Blog

Posted on

How I Define Bad, Good, and Great Writing

A book lays open with some of its pages folded over to create a heart shape.

In my last post, I wrote about some practical tips and approaches for writing better prose. Then someone asked me about the qualities I think make writing good or even great. It was an earnest question, but the question, itself, is a bit of a trap, I think.

My tips, generally speaking, will be broad or even unbearably mechanical. Some might consider them vague or esoteric. Others might consider them unhelpful.

Without turning this post into one about creative writing pedagogy, I think it’s vital to grant writers the space to be themselves, to explore their own tastes and desires in literature, to become the writer they were meant to be not the writer the world thinks they should be. (I acknowledge there are writers who want to write to market, and that’s great, but I’m not the best teacher for those writers.)

Which is to say I’m never going to tell you what to do. I’m going to try to guide you toward figuring that out for yourself.

So when I was asked how I see the lines between bad, good, and great writing, I felt a little wary of defining bad, good, and great writing for others. I think saying the lines between them are subjective is a bit of a copout, and I think it’s wrong. I think we can define good art, though importantly, I think the bar for what constitutes good art should be set perhaps shockingly (to some) low.

Continue reading “How I Define Bad, Good, and Great Writing”
Posted on

Practical Tips for Writing Better Prose

A frustrated man at a typewriter with many pieces of crumpled paper nearby.
Photo by Andrea Piacquadio, Pexels

I think it’s important to know your strengths as a writer. That way, you can embrace them and lean into them but also challenge yourself to grow in other ways.

One of the most common pieces of positive feedback I get is about my prose. It’s nice to hear, because I’ve worked very hard to develop that as a strength.

Now, I’m not claiming I am the best proser that ever did prose. I’m simply saying I think my ability to construct a sentence is one of my strengths. I have many weaknesses. Believe me, no one knows my weaknesses as a writer better than me.

I attribute some of my prose acumen to one of my other artistic loves: music. There was a time in my life when I considered myself a musician, and for many reasons, I shifted focus to fiction. However, I think the time I spent studying, composing, and thinking about music tuned me toward the melody of words. Some writers struggle with voice and tone in their writing. Those are elements that come naturally to me. I often tell people I can’t write a character until I hear them speaking to me. I usually get a funny look for that, but it’s true. Every character, at least the way I write them, has a voice, a musicality that gives their personality color. Once I hear them, my job is to help readers hear them, too, using text. That’s the goal, anyway.

I do think some writers are naturally inclined toward writing good prose. Writers are, and this is true, people, and every person has natural abilities. That isn’t to say I believe in the “it” gene for anything, really. I think everyone can write good prose if that is what they want from their writing.

What are your strengths? What are your goals? How can you leverage your strengths to achieve your goals?

Continue reading “Practical Tips for Writing Better Prose”
Posted on

Short Essay Up on the Cheuse Center Website

A panoramic picture taken at the U.S.-Mexico border. The vantage point is on top of a hill from a dirt road, across a green, swampy landscape, and the viewer can see where construction of Trump's border "wall" ceased.

A couple of summers ago, I was very fortunate to be able to travel for research on my novel in progress. With funding from the Alan Cheuse International Writers Center, I got in my car and drove from my home in Virginia to the U.S.-Mexico border. I’m not talking too much about the novel yet, but you can bet it’s set somewhere between Virginia and the U.S.-Mexico border.

Anyway, the trip was both harrowing and amazing. It was that uncertain summer of Covid in which we had vaccines but we weren’t really sure if everyone was getting them or if they even worked, and on top of that, I was dealing with some ailments that necessitated medical attention and I was in my head about the fact that I was going to some fairly remote parts of the country.

I tend to do that. Get in my head about stuff.

But I did it! I went there and back again (and the only ring involved symbolizes my love for my wife).

Two years and hundreds of thousands of words in the novel later, the trip has been incredibly inspirational and informative to the point that I’ve been, perhaps unwittingly, working on a personal narrative essay about it, too.

The Cheuse Center has been publishing short works inspired by their fellows’ trips, and Leeya Mehta, interim director of the center, contacted me about contributing. I ended up sending her many more words than she likely expected or wanted, but we were able to focus in on one portion of my essay in progress about my novel in progress.

You can read “The Line We Drew at the End of a Nation” now. I hope you enjoy it. Maybe someday the full version will be out there somewhere.

For you fellow authors, if you can go to the places you’re writing about, I highly recommend it. I am saying this more and more these days, but to become a better writer, you have to read, write, AND live. There is no substitute for getting away from your computer and experiencing the world you want to write about (yes, even if you’re writing about alien worlds, you should look to ours as reference points, but also, your alien world should, in some way, reflect our world, and I’m in my head about this, aren’t I?).

Digression aside, I have much more confidence in this novel because of the travel afforded to me by this fellowship, and that’s because the novel is much better for it. If you’re an MFA student in the GMU creative writing program, apply for this fellowship.

Posted on

Episode Thirteen by Craig DiLouie

It’s been a while since I’ve read a good ghost story, and there’s a reason for that. The genre has become so defined by its tropes that it’s formed its own subgenre of reality TV, which itself has tropes. Genres evolve, but between evolutions, they fall out of favor, the proverbial haunted house going inactive during the daylight hours.

Now, I’m loving what Mike Flanagan is doing with ghost stories on film. He seems to be progressing the genre into character-driven territory in which the horror is driven by environment instead of gorey thrills. As above, so below, what Flanagan brings to film, Craig DiLouie is bringing to literature.

His latest, Episode Thirteen is a further evolution to the ghost story genre, taking a ghost hunting reality TV show and fictionalizing one particular hunt where the show maybe gets a little too real.

Continue reading “Episode Thirteen by Craig DiLouie”
Posted on

What It Means that HBO’s The Last of Us Is Good

Book-to-film adaptations can be hit or miss, but it seems like a rule that video-game-to-film adaptations are always bad. Good and bad in any artform are, of course, matters of taste, but there’s a persistent, nagging sentiment in popular media that, when filmmakers consider a video game adaptation, they take its success and built-in fan adoration for granted. Producers wield more power than actual talented filmmakers and writers, and the whole affair leans further into entertainment for entertainment’s sake, because the popular sentiment of video games is still driven by people who think Mario and Luigi saving Princess Peach from Bowser’s clutches is the standard in video game storytelling. 

(Relevant note: The plot of the forthcoming Mario adaptation is that Mario and Peach are trying to save Luigi from Bowser this time.)

I consider myself a little weird as a fiction writer with some academic decoration, because I am a life-long gamer. We’re not as weird as you’d think, it turns out, but in many literary circles, video games are still considered anathema to good storytelling. I think, considering some of the truly great writing and storytelling I’ve experienced through video games in my life, that’s tragic. The literary world is warming up to TV and films as legitimate mediums for good writing, but video games are still viewed as a medium for children despite the average age of a gamer being 33, and their artistic validity beyond their use of art as resources is still questioned. 

(Sure, this is an old post, and Ebert is a bit of a punching bag on the subject, but it’s illustrative of the argument, which I’d argue is flawed because the distinctions he made aren’t independently exclusive, but that’s not what this post is about.)

This year, HBO released a series adapting a video game called The Last of Us, which was developed by video game studio Naughty Dog. I played that game in 2013, and it not only redefined for me what good storytelling is in video games, but it also demonstrated a new potential for immersive storytelling experiences that only video games can provide: in this way, I felt The Last of Us offered new justification not only for the validity of video games as art but that we should consider video games a new artform in their own right.

I can’t overstate the profound effect this game had on me as a storyteller, and it isn’t a game that made me want to make games. It’s a game that made me want to tell better stories, and I think that’s important: the influence The Last of Us had on me transcends the medium.

I can’t think of a better definition for art.

Continue reading “What It Means that HBO’s The Last of Us Is Good”
Posted on

On Knowledge and Understanding

I’ve been noodling an idea I’m not sure what to do with. It basically goes like this: Our culture encourages competition under the premise that it breeds progress, but what if it generates only a certain kind of progress and hinders others? Namely, knowledge and understanding.

Just as capitalism inspires businesses to make the better product and come out on top, we butt heads on the individual level. Turn on any talk show and listen to competing sides debate a particular issue. Their goal isn’t to foster understanding; their goal is to win.

I can’t recall ever seeing anyone on TV or any stage in front of an audience yield when proven wrong. It’s so obvious we have an Internet meme for it. I’m sure there’s a subreddit dedicated to sharing videos of people being proven wrong and not admitting it. Watch this recent Jon Stewart interview if you need to see what I mean. Stewart is a bit too aggressive at first, but after a few minutes, you come to understand he’s frustrated because he’s so obviously right, but the other guy just won’t budge even though you can see it in him: he knows he’s been proven wrong, and instead of choosing to grow as a person (something that might let some others who follow him grow as people), he turtles. 

The trouble is knowledge and understanding just don’t work under these conditions. They need open, earnest idea and experience sharing. They require generosity, fairness, and good faith. They require concession and admission when you’re wrong. This is how we grow as people. This is how we learn.

Even when teaching debate, I would bet all the moneys the goal is winning, to overcome the other side by formulating the more compelling argument. That’s great for the individual and the winning side’s interest, but it is terrible for the whole. Whoever wins, we lose.

Granted, I do think there is value in striving for the better argument. In so doing, you come to better understand your own ideas, and that’s great.

That said, you should never enter a debate with the goal of proving you’re right. Enter with the goal of earnestly sharing your ideas and experiences because they’re valid, and in so doing, the group objective should be to combine those ideas and find something greater. To learn something together.

I think it would be a mistake to conflate this with compromise. That’s different. I’m also not suggesting there is no such thing as right and wrong. Of course there is. But what I’m talking about here is truth. 

I’ve also been noodling the idea that, since each of our individual understandings of reality is subjective and flawed, taken through limited perception, no individual can understand reality alone. Each of our realities isn’t real. To find the real, we need each other.

What a world it would be if we weren’t always trying to beat each other into submission but, instead, working together to discover the thing that is true about our shared reality, something none of us can really fathom on our own.

Discuss on Twitter, Instagram, Tumblr, or Mastodon.

Posted on

Review: The Invisible Life of Addie Larue by V.E. Schwab

This one wasn’t for me, so I had to put it down. It’s very well written, a joy to read, and easy to sink into. For readers looking to escape into a book with allure, this one might scratch that itch.

Where it fell short for me was in the very justification for why I was reading it. I generally don’t like books that appear to take my interest for granted, and one of the ways a writer can avoid tripping that particular wire is to pay heed to the inciting incident. In other words, answer the question, “why does this story begin today?” While this one is a braided structure with dueling narratives of Addie in 2014 New York and 1700s France, the former is seemingly a way for us to tour the city and the latter is a decent origin story that then mirrors the 2014 story in its wandering. I understood why Schwab told me the story of Addie first being cursed, and that arm of the braid was compelling to me until it wasn’t. I grew too frustrated with the other arm of the braid (2014), which seemed hyperfocused on demonstrating how Addie survives in contemporary New York. That isn’t enough story for me, personally, though others may find it fascinating to ponder.

The other, perhaps more substantial, trouble for me was I felt Addie was little more than the product of her curse. It’s interesting to look at her in each braid and see how she’s changed over the centuries, but from our point of view, it is only the curse that has done that to her, not the decisions she’s had to make and the external pressures applied to her, which are generally more interesting in a character development sense. Moreover, two-hundred-year-old Addie isn’t really all that surprising. She’s about what you’d expect of a person afflicted with such a curse. Though the first hundred pages make a point of mentioning some kind of defining, traumatic event that shaped her, I felt the author’s hand here, holding me at bay, denying me something compelling for reasons that weren’t clear to me. If that traumatic was so character-defining, why not tell me that story instead of the literary equivalent of a tour through New York City? If the book does contain that story, I didn’t understand why I was being taken through the mundane instead. An argument could be made that the boredom and monotony was precisely what Schwab intended me to feel, but here’s the thing: we humans already get enough of that, so if that is, indeed, the point, it shouldn’t take 100+ pages to get a reader there.

I just wasn’t convinced Schwab knew, herself, why she was telling me this story, and I felt her trying to figure that out. At this point in my life, I just don’t have the patience for that anymore. There are too many compelling books out there, and I feel my time here growing shorter. It’s okay to put down books that just aren’t doing it for you.

The silver lining here is I’d never read Schwab before and her prose was enough to intrigue me to read more of her work. I didn’t like this one but hope to pick one up with more apparent narrative purpose. If you like books you can sink into and wander without too much narrative drive, you might like it. It’s clear from the ratings on Goodreads that many others have enjoyed the book quite a bit.

Posted on

‘Fairy Tale’ by Stephen King, A Review With a Long, Self-Serving Preamble

Stephen King was fundamental to my formative years in storytelling, and I know I’m far from alone in that. His writing has touched millions, and his reputation has preceded him for many more than that. You know all of this.

(If you really just want the review, scroll down to the subheading. You can’t miss it.)

When I was discovering fiction writing as a central part of my life, I found myself connecting with and inspired by his stories more than many other writers’. Like the literary elite, who might still puzzle over what it is about King’s work that people like so much, I’ve spent much of my studies thinking about why his work resonates with me. Is it the fascination with the dark and macabre? Is it some deep-seated psychological need for me to gaze into the unknown? Do I ironically find delight in terror? Wait, is there something wrong with me? I think if it were any of these things, any horror author would do, and that’s at least not how I work. 

Continue reading “‘Fairy Tale’ by Stephen King, A Review With a Long, Self-Serving Preamble”
Posted on

Re-Reading The Handmaid’s Tale, a Review

At the end of 2018, I re-read Margaret Atwood’s The Handmaid’s Tale. After 15 years (and this time picking it up because I wanted to, not because I needed to for a class), I found it extraordinarily powerful and prescient. I then wrote this review but never posted it. Oops. I figured I’d post it now with some edits because these thoughts weren’t doing anyone any good sitting on my hard drive.

Continue reading “Re-Reading The Handmaid’s Tale, a Review”
Posted on

Ko-fi…Co-fee…cough-ee

I haven’t shared much publicly since I finished my MFA program, but for the time being, I’m full steam ahead on writing fiction. However, if you recall, authors are people, and people have bills to pay. Since you’re a person (presumably), I’m sure you agree that’s stupid, but here we are.

The goal is to get to the point where I can make a decent living on my fiction. If you’d like to help me get there and have already bought my books, please consider giving Ko-fi a shot.