Roz Morris @Roz_Morris

Former ghostwriter coming out of the shadows with books of my own. My Memories of a Future Life. Lifeform Three (longlisted for the World Fantasy Award). Humorous memoir: Not Quite Lost: Travels Without A Sense of Direction. Series for writers: Nail Your Novel.

Homepage: http://rozmorris.wordpress.com

Making my honest art – writing and publishing literary fiction: interview at @thecreativepenn

Today I’m at Joanna Penn’s now legendary podcast, The Creative Penn, talking about writing and publishing literary fiction.

We cover the writing process for a very long-haul book (ie Ever Rest), the research process, creative revision, how you battle on when you’ve lost your way, and how you design a cover for a book that doesn’t have established genre parameters.

We also cover another big question – if literary fiction isn’t the most predictably lucrative kind of book, and marketing is tricky, what are the guaranteed rewards? Hence the line about making honest art.

As always, I thoroughly enjoyed our discussion. Do come over.

If you’re curious about my creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

, , , , , , , ,

2 Comments

Let pollocks be pollocks – a little chat about dialogue tags

On Facebook, I was having a deeply serious conversation about the use of exclamation marks, and my friend Indigo Roth said this:

Should it be:

“Pollocks,” he exclaimed.

Or

“Pollocks!” he exclaimed.

(Indigo actually used a more anatomical word, but I don’t want to get my blog blacklisted for bad language so I have used a substitute.) Anyway, we were saying…

Without the exclamation mark, said Indigo, it’s hard to get the impact in dialogue.

I replied:

Just write “Pollocks.” I wouldn’t bother mentioning that he has exclaimed it. The word already has the impact you need.

‘No shouty?!’ said Indigo.

No shouty, I said.

But,’ said Indigo, ‘how did he say it? Quietly? At a bellow? Isn’t the supporting explanation necessary? Though in general, I prefer less enthusiastic punctuation.’

Aha, I said, do you need a supporting explanation? Think of the scene. Presumably, whoever ‘pollocks’ is being said to will react more to the word ‘pollocks’ than to any tone it’s said in, unless the tone is very unexpected, such as a giggle. In that case, it’s worth stating how it’s said because that’s extra important information. Otherwise, I would let pollocks be pollocks.

Here, the discussion ended, but this leads to another question. What effect do you want?

If you add an explanation of how pollocks is said, you interpose yourself between the reader and the text. If that’s your intention, good.Much depends on your book’s style. You might be deliberately shepherding the reader – for instance, if your book has an obvious narrator, the reader is experiencing everything through a filter. Similarly, if your book has a comic tone but the narrator is not a character, the narrative might have a sensibility that comes across in this kind of descriptive line (‘pollocks,’ he spluttered).

But otherwise, the reader will connect more directly with the characters if the dialogue tags are low key. ‘Pollocks,’ he said. Don’t be afraid to use ‘said’. It’s almost invisible, which lets your characters’ own words shine.

Also, I might be tempted to leave the tag off altogether. Not every line needs one. It may be obvious from the order of paragraphs who said what, so you don’t have to label each line. The punctuation will tell the reader the word was spoken out loud, so you don’t need a dialogue tag for that reason.

And if you’ve used a word or a statement that is strong enough, and the reader knows the characters well, you can try letting it stand on its own.

‘Luke, I am your father,’ he bellowed – here, we might connect more to the writer than the characters, because we are seeing the writer’s experience of the moment.

‘Luke, I am your father.’ Wow. The writer got right out of the way. I’m sharing the moment with Luke.

Speech bubbles pic by Petr Kratochvil

PS There’s loads more about dialogue in my characters book

PPS If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

, , , ,

7 Comments

The books that are our teachers – and 5 of my favourite reads (at @muddysurrey )

Today I have a guest spot at Muddy Stilettos, talking about five books I can read again and again. I read them chiefly for pleasure, but also with awe and envy.

Writers learn from reading as much as from writing. I can’t tell you the number of times I have advised an editing client: read more. The problems I’ve found in your manuscript would be solved by tuning your awareness through reading. This goes for problems with style, use of back story, dialogue, descriptions, interiority…

Writing prose is not just storytelling, or plotting, or worldbuilding, or character development, or structure management. It is also a performance, like an elaborate magic trick, enacted on the reader’s mind through your use of words. To do it well, you must understand how your reader thinks, what they are interested in, how they are second-guessing you, how they are responding to the visual shape of every sentence, every comma. Some of this can be taught, but a lot is picked up by constant exposure, by reading like writers.

How do we do that? Here are a few recent posts.

Reading as a duty and reading for pleasure.

All about reading groups and writing groups – an episode of So You Want To Be A Writer.

Are you a writer? Don’t neglect your reading – post at Writers Helping Writers.

Reading vs watching and The Night Manager – why I prefer the book.

How to read like a writer – another episode of So You Want To Be A Writer.

Why you should read poetry as well – 11 poets to help you polish your prose, an interview with poetry evangelist Joe Nutt.

Three books I wish I’d written. And another five.

Circling back to the top, here are the five books I nominated at Muddy Stilettos (which I always want to spell with an e, stilettoes). These books were milestones for my latest novel Ever Rest, and they will continue to influence and inspire me, whatever I write. Which books are your eternal teachers? (And do come over. High heels are optional.)

PS If you’re quick, you can enter this giveaway to win a signed print copy of Ever Rest.

PPS If you’re looking for writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

, , , ,

Leave a comment

How to become an author (and how to stay one) – interview at Write-Hearted with @MisterWakefield

How do you become an author? I realised, while recording this interview, that for me it had two elements. There was an Outer Me, who didn’t know what I wanted to do in life, and an Inner Me who did. If only they could talk to each other, but they didn’t, and that was the problem.

Outer Me went to school, took advice about careers, wondered how on earth I’d earn a living. Inner Me spoke only in Yes and No, like an oracle. No, you don’t want to do marketing or accountancy or any of those graduate careers.

So what should I do? said Outer Me.

When you find the right thing, said Inner Me, I’ll let you know.

One day, after being fired from a job to which I was very unsuited, I saw an advert for a temporary proofreader at a local publisher. I arrived there, a place devoted to the making of books. Yes, said Inner Me. This will do nicely.

That’s one of the subjects we’re talking about on this podcast, Write-Hearted, hosted by book coach and author Stuart Wakefield. It was fun!

We also talked about –

Ghostwriting versus writing the books of your art and soul (BTW, I have a professional course for ghostwriters)

What I learned from working with the strictest editors in the business

How to solve plot holes and keep writing when the muse is AWOL

How to manage your writing and editing so you can make measurable and consistent progress, even if the book is taking you years (like mine do)

The rewards of mentoring

How to live with another writer (and not kill each other).

You can find Stuart on Twitter @MisterWakefield. Watch our interview on YouTube or listen on Write-Hearted’s Spotify page. Do come over.

If you’re looking for detailed writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

, , , , , , , ,

Leave a comment

How I made my writing career – novelist, playwright, photographer, actor Steve Zettler @szettlerauthor

How do you become a fiction writer? For some people, it’s almost by accident. That’s how it was for Steve Zettler, but after a series of cosy mysteries, another series of thrillers and a play, he seems to have found a good groove. His latest title, Careless Love, puts romance and thriller together, and is released today.  

Roz Steve, you’re a photographer, actor and author. And according to your website you have an even wider CV. In the great tradition of adventurous arty folk, you’ve done an encyclopaedia of jobs. To pick a few: bricklayer, bartender. And that’s just the Bs.

Steve Ha! I read this as BS.

Roz I had a feeling you would.

Let’s continue being predictable. Those jobs must have given you great material.

Steve It’s been an interesting ride, which has left me penniless on more than one occasion. I’ve always travelled in whatever direction the wind is blowing, even from an early age. There’s never been anything that vaguely resembled a master plan; I’ve never once considered where I might be, what I might be doing, at age 40 or 50. Thus the endless list of assorted occupations – I get bored easily and don’t like going in reverse, so it’s always been something different, a new way to pay the bills. It’s put me in close proximity with a whole gaggle of very interesting people.

In the early 70s no one had come up with the term PTSD (they were still calling it shell-shock), but if they had labelled it PTSD I could have been one of their poster-boys. Seventeen months’ combat duty in Vietnam had left my brains resembling scrambled eggs and I found photography to be the perfect escape. I was a freelancer in NYC and it allowed me to live a life where I spoke to almost no one. It took me about seven years to become a socially acceptable animal.

The downside of freelancing; I was broke most of the time and needed to tend bar, drive a taxi etc to pay the bills. But photography forced me to become a consummate observer, which I’ve been to this day. So with all of the twists and turns my life has taken I’ve been able to study a very divergent assortment of people and landscapes. And I’ve never ceased to be fascinated by what I see and hear.

I ended up doing a lot of photography for theatre companies and taking headshots for actors. One theatre company was doing a children’s show and an actor injured himself. They were in need of a warm body and asked me to take his place. They neglected to tell me that the Handsome Prince was blind as a bat and we would have a sword fight, but I lived through it and this kicked off my acting career.

So I was now a new person with a new title; the wind had taken me elsewhere. I threw all my black and white negatives in the trash and sold my cameras.

And by the way, acting is a fabulous training ground for writers. I’ve often suggested just that to fellow writers; take an acting class, get to know your characters from the inside out, live their lives.

Roz Yes! I’ve often thought this while polishing dialogue. You have to know what it’s like to be the character. Also, know why it’s good to be them, especially if their actions aren’t nice. But I’ve never had the chance to discuss this with an actor. Glad you raised this.

Steve Anyway, I worked as an actor for a number of years in NYC and Los Angeles. My wife was an actor as well but when we moved to LA she began to write. Her first novel was published by Simon and Schuster, and her agent was the infamous Irving ‘Swifty’ Lazar. We moved to an island off the coast of Connecticut. The wind just blew us back east. But there wasn’t a lot there, acting-wise, so I started to write. And this will annoy the hell out of every writer who reads this: I simply gave my first novel to my wife’s agent and he got me a two-book deal. I remember thinking, holy crap, I’m going to have to write another book.

Roz Holy crap, indeed. So that’s how writing became ‘the thing’?

Steve I never did give up acting and photography altogether; I bought another camera when things went digital. I now live in Philadelphia. My passion for stage acting has left me but I work with young filmmakers getting their careers off the ground and the occasional independent film shooting in the area. It’s more of a desire to mix it up with the younger generation than anything else. Their energy is contagious, even though the money’s short.

Photography-wise, I generally do stuff for free, unless it’s a commercial entity. Since everything is now digital it’s easy enough for me to help an organization, or author, or actor, with photos and send jpegs. There’s no longer the cost of film or the annoyance of darkroom work, so why not help people?

Roz Were your family artistic in any way?

Steve Not remotely. My dad owned a bar/restaurant and we lived above it. It was in the county north of Philadelphia and was basically a country inn. It was a very rural and very charming place along the Delaware River and essentially a shack-up spot for New York writers, actors, directors and producers. Some crazy people drifted through when I was a kid. I would never mention who spent the night there, but I still have the guest registry from 1936 through 1965. Regular customers at the restaurant included Pearl Buck, John Dos Passos, Robert Frost, James Michener, Oscar Hammerstein and the like. I was much too young to know who they were, let alone converse with them, but they attracted quite a bit of attention when they walked in for dinner. It seemed like the life I wanted to live.

Roz What would you tell your 16-year-old self?

Steve I’m afraid the 16-year-old Stevie never listened to anyone or took anyone’s advice. He’d look at me and say. ‘What the hell do you know?’

I’ve made some really bad decisions in my life and had to live with them. In a strange way that has become a blessing. I don’t lie to myself. I guess if I told Stevie anything it would be to slow down a little. There’s a wonderful Billy Joel song called ‘Vienna’. I’d tell him to listen to it over and over. Unfortunately it wasn’t around when Stevie was 16.

Roz Your novels are mainly suspense thrillers – the Joe Bradlee series (Double Identity and The Second Man), also Ronin, a standalone thriller. Why that genre?

Steve I really enjoy the format, both in reading and writing. You know from the beginning who’s the good guy and who’s the bad guy, and most likely, by the end, the good guy is going to crush the bad guy.

I love the ride of a thriller. You can go wherever you want. People walk into the story out of nowhere and you have to deal with them; give them a life and a purpose for being there. You can’t disregard them. You can’t tell them to get the hell out of your book because they won’t. They stay there and pester you until you give them that purpose. I think writing thrillers is as much of a joy ride for the writer as it is (hopefully) for the reader.

Roz What’s the characteristic flavour of a Zettler thriller?

Steve I take nothing too seriously. My protagonists are always self-deprecating and I can’t seem to prevent myself from pointing out some of the lunacy that exists in the world. Hypocrites are often my favourite target.

Roz What’s the Steve writing method?

Steve I have to admit, I’m not a consummate writer. I can go a long time without writing a thing and it doesn’t bother me. I don’t have that burning desire to write. My wife does; I don’t. At some point I seem to get visited by a spirit that tells me to write and if that spirit is off fishing in Alaska I’m not going to write a damn thing. But then the spirit shows up and gives me the first sentence of a novel and informs me where the novel’s going to end and tells me to fill in the middle. If I don’t have that first sentence, I’m not going anywhere.

And interestingly the first sentence never remains anchored as the first sentence, but it always shows up in the novel somewhere; it becomes the driving metaphor.

Roz You also write crossword mysteries under the name Nero Blanc, with your wife, Cordelia Frances Biddle.

Steve There are 12 Nero Blanc titles. Each book contains a series of crossword puzzles – solve the puzzle, solve the crime. Crossword puzzles are black and white, thus the pen name; nero is black in Italian, blanc is white in French.

The mysteries fall into the ‘cosy’ category, meaning no swear words, no sexual situations. There’s a cute couple who solve the crimes, with sort of a Nick and Nora relationship. They have a lot of fun with one another, which is pretty much how Cordelia and I travel through life. More often than not at book signings people would say they didn’t bother with the puzzles; they only read the books as romance novels.

Roz Doh. Why didn’t I spot that?

Steve Cordelia and I had, for quite a while, been scouting for something we could write together; anything, travel books, cookbooks, whatever. Remember we were on this island with a lot of time. We were having lunch one day, sharing the crossword puzzle, when she got so frustrated she threw down the pen and said ‘Someone should just kill this guy’, referring to the person who had edited the puzzle. We were off and running.

Roz So it’s good, working with your spouse?

Steve Cordelia and I worked together as actors; that’s how we met. I’ve always maintained that acting teachers should understand that if they assign students a scene from La Ronde, those students are going to end up sleeping with one another to properly research their characters.

But once again, this acting background was invaluable when it came to collaborating as writers. As actors we had become very comfortable with taking direction. Directors can be very blunt. Actors need to listen and make it work, no matter how biting the criticism might be. Often Cordelia and I would act out dialogue scenes and write them as we had improved them. And the main characters were simply a reflection of our own relationship. We had a great time writing Nero Blanc together, but eventually wanted to get back to the swear words and sexual situations.

Roz Your latest novel, Careless Love, is published by Vine Leaves Press. How did you end up there?

Steve My thrillers and mysteries were published by big houses, and quite often, as I’m sure you know, literary fiction and poetry get the short end of the stick from the big boys. And their editors can be somewhat, shall we say, mercenary? They want you to stay on the horse you rode in on.

But it seemed with each book the editors became more and more hands off. I wanted a smaller, more personal, literary publisher, so that’s the direction I went. Vine Leaves Press was the first to respond to my query. They did so very quickly, which was tremendously encouraging. They were very positive, and I have to say they’ve proven to be far more supportive than my previous editors and publishers. Other publishers have since contacted me about Careless Love. There is something wonderful about being able to say, ‘Sorry,  that ship has sailed’.

Roz What inspired Careless Love?

Steve It came from my soul. It’s been bouncing around in there for decades. The spirit finally visited me, gave me the first sentence, and told me how the novel was going to end.

Roz What would readers of your previous work recognise in Careless Love?

Steve Oddly, it does almost have that thriller format, and I think readers of my previous work would enjoy it for that reason. But I would call it literary romantic suspense – is that a category? It is inspired by true events. Every incident in Careless Love has happened to me or someone I’ve been very close to.

Roz Why that title?

Steve It was inspired by a blues song written in 1921 by WC Handy. It’s been recorded by almost every blues singer since, but Madeleine Peyroux’s cover just brought it all home for me. There are some blues songs that really must be sung by a woman to hit the mark, and this one of them. It’s just two words, but they can be interpreted so many ways. My novel is very much a woman’s story. Like the song, I’ve interpreted careless love to mean that love is careless, it will grab your heart, rip it out and stomp on it if you’re not careful. But when you’re deeply in love it’s not so easy being careful.

Roz What’s coming next?

Steve I’m halfway through a memoir focused on the year I was eight years old, discovering my great aunt dead in her bedroom, living above my dad’s restaurant and rubbing elbows with the celebs out front and the down-and-outers who worked in the kitchen. It was a wonderful way to grow up.

Roz Rich material indeed. Give me some unzettling final words.

Steve A seminal moment was the day I returned to the US after my months of combat duty in Vietnam. As the other Marines filed into the terminal I dropped onto my knees and kissed the tarmac. This brought on a fair amount of laughter from the others, but I stayed there, on my knees, for some time. Eventually a lieutenant joined me and did the same thing.

He then said, ‘You know we’re a couple of lucky bastards, you and me’.

I said, ‘I’d guess we all are, sir’.

He responded by saying, ‘No, you and I are luckier that the rest’.

‘How’s that, sir?’

‘Because we know how lucky we are. They don’t.’

Find Steve on his website, on Facebook, on Instagram – https://www.instagram.com/stevezettlerauthor/

And tweet him on @sZettlerAuthor

Find Careless Love here

If you’re looking for writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

, , , , , , , , , , ,

3 Comments

Win a signed print edition of #EverRest

This novel I’ve been telling you about. You can win one of three signed copies by taking part in a simple game at the TripFiction website.

TripFiction is a massive online library that categorises books according to their setting. So if you have a yen for the Fens or a penchant for Peru, you can find the books to take you there. Ever Rest scores for a number of locations – Nepal, obviously, and closer to home (my home) you’ll find London and the hills of Shropshire.

If you’ve read my travel memoir Not Quite Lost, you might recall Craven Arms, the Shropshire town that Dave and I became trapped in on a bleak winter afternoon. I transplanted the Craven Arms experience into Ever Rest and created Bonnet, the depressing, provincial town that makes two of the characters desperate to bust out and do something remarkable with their lives.

To enter the giveaway, hop over to Tripfiction.

Back with a proper post tomorrow!

If you’re looking for writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

, , , ,

4 Comments

How do you like to talk about books? Themes, juxtapositions and the complication of being human – an interview at Late Last Night Books @L8NiteBooks

I have a Bachelor’s degree in English literature, but if I’m honest, I didn’t enjoy the course. However, I loved studying English literature in the final two years of school, at A level. (Note for non-Brits: you probably call this high school, age 16-18.)

My degree disappointed me because it was too wideswept; it seemed chiefly to value an author for the way they represented a historical period, a concern of the age or a step in the evolution of a form. I was disappointed because it gave little priority to the literary work itself – the novel, poem or play as a creation of beauty and power, enduring resonance and relevance.

But A level was mainly about appreciating the work. While context wasn’t ignored, each novel, poem or play was examined in its own right, as an entity worth detailed attention. We learned to notice how the author might be playing with our hearts and minds. We discussed themes and juxtapositions and narrative devices. We might have found patterns the author did not intend; we might have overthought things. That did not matter; decoding this richness was part of the joy, a quest to discover why this work enspelled us so. We were discovering a wondrous thing – the author’s craft.

I still love this. It’s my favourite way to talk about a book.

If you like that too, you might enjoy my interview here at Late Last Night Books,

The subject is Ever Rest and my interrogator is Garry Craig Powell, a former creative writing professor and author of the prizewinning short story collection Stoning The Devil (which you might remember from his appearance on The Undercover Soundtrack).

We talk about juxtapositions. Why I put this with that. The man frozen in the ice, as young as the day he went in, and the people who remember that day and are now 20 years older.

We talk about themes and narrative aims. We talk about places where we can be gods (playing music to a crowd of 10,000) and places where we are too fragile to survive (the top of Everest). We talk about love and death and loss, the massive complication of being human. And things I wasn’t aware of until Garry asked. Do come over.

Do bring your own questions too if you’ve already read the novel – or you can drop them in the comments here.

Would you enjoy Ever Rest? Here are a few reviews to help you decide.

If you’d like more concentrated writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

, , , , , , , , , , , , , , ,

Leave a comment

On nailing your novel, finding your blind spots and writing with artistic integrity. And a few horses. Interview with @CarlyKadeAuthor

Today I’m at the online home of Carly Kade, an award-winning author and creativity coach who helps authors start and develop their writing careers.

We talk about writing, writing processes and deepening your craft by learning about your own blind spots – and strengths.

Carly was interested in my career as a ghostwriter. We talk about that and about the challenges of discovering my own voice after writing in the voices (and souls) of others. (I have a professional ghostwriting course if you want to know more.)

Whoa. You’ll have spotted the word ‘equestrian’ in the description. Carly’s own writing revolves around her lifelong love of horses – she writes the In The Reins series of equestrian romances. So we compare notes on being rider-writers, the particular challenges of horse life, how this affects our approach to writing problems… and probably the odd heartwarming anecdote. A mention of my novel Lifeform Three, too.

Our interview is also available on video – follow this link to find us on her YouTube channel. Though I’m afraid we couldn’t bring our horses to our computers for the recording so these pictures will have to do instead. Do trot over.

Meanwhile, I have a new novel out this month –Ever Rest. Find it in all print and ebook formats.

What’s it like? Here are a few reviews to help you decide.

If you’d like more concentrated writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

, , , , , , , , , , ,

Leave a comment

Comments from experts… how to use factual feedback wisely in your story (and not go mad when your plot falls apart)

For the novel I’ve just released, Ever Rest, I needed a lot of expert input. I consulted musicians, artists, doctors, priests, music lawyers, morticians… the most significant, of course, was mountaineers.

I’ve been reading about Everest, high-altitude climbing and lost climbers for more than 20 years. I also had help from my friend Peter Snell (my bookseller co-host on So You Want To Be A Writer), whose brother Robin went trekking in Nepal and sent a tireless stream of photos.

Robin sent me domestic details such as teahouse menus.

Loos.

Near the end of his trip, Robin had a brief mishap that required a hospital stay. Trooper that he is, he continued to send despatches. So even the scene in a Kathmandu hospital came from actual experience.

So I was well set up to write the Nepal sequences. But my ghostwriting experience has taught me to check everything, even when sure. For this, I was lucky to find a mountaineer who has summited Everest. And despite my painstaking care, he found numerous glitches that confirm the value of actual feet on the actual mountain.

Feedback can look daunting, especially when it runs to several pages. Especially when some might seriously disrupt the book.

I got to work.   

Small errors of terminology and fact

There were two ways I dealt with these.

1 – I marked the errors I should correct, lest I look like a numpty.

2 – I marked the errors I decided not to correct – these errors were made by characters who did not have specialist knowledge, and would credibly make the same mistakes as non-climber Roz. However, my expert was right and conscientious in pointing them out because he wanted to make sure I knew. If I knew, I could then decide if the character should know. Big takeaway – not all your characters will be experts.

Bigger problems that made plot sequences impossible

There were bigger problems. My expert made several suggestions for solutions, all ingenious. But none of them fitted my dramatic needs.

Sleepless night.

I looked again at my expert’s solutions. Some would be too cumbersome for the narrative. But still, something had to be done. So I analysed the reasons for my expert’s objection, went back to my reading, now with more understanding, and found solutions that were possible from real-life examples. And, as often happened, these solutions eased a few other issues.

Sometimes you have to do a lot more thinking and research… but your expert gets you there.

Emotional corrections

Sometimes I had underestimated how strongly characters would feel about events. In this case, my expert also turned out to be a sensitivity reader. And his feedback allowed me to adjust the characters’ reactions according to their natures. Some were sensitive; some could be obliviously offensive.  

Points where we disagree!

What’s at the top of Everest? In my research, I found mention of an alloy pole at the summit. I liked that. I put it in. My expert commented that there wasn’t an alloy pole at the summit. I double-checked my references. In my novel, the characters climb the mountain in 1994. Two sources from 1996 mention a pole at the summit… one of them is a documentary, so I’ve seen it for myself. My expert was there in the 2010s, by which time the pole might have gone. So I could decide whether I wanted a summit pole or not. I chose to have a summit pole.

Facts… are only half of it

David Mamet said: ‘It’s not our job to explain.’ An expert will deluge you with generous details, but you as a writer, a storysmith, have to decide how to use those details – here is Mamet, explaining the difference between information and drama in loud capitals (see below)

But Roz, most readers won’t know it’s wrong! Look at the physics in The Martian

The physics in Andy Weir’s The Martian is somewhat squiffy. Or so I’m told, because I know a lot of physics graduates. So is the physics in the movie Gravity, apparently.

Most readers and viewers don’t know; that’s true. But I will know. I don’t want to release a book that I know has inaccuracies. And knowing about them has pushed me to find better solutions that fit my dramatic needs and keep the book’s credibility and truth.

Meanwhile, here is Ever Rest. Find it in all print and ebook formats.

What’s it like? Here are a few reviews to help you decide.

If you’d like more concentrated writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

, , , , , ,

2 Comments

Your first pages – 5 more book openings critiqued by a literary agent, author/Bookstagrammer @KateESalisbury (and me!) at @Litopia

I’ve just guested again at Litopia, the online writers’ colony and community. Each week they have a YouTube show, Pop-Up Submissions, where five manuscripts are read and critiqued live on air by literary agent Peter Cox @agentpete and a guest, or sometimes two. This time the other guest was one of Litopia’s producers, Kate Salisbury, who I’ve corresponded with numerous times but never met. She’s formidably qualified for the critic role, being herself a memoirist, YA author, school librarian and Bookstagrammer.

The format is simple. Five manuscripts, each with a short blurb. We hear the opening pages, then discuss how they’re working – exactly as agents and publishers would consider a manuscript that arrived in their inbox.

As always, the submissions had many strengths. Issues we discussed included how much detail to include in a blurb, setting up an emotional hook for the reader, the suggestions inherent in a title, what literary fiction is in today’s market, whether a story has to be made socially relevant, introducing the world in science fiction and historical fiction, digressions and flashbacks in memoir, and how the author’s voice can create a sense of charm or bleakness.

Enjoy! And if you’ve got a manuscript you’d like critiqued, apply here.

PS I’ve had a release of my own this week – my third novel Ever Rest. Find it here in all print and ebook formats.

What’s it like? Here are a few reviews to help you decide.

If you’d like more concentrated writing advice, my Nail Your Novel books are full of tips. If you’re curious about my own creative writing, find novels here and my travel memoir here. And if you’re curious about what’s been going on on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.

, , , , , , , , ,

2 Comments