My Rules for Writing
This page is dedicated to the written side of Elise Crane's creative work. In the future she will add notes on process, experimental texts and the evolving principles that shape her storytelling.
Below is a living list of personal writing rules/guidelines that reflect her ongoing exploration of surrealism, symbolism, and narrative structure. These principles grow and shift over time, just as the stories do.
Elise's Writing Rules.
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Characters should treat the strange as normal.
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Shifts in tone can be abrupt.
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Language choices should feel slightly "off."
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You can make up words.
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Have strange word juxtapositions.
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Give pre-established words new context or meaning.
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Trying to achieve an Uncanny Valley effect should be a goal.
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Non-congruent storytelling should be a feature.
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Strange juxtapositions should be made.
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Skewing linearity in your storytelling can also be used.
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Symbolism can be taken literally or figuratively.
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For example, it can alter a character’s body.
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An air-headed character can have a literal balloon for a head.
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Initial writing should be done in a stream of consciousness format.
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Don’t over edit or over think write everything down.
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If you do stop, do the following:
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If it’s a short break only read one paragraph before writing.
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If it’s a longer break only read the last writing session before writing.
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Write in segments setting the total amount of time you want to spend on the project. Make a notation at the top of the date, how much time you spend actively writing, and how much time is left.
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Keep a stopwatch for each session.
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Only press play on the watch for active writing not for research, pause for that.
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This stopwatch approach will encourage you to not overthink while doing a timed challenge.
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Don’t be obvious in your use of symbolism to many surrealists rely heavily on Freudian symbolism that is highly sexually charged. Anyone can be deliberate, it takes real skill to imply.
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Creative constraints are not obstacles, they generate originality. Subtext, suggestion, and innuendo are all linguistic tools to be used to achieve your desired themes, messages, or tone.
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Overthinking is for editing. The first draft is for childlike imagination and exploration.
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The ending is either vague, contradictory, or left out.
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Random scene additions with or without ambiguity are welcomed whether they’re apart of the plot or not.
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Because of the stories’ surreal ambiguity, it allows for audience participation and interpretation.
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Things just happen and are usually not explained.
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In the end your work should cause someone to say,
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“That was weird”
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“I think I get it?”
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“What does this mean?”
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"Here's what I think happened?"
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“What the heck did I just read or watch?”
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