Writing Class - Revealing Character Through Action

Novice writers often make the mistake of describing their characters rather than showing them in action. This not only slows the story down, but can be tedious to read.


To make your writing more powerful, try replacing common character descriptors with revealing action that forms part of the story. For example:


1. Instead of ‘Ted was stingy’ or ‘Ted was frugal’:

· Ted rummaged in the dark for his box of used matches. No point in throwing them out when he could use them again.

· Ted folded the piece of toilet paper over again and again; it would be a waste to flush it away after just one wipe.

· Why was the little girl asking for money? It had taken Ted a lifetime to accrue what he had, and he wasn’t about to part with it now.

2. Instead of ‘Beth was generous’ or ‘Beth was kind’:

· Beth gave the remaining coin to the beggar.

· Ignoring the rumble in her stomach, Beth handed her sandwich to the man with the limp. He did look hungry.

· As she changed the baby’s nappy, Beth smiled at her mum. ‘I’ll look after him,’ she said. ‘You go and rest.’


Do you prefer this approach? Or would you rather stick with ‘Ted was stingy’, ‘Beth was kind’?

Enid Blyton's Missing Manuscript

How timely that so soon after taking my trip down memory lane with Enid Blyton, this article appeared in this morning's Age. The mystery surrounding this missing manuscript is a fitting reminder of a much-loved author who wrote, among other things, quite a few mysteries.

Don't you just love this old black-and-white photo of her?

And check out the picture below:

Oh, how styles of book covers have changed over the years! Don't you just want to follow those mischievous children and see where they go?

You Might Have Missed - It's Not All About You, Calma

by Barry Jonsberg. This book is one of my all-time favourites. The story is narrated by Calma, a Year 11 student who tells us fairly early on that she is unreliable narrator. She is also a very believable one, and she relates her tale in a clever voice full of wit and humour.

This is a story about family, friends and jumping to conclusions. It's funny, relatable and very, very readable, and manages to combine realism with a good dash of romance. As an added bonus, the reader learns quite a lot about English (in which Calma excels) along the way.

Published by Allen & Unwin in 2004, It's Not All About You, Calma was shortlisted in the CBCA Awards, Older Readers, in 2005. If you haven't read it, I highly recommend you do.

Writing Class - Editing for Publishers: What your English teachers never told you

When writing &/or editing fiction, bear in mind that publishers prefer:

· Active rather than passive writing. eg. A waiter was serving Sally a piece of pie when a speeding Volvo shattered the window (16 words) rather than: Sally was being served a piece of pie by the waiter when the window was shattered by a speeding Volvo (20 words).

· Strong action verbs rather than weaker verbs attached to adverbs. eg. John strode down the aisle and grabbed the bride (9 words) rather than John walked purposefully down the aisle and forcefully took hold of the bride (13 words).

· The use of a few, well-chosen adjectives rather than a profusion of adjectives. eg. The essay was long, and yet it lacked depth (9 words) rather than The essay was long, drawn-out and extensive, and yet it lacked depth (12 words). Or better still, no adjectives at all. eg. The essay lacked depth despite its length (7 words).

It’s not a question of ‘good’ writing or ‘bad’ writing. Nor is it the case that the passive voice, passive verbs, adverbs or strings of adjectives should never be used. It’s just that, as the above examples show, active writing, strong verbs and fewer adjectives will generally make your writing sharper, clearer, and above all, shorter.

If you can get your message across in as few words as possible, your work will be more engaging and easy to read. And if your book is a long one, it won’t be because your writing is long-winded, but because you’ve focused on developing your plot and characters and exploring your themes.

Your thoughts on this one?

Down Memory Lane - The Magic Faraway Tree

and anything else by Enid Blyton. Let the critics say what they will, but this author must have done something right. Why else would generations of kids all love her books? The Magic Faraway Tree was a personal favourite (as was the Magic Faraway Tree Again), and I read it over and over again.

I first read it at the age of six or seven, but even at the age of 12 or 13, when my reading level was way beyond it, I'd still revisit it from time to time, and always enjoyed it as much as ever.

If there's one thing Enid Blyton knows how to do, it's keep the reader turning the pages. She hooks them on plot, has them bursting to find out what happens next, and makes sure the payoffs are worthwhile.

I loved climbing that tree, entering those magical lands, eating those toffee shocks, sliding down the slippery slip, making friends with Silky, fearing Dame Washalot.

Literary 'experts' might bag Enid Blyton, but in my opinion, writers can learn a lot from her bestselling books.

Ever had your novel rejected when you know it's good?

If you have, then you're in great company. Maureen Lang, today's guest blogger on Rachelle Gardner's blog On Life as a Literary agent, has written a terrific post called Don't Take This Personally, in which she reminds us of just why even a seasoned author's book might be rejected, even if it's the best book ever. I felt I just had to share.

You Might Have Missed... No Worries

by Bill Condon. The story is narrated by seventeen-year-old Brian who has dropped out of school and is working the night shift in a milk factory. His mum is mentally ill - dangerously so - and his dad is living in a shed. The issues he has to deal with are serious and confronting, but it's not entirely doom and gloom. There's a wonderful cameraderie among his co-workers, and a tentative, blossoming romance with a fabulous girl. Still, it's an ultimately distressing novel, though sadly accurate in its portrayal of the way in which the mental health system can often let you down.

The novel packs a huge emotional punch but is easy to read. The language is simple and direct - in fact, masterful. Not a single word is redundant or out of place. This was a book I couldn't put down.

Published by UQP in 2005, No Worries was an Honour Book in the CBCA awards 2006 and was shortlisted for the New South Wales Literary Awards. I'm so glad the judges didn't miss this one. Did you?