You never know what you do wrong until someone tells you, or until you do it. That is just how a lot of writing works. Even with critique groups you’re left pulling things apart yourself to figure things out.The broadest question is How to Write? and from there we get How Do I Become A Better Writer (#writelife #writerwednesdays) There’s a reason for that. Writing is a skill that is intuitive and learned, one of possessing talent and crafting skill, one of cultivating your best traits and minimizing your worst. It is easier said than done at almost every possible level. So it pays to spend more time figuring out your weaknesses especially for beginning writers and writers who have primarily written their craft for themselves. Doing the introspection, self-reflection, and criticizing yourself isn’t easy. You have to step away from your work for months if not years to even see how much you have or have not improved. But no matter what we can and must pick apart our writing somehow.
For the last few months I’ve been working on a novel, and truthfully something about it has felt off the whole time. I love the story. I love the characters. I love the central conflict. However something has constantly seemed off. So today I pulled out my book on writing guide: “Writing Fiction: A Guide to Narrative Craft” (The international edition) by Jane Burroway. I sat down at my desk and began to go through the book. I knew what worked so I stayed away from the chapters on characterization and focused on the other chapters. I reread old notes in the margins, and began highlighting chapters as I reread them. Why? Well the book is pretty damn great for giving you plenty of comparative examples of what to do and what not to do from both published and purely example based writing. It doesn’t speak in absolutes, but pulls from dozens of writers and pieces to give you a concise break down of how to write well, how to write compelling stories, and how to convey theme without sacrificing anything. And I went to the section on filtering.
Yes, I the “show don’t tell” critique queen, have a drastic problem with filtering. Filtering is between showing and telling. For example “She looked out the window and she saw him standing outside her building”, when for the whole paragraph we’ve been in her head so “Outside her window he stood on the stoop of her building, waiting”. Instead of relying on the reader to be smart and follow along; instead of allowing for direct action I present the filters like “seemed”(been using that one alot) “saw”. I don’t just show you what the character sees and that’s a problem. Honestly that is probably why I do it with others. Subconsciously I do know I have a deep struggle with using filters instead of conveying direct action. Why? Honestly it’s a natural inclination, but its also it is the result of careless readers in critique groups. You gotta pick them well people. I spent an hour or two reading the book again, carefully searching for my answer and now that I have it I’m taking action not just by editing, but by rewriting what I’m editing so it is more present, more in the moment, and direct.
It’s hard to be direct as a writer just like it is hard to confront our problem areas directly. I was very lucky that I picked up that book and managed to follow my instincts into what was plaguing me. I didn’t just fall on the page, but I’ve lived with my writer self for long enough to seek out my faults. Why? Because I was in those critique circles to begin with. As much as I did get some perhaps misinterpreted advice in regards to how to clarify who is what and what is in whose view I did get advice. Solid advice and reactions that allowed me to see where I could improve as a writer. Some people really are able to identify those things on there own, but even still other’s input allows you to see how others read. You need that feedback (and you also need to give feedback too because it does make you a better writer, but that’s another subject).
So what’s my point?
Take time to understand your weaknesses, and don’t be afraid to seek them out. Sometimes a writer can be positively wrong about something in their piece. We think the best part is the worst, we think the most nonsensical section is clear as day, and we even second guess out instincts. The only chance you get to know those weaknesses and address them is by digging deep and figuring them out. Get books on craft and read them. Join critique groups. And don’t be afraid to reread your pieces. Most importantly…don’t be afraid to edit. Sometimes out weaknesses are charming and add a particular character. Hell sometimes our weaknesses are so out shined by the good they don’t matter. But no matter what you owe it to yourself to take time to better understand them.
Do you want to know more about filtering? Do you want to know more about my erotica and romance writing? Ask me below, or just share you thoughts on knowing your weaknesses whether in writing or in life. I have plenty of advice both about writing and about life on this blog, and I think so far I’ve shared one thing…for writers both are deeply connected. We gain a lot by talking and exchanging. So go fill up that comment box!