F. Scott Fitzgerald’s ideas on how to write

The American novelist and short story writer, F. Scott Fitzgerald, did not write a book about how to write.  But he did share his ideas through letters to his daughter, his publisher, and other writers.  Here are some of his suggestions and insights.*

“I could tell you plenty [of] books in which the main episode, around which swings the entire drama, is over and accomplished in four or five sentences.”

In Gatsby. . .I started “from the small focal point that impressed me–my own meeting with Arnold Rothstein.”  [Rothstein, 1882-1928, was a gambler and racketeer who was murdered.  The character of Meyer Wolfsheim is based on Rothstein.]

“All fine prose is based on the verbs carrying the sentences.”

“I am a professional thief, hot after the best methods of every writer in my generation.”

“The chief fault in your style is its lack of distinction. . . .And the only thing that will help you is poetry which is the most concentrated form of style.”

“I don’t think anyone can write succinct prose unless they have at least tried and failed to write a good iambic pentameter.”

“It takes half a dozen people to make a synthesis strong enough to create a fiction character.”

“When you tell an anecdote, tell it so your listeners can actually see the people you are talking about.”

“There comes a time when a writer writes only for certain people and where the opinions of others is of little less than no importance at all.”

“A novel either “is something entirely new and fresh and profoundly felt. . .or else it is a tour de force by a man of exceptional talent. . . .A great book is both.”

The Great Gatsby had against it its length and its purely masculine interest.”

“If The Great Gatsby fails commercially it will be for one of two reasons or both.  First, the title is only fair, rather bad than good.  Second and most important the book contains no important women character, and women control the fiction market at present.  I don’t think the unhappy end matters particularly.”

“Writing is a sheer paring away of oneself leaving always something thinner, barer, more meager.”

*These quotes come from F. Scott Fitzgerald on Writing, edited by Larry W. Phillips.  NY:  Scribner, 1985.

How to summarize a work of fiction

First, read the short story, novel, play, poem or other form completely, from beginning to end.  If you don’t understand parts, get help.

Longer works of fiction are usually divided into chapters or acts.  To Kill a Mockingbird, for example, is divided into 31 chapters.  To summarize the whole book, summarize important actions in each chapter.  For example, in chapter 1 of Mockingbird, the narrator, Scout Finch, introduces readers to the setting:  her hometown, Macomb, Alabama, during the early 1930s.  She introduces her father, Atticus, an attorney; her older brother, Jem; and their friend, Dill.  She also introduces the children’s obsession with teasing their reclusive neighbor, Boo Radley.

Some chapters are more important than others, and those chapters should take up more space in a summary.  Less important chapter contents can be either omitted or lumped together with other chapters.  For example, many chapters in Mockingbird concern various ways the children tease Boo.  You don’t need to write a chapter summary of each prank.

A summary should be written in the same order as the book is written (usually in chronological order).  If the book is not strictly chronological, you can say that in a flashback, a particular action happens.  A summary should use words like exposition, inciting event, rising action, climax, falling action, and resolution to label parts of the story.  A summary should name the important characters and identify the way the main character changes.  If certain themes or moods are important (for example, racism or suspense), those should be identified as they appear.

A summary is not a conclusion.  You want to identify what happens to whom, and who grows or changes throughout the novel.  If the ending is a cliffhanger, you can say that, telling what the reader is left wondering.  Or if the ending leaves the reader wondering about a moral decision a character has made, you can say that.  But you can’t say that the ending is good or bad.

How long should a summary be?  For a book of 300 pages, it is possible to write a terse, two or three-sentence summary.  Take, for example, Romeo and Juliet.  “After Romeo and Juliet fall in love and secretly marry, violence breaks out in Verona, and Romeo is forced to flee; distraught, Juliet takes a potion leading to a deep sleep.  Romeo thinks she is dead, and kills himself.  Juliet awakens, finds Romeo dead, and kills herself.”  Most summaries are not this short, but summary means a short version with unimportant details and characters left out.  If you are writing for a school assignment, your teacher will tell you how long your summary should be.

A play can be summarized by summarizing each act or each scene.  For example, Act One of Romeo and Juliet can be summarized as “Romeo and Juliet meet and immediately fall in love.” If each of the five acts were summarized this way, the whole play could be summarized in one paragraph.  Or each scene can be summarized, leading to a more complete summary.  The first of the five scenes in Act One could be summarized as “In Verona, Italy, in the 1500s, two wealthy families and their servants continue an age-old feud.  They are threatened with death by the authorities if they continue.  Romeo, the son of one family, has just broken up with his girlfriend, and he is depressed.  His cousin, Benvolio, encourages him to date other girls.”  With 24 scenes, a summary of each scene might lead to a two-page summary.

A short story summary summarizes each scene, or if the story is really short, each paragraph.  In fiction, something happens to someone causing that someone to change.  What happens to whom and how that person changes should be the heart of any summary.

 

Are autocorrect software features a help or a hindrance to learning?

When I work with student writers online, they make spelling mistakes, verb tense and number mistakes, and punctuation mistakes.  When they do, a squiggly underline alerts students that they have made an error.  What almost always happens next is that the student clicks on the error, notices a correction suggested by the software, and clicks on that suggestion, replacing the error with the suggested correction.  The student rarely tries to figure out what the error is, and rarely tries to figure out if the offered solution is correct.

AI to the rescue.

But is this a good idea? Using AI this way offers many benefits.

  • Students can correct errors immediately. No trying to figure out what is wrong and no trying to figure out how to correct it.
  • Student writers become more efficient, spending their time thinking about content rather than grammar or spelling.
  • The correction software is free, embedded in the Word or Google Doc software. No need to subscribe to Grammarly or Microsoft Editor.
  • Dyslexic students and others can work independently with confidence that their writing is error-free, or almost.

Using AI also offers drawbacks.

  • Students do not improve their spelling, use of apostrophes, or subject-verb agreement. There is no incentive to improve if the software can do it all.
  • Sometimes the software makes mistakes such as when the student writes slang, acronyms or abbreviations. It can’t detect homophones and might leave as uncorrected this sentence:  The bare walked in the backyard.
  • If the student’s spelling is way off, the software might not be able to tell what the student means and might not detect an error or know how to fix it.
  • Students can become over-reliant on autocorrect software. If they are tested by writing on notebook paper, their work is full of common mistakes.
  • Specialist words not commonly used in everyday writing might not be recognized by the autocorrect software.

The corrections can be turned off easily, but none of the students I work with do that.  They depend on the autocorrect feature—some because English is their second language and some because their teachers have not focused on spelling and grammar.

What’s a teacher to do?  Allow or not allow autocorrect?

I have decided to allow it for the reasons noted above.  Using it saves time and allows me to focus on composition rather than spelling and grammar.  If I see a student making the same error over and over, I will draw his or her attention to it, and we might have a lesson on it.

Many of my students’ parents disagree.  They want me to focus on spelling and grammar during the rough draft stage of writing.  I used to explain that doing this interrupts the flow of ideas.  Now I don’t need to explain because students make corrections with the click of a mouse long before their parents see their errors.

In their adult lives, students will be working on computers, tablets or other electronic devices with built-in autocorrections.  Using autocorrections will be as normal as using microwave ovens.  Schools should prepare students for the real world of tomorrow, not for the world of their grandparents.

Tips about Writing from Stephen King

Stephen King, the King of Horror, has written dozens of fictional bestsellers, many of which have become blockbuster movies.  He also wrote a book, On Writing, telling how he writes.  Here are some of his ideas.

From his own experience, King believes a writer’s job is to recognize two previously unrelated ideas and to make something new from them.

Writers write their first drafts for themselves, to tell themselves a story.  When they rewrite, they take out everything that is not part of the story.

Writers shouldn’t “dress up” their natural short-word vocabulary with long words.  They should use the first words that come into their heads.

You don’t need to write in complete sentences all the time.

Avoid passive verbs.  Timid writers use passive verbs because they seem safe.

Forget using adverbs.

Fear leads to bad writing.

Use “said.”

To make possessive nouns, add apostrophe S every time.

Easy-to-read books contain lots of white space and dialog.

To be a good writer, do two things:  read a lot and write a lot.

If you don’t have time to read a lot, you don’t have the time or the know-how to write well.

To learn what not to do, read bad writing.

Ever hear of a flat adverb?

One commonly heard kind of flat adverb is an adverb which is identical to its adjective.  No -ly is added to the adjective form.  Examples include

  • He drives too slow.
  • That midfielder runs fast.
  • The student arrived late to class.
  • She dressed smart for the job interview.

adult couple in discussionAnother common kind of flat adverb has no -ly form.  Some of the adverbs we use the most have no -ly form, such as

  • I am not ready for bed.
  • I always eat breakfast.
  •  Go now before it rains.

Flat adverbs with no -ly form are acceptable in standard English usage.  Flat adverbs identical to adjectives are growing in acceptance, but are not universally accepted.

I suspect older people, who were taught grammar rigorously, startle when they hear younger people drop the -ly on some adverbs.  And I suspect younger people, whose grammar education was not rigorous, are not aware there is another way to say, “He ran quick as can be.”

English is a living language, and like all living things, grows, changes, and adapts.  American English has become less formal than British English and less formal than the English of past generations of Americans.

I see two problems with flat adverbs.  One is an older generation judging a younger generation as poorly educated if the younger people drop the -ly on adverbs.  Since usually it’s an older generation hiring and promoting a younger generation, using flat adverbs during interviews and emails could reflect badly on younger applicants.

Another problem is what the SAT and ACE expect of students taking those tests.  Standard English changes, but slowly (not slow).