Knowing When To Be A Writer Show-OFF

I ended up talking to some of my writers about this, this past weekend, so I thought I’d share it with everyone. It’s pretty fun stuff and a helpful thing to know.

“If it sounds like writing, I rewrite it,” said novelist Elmore Leonard.

Sometimes writers fall in love with words, and that seems like a lovely thing, right? Words are writers’ commodity. Writers are word merchants. They deal in words, flinging around and ordering about on the page in the hopes of creating an army of sentences that become a story.

But sometimes writers (like everyone else) show off.

And that showing off makes readers go, “Blech.”

Readers who go ‘blech’ are readers who probably aren’t going to keep reading. No writer wants that because then their words and stories don’t have a chance to motivate or distract or move the reader. Plus, crap reviews.

In his book, Writing Tools, Roy Peter Clark writes:

“Most writers have at least two modes. One says, “Pay no attention the writer behind the curtain. Look only at the world.” The other says, without inhibition, “Watch me dance. Aren’t I clever fellow?”

He likens these to understatement (the first mode) and overstatement or hyperbole (the second mode).

You don’t want your readers to be noticing all your writing adroitness and flourishes and showing off.

You also don’t want to be so underwhelming during really important moments that the reader shrugs and says, “Should I care that the universe imploded and Lassie died?”

Clark creates a little rule that he says works for him.

“The more serious or dramatic the subject, the more the writer backs off, creating the effect that the story tells itself. The more playful or inconsequential the topic, the more the writer can show off. Back off or show off.”

Here are a couple of examples where I’m writing about the same thing.

So, I was at the Boston Marathon today to take pictures of my friend, Lori, running and then crossing the finish line. Before the marathon I had lunch with my daughter Em. She was nervous.

“I have a bad feeling,” she said. “You need to be careful.”

“You have no faith in me. I am a perfectly capable person.”

“I just am worried.”

“I will be fine,” I told her. I insisted it, actually.

But I did several things that I don’t normally do. I didn’t take the T. I chose to walk from Cambridge to mile 25.5 or so of the race route. I figured out the T route and everything, but I just didn’t want to go on it. Walking was healthier, I figured. I was going to watch a marathon.

Pretty understated, right?

Here’s me writing that flamboyantly.

It is the kind of day where people blossom into heroes in Boston and become a part of a legend, a story bigger than themselves, the day of the marathon, a day of heaving chests, heartbreak hills, strangers cheering them on for just moving forward, step by step, mile by mile, until the make it (or don’t) to the finish line. My friend Lori was one of those people—the hopefuls, the push-your-way-through-its, the runners.

While she was on mile eighteen or so, my daughter and I were having lunch in Cambridge before I’d leave her to the doldrums of college and head out to the race route, somewhere around mile 25.5.

Before I left, my daughter hugged me. She smelled of hummus and coconut shampoo, her windblown hair flinging itself into my cheek as she said, “I have a bad feeling.”

You see the difference, right?

How do you work on this in your own writing?

Look at other people’s writing. Newspapers are great examples of this. What stories are on page one because of how they are written versus how newsy they actually are.

Take one of your own scenes and rewrite it like it’s spare bones. Then rewrite it like you’re trying for a very flowery Pulitzer.

Read humor. Great humorists have really mastered the difference between hyperbole and understatement and use it so well.

I took this when I was running this week. It’s so beautiful here.

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best thrillers The People Who Kill
The people who kill

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The Dude Goodfeather Series – YA mystery by NYT bestseller Carrie Jones

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