If you’re just getting started as a serious writer, you may be getting a bit overwhelmed by all the “rules” floating around in well-intentioned forums, online groups, and even writing workshops. Even those who have been writing for a while can find themselves scrambling to keep up with each new pearl of wisdom that’s hurled their way.
But, as the great one-legged pirate Geoffrey Rush once said, They’re more like guidelines than actual rules.
We’ll break down some of these popular creative aphorisms, why they exist to begin with, and what you can do to break them the right way.
Why aspiring writers love rules
To start with, why is it that these rules get circulated with such regularity? Simply put, creative writing is a silent, invisible, suspiciously esoteric art form that, to the untrained observer, can appear like taking dictation from the divine. Where do the words come from? How do they do it? Does anyone really know? It’s tempting to believe in a stock recipe that will give you a perfectly baked novel every time.
Alas, an act of creation is never quite so simple. For some people, letting go of the idea of a reliable formula — in other words, stepping off the path and into the wild woods — can be incredibly nervewracking. There are tools at your disposal, case studies to learn from, approaches that will yield better results. But what you do with them is up to you.
Ready to dive in? Here are five (count ’em!) “rules” you’ll hear a lot in writing communities.
1. Cut all adverbs
Note the “ad” (short for “add”) at the beginning. This means adding something to modify an action, or verb.
This could include things like “he said loudly” (with “said” being the verb and “loudly” being the adverb). Or “she ran quickly”.
Why does this rule exist?
Two reasons, which are actually the same reason: they’re often unnecessary filler, and they slow down the pacing. “[S]aid loudly” can be condensed as shouted, yelled, or roared, all of which are tighter and more evocative. “[R]an quickly” is superfluous because it’s already implied in the action of running.
How to break it
First, ask yourself if there’s a more straightforward way to convey this image. Or, can you keep the image you have even if you remove the extraneous words entirely? Very often, simpler is better.
If you do use an adverb in your writing, it should do one (or more) of two things: it should give the reader new information, or subvert expectation.
For instance, you could have a character who “said dismissively”, because there’s no real other way to say that and it communicates important context about what’s being said. Or a character who “ran joyously”, because it creates a very different atmosphere than if they were running for fear.
2. Get rid of extraneous adjectives
This is another “add” word, in which a description modifies a… jective (which presumably means noun in some archaic lost language). For example, “the stadium was vast and sprawling” (with “stadium” being the noun / jective and “vast and sprawling” being two adjectives).
Why does this rule exist?
Like adverbs, this tool can often be seen as a bit lazy and unnecessary. “[V]ast and sprawling” is implied in the text, because aren’t all stadiums vast and sprawling? So you’re not telling the reader anything exciting or new.
How to break it
As with everything in writing, choose your words carefully. A well-placed adjective should do two things: clarify or enhance the image in the reader’s mind, and move the story forward. If you said “the stadium was grimy and unloved”, this is important information that makes the scene feel more real and alive.
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3. Never use the passive voice
The passive voice involves a character having an action done to them, rather than doing an action themselves. For instance “he was kicked in the chest by the robber” or “she was shouted at by her boss”.
Why does this rule exist?
If you stuff a novel with lots of passive voice, it can feel like the main character is just kind of shlupping around while the story happens to them, instead of because of them. The most powerful stories are driven by the main character’s choices and actions — in other words, by them doing stuff.
How to break it
There may be certain moments or scenes where the passive voice is useful in showing a character’s helplessness or vulnerability. If, for instance, you say “she was seduced by him”, it highlights the character’s lack of power in this moment. If you say “she let him seduce her” — with “let” being the active verb — it creates a very different power dynamic in just a few words. Both of these sentences work, depending on the feeling you’re going for.
4. Mercilessly exterminate all clichés
This can range from overused character tropes to sensory imagery that gets recycled again and again. For example, “she had butterflies in her stomach” was effective the first time it was used; less so the 1,000th.
Why does this rule exist?
A couple of reasons. 1. Clichés are very often rooted in stereotypes and outdated beliefs, and they can inadvertently help propagate certain negative imagery; 2. The publishing landscape is very competitive, and using the same tired ideas as everyone else isn’t going to help you stand out as a writer.
How to break it
Most clichés became clichés because they worked well at one point. If they didn’t, people wouldn’t have used them so much! The trick is to use them in fresh ways that subvert the reader’s expectations.
If you find yourself using cliché in your writing, take a hard look at it and think about what expectation it’s setting up — it can be helpful to physically write this down. Then, see if you can take that expectation and turn it on its head.
5. Show, don’t tell
Probably the most repeated and regurgitated writing rule of them all, “Show, don’t tell” means using immersive sensory language that convey a character’s state instead of overtly saying it. For instance, “She was nervous” is telling, while “Her stomach gave a little flip and she forgot how to form words” is showing.
Why does this rule exist?
Telling the reader what’s happening can hold them at an emotional distance. This is the “once upon a time” voice, about something that happened long ago and far away. Using more immersive language makes the story feel more immediate, present, and real.
How to break it
Sometimes, you don’t need to “show, don’t tell” everything. Doing this at every opportunity can slow the pacing down. A popular adage is “show emotions, tell feelings” — with “feelings” in this context referring to physical sensations like hunger, pain, exhaustion, and so forth. Trying to “show” these physical feelings often ends up being more convoluted than it’s worth, so you can skip over them using simple and straightforward language.
Likewise, you can usually “tell” the reader small plot details or backstory that’s useful to know, but doesn’t need a lot of time and attention. This could include things like a character’s job or education, a favourite piece of media, a religious belief, and so forth.
Now, go forth and write with controlled anarchy. You got this 😎.
Fija Callaghan is an author, poet, and unapologetic daydreamer. Her work has been shortlisted and longlisted for a number of short story prizes, and you can find her writing in publications like Gingerbread House, Crow & Cross Keys, Corvid Queen, and Mythic Magazine. When not writing or helping other writers get the best out of their work, she can be found haunting her local bookshops or watching the tide come in.
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