Don’t Be So Wordy, Punk, plus Stabbings and Vampires

Dogs Are Smarter Than People: Writing Life, Marriage and Motivation
Don't Be So Wordy, Punk, plus Stabbings and Vampires
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A lot of us humans and writers spend a lot of time trying to impress people by being extra wordy.

And it seems like we’re all trying to avoid the word “because.”

This is extremely cruel to the word “because,” which probably gets hurt feelings, but it’s also super cruel to your readers and/or listeners who deserve clarity.

They need to understand what you’re putting down.

So, when it comes to “because,” we do not need to say:

  • The reason is because (that’s redundant).
  • Due to the fact that
  • On the grounds that
  • On account of


If you sound like a lawyer in a bad tv procedural?

You’re trying too hard.

HERE IS CONTRARY ADVICE….

“BECAUSE” OR “SINCE” CAN SOMETIMES FORCE YOU TO BE WORDY.

With the words ‘because’ and ‘since,’ you can almost always use either one. They are interchangeable BFFs.

Here are some examples.

  • Because I hate you, I decided to date.
  • Since I hate you, I decided to date.

They both mean “because” here because they are synonyms.

But sometimes “since” means “from the time’ instead of ‘because.’

Since we went to Disney, I’ve been crushing on Pluto.

That means “ever since the time they went to Disney” not “because.”

But you might not know that, right?

So, instead you might want to be wordy.

You don’t want to be ambiguous and have people wondering if you mean “because” or “ever since the time they went to Disney.”

The whole point in writing and talking is for people to understand you, so don’t be a schmuck. Be clear.


WRITING TIP OF THE POD

Don’t be wordy and know what your words mean and what they’re conveying to the reader.

DOG TIP FOR LIFE

Listen more than you speak. Look for clues in your environment and people’s actions so you can really understand them.

RANDOM THOUGHT

To hear about punks, stabbings and vampires, you have to listen to the podcast file. Sorry! We only put the advice part in the notes.


SHOUT OUT!

The music we’ve clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. 

Here’s a link to that and the artist’s website. Who is this artist and what is this song?  It’s “Summer Spliff” by Broke For Free.

And we have a new podcast, LOVING THE STRANGE, which we stream live on Carrie’s Facebook and Twitter and LinkedIn on Fridays. Her Facebook and Twitter handles are all carriejonesbooks or carriejonesbook.

Here’s the link. This week’s podcast is all about loving places and feeling called to them when you have never been there before.

HELP US AND DO AN AWESOME GOOD DEED

Thanks to all of you who keep listening to our weirdness on the DOGS ARE SMARTER THAN PEOPLE podcast and our new LOVING THE STRANGE podcast.

We’re sorry we laugh so much… sort of. 

Please share it and subscribe if you can. Please rate and like us if you are feeling kind, because it matters somehow. There’s a new episode every Tuesday!

Thanks so much for being one of the 256,000 downloads if you’ve given us a listen!

almost dead book by carrie jones
almost dead book by carrie jones

HEAR MY BOOK BABY (AND MORE) ON PATREON

On one of my Patreon sites I read and print chapters of unpublished YA novels. THE LAST GODS and SAINT and now ALMOST DEAD. This is a monthly membership site (Hear the book chapters – $1/month, read them $3-month, plus goodies!). Sometimes I send people art! Art is fun.

On this, my second site, WRITE BETTER NOW, you can do a one-time purchase of a writing class or get two of my books in eBook form or just support our podcast or the dogs. It’s all part of the WRITING CLASS OF AWESOME.

It’s a super fun place to hang out, learn, read, and see my weirdness in its true form.

And I’m starting up a brand new, adult paranormal set at a Maine campground. You can read the first chapter here.

Writing simple can be complex

So lately I’ve been thinking (Amazing! I know!) about what it is to be an individual, and how as writers we can create individuals who mirror real life truths on our page.

“An individual is someone who cannot be neatly classified or categorized because he or she cannot be easily dissected or analyzed, divided into definable parts. The individual is, first and foremost, a being-unto-itself, a unique whole

Kevin L Stoehr, “You Who Philosophize Dylan” 

The problem is that people are hopefully complex, yet often in writing there’s this overall simplification of story and character that does not mimic that complexity. It seems like corporate media America has decided that people want simple things, which is fine, as long as there are also complex things to balance out literature, particularly children’s literature. And we all buy into it.

M. T. Anderson talks about something pretty similar in an interview with Joel Shoemaker in VOYA back in 1999.

But maybe that drive towards the simple is something that we should make little rebellions against. Maybe instead of following the grade-school description of what a story and genre should be, we should be fiddling around with that description.

Maybe instead of simplifying our characters we could expand them, make them more complex than hairstyles and clothing choices, than ‘good girl,’ ‘good boy,’ ‘bad child.’ And I’m not talking about giving the evil villain one redeeming quality, I’m talking about giving the evil villain a complex identity. 

Making Things Predictable

 When my daughter Em turned 13, she had one major gripe with the books she read. She said that most plots are too predictable. She said that most characters just have one defining trait, and well, that bored her.

 I’m just worrying that maybe we should be putting some emphasis back on complex stories and characters for the big-time readers who are losing their faith in books. I’m not saying to rid ourselves of the simple stories, I’m just saying we should embrace the complex, too. 

I guess, I’m just worried that in our surge to make lots of money by reaching massive audiences we are making out stories too simple, our genre choices too straight forward.

And we fall into traps because we’re so afraid nobody will buy or understand our books. We don’t want to scare off readers with something difficult to read. We want to keep things straight and common, no eccentric teachers, no bizarre-o main characters.  We make sure the character always has a clear want and they go after it. We make sure the main character isn’t too complicated. Some of us follow formulas and plotting rules, and that’s okay. It’s not bad. I just don’t want it to be the only way. And I don’t want the authors who brave themselves up enough to deviate to be blasted.

Someone asked me why I made Belle have seizures in TIPS ON HAVING A GAY (ex) BOYFRIEND and not have those seizures be an active part of her character development. Okay, first off, I did it because that’s how Belle is. Her epilepsy isn’t about her character any more than having thick hair is about her character. It doesn’t have to be.

It’s only by treating epilepsy as a condition rather than a defining character trait that we can:

  1. lessen the stigma of epilepsy
  2. create a character who is an individual

And obviously this doesn’t just apply to epilepsy. It applies to every condition and physical trait that can cause stigma. But we can’t do this is we make our characters too simple, too one dimensional. It’s only when we make complex INDIVIDUALS that we can really battle stigma and stereotyping and all those things that we don’t want to perpetuate. 

So what I want to know is what happens if we keep making narrative more and more simple. What happens to our minds? What happens to our books? Do we become numb? Do we look sideways at books that aren’t simple? Do we become so used to simple that we start believing it’s complex? And has that already happened? I hope not. I really, really hope not. 

Writing simple can be complex

But there’s another side to things. By making the choice to have a character have hobbies that aren’t necessary to the plot, to quote philosophers occasionally in a romance/horror novel? By making a science fiction origin story, clean and easy to read and focusing on a girl? To make a character have epilepsy but not be defined by it? Those are simple writing choices that can have complex ripples.

Don’t be afraid of the ripples.

Things Referenced

Joel Shoemaker, “Hungry . . . for M.T. Anderson: An Interview with M.T. Anderson,” VOYA 27, 2 (June 2004) 98-102.

“Bob Dylan and Philosphy.” Edited by Peter Vernezze and Car J. Porter. Chicago: Open Court Press, 2006 182-193.

PODCAST

To follow that up, I give you a podcast that talks about writing and poop texts.


WRITING NEWS

IN THE WOODS – READ AN EXCERPT, PREORDER NOW!

My next book, IN THE WOODS, appears in July with Steve Wedel. It’s scary and one of Publisher’s Weekly’s Buzz Books for Summer 2019. There’s an excerpt of it there and everything! But even cooler (for me) they’ve deemed it buzz worthy! Buzz worthy seems like an awesome thing to be deemed! 

You can preorder this bad boy, which might make it have a sequel. The sequel would be amazing. Believe me, I know. It features caves and monsters and love. Because doesn’t every story?

In the Woods
In the Woods


ART NEWS

You can buy limited-edition prints and learn more about my art here on my site.

Carrie Jones Art for Sale

PATREON OF AWESOME

You can get exclusive content, early podcasts, videos, art and listen (or read) never-to-be-officially published writings of Carrie on her Patreon. Levels go from $1 to $100 (That one includes writing coaching and editing for you wealthy peeps).

Check it out here.

WHAT IS PATREON? 

A lot of you might be new to Patreon and not get how it works. That’s totally cool. New things can be scary, but there’s a cool primer HERE that explains how it works. The short of it is this: You give Patreon your paypal or credit card # and they charge you whatever you level you choose at the end of each month. That money supports me sharing my writing and art and podcasts and weirdness with you.