Several years ago I worked as a software engineer. I never had trouble writing applications that I loved to use. But I found it difficult to write applications that others loved to use.

I discovered the key to developing software that others loved to use was to involve users early and often. Allowing users to work with the alpha and beta versions of my applications allowed me to fix the interface, fix bugs, and change the direction of the programming project to better meet the user’s expectations.

In order to avoid writing stories that only you will love, you should pick two or three critics who will read your writing early and often. Incorporating their feedback into your work is a great way to strengthen your writing. The famed author Barbara Tuchman described her reader centric approach to writing when she said “no writing comes alive unless the writer sees across his desk a reader, and searches constantly for the word or phrase which will carry the image he wants the reader to see, and arouse the emotion he wants him to feel. Without consciousness of a live reader, what a man writes will die on his page.” I think we should take this a step further and involve readers throughout the writing process.

Do you need some feedback on your writing? Submit your work for critique now or set up your free account.

Jacob

by Annette Lyon

A recent discussion among some writer friends had some asking the question: “Is WAS a bad word?”

The talk had a lot of writers developing WAS-phobia, because face it, sometimes WAS is bad to use in writing. But why? And how can you get rid of it?

The answers are pretty simple. Using WAS isn’t always a bad thing, but often it is, because there’s generally a better (READ: STRONGER) way of saying what you’re trying to say.

Here’s some simple guidelines:

1. Find a case of “was” and chances are you just found a case of “tell” instead of “show.”

For example: Emily was embarrassed.

Pull out “was” and replace it with vivid details: Emily’s flushed cheeks, her desire for the ground to open up beneath her and swallow her up. Now the reader knows she’s embarrassed, because you just showed it. Search for instances of whenever your character WAS something, and give showing details in its place.

2. Yank WAS 90% of the time when it’s connected to an ING verb.

For example: He was sitting. He was talking. He was writing.

Just say: He sat. He talked. He wrote. Generally speaking, the plain old past tense is more effective. It’s a punchier, stronger verb form.

Sometimes you can find an even stronger verb altogether. Instead of walked, how about stormed, strode, or sauntered?

Once I did a search for “was” in a manuscript (most word processors can do this quite easily) and challenged myself to have no more than one “was” per page. This required me to find strong verbs. I amazed myself at the creative verbs I came up with!

3. Passive voice.

Passive voice happens when things are acted upon instead of doing the acting themselves. But stories and conflict are most exciting when your characters are the ones who act, so bag the passive voice whenever possible.

Example: The boy was bitten by the dog.

Instead, say: The dog bit the boy.

Make it direct. Passive voice adds words to sentences, and fewer words makes a tighter story anyway. Even better, show the dog biting the boy in a scene. Give us action and conflict!

If your WAS fits another category than any of the three above, it might be just fine. Don’t panic; you can keep it. But when in doubt about a stray WAS, try to get rid of it. There’s a good chance you can find a way to notch up your verbs and make your sentence stronger.

Annette Lyon is Utah’s 2007 Best of State medalist for fiction and 2007 Whitney Award finalist. Her sixth novel, Tower of Strength, will be released March 2009. She edits for Precision Editing Group and blogs at The Lyon’s Tale.

I know a lot of aspiring authors who think writing is easy. They dabble in writing under the illusion that they can write a great work anytime they choose to. This attitude will forever condemn them to the ranks of the aspiring.

Fortunately we seem to have writers with more fortitude than that at Review Fuse. I reviewed a first chapter today that exemplifies how an author should write:

Books aren’t written — they’re rewritten. Including your own. It is one of the hardest things to accept, especially after the seventh rewrite hasn’t quite done it. — Michael Crichton

The story I reviewed was titled The Distance of the Heart by peacemusictwloha13. This young author has rewritten this chapter several times and submitted it for review at least 3 times. This chapter has transformed from a fairly dull story about a day in the life of a teen to an engaging chapter that leaves the reader wanting for more. If you look over the various reviews of and revisions to this story you will be able to see how she transformed this work by rewriting it several times.

If you would like some help finding the fortitude to keep rewriting your works please join the Review Fuse online writing community.

Jacob

Here is a list of free online writing courses. I have not completed any of these courses yet so please let me know what you think of these courses. Writing is not easy. Any new writer should start by taking time to really understand his/her craft. While you are here, feel free to join Review Fuse and submit your stories for peer critique.

Massachusetts Institute of Technology

• Introduction to Fiction
• Writing and Reading Short Stories
• Advanced Essay Workshop

Open University

• Fiction Writing Course
• Descriptive Writing Course
• Essay Writing Course

University of Utah

• Introduction to Shakespeare
• Introduction to Creative Writing
  

Western Governors University

• Rhetorical and Critical Writing
• Language and Communications
• Literature Course - Parts I and II

Purdue University

• Proofreading Your Writing
• Conquering the Comma

E-Zine University

• Writing Clearly and Effectively
• Conquering Confusing Words
• Quick Ways to Clean Up Your Writing

Wikiversity

• Narrative Dialog Editing

Enjoy the classes,

Jacob

It’s been said that a picture is worth a thousand words. Yet, the words you choose to describe that picture to someone who has never seen it can fill that person with either enthusiasm and excitement or indifference and apathy. The movie below demonstrates the different reactions of people to the same message stated in two different ways. As you watch, pay attention to the subtitles, and see if you can identify the reason(s) for the second message’s success.

The original sign stated the problem, “I am blind”, and the solution, “have compassion.” By directly stating the problem and the solution, those passing by did not have a chance to emotionally or intellectually get involved with this beggar’s plight. Instead, the sign gave people an easy “yes” or “no” response. The words on the sign were typical of those used on most beggars’ signs—easily devised without much creativity—and, as a result, the words were just as easily ignored.

The Good Samaritan depicted in this film was able to help the panhandler reverse his fortunes by finding a different, more emotional way to say the same thing the panhandler had said. The reworked sign said “Today is a beautiful day, and I cannot see it.” This first phrase forced those passing by to stop thinking about the stresses and concerns in their lives and to consider the beautiful day in a new light. The second phrase appealed to their emotions, as they realized that the man with the sign could not enjoy the beautiful day they were experiencing, due to blindness. In contrast to the panhandler’s original sign, the words on this sign were creative, well thought out, and almost impossible to ignore.

One of the keys to effective creative writing is to involve your audience in identifying the problem and developing a solution to the problem. By thinking carefully about the words you use to describe a situation, you can invoke a powerful emotional response from your audience as your readers are allowed to discover a situation for themselves, feel for the characters in the story, and think about what they would do to resolve the problem if they faced it themselves. Such emotions help the reader to feel connected to the characters in the story, as well as personally invested in the outcome. Because the reader is personally invested in thinking through potential outcomes, the reader becomes much more absorbed in the story than he or she would be if he or she was, instead, blatantly told what the problem and its solution are.

Jacob