One reason why I don’t give my books away.

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Because I have worked hard, very hard in making the book a reality.

The uninitiated may feel that is a glib remark, but it is not, if you consider….

I first had to come up with the idea, a notion of a story and ensure it had a start point, a good tale to tell, one which draws to a satisfactory conclusion.

That is, it has a beginning, a middle and an end.

Sounds simple, doesn’t it?

Then try it now, in the next few seconds. Say these words aloud….ready….go…”My story begins when……

Well, come on. You said it was easy, so what’s keeping you?…… OK. Times up.

Let’s move on.

I shall say ‘we writers’ from now on, have an outline of a story in our head. We know where we want it to start. We may even have a few words which may become the opening lines, when we start writing.

Each writer has their own way of plotting and constructing a novel. So, for generalist purpose I am adopting the supposition this is a writer who plots onto a story line…to a degree.

For the next few days we shall be breaking down the sequence of the story in our mind, transcribing it onto a plot graph, a timeline of planned stages. This is something we shall change numerous times over the next few days. We shall have the characters, particularly the protagonist, face challenges they must overcome. We will build his/her character as realistically and as humanly flawed as suits the plot, and will have our readers empathise, at some stage, with the antagonist. Possibly disbelieving in the actions of the hero….who may yet actually be the real baddy!

This is the type of conflict associated with plotting the story. Already at this stage the story wants to take charge of the author, as later, during the writing of the first draft, so shall the characters. They WILL take on a life of their own. They WILL wake the writer in the early hours of the morning, banging on the door of new concept. The same characters WILL, on another night, keep the writer awake until the sun rises just so they can move forward, continue their journey within the unfolding pages of new manuscript.

Most authors become almost, if not entirely obsessed with writing the tale. Some seem, even become unsociable, withdrawn. Because the story must be told, it must be typewritten onto paper or into computer memory. If the writer stops, or is distracted for too long, the thread begins to fade, the momentum halted, the spirit lost. The new lives, those characters created start to wither, even die.

Writers are, in the worlds they create, Gods among characters, guiders of destiny and givers of fulfilment, destroyers of life, of societies, of cities and planets. The author is omnipotent. It is a role, a responsibility we take seriously. It is a heavy burden we bear.

Come the end of the first draft and an entire year’s supply of coffee beans. I/we, the authors, sit back in our chairs and breathe a sigh of relief.

It is short respite.

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Soon our noses are back at the grind stone. We now need to read, edit and re-write the entire work. A first draft, no matter how carefully crafted, is just that. A first draft.

Now we really start work. No longer are we flying in full creativity mode, now we are in a roll-your-sleeves-up and get stuck in approach to the task.

Generally, this stage takes twice as long as the first. Deleting words, sentences and replacing them…or not. Moving paragraphs or rephrasing entire sections of the manuscript. Rearranging the position and order of entire chapters, even deleting them…or writing new ones. There is no limit to the fettling undertaken at this stage.

Once we are (reasonably) happy with draft number six/seven/ eleven? We congratulate ourselves and add a tot or two of whisky into the large mug of rich black coffee, our drug of choice.

Happily, we tell our copy editor we are ready for them to scan our documents. Oh, she says. (Not a sexist remark, simply the fact I have found most of the best editors are women), you need a line editor before you run it past me!

So, weeks later, with some alterations to plot and structure you eventually pass the manuscript over to your copy editor…..and wait…and wait, which is a good thing. Annoying, frustrating, but good.

You see your editor should be busy…if she is not that could indicate no one wants her services? The second reason you should be happy to wait is you want a thoroughly good job done, don’t you? Therefore proper, good, concise editing with a comprehensive feedback means taking all the time required to do the job right. Right?

Everything is not lost during this time, because you have to have a cover. If you have not yet made any advance towards having one designed, now is a great opportunity, it will take your mind off waiting for your editor.

Unless you are a graphic designer of illustrator I would leave the cover to an expert. Even if you are an artist I would, at the very least, consult with one. You see a book cover is NOT what most people (readers/ writers/authors) think it is.

Comes the day when your book cover, both paperback and kindle versions are ready. You are excited because your manuscript has just arrived back from your editor….the pages listed with notes, amendments and suggestions.

Now, instead of moving forward, instead of getting a step closer to publication you must revisit you story. Once more you sit and work through the entire manuscript, making alterations, altering tense, reading those suggestions and editorial input regarding clarity, flow and all that other stuff.

Three days later, in a foul mood and with a raging headache you stab the send button returning, the now amended manuscript, to your editor.

This is when you wonder where the last year of your life has gone. This is when you look out of the window and wonder why it is snowing…in June…only June has long passed. You missed it.

You were living in your own Neverland, guiding your characters away from disaster and death. Now, all of a sudden life seems so much more….empty.

The story is with your editor. The cover made. Time seems to hang about endlessly, waiting…tick-tock, tick-tock.

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After a day or two of doing virtually nothing it all gets too much. You plan a launch date, but not too soon. Then you organise a thunderclap, a blogging chain, advertising, a cover reveal and whatever blows your frock up.

Hay, guess what, your manuscript is back, this time there are only a few notes, easy stuff to sort out. So, you do. It only takes the best part of a day this time.

Now you can busy yourself again. This time you need to format your manuscript into book form. One for each type of book, i.e. paperback and eBook, but also for the platforms you may be using, Createspace, Lulu, Smashwords and so forth. Of course, you can have a professional do this, or you can seek the help of a fellow author…all work well if organised properly.

The next stage is proofreading. Each format needs to be proofread. You can do a first run yourself, pick up on any errors made during formatting, check the margins, headers, page numbering, kern and such. But, I bet you will miss a shed load. So have other eyes, preferably an experienced proof-reader, one with a good track record, even someone recommended.

So, you press the send on your keypad again and hey-ho the formatted manuscript(s) is/are off to your proof-reader, who will pick up on any punctuation, capitalisation, space and…other issues you WILL have missed.

ONLY after you have fixed all those errors will your story, which up to now has just been a manuscript with a working title, become a book.

Upload to print…. congratulations. It has taken you around eighteen months of blood, sweat, tears and toil. Of mood swings and social deprivation, headaches, doubts, pain, fear and uncertainty to turn your dream into your baby.

Well done you.

NOW YOU WANT TO GIVE IT AWAY?

That is (one reason) I don’t give my books away.

Paul White.

 

 

 

 

 

 

Why do I write in the way I do? (An answer.)

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I am often asked, as I am sure many authors are, “Why do I write?”.

This is not a straightforward or easy question to answer comprehensively. In fact, if I were to answer that question in full, it would be an extremely long essay.

Which is the answer I gave a few days ago.

However, that question was followed by one which made me think, a question I was, at the time, unprepared to answer constructively.

“Why do you write in the way you do?”

This question made me think, beyond the basics of ‘style’ and further than ‘narration’ alone.

So, in the regular and rambling way I use in my blog posts, I shall attempt to convey to you my thoughts on this question.

They are as follow……

I do not write a particular genre of fiction.

Romance stories generally demand detailed character descriptions, a slow build-up of intensity to climax. (Excuse the pun).

On the other hand, Horror readers want faster paced, less detailed, more action books which cut right to the core. (Sorry, I can’t help myself).

By not being a genre writer, I have not developed a style limited by the parameters of reasonable expectation of those readers.

Neither do I write for a syndicate publisher, such as Mills & Boon, who have strict plot and style guidelines and can drop any contributor in an instant, should their suggestions not be strictly adhered too.

I am a truly free, independent author.

I have written an offbeat tale of abduction and intrigue, which is also a romantic story, a AofRDVtale of finding oneself and humorous yarn all rolled into one. It is ‘The Abduction of Rupert DeVille’. Available on Amazon, just click the link!

This book alone breaks all the genre specific boundaries it touches upon.

I did not set out to intentionally break any rules, I simply ignored them all and wrote the story I wanted to write.

I have also published two collections of poetry.

The basic premise of each is human emotion. Fear, love, hate, anger, regret and so on. I like the challenges of poetry. The differing forms, such as haiku, present wonderful opportunities to develop wordsmithing skills that can be adapted to storytelling.

That is how I like to think of myself, as a storyteller, a mythmaker; weaving tales into people’s consciousness, making them re-think and to consider life and the world around them in a way they may never have done before.

My book collection, three volumes of short stories called ‘Tales of Crime & Violence’ are designed to do just that, to make the reader reconsider their point of view, to side-swipe their general conceptions, to come at them from left field and leave their minds floundering with a myriad of questions, questions they now find they are asking themselves. (Click the link, or image)

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That is what a great story should do. It should stay with you, lingering within your mind a long time after you have closed the final pages of the book, maybe even forever?

I have also written a children’s book and non-fiction stuff. Very different disciplines than writing standard adult fiction of any sort.

I am, at the time of writing this, working on a novel about an escaped psychopath. ‘Floyd’ is out on a bloody revenge spree against those who had him committed. This book must be considered a ‘Slasher’ type of story. It is a crime thriller certainly, a horror…in parts possibly, but not really.

Once again, I am writing what I want to write, in a way I want to write it. The style and narration I am using is unique to this book. It is not one I have adopted previously.

Which, in a long winded and round-about way, brings me back to the original question of “Why do I write in the way I do?”

Taking note of the above (and remembering my independence), has allowed me to indulge in many experimentations with style, narration, pace, plot, POV’s and all the other ‘literary technical stuff’ writers put far too much emphasis on when discussing writing.

Each of my novels are written from a totally different personal perspective. Making each quite distinctive from the last. Even so, my personal mark is to keep an element of humanity, of emotion, of people’s dreams, hopes and fears running through all my fictional stories, even those involved with psychotic killers!

My short stories reflect those same values, the human passion for life, the experience of relationships, of desire and love, of living, of loss and of death.

I like to explore these areas of the human psyche, areas often forgotten or neglected by other writers and authors. I like to reveal them at a certain pace, a pace which suites the individual story being told.

In some I might come at you from the shadows, smashing into your mind like a train wreck. In another it may be an insidious creep, slowly weaving itself between your receptive neurons, until that is the only thing your mind can focus upon.

This is where the poetry and experiments with lexicon come to the fore; they allow me to use words as a basic material, melding and moulding them, twisting and forming them, until they convey to the reader, not only the description and facts, but the feeling of being there, of being within, of being part of the nether world where my story lives and, without doubt, to see, hear and feel the trauma, the worries, the excitement and passions of my characters as they stagger from one conflict to another.

You can read several my short works at https://alittlemorefiction.wordpress.com/ I always have a few stories on this blog, although I do delete and change them at random intervals.

So, in brief, that is my answer to the question – ‘Why do I write the way I do.’

I hope you can pick something useful out of this.

Thank you for reading, Paul.

 

 

 

 

 

 

 

A bit about differing narration in your stories.

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I have recently been asked if I can help another writer with regards to narration.

(Narration is sometimes referred to as the ‘stories voice’, at term which is frequently used in the USA and is essentially descriptive of its nature.)

The writer in question is not a ‘new’ writer, in fact she has authored several books over as many years.

She has asked for my assistance now, because her works to date have been of the same genre, they have required the same form of narration; one she has developed and honed, one which has also become her ‘style’.

Perfect for what she has accomplished, but a difficult task to abruptly alter, as it brings much self-doubt and worry with it.

Luckily, I am not one who writes in one genre, or in one style. Much of my work ventures into realms unknown and unexplored (from a personal perspective.) I push my wordsmithing skills every opportunity I have.

Whilst helping my author friend, I found having her read a sample of my own work, one with a certain narrative style, helped me explain how I achieved to create that chosen narration.

In this post, I shall try and do the same.

I have three examples to share with you; the first is taken from a humourus tale, the second from somewhere much darker and the third is told by a character where English is not their first language.

Each of the above forms of narration hold certain challenges for the author if they are to allow the story to flow smoothly, while still making each word believable.

Without further ado, here is the first sample, an excerpt for my short story ‘Fixing the thingamabob.’ (It is an exercise of using metasyntactic terminology.)

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I had a job to do which needed more than a screwdriver and a pair of pliers.

So, I wandered down the garden to my shed to find the whatchamacallit, which I knew was in the wooden box under the shelf between the screw box and the other thing.

My wife had been nagging me for eons regarding fixing the thingamabob, which had started to rattle and shake several months ago.

As it happened today was sunny, bright and warm. Just the type of day I liked to attend to the pesky little jobs that stack up over time. Plus…I was in the mood for tinkering, which was actually a big plus!

Once I had the whatchamacallit in my hand I wandered back to the house, placed the thingamabob on the kitchen table and started to dismantle it.

Personally, I would have ditched this one years ago and replaced it with a new, up-to-date, all singing, all dancing, micro chipped, high tech whatchamacallit. But because this old rusting one had some sort of sentimental attachment my wife was certain I could fix it and all would be well for another thirty years.

I was not so sure; especially now that I had umpteen bits and bobs scattered on sheets of newspaper spread over the table top.

I was not even sure if they all belonged to the whatchamacallit, or if some pieces had tumbled from the small jars of screws, washers and odd bits I had kept for repairing such items.

Besides the springs there were a few plastic doodahs of indiscriminate origin, a strange angular thingummy with various sized holes and a host of………bits…..loose sort-of-screw(ish) pieces.

I was still quietly confident that I would not have to fork out a fistful of klebies to purchase a new whatchamacallit, because despite the number of random odd and sods before me, I had all the key parts in separate saucers. The rest I could figure out during re-assembly.

Having got thus far, I decided a fresh brew was in order and proceeded to stand from the kitchen stool. That was when my knee came in painful contact with the underside of the table top, sending all the random and the carefully separated odds and ends flying into the air, most of which came crashing down onto the stone tiled floor.

As I have said, being an organised sort of bloke I was using several saucers to keep the whatsits from rolling all over the place, thus avoiding the chance of mixing them up with other doodahs or losing them altogether.

Now, not only were all these jumbled-up with the rest of the bits and bobs which I had previously spread out ready for use, but my wife’s best saucers were in splintered shards on the kitchen floor, mixed among the plastic and metal thingamajigs…..

End of Sample

In this excerpt the reader automatically senses the light-hearted pace of the story. The ‘nonsense’ words liberally sprinkled through the character’s speech seems to confirm the cheerful tones of, if we could hear it, the character’s voice; and that is the clue here, the character’s voice…his narration…his is telling this story and you, the reader, are sitting comfortably and listening with a half-grin already plastered on your face.

To achieve such a form for this stories voice I found myself ‘playing’ the character. During the moments of writing I was that ‘doddery, old, half- henpecked, half-happy-go-lucky, uncaring/caring, semi-foolish husband’!

I became that ‘chap’ and wrote this in a manner I felt was akin to which I would have done if I were sitting in a bar and relating the tale to half a dozen of my cronies.

<<<<<<<<<< >>>>>>>>>>

Now read this next example of my narrative form. This is from the story called ‘Deep Waters’.

When they came to remove the last of the medical equipment from the house they found me laying on the kitchen floor in a pool of my own vomit.

The nurse said it was ‘lucky’.

Lucky I was found when I was, or I would have certainly died.

I did not consider myself lucky.

After that incident?

Two years of psychiatric help is enough to send any man insane, which is why I have come to the island. To get away from the hospitals, the clinics, the doctors and shrinks.

To get away from that house.

A house which held too many precious memories; cupboards in which her scent still lingered, rooms where her voice echoed at night and doorways where I always caught a glimpse of her figure.

I needed to clear my mind, to find out what I was supposed to do now.

To do that I did not need white coated, bearded psychoanalyst prying into my life, or friends constantly nattering in my ear, however good their intentions. I did not need a shoulder to cry on, or soft breasts on which to rest my head. I did not need friends with benefits.

Although I appreciated their efforts and the offers, all I needed was some peace and quiet. I needed isolation and tranquillity.

I needed time.

My time.

That is why I came here, why I came to the island.

Now I am here I realise how integral to life boats are. As I have said, I am no master of the sea, but I do fancy a small pleasure boat in which I can sail out to the centre of the lake. Maybe even take up fishing, something else I have never had the opportunity to try before.

But I think I shall deal with the boat first.

Small steps.

One thing at a time.

I think I know what I am to do.

But I am not in any rush.

 

The small craft I eventually chose was a twenty-five-foot cabin cruiser. Cabin cruiser sounds a grand title for a small fiberglass and wood boat with a slightly extended wheelhouse. I think the wheelhouse was considered the cabin, or was that the tiny compartment just below?

This compartment housed a toilet, which was half the size of a broom cupboard and a ‘main galley’. The main galley was a miniature sink & a two ring gas burner, opposite was a seat large enough for two people to sit on, providing they were in an intimate relationship.

The seat lifted and pulled-out to become a three-quarter size bed. I am not certain to what the ‘three quarter’ referred too?

However, the boat suited me perfectly, because I had no intentions of sharing it with anyone. This was the perfect vessel in which I could detach myself from the rest of humanity. Floating out there in silence in the centre of the lake sipping a hot coffee, or maybe a hot whiskey, would be absolutely perfect while I looked introspectively at my life.

While I considered my options.

End of Sample

This is an emotionally haunting tale, one which guarantees to bring a tear to the eyes of everyone who reads it. The reason is the soulful nature of the stories telling. It is spoken with an intimacy.

This is not like the first example, you could not relay this in a crowded bar. The narration is designed to ‘almost’ be a secret; a secret solely shared between the character and the reader. It is the reader finding a personal diary, reading that person’s own thoughts and secrets and fears and doubts.

Once again, the writer, the author must have their mindset ‘set’ into that mode and write as they would themselves, should they ever find themselves in such a position.

As the writer sits at their desk or in the café they should feel everything the character would feel if this were true. The author must become the moment, feel the air temperature, hear the ripples lapping the shore, smell the ozone and the scent of pine trees on the breeze.

<<<<<<<<<<<<<<<  >>>>>>>>>>>>>>

My third and (for now) final excerpt is from ‘Estell’s Tattoo’ (A story which raises awareness of the rape of women in Africa.)

When I wrote this, I wanted (and still do) to show that fiction can also be used to spread the word about important social issues.

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      Grace and Estelle and I once more walked along the dusty path that wound its way from our village, down the steep hill and on towards the river. The river was wide and twisted, like a glistening giant brown snake that wound its way through the lush green vegetation of the forests.

     As we became closer to this river the path changed from dust to crushed grasses. Many feet had trodden this path and in their passing had squashed the plants along the way, so that now only the toughest grass and the most persistent of weeds grew along the narrow footpath.

   Grace, Estelle and I spoke of many things during our journey to the river this day and when we were not talking of our village or family matters we sang our songs. I am sure that on this morning many birds came close to us to hear our sweet tunes, or at least that is how I remember it.

    I do not remember before that day seeing so many birds along the edges of this footpath. On any other day to see such colourful birds you would have to stray deep into the forest and sit very still for a long time. But that morning they came to us.

    It took us about one and a half hours before we reached the river. On arriving we put down the large bundles of clothing we had brought to the river to wash. All through our journey along the footpath we had balanced these bundles upon our heads. It is the way we women carry heavy loads over such long distances.

    Once we placed the laundry on the bankside we sat and drank water and rested our legs for a short while. In fact, it was a long short while because today was also a very hot day. The winds were not blowing at all and the sun shone fiercely down upon the earth, baking the soil into a hard crust which began to crack open and crumble.

    But here, in the shade by the river it was much cooler. So, we sat and spoke between ourselves for a long time during our short rest.

    Finally, we began to wash the clothing we had carried all this way, which was after all the reason for our journey to this place today. Using stones and a lot of effort we washed the dirt and grime from the materials. After which we hung the garments upon the branches of the nearby bushes to dry in the sun. The sun would soon dry the clothes today as it was a very hot sun, much hotter than on most days, something I have told to you already.

    We had also brought with us a little food. So as the sun beat down from the sky we sat near our drying clothes and ate. After that we decided to go into the river to cool our bodies and to cleanse our own skins from the dirt and the dust….

End of Sample

Before I wrote this story I read several books and listened to audio readings of books, written by people whose first language was not English, but of African origin.

I wanted to create an authenticity of ‘voice’ in this story. By using long descriptions, yet using simple words and repeating some of them far more than one would ‘normally’ do, I found I could capture ‘Estell’s’ voice.

Once I was happy with some short draft pieces, I became Estell and, looking through her eyes, began to write this story in earnest.

I have received many compliments for this story because of its narration.

<<<<< >>>>>

Please note: as a way of comparing the three examples above, you will note I have chosen stories which are all written in first person singular.

I shall leave you to consider the above and how one can alter each story’s narrative by some simple, and some not so simple, adjustments!

The prime factor is to try. Write some shorter pieces, use them as a literary exercise to flex your wordsmithing muscles. If you are uncertain, try poetry or prose to create those first few lines of text which take you away from your standard form.

I for one love to try something new whenever I get a chance.

I love to flex my literary fingers and fumble about in places I have never been before. It is often surprising, frequently exciting and, more often than not, extremely rewarding.

Paul.

Read more of my short stories: A Little more Fiction

 

 

 

 

 

 

F**k your writing. Or…(an essay regarding the use of expletives and profane language in fictional writings)

 

In polite, or politically correct circles one may refer to it as the ‘F word’.

This word first became a public literary issue after it was use in a major novel, Norma Mailer’s ‘The Naked and the Dead’, published in 1948.

Only, it was NOT.

Mailer’s publisher prevailed upon him to change this expletive; this four-lettered, description of sex, to ‘Fug’, so that it did not offend readers.

Given the fact that the book is about men during a war, ‘Fug’ occurred an awful lot of times!

The result was a backlash, a cluster of criticism and discussion in literary circles. This gave rise to the anecdote about Tallulah Bancroft saying to Mailer, “Oh, you’re the man who can’t spell that word”.

 

However, times change.

Nowadays the F-word has lost much of its ability to shock. Far fewer people are now offended by its inclusion in a book or, for that matter, in conversation. Still, authors often debate the role of ‘racy-talk’ in literature.

How much is too much? When have you gone too far, or not far enough?

Okay, before we get stuck with just this one word, let us consider the vast and rich palette of risqué words available and to clarify their ‘technical’ differences. Once we can differentiate between profanities, obscenities, curses and the like, it should be easier to determine how, why and if we should use them.

 

PROFANITY

Is often used to denote an objectionable word. ‘Profanity’ literally means words that are proscribed profane – that is words described by religious doctrine. ‘Proscribed’, in this context means ‘forbidden by written order’, such as, in Judeo-Christian tradition, taking the Lords name in vain (that is, not in Prayer).

“For the love of God, stop complaining” or “Jesus Christ, look at the size of that thing”.

 

CURSES

These call upon a deity, or fate, to cause harm in a visitation.

(Mild) “Damn this zipper”.

(Strong) “God Damn her”.

‘Damned’ is to be condemned to Hell.

‘Hell’ can also be a curse, “Go to Hell”, or a mild profanity, as in “Oh, Hell, the rivers polluted again!”

 

SWEAR WORDS

To swear literally means to take an oath, or to proclaim an oath.

Now, for anyone uncertain about oaths, (married folk take note!) An oath is a resolution or promise which calls upon a deity’s assistance in carrying it out. (Think about how many are in your marriage now!).

Examples: “God is my witness, I’ll never go hungry again” or simpler, “By God I’ll show you”

You can swear to bear witness, as in “I swear, you are the best cook in this town”

 

OBSCENITIES

These are words that denote something disgusting or morally abhorrent. (Often connoting sex). The F-word is considered to be one of the most objectionable, along with the C-word.

The relatively modern inclusion of adding the prefix ‘Mother’ often ups-the-ante!

Non, or less objectionable variants of the present participle form of the F-word, beside ‘Fugging!’ include, Fecking, Freaking, flipping and fricking.

To be totally honest, I have no idea why the letter ‘U’ seems to be so ‘flaming’ important!

‘Screw’ is accepted as of the milder and therefore more acceptable terms. Please note, both the F-word and ‘screw’ are used not just used to literally describe intercourse, but to connote ‘Taking advantage of’.

“That Garage screwed me out of £300 for unnecessary repairs”

Generally, words referring to both male and female pelvic areas are considered obscenities.

 

VULGERISMS

I Like this one because this word, this term, covers a lot of bases. If it is crude, objectionable and falls outside the aforementioned categories, you have a vulgarism!

‘Bitch’, ‘Son of a Bitch’, ‘Bastard’, ‘Jackass/Ass, Asshole’ and even ‘Crap’ fall under this heading.

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Now…whether use should use, or not use, any (or all) of the above?

The literary world is somewhat divided around the use of spicy talk, which should not be surprising as our readers are as equally split.

Take two ‘Tough-Guy’ authors, Lee Child and Tom Clancy. Lee does not use any profanities in his writing. Most readers do not notice this. Whereas Tom’s books are littered with profanities…and he certainly sells a lot of copies!

Some readers may be turned off by even one, single, solitary curse word…possible? Maybe. But what is certain is that no-one will buy your books purely because you use raw language. (Although at one time, years ago, they may have well done so).

Does all this mean your safest path is to use no raw language at all?

Writing is a journey and all journeys involve some form of risk. History proves that some writers achieved success, or at least notoriety, because they shunned propriety. Harry Caulfield’s ‘Catcher in the Rye’ was shocking in its era and may still be so to young teenagers today.

As you write, look for a balance with what you feel comfortable writing, what you, as the narrator feels is right within your style for this book and what suits the characters and the story you are creating.

What may be right for one piece of work maybe wrong for another.

 

Okay…Why ‘TO USE’

We humans get angry. We crave precise expression and there is something about cursing and using vulgar language that works for us as a release valve for our emotions.

Who has not, at some time, experienced a moment when a string of expletives has not felt exquisitely sublime rolling off your tongue?

The same is so for your fictional characters. Be true, be honest to them. Let them have their voice.

Moreover, if you want your stories to be realistic about the settings, battlefields, bars and domestic disharmony, well-written raw language will bring your characters to life, give them a heartbeat and authenticity.

 

HOW TO USE

Spicy language generally works best when it’s used sparingly, or at least in moderation. That way, you preserve the element of the unexpected, which can be a pressure-reliever for both character and reader. Aside from conveying anger or frustration, raw talk can also be humorous, in that it reveals how a character truly feels about something.

Take this line for an instance: “I ate another doughnut”.

Compare it with: “I ate another goddamned doughnut”.

You instantly get a clue about this character and her relationship with doughnuts.

You may have one character who habitually uses profanity, in contrast to others who don’t. That, in itself, is a good individualiser.

If you, yourself, are not too familiar with foul language a problem can occur when used wrongly, or as often happens with inexperienced writers, it is thrown in will-nilly. If it is used it MUST sound real. If you are uncertain try visiting areas where this language is commonly used, construction sites, wharves, military establishments and prisons for example. Grab a coffee in a nearby café at lunchtime and eavesdrop on the clientele’s conversations!

However, a word of warning. Even if, say a group of Miners, use an expletive every other word, it is unnecessary for you to make your own characters speak exactly that way. Just as when using dialects and accents, you have to use raw-talk wisely. This helps keep the reader grounded in your imaginary world and avoids the pitfalls of over-use/over doing it.

Consider your characters, employ common sense.

A hospital Matron, wearing a starched linin apron, may not utter a single un-PC word in public, but she may let loose a barrage in the principal’s office over a dispute, or howl out a string of profanities during sexual fulfilment.

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How NOT to USE

I mentioned some writers, Norman Mailer and Tom Clancy who chose to include bad-language into their works, but they pale into insignificance, almost, when it comes to literary genius. The bard himself, William Shakespeare, knew how to spice-up his writings and attract an audience in doing so.

He wrote the mother of all literary cuss-outs. (Cuss is simply a variant of Curse), in King Lear; but interestingly there is no profanity or obscenity as we know it, merely terrifically imaginative vulgarisms, delivered with passion. Here it is, the Earl of Kent preparing to thrash the crap out of Goneril’s loathsome lackey, Oswald:

KENT (TO OSWALD): “A knave; a rascal; an eater of broken meats; a base, proud, shallow, beggarly, three-suited, hundred-pound, filthy, worsted-stocking knave; a lily-liver’d, action-taking, whoreson, glass-gazing, super serviceable, finical rogue; one-trunk-inheriting slave; one that wouldst be a bawd in way of good service, and art nothing but the composition of a knave, beggar, coward, pander, and the son and heir of a mongrel bitch, one whom I will beat into clamorous whining if thou deniest the least syllable of thy addition”.

Knowing the historical references helps; for example, “broken meats” means leftover table scraps. But even without that, we can luxuriate in the rant. This is a beautiful speech for many reasons: It’s forceful, it’s unique, it covers many aspects of insult, it clearly communicates one character’s contempt of another, and—important for many in Shakespeare’s audience—it avoids serious curses and obscenities.

It’s a shining example of how a writer can invent insults way more entertaining than those found in the standard lexicon.

You can do it by brainstorming aspects of your characters and their circumstances:

“He was as appealing as a baboon’s butt”.

“You are the worst thing to happen to the world since call waiting”.

“May you be condemned to an eternity of weak coffee, warm gin and a driveway paved with roofing nails”.

By now, I think you will agree that it’s useful to explore—and perhaps even challenge—your own comfort zone.

Certainly if it is not you, it won’t ring true. But whether you decide to write common curses and vulgarisms into your work or not, your characters do need a verbal pressure valve. Do not use tacky asterisks to replace vowels. Just have fun with the process and remember that a ‘fug’ by any other name might sound remarkably original.

 

NOTE.

If your novel purports to reflect real life, then they must include profanity, if the life they reflect includes the use of profanities.

Let’s get real folks, you may have grown up in an era when books and movies were censored, but do you really think that in the Old West, cowboy’s actually said “You no-good-so-and-so” before drawing their six-shooters and blowing holes in one another?

Did the troops, dug into their fox-holes during WWII always speak in to each other in such a decorous manner?

I think not!

Some popular entertainment admittedly goes OTT in drenching dialogue in profanity, Such as in the opening sequences of ‘Born on the 4th of July’, but that is an exaggeration, not a fabrication, of reality.

 

So, why do people swear?

This will not cover any new territory. I expect that every angle regarding this has been covered in about every bar in every corner of the world!

People swear because the majority of profanity is emotionally charged. It can express anger, fear, sadness, joy, despair, frustration, ignorance, racism, homophobia, ageism, violence, sexism and all the other ‘isms’ and ‘tions’ you can name.

Occasionally a swear word can encompass all the above in a single word. That one word can grab people’s attention like no other when timed appropriately and, let us face it, very few things are quite as entertaining as listening to a person who has raised profanity to an art form.

You may disagree with those statements. I do not give a flying F**k…see what I mean!

When read that you do so as if I had written the word in full. Even though I ‘bleeped’ it out your mind supplied the details. Now your reaction was either positive or negative, depending on your personal personality. But you reacted.

Like I mentioned above, nothing ground breaking. Just a prelude to the answer you are seeking.

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‘Should YOU use profanity in YOUR writing?’

Writing is a process which takes pieces of ourselves and puts it ‘out-there’ for the world to see. It does not matter if you are writing literary fiction or genre fiction. Every character, setting, plot and sub-plot reveals a little about who we, as writers, are.

I doubt, very much, if a single day passes without you worrying about what you are writing.

(read that again if you wish, I’ll wait).

You see, every word we scribe invites judgment, criticism, commentary and, perhaps introspection. When we write something which surprises us, we often, most times, question where it came from.

That is because that we writers are a real self-conscious group. We are half scared to death of rejection! But if we filtered every word, considered the perception of each sentence through, say our Mothers, or Fathers, minds we would write nothing. Nothing at all.

What we have, what is so special, so personal is that little bit of ourselves that we add to the mix. Some reveals itself in plot, some in character, but most in the voice, in the narration, in our storytelling. That is where much of our fears lie, in revealing too much of ourselves, exposing our innermost to that ridicule and rejection.

BUT…if you do not add that to the mix the reader will smell you coming from a mile away. You will small like a fake, read like a fake and be discarded as a fake.

So, how does that answer the question about using profanities in your writing?

CONSIDERATIONS

As a writer you need to be true to yourself. You need to be true to your characters and voice. But don’t forget the other people you need to be true to:

Your Audience/Genre – If you forget who your audience is, for a single sentence or word, you will have lost them. If your audience demands a lack of profanity, then you had better not allow profanity to slip into your work. Not unless you are OK with alienating the very people you are trying to reach.

Your Editor – Your editor wants you to succeed. Your editor wants you…needs you…to sell books. You ignore your editor’s advice at your own peril.

Yourself – I know I have said this before, but I repeat it here for a different reason. If profanity is something that you are personally uncomfortable with then you will sound fake if you try to use it, regardless of the character in question. In fact, if a lack of profanity is one of your defining personal characteristics, then your characters will sound fake if you use it. Because, after all, your characters are nothing more than an extension of yourself. An audience can smell a fake a mile away. Be true to yourself, whether that means using profanity or avoiding it.

I am not going to tell you the world is going to smell like roses after you write something that raises people’s eyebrows. Especially if those eyebrows belong to people who are closely related to you, or who travel in social groups that are important to you. But you did not become a writer to fit in, did you?

I hope not.

Your writing has a chance to entertain, move, and bring people together.

It has a chance to shine a light on topics you care about in ways other writers have not.

It also has a chance to alienate you.

There is a chance your writing will be considered so offensive that society wants nothing to do with you. It is doubtful it will ever get that bad! but writing is taking a risk. Every time you put pen to paper you are stripping down and getting naked in front of the world.

There is never going to be a time where you do not question, at least once, “should I have written that?”

Recently I have read plentiful cursing in Stephen King novels, Nora Roberts books, and even (very sparingly) in John Grisham stories.

I have seen the use of cursing in both genre fiction and literary fiction. In some books just a little and in some a fair amount.

So, in full and final answer to the question… You are a writer. Welcome aboard the crazy train!

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© Paul White 2016


Love reading? Love writing? Why not take a look at Sneak Peek, the site that brings Readers & Authors together.

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Getting intimate with your readers.

8-Romantic-Gestures-From-the-Olden-Days-That-Need-To-Come-Back

 

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.

 

C&amp;Vfront2

 

 

UK Paperback  http://www.amazon.co.uk/Tales-Crime-Violence-Paul-White/dp/1522904565/ref=sr_1_1?s=books&ie=UTF8&qid=1451428092&sr=1-1&keywords=tales+of+crime+%26+violence+volume+3

 

 

 

C&amp;Vfront1USA Paperback  http://www.amazon.com/Tales-Crime-Violence-Paul-White/dp/1522904565/ref=sr_1_2_twi_pap_1?ie=UTF8&qid=1451428456&sr=8-2&keywords=Tales+of+crime+%26Violence+volume+3

 

 

 

Box set C&amp;V

 

 

Kindle Worldwide http://authl.it/B019VNDE5E

 

 

 

 

 

 

Fantastic Journeys Into Fantasy

I am very happy to have Mr. Tom Fallwell, a friend and fellow ‘Awethor’ as my guest blogger today.

Tom is a fantastic writer of captivating and enchanting fantasy fiction, including his latest book ‘Where Shadows Fall’

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There are many genres for stories. Whether they are told in books, in novels, in games, or some other format. There are just as many fans with the same variety of tastes that clamor for them. I have a great passion for reading and watching movies both, and I read and watch many different genres, but there is one that I find the most enjoyable, Fantasy. So what is it about this particular genre that grabs me? What makes it my favorite? There are many reasons, but if I had to describe why in one word, it would be “limitless”.

I don’t read to escape real life. In fact, I like my life, so I have no desire to escape it. I read for one reason, entertainment. The same reason I watch a movie or a television show. I am simply desiring some moments of entertainment. With a movie, it’s over in a couple of hours, but with a good novel, I can spend days, weeks maybe, reading, and that’s even better. So, my sole reason is for entertainment, and the more entertaining, the better.

Fantasy, as a genre, provides me with a vast universe of entertainment. I can go anywhere, be anyone, do anything. There are no limits in fantasy. No hard cut rules that must be followed. Fantasy can take you into the past, to the present, and even into the future. It can happen right here in our own world, or it can take you to a whole new world beyond imagination. Any possible race can be portrayed in fantasy, any possible creature, any possible setting.

I think, more than anything else, it is this limitless macrocosm of possibilities that make fantasy my genre of choice. I had one reader of my first novel, Dragon Rising, once tell me that my characters having quivers was incorrect, that they did not use quivers in medieval times. I thought, “What medieval times? This is another world, not ours. Of course they can have quivers”. Fantasy is not bound by such rules, at least not in my mind.

It is the unbound possibilities that draws me to fantasy. Sure, you can do the same with other genres, like science-fiction, but with those other genres, you have to make a plausible explanation about why or how. With fantasy, you can just say it is, because it is. Readers may have different views, like the one who thought I should not use quivers, but there are just as many readers that will not even think of such a limitation. So fantasy gives me a sense of freedom in writing that I don’t find in other genres.

Limitless boundaries to a limitless imagination. That is what fantasy is to me. Are you a fantasy fan? Why do you like fantasy? Feel free to tell me, or ask questions about my books. Stop by my website and use the Contact Form to get in touch. I would love to hear what you think. Happy reading!

Tom Fallwell

 

Visit me at my website or on Facebook.

http://tomfallwell.com

http://facebook.com/TomFallwellAuthor

Books by Tom Fallwell

Dragon Rising: http://www.amazon.com/dp/B00RGZU56Q  

A Whisper In The Shadows: http://www.amazon.com/dp/B00VYL2426

Where Shadows Fall: http://www.amazon.com/dp/B00VYL2426

 

Breaking the writing rules

Happy Writer

 

How often do you read an article telling you how to write?

Quite often I guess. I know I do. I have even been guilty of writing some myself, all well intentioned of course.

Ninety nine, or ninety five per-cent of the time these rules should be followed. They should be adhered to as far as possible, because they are the benchmark from which all writing is judged.

However…I love that word! So I’ll say it again.

However, I am a strong believer that a writer should push their own boundaries from time to time. They should break out of the glass cage.

I often do so by playing about, experimenting. Call them ‘writing exercises’ if you will.

In the past I have written in a minimalistic fashion, told a story using underutilised and obscure words. In another I used metasyntactic terminology. My poetry often pushes whatever limits are generally imposed.

So it is I regular break writing conventions.

Doing this has helped me enormously with that wonderful black art of wordsmithing. Undertaking such exercises challenges ourselves and our, often self-imposed, perceived limits. Such tasks enable us to extend descriptive narrative, create depth of characters and make our stories flow.

While I would not recommend that anyone attempts to write an entire novel ‘outside the box of rules’, I do encourage each and every one to task themselves with such matters.

The following is one such exercise. It is a short story, a flash fiction if you wish, of almost six-hundred words.

The point of this particular task was to see if I could construct a story using a string of very short sentences, whilst including only the most minimal of descriptive words and then when only absolutely necessary.

The reason for that is, when a long string of short sentences are used it tends to become monotonous for the reader. Generally, sentences must vary in length to convey the ‘feel’ of each part of the narrative.

Nouns, verbs, adjectives and adverbs are of course basic stock of a writer’s armory. So removing these, as far as possible, presents another contest against one’s abilities.

I hope I have succeeded in my mission. You are more than welcome to comment on the story itself, or on my attainment or failure in this test.


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Hitchhiker

 

I am old school.

From a time when life seemed simpler, less hectic, less complicated.

It was not. It was just different.

Some will say that ‘way back when’ life was safer, people were happier, times were better.

They were not. Life was simply lived at a slower pace.

There was less fear. Less anxiety and more acquiescence.

I think life was more honest.

We were more honest.

With ourselves.

Life holds risks. You have to live with that.

Take your chances. Accept the possibilities.

Face the consequences.

That is how it goes.

We recognised that. Acknowledged that.

That is what made life simpler.

 

Like hitchhiking.

Like the figure I see ahead of me now. Checked shirt, blue jeans, backpack, thumb-out.

Quite rare nowadays, hitchhikers.

Too much fear. Mostly unwarranted.

Nurtured and spread by the media.

But who should hold that apprehension.

The driver?

I could drive on past. No one will make me stop.

Is the hiker a danger? A mass murderer?

A Rapist?

Is their thumb a lure for the unsuspecting?

Or

The Hiker?

Simply travelling home.

Should they get into the car?

Could I be a psychotic killer?

Could I be the Rapist?

Is my car a trap?

 

As I get closer I see the expectant look on the hiker’s face.

A bright smile.

Willing me to slow.

To stop.

I feel a compulsion.

An obligation to a fellow human.

I have been there myself. Thumb out. Waiting, hoping.

Praying for the next car to stop.

To give me a ride.

A ride to somewhere warm. Somewhere with hot coffee.

The hiker looks clean. Normal.

Conventional.

I slow. Maneuver towards the roadside.

Stop a few yards beyond.

Looking in my mirror.

Watching.

 

The hiker picks up a small rucksack.

Running towards me.

I lock the doors.

Clunk. Safe.

I can leave. Go.

Put my foot on the accelerator.

Speed away.

The hiker is close now.

My last chance.

Decision time.

A smiling face appears at the window.

I smile back.

Still time.

Go?

Stay?

 

I press a switch.

The window hums. Open.

Half open.

I hear my voice. “Heading North” it says.

“Me too” the hiker replies.

I nod.

The hiker smiles.

Expectancy.

I smile back.

Trepidation.

Time stands still.

Momentarily.

 

Click.

I unlock the doors.

My own thumb jerks, a backward motion.

“Put your back in the back” my voice speaks again.

Autonomously.

The bag lands on the rear seats.

Drive away, I think.

Take the bag.

Go. Now.

What is in the bag.

Some clothing.

An iPad.

Money.

Or the hiker’s life?

Their entire possessions.

A lifetime or memories.

Lost loves, lost mother.

A bag of dreams, hopes for the future?

Is that where they are heading now?

The future.

Thiers. Mine. Ours? Has this moment inexorably entwined our lives?

Left an indelible mark.

Or just a scratch. Unnoticeable, hidden. One that will fade, become rubbed out

As life progresses?

 

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The door opens.

Blue eyes, bright teeth, pale skin.

The hiker sits next to me.

“Thank you” she says.

“That’s okay” I reply.

I put the car in gear, heading North.

Our lives are meshed. At least for the next one hundred miles.

If she makes it that far.

If I make it that far.

Who knows?

Life holds risks. You have to live with that.

Take your chances. Accept the possibilities.

Face the consequences.

That is how it goes.

You see, I am old school.

I know what makes life simple.

 

© Paul White 2016

Feel free to visit my website, browse around, poke you nose into every corner. Make yourself at home!

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