Summary of "9 Craft Questions Every Writer Should be Able to Answer"

9 Craft Questions Every Writer Should be Able to Answer

The video “9 Craft Questions Every Writer Should be Able to Answer” presents nine essential questions that writers should contemplate deeply to improve their craft. Each question explores a fundamental aspect of writing, encouraging writers to develop self-awareness about their style, choices, and intentions. Below is a detailed summary of the main ideas and lessons conveyed, including methodologies or instructions where applicable.

1. Do you prefer language as trance or as entertainment?

Language as trance: Writing that immerses the reader so deeply they “slip into a dream,” experiencing the world without noticing the words themselves.
Language as entertainment: Writing that draws attention to itself, with every sentence performing artistically or cleverly, making the reader aware of the language.
Writers should determine where they fall on this spectrum or if they want a mix.
Consider what type of writing you enjoy reading versus writing, as these preferences might differ.
Example comparison: John Grisham (plain, informational) vs. Don DeLillo (artistic, language-focused).

2. What can writing do that films can’t?

Writing should leverage its unique strengths rather than mimic movies.
Three key advantages of novels over films (from Nicholas Baker’s essay):
- Interiority: Deep access to characters’ thoughts and inner worlds.
- Time manipulation: Ability to speed up, slow down, or shift pacing flexibly.
- POV variation: Shifting between multiple points of view, including first-person, unlike film’s usually fixed camera perspective.
Writers should ask themselves why they choose books over other media like screenplays or graphic novels.

3. What should the writer never show?

Writers should define personal boundaries about what content they refuse to depict.
Examples of content some authors avoid:
- Violence in the Nazi era or against animals (JM Coetzee’s fictional author).
- Sexual crimes against young girls (Alice McDermott).
Some writers, like Elena Ferrante, argue writers have a responsibility to depict all aspects of human experience, even the unsayable.
Writers must have honest conversations with themselves about where they draw the line.

4. Should you always try to write round characters?

Round characters: Complex, layered, capable of change, memorable.
Flat characters: Simple, consistent, one-dimensional, often serve a specific function.
Not all characters need to be round—minor or functional characters can be flat (e.g., Rex in Toy Story, Prim in The Hunger Games).
Certain genres (fairy tales, fables, Kafkaesque stories) often use flat or symbolic characters intentionally.
Protagonists generally benefit from being round, but writers shouldn’t stress over every character’s complexity.

5. Is the novel essentially moral or immoral?

John Gardner’s view: Novels have a responsibility to convey moral principles about human flourishing.
Milan Kundera’s opposing view: Novels should depict life without moral judgment, neither condemning nor rewarding.
Writers must decide their stance, balancing moral messaging without becoming didactic or lecturing.
The speaker personally favors moral novels that avoid heavy-handedness.

6. Should you include coincidences in your fiction?

Coincidences happen in real life and can be realistic in fiction.
Key advice:
- Coincidences at the beginning of a story can work well (introduce problems or events).
- Coincidences at the end usually feel like cheating or lazy writing (solving main conflicts).
Genre influences acceptance of coincidences; commercial fiction is often more forgiving.
Stories should be driven by character decisions, not blind chance.

7. What is a better narrative technique: anticipation or surprise?

Surprise: Shocking revelations that change reader understanding (e.g., Julian Barnes).
Anticipation: Foreshadowing or signaling events early to engage reader curiosity (e.g., Chronicle of a Death Foretold by Gabriel Garcia Marquez).
Writers should identify their natural tendencies and experiment with both techniques.
Choosing between anticipation and surprise depends on story needs and timing.
The speaker references their own course for deeper learning on this topic.

8. Should you use brand names in your fiction?

Using brand names can:
- Add realism and authenticity.
- Reveal character traits and social context.
- Anchor the story in a specific time period.
Risks include dating the book and limiting timelessness.
Examples:
- Bret Easton Ellis’s American Psycho uses many brand names to highlight materialism.
- Cormac McCarthy avoids brand names for a timeless, mythic feel.
Writers should consciously decide whether to include brand names based on their goals.

9. Should you create themes in your work?

The speaker advises against consciously trying to create themes from the outset.
Instead, let themes emerge organically during writing as recurring ideas or motifs become apparent.
Organic themes avoid common pitfalls:
- Over-explaining or heavy-handedness.
- Lecturing the reader.
Trust that readers will perceive themes naturally if they arise through the story.

Speakers and Sources Featured

The main speaker/narrator (unnamed, likely the video creator or writing instructor)
John Grisham (example author for plain language)
Don DeLillo (example author for artistic language)
Nicholas Baker (essayist on novels vs. films)
JM Coetzee (fictional author character from Elizabeth Costello)
Alice McDermott (author discussing content boundaries)
Elena Ferrante (author with views on writer’s responsibility)
E.M. Forster (originator of round vs. flat character concept)
John Gardner (On Moral Fiction)
Milan Kundera (author of The Unbearable Lightness of Being)
Julian Barnes (example of surprise technique)
Gabriel Garcia Marquez (example of anticipation technique)
Bret Easton Ellis (American Psycho)
Cormac McCarthy (author avoiding brand names)

This video provides a thoughtful framework for writers to interrogate their craft on multiple levels, from language style to ethical boundaries, character development, narrative techniques, and thematic development. It encourages writers to reflect on their personal choices and artistic goals to write more intentional and effective fiction.