Category Archives: Craft

Multitasking Sentences – Make ‘Em Work

In a Wall Street Journal Wordcraft essay, Karen Thompson Walker, celebrated author of The Age of Miracles, observes that as a young writer, her sentences rarely did more than one thing at a time. It took her years to learn that they were meant to do more than “stand around and look pretty.” They must work hard:

Photo credit: 123RF_Lighthunter

–carry the plot, evoke images, and convey meaning through tone, meaning and voice. One more thing, “the best sentences surprise us.”

In her essay, she unpacks a few one-liners from great writers and explains that when sentences operate on multiple tracks, “the story begins to operate on multiple levels as well.”

I agree. Take a look at your sentences. Are they “bringing home the bacon, frying it up in the pan, and never ever, ever letting you forget you’re a man”? Now what does that sentence evoke?

Read the complete text of her essay, “Sentences Sentenced to Hard Labor” at:

http://online.wsj.com/article/SB10000872396390444405804577561352868838934.html

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Cerebral Crotch Rockets, Reblog

This just shot through the ether and landed on Dogpatch’s doorstep. Kristen’s post is guaranteed to muscle you into the writing zone. Enjoy!

Write FAST and Furious! Learning to Outrun “The Spock Brain”

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I’m Hearing Voices, Strong Ones – Paragraph Analysis

“Two things to get straight from the beginning: I hate doctors and have never joined a support group in my life. At seventy-three, I’m not about to change. The mental health establishment can go screw itself on a barren hilltop in the rain before I touch their snake oil or listen to the visionless chatter of men half my age. I have shot Germans in the fields of Normandy, filed twenty-six patents, married three women, survived them all, Continue reading

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Hellos from The Hague by Cecile’s Writers

Hello from the Dogpatch! We’re jumping out of our skins and very honored to present this guest post from Cecile’s Writers in The Hague—Sofia, Samir, Vanessa, and Cecile—an awesome foursome of bloggers and the editors of the upcoming Cecile’s Writers Magazine, a literary magazine for intercultural writers.

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CecileIn general, the Dutch know and understand a certain level of English. And we’re all very happy to switch to English to make it easier for people who don’t understand Dutch. (Though most never consider the possibility that the other person is trying to learn the language.) Yet even though most Dutch people know English, there aren’t many who write fiction in English.

Luckily, there are a few who do. Editing their stories is an intriguing process. Ungrammatical sentences are easy to spot and to fix. However, there are plenty of sentences that aren’t wrong in the grammatical sense, but still don’t come across as natural. For example, as a teacher I often heard the phrase ‘How late is it?’ instead of ‘What time is it?’ It’s easily corrected, but whether I would change it depends on the voice throughout the story. The structure can reveal much about the origins of the author.

When I write, I try to avoid such sentences, but in the end, I’m not a native English speaker and that will remain evident in my writing. Now, is that a bad thing? It depends. Some people are put off by it. (Usually, these people tend to have heart attacks when they come across spelling mistakes in newspapers, etc.) Others don’t mind. When editing stories written by non-native English speakers, I can correct all those sentences (as far as I recognize them), but that’s not the objective at Cecile’s Writers Magazine. We like to keep the unique voice of the writers provided sentences make grammatical sense.

—Cecile Continue reading

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Writing Styles – What is Yours? A Test

Check out the writing analysis in a post by Joe N, a nurse working, living, and writing in Nepal.

The tool he highlights dovetails nicely with a book I’m reading, Stanley Fish’s “How to Write a Sentence.” It’s an interesting analysis of writing styles, but the tool found in Joe’s post may also use verb selection and placement, sentence length, and vocabulary to make the analysis more complete. Continue reading

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Pixar’s Story Tips

This dog

Dogpatch white dog

was wandering around through someone else’s blog this morning, Circles Under Streetlightsand discovered a fab reblog of Pixar’s story writing tips from the Indie Writers Guide.

Check out both sites for additional great info. 

Hope your Thursday writing selves are getting things done!

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Dogfight: “A Work in Progress” by Wes Pierce

White Raven (source: photobucket)

Hello from the Dogpatch, and welcome to the dogfight! Here’s a selection from a short story by Wes Pierce, followed by critical comments. Dogpatch Writers Collective occasionally posts these excerpts of our group critiques of work in progress, and we’d love to know what you think about the excerpt or what we had to say about it. 
This story isn’t titled yet. Wes called it “A Work in Progress.” To give you some context, a feckless ranger is assigned to lead a busload of work-release inmates to build fire breaks during the Great Western Fires: 

This was when Shoehorn took over. Never in my life had I seen a man handle an instrument the way Shoehorn did an ax, nor take such joy in physical mastery over an object. He would set his initial cut on a downward slope, one clear ringing thwak! burying the head of the ax right up to the handle. With a booted foot he pushed to dislodge the ax-head from the tree; then another thwak! at an upward angle, lower down from the first and right up to the handle again. Finally a third and a fourth stroke to the topmost angle — then a fifth and sixth, maybe a seventh, to the bottommost — and out plopped a hunk of tree the size and shape of a large slice of watermelon. He would do the same to the other side of the trunk, lower down: seldom more than two or three dozen strokes total and the heart of the tree lay exposed and vulnerable. You almost could have pushed the tree down with a good shove of your boot.

Shoehorn was taking down trees twice as fast as any of the rest of us. He was like a machine. Looking again at those arms of his — it seemed now to me that they ended in massive knuckled appendages, hard and shiny from usage, like hooves — made me think of the hydraulic machinery in those old black-and-white movies based in newspaper offices, with their shots of the giant presses churning out the next day’s breaking news in those swirling montages.

 And so while the rest of us dug trenches or paired off and went to work with the whipsaws, Shoehorn struck out on his own, taking down the smaller and medium-sized trees in a more or less straight line several hundred feet ahead of us. Since there wasn’t always enough equipment to go around now, there were times when each of us got to rest; which was fine, I guess. But I didn’t feel much like sitting back and watching, for it always had been my unhappy lot in life to sit by and look on, with envy or disbelief, at those guys who knew how to accomplish things with their hands. On a branch above me a squirrel watched too, a small pine cone paused ruminatively before its mouth, while all around us men busily went about their business. Just about my whole life it seemed I had been unwilling poster child for the inadequacies of a Liberal Arts education. I could only stand aside as other guys fixed their own cars, or impressed the girls in our dorm by rewiring a broken washing machine so those luscious young honeys could wash their delicately-soiled underthings, while I watched my t-shirts and jeans and white cotton briefs roll and tumble impotently in a dryer nearby.  Continue reading

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Putting the Egg Together – Writing Picture Books

The fallacy: “Writing children’s picture books should be as easy as, well, cracking an egg from a long drop.”

This fallacy shares a bed with: “It’s only a few hundred words. I can crank that out in my sleep.”

And there’s another hiding under the covers: “I read picture books when I was a kid, and I’ve read them to kids. That makes me an expert.”

Makes for a pretty crowded bed, eh?

Shortly after stripping the bed and exposing these thoughts to the world, writers begin to mutter, “I didn’t know it would be this difficult.” Continue reading

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Students of the essay take note: the above post from Café Casey is a lovely take on the learning process, whether it is painting, composing, or writing. Owning and then transforming “influence.”

cafecasey's avatarCafé Casey

Screen Shot 2013-02-15 at 5.53.48 AMI was looking at a picture of bamboo. I love bamboo. I have spent so many hours painting it. In my sumi-e practice, I have painted a million bamboo plants. In the beginning, I thought this was insane repetition. In Western schools you don’t sit and write the letter “e” a million times. Maybe that’s why I always flunked handwriting.

I used to sit and work on the same image or same kanji hundreds of times. Eventually, I learned, it was all the same. To create an image a thousand times is to create it once. Bamboo, chrysanthemum, a cherry blossom–whatever. The goal is to reach perfection. The reality is that perfection doesn’t exist. The perfection is, in fact, in imperfection. Sometimes, our drive to be perfect consumes us. We suffer. Practicing these arts teaches us eventually that the learning–the experience–is in the journey–perfection is just a destination to imagine…

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Waiting for Robin Hood

While I ponder the nature of time, taking the time to find the right word, create the right sentence, and place those right sentences in order until I have a piece that “works”—I am filled with a sense of dread as challenges to write 12 books in 12 months or to write a novel in a month pop up online like prairie dogs. Now I’m not slamming those particular endeavors, no siree. Anyone who can put out that many words deserves respect for their hard work.

And yes, it does light the fire of urgency under writers who are sitting on their thumbs. It gets their hands out from under their butt cheeks and on the keyboard or wrapped around a pen, putting words on the page. But let’s now talk about a little thing like QUALITY. Continue reading

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