Good Advice/Bad Advice
Most people will tell you there are two kinds of writing advice: Good Advice and Bad Advice. I’m here to tell you they’re the same thing.
Allow me to explain.
Let’s start with that ol’ “Kill Your Adverbs” chestnut. This is Good Advice. Adverbs, more often than not, are redundant. You don’t need to tell me the monkey screamed loudly. Screaming is, by its very nature, loud. Just let the monkey scream. We’ll cover our ears. Adverbs also tend to be evidence of lazy writing. If your context doesn’t reveal the protagonist’s anxiety, simply stating that he’s “pacing anxiously” because that’s what you want readers to imagine him doing will invariably feel like a cheat. “Kill Your Adverbs” is also Bad Advice. Some adverbs are actually quite pleasant, mannered and eager to please. Some writers (maybe you?) know how to wield adverbs in smart, clever ways. If you indiscriminately cut every word ending in “ly” out of adverbial fear, you might just kill your writing voice along with them (not to mention unintentional victims, such as the appropriately ironic, “ally”).
Surely “Show, Don’t Tell” is Good Advice. Right? Absolutely. Showing gives the reader a role to play in the story. Showing makes detectives of readers, providing them with contextual clues that lead them to discovery. There’s nothing more satisfying to a reader than discovery. When you engage readers in the space between the words, you tease them into an intimate relationship with the story. This is a Very Good Thing. Telling, on the other hand, steals the process of discovery. And stealing is a Very Bad Thing. Then again, “Show, Don’t Tell” is also Bad Advice. Simply stated – sometimes telling is exactly what’s needed on the page. It may be a matter of style, or a matter of voice. Perhaps telling is the best way to bring readers up to speed with a character or plot element. Telling isn’t inherently evil, and if you suddenly believe it is because someone on a blog somewhere said so in ALL CAPS, your writing might just suffer.
Let’s talk about prologues. Ugh. “Prologues Are Totally Unnecessary.” They are. You don’t need to tell me what you’re going to say. You don’t need to tell me what happened a hundred years ago. Just get to it. Throw the reader into the middle of the action. (And you can forget the “Famous Author Uses Prologues” argument. Famous Author is already published. You’re not Famous Author.) Besides, we all know that most agents hate prologues. Why shoot yourself in the foot before you even get one in the door? “Prologues Are Totally Unnecessary” is also Bad Advice. Your novel may be ten times better because of a prologue. A prologue might provide exactly the sort of tease or historical context to make the rest of the story shine. If your novel suffers without it, you need one. Cutting it simply because someone told you prologues are bad is a bad idea.
I could go on (even “Love Your Readers” can be bad advice), but I’m sure you get the point. Sometimes good advice is good, sometimes good advice is bad. So how do you know the difference? Well, that’s the trick, isn’t it. Here’s a clue – if your primary goal is to be published, you’re in a precarious position. You’ll be tempted to follow any ALL CAPS advice that claims to increase your chances of publication, whether or not your writing benefits. However, if your primary goal is to become a better writer, you won’t feel quite so much pressure to follow that advice, because you’re still discovering your voice, you’re still sorting through who you are on the page. This takes time, by the way. There may be shortcuts to publication (hey, it happens), but there are no shortcuts to becoming a better writer. There is just writing.
I suppose I should close this post with some kind of summary. Fine. Let’s play with the original statement a bit. Feel free to put this on a t-shirt:
There are two kinds of writing advice: the kind that works for you and the kind that doesn’t. Listen to the former.