Tag Archive for preller writing advice

Fan Mail Wednesday #194: I Actually Give This Poor Kid Writing Advice

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Here’s a letter that did not have to travel very far. However, it’s a little tough to read, but I’m sharing it anyway. So there:

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I replied:

Tyler,

Wow, thanks for the letter and thanks, too, for reading so many of my books. You inspire me to write more. Here are three titles that are coming out in the near and distant future: Scary Tales: Swamp Monster (Spring, 2015), The Fall (Fall, 2015), and Dead, But Cautiously Optimistic (Spring, 2016). 

paperback-cover-six-innings-203x300I hope that by now you’ve been able to track down a copy of Bystander. Usually I describe that book as best for grades 5-up, but I’d never stand in the way of a motivated reader. I have a deep affection for Six Innings, and I’m proud that it was named an ALA Notable Book. I poured a lifetime of baseball obsession into that single book, while also writing about my own son’s struggle with a serious illness. 

I have to confess that I always feel a shiver of uneasiness when asked about writing advice. I know many authors who give it confidently and freely. They even charge money to teach it. In my case, despite all these books, I still feel like I’m someone who should be taking advice rather than giving it. 

But, okay, fair enough: I must know something. Right? So read, read often and read widely. Read for pleasure, yes, but also read like a writer. By that I mean, pay attention to what’s happening on the page. Be aware that there’s a real person, an author, behind those scenes on the page, making choices with every word, every sentence. If you are excited, or scared, and laughing out loud — if you feel anything at all while you read — go back and try to figure out what the writer did to cause you to feel that way. We learn best by reading other writers. 

Also, of course, you’ve got to write. And by that I mean, write anything at all — notes, poems, song lyrics, snippets of dialogue, true stories, anything. Purchase your own blank journal. I love those ordinary composition notebooks you can find at CVS. It’s so important to have a place you can go with your thoughts. Remember that it’s impossible to write without deep thought, deep feeling. Writing is an act of concentration and focus. You’ll need to give yourself the greatest gift of all: time to think. Space to feel. It requires that you turn off the television, shut down the computer, put away the phone and games. Hey, I love all that stuff, but in order to write, you must go inside your own skull for entertainment.

At your age, I think it’s best to concentrate on short pieces. Little stories. Scenes. It’s very common for young writers to imagine a great, long, complicated story that would require a 100,00 words to tell properly. Problem is, 99% of the time those ambitious stories are never completed.

tools-belts-xxcge4-296x300I believe there’s value in finished work, and sometimes that’s a matter of adjusting your goals. Imagine that you were beginning to learn carpentry. You’d need to familiarize yourself with the tools of the trade. A hammer, some nails, a screwdriver, scraps of wood, a monkey wrench, etc. You’d begin, I’d hope, by attempting to build something relatively simple: a birdhouse, perhaps. You wouldn’t attempt a structure that was, say, a 2,000 square-foot log cabin for a family of five. Same thing with writing. Explore the tools. Play around with them. Write a scene with a heavy use of dialogue. Put together characters on a park bench, get them talking about something, describe someone’s room. 

Also: slow down. That’s one I have to keep learning in my own writing, over and over again. Don’t be in a hurry to get to the next scene, and the next, and the next. We all want to be done, bang out those two wonderful words: THE END! Instead, take your time with the scene you are writing. Go deeper, think harder. Find the details that are worth sharing. I’ve heard writing teachers call it “downshifting.” If you’ve captured a good moment, linger there for a beat, a few extra sentences. Throw a line into the water. See what else might be just under the surface. You might get a bite.

Anyway, Tyler. You asked for it. But do you see what I mean? It’s so hard for me to say anything that’s truly helpful. I wish I could give you the magic key, but I can’t. In the end, writing is all about you and the blank page. No one can really help all that much. I wish you the best of luck in your writing life. If somebody like me can do it, I’m sure that you can, too.

My best,

JP

 

Give Student Writers the Freedom to Embrace Their Inner Zombies


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: A variation of this essay first appeared a while back over at the fabulous Nerdy Book Club, founded by Donalyn “The Book Whisperer” Miller, Colby Sharp (the man, not the cheese), and possibly several other folks. The history is not entirely clear to me. Nonetheless! You can follow all their nerdy, book-loving, classroom-centered hijinks on Facebook, Twitter, and various other social platforms, I’m sure. 

 

 

These days, young people are crazy about zombies. That’s just a plain fact. Not every kid, of course, but a lot of them.

And I’m here to say: Use that as an advantage in your classroom. Seize the day zombie! Particularly when it comes to student writing. Some girls want to team up to conjure a story about a zombie apocalypse? Here’s a pen and paper. Go for it, ladies.

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Many students, as young as third grade and on up into high school, are watching THE WALKING DEAD. The secret that quite of few of them don’t realize is that the hit television show is not about zombies at all. It’s about people surviving zombies. The zombies themselves are boring, without personality, almost irrelevant. They could be switched out for deadly fog, or World War II, a forest fire, or a tsunami. The zombies are simply a device to propel forward a character-driven story. It’s the engine that drives plot — all those pistons churning — and gives each moment heightened meaning.

That’s my point here. Any zombie story is almost entirely about character.

zombie-3-comingWhat we need to recognize is that, counter-intuitively, the zombie plot device perfectly lends itself to character-centered story. In the case of THE WALKING DEAD, it could even be argued that it’s about family, blended, modern, unconventional, or traditional.

With, okay, some (really) gross parts thrown in. Warning: Some characters in this story may get eaten. Hold the hot sauce. Ha! And why not, if that’s what it takes? If a little bit of the old blood and guts is the hook you need to lure in those writers, embrace it.

You can’t write a good zombie story without creating an assortment of interesting characters. Then you place those diverse characters in danger, you bring them into conflict with each other, you get them screaming, and talking, and caring about each other.

As, okay, they are chased by a bunch of zombies.

There’s no drama unless the writer makes us care about his or her characters. Your student writers will be challenged to make those characters come alive, become vivid and real. We have to care that they live or, perhaps, really kind of hope they get eaten alive in the most hideous way possible by a crazed zombie mob. Screaming, hopefully.

Don’t be turned off by that. Remember, it’s really all about character development, keep your focus to that. Dear teacher, I am saying this: embrace your inner zombie –- and turn those students loose. We can’t all write about dinner parties and visits from Aunt Gweneth.

What they will be writing will be no different than your typical Jane Austin novel. Except for, you know, all those bloody entrails.

——

There are currently five books available in my “Scary Tales” series.

OneEyedDoll_cvr_lorez     nightmareland_cvr_lorez     9781250018915_p0_v1_s260x420     iscreamyouscream_cvr_highrez-198x300

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Writing Advice from a Master: “There’s Only One Question and One Answer.”

I have an uncomplicated relationship with the books of Stephen King.

For the longest time, I ignored ’em.

The problem was two-fold:

1) for whatever reason, I didn’t get around to them in high school, which was too bad, because of what happened next;

2) next, I went to college and got educated.

College can mess you up. I was a Lit major, trying my hardest to be a good student and a sublime writer, and for the most part that meant dealing with IMPORTANT BOOKS and LITERARY WRITERS and DIFFICULT TEXTS. I don’t regret any of that — it’s where I learned to love books, and I enjoyed many great teachers —  but I wish somebody said, “You know, don’t underestimate the value of a good story.”

It sound ridiculous, of course, since “a good story” is only everything.

But it took me a long time to grasp that plain fact. My head was in the clouds; my nose was in the air.

In college, I learned a lot, and later in life I had to unlearn a lot.

So I’ve come to Stephen King late in life. And now that I’m here I am filled with great respect for the man and the writer. I previously wrote about his excellent book on writing, titled — wait for it — On Writing. I’m not an expert on these things, but I found it to be the best, most relatable, no-nonsense book on THE JOB (& CRAFT) of writing as anything I’ve come across before or since.

I’m currently reading 11/22/63, King’s great novel about time travel and a man who seeks to change history by thwarting the Kennedy assassination.

Here’s a few lines from p. 150, which struck me as great advice and, for a writer with my flaws and proclivities, an essential reminder. Maybe it will help you, too?

“In both fiction and nonfiction, there’s only one question and one answer. What happened? the reader asks. This is what happened, the writer responds. This . . . and this . . . and this, too. Keep it simple. It’s the only sure way home.”

I posted this long ago, but thought I’d hurl it into the maw of the internet once more just in case you didn’t catch it the first time around:

Here’s a quick recap of Stephen King’s 12 guidelines:

1. Be talented

2. Be neat

3. Be self-critical

4. Remove every extraneous word

5. Never look at a reference book while doing a first draft

6. Know the markets

7. Write to entertain

8. Ask yourself frequently, “Am I having fun?”

9. How to evaluate criticism

10. Observe all rules for proper submission

11. An agent? Forget it. For now

12. If it’s bad, kill it

“Bad Decisions Make Good Stories.”

I came across this wall photo on the web. I wasn’t too crazy about it, frankly, didn’t strike me as hysterical, but number 10 got my attention:

Bad decisions make good stories.

(Click on the image if you wish to make it larger. You know that, right?)

I think that five-word sentence serves as an excellent piece of advice to writers. Just as we don’t want to read about perfect people who always do the right thing, and think the correct thoughts, there is nothing duller than a character who never makes a mistake.

It’s the imperfections that make us human. The wrong turns that take us to unexpected places.

I recently received an email from a middle school teacher who complimented me on Bystander. However, she wondered about the scene late in the book when Eric snuck into Griffin’s house. She wasn’t comfortable with it, didn’t feel that Eric was modeling the appropriate behavior, sending the right message. My answer was simple. First, I reminded her, respectfully, that I wrote a story, not a thesis, and that I never intended for Eric to portray “all the correct responses” to bullying. And secondly, that I had no desire to write about a character who never experienced a lapse of judgment. More importantly, as a writer I understood and recognized Eric’s motivation — that part made sense to me, the urge for revenge, why he wanted to take back what was stolen from him — even if it wasn’t the “right” thing to do.

The lapse made him more human.

Again:

Bad decisions make good stories.

Just to be clear: I also dislike it when character do incredibly stupid things for seemingly no reason, or when they act in ways that are inconsistent with their character. The “bad decision” should (or must) fit in with the logic of the character as written.

Or so I tell myself.

Write What You DON’T Know . . . Yet

First, this is funny:

We’ve all heard it. And most of us have probably said it. Write what you know. Value that singular fingerprint you carry, the gathered sediment of our long hours, the crazy accumulation of days, the fossilized imprint of memory — all that we know, and have felt, and dreamt. Start there, dear writer.

As most folks know from my school visits, I’m a writer who very much begins from the particulars of my life. My family, my memories, my experiences.

But also, but also, but also.

Let’s not forget, as we recite the mandatory mantra, write what you know, that part of the great fun and discovery of writing is to learn new things, explore new places and events, and to write it.

Write what you find out. Write what you learn.

Don’t feel limited by your small little town, the supposed meagerness of your experiences. Learn new things. Go out — seek, discover! I’m saying: Writing doesn’t have to always fall back on the familiar. Inspiration might well come from your journey into an unknown country.

That is, again: You can’t write convincingly about what you don’t know. But you can certainly find out. You can research a new place, a different kind of job, an illness, or any other place your imagination carries you.

I think many young writers, boys especially, feel constrained by this idea of writing what they know. Their lives, they might think at this age, are too dull, too boring. Not a story anybody’d want to hear, much less write.

(Of course we understand that it is not our lives, but our response to the life, that truly matters.)

We hear it so often, from so many writers: they love the research, the finding out; it’s the fuel that feeds the furnace. It gives flesh to the writing, the research becomes the fire, makes it all fun and, yes, even educational. You can imagine a character in a place you’ve never been, a beach or city or distant moon, so long as you convincingly make the reader know it, and for most of us that begins with research.

Write what you don’t know — but first, learn it.