Every since Volume 1 of this wonderfully useful series, I have devoured each of the “Writers on Writing” books from Crystal Lake Publishing, each of which focus on different aspects of the writing life. This time around, although I was sad to learn that Volume 4 would be the last of the series, I was thrilled to see that this tome deals with a broad mixture of topics ranging from poetry to networking to description.
Blunt Force Trauma: How to Write Killer Poetry by Stephanie M. Wytovich
Although I don’t write poetry, I am fascinated by the poet’s process and I find that there are always some useful nuggets to be gleaned that may also be applicable to prose. I have been a long-time admirer of Stephanie Wytovich’s poetry, especially her wonderfully devastating and impactful poem in “Gutted,” which you should also read, so I was interested to see her breaking down the notion that poetry is like blunt-force trauma. It is an “assault on the body.” She describes poetry as the “exploration of the wound,” which I thought was a very evocative analogy.
While she describes her early efforts as a tad melodramatic, it taught her to be honest and it gave her permission not to hold back. These are two things I still struggle with as a writer, so it was very liberating for me to read that poetry could be so cathartic. I loved her phrase “the demons that had been following me for years.”
One of the things I admire most of about Stephanie and her work is that she is not apologetic or demure about it. She is bold and brash. I have known many established writers who have tried to put down the work of younger writers or to dismiss the credibility of anything they have to say or any advice they may have to give, which I think is rubbish, but I am glad we have folks like Stephanie out there who give a brave face to younger writers who are maybe not as comfortable in our own skin yet.
Her systematic breakdown of steps to writing killer horror poetry is magnificent in its detail. As she suggests at the very end, “expose the wound, examine the fear, and close the case.”
Happy Little Trees by Michael Knost
In his piece, Michael Knost focuses on imbuing characters with depth, details, and layers to make them jump off the page and be memorable to readers. He makes analogies to forests and trees to illustrate his points, as well as painting and Photoshop, and he very much emphasizes the notion of relational influence. If you’re antsing for more tips on how to do characterization better, be sure to check out his piece.
In Lieu of Patience Bring Diversity by Kenneth W. Cain
Kenneth W. Cain talks about the virtues of patience in a writer and how it encompasses all the areas of a writer’s career from waiting to hear back on a submission to award nominations to gaining a readership. He also discusses considerations of how detailed to get when it comes to descriptions, which I thought was useful especially as he related it to the importance of creating characters that the reader will sympathize with.
Networking is Scary, but Essential by Doug Murano
The style and direct approach of Doug Murano’s entry in the volume, which is all about that scary word–networking–helped to make it seem a little less daunting. He also discussed some of the marketing innovations he came up with while doing PR for the Horror Writers Association, which is very useful for authors to note.
His section on strategies should is excellent and many authors will find it useful.
Are You In The Mood? by Sheldon Higdon
Focusing back on the writer’s craft side of things, Sheldon Higdon’s entry talks about how to establish mood in a story as well as the subtle differences between mood and how it builds into atmosphere. If you struggle with description or you’ve been told you write purple prose, check out Sheldon’s piece.
What if Every Novel is a Horror Novel? by Steve Diamond
Angling more toward a philosophical bent is Steve Diamond’s piece, which seeks to define what horror is, which is no easy task. He encourages readers to stretch their defintions of what constitutes horror and rightly so.
Description: You Can’t Win so Why Play by Patrick Freivald
Patrick Freivald tackles why writers over-write so often, particularly when it comes to description and throwing too much detail at the reader, and how even though writers want the reader to have a very specific vision in mind of what they want people to see, the results sometimes get muddled in translation onto the page. Freivald also addresses incorporating sensory descriptions into prose, so it’s a worthwile piece to check out.
Long Night’s Journey Into…This? A First-Time Novelist’s Odyssey by William Gorman
Being a novelist for the first time is usually not an experience that goes particularly easily for the writers who manage to get there. I cannot believe he had a correspondence with Clive Barker (how fortunate!), who told him to write a novel at one point, which made for a magnificent story. He discusses why the novel-writing process turned out to be so difficult for him. I think the piece is one that established pros as well as hopeful newbies can benefit from.
I Am Setting by J.S. Breukelaar
Getting back more toward the craft side of things, we have a piece devoted to setting and description. This part of the volume was a very useful breakdown of setting as well as what to do with fictional world-making and building.
Finding Your Voice by Lynda E. Rucker
To cap off the volume, we get a piece about that ever-elusive concept of authorial “voice” from Lynda E. Rucker. So often writers are told to develop their voice, that their voice isn’t strong enough, that the voice of the piece is highly derivative or a pastiche, but many writers are left scratching their heads and wondering just what the heck “voice” even means. It’s something that this piece helps to simplify into something more understandable. She also has some wonderful suggestions as to how to find one’s voice, so it’s well worth reading through.