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‘Each morning, there was a chapter to listen to’ – guest post at Jane Davis’s blog on making audiobooks with ACX
Today I’m at Jane Davis’s blog, reflecting on the experience of making Lifeform Three and My Memories of a Future Life into Audible books. If you’ve been following my audiobook journey for a while you may find the ‘how-to’ section is familiar material, but there are plenty of more reflective moments – so I hope they’ll encourage and inspire you if you’re considering an audiobook too.
I also want to introduce Jane Davis. I first spotted her when The Guardian newspaper featured our novels in an article about quality indie authors. I tried to drag her onto The Undercover Soundtrack, but alas she was too honest and told me that music hasn’t really featured in her creative process. So I’ll tell you a little more about her here. She secured a publishing contract when her debut manuscript won the Daily Mail First Novel Award, but has since gone proudly indie, following up with four other titles that deal with tricky subjects in thoughtfully honed prose. Her titles are delicious and hopefully will give you an appetite for more – I Stopped Time, A Funeral For An Owl, An Unchoreographed Life. There’s more about Jane and her books here.
So do join us at her blog for audiobooks, the inside experience.
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I’m thinking about this because of a review I saw this week of a novel billed in The Times as science fiction, which sounded rather disappointing – and it’s put me on a bit of a mission.
I haven’t read the book so it would be wrong of me to name it, but it concerned a new planet populated by humanlike aliens. The main threads are the bringing of God to the indigenous people, and the exploitation of its resources by mining companies.
It seemed this story could have been set anywhere. The human challenges were no different from those in a historical novel. The other-world setting didn’t add anything fresh, except maybe to save the writer some research. (I see a lot of science fiction – and fantasy – novels that are written for this reason. If you invent the world, you can’t be accused of getting it wrong.)
But shouldn’t we be doing something better with science fiction (and fantasy)?
Bob Shaw says, in How To Write Science Fiction, that science fiction’s defining quality is that it deals with ‘otherness’. Whether it’s in the future, the present or the past, it’s about realities we don’t have at the moment.
He also says that the central idea in a science-fiction story is so important it should have the status of a major character. It needs to be developed and explored. It changes what people can do, creates new situations that illuminate the human condition. It adds a new quality of strangeness. And Shaw also says if that concept is taken away, the story should fall apart.
One of Shaw’s own short stories illustrates this. Light of Other Days sprang from an idea about an invention called ‘slow glass’, which allows you to see an event or a setting that happened years earlier. And so a man whose wife and child died in an accident can still see them, every day, in the windows of his house.
Take, by contrast, Andy Weir’s The Martian. An astronaut is trapped on Mars and has to make enough air, food and water to survive. It’s genuinely an addictive read and I loved it, but it could just as easily be happening in Antarctica or on a deserted island. The science provides the particular challenges and the possibilities, but it does not change the human essence of the story.
We’re used to thinking that any story outside the Earth’s atmosphere is science fiction, but they’re not. They’re survival stories. But take the slow glass out of Light of Other Days and you’d have no story at all. That’s science fiction.
The Martian is a great read. The other novel may be too. But it’s a pity if the critical press and the literary community are presenting them as examples of good science fiction.
Science fiction should be a literature of the imagination. I think it’s a shame if we forget this. The same goes for fantasy – Neil Gaiman’s Graveyard Book is a deeply invented world, and very different from The Jungle Book, which inspired it.
We only have to look at our own, real past to see how science fiction and fantasy should grapple with the idea of transformation. Every invention in the history of humanity shows us this. Think of electric light – we can change society and the very fabric of life with an idea like that. With phones – and particularly mobiles – we are reinventing the way society works, saving lives and creating new types of crime. With scientific narrative non-fiction like Rebecca Skloot’s The Immortal Life of Henrietta Lacks we also have a model for writing great science fiction. We can examine the impact of a scientific discovery and the quantum changes it brought, in individual lives and for global corporations.
Science fiction works on this same continuum, the scale of human change. A great science fiction idea should allow us to send humanity to startling new places with new advantages, cruelties and injustices. And those are places in our souls, not just other planets.
So – rant over. I’m hoping this isn’t too abstruse or marginalising for some of the regulars here, but you do know how I love the strange … Do you write science fiction or fantasy? What are the ideas you’re grappling with? How do you refine them or test if they will be bold enough? Would they pass the Bob Shaw test?
POSTSCRIPT How could I have forgotten one of my favourite things about science fiction? It took Dan Holloway to remind me of it in a comment – the reason these ideas prove so beguiling is that they are metaphorically resonant. They enable us to see aspects of humanity that aren’t yet visible. Do read Dan’s full comment below.
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‘A hushed, whispered jingle mimicking a drizzle of rain’ – The Undercover Soundtrack, Anjali Mitter Duval
Music is at the heart of my guest’s story this week. The setting is 16th century Rajasthan in Northwest India, a landscape of temples and fortresses, jewel-toned textiles, blue skies and golden sand. It’s also the land of kathak, a stamping, rhythmic, hypnotic devotional form of dance practised in Hindu temples by girls who were wedded to the temple’s deity – and wealthy patrons who looked for companions. My guest wrote her story in New England, and listened to the rhythms of the traditional dance to conjure up her novel’s parched, colourful landscape and people, a place where rain was so rare that children would view it with terror. She is Anjali Mitter Duva and she’s on the Red Blog with her Undercover Soundtrack.
STOP PRESS! I just got a Google alert that this blog (I’m talking about Nail Your Novel now, not the red one) has been archived for preservation by the British Library as part of its special collection for Arts, Humanities and Literature.
And by the look of it, they’ve been reading for a while because they have screenshots of designs I’d rather leave discreetly in the past… *Slight embarrassment*
Okay, back to the music. Undercover Soundtrack this way.
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Right now, my voice actor Sandy is in her recording booth, speaking like a bod. Lifeform Three, my second novel, is currently in production as an audiobook, so this week I went to an event in London hosted by ACX and the Alliance of Independent Authors. Audible president Jason Ojalvo and author-entrepreneur Joanna Penn were speaking, and they had some interesting points on the business of choosing and working with a voice actor. (For an introduction to how to work with ACX, including auditioning actors, look at this post.)
Male or female
So a female author or a male main character must need a certain gender of voice actor, right? (And if you’re crossing the gender divide, how do you choose?)
Actually, it’s less of a cut-and-dried rule than you’d think. Jason said he’d often had authors who’d specified they wanted a female voice, then when a male actor had auditioned it had been the perfect match – even in genres like romance, whose readership are very definite in their expectations.
Jason made the point that the book – or the author’s work in audio – might have a voice that’s independent of the voice of the author or the character; it is its own identity. We’ll come back to this.
When I originally looked for a voice actor, I specified a British accent, but as many of you probably know, the narrator I chose is from the US. Initially I got a lot of US actors auditioning because I was one of the guinea-pig authors when ACX launched in the UK – they hadn’t yet got a bank of UK actors to choose from. So I heard a smorgasbord of attempts to ‘do British’, some convincing and some not. But I soon realised it didn’t matter after a few minutes anyway. The accent was irrelevant. The interpretation of the book went deeper than a voice’s characteristic twang, or lack of it. What was actually important was the voice actor’s understanding of the work.
And Sandy, regardless of the flavour of her English, was the most in tune with the novel. She also liked a lot of books that I liked. I picked her.
Same voice for all your books?
Jason said if you have a series, listeners expect the same voice throughout or it breaks the story world. Authors of standalone books, obviously, might search for new narrators each time. I’m happy with Sandy for both my novels even though they are different in tone – because she works well with my style and outlook.
Joanna has two series, so she cast a narrator for each. Funnily enough, we might have ended up with the same one, as the narrator for her dark crime series was one of the auditioners for My Memories of a Future Life! Small world.
Hunting for narrators
You’re not limited to only the voice actors who approach you – and indeed, many authors don’t find an ideal match that way. Jason encouraged authors to hunt around the ACX narrator profiles, listen to their samples and invite them to audition for yours. Or some authors do what I did – if you know a voice actor who’d be perfect, introduce them to the system.
Working with unfamiliar accents
Joanna, like me, is British, and ended up working with an American narrator. Once into the recording process she found there were pronunciations that were alien to her Brit-tuned ears but natural to the US narrator. What to do about them? Tomayto or tomahhto?
Before recordings start, you need to discuss this, and also tricky pronunciations such as character or place names. Sandy and I talked about it. I suspected there would be many more variations than I’d have be able to think of. If I’d decided ‘leisure’ couldn’t be ‘leesure’, I’d have then, for the sake of consistency, had to pull her up on words I never dreamed had a US difference until I heard them.
And the difference goes further than isolated words – sentence emphasis is also radically different. US English stresses the adjective in a phrase like ‘lying on a sticky mat’. UK English stresses the noun (UK: ‘on a sticky mat’, US: ‘on a sticky mat’).
I didn’t want to stilt my narrator with unnecessary strictures so I asked her to pronounce her usual way. I’m glad, because there were hundreds of differences. Hundreds. It would have been madness. In any case, that didn’t matter. So long as the interpretation of the line was true, the emotion understood, the accent was irrelevant.
Joanna had also come to this conclusion, saying there’s a lot we need to leave to the narrator’s judgement and style. She intervened in place name pronunciations, but allowed everything else to go with the actor’s natural style and emphasis.
Having said that, an audiobook is a creative relationship. The voice actor is expecting you to guide them on interpretation. Sandy and I spent several emails discussing how the bod characters in Lifeform Three should sound and what their individual characteristics were. I sent her short recordings of how they seemed in my own head as I wrote them, which she turned into polished performances. It was quite a feat for her – sometimes she had four or five characters in one scene and had to inhabit all those minds, as well as switching to thoughtful narration. For me it was easy because I wrote them. For her, it was mind-and-tongue gymnastics.
You can probably see why questions of ‘leesure’ versus ‘lezzure’ cease to be important. Forget them.
Don’t expect a drama performance
Jason pointed out that the audiobook isn’t a stage or film performance. It’s a reading – a quieter, more subtle business. Characters’ accents don’t need to be full-on impersonations, they are a hint. Passages of emotion don’t have to be performed, merely rendered so they bring to life what is already in the prose.
In prose, the writer has already done the job on the page. The voice actor is converting that into sound. It’s intimate; it’s not slaughtering the back row. It’s murmuring in your ears.
The voice that is the best conduit for your work
Ultimately, the best narrator is the right person to inhabit the book and bring it alive, from its lightest moments to its darkest corners. If you’re weighing up possible narrators, be prepared to revise what you imagined. If you thought the narrator should be British or male, but the more true interpretation, the one that gives you goosebumps, is US and female, that actor is the one to choose. The differences will vanish as soon as the listener gets into the story. After a minute or two, they won’t notice.
Since I released My Memories of a Future Life, some people have asked me why I chose an American, and indeed have mentioned it in reviews. Then they report that they got immersed. Your best narrator is the person who can inhabit the book, who can become its voice in the reader’s head and make them forget everything else.
Thanks for the pic Michael Mol
Any tips or questions to add? Have you made an audiobook? If you listen to a lot of audiobooks, do you have any feedback on what makes a good narrator? Let’s discuss!
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As Oscar Wilde didn’t say: ‘Be yourself, everyone else is taken’. (No really, he didn’t.)
In our early novels, we’re more likely to see our main characters as proxies for ourselves. But there comes a stage where we learn more versatility, and to create new hearts, souls and minds to carry our stories. This was one of the interesting findings of a project organised by a team of researchers at Durham University and reported here in The Guardian.
Authors who took part in the survey were asked how they experience their main characters while writing. Those with many books reported that in their early work they saw the main character as a proxy for themselves. Sometimes it was simply wish fulfilment. Sometimes it was a deeper working, perhaps of a problem they couldn’t express in the real world, or an issue they had left undone. It was only in later books that they were aware they were creating individuals who had their own distinct hopes, dreams, values and reactions.
Does it matter?
Interesting though this is, does it matter? It depends. When editing, I’ve certainly seen where it goes wrong. There might be a sense that the main character’s viewpoint is never challenged, or nobody else in the book is as vivid, or all the other characters victimise, worship or pander to the narrator. It can look like the book lacks any perspective that would engage an outsider.
If you’re writing from your own trauma or sense of injustice, no matter how wronged you feel you still have to win the reader round. Indeed Anne R Allen has written hilariously about protagonists who turn readers off - usually because the writer has put themselves too literally into the story.
Here are some of the problems I’ve noticed.
Passive main characters
In a writer’s early books, the main character is often passive. They do very little on their own initiative; they merely react to what is going on. In real life, writing often appeals to people who are observers and analysers. And even if we aren’t, most of us would prefer trouble to go away. But readers find it exasperating if characters don’t at some point take charge or counter-attack. The passive default is generally one of the first reactions a novice writer must unlearn.
Unwillingness to alter events
Sometimes our emotional investment in the book can cloud our critical faculties. At the writing group I used to go to, I remember one lady who read from her novel, which was about a divorce. When we started to question events that seemed far-fetched, she snapped angrily: ‘but that’s what really happened’. Discussions went downhill from there.
Events need to matter more
Drawing on our own experience might produce tunnel vision. It might also stop us taking an idea as far as it could go.
I remember a very early attempt I made to write a story about my experiences with repetitive strain injury when I was a journalist. It was strangely flat. Although I managed to entertain with the strange medical tests, mystery and uncertainty, it was at best lightweight because the stakes weren’t significant. The worst that could happen was that the proxy me might have to get a different job, but that wasn’t a major challenge to my soul that would hook a reader with its urgency. This made me unhappy, because I wanted to write the crisis of somebody’s life…
Then ghostwriting taught me how real life is just material – and material that needs a snappy tailor. (Lots more here about ghostwriting if you’re curious.)
I had a use for my RSI scenario. It was time to adjust real life and amplify. The major amplification was the main character. Now, after writing a lot of fiction as other people, my first novel was the chance to write as me. But my narrator couldn’t be me, the real me muddling through with average demons and crises. She needed desperation. What’s more, her desperation, although it had to be particular to her, had to speak for a more fundamental essence of the human condition – in this case, a search for meaning and love. Perhaps that potential was in my mind all along in that early story, but it didn’t become fully potent until I invented the character who needed it.
If you’ve read My Memories of a Future Life you’ll be recognising her. Carol has elements of my personality and I certainly felt I was her when I wrote her. She comes from things I understand. But she isn’t me. She is herself, created as the person who needs the journey and healing process of that story.
Paftoo of Lifeform Three isn’t me either, though he started with my love of horses and the things we have lost from the past. I then put that in a situation and personality that would cause the utmost trouble, a fight for his very soul. And for Ever Rest I have four, perhaps five viewpoint characters, all with their own consciousnesses, issues and inclinations. I am not those five people.
How to write a character who isn’t like you
Start with something you relate to – what if you lost something that makes you feel alive? Then mine the deeper level and remove yourself. Every time your character reacts, question it. Ask if that’s your own setting, and if it could be bigger, better or different. Find a key for that new character to sing in. Examine their approach to life, betes noires, responses to stress, desires.
In fact, we all have many characters we could create because we already know how to be different. What are you like with your parents? Is it the same as the way you are with your boss? How about the person you are when talking to a person you want to impress, or the head teacher at your child’s school? You already know how to be different at an instinctive level.
So, to mangle the legacy of Oscar even more (because he still didn’t say ‘Be yourself, everyone else is taken): don’t be yourself. Use yourself to invent the people your story needs.
Pic of Oscar by Napoleon Sarony, Wikimedia Commons.
There are a lot more tips about writing a character who’s not like you in Writing Characters Who’ll Keep Readers Captivated
What stage are you at? Who are your main characters? If you’ve created people who are proxies for you, was that intentional? Unavoidable? Brilliantly effective? Has that caused problems or interesting feedback from readers and editors? Have you created characters who aren’t like you? If you’ve written many books, have you noticed a shift? Let’s share thoughts!
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I’m reading Jose Saramago’s Blindness, and its style is rather striking. It’s an omniscient narrator hopping between a lot of heads. The dialogue is run into the rest of the prose, with no punctuation to distinguish it from the rest of the prose. Yes, no quote marks. Not even a dash. Sometimes the dialogue has no tags to tell us who’s speaking – or indeed that it is speech. When the characters speak, it’s not even presented in separate sentences, let alone paragraphed.
A typical spread looks like this
Dense, long paragraphs. Rather offputting, isn’t it? It looks like the book will be a horrendous muddle and heavy going. Dave – who will give most styles a fair crack – tossed it down in disgust, muttering about pretentious gimmicks.
It’s certainly risky to mess with the conventions of dialogue. I frequently see novice manuscripts where all the dialogue is reported. This creates a distanced effect, as if no one in the book is really alive. It also creates a dense block of text that – as you can see – looks forbidding to the eye (although not many writers take it to the lengths Saramago has). But Blindness is enhanced by this style. Let’s look at why.
The society is the focus While there are certain characters who are central, Saramago’s interest is an event that breaks the normal structures of civilisation. The omniscient view and the technique of running the dialogue together in long sentences builds on this. It means they are part of a bigger picture. The focus can be on anyone – the person whose actions are the most interesting or urgent to watch at a given moment.
The main characters become more vulnerable There are key characters, and this style creates a sense that they are more fragile. In any story that follows just a few viewpoints, we’re aware that most of them must continue as consciousnesses until the end of the book. In the dangerous world of this story, anyone could vanish and the world will go on being narrated. So the threat to them is more real.
Nothing is confusing Despite the unconventional presentation, you can usually tell who’s talking. Where you can’t, it’s either not important – or the point is to experience confusion.
It’s set up carefully All stories have to introduce the reader to the rules of the world, and any quirks of the style. Saramago starts as he means to go on, tuning you in so you look carefully at the prose to see if someone’s talking and who it is.
He doesn’t throw us into this many-voiced chorus straight away. The first few chapters follow a limited cast, so we get to know them. This gives us figures who are anchors in the later chapters – if they survive. He assembles a large cast quite quickly, but they are connected with these originals by the establishing scenes so it’s easy to remember who’s who.
There is also a consistency of style, although this may not consciously be noticed by the reader. One paragraph – which may go on for many pages – is a scene.
The story has momentum The style may be unorthodox, but he’s keeping the story moving. Curiosity pulls us along. The stakes keep building, the situation is running further out of control. We keep reading to find where it is going.
I haven’t read very far so I’m looking forward to even more interesting effects, but my final point is this. The run-on presentation with few traditional markers is like hearing a lot of voices and being unable to tell who is who. Isn’t that like being struck blind? It is also panicky, as though things are happening too fast to take proper note of them. It feels out of control (although the writer is tightly in command). You might even say it’s breaking convention as the society of the book is disintegrating. It makes the characters disturbingly into a herd, stripping them of individuality. This clever style choice reflects the experience of the sighted people, who have quarantined the blind people for fear they will catch it. We are at once seeing the story two ways.
This style is creating and amplifying the experience of the world. Wow.
No spoilers, please, as I want to discover the book’s surprises in the proper way… but let’s talk about styles. Have you read a novel with an apparently challenging style that enhances the material?
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I get a lot of emails about the beat sheet revision exercise I describe in Nail Your Novel. I’ve just prepared an example for my Guardian masterclass using the opening of Ray Bradbury’s Fahrenheit 451 so I thought you guys might find it helpful.
Bradbury is one of my heroes for the way he explored science fiction ideas in a lyrical style – and indeed he described himself as a writer of fables rather than SF. Strong influence there for my own Lifeform Three, in case you were wondering. Anyway, creating the beat sheet made me admire Fahrenheit even more so I thought it would be fun to share my discoveries here. (Discreet cough: spoiler alert…)
First of all, what’s a beat sheet?
It’s my absolute rescue exercise for revision. Think of it as an x-ray of your draft. It lets you check the structure, pacing, mood of scenes, character arcs, keep control of plots and subplots, wrangle your timeline – all the problems you can’t see when you’re lost in a sea of words. And you can learn a lot if you make a beat sheet of a book you admire.
Here’s how it’s done. You summarise the book, writing the scene’s purpose and add its mood in emoticons. Either use an A4 sheet and write small, or a spreadsheet. Be brief as you need to make this an at-a-glance document. Use colours for different plotlines or characters. Later you can draw all over it as you decide what to change. This is the first third of Fahrenheit 451.
- Intro Montag, startling wrongness, brutality of burning scene :0
- Meets C, explanation of fireman job + role. Establishes M’s alienation from
natural world & how people are isolated
- M ” home. Wife overdosed :0 !
- Horror/desperation of rescue, texture of deeper sadness :0, concealment of
true feelings, everyone’s doing this
- Morning. Wife doesn’t remember. M isolated with the horror. TV gives people substitute for company
- M meets C again, disturbed by her, fascinated by her curiosity & joy
- Intro to mechanical hound. Brutal games other firemen play. M hated it & feels threatened by hound. Guilty secret :0
- Friendship with C deepens. She’s misfit. Explanation of how kids are
- taught in school. Other kids as brutal as firemen. M increasingly drawn to her outlook
- M progressively more alienated & uncomfortable :0 Goes with firemen to house. Steals book ! Woman defends her books & sets fire to herself !!
- Men shaken. Captain B pulls them together
- M too upset/afraid to go to work. Tries to talk to wife. Wife’s priority is for him to keep his job & buy gadgets. Can’t comprehend or notice M’s distress :0
- B visits – pep-talk, history lesson. Wife finds concealed book ! Does B know?
- M confesses :0 ! Is B friend or foe? ? !
- M confesses to wife ! He has 20 books !! Now she could be in trouble too. Furious. Persuades her to start reading !!!…
So that’s how it’s done.
Now, even more delicious, what can we learn from Mr Bradbury?
Beginnings are tricky – what information do you show? Bradbury gives us a lot, but makes it memorable and entertaining with his use of contrast.
First is the startling close-up of the books being burned and the brutal relish in his description. Next is the conversation with Clarice McLellan, the kooky neighbour who seems to come from a completely different, gentler world. Third scene is Montag’s home life. (We can see this from the colours – blue for work, orange for the conversations with the intriguing girl, yellow for home.)
We’re probably expecting the home scene, so Bradbury keeps us on our toes and breaks the pattern. It’s no regular scene of domesticity. It’s Mildred Montag’s suicide bid. There follows a horrifying scene where technicians pump her out, routine as an oil change. It builds on those two emotions we’ve seen in the earlier scenes – the brutality from scene one (brought by the technicians), and the sensitivity from scene two (Montag’s reaction). In just three scenes, the world is established – and so is the book’s emotional landscape. A brutal, despairing world and a sensitive man.
Connecting us with the character
In the next scene, Mildred is awake, chipper, and has no memory of the previous night. Only Montag knows how dreadful it was and he can’t make her believe it. She is only interested in talking about the new expensive TV gadget she wants. This confirms Montag’s isolation and disquiet. And ours. We are his only confidante. We’re in this with him.
In each of those scenes, something is changing – Montag is being surprised or upset (or both). Although Bradbury is acquainting us with the world and the characters, he is also increasing Montag’s sense of instability. As you’ll see from the beat sheet, the later scenes continue that pattern.
Pressure and relief: reflects the character’s inner life
Look at the emoticons. They show us the mood of each scene and, cumulatively, of the book. But successive scenes of pressure (action, perhaps, or upsetting events) can wear the reader down. That’s one of the reasons why we might have a moment of relief – downtime around the campfire, or a brief flash of humour. These relief scenes often carry enormous impact because of the contrast.
Fahrenheit 451 builds this atmosphere of a brutal world, and we notice it quickly. The only relief is in the conversations with Clarice – so the reader’s need for relief mirrors Montag’s internal state. Reader bonded to the main character by the author’s handling of mood. What perfect, controlled storytelling.
I could go on, but this post is long enough already. And we need time to discuss!
The beat sheet is one of the tools in Nail Your Novel: Why Writers Abandon Books and how you can Draft, Fix and Finish With Confidence. More here
And more about Lifeform Three here
Have you made beat sheets of your own novels, or novels you admire? Are there any questions you want to ask about beat sheets? Or let’s carry on the discussion about Fahrenheit 451. Ready, aim, fire
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Sandy’s nervous. It’s her first book launch. She says she’s keeping away from the internet today.
I’m nervous. Unlike Sandy, I mainline social media and will probably be checking Facebook and Twitter even more frequently than usual to see if anyone else is as excited as I am that…
WE’VE JUST LAUNCHED THE AUDIOBOOK of My Memories of a Future Life. Don’t worry, I will calm down soon.
You can find it on Audible in the US and the UK. If you’re thinking of trying out Audible for the first time, you can get the novel free when you sign up. It will also be on iTunes but that takes a little longer to percolate.
If you’re thinking of making an audiobook yourself, either with ACX or by some other means, you might find my posts about the process helpful.
And that’s it! Back tomorrow with a cracking Undercover Soundtrack. R xxx
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This morning I was scratching my head for a post to write, so I asked on Facebook for ideas. Immediately, Vivienne Tuffnell volunteered this great question: ‘How do you keep motivated when your books aren’t flying off the shelves?’
Before I could even type a reply, Zelah Meyer had countered with: ‘delusional optimism and a long-term view’!
Which is about what I would say (at least, the second bit).
We’ll assume for the moment that you’ve done everything possible to ensure your books are up to scratch, with appropriate covers, well-honed descriptions and sharp metadata. You know the book’s good. You’re doing all you can, as your promotion budgets and tastes allow. But those sales aren’t stacking up.
How do you take courage?
Keep calm and build a body of work. Actually, I see this as the only possible plan. Writing is a lifelong thing anyway. If you’ve had the gumption to start, and stick with it, it’s a default habit built over years. Having ideas is as usual as taking breaths. You finish a book and you don’t settle until you’ve got another under way.
Also, building a portfolio makes business sense. Whether we’re the Big Five/Four/Three/Two/AmazOne or an individual writer, this is what we’re doing. With more books we get more chances to be found by readers. And when we are found, we look like more of a presence.
Does this mean you have to churn them out? No. We are taking a long-term view. Write and publish fast if that suits your nature, your material, your market. If it doesn’t, you’re still building a body of work. However long the book takes, once it’s finished, it’s out for ever.
But everyone else…
What about all those posts on Facebook, G+ and Twitter where people share a stellar sales rank or triumphant sales numbers? Some days that can be like a big wet slap. Even though you know how sales ranks surge and plummet by the hour. What can you do, apart from congratulate them – and write?
First, remind yourself it doesn’t reflect on you or mean you should ‘do more’. (Except write. Did I mention that?)
And second, there is something you can do. Keep making meaningful connections, fishing in the internet sea for the other people who think like you, write like you, read like you. Writing is all about connection anyway.
Also, remind yourself how the ebook jungle has changed. I published Nail Your Novel when there was far less competition, and clocked up a good 10,000 sales with so little effort I couldn’t be bothered to count any further. I now can’t believe it used to be so easy. Now, with all the books clamouring for readers, we have to work so much harder for each sale.
Author/editor/songwriter/poet Jessica Bell (left) wrote about this recently at Jane Davis’s blog. I hit on this strategy myself, completely by accident, when I wrote Nail Your Novel. In fact, if I hadn’t got those nonfic titles I’d be feeling pretty discouraged, simply because selling literary fiction is hard, hard, hard. My novels sell only a fifth as many as my Nail Your Novels. But that means I’m five times as thrilled by a fiction sale as I am by a Nail Your Novel sale (though I’m still quite thrilled by those, thank you very much).
What if you only have one book?
A significant number of writers have just one title, and feel no desire to write another. Creatively that’s fine. One book might be all you need to say. Ask Harper Lee. But you are likely to feel this sales problem very keenly. Especially if it’s fiction.
I do know writers who made a big splash with just one novel. For instance, John A A Logan with his literary thriller The Survival of Thomas Ford – but he published at that goldrush time, when a free promotion could work miracles. It was many years before he released another book, and the momentum he got with the first kept him going nicely. He also supplemented it with a lot of hard work on Kindle and Goodreads forums. Now, though, it’s rare that one book will get you noticed enough.
In this situation, your best bet is to go for volume (again). Team up with other likeminded one-book authors and form a collective. Perhaps release a box set.
If the book is non-fiction, you could use it to launch a speaking or tutoring career, which gives people more chances to encounter you. It’s the volume principle again – but you’re producing performances instead of books.
It’s not all about sales
Let’s remember we don’t write simply to chase sales. Except for a few stellar bestsellers, there are more lucrative lines of work. But the satisfaction factor? Every new comment from a reader, every email, every new review, tells me I’m writing what I should be writing. It’s worth the struggle.
Stop this relentless positivity, please
So this probably all sounds very well adjusted. Do ever stop being so darned positive? Certainly I do. I had a towering strop recently when I saw a report of a speech at a publishing conference where the delegates were discussing how much credibility to give indie authors. It all hinged on sales; nothing else. No thought for originality, craft, quality. It reminded me that the publishing world does not want to give authors credibility if they publish themselves – and if we do, they assume we must be at some junior, paint-by-numbers level. Which is insulting for just about everybody – genre authors included. After that I was not positive at all. Measured in that way, EL James would have far more credibility than Henry James.
But we’re playing a long game. For some of us it is longer than others, but the answer is the same. Write more books, and write them well. And remember the main contest you’re in is not against other writers. It’s against your own standards and hopes; the struggle to do justice to your ideas and your talent.
This post probably isn’t startling information. But if you’re also having a crisis of confidence, I hope it helps. And I really hope my optimism isn’t delusional. This is Zelah, by the way. She really can do this. I’ve seen her.
Thanks for the hare and tortoise pic CarbonNYC
Any thoughts to add? Share in the comments!
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Usually I write from beginning to end with no gaps. This time, I’m writing the characters’ final scenes and retracing.
I usually can’t do this. I need the continuity from one scene to the next, so that I know what each character feels about their mounting troubles as the screws tighten. Indeed I was writing in this orderly way until I hit the half-way point, when a sudden epiphany left everything spinning. By three-quarters, the end was suddenly indubitable, and I was quite unable to concentrate until I’d written it. So I’m finishing the draft by mining my way backwards. The impulse is discharged, and now I can be logical and fill the holes.
Joss Whedon would agree with the new, impulsive me. I recently read an interview where he explained how he assembles his scripts from a series of ‘cool bits’, then gradually fills in where necessary. He says it helps him because he knows he has material he likes, and that keeps him enthusiastic to stitch it together properly. As most of us go through phases where we despair of our manuscripts, this sounds like a good way to keep positive.
On the other hand, the British scriptwriter Robert Holmes would agree with the old me. (We just bought a biography of him because we are devoted fans of original Doctor Who). Robert Holmes hated to plan or write outlines. One producer asked him to write a presentation with ‘a few key scenes’ and he replied: ‘I can’t write a scene before I get to it. I know some writers hop around like this. They’re probably the same people who turn cherry cake into something resembling Gruyere.’
Certainly when I was ghostwriting I was dogged about writing each scene in order. This was partly a discipline to make sure I didn’t avoid scenes I was finding difficult, or where I found a problem I hadn’t solved. And I still find that many good discoveries have come of forcing myself to find a solution on the hoof. But The Mountains Novel has required more discovery (see here and here about my writing methods). It also has more main characters than my other novels. Perhaps it is an ensemble piece, and so an organic assembly seems to suit.
Another reason this hopscotch back and forth feels right is because I know what my characters need. I wrote far enough in formal order to know how they are changing, what will be triumph for them and what will be tragedy. And in the revisions I’ll do more infilling, understanding and reordering.
Anyway, all this means The Mountains Novel is nearly an orderly draft from start to finish. I’ve been incubating it for years, referring to it by this working title, because I was nervous it wouldn’t mature. Its proper name is Ever Rest. I’m sure you’ll probably shrug and say ‘so what’, or wonder why I made an issue of hiding it. Maybe you’ll tell me you like the old title; some people already have. But this is a landmark for me. I now feel secure to declare it: my next novel is called Ever Rest.
Diversion over – do you write your scenes in order? Has any book you’ve written made you revise your working methods? Let’s discuss in the comments!
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘Hidden forms that tell a story’ – The Undercover Soundtrack, Stephen Weinstock November 19, 2014
- I name this book… tips for choosing a good title November 16, 2014
- ‘Each morning, there was a chapter to listen to’ – guest post at Jane Davis’s blog on making audiobooks with ACX November 13, 2014
- ‘Spurred by the song’s rhythm, my typing fingers flew’ – The Undercover Soundtrack, Dianne Greenlay November 12, 2014
- A good editor helps you to be yourself November 9, 2014
- ‘A lyric, a tune fragment, a thrilling chord run’ – The Undercover Soundtrack, JW Hicks November 5, 2014
- Something wicked this way comes: plot book ready soon November 2, 2014
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