Kill Your Darlings
We’ve all heard the quote widely attributed to William Faulkner, “In writing, you must kill your darlings.” And Stephen King wrote, “Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings,” in his fabulous (and recommended) book On Writing: A Memoir of the Craft. So, it’s obviously a thing, but what does it even mean?
When thinking of Stephen King, you might suspect he’s about to kill off some adorable child or a character we’ve grown to love, but in this instance that’s not what he’s referring to.
As writers, we grow attached to our work. To the characters. To the prose. To the dialogue we think is utterly engrossing or oh so hilarious. To scenes and lines and chapters that matter to us. We form a bond that’s not so easily broken. Some of these are cherished and become favorites - just as we have our favorites from other books - these are your darlings, and they sometimes come at the reader’s expense.
You’re telling a story. Hopefully, weaving a tale so beautiful or thrilling or engaging that the reader is taken away and lives inside it for just a little while. So, if something is hindering that – even if we love, love, love it – it has to go.
Everything must propel the story forward.
Let’s get to bein’ murdery, shall we?
PROLOGUES
Prologues are totally fine if they bring something vital to the story and are done well. The fact is, they’re rarely necessary. And in many cases are more of an “info dump” to give your readers as much detail and backstory as possible. Readers are pretty quick on the uptake, I promise they can catch on. You’ll have a far more engaging book if you sprinkle the information through the story itself.
BACKSTORY
Knowing every detail of your characters and their lives is important for building your foundation before you write. But most of that is only for you, the writer. Just because you know the information, doesn’t mean it’s necessary to divulge outright in the story.
This goes with Ernest Hemingway’s quote and what is commonly referred to as the “Iceberg Theory” or Theory of Omission:
“If a writer of prose knows enough of what he is writing about, he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.” - Death in the Afternoon
WTF does that mean, Ernest? He means, you should know 100% of every detail of your story – setting, characters, motivators, everything – but only 12.5% is shown to the reader, leaving the remaining 87.5% to guide your hand in writing. But, if you don’t show something simply because you haven’t fleshed everything out, you’ll find holes in the story.
(I mathed.)
THE FIRST CHAPTER
A lot is weighing on this first chapter. We’re introduced to the main character or characters, the world they live in, and the tone is set. Start the story.
As an editor, I find an awful lot of purple prose in first chapters. It’s like there’s some weird rule that says: SHOW THEM YOU’RE A WRITER. You’re not. You’re a storyteller. Tell the reader your tale. Show them. Invite them into the world, make them comfortable, then get on with it.
Thinking about existential questions, the weather, the dream they had the night before, a morning routine… Unless these things propel the story forward, cut them like you’re in gen-pop and have a brand new toothbrush shank.
CHARACTERS
Not every character has a major role to play. They aren’t all the quirky sidekick, the antagonist, the hero, or a whole host of other super writery names, but they still matter to the story or character development. In whatever role these minor characters have, they are necessary to move the story forward.
But, not every character – no matter how totally awesome they are – needs to be included. Think of a minor character – could you strike them completely without altering the story? Oh but I love this eccentric neighbor! Cool. Then write your next book about him or her or give them a major role in it. But, if they aren’t adding to this story, you know what to do. *does that throat-slashing gesture*
SCENES
Scenes are a tough one, even for me. I mean, do you know how long it takes to write the perfect scene? Ugh. But, the reality is, just like with characters, they don’t always need to be there. Sure, it’s hilarious or beautiful or extra actiony, but if it doesn’t serve a purpose and move the plot forward, it’s gotta go.
Do you have a scene that is supposed to be serious, but is overly sappy and dramatic, maybe poorly executed as to its intent, or a completely ludicrous situation? Did you follow something solemn or gripping with something trivial to add some levity and “break the tension”? Readers can take a handful of cheesy and suspended belief, but when it goes beyond that and becomes unintentionally funny, you’ve lost them. And most likely the plot. Don’t mistake melodrama for drama.
PLOT LINES
Remember whose story you’re telling. Remember the focus. Don’t go off on a tangent or give your other characters too much of a subplot that doesn’t really tie back in to the storyline.
This takes the reader’s focus away. If you feel like you’ve got a whole additional book going on within the one you’re writing; get the scissors. Save it for a different book or maybe it’s an idea for a second one and now you’re on your way to a series.
WORDS & PHRASES & SENTENCES (Oh my!)
Sure, big fancy words rolling off your tongue (and into your writing) may be natural for you, but is it for your reader? Do you need to say, “He’s brachylogical,” when you could say, “He gets right to the point”? No, you really don’t. I don’t want to read a thesis paper or have to pull-up that little dictionary thing on Kindle.
We all have what we think is a perfect sentence – one that’s simply gorgeous. We must include it. I mean, the world needs to see this prose! You have visions of the ending scene in Rudy only it’s you being hoisted sky-high on the shoulders of your peers for this one glorious sentence. But really look at it. If it does nothing to propel the story or character or dialogue, it has to go. In some cases, it may even confuse the reader and take them out of the story completely.
Do you find yourself using words and phrases or jokes repeatedly. Be careful here. We don’t want our readers rolling their eyes even if it’s totally genius.
I read a book not too long ago and the characters, including the main, repeatedly used the phrase, “Bit the bullet.” I mean, the repetition got old, but whatever. However, the main character’s father had committed suicide. By shooting himself in the head. And they just threw this phrase around willy-nilly even though she was oh so distraught and it affected her entire life. Just because you like a word or phrase or sentence or bit of dialogue, doesn’t mean it belongs in this book.
No matter how attached we get to our work, we have to remember it’s not really for us. It’s for someone out there to read and enjoy. Don’t write for anyone other than yourself and that feeling of having a story inside that has to come out. But, keep these tips in mind as you write and rewrite. It sucks to cut things we love, but the story will be better off without those darlings.
