I love contests. Besides reading and feedback from critique partners, contests may be the best means by which my writing has improve.
For one thing, most contests give feedback, either through judges’ scoring sheets or through comments from other participants. Then too, contests provide opportunities to experiment—to try out a new premise or dance a little with a new point of view.
However, the most important thing contests have taught me is how to write tight. You see, most contests have some kind of word or page limit. In other words, you have to tell your story in 5000 words, or 1500, or 100.
One contest I entered, held by agent Janet Reid, was to write a 100-word story which included five words she specified. It’s quite the challenge, I can tell you.
My first version was nearly twice as long as the limit. Next came the editing process. What words were unnecessary? What phrase could I replace with a single word? What parts of the story were needed? All this to meet a stringent word count.
It dawned on me, however, that those questions are ones I should ask about my writing whether or not I’m constrained by contest rules.
Eliminating unnecessary words keeps a story or an article moving. Some unnecessaries are fillers that an author falls back on, often without realizing it—words such as just or even. I even told my writing partners contests were helpful, so I just decided I should enter, too.
Other unnecessaries are built-in redundancies. He stretched, raising up both arms. (Is it possible to raise arms down?) The unopened can slipped from her fingers and fell down on her foot. (Could the can fall up on her foot?)
The next phase of tightening writing is somewhat harder. What phrases can be replaced by single words? Prepositional phrases are good suspects. He touched the screen of his iPad can become He touched his iPad screen.
Hardest of all might be determining what parts of a story or article are or are not necessary. Everything needs to be fair game. Is a particular character adding anything new or is he merely taking up space? Is a particular plot point moving the story forward or is it veering away from the desired end? Is an article example shedding further light on the subject or is it duplicating the point of a previous illustration?
Writing tight takes work, and clearly readers won’t know how hard an author struggled to hone a story or article. What they will know, however, is that they remained interested from start to finish and their minds never wandered—something fiction and nonfiction writers alike should strive for.
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This article, with some editorial changes, is a reprint of one that appeared here in October 2010.