Writing Rule #1: There Is No “One Right Way”

by Jami Gold on August 29, 2013

in Writing Stuff

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Every once in a while, I come across a blog post or a workshop description that makes me want to warn newbie writers away. The problem usually lies with the author/presenter’s insistence that their way is the best way, or in some cases, the only way.

The truth is that we all have to find what works best for us. We each have a unique brain (er, mine is possibly unique-slash-insane *smile*), and just because someone’s method works for them doesn’t guarantee it’ll work for us. There is no one right way.

Those of us who have been writing for a while usually know this truth already. But new writers don’t.

The Danger for New Writers

New writers are often desperate for advice that will guide them through the learning curve. I know I was. That makes them vulnerable to those who insist that there is a One Right Way—their way.

I’ve seen multi-published authors who plot their story insist that pantsing (writing by the seat of our pants) is asking for a mess of a story that will have to be deleted. In fact, one of my favorite writing books (Story Engineering by Larry Brooks) takes this attitude.

I’m experienced enough to ignore those sections as “you don’t know what the heck you’re talking about” blather, and I love Larry’s advice about story structure enough that I’m willing to overlook those sections. But when I recommend the book, I often include a caution about his anti-pantsing bias.

Bias Is Not Fact

New writers don’t know what’s a fact and what’s a bias. I fell into that trap myself. When I first became serious about writing, I thought I had to plot because that’s what all the advice said. Plotting was what Serious Writers did. Period.

So even though I’d successfully pantsed my Harry Potter fan fiction story, I plotted and completed my first original novel. Great! But it had no voice, emotions, motivations, etc. The story was a puppet to my outline. My experiment didn’t fail in a fireball of burning words, but the story wasn’t what it could have been either.

Then my muse took over and I successfully pantsed the next story. This one had a glorious voice and worked in all respects. Ta-da! Now I knew that pantsing works for me and was not a guarantee of failure.

In other words, Larry’s attitude toward pantsing is a bias—not a fact. Will pantsing work for everyone? No. Just as much as plotting won’t work for everyone. But will pantsing work for some? Absolutely.

(I’m sorry for picking on plotters about this, but I can’t think of a single time I’ve seen a pantser take this “my way or the highway” attitude. However, I’ve seen it from plotters  more times than I can count. Maybe the offenses from the “other side” just stand out to me more? *grin*)

What Should New Writers Do?

New writers (or heck, experienced writers—what works for us on one story might not work on another) should experiment. We won’t know what methods will work for us until we try.

Then, once we know something works for us, we shouldn’t doubt our methods just because someone says theirs is “better” or the “right way.” Sometimes ignoring our self-doubt is easier said than done, but maybe reminding ourselves that there is no one right way will help.

Just looking at the pantser-plotter continuum, there are several methods we can adjust from story to story. Other writing endeavors like editing, synopsis writing, query writing, marketing, social media, etc. will all have multiple approaches as well.

To give you an idea of the variety of methods we should feel allowed to experiment with, I can think of the following elements we might know at the start of a first draft along the pantser-plotter continuum and still successfully complete a story:

  • Only a first line (not even a premise)
  • A hook
  • A brief character description and a mannerism or quirk
  • A character’s backstory
  • In-depth character descriptions (with or without a plot)
  • An opening scene/situation
  • A theme
  • A core conflict
  • The “point of no return”
  • The Climax (related to premise)
  • Character arc
  • A back-cover blurb
  • The big four plot turning points (story arc)
  • All the main plot/character turning points (beat sheet)
  • A brief (2-5 page) synopsis
  • A chapter outline
  • A scene-by-scene outline
  • A detailed (20+ pages) synopsis
  • Scene cards with a summary, information about setting, POV, scene arc, goal, motivation, etc.

That doesn’t even count the methods for how to write:

  • in the morning
  • in the evening
  • use NaNo, #1K1hr, and support from other writers
  • while waiting between errands vs. only in big chunks
  • x number of pages/words/hours a day
  • linearly vs. non-linearly, etc.

I hope new writers reading this get the idea that there’s too much variety—with too much evidence of success all around (I’ve used about half of the first list and tried everything on the second)—to accept that one way is better than the rest. One way might be better for us, but not better for every writer and every story.

What Can Experienced Writers Do?

Those of us with experience can watch our messaging. We can make sure we’re not advocating a “this way is better” attitude. We can share our varied experiences to add to the advice available. We can suggest “if this way doesn’t work for you, feel free to try x too” when we see new writers listening to others with that attitude.

When we’re experienced enough to know what works for us, it’s easy to overlook or ignore advice that we know doesn’t apply to us. It’s even easy to be a bit too strident with the advice we give. (I’m sure I’ve made this mistake myself, so I’m not looking to place blame, but rather I’m reminding us all of the power we have to influence others.)

I try to embrace the nuances in situations. My stories often explore the gray areas between good and evil. My editing and beta reading comments try to focus on information and suggestions rather than rules. My “Lost Your Pants?” workshop is built to work with many of those drafting methods above and is filled with “only do this step if it helps you” disclaimers.

It’s easy to think in black-and-white, good-and-bad, or pantser-and-plotter terms. Reality is more often somewhere in the middle. Let’s help new writers realize that this truth applies to writing too. *smile*

Registration is currently open for my workshop on how to do just enough story development to write faster, while not giving our pantsing muse hives. Interested? Sign up for “Lost Your Pants? The Impatient Writers Guide to Plotting a Story.” (Blog readers: Use Promo Code “savethepants” to save $15 on registration.)

Have you seen blog posts or workshops with advice you know to be misleading? Have you ever been led astray by bad advice? Have you experimented with different writing methods? How did you figure out what worked for you? Do you have other suggestions for how we can overcome “this is the best way” messages?

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38 Comments below - Time to Add your own.

Melissa Maygrove August 29, 2013 at 6:16 am

Agreed. Very good (non)advice. 🙂

I wonder if successful pansters aren’t simply natural plotters. They just don’t need to map it out on paper. Their innate talent maps it out as they go.

When I finally read Snyder’s Save the Cat and put my story to outline and scene cards, it matched his beat sheet surprisingly well.

Fwiw, I’m a hybrid. 🙂


Jami Gold August 29, 2013 at 8:57 am

Hi Melissa,

That’s a good question and I don’t know the answer. 🙂 I know I have an innate sense of a story arc, and even my fanfic story (before I studied anything writing related) follows a beat sheet. But I don’t know if that natural instinct is normal for pantsers or not.

I pants all my stories now, but some have more planned concepts than others. 🙂 Thanks for the comment!


Carradee August 29, 2013 at 9:16 am

When I […] put my story to outline and scene cards, it matched [Blake Snyder’s] beat sheet surprisingly well.

Me, too! *grin* Also a hybrid.


Carradee August 29, 2013 at 9:20 am

This is something I sometimes find myself having to stress to some of my clients, because they’ll be attempting to apply techniques…that are intended for something other than what they’re writing.

A natural too-thin writer trying to trim-trim-trim because that’s what the advice she reads says to do—advice written by a natural TMI writer. A pantser trying to force herself to plot. A omniscient POV technique applied to “close” third person limited (which is actually oddly common but I have yet to see it actually work).

But how’s the writer to know that the advice doesn’t apply to their situation if the advice’s author doesn’t tell them wherein the advice applies, or at least acknowledges that it doesn’t always apply?


Jami Gold August 29, 2013 at 9:39 am

Hi Carradee,

Excellent examples! Yes, a new writer might not have the context yet to know that advice is situation-dependent. So either the advice-giver has to be clear about the situation (“If you have trouble with A, you might want to try B.”) or has to share those “this might not apply to you” disclaimers. Thanks for the great comment! 🙂


NicoleW August 29, 2013 at 12:39 pm

Bad advice? Oh yes. This reminded me of the creative writing teacher in high school who told us that we should avoid using the word “said” in dialogue. Even as a teenager I thought that seemed silly (it was easy enough to go to the library, grab a book by a Great Writer, and see the pages festooned with “He said” and “She said”), but I still see that one popping up on various writing forums.

There’s a kernel of good advice in there — I do think it’s good to occasionally replace “said” with other kinds of dialogue tags such as actions — but to suggest that people never use it? Really? Too often I think that leads to characters exploding and roaring and howling and doing other things that are far more jarring than a simple “She said” would have been.

As for pantsing vs. plotting, NaNoWriMo is going to be interesting for me this year. I pantsed my last two novels, but because the new one I’m going to write is the last one of the trilogy, I’ve actually done a bit of planning for it this time. I haven’t written out a whole synopsis or anything, but I’ve been sketching out a vague outline all year as various ideas come to me. I’ll be curious to see how this works out in November.


Jami Gold August 29, 2013 at 1:31 pm

Hi Nicole,

Ugh! Yes, I received some advice before about varying the beginning of sentences by using present participle phrases (Running up the stairs, George shouted for help.”). Um, no. That usage is actually a mark of an amateur unless the sentence structure or content demands it. Like the bad advice you received, yes, it’s valid sometimes, but not valid as general advice for every situation.

Good point about how connected novels in a series might require more planning. As I mentioned in the post, I’ve taken a slightly different approach with each pantsed story (everything from a first line with no premise to having vague ideas for all the main turning points), so it’s good to experiment–or at least to recognize that we’re not locked in to only one method. Good luck with NaNo and thanks for the comment! 🙂


chemistken September 3, 2013 at 6:15 am

I didn’t realize that starting with present participle phrases was considered bad. Looks like I’m going to have to go back and change a lot of my story. 🙁


Jami Gold September 3, 2013 at 10:22 am

Hi ChemistKen,

Oh my gosh, neither did I when I first started! I actually argued with the editors. LOL! But they gave their readers a simple assignment: Open a traditionally published book from about 5 years ago (back when editors possibly edited more than they do now) and count how many leading present participle phrases you find.

Darn it! I checked 5 books and some had virtually no leading PPPs, while others had about one a chapter. I think I found one that averaged a leading PPP every other page.

Nothing like my first draft with a leading PPP every other paragraph or so. 😀 Oops.

*sigh* I spent a whole day searching on *ing to edit my first story. Now they stand out to me so much I typically use 5 or less per story. LOL!

Using too many of them is a mark of an amateur because a high number shows that the author is using them for sentence variety (which isn’t their purpose) rather than for sentence clarity. I can certainly do a blog post about it if you think it would be a good idea. 🙂 Thanks for the comment!


Diana January 30, 2014 at 4:14 pm

I didn’t know this either. It’s a good thing I’m still working on my first draft. I think I’ll have to search for “ing” words.

A blog post would be a good idea, at least for me.


Jami Gold January 30, 2014 at 4:16 pm

Hi Diana,

I did later do a blog post discussing this more. 🙂 I hope this helps.

Let me know if you have any questions. 🙂 Thanks for the comment!


Leslie Miller August 29, 2013 at 3:42 pm

Great post Jami! I’m working on the third draft of my first novel (which I pantsed, starting with a first line as my inspiration) and I’ve almost been brainwashed that it would have been better if I had plotted it. But I love the way the story unfolds in its own time, as much a surprise to me as anyone else by pantsing. I have considered a wee bit of plotting for book two, but I have no idea of the plot, lol. So I suspect you, me and Stephen King will just keep merrily pantsing along.

But you do bring up a great point. After I started the novel, I was immediately aware of what I don’t know about novel writing, and the more I read, the less free I felt to just throw out that first draft. I became afraid of doing it “wrong.”

I’m actually delighted with how it’s turning out and am about to pitch to two agents at a writing conference next month. Thanks for all your terrific articles!


Jami Gold August 29, 2013 at 4:04 pm

Hi Leslie,

Yes, it’s such a delicate balance to be open to learning new things and not constantly doubting ourselves about what we know. We have to trust ourselves when something is working for us while still being willing to see if something else will work better. It’s a tightrope walk, that’s for sure. 🙂 Good luck with your pitches and thanks for the comment!


Kathryn Goldman August 29, 2013 at 3:44 pm

Jimi Hendrix couldn’t read music and played his guitar upside down. He was almost certainly a pantser musician. You know he experimented because nobody had ever done what he did with a guitar. The analogy may not be apt because music, if not recorded, is gone once it’s played and the written word remains until it is edited away. But the point that there is no right way and the advice to experiment using the guidance of those more experienced should help set the muse free.

I think the key to your post, Jami, is that a writer has to be able to recognize when something is working and when something isn’t. New writers look for road maps because they tend to lack a sense of direction. The caution is that even a GPS can take you the wrong way.


Jami Gold August 29, 2013 at 4:05 pm

Hi Kathryn,

LOL! So true! Thanks for sharing the great examples! 🙂


Melanie Marttila August 29, 2013 at 5:22 pm

Great post, Jami. I so agree with you about Mr. Brooks. I have read Story Engineering, too, and I follow his blog, but I have to make an effort not to be offended by what his experience has taught him to be true.
Maybe pantsers are too laid back.
The only right way is the way the individual writer chooses, regardless of what that might be. Only time and experience can teach the writer what that write, er right, way is.
It’s all part of the process.


Jami Gold August 29, 2013 at 6:10 pm

Hi Melanie,

LOL! about pantsers being too laid back. That’s entirely possible. 🙂

And you’re right that discovering what works for us is all part of the process. 🙂 Thanks for the comment!


Serena Yung August 29, 2013 at 9:03 pm

Interesting that from your experience, people have been saying that plotting is better than pantsing. From what I’ve heard, people have always been insisting that PANTSING is superior to plotting. XDD I don’t know what kind of social circle I come from, lol!

Thankfully, pantsing does work for me. Though at times I do “plot” a bit. Basically, I pants until I can’t pants anymore and then I plot. I plot until I can’t plot anymore and then I pants again, lol.

Yes, as I’ve told you, this was one of the greatest lessons I’ve learned in writing, that you should never completely trust any one piece of “advice” (except for this one, lol!) I read a lot of story writing tip books when I was young and as a result collected a whole bunch of “rules”. Then as I grew older and read more books, I found MANY, MANY exceptions to their rules, where books could break those rules yet still be very enjoyable to read, or still very effective in conveying what they wanted to convey. So I learned not to trust any one rule.

Some “rules” that I’ve seen (some I’ve shared with you already in the past):

1) The main character(s) must be 3D, complex, and developed.
–>There are plenty of stories with pretty 2D and simple characters that I still enjoyed very much–AND I still managed to like and sympathize with these characters.
(Flat characters are great for comic relief and satire, for instance.)

2) Never use adjectives or adverbs (except for factual ones like “black” curtains.) Only nouns and verbs allowed.
–> I later read a lot of books with tons of adjectives and adverbs, and found the prose very lovely to read. In fact, if we took out all of those flowery describing words, the prose wouldn’t give me such a huge and nuanced emotional impact as it did now. This “spare” method runs the risk of sucking out potential emotion stirring words.

Yet this could just be me. I’ve been known to have (even physiological) reactions to different adjectives. Words like “euphoria”, “gladness”, “joy”, “elation”, “ecstasy” actually do have a strong physiological as well as emotional effect on me, lol! But I know two friends who DON’T react much to mere adjectives. They may require specific imagery or actions, to feel the emotions. Adjectives don’t move them as much as they do me. I really don’t know why…lol.

Speaking of this topic, when I write more emotional scenes and want to use such adjectives, I like to see which word causes the right kind of physiological (and emotional) reaction from me and I’ll choose that one. After writing the entire story, when I read through this emotional scene, I would feel those same emotions I wanted myself to feel because those words were specially chosen to stir me in specific ways. Eh—hopefully some other people would be so easily responsive to adjectives like I am too, haha.

3) Never write flowery prose
See above for my rebuttals. Flowery prose tends to stimulate me (emotionally and physiologically) more strongly than “bare bones” prose, lol. Ralph Waldo Emerson and Edgar Allan Poe are good examples of this. Charlotte Bronte and George Eliot are too.

4) You must have tension/ conflict in every single scene
- There turns out to be a lot of stories with long scenes (or even chapters) of mere peace and joy, with no conflict at all, but are still engaging. In fact, instead of feeling bored, I felt very happy reading those scenes because I could feel the joy that the character was feeling.

5) Always aim to be concise
Firstly, I find that if you aim to be concise, you tend to make things overly short, such that the sentences become abrupt and choppy—they lose the flow. So I would much rather have prose that flows and sounds natural. The resulting music is what counts!
Secondly, often, I find that it’s good to be rambling and longwinded instead of concise. These ramblings often show me the complicated “tangles” of a character’s thoughts. The more rambly and long the thoughts are, the more psychological and “deep” the thoughts feel, and the more realistic and relatable the character’s feelings become. At least, I personally like it when characters ramble a little in their heads—as long as it doesn’t go overboard. In fact, I usually like these “psychological passages” so much that I call them “psychological complexity passages”. These passages make me feel that the character is complex, developed, and human.

6) Long speeches are always bad. Only use (relatively) short dialogue.
It’s true that some readers detest long speeches, but I personally love them, especially if they’re the “psychological complexity” deep character development passages. It’s often in these long speeches and rambles that I feel a profound sense of who this character is, what their beliefs and values are, etc. These long speeches also generate an overall “huge block of emotion” for me: I read through a speech and feel all the emotions in it all the way until the end; by that time, I would already have gone through a whole journey of emotions. I.e. long rambles let me as a reader to follow and experience all their thoughts and emotions, in the tangled and messy and meandering form that they are in the character’s mind.

7) Never do static descriptions.
I’ve read a lot of books with a lot of “her X is Y” (e.g. “her shawl was white”) without feeling too bored or disconnected. Maybe the author managed to succeed even with static descriptions because there weren’t too many of them in the overall book.

8) Dynamic, Changing Characters are always superior to and are more interesting than Static Characters
Again, not true. There are a lot of characters who never change, whom we nevertheless feel connected to and love—and stay interested in. These people assume that static characters are always less developed (or flatter) than dynamic characters, yet there are many cases where the static characters were MORE developed than the ones who had an actual arc!
Plus, there are characters that you don’t want to change. Like sometimes I see a cool villain and go, wow he/she is soo evil, that’s so awesome; but later he/she becomes good and I groan in disappointment. “Aw! I wish he/she would stay evil. Why is he/she so nice now??” =( Lol!!

9) Don’t ever use unusual words or phrases
This depends on what kind of audience you’re writing for. Some readers demand or are much more comfortable with words and phrases that are very common. These readers detest deviations of any kind. Yet there are also readers who welcome, or even look for, such unusual use of language in stories. I’m personally quite attracted to strange, even cryptic, phrases. As long as these unusual words or phrases don’t sound too ridiculous or dumb.

10) Don’t use “said” all the time.
It’s true that some readers hate seeing “he said” “she said” all the time, yet for some other readers, the word “said” is invisible. So by using “said” all the time, the writer is making the reader focus on what the characters are actually saying, rather than how they’re saying it (“growled”, “shouted”, “hissed”, etc.)

11) (Our favorite rebuttal) Show, don’t tell
Show is great, but I often like it when writers tell me exactly what they mean, or exactly what their character feels, rather than expecting me to guess everything. There are times when you suspect that a character feels a certain way, but you’re not sure, so it makes me happy when the writer confirms that the character is indeed feeling X by directly telling me so.
Plus, telling the readers brings the thing into the readers’ conscious awareness. I may unconsciously feel that Harry is X, but I might not actually know consciously that he is X. So I find it very helpful when writers point out explicitly what it is that we were feeling under the surface before.

Also, I find that some writers are trying too hard to show and not tell. So they labor to find a way to say “Tom was happy”, and may come up with something cumbersome or weird or too complicated, when a simple “Tom was happy” would actually do much better.

13) Don’t explain things to the reader or else you will insult the reader’s intelligence.
Some readers are actually very grateful when you explain something to them that they were confused about before, and don’t feel that their intelligence was insulted at all.

12) Don’t use exclamation marks ever unless the character is actually shouting.
A lot of books use exclamation marks even if it’s not shouting and is just a display of emotion, and I didn’t find anything wrong with this. The characters didn’t annoy me or anything. It all felt natural. Though too many exclamation marks may end up making the story feel like a comedy instead of something serious.

13) Start every scene with something fast, tense, or exciting
In the Dresden files, there is a lot of tense action throughout the book, so it was nice that most scenes started with a calm (or “eye of the storm”) setting description to let me rest after all that fast-paced excitement.

14) Always avoid clichés
We’ve talked about this before, lol.

15) Must engage the five senses.
False again! I often find descriptions of smell and taste quite excessive. I mean, they’re okay, but usually I think they’re unnecessary; I can enjoy and understand the story just as well without them. The sense of touch is a bit better. But in general, unless the smell, taste, or touch is actually IMPORTANT to the story, sight and sounds are already enough for me as a reader. (Though I do admit that sometimes touch, smell, and taste can be very vivid and sometimes even pleasant, to read and therefore experience.)

That’s all I can think of so far!

Great point about how we more experienced writers need to be careful when talking to newbies that we don’t make our ways sound like the “right” way. In fact, when I gave my first tips to this new beginner, I told him right off the bat about the non-absolute nature of the “rules”, and told him to be aware of that.


Jami Gold August 30, 2013 at 11:54 am

Hi Serena,

LOL! You just think pantsing is the “norm” because you hang out with me so much. 😉

Actually, I’m going by the sheer numbers of blog posts and workshops about plotting. I don’t think I’ve *ever* seen a workshop about pantsing (other than my “Lost Your Pants?” one), but every conference offers several workshops about plotting. From the simple fact of numbers and the kinds of results that show up under simplistic Google searches like “how to write a book,” new writers will be exposed to a lot more information about plotting than about pantsing.

It’s funny that you mention your “pants ’til I can’t, plot ’til I can’t” approach, as that’s a lot like the plan “just enough” attitude I take in my workshop. 🙂 I say a lot of “don’t do this until/unless you need to” during the class.

Wow! What a fantastic list of rules that don’t always apply as much as people say they do. And your explanations of the exceptions are wonderful. Like you’re absolutely right that (#1) comic relief characters are often non-3D.

And with #5, I’ve found that my word counts for stories are all over the map because so much depends on the “chattiness” of the POV character’s voice. Some are naturally more expressive than others, and cutting those somewhat-extraneous words out would change their voice.

With #8, plenty of non-chronological series use characters that don’t change or have an arc on any sort of deep, permanent level. With #10, I try to avoid dialogue tags at all (I use mostly action beats), so “said” isn’t an issue for me one way or another. LOL!

With #11 and #13(the first one 😉 ), exactly! Sometimes we do have to come out and explain things in a direct, clear way.

With #15, I have a really hard time including senses because I’m mostly oblivious to them in real life. I suspect I’m not alone. I mean, if I’m walking barefoot across carpet, I’d only rarely think of the texture under my feet–the texture would have to be extra good or bad to be noticeable. 🙂 So I have a hard time believing most of my characters would be much different.

Thanks for the great comment!


Serena Yung August 30, 2013 at 7:16 pm

LOL! XD Why did I put in an extra #13 in there?! Haha.

Actually, I thought pantsing was the norm even before I started following your blog. I think it’s because there was a time when I hung out at a writer’s forum on fanfiction.net (yes 🙂 ), and it seemed that MOST of the writers there were pantsers. XD So I really believed that that was the norm, lol.

Yeah, exactly. I’m very oblivious to smells and tastes too (unless it’s in my mouth). Touch is much more accessible to me though. If “accessible” is the right word.


Jami Gold August 30, 2013 at 7:34 pm

Hi Serena,

Oh yes! I’d bet many who write/post a chapter at a time on fan fiction forums are pantsers. Good point–thanks for the comment!


chemistken September 3, 2013 at 6:10 am

Couldn’t agree more. The more I learn about writing, the more I realize that many of these rules are just personal preferences by other writers. And I’ve discovered that most of these rules, even the ones I agree with, are usually only noticed by other writers. Non-writer readers, which comprise the vast majority of our intended audience, generally don’t notice these things at all.

I liked Larry Brooks’ books, but I do have to take some of his pronouncements with a grain of salt.

BTW, I loved Serena’s list.


Jami Gold September 3, 2013 at 9:40 am

Hi ChemistKen,

Very true! Many of the craft rules are things that only other writers would ever be conscious of. For me, the main craft rule I pay attention to is “don’t take the reader out of the story.” That, in a nutshell, is why any of the other craft rules matter. 🙂 Thanks for the comment!


Linda Maye Adams September 6, 2013 at 3:54 am

Have you seen blog posts or workshops with advice you know to be misleading?

Yes, many, many times. Most of them, in fact. It got to the point where I started looking at what the writer’s background is. If they’ve published as a career writer and won prestigious awards, then I start paying more attention.

Have you ever been led astray by bad advice? Have you experimented with different writing methods? How did you figure out what worked for you? Do you have other suggestions for how we can overcome “this is the best way” messages?

Yes, I have been led astray. There are so many writers’ processes that are masquerading as technique. Technique tends to be very simple and easy. Process tends to complex and sometimes even gimmicky. I can only tell you what I did. Most people won’t want to do it because rules are comforting. People feel like if they stay inside the rules, they’ll have a chance of being successful, even if the rules are made up.

1. I threw out the rules. All of them. I’m working at trusting that the creativity will know what to do.

2. I’ve walked away from all the myths that the writing advice is full of. That’s harder than it sounds. There are are lot of myths. They usually start with “You can’t do X …”

3. I dropped off most of the writing blogs and stopped looking for tips. Tips tend to be more of the same problem. I also walked away from two writing message boards that I’ve been members of for years for the same reason. I just can’t have the rules being thrown at me every time as if they were legitimate writing techniques any more.

4. I’ve looked for courses from writers who are teaching writing professionals, not beginners. I took an Odyssey course last year and am in an Ideas workshop, and I can’t believe the difference. I’m treated as someone who knows what they’re doing and just needs a nudge in the right direction, not as a clueless beginner.

The problems have always been there, but it’s gotten worse with the internet. I think social media is the fault of a lot of this because a fiction writer cannot really have a platform other than teaching other writers how to write. Thus, a person who publishes one book, declares themselves an expert so they can make money, and may be five years from now, they’ve stopped writing. Look for the career writers.


Jami Gold September 6, 2013 at 12:22 pm

Hi Linda,

“There are so many writers’ processes that are masquerading as technique.”

Well stated! Yes, process can be very individual, and the trouble comes from trying to apply it to every situation as a set of rules. You’re also right about how and why people often like staying inside the rules.

I love your “rules.” 🙂 I think one reason I’ve tried learning all the grammar and craft stuff I can is so I can “throw out the rules” with confidence. So I definitely understand your attitude. LOL!

As you said, sometimes the hardest part is finding instructors who are qualified. I think I mentioned after RWA National last summer that I’m at the point in my craft knowledge where I don’t get anything out of most craft workshops at conferences. On the one hand that’s a good sign, but on the other, that makes it harder for me to push myself. Thanks for the great comment!


ReeceCity October 4, 2013 at 10:19 am

Hi, Jami, thanks for recommending this post to me, just finished reading it. I think I’ve mentioned in my last post to you that I’ve been studying writing for years, and my research is never done. A writer can always learn new things about their craft. Just yesterday, I’ve come across quite a few writing biases from the only the best in the writing profession:
Stephen King, On Writing—“The road to hell is paved with adverbs.”

Ernest Hemingway on prose— “Prose is architecture, not interior decoration.”

Khaled Hosseini—“About clichés. Avoid them like the plague.”

William Faulkner on favoritism in writing—“In writing, you must kill all your darlings. Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it whole-heartedly – and delete it before sending your manuscripts to press.”

Writing biases are looked at and should be looked at by anyone who wants to understand how people see writing, and how people see mistakes in writing. A professional’s bias in writing should be a key thing to consider. There is no one way to write, but you must listen to other writer’s methods to learn how to write to begin with.
I’ve done that. Now I just have to listen to myself.


Jami Gold October 4, 2013 at 6:42 pm

Hi Reece,

Exactly. Those “always” or “never” instructions are often biased. For example, adverbs exist in our language for a reason. When they’re appropriate, I say they can be used. Can they be overused? Sure. But I don’t see anything wrong with them in moderation. 🙂

Yes, we can take in advice, but ultimately, we have to find what works for us and our voice. 🙂 Thanks for the comment!


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