An antidote to query writing:
Dear Tony
You may recall we met at the Edinburgh Book Festival in 1992. I was the one in the green leotard shouting and waving at the back of the hall as you gave your keynote address. Anyway you suggested I go off and write or words to that effect, so here is the result of your encouragement. My debut novel, a sci-fi/western/supernatural/romance you-name-it-it's-in-there, entitled "Bungee Jumping In The Gobi Desert", is 560k words long. I realise that's a bit on the long side, but I reckon I could get it down to 550k with a bit of nip and tuck. It would make a terrific film and I'm sending a copy to Stephen Spielberg - does he accept email attachments do you know? I can see Brad Pitt in the lead role, and if he's not available then maybe George Cluney but definitely not Leonardo di Caprio who sucks big time.
Anyway hope you enjoy reading it. I've put my phone number at the top of the page, but for God's sake don't call after nine because the dog goes wild when the phone rings and wakes up the whole street.
Yours, Wally
Thursday, 4 December 2008
Making writing special
A rejection comment that I see a lot on the forums I frequent is that someone's writing isn't "special" enough to be published. Technically it may be perfect but it lacks the zing that grabs the agent/editor's lapels and keeps him glued to the sofa.
I think it highlights the problem we have as writers. Usually criticism on peer review forums deals with the nuts and bolts of writing; technical skill which is easy to pinpoint and put a name to. Rules and spelling, grammar etc. Of course you need all that, just as you need a feel for structure, dialogue, scene-setting, characterisation. But having learned all those things you then need the passion to put it all together. Like a chef creating a dish from all the various ingredients, it is passion and energy that lifts it above the ordinary. But it's elusive. You can't find it in the grammar or the structure or any other components. It's there, driving the writing forward, keeping them reading.
There's a kind of channelling that happens when you concentrate so hard you forget yourself or time and it just flows. Has anyone else experienced that? Almost as if this story isn't coming from you at all but somewhere else. That is where this drive comes from, I believe. It's an unconscious thing, so perhaps that's why it makes us slightly uncomfortable. It involves forgetting ourselves and just creating.
I think it highlights the problem we have as writers. Usually criticism on peer review forums deals with the nuts and bolts of writing; technical skill which is easy to pinpoint and put a name to. Rules and spelling, grammar etc. Of course you need all that, just as you need a feel for structure, dialogue, scene-setting, characterisation. But having learned all those things you then need the passion to put it all together. Like a chef creating a dish from all the various ingredients, it is passion and energy that lifts it above the ordinary. But it's elusive. You can't find it in the grammar or the structure or any other components. It's there, driving the writing forward, keeping them reading.
There's a kind of channelling that happens when you concentrate so hard you forget yourself or time and it just flows. Has anyone else experienced that? Almost as if this story isn't coming from you at all but somewhere else. That is where this drive comes from, I believe. It's an unconscious thing, so perhaps that's why it makes us slightly uncomfortable. It involves forgetting ourselves and just creating.
Tuesday, 2 December 2008
New Mystery
Getting the inkling of a new story. It started yesterday and I've scribbled a few notes. Another mystery - paranormal/psychological again. I'd begun to worry I had dried up, but this idea is exciting me like The Bookseller did.
But this time there's more to worry about at this stage. I confess to being a lot more ignorant about the writing process when I started The Bookseller. I didn't give a thought to tense or tone, I just wrote it. Rightly or wrongly, I relied on instinct. This time I'm trying to do more prep. At the moment I don't really have a story yet, just a few notes about events I want to happen and a nebulous idea about the resolution.
It's going to be all about paranoia. That's definitely my favourite stomping ground. Someone thinks they're going mad, the things happening to them make no sense, but once they change their mindset it all falls into place. This time the protagonist is a woman. I think. (Like I said, it's still early days)
But this time there's more to worry about at this stage. I confess to being a lot more ignorant about the writing process when I started The Bookseller. I didn't give a thought to tense or tone, I just wrote it. Rightly or wrongly, I relied on instinct. This time I'm trying to do more prep. At the moment I don't really have a story yet, just a few notes about events I want to happen and a nebulous idea about the resolution.
It's going to be all about paranoia. That's definitely my favourite stomping ground. Someone thinks they're going mad, the things happening to them make no sense, but once they change their mindset it all falls into place. This time the protagonist is a woman. I think. (Like I said, it's still early days)
Friday, 28 November 2008
Wednesday, 26 November 2008
Where do you get your Main Characters?
Aaargh! A dose of lurgi has stalled the writing so here I am wasting time instead...
Where do you get your characters? Are they really you in disguise?
It's an interesting thought. Some MCs I've read have very obviously been richer sexier versions of their author. For some people it's a good wish-fulfilment exercise. One recently separated middle-aged man of my acquaintance wrote an entire novel about a fabulously wealthy recently separated middle-aged man who did nothing other than have affairs with gorgeous adoring young women and bitch about his dreadful ex-wife. Some authors claim to be the antithesis of their MC - I'm thinking of Iain Rankin whose Rebus is based on men he grew up knowing rather than himself.
But aren't all our characters really parts of our own personalities? We need to get into their heads, so to some extent they must be part of us or we wouldn't understand them. We may not make the same choices they make, but that's where imagination comes into it.
The MC if The Bookseller is a man, so he obviously isn't me. I think I am in the book though, just not the main character. But I recognize his paranoia and neurosis - they are universal and why (I hope) people will read the book.
Where do you get your characters? Are they really you in disguise?
It's an interesting thought. Some MCs I've read have very obviously been richer sexier versions of their author. For some people it's a good wish-fulfilment exercise. One recently separated middle-aged man of my acquaintance wrote an entire novel about a fabulously wealthy recently separated middle-aged man who did nothing other than have affairs with gorgeous adoring young women and bitch about his dreadful ex-wife. Some authors claim to be the antithesis of their MC - I'm thinking of Iain Rankin whose Rebus is based on men he grew up knowing rather than himself.
But aren't all our characters really parts of our own personalities? We need to get into their heads, so to some extent they must be part of us or we wouldn't understand them. We may not make the same choices they make, but that's where imagination comes into it.
The MC if The Bookseller is a man, so he obviously isn't me. I think I am in the book though, just not the main character. But I recognize his paranoia and neurosis - they are universal and why (I hope) people will read the book.
Monday, 24 November 2008
What are critiques for?
Following on from my earlier post about writers' groups, I got to thinking: what do we need crits for? OK, I know, I know. We need crits to find out if our story is any good. But do crits really tell us? All they tell us is what a handful of people think, after all.
I think critting is useful because it helps us to see our work more objectively. That's a hard thing to do when you're stuck in your little garret scribbling away without another soul for company. The story is part of you; you give birth to it and like your beloved offspring it is too close to your heart to see its faults.
But it's not just what others think of our work that teaches us objectivity. It's what we learn from critting other people's work. That is ultimately more valuable because spotting someone else's flaws is always easier and teaches us to better spot our own. And ultimately that is what we need to do to become professional writers. We need to see our own flaws and fix them.
I think critting is useful because it helps us to see our work more objectively. That's a hard thing to do when you're stuck in your little garret scribbling away without another soul for company. The story is part of you; you give birth to it and like your beloved offspring it is too close to your heart to see its faults.
But it's not just what others think of our work that teaches us objectivity. It's what we learn from critting other people's work. That is ultimately more valuable because spotting someone else's flaws is always easier and teaches us to better spot our own. And ultimately that is what we need to do to become professional writers. We need to see our own flaws and fix them.
Friday, 21 November 2008
Adverb abuse
Yippee! I have a follower! Cheers, Lori! :-)
Adverbs. Do you use them? Well go and stand in the corner you naughty writer, you!
I've seen so many heated arguments about Adverbs and their misuse, I've decided to start the Society for the Prevention of Adverb Abuse. We aim to rescue adverbs that have been overused or callously tossed aside by an uncaring society. After careful rehabilitation they will be rehomed.
If you know of an adverb that is overused or neglected, please post it here so we can stop this cruelty.
And if you can offer a home to one of our adverbs in your story, please call us NOW. (Or NOWLY)
Adverbs. Do you use them? Well go and stand in the corner you naughty writer, you!
I've seen so many heated arguments about Adverbs and their misuse, I've decided to start the Society for the Prevention of Adverb Abuse. We aim to rescue adverbs that have been overused or callously tossed aside by an uncaring society. After careful rehabilitation they will be rehomed.
If you know of an adverb that is overused or neglected, please post it here so we can stop this cruelty.
And if you can offer a home to one of our adverbs in your story, please call us NOW. (Or NOWLY)
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