One thing I've learned about writing: there are no rules. Every writer has to work out what's the best writing regime or way to plot or to write dialogue, or whatever. Nevertheless, aspiring writers are always looking for information about how other writers "do it" and the UK's Guardian has listed rules from an interesting range of famous writers.
These rules (below) are from Hilary Mantel, winner of the Man Booker prize for her historical novel Wolf Hall (which I haven't read yet, but have heard people raving about), and her thoughts really struck a chord with me. I especially liked: Write the book you'd like to read. (Although I have to admit I'd be writing single title if I followed that suggestion to the letter). Hmmm... food for thought.
You can read the other writers' rules
here. Hilary Mantel
1 Are you serious about this? Then get an accountant.
2 Read Becoming a Writer, by Dorothea Brande. Then do what it says, including the tasks you think are impossible. You will particularly hate the advice to write first thing in the morning, but if you can manage it, it might well be the best thing you ever do for yourself. This book is about becoming a writer from the inside out. Many later advice manuals derive from it. You don't really need any others, though if you want to boost your confidence, "how to" books seldom do any harm. You can kick-start a whole book with some little writing exercise.
3 Write a book you'd like to read. If you wouldn't read it, why would anybody else? Don't write for a perceived audience or market. It may well have vanished by the time your book's ready.
4 If you have a good story idea, don't assume it must form a prose narrative. It may work better as a play, a screenplay or a poem. Be flexible.
5 Be aware that anything that appears before "Chapter One" may be skipped. Don't put your vital clue there.
6 First paragraphs can often be struck out. Are you performing a haka, or just shuffling your feet?
7 Concentrate your narrative energy on the point of change. This is especially important for historical
fiction. When your character is new to a place, or things alter around them, that's the point to step back and fill in the details of their world. People don't notice their everyday surroundings and daily routine, so when writers describe them it can sound as if they're trying too hard to instruct the reader.
8 Description must work for its place. It can't be simply ornamental. It usually works best if it has a human element; it is more effective if it comes from an implied viewpoint, rather than from the eye of God. If description is coloured by the viewpoint of the character who is doing the noticing, it becomes, in effect, part of character definition and part of the action.
9 If you get stuck, get away from your desk. Take a walk, take a bath, go to sleep, make a pie, draw, listen to music, meditate, exercise; whatever you do, don't just stick there scowling at the problem. But don't make telephone calls or go to a party; if you do, other people's words will pour in where your lost words should be. Open a gap for them, create a space. Be patient.
10 Be ready for anything. Each new story has different demands and may throw up reasons to break these and all other rules. Except number one: you can't give your soul to literature if you're thinking about income tax.
First of all, the above is evidence that we really have been painting at Tarzali. All the furniture is still piled in the middle of the room, and those walls used to be pale green with dark green trims. We're painting everything off white to open the whole place up and make it feel much bigger, and hopefully, to enhance the country cottage feel.
