I’ve been away working on a superhero novel over the last month, with a working title of Superhero Diaries. It’s intended as part of a series. It’s got aliens giving away superhero suits, much like Greatest American Hero, except none of that 1980s “My world was destroyed. We’re benevolent aliens helping you prevent yours from being destroyed the same way.”

No, these aliens have their own agenda and it benefits them more than the humans. Of course, they’re not telling anyone that.

But it’s forced me to dig a lot deeper into craft skills that have been hard to find.

I grew up as a writer reading craft books in the late 1980s and 1990s, when I could buy them. Before then, I was limited by what my library had (not much).

Now we can go online and get craft tips anywhere. But it’s very superficial. A lot of it treats fiction writing like a checklist:

  • Eliminate adverbs. Check.
  • Don’t use flashbacks. Check.
  • No dream sequences. Check.

One time I asked how to do a dream sequence well on a message board. I’d read several best selling books with dreams in them and it looked like I might have one in what I was working.

The reaction of the writers? Stern lecturing not to do it. Fear, too, especially once I said I was going to do it. They started backing away like “I don’t know this crazy person.” They weren’t even willing to see how they might do it well.

I did do the dream sequence. It’s in Rogue God.

I have a flashback. It’s in the Superhero Diaries.

How did we veer away from experimenting with craft?

I think technology was at fault.

Before the 1990s, writing novels was done on a typewriter. It’s a lot of work just typing. If you make a lot of typos like me, it’s even more work. Pulp writers of the 1940s and 1950s learned how to do one draft because there wasn’t any profit in retyping to revise.

Computers made fiction writing accessible to anyone who could afford the technology. You could write without all the work of a typewriter and revise it as much as you wanted. It even had the marvelous invention of a spell checker.

Heck, yes, I jumped on board and got a computer.

But now all these craft books had to cater to the audience starting their first novel.

Agents were flooded with submissions, most of them bad.

In marched the lists. They were everywhere. All the writing magazines had them, in every issue for a while. They were lists of what the agent didn’t want to see:

  • No flashbacks.
  • No dream sequences.
  • No adverbs.

No this, no that. The internet came and they were all over the place for a while. I tried to find one of those lists online now and they’re gone…but some form of them is the foundation for most craft books today.

The lists consistent of craft techniques that beginners were doing wrong. The agents didn’t have time to coach the writers (no should they), so they put it in list format.

Everyone started repeating the list as a rule that said “Do Not” rather than a craft skill to be learned.

And most of those items on the list have disappeared as skills from books.

Can you find a book that has a chapter on how to do flashbacks?

Disappearing Skills as a Self-Fulfilling Prophecy

When I was on the writing message boards, I always felt like I had to hold myself back. If there was a writer who saw a craft technique in novel and wanted to try it, they were told “big name writer can get away with with it. You can’t. Don’t even try.”

More of that fear.

And personal preferences showed up preferences showed up as a reason to eliminate their skills.

Description is one of those skills that takes a hit here.

Ever hear, “Description is boring! Do as little as possible!”?

Some people don’t like a lot of description, possibly because they ran into a writer or a type of book that didn’t suit their taste. Their answer is that the description is the problem, not the individual reader’s taste.

I’ve seen writers say that the best way to do description is things like:

  • Don’t describe your character. Leave it up to the reader’s imagination.
  • Do description in dribs and drabs, like “She tossed her brown hair,” or “The bar was dim.”
  • Do as little description as possible. Audiences don’t want to read it.

Yet, by doing all these, this cuts the knees out of characterization. These “tips” make writing superficial. And I’ve been guilty of doing this myself.

These skills also hard to learn to do well, another reason they’ve been eliminated from the craft lexicon.

Time Traveling for Writing Craft

These skills have not entirely disappeared though. I’ve been finding them in books written in the typewriter age. They were not for holding someone’s hand through a first novel. They were for someone who wants to write and improve:

  • Writing and Selling Your Novel by Jack Bickman – his first chapter is on treating writing like profession. Have you heard of the hidden story? I hadn’t, and it’s in this book.
  • Creating Characters: How to Build Story People by Dwight V. Swain. He hits tags and traits for characters, a concept I was having trouble grasping.
  • Guide to Fiction Writing by Phyllis A Whitney. She discusses time, a topic I was struggling to find anything on. She also has an extensive section on building a story bible.
  • Spider, Spin Me a Web: Handbook for Fiction writers by Lawrence Block. He covers flashbacks.

Buy used. It’s a lot less expensive.

Learning should make you work a bit and be a little uncomfortable.