Content marketers can learn a lot from studying fiction writers very closely. This presentation looks at several giants of fiction and some of the lessons they shared during their careers.
5. “Plot is people. Human
emotions and desires
founded on the realities
of life, working at cross
purposes, getting hotter
and fiercer as they strike
against each other until
finally there’s an
explosion—that’s Plot.”
@edeckers
7. If proper usage gets in the way,
it may have to go.
I can’t allow what we learned
in English composition
to disrupt
the sound and rhythm
of the narrative.
@edeckers
8. Never use jargon
words like
reconceptualize,
demassification,
attitudinally,
judgmentally.
They are
hallmarks of a
pretentious ass.@edeckers
12. “If a writer of prose knows enough
about what he is writing about,
he may omit things that he knows. . .
A writer who omits things because
he does not know them only makes
hollow places in his writing. ”
@edeckers
13. “The dignity of movement of an iceberg is due to
only one-eighth of it being above water.”
14. “The dignity of movement of an iceberg
is due to only one-eighth of (the iceberg)
being above (the) water(’s surface),
(and the other seven-eighths of it being
below the water’s surface).”
“The dignity of movement of an iceberg is due to
only one-eighth of it being above water.”
17. Men's words are bullets, that
their enemies take up and
make use of against them.
— George Savile, Maxims of State
Life is like a box of chocolates.
— Forrest Gump
@edeckers
19. And the impending squint of first light
It lurked behind a weepin’ marquee in
downtown Putnam
It’d be pullin’ up any minute now
Just like a bastard amber Velveeta yellow cab
on a rainy corner
And be blowin’ its horn in every window in town
— Tom Waits, Nighthawks at the Diner, "Putnam County"
23. Never use an adverb
to modify the verb
''said'' . . .
. . . he admonished
gravely.
To use an adverb this
way (or almost any
way) is a mortal sin.
Elmore Leonard
24. The train went on up the track out of sight, around one
of the hills of burnt timber. Nick sat down on the
bundle of canvas and bedding the baggage man had
pitched out of the door of the baggage car. There was
no town, nothing but the rails and the burned-over
country. The thirteen saloons that had lined the one
street of Seney had not left a trace. The foundations of
the Mansion House hotel stuck up above the ground.
The stone was chipped and split by the fire. It was all
that was left of the town of Seney. Even the surface had
been burned off the ground.
— Ernest Hemingway, Big Two-Hearted River
@edeckers
28. We were somewhere around Barstow on the edge of the desert when
the drugs began to take hold.
I remember saying something like, "I feel a bit lightheaded; maybe
you should drive . . ."
And suddenly there was a terrible roar all around us and the sky was
full of what looked like huge bats, all swooping and screeching and
diving around the car, which was going about 100 miles an hour with
the top down to Las Vegas.
And a voice was screaming: "Holy Jesus! What are these goddamn
animals?"
34. "Remember: when
people tell you
something's wrong or
doesn't work for them,
they are almost always
right.
When they tell you
exactly what they think
is wrong and how to fix
it, they are almost always
wrong."
@edeckers
36. "If you want
to be a writer,
you must
do two things
above all others:
read a lot and
write a lot."
@edeckers
37. Read widely and
with discrimination.
Bad writing is
contagious.
P.D. James
@edeckers
38. Reading a lot teaches you
what good sentences sound
like, feel like, look like.
If you don't know what
good sentences are, you will
not be successful as a writer
of words. @edeckers
Leigh Brackett, Sword of Rhiannon, The Big Sleep, Empire Strikes Back
Get Shorty, Killshot, Freaky Deaky
Dryden created the “no prepositions at the end of sentences” rule in 1672. Responding to something Ben Johnson wrote in 1611, “the bodies that those souls were frighted from.” He never explained why he thought it was bad. Robert Lowth followed it up in his 1762 book, A Short Introduction to English Grammar (pages 127–128). He said it was fine for informal English, but not formal: "This is an Idiom which our language is strongly inclined to; it prevails in common conversation, and suits very well with the familiar style in writing; but the placing of the Preposition before the Relative is more graceful, as well as more perspicuous; and agrees much better with the solemn and elevated Style."
Robert Lowth was a 17th century Latin scholar who decided that "do not split infinitives" was a rule, based on the notion that in Latin, there are no two word infinitives — to run, to go, to eat. Since it was impossible to split them in Latin, he said we couldn't split them in English. It should never have been a rule. It was the same for prepositions at the end of a sentence: "you can't do it in Latin, you shouldn't do it in English.”
Tom Waits
REFLECTION: What are some complex ideas you try to explain to people, whether it’s how a process works, or the problems a new product is supposed to solve? Can you think of a metaphor to explain them? Try to explain them like a movie pitch: Sharknado = Jaws meets Twister
The Cherry Orchard, The Wood Demon, Uncle Vanya
Henry Miller: Tropic of Cancer, Tropic of Capricorn, Black Spring, and The Rosy Crucifixion.
Play It As It Lays, Democracy, A Book of Common Prayer
Hunter S. Thompson would often write 3 – 5 solid lede-worthy sentences, string them together, and beat the reader with them, BAP BAP BAP! He didn't do it all the time, and he would sometimes do it in the middle of a story. It was forceful and dramatic, and made the reader pay attention. That's what an opening lede should do, so imagine the power it had when it appeared elsewhere.