Blue Print for Writing Well

1. Blue Print for Writing Well Based on Stephen King’s On Writing: A Memoir of the Craft His expertise on the writer’s “toolbox.” http://www.youtube.com/watch?feature=player_embedded&v=QQ_S89fdg38#t=0

2. Vocabulary Don't write fancy; use plain and direct language. King says that a writer should always use the first word that comes up -- no other word will mean exactly what you wanted it to mean. Write so people can understand and don't feel alienated. Don't dumb your writing down, but don't try to dress it up either. Write as you are. Keep your writing crisp, clear, and direct.

3. Grammar According to King, "Bad grammar is bad writing" (120). The best way to acquire grammar rules without thinking about it, is to read. As long as you have a noun and a verb, then you can't go wrong. Simple sentence constructions worked for Ernest Hemingway and other great writers -- they can work for you. If you expect more from your writing than just a noun and a verb to make a sentence, he does recommend Warriner's English Grammar and Composition: First Course.

4. Active vs. Passive Voice King and every other writer in the world will tell you to rid your writing of passive voice constructions. King says that when writers use passive verbs, it's usually because they are timid or passive writers/people. If you're not sure of what is meant by passive/active verbs, here is an adapted example from King himself (123). Passive example: The body was carried out of the kitchen.Active example: Freddy and Myra carried the body out of the kitchen.

5. Active vs. Passive Voice continued…. Freddy and Myra are your subjects, not the dead body (which is already passive since it's dead). When you write, look over your sentences one by one and see if you write with a passive voice. If this is your pattern, then you should make a conscious effort in changing it. Writers must assert themselves as authorities in their writing; otherwise, why would anyone want to read their work? King also suggests avoiding “to be” verbs as much as possible. Replace them with action verbs to stay in active voice.

6. Notice the adverb?? Adverbs "Adverbs are not your friends," King most ardently states. Usually ending in -ly, adverbs are used to modify verbs, adjectives, or other adverbs. But as he points out, they're unnecessary. We don't need words like firmly, sadly, ardently to be placed in the prose because the prose that comes before these extra words should be telling us this stuff to begin with. Adverbs are basically redundant, extra, and unnecessary. And whatever you do, omit them from your dialogue attribution. These are phrases that tell us who said what and how ( he shouted, she pleaded, he said). Adding adverbs to these verbs weakens the dialogue and your writing.http://www.youtube.com/watch?v=bOnRHAyXqYY

7. Paragraphs King says that paragraphs are "maps of intent" (130). On paragraphs, King also reveals that they are not the melody of your work, but the beat, and in order to find the beat that will rock your writing, you must practice. Don't think about where paragraphs should begin and end; just sit down and keep writing until the beat finds you. To help with this, he also suggests that you read a lot of fiction: "The more fiction you read and write, the more you'll find the paragraphs forming on their own" (131).

8. Commitment The last drawer of you toolbox should contain your commitment to your craft. Don't let fear or your insecurities drag you down and away from what you want. Don't let bad reviews or rejection slips deter you from writing or trying to get published. Don't give up. Start small and take one paragraph at a time -- one beat at a time. Keep writing whether you write short stories, poems, novels, or non-fiction. Commit to your craft -- and stay committed.