What Are The Key Rules In 'The Dictionary Of Do'S And Don'Ts' For Writers?

2026-01-22 13:58:02 125

4 Answers

David
David
2026-01-26 18:31:06
I geeked out over the pacing advice in this book. It argues that tension should ebb and flow like music—quiet moments make the loud ones hit harder. One don’t I’d never considered? Overusing sensory details. Describing every rustle of leaves can drown the important stuff. The book also champions ‘unlikeable’ protagonists if they’re compelling, which liberated me from writing ‘nice’ but boring leads. Funny how rules can free you once you understand their purpose.
Flynn
Flynn
2026-01-26 21:45:54
The book’s bluntest rule? ‘Write for your audience, not yourself.’ Ouch. But it’s right—I once wrote a 10-page lore dump because I thought it was fascinating. Readers skimmed it. Another gem: ‘Grammar rules can bend, but never break.’ Poetic fragments? Fine. Consistent unintelligibility? Not so much. It’s the kind of tough love new writers need.
Wyatt
Wyatt
2026-01-27 07:54:15
You know what’s wild? How many writers (myself included) break the ‘show, don’t tell’ rule without realizing it. 'The Dictionary of Do's and Don'ts' hammers this home with examples that made me cringe at my old drafts. Like, instead of saying ‘she was angry,’ describe her white-knuckled grip on the coffee cup. The book also calls out lazy dialogue tags—apparently ‘he ejaculated’ hasn’t been cool since the 1800s. Who knew? But my favorite tip is the ‘so what?’ test: if a scene doesn’t advance plot or develop character, axe it. Brutal but effective.
Ian
Ian
2026-01-28 04:59:38
I stumbled upon 'The Dictionary of Do's and Don'ts' years ago when I was just starting to scribble my own stories. One rule that stuck with me is the emphasis on clarity—avoiding convoluted sentences that lose the reader. The book insists that every word should earn its place, a lesson I learned the hard way after overwriting a whole chapter only to scrap it later. Another standout guideline is about character consistency: if someone’s timid in chapter one, they shouldn’t suddenly become bold in chapter three without reason. It sounds obvious, but it’s easy to slip up when you’re excited about a plot twist.

The book also warns against info-dumping, something I’ve seen even in published works. Instead of front-loading lore, it suggests weaving details naturally through dialogue or action. And hey, it’s not all don’ts—the ‘do’ section celebrates experimentation with voice and structure, as long as it serves the story. I still flip through it when I’m stuck; it’s like having a patient mentor on your shelf.
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