A bit on Anthologies

Euphoric winner winning at home

This year I have only two stories destined for anthologies. One is for a summer anthology, due out soon, another a children’s book scheduled for Christmas.

This is the lowest number of stories I have given for inclusion into collective tomes for several years.

I know some writers stay away from this form of publication. There are many reasons.

Some do not write short fiction, others focus on just one genre, some believe these books a waste of effort, while others only give licence if the book is a charitable or fundraising edition.

I appreciate everyone’s point of view on this matter.

To give a story away, even secured by a simple first serial rights licence, is a big thing. To take time out to write a specific tale for one is a commitment. Then, there is the fact of finding the extra time to write in the first instance.

If someone does not wish to commit to an anthology, so be it.

I, however, am a sucker for these books.

Partly, it is because I am a prolific writer of short stories and flash fiction. I always have some unpublished works on hand which need a good home. Another reason is, I enjoy writing from simple, given prompts. I belong to some writer’s groups, such as ‘500 – Iron writer’s spin-off‘ who regularly exercise their quills by doing just so.

I find scribbling a short tale a fantastic writing exercise, as I do with poetry and blog writing, even this post you are reading now is teaching me something about my trade as a wordsmith.

It is called, gaining experience.

I believe we can and should always strive to become better writers and, like modern athletes and sportsmen, we should ‘cross -train’. That may mean writing poetry and short stories, trying our hand with a genre we have never approached before, writing non-fiction too. Whatever it takes, we should often step outside of our comfort zone, we should do it to improve ourselves.

For me, committing to someone as a guest blogger, or agreeing to contribute a piece to an anthology, encompasses that training; it allows me to be creative, try something ‘new to me’, or come at a subject from an alternative perspective. It also allows me to get my work in front of readers who may not have found me otherwise.

It is not something I do for a direct reward. I have, where there have been shared royalties, had my allocation directed to charity.

Which brings me nicely to this point.

Many collections of short stories are put together as fundraisers, or for creating http://authl.it/6boawareness for worthwhile causes.Looking into the Abyss: Saving the Rhinoceros one story at a time’ an anthology designed to spread the word about the Rhino’s fight for survival, and ‘Sticks & Stones and Words that Hurt Me’ which supports anti-domestic violence, along with ‘Storybook, Individually together, Vo 1 (no longer available) are three charitable books I have close association with.

 

However, not all anthologies have to be for charitable causes.

awethologyLIGHTSMASHWORDSThe ‘Awethors’, a group of likeminded indie authors from across the globe, have created three anthologies crammed with a wealth of wonderful tales. These books, The Awethology Dark, The Awethology Light and the December Awethology Dark & December Awethology Light, were produced for several reasons.

These books are to show what an alliance of indie authors, living in various countries around the world, can achieve when working in unison.

The Awethors collective produced not one, but Four great works, proving such co-operative action can be repeated and maintained.

These anthologies also bring the contributing authors closer together, it strengthens the collective and in some cases, creates new, long lasting, genuine friendships.

If you have never contributed to an anthology before, I ask you to consider doing so. I am certain you will know at least one other writer who has a link with at least one. Do it for yourself, for a literary exercise, for learning, for betterment, but most of all do it for fun.

To finish, I quite fancy contributing to a Sci-Fi collection, (I don’t write Sci-Fi), or something from a female perspective perhaps?

Any offers, contact me.

 

Thank you once again for reading my Ramblings, Paul.


Looking for something different, a gift with thought? Take a look at the Pussers Cook Book.

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Yoghurt Tasting.

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We often talk of how important punctuation and grammar are when writing. I think this is also true of the spoken word, oration and pronunciation should be a foremost concern.

NOT, I hasten to add, for everyday conversation where colloquialisms, dialects and vernaculars colour our conversations and lives, but when the spoken word is transmitted by mainstream media.

I believe, broadcasters have a duty to society to articulate, to use elocution and enunciation to the highest standard and, by doing so, enable our young to learn the wonders of well-versed dialogue, gain the ability for constructive discourse and communication.

How can we expect our young to learn to speak clearly and precisely, to acquire the ability to explain, to communicate effectively, if the denizens of our communications industry cannot do so themselves?

Personally, I do not think ‘dumbing down’ standards to ‘accommodate’ those considered, in correct ‘PC’ terms to be ‘less fortunate’ is the answer. This only has the effect of decreasing the overall standards by suggesting the lowering of general standards are acceptable. Which, of course, they are not.

I fear for the future.

Today I found myself disappointed by such a badly enunciated sentence.

“…blah, blah, blah…27-year-old Emma, a Yoghurt taster from Essex…. blah, blah, blah…”

Now…I have, as many of you do, a writers mind. This is a strange and oft uncontrollable beast. One which will pick-up on tid-bits and oddities which would, for the greater part, pass most people by without causing a ripple in their lives.

But for those of us who are cursed, or blessed, with such minds will know once this beast has focused on its intended target, once it has its victim firmly caught, there is little we can do until it has satisfied its hunger, or passions, or whatever desires need stating.

This was my situation earlier today. As soon as that sentence had been spoken my muse went into overdrive.

A quick and personal excuse (Disclaimer!): I was not watching or listening to the programme being broadcast, it was just ‘on’. My wife had switched the TV on earlier and it was playing away in the background.

So, where was I? Oh, yes my muse awakening, giving me a jolt.

Questions started to flood my head, ‘Yoghurt taster’ what kind of a job was that? Was it a flavour tasting position or simply to ensure the product was of a certain quality? Maybe this was a taste panel for R&D, for new products, new lines?

How did one get a job like that? Could I get a job like that? What qualifications, besides liking yoghurt, did one need?

My muse was excited; could this be part of a plot? A Poisoning?  Mass poisoning…holding corporations to ransom? Maybe the start of strange happenings in a small town… Zombie like conditions…Mmmm? My mind continued to race.

However, I love that word so I’ll say it again!

However, somewhere beside my overly stimulated muse, I had a nagging doubt such a position, a job as a yoghurt taster, actually existed. Food taster, yes. But I could not believe anyone could be employed solely as a Yoghurt taster.

No, I convinced myself, something was wrong. (Much to the annoyance of my muse!).

Thanks to modern technology, satellite, cable, Digi-boxes etc. we are able to do so many things with ‘live’ and ‘on-air’ television which have previously been impossible. One of these is instant ‘re-wind’.

This is what I used to take the programme back to the point where the ‘voice-over’ presenter stated that Emma was a ‘Yogurt taster’ from Essex.

This time I would actually be watching and listening to the broadcast, rather than having it grumbling away in the background, where only my subconscious was taking note.

Sitting too close and staring at the screen, like a six-year-old child, I pressed ‘play’. The images began to move and the narrator started to speak.

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“…blah, blah, blah…27-year-old Emma, a Yoga teacher from Essex…. blah, blah, blah…”

I played this over and again, four times in total, until I was absolutely certain this version was the correct one.

Emma was a yoga teacher and not a yoghurt taster, as I had first thought.

This was not me miss-hearing, it was clearly a case of shameful presentation.

I must say, I was more than a little disappointed.

I am sure, in the world of yoghurt, tasters are required? although I am uncertain of what the progression of seniority may be in such a profession. Perhaps one starts with the ‘own label’ products, progressing to ‘natural’ before moving to thick ‘Greek-style’ yoghurts. Maybe, an alternative route would be to delve into the technical realm of flavours, or the scientific corridor of ‘low-fat’ and ‘healthy’ options.

I guess I shall never know.

A divergent track that leads me, by some circuitous route, back to where I began this post; which is where I stated my belief that major broadcasters and, in many respects, our respective Governments, should take responsibility for the clarity and precision of language when transmitting programmes.

The above is a prime example of bad annunciation and elocution, the equivalent in my book, (note the pun!), of bad grammar and punctuation in writing.

Besides, my restless muse was unnecessarily disturbed.

Now I have to find an excuse NOT to write a novel about a wicked dairy farmer, who decides to get his revenge on the local townsfolk by plying them with infected yoghurt, thus turning them into pliable and malleable zombie-like humanoids who forever more will do the farmers bidding. Of course, as with all good pulp-fiction, there is always one young girl who hates all milk type products, regardless of flavour. Perhaps it is she who can fight back against the forces of evil and bovine product manipulation to save the earth…or at least the local town?

That is all I am going to say on the matter!

Milkmaid

So, until next time, enjoy your writing, even if your inspiration has been stimulated by a miss-print or badly spoken presenter. But please, please take care with your grammar. You never know when someone may read your work live on air, they may even be an ex yoghurt taster venturing into a new career!

 

Thank you for reading, Paul.

You may like to visit my website and see what else I am writing? http://paulznewpostbox.wixsite.com/paul-white

© Paul White 2016    RTWM310716/975

Getting intimate with your readers.

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By intimate I mean really intimate, telling your readers about your ‘ills’, your personal peccadillos, your most secret sexual pleasures.

Sounds like something you would never do?

Well, maybe you should.

Now, bear with me whilst I, in my usual rambling fashion, seem to digress. I assure you all will become clear as you read on.

 

A short while ago I read an article by…(I forget who!)…which said, that reading is just using words to make suggestions, it is the readers mind that creates the images and makes the story.

To explain this further; when you introduce a character into your story, regardless of your own imagination, each reader will ‘build’ their own personal vision of how that character is; what they are wearing, how they walk, the tone and rhythm of their voice.

The finite details of the car or train they ride in will appear in the reader’s head like a movie scene. Each person will imagine this in a style which is unique to them.

As the reader turns page after page, the houses, the streets, the towns and cities evolve to create that readers own singular and distinctive world. Your words become their (the readers) own story, set in their own world.

All you have done, as the writer, is string one suggestive idea after another; the rest is perception, imagination and vision of the individual holding your book.

This is something I find fascinating; the ability to share thoughts and ideas with another person, a person who you, most likely, will never meet. Moreover, this ability to ‘suggest’ to place guided concepts into another’s mind has no limitations regarding time or space.

Whether the reader is a few meters or a million miles away; or indeed is reading your book a year, a decade or in a thousand years from now, your suggestive words will still stimulate their own imaginations, still allow and encourage them to create a version of that nether-world, a world you fashioned from thought in some timeless point and place.

At this juncture you may be asking yourself “what does any of this have to do with intimacy?

Allow me to continue.

We all have personal and private thoughts; many we never share, even with those closest to us. This is not a fault or a weakness of character. It is simply what we do, as humans, as people.

Now, these things can be simple; like a certain smell evoking a memory. Possibly a memory from childhood, good or bad. But because it is an innermost secret we never reveal the emotions it stirs within us.

Another could be sexual pleasure, a certain touch, in a certain place, given by a former lover or during self-stimulation? Possibly, probably, never shared with another. The reason could again be many, primarily held within to protect us from the possibility of ridicule, however unjust or superficial that may be in reality.

Often not revealing such is matter privacy, of not wanting to be embarrassed, or at least not wanting to give someone else the opportunity to embarrass us. Sometimes it may be protection of another sort, defense against the risk of giving leverage; presumed or real.

That all said and done, I know not a single person upon this earth who are not holding such personal secrets close. We all have them. Even you. Although sometimes we try to hide them from ourselves because of the pain, the hurt, the sorrow or guilt they dredge up from our pasts.

This is the form, the type of intimacy that I believe, as authors, we should share with our readers.

Now, before you shout at me, call me crazy, deluded or worse, let me clarify my train of thought regarding this matter.

I am not saying we should all blatantly reveal our souls; neither am I proposing a mass catharsis. I am simply expressing my view that, as each and every reader is creating their own version of your basic story, as suggested by the words you have written, that to get under the skin of your readers, to endear them to your story, your style of writing, your narration and, of course, to identify with your characters; what better way than to share with them some of the most intimate, emotive and emotional secrets a person can hold?

Doing so will further the perception of true-life, of reality for your readers. Just as you share some of your secrets with those closest to you, your partner, husband, wife, best friend, mother?

Such intimacy builds trust, strengthens relationships, cements bonds. What better way to endear your readers?

This does not mean you have to write a ‘tell-all’ revelation of your own life.

It does mean that you can and, in my humble opinion, should draw on your own life experiences, even those dark and deeply personal ones, to share with your readers. Remember they shall be relating your words to the intimate areas of their own lives not yours.

As fiction writers we cloak reality with fiction, mix fact and fantasy on a daily basis. Nothing changes; what may be perceived as fact is realised to be false and vice versa.

You can become as intimate as you wish with your readers when you draw on your most confidential of life’s experiences. They shall not be judging you, they will be judging you work…and their own lives.

If you still hold concerns about this, let me leave you with these words:

“Everything I write is fiction, except the bits that are true. Although my readers tend to think the truth is fiction and fiction the truth. I just wish I knew the difference”.

Thank you for reading yet another ‘Rambling from a Writers Mind’ blog post.

You may want to read my new book collection, ‘Tales of Crime & Violence’, a number of short (& not so short) stories, focusing on the cognitive and emotional aspects of those involved with, or caught up in, unusual circumstances.

 

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Don’t let the rain drown your novel

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Too many times do I read the same old, same old, scene.

It’s raining, grey clouds overhead. Drizzle, cold wind.

Why?

Because it is a funeral, or someone has discovered a friend’s death.

OR

There is a tempest, heavy rain, thunder, lightning. Gale force winds rattling the windows.

Why?

Because its eerie, a big house, a derelict building, a graveyard. Or the cars broken down on a country road.

OH, PLEASE. Come on. Enough is enough.

I know you want to set the scene, make the reader ‘feel and see what is in your mind. But not like this; not again.

Hollywood and television overworked this format years ago. Mary Shelly used it way back in 1817… (yes, I know Frankenstein’s Monster was not published until 1818. 11 March 1818 to be precise! but Mary completed her work in May 1817).

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After that, I can understand some writers utilising Mary’s techniques (which she stole anyway!); but that was almost two hundred years ago! Surely you can work your wordsmithing magic without falling back on this old literary cliché?

Let’s take a look at the graveside scene again. This time, dismiss the notion of grey skies and rain.

Try and build that ‘feeling’ you want, let’s say, for this exercise, sadness and sorrow. (Although in another version it could be joy and relief, dependent on your character’s viewpoint).

‘The solemn parade of black clad mourners slowly crunched their way over the gravel and melted into the dimness of the church, passing under the gothic arches of time worn stone’.

Here the tone is set using a few simple, but descriptive words, to create the mood. ‘Solemn, black, mourners, slowly, melted, dimness, gothic, time-worn’ All carefully selected words that imply the general emotion of the procession.

An alternative may be something along these lines.

‘James glanced at Mary, her eyes glistened as tears formed. Small dew-drops of sadness sparkling, reflecting in the sunlight. The scent of yew trees and grass added to James’s sense of numbness as he watched the coffin being lowered into the grave’.

IMG_4424Approaching the scene from an oblique angle often offers the author an opportunity to ‘drip-feed’ the reader, only giving them a small bite sized piece of the overall scene with each sentence. This allows for an element of surprise, or revelation.

Neither of the above paragraphs have fallen back to the old ‘grey sky and rain’ chestnut. Yet they convey the very essence of emotion which one wishes to communicate with the reader.


 

Onto the scary stuff!

The haunted house? The killer lurking in the dark woods, the stranded car on that country lane.

Hey, guess what?

You’re right, it’s NOT raining here either! No lightning, no storms and no doors banging in the wind.

So, how to get away from those ‘same old, movie style embedded notions’.

Well, let’s try. Let’s start with an approach to that (possibly) haunted house or old barn.

‘Two huge stone eagles balanced precariously on the dilapidated columns. The bindweed twisting about their talons as if securing them, denying them of flight. Framed between and beyond stood the old mansion house. The bright sunlight reflecting from the walls enhanced the blindness of long lost windows. Empty hollows, gaping holes beckoning us towards them’.

Locals say the owner of Ohio’s Milan Mansion was a practicing witch.

Note the ‘bright sunlight’. This time using the opposite, of what has become expected, to enhance the ‘darkness’, the brooding mood.

Not a raindrop in sight and the clock is not about to strike midnight!

As for breaking down on a country lane, perhaps having to abandon your vehicle to seek help…Let’s attempt to approach this in an unexpected style too.

‘He had been foolish for stopping; but nature would not wait and the hedgerow of holly offered the ideal shelter to hide behind while he answered her call. The car was going nowhere. The tyres just spun in the deep snow. With each attempt they sank lower until now; now the car was axel deep. He was stranded.

In the far distance the occasional puff of smoke drifted upwards into the crystal blue, cloudless sky. Turning his collar up, ramming his hands as far into his overcoat pockets as they would go, he started to plod through ankle deep snow towards the smoke. Gregory guessed it was from a cottage chimney. How wrong he was…’

Here I have constructed the paragraphs to portray a relatively normal situation, feeding the reader small tidbits about the weather, not only to ‘set the scene’, but as miss-direction, so that I can increase the effect of the final few words.

I beg you, if you are about to write, (or re-write), a section of your novel where you have been sucked in by the old ‘rain & storm’ caper, alter it. Dismiss the rain; freshen up your narration, pleasantly surprise your readers with something new and exciting.

Please do not let the rain make your book a wash-out.

Thanks for reading, Paul

Feel free to comment, leave feedback and ‘follow’ Ramblings from a Writers Mind.

Oh, don’t forget to read the new edition of CQ Magazine. It is jam packed full of great ‘stuff’!

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How to write better by watching more movies!

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 I for one love to read ‘the book’ rather than watch ‘the movie’. The reason is, I want to let my own imagination create the world the book has drawn me into.

I want ‘that’ character to evolve as I see him or her; guided by the authors words, yes. But not have it forced upon me, not illustrated in such detail there is no room for my mind to fashion form.

There is no choice in this aspect when watching a film. A film shows you the actresses face and how the character’s voice sounds.

There is little left for the imagination.

Yet, I have formed some of my writing techniques from watching movies. Well, not just movies but TV dramas, plays, even commercials. Almost anything in fact that has moving images.

You may think that I am contradicting myself by making what seems, at least on a superficial level, contradictory statements.

So I shall, in my normal ‘Rambling’ way try to convey exactly how watching moving images has enabled me to hone my skill as a writer of words.

 It is mostly to do with the editing, a little to do with camera work and a bit to do with stealing the director’s viewpoint!

However, before I can start on that, I must tell you that when I am watching a film or TV with a ‘writers eye,’ it is not the same as watching for enjoyment or pleasure. Even if sometimes I cannot help but notice things when I have no intention of thinking about writing. (But that is my cross to bear, not yours. At least not yet, not until you have finished reading this!)

 

Ok. The Directors viewpoint. This is probably the most obvious, yet the least important aspect.

Imagine the opening shot of a film scene.

–The camera slowly pans across a room, it is dull. Dust mots hang in the air, highlighted by two shafts of light, beaming downwards through a window. As the camera pans the_room_is_dark_and_empty____just_like_me_by_potpoorri-d5pvf7b.pngtowards the window a small figure of a girl, a young girl wearing a white cotton nightdress, is revealed. —

This is gold dust to me.

That scene, altered to suit my style and the storyline I am writing, can be used. NO…this is not plagiarism. I would not copy it, but use it as a base to create my own, dull room in which I would reveal a figure.

My room could be a log cabin, a large warehouse or a submarine. The light source may be from a fireplace, daylight filtering through a damaged roof or the‘red’ lighting used on a submarines bridge.

The figure may be an old man, a dead body lying on the cold concrete floor or a ghostly specter of an old sailor.

BUT….all this has come to me from watching that opening shot of the movie; seeing it, not from the ‘viewer’s’ eyes, but from the directors. Having an understanding of the mood he was trying to create and how the darkness, light and slow reveal assisted him in doing so.

All that is left for me is to translate that into words, imagining it over and over as I write so that the ambiance and timing is cohesive to the reader.

 

Secondly. Camera work.

While the above scene clearly needed the aid of a camera to record the Directors instructions, all of the actual imagery in a film is down to how things enter the lens. Yes, some of this is to do with lighting and the type of film used, but here I am speaking of the camera alone.

Firstly, the angle, the position of the camera to its subject. Not forgetting its height. Generally, a low shot, ground level, is used to enhance the perception of speed. Think about car racing or chases. How the tyres almost run over the lens or rock the camera as the vehicles flash past. (Yes, depth of field and all that matters, but that is not important here).

4240A high shot, from a boom, tall building, a crane or airship looking down on the subjects can give expression of vastness, loneliness or being lost.

Next time you go to the movies take note of where the camera is situated to get ‘the shot’. I do and that enables me to hold that moment, that feeling of vastness or loneliness, in my mind while I write my next paragraph.

Reading it back to myself, if it does not evoke the same feelings, if it does not conjure the right imagery as my recall of the films scene, then I will re-write, over and over, until I get it right.

 

Lastly, but for me, the most important is the Editing.

I cannot help myself with this! When I have my ‘writers head’ on I am constantly, without any self-control watching for all the ‘cuts’ more than whatever I am viewing. I know that is sad, but it is the truth…maybe I do need to get out more!

For those of you who may not be familiar with the terminology, a ‘cut’ is when two pieces of film are joined together, it is a form of transition. For instance, a boy and girl are holding a conversation. Each time one speaks the viewer sees who is talking. Firstly, you see the boy talking, when he stops and the girl starts speaking you see her face. That change, from him to her, that is a cut.

In fast moving action scenes and in advertising, where time is at a premium, you will see many ‘cuts’ per minute. Chances are you will not have been aware of most of them…until after you have read this. Now you will not be able to watch anything without seeing just how many ‘cuts’ are involved, even in the simplest broadcasts!

I hear you asking, how the devil can that help me write better?

Truth is it may not.

But it helps me and this is how I utilize them.

For this explanation assume that I am writing an important part of my stories plot. I need to get the emotion and feeling soaking into my reader’s psyche. This is one of those parts of my book where I must get the reader totally immersed, living my fictitious world.

I have already written the basic scene, it is in outline form, a rough, very rough draft. Now I need to build it, develop it, into a masterpiece!

Going back to that early shot of the young girl in the dull room I mentioned earlier. Let’s say the story is of a child longing for her dead mother to return.

This time, instead of using that scene as an opening, it is a scene from somewhere within the book, a part that needs far much more input.

It is here I will start bringing in the ‘editing’ tricks.

I shall still start with the description of a dull room, but this time I will place the reader at a set viewpoint, say, where they are looking into the room, through the doorway, from an even darker hallway.

Then I will ‘cut’ the shot.

Now the reader is looking down from above. (remember this viewpoint conjures a sense of loneliness and being lost). This allows me to open the scene up, to use words that reinforce the atmosphere that I am trying to create. Such as “a heavy shadow” or possibly “even the floorboards seemed to weep with sadness as I crossed the room”.

(I want the reader to envisage a large empty room, a figure (my second character) walking across it towards the young girl. I want the floorboards to creak, to give an impression of neglect. (This is to build the atmosphere). By applying the words ‘sadness and weep’ I have managed to blend the sound of the floorboards with the mood of the scene).

Cut.

sophia_blog1Now let’s have a close-up of the young girl. For the first time we see her face, the way the “sallow light settled on her fair skin” or “her pale blue eyes were damp with tears yet unformed”.

(Again using simple words which are descriptive both in their description of the girl, but also in the context of the mood)

Cut.

This viewpoint sees both characters together, gives a juxtaposition of size and age, hints at the relationship between the two. One speaks to the other….Etc.

(The second figure could be a sister, a social-worker or nurse, maybe the step-mother or even the ghost of the girl’s maternal mother).

Cut.

Now the viewpoint is of both of them looking out of the room, into the darkness where they have just heard a noise……ZGPIAp

Cut.

This is how I write my scenes, like watching a movie inside my head, in the darkroom of my mind. I find that it helps me construct a whole, comprehensive section of my plot. It stops me rushing, skimming over sections that really need more care.

Please note that when I say ‘viewpoint’ in this essay, I am not necessarily speaking of the narrations ‘viewpoint’, but that of the images I carry within my mind. Sometimes the two may be in harmony, but that is not always the case. Often a complete scene, or section, can be written from a number of converging narrative angles. As long as the reader is guided along and does not become lost or confused, all will be well.

That is not to say I do not need to edit or re-write, far from it, but each time I do I use the same technique to make the scene work, to create the mood and temperament I am looking for. Editing and re-writes purely allow you to correct the detail and flush out unnecessary and often misleading words.

This way of writing may not work for you. It may go against all you have learnt about writing, or just not suit your style.

But then again it may be worth having a go, maybe a short story or even a piece of flash fiction to start with.

Or maybe you are struggling and I have just come along with this amazing and brilliant idea, which gives you the next bestseller or booker prize winning novel. If that is the case, keep me in mind, please when you receive that big pay-out!

I hope you can glean something from this Rambling, whatever it might be, I really do.


 

 I am, as always open to feedback and comments, don’t be shy. Oh, if you have not done so yet, please feel free to ‘follow’ this blog.

Thanks for reading, Paul.

You can read some of my short stories HERE

or visit my website HERE

where you can see my books, my blogs and what I am getting up-to right now!