copyright ©Matthew Wright 2014

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Writing inspirations – a city street seller in Sydney

Today’s writing inspiration – for NaNoWriMo entrants and for writers of all persuasions – is a photo I took of a fruiterer in Sydney.

Fruit stand at the seaward end of Hyde Park, Sydney.

Fruit stand at the seaward end of Hyde Park, Sydney.

You can find these stands all over the city – places to buy fresh fruit and a raft of other things. The proprietor is chatting with a customer. What stories do they hear, I wonder? What do they see of city life? Do they see its underside? Its business? All of it? Pause to think – to wonder – to be inspired.

Copyright © Matthew Wright 2014

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Writing inspirations – another golden age Deco moment

Today’s writing inspiration – for NaNoWriMo entrants and for writers of all persuasions – is another photo I took in Napier, New Zealand. The city was rebuilt in ‘art deco’ styles after a devastating 1931 earthquake. This is the ‘Dome’, formerly the ‘T&G’ building, of 1936.

Close-up of the former T&G Building (1936).

Close-up of the former T&G Building (1936).

Wellington architects Adkin and Mitchell produced something that harked forward to streamline themes – with those implicit undertones of the refined lifestyles and golden age Hollywood world of 1930s deco. Something to ponder; something to inspire.

Copyright © Matthew Wright 2014

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Writing inspirations – a wonderful deco-era hotel

Today’s writing inspiration – for NaNoWriMo entrants and for writers of all persuasions – is the Hollywood Hotel, a bar and performance venue on Foster Street in central Sydney.

Hollywood cinema, near the Sydney CBD.

Hollywood Hotel, near the Sydney CBD.

Long-time readers of this blog will know I am a tremendous fan of art deco. This has to be one of the better examples I have seen of a small deco building – finished, Sydney style, in masonry.

Copyright © Matthew Wright 2014

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Writing inspirations – the stories an old boat might tell

Today’s writing inspiration – for NaNoWriMo entrants and for writers of all persuasions – is a photo I took of an old boat in Sydney harbour.

A boat in Sydney harbour...

A boat in Sydney harbour…

The planking and paintwork says it all; and as writers we have to wonder who sailed on this boat over the years – what were their lives, their experiences, their hopes and their dreams? What are the stories that flow around this old boat?

A moment to ponder, to think, and to be inspired.

Copyright © Matthew Wright 2014

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Essential writing skills: keeping focus as you write

It’s often difficult to keep the focus going as you write. Apart from the creative muse running dry there’s the relentless call of – well, everything. Noises outside, social media, The Internet and all the rest.

None of it is helped by the fact that these days we’re conditioned to have an attention span of around – OOOH, POSSUM! – fifteen seconds.

Photo I took of some essential writing fuel I was about to consume...

Photo I took of some essential writing fuel I was about to consume…

That’s one of the down-sides of the internet where, according to the figures I’ve seen, the average user flips between media around 27 times an hour. That’s a little over two minutes per interaction – Facebook, Pinterest, Tumblr, YouTube, Instagram, texting, messages and so on. We are conditioned to have an endless hunger for new, an endless quest for instantly gratifying entertainment.  All of it shallow, transient and brief. And even brief sometimes isn’t brief enough. I’ve seen stats for YouTube videos in which, typically, viewers last about 90-100 seconds into a four-minute video before flipping off to something else.

It’s not limited to the web either. TV scripting usually demands an ‘action moment’ every eight seconds or so – a hook – as a device for capturing channel surfers. That’s had its impact on the pace and rhythm of the stories which, by earlier standards, can best be described as frenetic.

We live in a world where instant fun, instant gratification and constant novelty is expected, where any one thing can capture us for seconds or at best a couple of minutes at a time. A world of derp, not to put too fine a point on it. That stands in diametric opposition to the sustained single-thread concentration demanded of reading – and, more especially, of writing. But that conditioning is insidious, especially because we usually write on the very same tool we use to get that massive wealth of content flowing past us.

So how do we get around it?

There is only one answer. Ignore the distractions. Switch off the internet. Turn off your phone. Take yourself away from screens, except the one you’re working on. Or switch off the computer altogether, sit down with pen and paper, and get going for a solid planning session as a first step to writing.

Most of us have to wedge writing in around other things, and that can be turned to an advantage too. If you schedule your writing time – even a thirty-minute burst – it can sometimes be possible to also orchestrate it so there are no interruptions.

The very best writers do it. Jonathan Franzen apparently writes on a laptop disconnected from the internet, sitting in a room facing a blank wall. No distractions; just the inner voice.

It really is the only way to go.

Copyright © Matthew Wright 2014

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Essential writing skills: action, contemplation, or both?

One of the hardest parts of writing fiction is finding the elusive balance between action and contemplation.

Photo I took of some essential writing fuel I was about to consume...

Photo I took of some essential writing fuel I was about to consume…

On the face of it, the split is easy. Novels that look inward – that appear superficially plotless, slow, boring and which rely on internal character mood as driver – are typically classed as literature. They are the sort of books that school curricula use to torture disinterested kids with. Such tomes have narrow appeal, often snobbishly asserted by those who like them for its supposed ‘high-brow’ nature, or used by the author as a device to validate themselves around intellectual pretension.

Tales with more action and an ability to capture the interest of a much wider audience are more usually ‘populist’, often dissed as ‘shallow’ or ‘pulp’ by those who imagine they have ‘higher’ interests.

Personally I don’t regard any of these things as ‘ranked’. Indeed, I don’t draw a distinction between ‘literature’ and ‘popular’ fiction. Really, it’s different aspects of the same thing – a way of taking a reader on an emotional journey. And from my perspective, populist literature is the way to go because it appeals to such a wide audience. But that doesn’t mean ditching character contemplation.

Want proof? Go read Alan Moore and Dave Gibbons’ Watchmen. It’s a graphic novel – the bottom of the food chain as far as the literati are concerned. A comic. Er – isn’t it? Actually, it made Time magazine’s top hundred novels of all time, putting it up there with Salinger’s Catcher In The Rye and Tolkien’s The Lord Of The Rings among others.

Gibbons and Moore nailed it as far as I am concerned – producing characters who were rounded, multi-dimensional, and where the plot was effectively driven by their needs as characters. Why have a cardboard superhero when you can have a neurotic one? It could have been presented as literature – but it wasn’t. It subverted the whole genre of the graphic novel.

What does this mean for writers? It means that the onus is on all writers, whether aiming for a populist market or not, to build due contemplation and character development into their stories. The whole essence of fiction writing is the character arc – this is where the tension comes from. It is where the reader is captured. The narrative adventures of the plot, however exciting they may be, are backdrop to that arc.

That’s true of all fiction writing – literature or not.

Soon – how to make that work. Watch this space.

Copyright © Matthew Wright 2014

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