Perhaps with all my ranting about formulaic writing, I’ve failed to communicate that I understand there are formulas for certain genre novels. Beginning with the obvious, let’s mention the romance novel.
Most romance novels introduce a male and female character fairly early, establish either a rapport or an instant conflict, build on either, then create a problem or a deeper problem to separate them or cause some pain, and then depending upon that problem bring them around to care about the resolution to the problem by working together. The end will vary depending on the author, but most of the endings will be “happy” or at least satisfying. A few will end in tragedy or that star-crossed lovers’ mode. Christian romance will leave out the graphic erotica. This is the general formula for a romance novel.
Mystery novels and thrillers also have a fairly standard formula, and while the mystery novel might be written tightly as the reader is taken through a series of events and character introductions to confound him as to what is truly happening, it is more likely that it will take its time convoluting the circumstances and escalating the question marks. With thrillers the tension literally erupts from the pages in a fierce presentation of data driving the reader forward with each new character and quandary.
These are fairly simplified explanations of novel formulas, but they don’t really have anything to do with being “formulaic” in principle. Granted, if you stick too closely to the formula without a little tweaking here and there, and if you write several books without much variation, they will “feel” formulaic to the reader.
If you’ve visited the sites of Christian publishing professionals, almost without exception you will find the suggestion of specific instructional books for writers. Writers, editors, and agents alike will have their favorites and a few of the manuals will appear on everyone’s lists. Quality writing is supposedly manufactured from the suggested formulas in these books and the consensus seems to be that without adherence to the demonstrated steps, the writing will be inferior. Some of the instructions are common sense, but others accentuate tips that insecure writers take to extremes. The “show, don’t tell” thing is echoed and bandied about as if “telling” has no place at all in literature. The author-instructors had to go back and reform their instructions to remedy the hysteria. Yet you hear it proclaimed by every professional and every wannabe who comments on the do’s and don’ts of writing. The same goes for the insertion of active verbs over passive, tension on every page, and the dynamite hook within those critical first five pages.
The real beauty of novels is their ability to be unique. Authors can be similar but yet so different. However, if they’re all edited using these specific writing formulas, the stories and styles will suffer. I fail to understand why fiction must be so limited in style/voice, length, and basic variety. Why must so many of them “feel” the same when different authors are writing them?
My “rant” hasn’t changed only because I don’t get the premise. But it’s not a serious rant—I mean, I’m not yelling and frustrated—anymore.
Father, thank you for perspective. Thank you for patience. Thank you for perseverance. Thank you for the reality found only in you. Thank you, Jesus. Keep workin’ on me, Holy Spirit. I need you.
*Please continue to pray for Kristy Dykes.*
Into the Fire 
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