Setting is an essential element in any story. It provides context and a space for your characters. When wielded properly, it can do more than simply list what your characters can see. It can support every other aspect of your writing.
The last blog covered the basics of setting. Now it’s time to explore ways to use setting to its best advantage.
Story requires place to make it come alive. Writing setting is much like the job of a set designer for the stage or screen. The trick is to discover ways to bring your setting to life. This may mean describing a building, a forest, a living room or some other place where your characters can move about their lives. This is setting. It includes everything from location to descriptions of the dishes on the kitchen table.
Show versus Tell is an age old battle for writers. Deciding when to show your world to your readers and when to tell them facts is a balancing act. Good writing requires both styles. In the last blog, we covered when to tell. This blog focuses on showing—the powerhouse of writing.
Showing gives your reader a more immersive experience. It’s the difference between reading a newspaper article and a novel. One gives the facts with a sprinkling of details and description. The other invites the reader to experience the story along with the character. It’s engaging.
Every writer has learned the first rule of writing: “Show don’t tell.” It is the preeminent bit of advice for writers of all levels and yet it remains one of the most misunderstood and confusing rules. Sure, it’s easy to understand why you shouldn’t tell your story from start to end like a person at the party who keeps saying, “…and then we…” with no end to the boredom. But it is not so easy to figure out what telling is versus showing. Sometimes they seem a lot alike. It all depends on how you write. The truth is good writing combines both showing and telling.
Every writer has heard the advice to write what you know, and it is good advice to a point. It’s impossible to write about things you don’t understand. But the problem with this advice is that writers can learn. We can research and pick up the facts. We can break down a problem and find experts to explain the mechanics of how things work. Heck, we can even watch documentaries to see how things came about and how to videos to see it in action. What we cannot do is know how those situations feel without understanding the emotions associated with it. We can’t find the story behind things if we can’t empathize with it.
Writing is hard. Words don’t flow out easily and land on the page as genius. They need to be selected, ordered, rearranged, swapped, lined up and perfected. Most times they are not cooperative companions though. They are like the unruly child who doesn’t recognize the word “no” even when yelled and accompanied with hands held face out.
There is a reason so many talk about writing instead of doing it. The trick to making it as a writer is not quitting when it gets tough.
Audience is everything. Readers define how to approach a story and what words to choose. Knowing our readers frames our work as writers. You wouldn’t start a project for children the same way you would for seniors. In my last blog, I wrote about knowing your audience. This blog follows up with some concrete tips to write with your reader in mind.
Stories serve an invaluable purpose. We all tell stories, whether in printed form or by gathering around a table and sharing an anecdote. It’s how we’re going to survive the upcoming holidays with family because stories are how we communicate with each other, and how we remember and frame experiences. It’s the foundation for human interaction. If we didn’t have stories, how would we ever capture how awful a date was or how moving an unexpected kindness?
I began my professional writing career with a major corporation. Soon after starting that job, I was thrilled when my boss praised me for writing clean. What my boss was trying to say was that she liked that I could write quickly and needed few edits (mostly for those darned dangling participial phrases I love). The problem with her praise was that it stunted my growth as a writer. I leaned into the idea of writing clean and gladly whipped up assignments with little to no edits and called it good. My boss was happy. I was happy. What more did I need to do?
The answer was: a lot.
This is the final installation in my series on writing “rules.” If you missed the first two installments, you can read them here and here, respectively. These are the remaining “rules” of writing that all writers should know, with a couple of scriptwriting tips at the end for good measure.
There aren’t any hard rules for writing, outside of grammar, but there are guidelines that help. In this series, I outline the most common axioms of writing. If you missed the first part of this article, you can read it here.
Here is the second set of guidelines for good writing:
Blogs, books and articles often tout the “best” ways to write, but I am sorry to tell you there are no rules for writing—no easy short cuts. There is grammar, which is essential. There are the various elements of craft. And there are some axioms that hold true, which, while I won’t go so far as to call them rules, are great guidelines.
These are what I want to share today—the Axioms of Writing: