Posts Tagged how to write a novel

‘The distraction of silence’ – The Undercover Soundtrack, Louise Marley

for logoThis week’s guest discovered by accident how music could be such a useful a creative partner. She found that whenever she got stuck on a scene or a character, the most distracting thing would be the silence around her. She began playing music purely so she wouldn’t hear it – and magical things started to happen. The novel she’s talking about in her post is a romantic suspense with a whiff of murder, and her first book was a finalist in the Poolbeg Write A Bestseller competition. She also writes short stories for the UK women’s magazines Take a Break and My Weekly. She is Louise Marley and she’s on the Red Blog with her Undercover Soundtrack.

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‘Everyone walks around with their own theme tune’ – The Undercover Soundtrack, Nadine Matheson

for logoMy guest this week has a theory that everyone’s head is carrying a tune – a permanent soundtrack, a default earworm. Her own cerebrum is tuned to Jimi Hendrix’s All Along The Watchtower, which has special significance when she starts writing as she sees the process of plotting as the search for an escape. And her book centres on two characters who need this escape – sisters who were professional singers, who go through multiple misunderstandings before they find their equilibrium. (Cue Nina Simone: Don’t Let Me Be Misunderstood.) The author is Nadine Matheson and she’s on the Red Blog with her Undercover Soundtrack.

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Can writing be taught? And what do writing teachers teach?

2658174628_049a403892_bThe other night I was watching The Rewrite, in which a Hollywood scriptwriter reluctantly becomes a writing teacher. In the early part of the film he asserts that writing can’t be taught.

In some ways, I agree.

But wait, you might say. And you might brandish a kettle at me, or a pot as black as night. What, Ms Morris, are you doing here? On your blogs, in your seminars, with your nifty tips and nailing books?

Well, I hope I’m being useful, but it’s interesting to consider how much of a writer is made by what is taught, and how much is … something else.

You do the work
No matter how many courses you take or books you read, they won’t build your facility for you. You’re the one playing the instrument, and you need years of practice and exploration. The fabled 10,000 hours to achieve mastery, if we’re to believe Malcolm Gladwell.

stephen kingActually, at two hours every day, that’s 13 and a half years – which may not be encouraging to know. But this figure does perhaps explain why some characters doubt the use of teaching when it comes to making writers. Indeed Stephen King says in On Writing: ‘to be a writer, you must do two things above all others: read a lot and write a lot’. And: ‘the most valuable lessons of all are the ones you teach yourself’.

Time for T
Dare we mention the T-word? Talent? There, it’s said. What might talent be?

I guess we could call it the qualities that can’t be taught. Imagination, a grace with the written word, the tuning of mind and soul that sees unique significance and connections.

We should add the disposition to persist for 10,000 hours (or however much it might actually be) – because talent will only last so far. Before Picasso could have a blue period, he learned to draw properly so he knew what he was doing to his audience. Then he could mess around all he wanted.

So what am I doing here?
A writing teacher can’t make a silk purse out of a sow’s ear. We can’t do the work for you. In that case, what am I teaching?

1 Awareness – of how stories work on the intellect and heart, the invisible tricks that writers use, some of which they’re probably not aware of.

2 Methodology – ways to cope with the difficulties when we’re out of ideas, disappointed with our work. And how to organise the tons of material we have, changes of heart, brainwaves for new directions.

3 Critical thinking in ways that are helpful rather than destructive.

4 Ways to discover what we should be writing, and how to fulfil our distinctive potential.

5 The joy of creativity, of the pursuit of craftsmanship, the respect and wonder of what we can do with printed marks or pixels. I will always be amazed how prose seems infinitely richer than photographs or film. A great piece of writing is worth a thousand pictures.

6 We’re also sharing our own curiosity. I’m first a writer, then a teacher. I’m on my own odyssey with another ornery book and it’s nice to talk to those who understand.

Thanks for the pic, Kate McCarthy

Women-Writing-Women-Box-Set-Cover_finalJPEGsmlOh, and in case you missed it, the limited-edition box set is now live. But it’s vanishing in May.

Over to you. Can writing be taught? What aspects of writing can’t be? What do you learn from writing teachers? If you’re a writing teacher, what do you teach?

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How do we label ourselves as writers? Guest spot at Dan Holloway – and the box set is available NOW!

Women-Writing-Women-Box-Set-Cover_finalJPEGsmlForgive the capitals in the title. That’s the problem of being in a group of seven, rather excited writers who’ve been working towards this moment since November. Our ebook collection, Outside The Box: Women Writing Women, went live yesterday. If you pre-ordered it, it will have arrived on your ereader. If pre-orders aren’t your thing, you can grab it right now, because it vanishes on May 24. Oh, and it’s seven full-length novels, so clear a weekend or seven.

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authoright 1We’re getting coverage all over the place, including the UK national press. (This is why the release is such a moment of relief and excitement.) But today I want to highlight a particularly thoughtful, searching interview put together by Dan Holloway. He’s asked tricky questions:

Is this collection a marketing idea, a political statement or both? What are our common threads (aside from the possession of two X chromosomes)? danDo they help us come up with a ‘label’ for our diverse range of books? What should that label be? Do labels in fiction cause problems? What about the position of women writers in literary fiction? And, my own favourite: is it better for writers to be ambitious and fall short, or to succeed on more limited terms?

It’s a good discussion. Do come over.

And once again, this is our ensemble. And we are very excited.

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Are you underusing your best plot ideas? Guest post at KM Weiland

kmwDoes your plot have enough going on? I see a lot of manuscripts where the story seems to lack momentum, or the characters are spinning their wheels doing not very much of anything. But the funny thing is, the writer isn’t short of ideas. They’ve simply not realised where they are hiding.

Today I’m at KM Weiland’s blog, with 4 places to find the ideas that are right under your nose.

And while we’re at it, let’s discuss: have you discovered your plot ideas were hiding in plain sight?

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Is back story sabotaging your novel? Guest spot at Jane Friedman

friedmanI’m at Jane Friedman’s blog today, where she’s showcasing a section of the plot book that deals with back story.

Misusing back story is one of the most common problems I see as an editor. Writers bury their best events in the back story, and then struggle to think up enough spectacular ideas for the main narrative. Or they rely on secret, past wounds instead of character development. Or they set up secret traumas that are never used in the forward action. Lastly, they heap all the back story into the beginning of the book, stalling the action – the famous back story dump.

But back story is also important. It lets you write with authority. And there are moments when you can play it out and deeply enrich your readers’ experience. So how can you wield back story with panache?

Hop along to Jane’s blog to find out.

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Quirky tales and the difficulty of leaving a book behind: My Memories of a Future Life featured at Triskele Books

triskeleJW Hicks collects writers of quirky books, and I’m honoured she’s chosen me for her collection on the fab blog of the Triskele Books collective. (You might recognise Jane as a recent guest on The Undercover Soundtrack with her novel Rats.) She’s prised me out of my writing cage to answer questions on whether I start with characters or plot, what ghostwriting does to your writing style, how I keep track of ideas, and whether I worry the ideas will dry up. (In fact, I confess to acute separation anxiety when I finish a book. I don’t want to leave it. Does anyone else get that?)

Anyway, it’s all there at Triskele – you can get there with a hop, a skip or a tricycle .… or you could ask a soothing voice to guide you there in a dreamy state. At your own risk, of course.

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The inner horse – and your fictional character’s true nature

Lifeform Three Roz MorrisI was teaching a masterclass at The Guardian yesterday and we were discussing characters. One of my students said this:
‘I think of my characters as horses.’

To be honest, I couldn’t believe my ears. If you know me on Facebook and Twitter, you’ll know I’m rather fond of the equine breed, so when one of my students said ‘I think of my characters as horses’, I thought I was still in bed at home, waiting for the alarm.

Not as mad as it seems

But she went on to explain. She ran a carriage-driving centre, and found that all of her horses were such different temperaments they were a great basis for building fictional characters.

Stay with me here, because it makes glorious sense. One of the fundamentals of a character is what they’re like in the core of their soul, the things they can’t fake or change. Whether they’re bold in new situations, whether they feel safer following the crowd or prefer to be in charge, what kind of personalities annoy them, whether there are bad past experiences that have left scars, whether they’re naturally friendly or touchy-feely, or prefer to keep to themselves, whether they’re gentle or insensitive.

If you hang around horses a lot – and, I can imagine, dogs – you’re used to the company of a creature that can’t pretend. It always shows the material they’re made of. Then if we start to imagine those behaviours translated into a human character, who might try to cover them up, and whose life might make more complex demands…

The Johari Window

Indeed, this is not unlike the Johari Window, which can be useful for designing characters. It’s a grid, split into four, in which you write:

  • the things the character and everyone else knows
  • the things only the character knows
  • the things everyone else knows but the character doesn’t
  • the things that are unknown – the traits, fears, and feelings that no one suspects.

These last two are where we can have most fun with the character: the impulses that drive them, behaviours they are not in control of, and make them complex and interesting.

That’s the horse self. (And a nice excuse for me to include a picture of my own Lifeform Three.)

Use this to write a character who is very different from your own personality

Another student asked how to write a character who is very different from you.

This is where advice to ‘write what you know’ seems somewhat unhelpful. If we followed it we wouldn’t write murderers, queens, abuse victims, abusers, fatally jealous people, talented artists, heiresses, politicians, housemaids in Victorian houses, wizards…

On the other hand, ‘writing what you know’ is the place to start. All characters will have certain traits that we can relate to. Again, these come back to very simple impulses. What do they want to protect? What makes them feel threatened? What gives them joy and release? What makes them feel safe? If you start with those, you can find your way into most characters.

nyn2 2014 smlThere are more tips for your fictional people in Writing Characters Who’ll Keep Readers Captivated: Nail Your Novel.

Do you have any off-the-wall tips for getting to the hidden depths in a character? All pets welcome.

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Bereavement, a bid to exist, a way to control an antisocial persona: why we write

why we write pauline blogWomen-Writing-Women-Box-Set-Cover_finalJPEGsmlFear not, I won’t inflict every post on you that we release for the Women Writing Women campaign, but this is one that celebrates and explores creativity. Pauline Baird Jones invited us to answer the question: why do we write?

Inevitably, this led us all to search for where we started. And here you see something we all have in common – not just the group here but all of us on this journey. Carol Cooper did it to get into the best gigs at college.  Jessica Bell did it because otherwise she felt she’d disappear. Jane Davis did it after a friend died. Kathleen Jones did it when she ran out of stories to read as a child on a remote farm. Orna Ross did it to give an overdramatic teenage personality a safe space to express. Joni Rodgers did it when blood cancer put her into isolation. And me? An overexpressive kid with something to prove, I guess, and too much shyness to be big in real life. Come over to Pauline’s blog and discover the full story.

And if you feel inclined to share, tell me here: why do you write?

 

 

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Seven genre-busting novels – introducing Women Writing Women

Women-Writing-Women-Box-Set-Cover_finalJPEGsmlYou remember I posted recently about authors collaborating? Well, I wouldn’t advise you to do anything I wouldn’t try myself.

If you know me – and some of my friends – on Facebook, you might have seen some coy posts about how we’ll be revealing a big secret project.

Well here it is.

Seven writers of quality indie fiction are releasing an ebook collection called Outside the Box: Women Writing Women.
We’ve each of us proved our worth with awards, fellowships, teaching posts and commercial success. We’ve all self-published to keep our hard-earned independence and our artistic identity. Now we are teaming up to create an ebook box set of novels that feature strong, idiosyncratic female protagonists. And it will be available for just a brief period – from February to May 2015.

Power in a group

Now here’s where we can explore the power of the group. We’ve already been interviewed by The Guardian books pages, Books + Publishing (the Australian counterpart of Publisher’s Weekly) and have interest from the arts programmes of BBC Radio 4. If any of us had approached them on our own, we probably wouldn’t have got even a reply. But together?

We hope there’s more to come. Much more. These last few months we’ve been working behind the scenes, making contacts, sending emails. Certainly I’ll have a lot of learning to share about pre-launch campaigns. I am learning loads from these guys. (I should say ‘women’, but you know what I mean.)

So what do we hope to achieve?

To hit some charts, obviously. To reach readers who are hungry for strong literary fiction beyond the bounds of traditional genre tropes.

We also want to prove that fine, original authors are self-publishing as a mark of independence and integrity, and doing work of value and quality.

You might ask: is that still necessary? Does anyone still consider self-publishing to be ‘vanity’ or second rate? They clearly do, because this is one of the issues we’ve been asked about most frequently. And we have all encountered attitudes in the books world that demonstrate we are regarded as inferior. Try joining a professional body, applying for a grant or entering an award, or requesting a review. (Happily, we are already changing minds. Book bloggers who are wary of self-published books have welcomed us.)

Who are we?
Our coalition is:
Me, obviously (more than 4 million books sold as a ghostwriter, creative writing coach for The Guardian, literary author, editor);
Orna Ross, founder of the Alliance of Independent Authors, named one of the 100 Most Influential People in Publishing by The Bookseller;
Joni Rodgers, author/ghostwriter of multiple NYT bestsellers, short-listed for Barnes & Noble Discover Award;
Kathleen Jones, widely published Royal Literary Fund Fellow and frequent BBC contributor;
Jane Davis, winner of the Daily Mail First Novel Award hailed by The Bookseller as “One to Watch”;
Carol Cooper, physician, medical journalist, and winner of the 2013 BMA Book Award;
Jessica Bell, publishing editor of Vine Leaves Literary Journal and author of the bestselling Writing in a Nutshell series.
You’ll also know them all from The Undercover Soundtrack, except for Jane who doesn’t use music in her creative process. (But maybe we can change that!) Find our ‘who are we’ page here. And yes, you can see we dressed up for the occasion.

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How much?
The collection is priced at USD$9.99 GBP7.99 – yes, that’s not throwaway pricing, but at roughly £1.15 per book it’s still a bargain. The box set (or e-anthology, if the word ‘box’ raises your hackles) will be available for just 90 days from February 20, though pre-orders have just opened now. Right this minute.

Out and about
We’ve got a host of blog appearances planned. We’ll be sharing plenty of information about the hows and wherefores, the triumphs and pitfalls. We’ll also be talking about our publishing journeys, our inspirations, our methods. And our work – our unconventional characters and their relationships, our themes and topics like body image culture, abortion, prostitution, euthanasia, domestic abuse, same-sex marriage, bereavement, psychological recovery and rogue healers.

If you have a blog and your readership would be interested in us, we’d love to be mentioned – or interviewed if that’s what you normally do. If you want to tweet about it and like lists of pre-prepared tweets, find them here. And if you post a review, fill in the form on this link and we’ll send you a digital swag bag that includes a free book plus lovely links, delicious downloads and some playful surprises.

Our hopes
If nothing else, we hope to bust some barriers in 2015. We want to prove that indie publishing is a positive choice for writers of quality, to show that writers can make good publishing decisions and lead the creative process. And if you’re happy with traditional publishing, we hope to add more power to your arm, by demonstrating that authors should be included in business and promotion decisions, treated as partners and offered fair deals.

It’s going to be exciting. Check us out at www.womenwritewomen.com.

7 unforgettable books by award-winning #WomenInLiterature. Only $9.99! Avail. Only 90 days! http://goo.gl/D1fyqW #WomenWritingWomen

WWW FULL BANNERaml

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