There’s no doubt about it, the current trend for verbification – using nouns as verbs – can have a profound effect on our writing. We have social media to thank for some of this – the requirement to express complex ideas in 140 characters was bound to have a minimising effect – though verbification has been around a lot longer than Facebook and Twitter. The knock-on effect is that our use of language has changed subtly to accommodate this phenomenon. We parent, we text, we friend. We used to set a trend, now we are trending. Our writing group used to offer criticism, now we critique. Once, I wrote pieces for this blog. Now I simply blog. The noun has become the verb.
Worryingly, hunting for antiques has become antiquing, in the USA at least. I’m happy to report that we haven’t succumbed to this practice yet in the UK. Continue reading →
Following on from last week’s post about alienating readers with difficult words, I had an interesting discussion with a member of my writing group about the referencing of popular culture in my WiP and pieces from other group members, and how this can have a similar effect to using unfamiliar words . Given that pop culture permeates our everyday lives at all levels of society, should we ignore it, or embrace it? Continue reading →
Criticism is part and parcel of the writing process. Without it we will never know if our work is any good, but to benefit the writer the comments must rise above the personal – those kindly responses that don’t offend but don’t offer anything useful either – and address the problems with the writing itself, rather than with the writer.
My mother always used to say, If you can’t think of something pleasant to say, don’t say anything. This might be useful advice in some areas of my life, but it’s completely useless when critiquing another’s work. Writers, particularly beginners, want to know if their work hangs together, makes a thumping good read, has believable characters and plot. Some even want to know if they’ve got the spelling and punctuation right, too. Hearing that the result of sleepless nights, tortuous plotting sessions and numerous rewrites is ‘quite a nice read’ is more likely to send us into a slough of depression than any amount of constructive criticism.
Fiction – is there a reason for it? A point to it? Why do we read it, or write it?
The main function of fiction has always been to entertain. Losing oneself in a good book on a rainy afternoon is an enormous pleasure but we don’t usually expect a novel to be life changing; that is not the primary reason for reading fiction. But novelists have always written about the human condition. In fact, you could say that it is one of the duties of the novelist to draw attention to the ills of society and encourage us towards change. This is why some draconian regimes condemn the writing of novels as a subversive activity, which has to be banned. These governments fear novel writers because they offer a different version of the world to the one they are keen to perpetuate.
When I first started to write a novel, I thought I knew what I was doing. After all, I figured, I’d read lots of them. What could possibly go wrong?
Just in case there was something I might have missed, I enrolled on a 5-day residential novel-writing course. I won’t mention the name of the organisation. Suffice it to say it is very highly regarded in the field of literary endeavours. Maybe I just hit a bad week, but it was a pretty expensive waste of time and I won’t dwell on it, except to say that I’ve since heard an interview with one of the tutors where she actually admitted how bad she’d been that week. (I think she only did it once; she wasn’t temperamentally suited to the concept of coaching at all.)
Non-verbal communication is usually understood to mean the process of creating or representing meaning by sending and receiving wordless, usually visual messages. These can include facial expressions, gestures, body language and eye contact. But how, I hear you ask, can this possibly help the writer? We need to examine the concept in a little more detail.
Previous posts have discussed the art of showing, not telling. Non-verbal communication falls firmly into the ‘showing’ category. Our characters don’t have to say anything to convey how they are feeling. The postures they adopt, their facial expressions and unconscious actions or tics will all reflect their moods and tell the reader more about the characters’ thoughts and feelings than long paragraphs of description, speech tags and adverbs.