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There’s a Good Chance This Is Completely Worthless

A message of caution, from Sass:

As a teacher, I often struggle with the fact that my students take every word I speak as gospel. While the thought of having a horde of minions waiting to be beckoned, preaching whatever I tell them would be wonderfully effective if/when I choose to take over the world, as an educator, it is extremely counter-productive to teaching students the most important, non-subject related skill they need to acquire in school: problem solving. Now, this would be an easy point for me to launch into a scathing critique of our public education system, and how through lacking high standards and pushing testing we have totally lost our ability to teach our students the skills they really need, but I won’t. It’s really, reaaaaally hard not to, but it’s not the point of this blog post.

I use this example only to make the point that as products of this system, we are not always taught how to read information selectively.

As with any information, even that delivered by teachers (who are often, but not always, experts in their field) it should still be analyzed. Writers, like any person working in a craft, should always be willing to learn and improve techniques to develop as writers. Teachers do this through professional development. I attend meetings and conferences multiple times a year that are meant to introduce or to strengthen my knowledge of teaching methodology. But, all teachers are different—we each have a teaching style, based on many variables such as experience, school culture, resources, and student needs. Writers also have a style that is distinct to their particular experience, genre, voice, and process. I have left sessions completely enthused and ready to utilize a brand new method to transform my classroom. I have also walked out of sessions laughing my ass off at some “consultant”, with no prior educational experience, who just got paid thousands of dollars to tell me how to do a job they have never done themselves. Or, even if they have, came out of a perfect, suburban school where all the students have stable homes, speak English, have safe, updated buildings, and are given more resources than they know what to do with. Learning how to be a better teacher is no different than learning how to be a better writer- the advice you take is completely subjective to your needs and experience.

Which is why it is extremely important to keep this thought in mind: Any advice, resource, or lesson given to you by another writer needs to be analyzed for its usefulness to your specific needs.

While the core concepts for writing—character development, setting, and plotting—are universal in writing, the methodologies used in practice are completely dependent upon what and how you write. If you want to be the next Rowling, don’t go to Patterson for advice. If you want to be the next Flynn, don’t go to Sparks. I don’t have anything against any of these writers, but they each have fundamental differences in their genres, writing styles, and process.

That being said, I am also not suggesting that a mystery writer cannot help a science fiction writer write better. What I am saying is before you take every piece of writing advice, really sit down, analyze it, try it out, and see if it even applies. Or, if it can be adapted. Does it even work?

At the end of the day, there might not be a single thing on this website that helps one person become a better writer, yet another person could credit it as the secret to their success. Neither person is wrong. In special education, we use the term Specific Learning Disability to cover a wide range of learning struggles. Two different students can be labeled SLD in reading, but one can have issue with transposing letters while the other has issues in reading comprehension. But, both are considered not to be able to read. Trying to strengthen a student’s reading fluency may help the dyslexic student, but won’t do anything to help the one who doesn’t understand or retain what they are reading. This same idea can be said for two writers struggling with the same problem. If two writers are both struggling to develop static characters into dynamic characters, no one approach will be universal to help both, especially if the stories are different genres or viewpoints.

All the information we post on IPI is intended to be helpful but not all of it will be. Or all of it will be. Or none of it will be. The point is, this is not gospel. This is a collection; an anthology if you will, of what we consider the best advice we have collected from around our writing circles, the internet, and our dangerously high stacked towers of writing books. There is bound to be a better method out there for something we post in IPI, and we encourage writers to seek out information. Never stop seeking knowledge.

As the illustrious, sardonic, and outrageous Oscar Wilde once said, “You can never be overdressed or overeducated.”

So, when you do find something better, please share it with us. Help us add to the Research-a-Torium or update a post or offer a suggestion on a tutorial. This isn’t just our site, it’s our site—yours, mine, and ours. If advice exists, and it helped, we want to have it collected, organized, and ready to be absorbed. Help us help you and help us help others. But, remember, only take what you need to help yourself.

Write on, young savior,

 

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Hey Guys! Watch This!

An open letter from Sass:

There is a small assortment of books collecting dust on my bookshelf these days. These books were once some of my most coveted, habitually read, and referenced tomes. I carried them in my bag on trips and methodically marked and annotated passages. Interestingly though, these books are neither classic literature, nor contemporary favorites. In fact, they’re non-fiction. They are my craft books – the first books I began buying and devouring when I finally decided to take the terrifying leap from saying “I write” to “I am a writer.” The books that helped me learn the basics; that built the foundation of my writerly knowledge.

Now, nearly a decade later, as I plot story arcs, develop characters, and invent universes, they sit idle, neglected and forgotten. Why would I need to read these books now? I’m not a novice writer anymore – I get this shit. I’m done with theory. Onto the practicum! Yet, when I sat down to make notes over the tutorials and concepts I wanted to cover on IndiePen Ink, my head emptied as quickly as a broken vacuum seal clears out a cargo bay on an interstellar ship. I realized that I needed to go back to my source, to my humble beginnings, and work backwards, taking my acquired knowledge and using it to create a curriculum of what I would have liked to have learned early on as a writer.

The problem though is that the stuff I wanted -needed- to learn was not the basics. Now, granted, while they are the important foundation on which the skill of writing is built, understanding the elements of story makes you little more proficient than a high school freshman when it comes to writing… I know this because I teach high school English to freshmen. So, instead of reaching for the craft books on the basics, I reached for my intermediate books – the ones on style and expression – and, decided to take a look through two of my trustiest reference books: Better Than Great and The Elements of Expression, both by author, Arthur Plotnik.

And, lo… what I have forgotten/ignored/never learned/breezed past in haste to get to the “good stuff”…Did you know that there are twenty-five types of figurative language? Because I sure as hell didn’t! The weird part is I had it marked, as if I had either read it and forgotten, or never got back to it after thinking “Ooooh! This looks important!”.

This brought me to a realization – I had thought I had read these books, scoured these books for information; devoured them and digested their contents – but in truth, I had done no such thing. There was no doubt I had depended on these books and used them constantly, but for an intended purpose. A purpose from which I am eight years removed and hardly remember, but at the time they gave me information I craved. I read it, absorbed it, and it became habit. Then, I threw it on the shelf and walked away more confident in my ability than before, and thus satisfied I had taken everything I could from that text.

“I wanted a resource – the ultimate resource that could be the place where I could go to get help, specific to my needs as a writer at that time.”

It’s this realization that leads me to believe this is the reason I roped my friends into creating IndiePen Ink. I wanted a resource – the ultimate resource that could be the place where I could go to get help, specific to my needs as a writer at that time. Those needs change over time, and new resources have to be sought.

Middle of the road writers, like myself, have fallen into a chasm of sorts. We still need help while writing, but it doesn’t come from our foundational limitations, it comes from isolation. Writing in a vacuum is horrible. It’s inside the black hole where all your incredible, original ideas stagnate, your characters go flat, and your dialogue becomes trite and stifled. This happens not because you don’t have talent, but because you have no place to keep skills sharp or be held accountable.

In essence, you need a proving ground. A playground, if you will, to mix and mingle, to refuel and get hurt when you slip off the fictional monkey bars. This place needs to be flexible, inviting, tolerant, and empathetic to the needs and diversity of writers, and those writer’s stories. But, the playground also needs an assortment of equipment, and not just one of those plastic jumbo monstrosities with seven slides and towers and glider handle thingy… what hell do they call that thing? It needs separate play areas where we can go and play and learn, and when we conquer that area, we can move to another; make new friends; fall off new toys and get back up again.

Consider IndiePen your playground. Make friends. Try new stuff. Revisit and take comfort in old stuff. Share. Write. Fuck up. Try again. We, as the creators of IndiePen Ink, want you to help us make this playground the first place, and only place, you go when you fall down the writing well and can’t crawl out again. We’ll throw you a rope, and pull you back up to the playground.

“Make friends. Try new stuff. Revisit and take comfort in old stuff. Share. Write. Fuck up. Try again.”

The playground is small right now, but it won’t always be. This isn’t going to be just some corner park they used to fill space in a subdivision. We’ve got big plans for this playground (think Leslie Knope plans). So, come to our playground. Tell us about yourself, your needs, and what toys you want to play on. Tell all your friends to meet you at the sweet, new playground. Until then, we’ll be here waiting. You’ll know us – we’re the cool kids hanging out on top of the monkey bars.

…and I’m the kid writhing on the ground after shouting the famous words, “Hey guys! Watch this!”.

Write on, young savior,

 

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