Tag Archives: writer

Morning Inspiration

my bedroom in the morning light….

ok, ok, it’s that of some bint called Ephrusi de Rothschild of Cap Jean Ferrat – but same thing…

It is said that the closer the brain is to the sleeping state, the more creative it is. For this reason, many writers keep their notepad by their beds and make sure that the very first thing they do when they open their eyes each morning, is write.

The resultant notes are called “morning pages”. Morning pages might contain what a writer remembers of their dreams or perhaps the writer will simply jot down the very first words that come to mind that day. Some writers say that this exercise helps them ‘slip’ more easily into what writers’ call the “rapture” when a writer feels ideas are pouring into their mind from elsewhere.

Just as the waking moments are a bridge from the sleeping state into sober reality – the hour before you go to bed is often a creative time with the brain slipping into that semi conscious state.  Hence there are plenty of writers who write late at night.

And just to show that there are no rules, there are other writers who find their most productive hours are in the middle of the day when all of life’s busyness is in full swing (the Harry Potter author, J.K. Rowling is a good example. She wrote her first book in a busy Edinburgh café).

So, I guess the point is that different times of the day work for different people and it is really of no consequence whether you are a morning, day or night writer. What is important is that you write and that you find your ideal writing time. Experiment. Find what works for you and then set an hour aside each day at that time and write. Likewise, writers have very personal tastes regarding an environment conducive to writing. There are those who like music or TV buzz in the background and those who can only write in silence. Find whatever works for you.


Make your lines stand out

Amelia stands out from the line

Amelia stands out from the line

Those new to writing will often fall in love with words and become over-enthusiastic in their application. However, overly verbose writing negates the impact. Use adjectives but go easy, less is more.

An example of an adjective/adverb heavy sentence:

‘A dark grey, crinkled brow of solemn cloud crept sluggishly over the majestic hills that were patchily bruised with a blackish purple moss and randomly spiked with prickly yellow furze.’

There is too much going on in this sentence, far too much colour. Each individual image is in competition for the reader’s attention. The result is a confusing clash. Think about what is necessary here. Everyone knows furze is yellow and prickly. Do you need to inform the reader of these facts? “Majestic” doesn’t really do anything here – except communicate that the hill is big, which one would assume. Edit that sentence down.

‘A cloud slugged over the hills,’ has far more impact.

A note on adverbs:

Adverbs have a bad reputation in the literary world. Many writers avoid them completely (there’s one right there). I would suggest you use them with caution and very, very sparingly (see, another one) and never, ever with speech attribution (“she said nervously”). Adverbs like “suddenly” or “immediately” are thought of as cliché traffic lights. If something happens unexpectedly in a story, you don’t need to “flag it” to make the reader aware that this was a “sudden” action – it should be obvious. “A bomb exploded” is more striking than “Suddenly, a bomb exploded”.

Over reliance on adjectives and adverbs is a typical, and some would say necessary, phase for those beginning their writing journey. So, don’t worry if you recognize your own writing here. As “mistakes” go, the over use of adjectives and adverbs is a useful one, as it serves to build your vocabulary. All good writers should have this phase. Just keep calm, carry on, edit down the adjectives and remove the adverbs – and you’re on your way.


That’s Pathetic!

Image

What’s happening here? Storm over a street fete in Monte Carlo.

It was a dark and stormy night…

“Pathetic fallacy” is an academic term that refers to the technique of ascribing human emotions to inanimate objects, usually to reflect a character’s mood. For example, say your protagonist falls in love: you might describe flowers laughing and trees waving their branches gleefully. Or perhaps there’s been a death, so the landscape looks bleak and with clouds brewing rain.

“Pathetic fallacy” was very popular with the Victorian novelists – think of Thomas Hardy. Therein, however, lies the problem – “pathetic fallacy” is out of fashion nowadays. This demise of its popularity is partly due to the modern attention span. If you’ve ever read novels by the Brontes, Dickens, Elliot or Hardy – you’ll know all about lengthy landscape description. It’s taxing for modern readers. If you absolutely need to say how each field in the valley looked, then spread your descriptions out over the course of your work. Above all, as Elmore Leonard wrote, “Try to leave out the part that readers tend to skip.”

Another reason “pathetic fallacy” is no longer beloved in the literary world, is that it can seem cliché. If your protag is heading home to see his wife and there’s a storm, and then they fight… your foreshadowing’s is derivative, predictable and boring.

Still, “pathetic fallacy” has its place in the literary toolbox. It can provide emphasis for mood. I suggest using it sparingly, with caution and avoid storm/argument, rain/depression, sunny days/falling-in-love clichés.I like to turn PF on its head; let the trouble come in sunshine or make a storm a symbol of peace. If you use PF, surprise your reader with it.

Oh, and whatever you do, never open with a PF weather report, that’s just pathetic : )


The Day Job…

The day job…

A wise writer once said to me that it’s not so much the pram in the hall that’s the impediment to a writing career, but the bills on the door-mat. Money worries are the bane of creativity. And unless independently wealthy, the emerging writer will have to make a living while waiting for that book/film deal (and probably for a while after that fact too). Writers need to work; the question is what kind of jobs are out there?

Many will consider other (more lucrative) forms of writing to bring home the bucks. Journalism is an obvious  choice and is still, probably, the most common second career for many creative writers. Moreover, a journalistic background provides marvelous training re editing and brevity of approach. Copy-writing, particularly website copy, is also a popular income booster for writer but both copy-writing and journalism are less satisfying forms of writing for the creative writer and spending all day writing on the day job can make it difficult to come home and do the same at night.

Teaching English and/or creative writing is another common earner for writers. My TEFL training and experience has given me a sound grip of grammar and the intricacies of the English language – all of which is of great practical use to a writer. A TEFL teacher also (usually) travels and such experiences can feed into your work. Teaching creative writing allows you to deconstruct the tools of creative writing, which may benefit your own writing. However, you usually need a track record of publication before you begin to look for work in this area.

It is not uncommon for writers to work a mundane job such as on a factory line or as a manual laborer. Such tasks sit quite well with a writing career as they give the writer time to think, to let ideas bubble and boil ready to write down after the shift has finished. Also, with a job so utterly removed from writing, you will be fresh and eager to sit at your laptop of an evening. The downside of any brain numbing, repetitive work is that it has no status. This fact should not be important but it is because writers are human, so for a writer to stay in a lowly job, s/he needs determination, focus and confidence in their reason for doing this type of work.

Writers, of course, come from all walks of life and all career backgrounds. For those of you who may be considering giving up your job to write full time, you need to remember that you’ll (most likely) still need to make a living. Maybe the job you have is not glamorous or interesting, but these are often the best complementary jobs for writing. So, if you really want to be a writer, the greatest sacrifice you make may be NOT giving up the day job –  but staying with it.


Gradgrind’s Corner

2016-08-02-11-01-31

Once you’ve had your feedback and have chopped, pruned, rewritten and reshaped your work, you’re ready to go, right? Wrong. Next, you need to don your pernickety gloves and work on grammar, spelling and punctuation.

This type of revision is called a proofread and it is separate from the critique your friends gave re characters, story, POV, tone and structure. A proofread regards layout and correct use of language. A proofread is the final polish.

Never hand in a submission blighted by incorrect or inconsistent punctuation, bad grammar and misspelled words – thinking the story will shine through. They (the slush pile readers) will be turned off by your sloppy copy and will probably never read on into your story, so it won’t get that chance to shine through. If you’ve spent a year writing a novel, respect your work enough to spend another couple of weeks proofreading. It’s only common sense.

As you’ve probably read your own work countless times, you may be blind to copy mistakes. A keen eyed friend is invaluable here. Also you could cut a sentence sized gap in a blank page and place it over your text to check every sentence individually, with the rest of the text blanked out. This may sound painstaking but it is a very good focusing tool.

Many emerging writers are concerned about grammar, unsure of their own knowledge and application. I’ve been an English (as a foreign language) teacher for fifteen years and can recommend the following grammar self-study book (known in the TEFL world as ‘the grammar bible’): Raymond Murphy Grammar in Use. You’ll be able to pick up a cheap copy on Amazon. Spend a night or two doing the exercises, it’ll stand to you.

Also, I could wax lyrical about whether to use double or single quotes for dialogue (or to use any at all) and the difference between US and UK conventions regarding the same. However, I think the best is for you to take ten novels down from your shelf and see how the majority of them format dialogue and then apply the same convention to your work. Whichever you choose, ensure it is then consistent throughout your text.

Finally, here are some of the most common problems:

****Are you using the right “Its”?

“It’s” (with an apostrophe) is short for “it is”.

Its” (no apostrophe) is possessive (ie: the dog lost its bone).

NOTE: somewhat confusingly, when you want to use the possessive elsewhere, you do use an apostrophe: “Mary’s coat”, “John’s golf club”, “the dog’s bone.”

 

****Same sound, different spelling (homophones).

“They’re”, “Their” and “There”.

They’re (they are) sitting the car. They’re listening to their (possessive) music, they’ll be fine there (preposition of place) for a while yet.

 

****Using “done” instead of “did” and vice versa.

“Done” is the past participle of “do” and is normally used with the auxiliary verb “have”.  “Did” is the past simple of “do”.

(And if you have no idea what any of that means, you really do need to order that book).

So, you say either “I have done my homework” or “I did my homework” – and never “I done my homework,” or “he done his homework.”

 

****Saying “could of” rather than “could have” when using the second conditional tense or “could” as a modal verb in the perfect tense (yeah, see that grammar book).

“He could of gone to the shop,” is wrong.

“He could have gone to the shop,” is correct.

And please accept sincerest apologies for sending any of you off into a coma of boredom with this grammary post – believe me, it hurt me more than it hurt you.


What’s the story, Rory?

I’ll tell you a story about Johnny McGory.

Will I begin it?

That’s all that’s in it.

Irish nursery rhyme.

What’s the story?

Story trumps all. The toppermost bough of the literary elite tree may disagree and say literature is about language, the perfect sentence, la mot juste. However, for most writers in today’s economic climate – if you don’t have a sound story, you don’t have a publishing deal. Having a well-constructed plot and a good story means you’ll be forgiven all sorts of other failings (blingy adverbs, oddball syntax, clichéd characters). It’s simply today’s reality.

Firstly, in order to have a story, you have to have some sort of conflict. These conflicts usually fall into one or more of the following categories:

man vs. nature

man vs. man

man vs. the environment

man vs. machines/technology

man vs. the supernatural

man vs. self

man vs. god/religion

Examples of good conflict ridden plots can be found everywhere, in the Bible, Greek mythology, Shakespeare, ethnic folk tales and even jokes.

Structure

A typical story structure might be plotted thus:

Stasis – the status quo. The reader is introduced to the character and setting.

Disturbance. Something occurs which upsets the normal run of things. For example, a stranger arrives in town.

The main character is affected by the disturbance.

The main character decides on a plan of action to rectify or improve matters.

Obstacles stand in the way of the plan of action succeeding.

Complications occur in the guise of choices/new characters/new ideas/discovery.

These lead to a crisis, when the focus of a play comes together in an unavoidable way.

The crisis usually leads to a climax or the major confrontation.

Finally comes the denouement or resolution which results in a new stasis.

The above will often feature a character development arc whereby the protagonist is changed in a fundamental way by the events.

 

A good exercise in plotting is to take a book or a film you’ve really enjoyed and try to break it down into a series of plot-steps, like the ones I’ve outlined above. Now, change the setting, the gender of the protagonist, the era, the goal and the type of obstacles that stand in the way. Yet, stay true to the plot template. When you’ve finished you’ll find you have a completely new story. Don’t feel as though you’ve stolen another’s plot. In truth, there are no new plots, each is a retelling of an older version. You’ve simply adapted and updated a classic plot line and in the process have created a unique story.

That’s all that’s in it.

 


You Are Here

Interior location – my bedroom, Flat 1. Budapest, Hungary -photo Nannette Vinson

The setting is the signature of many a writer: Stieg Larsson and Sweden (The Girl with the Dragon Tattoo), Annie Rice and New Orleans (Interview with a Vampire), John le Carre, the world of spies.

And a surprising literary setting can make your story all the stronger. Agatha Christie stories work so well because in every quaint vicarage with its lace table cloths, jam, Jerusalem and glasses of sherry – there’s a body under the table.

A New York Street

Writing what you know

It is often said you should “write what you know”. A sensible approach, especially for the new writer. By placing your characters in scenes and situations with which you are familiar, you are more likely to invest a sense of realism in the story. Also, practically speaking, writing about familiar territory will save on research you might otherwise have to do on a subject/setting.

Some writers resist writing what they know as they feel their own environments are not “glamorous” or “extraordinary” enough to merit such attention. This is nonsense. Whatever you do and whoever you are, your life will seem exotic to someone else. The fact that you grew up on a council estate/project developent in Bolton/Kalamazoo is interesting to someone living on a farm in Siberia. Remember, the life of an immigrant taxi-driver would quite likely fascinate the Queen of England.

Also, you don’t necessarily have to set your story in your street or your workplace. Think of your Saturday morning football team, your chool, the nightclubs you frequent, a hospital you’ve spent time in or a prison. All are equally valuable settings for a short story, novel, play, film script or even poem or song. Your environment is your gold, mine it.

But I don’t want to write about my environment…

That’s fine too. There is also case for “writing what you don’t know”. Fantasy writers, for example, are (usually) not elves living in Middle Earth. Historical fiction writers have not lived in Tudor England. Yet, Fantasy/SciFi/Historical novels are written and enjoyed every year. For Fantasy/SciFi you need a familiarity with the genre and a vivid imagination. For historical fiction you need to like research. For all the above you’ll require the ability to convincingly create an unfamiliar world.

Bear in mind, however, that while a Fantasy writer won’t get complaints from angry elves about his misinformed stereotypes. A novelist who sets a story in a modern French monastery, and knows nothing about France or monks – is asking for trouble. Firstly, their prose may be riddled with (skewed) perceptions of France and the French, monks/Catholicism/wine-making etc… And not only is there danger of rehashing clichés, their writing might lack the detailed realism a reader finds so reassuring and intriguing.

So, if you want to write about banditos in the mountains of Sardinia, and you can’t go and live there for a year – then research, research, research. Read as much as you can on the topic, as well as any other fiction that has used the same environment as a setting.

A picture from home… A cave. Dunmore East. Co. Waterford, Ireland.


Smug Me

sueMarathon

Completed the Richmond Half Marathon today and thanks to the generosity of family, friends and strangers alike, raised £491.50 for the mental health charity Mind. Endurance running can teach a lot to a writer about perseverance, and brushing yourself off after a knock.

Running also provides time to think and work through stories.. and, as it turns out, it also lets you help a good cause. It’s win win really. Hence the medal…


Proper Job!

A wise writer once said to me that it’s not so much the pram in the hall that’s the impediment to a writing career, but the bills on the door-mat. Money worries are the bane of creativity. And unless independently wealthy, the emerging writer will have to make a living while waiting for that book/film deal (and probably for a while after that fact too). Writers need to work; the question is what kind of jobs are out there?

006

Many will consider other (more lucrative) forms of writing to bring home the bucks. Journalism is an obvious choice and is still, probably, the most common second career for many creative writers. Moreover, a journalistic background provides marvellous training re editing and brevity of approach. Copy-writing, particularly website copy, is also a popular income booster for writer but both copy-writing and journalism are less satisfying forms of writing for the creative writer and spending all day writing on the day job can make it difficult to come home and do the same at night.

Teaching English and/or creative writing is another common earner for writers. My TEFL training and experience has given me a sound grip of grammar and the intricacies of the English language – all of which is of great practical use to a writer. A TEFL teacher also (usually) travels and such experiences can feed into your work. Teaching creative writing allows you to deconstruct the tools of creative writing, which may benefit your own writing. However, you usually need a track record of publication before you begin to look for work in this area.

It is not uncommon for writers to work a mundane job such as on a factory line or as a manual labourer. Such tasks sit quite well with a writing career as they give the writer time to think, to let ideas bubble and boil ready to write down after the shift has finished. Also, with a job so utterly removed from writing, you will be fresh and eager to sit at your laptop of an evening. The downside of any brain numbing, repetitive work is that it has no status. This fact should not be important but it is because writers are human, so for a writer to stay in a lowly job, s/he needs determination, focus and confidence in their reason for doing this type of work.

Writers, of course, come from all walks of life and all career backgrounds. For those of you who may be considering giving up your job to write full time, you need to remember that you’ll (most likely) still need to make a living. Maybe the job you have is not glamorous or interesting, but these are often the best complementary jobs for writing. So, if you really want to be a writer, the greatest sacrifice you make may be NOT giving up the day job –  but staying with it.


Paper Never Refused Ink

Writers worth their ink need to be making some point with their story. By that, I mean your tale ought not be solely just a boy-meets-loses-regains-girl trip.

Beneath your storyline, there should be something else going on, a deeper message, your comment on how humanity works, or doesn’t. It is a writer’s (or artist’s) job to present the human condition as they interpret it. It isn’t meant to be heavy and scary, I’m simply suggesting that once you’ve written your story, or even just have an idea for one, you should sit back and consider what it could be saying on a larger, universal scale.

A good way to understand this concept is to consider Aesop’s Fables. Each one is a tale that could be enjoyed on a superficial level by a child, yet there is a deeper meaning, or moral, which endeavors to teach the child some universal truth about life, ie being slow yet determined is often better than being hasty and fickle (Tortoise and the Hare).

A good place to seek inspiration is a list of proverbs. A proverb is usually a metaphor and encapsulates in simple terms, a lesson from the common experience of humanity. Here’s an exercise that might get you going: sit down and have a think about the specific meaning of the following and then go freewrite a story illustrating this philosophy.

Graveyards are full of indispensable people.

You can catch more flies with honey than you can with vinegar.

A little learning is a dangerous thing.

The belly has no ears.

Trees don’t grow to the sky.

A dumb priest never got a parish.

The only free cheese is in the mousetrap.

Eaten bread is soon forgotten.

The squeaky door gets the oil.