1 So you want to be a better writer

I have good news and bad news, there’s always bad news.
First, the bad news.
For years, teachers (whether at school or in creative writing workshops) have been teaching you the wrong stuff about the best why to write. You’ve been given a ‘bum steer’, as my grandfather used to say. You’ve been sold a pup.
You see, all that stuff about flowery prose, about having a narrator tell the story and about ‘powerful words’, has seemed into your brain made you a bad writer.
There, I’ve said it.
But, let’s not blame the teachers, like all well-meaning busybodies, they know no better. They are just teaching you what they think is right.
Devastating, I know. But, dry your tears, here comes the good news.
In the following pages, I am going to teach you how to write like a pro. I’ll show you the techniques that such famous writers, such as Ernest Hemingway and F. Scot Fitzgerald developed and used to create some of the more memorable and original work in the human language.
And here’s the best news. It’s easy! (Well, that’s not true, it is always simple, but not always that easy. But I don’t think you were ready to hear that just yet, so let’s stick with easy.)
You don’t believe me?
Ok, here’s a simple technique that you can immediately apply to you writing. Without reading another chapter of this book, this one technique will make you a better writer. Later on, we will delve in the theory behind this technique, but at this moment I just want to show you I’m the real deal. No stinky bull here.
It goes like this…
Take a scene from your book (any scene, I don’t care) and then re-imagine the scene as if the narrator is looking through a camera. Picture the scene in your mind’s eye. See the action and hear the words.
Now… re-write the scene JUST describing what the narrator can see. If the narrator can’t see it, it stays off the page.
That’s important.
If the narrator can’t see something, it can’t go into the scene. That means, no thoughts and no internal dialogue, just plain old action and conversation.
This means you will be forced to describe the action as it happens.
Perhaps what is more important is what you are forced NOT to write.
If describing only what the camera can see, then two important elements are immediately removed from your writing — internal dialogue and backstory. If you need to pass on a vital nugget of information about the main character’s past, then the only option you have it to do it via dialogue. If you want to tell the reader that the main character is sad, you must SHOW the reader the character is sad (tears etc.) with description actions. That means more tears and the removal of the classic “he was sad” line.
And that’s it.
If you are able apply this Camera Technique to your work, you will be a better writer. Promise. Just try it.
The Camera Technique is foundation of the way you will be taught to write. A method of writing that will stimulate emotion in your readers and help produce memorable books.
The remainder of this book is a description of how and why this technique works so well. Yet it is not dry theory, instead you will be given detailed and pragmatic examples of how you can apply the theory to your writing.

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