by admin | Sep 18, 2014 | critique, dialogue, opening paragraph, pace, plotting, point of view, self-publishing, writing, writing workshops
I love teaching, always have, and since 1982 I’ve been working with adults as learners rather than younger students. Having recently struggled myself to learn the basics of starting, finishing and publishing a novel, what I’d love to do now is ‘teach’ some of that to anyone who’s embarking on the same journey. It’s making me think: what would I put in my ‘writing a novel starter pack’?
I’m going back over all the courses I’ve been on in the past six years, to identify the most useful elements and processes and then knit those bits into a structure and time frame that would suit a beginner who might not want to embark on a long commitment, but wants to get a taste of what may be involved before they delve deeper.
From the very first Arvon course I went on in 2008 I learned how to expand the germ of an idea into the start of a story, capture a fragment of that story in a scene, write it as well as I could, read it to others, get feedback and see how that felt. We also learned about dialogue, and a bit about structure. We did the inevitable writing exercises, too, just to get us going and sharing. I could have done with more about structure and Point of View, and maybe fewer of the ‘exercises’ but it was still a wonderful week and I’m still drawing on it years later. Best bits? Dealing with dialogue, and writing a scene for reading out and critique.
At a Faber Academy course called ‘Stuck in the Middle’ I picked up the usefulness of capturing the essence of your story, expanding it into a short synopsis and then have others ask questions and make suggestions. When the people grilling you about your story are as skilled and insightful as Gill Slovo and Sarah Dunant, it’s both intimidating and exhilarating, and I learned not just about the elements of a good story but about myself too, and the confidence it takes to benefit from critique.
Some of the courses to do with publishing have been disappointing: my main memory of a Guardian event at Kings Place in London was of being lectured and feeling patronised by a prestigious agent who, as the New Zealanders say, was seriously up herself. If I had to deal with people like that to find a publisher, I said to myself, self-publishing may be the way to go. Another element of my ‘essentials’ package therefore would be something about the ‘costs and benefits’ of self-publishing, and some guidance about how to set about it if that’s your choice.
My own novels so far have used a strong sense of place, and in my head for this notional workshop is a Venn diagram of how ‘setting’, ‘characters’ and ‘events’ interconnect and overlap to create the basic structure of a story. Maybe I could use that simple idea as the start of an exercise to create an outline, share the ideas, refine them through discussion, build a character or a scene in greater detail and write, read and re-write to see how the editing process works. We could something on Point of View, dialogue, or the 3 act structure, or opening paragraphs, or just flag those up as areas to be worked on at the next stage. Then we could discuss the process of getting from manuscript into print or ebook and how to get people to buy it, if that’s what you want.
Sounds like a plan. Like most first drafts of a teaching plan, there’s probably too much in it, but much will depend on the size, composition and starting points of the group, and the length of time they will spend with you. That in turn is set against how much time and money people can spare for such an experience. I’m sure you could find workshops like this in London, or Manchester or Newcastle or Glasgow but in rural areas like Cumbria we can be frustrated by the time and money it takes to access the learning we want. Going to London by train from the west coast of Cumbria means travel to Carlisle or Lancaster and then a 3-4 hour train ride, too far to travel there and back in a day so the overnight costs are added to the cost of the workshop, taking it beyond reasonable outlay. Key criteria: accessible, practical, experiential, and with a tangible ‘product’ to take away and work on.
So, I shall keep working on my plan to offer a writing workshop in Cumbria with the basic ingredients I’ve found most useful, for a smallish group of people seriously interested in writing a novel, sometime over the next few months, just to see if I can do it and if it works. If I can and it does, I’ll learn how to make it better and do it again. In the meantime, if anyone who reads this would be interested, let me know.
by admin | Sep 7, 2014 | character, historical fiction, plotting, readers, research, structure, writing
For two days I’ve been in the company of writers, at the first Borderlines Book Festival in Carlisle, and my mind is almost too busy to cope. I arrived here by car, plane and train from the Outer Hebrides on Friday night, made my own small contribution to the event running a workshop on ‘Writing Local Fiction’ on Saturday morning, and then, relieved of any responsibility, settled down to enjoy learning from others. What I have learned since then is enough to keep this blog going for weeks, but for now I’ll choose just one element that especially interested me yesterday.
It was a panel discussion presented as a ‘Clash of the Genres’ with two historical novelists, William Ryan and Ben Kane, versus two crime/thriller writers Matt Hilton and Sheila Quigley. The ‘debate’ that developed was less a clash of genres than a clash of approaches to the task of writing. Each of the four very successful writers organised their writing in completely different ways. Matt Hilton turned a childhood addiction to American thrillers into a career emulating that genre from a distance, producing American style thrillers of his own for several years before he ever visited the USA. When he visits there now I wonder how some of his readers receive his broad Cumbrian accent. Hilton has absorbed the details of his specific genre so well that his reproduction of it is perfect. He was never ‘taught’ to write, he just learned it through reading. He draws his inspiration and ideas from visual images, a juxtaposition of landscape and objects and people that sparks the kernel of the story. ‘Who is that man?’ he asks himself. ‘Where has he come from? Why is wearing that, and what’s happening over that hill?’
Sheila Quigley also learned to write through reading, but finds her material not in photographic images from another country but all around her home in the north-east of England, in the street, the pub, the post office; intensely local personal landscapes that she peoples with characters that come into her head fully formed and write their stories through her. One of her readers described her talent as ‘channeling’, as a medium between the spirits of her characters and the words that pour into her laptop. She has never planned any of her work more than four pages ahead, writing down what she sees and hears in her head. She began writing little pieces about the area and ‘sending them off’ – to whom and where I wondered – until one day an agent rang from London and asked if she could write crime fiction set in the north-east. ‘Of course,’ she replied, not knowing the first thing about crime fiction, and many books later she is still going strong. Could that still happen now, or has publishing become too risk-averse?
Historical novelist Ben Kane was a vet in a former life who grew tired of the long hours and broken weekends on call and looked for another way to earn a living. Boyhood in Ireland – with no television – had brought a passion for books and history that led him inexorably towards as he put it, ‘men with swords’ and that’s what he writes about, mostly the Roman Army and Empire. Not content with sedentary research, and as a way of keeping fit, he decided to do his research experientially, dressing as a Roman legionary to walk Hadrian’s Wall for example, to get the full sensation of such a life. Whatever he does, it works, and he obviously loves every minute of it.
Finally, chairing the panel with charm and grace, was William Ryan, also Irish, also a unstoppable reader as a child who ended up barrister before he too tired of the long hours and heavy demands and turned his hand to something else. This time the passion was Soviet Russia in the 1930s, with an underlying theme befitting a barrister, the search for truth and justice. His hero, Captain Korolev, shares that passion, in the unpromising and dangerous context of Stalin’s dictatorship. Research for Ryan is both digital and personal, and the planning meticulous, such a contrast to the unplanned narratives from Quigley. Of the four, only Ryan had subjected himself to a ‘Creative Writing’ course, and though he ‘learned a great deal from it’ – he is a very polite man – he was offered during a two year course no guidance whatsoever about the structure of full-length fiction.
There’ll be more in future posts about the usefulness or otherwise of ‘Creative Writing’ as an academic discipline with qualifications. For now, I need to reflect on the diversity of how writers approach their work, and how I do so myself. In my morning workshop yesterday I tried to share the approach I can see developing for me with the three books now done and a fourth beginning to take shape. Research? Yes, early on to get a feel for the period and then again later to answer specific questions that the emerging narrative throws up. Planning ahead? Essential for me, but still allowing that in the end the characters themselves may react in unpredicted ways, bending the story to fit their demands. And what of the characters themselves? The most important lesson I have learned and acted upon has been to start to write not about the plot but about the life stories of my characters, their childhoods, their parents, schooling, likes and dislikes, how they speak, dress, walk. Only a fraction of all this might find its way into the story, but the story is enriched by it. It is that deeper understanding of who your people are, filtered through the imagination and onto the page, that allows those same people to take your little plot and make it something worthwhile and interesting. I don’t think Dan Brown ever understood that, or maybe he didn’t need to as his books sold in the millions with some of the weakest characters and the most clunky dialogue that ever appeared between book covers. I’m trying not to think about the implications of that.
by admin | Jun 9, 2014 | Cumbria, Cumbria Way, Lake District, plotting, research
I’m back at home, and smiling as I re-read my last post where I was speculating about how it would be to walk the Cumbria Way. What’s the phrase I’m groping for – how misguided could I have been? in your dreams Ruthie! you must be kidding? Any of those would do. Walking about 14 miles a day with a heavy rucksack, day after day, regardless of the weather, your mood or your state of health, hips and feet is tough. I came to the conclusion before very long that ten miles is probably enough, not for endurance but for pleasure. The quality of my new rucksack was such that the carrying load was bearable, and my boots and lightweight Gortex jacket defied the downpours spendidly, but after about six hours walking I just wanted to stop. ‘Are we there yet?’ was thought if not said, and every upwards incline, however benign, felt like a mountain.
That’s enough grumbling. There were some great bits: Langstrath is a splendid valley and worth a re-visit in better weather. Whoever built the path from there over the Stake Pass is a genius and the gradient melted away under your boots. A sunny morning in Langdale is peerless. The Old Vicarage in Caldbeck and The Old Rectory in Torver are divine: thank you to the Church of England for selling them both, so that I could stay in them and eat delicious food. Suffice to say that when Saturday’s forecast warned of torrential rain, thunder and lightning for the last 14 miles from Torver to Ulverston, I hatched a plan, and it worked. I rode home in my daughter’s car with most of the bags I and my companions had been carrying and arrived back in Ulverston about six hours ahead of them. Bliss, and eternal thanks to my daughter for her cheerful agreement to rescue me.
Did I think about Book Four while plodding through Cumbria? Not at a conscious level, but maybe there was something going on in my head beyond the immediate priorities of the next hill or the next meal. When I got back to my little house yesterday I found a large sheet of paper and spread it out on the kitchen table, and now I’m trying to plan in a non-linear way, scribbling mini-portraits of characters, connecting them with lines and arrows and watching the web of relationships develop. Events and turning points are creeping into the picture too, and a list of the necessary research. Maybe all this was actually percolating during the walk as it seems to be tumbling onto the paper with impressive speed. There are yawning gaps of course, but already a denouement is taking shape. This might be the occasion for starting at the end and planning backwards, a process I’ve used many times in my professional life but never yet in my writing. Who knows; it’s very early days, but already I feel that something interesting will emerge.
by admin | May 20, 2014 | character, crime fiction, critique, dialogue, pace, plotting, point of view, readers, speech, structure
There was such a huge response to my post on the question ‘Can you teach writing?’ that I decided to add some more, so here it is. I didn’t make this stuff up: I learned it from my own painful experience, and from great guides like Andrew Pyper, Matthew Hall and William Ryan, whose ideas I have shamelessly plundered. Here goes….
There are a number of aspects of teaching how to write fiction. Let’s divide the process up and pay attention to at least some of them…
- Translating thoughts into words and sentences. This is about vocabulary and rhythm, the sound, imagery and flow of the language. If you need to pay attention to grammatical accuracy, this is where the conventions need to explained and practiced. Some of the rules of these conventions – the use of the apostrophe, for example – might need to be ‘taught’, but the best learning is from reading and speaking words aloud, analysing the ‘poetry’ of others’ language and how the full meaning is conveyed, and then bringing those insights into your own work. Working with others encourages you to hear your language, get feedback on it, and refine it constantly to achieve the effect you are striving for.
- Finding and developing ‘characters’. People are the essence of fiction, who they are, how they react to the world and others to them, how they speak, walk, dress. There is no easy way to develop the characters who will inhabit and drive your story, and every writer will have their own way to find and flesh out the people they need. You can start with an image, from life, from a picture, or in your head. Then you think and ask questions of this image until it develops dimensions and warmth. What motivates the person, how do they look and sound, what are they afraid of, what and who do they love, – the questions are the ones you use to check out anyone who does or will mean a great deal to you. All and any questions are relevant here, some of them very personal. Even if you never use the answers to all the questions in your story, it helps to deepen each character in this way. Once you have the details, add things like birthdays, favourite colours, hair style, etc and make a separate file, or file card, for each character to help continuity and consistency. It’ll save so much time later. This process can be both taught and practised to great effect, before you embark on a first draft of anything.
- Plot, and the ‘Three act structure’. You can research the theories of plot and structure online to great effect, and as much as you want. The three act structure is most commonly used in films, or in crime fiction, but you’ll find it in all forms of fiction, back to Dickens, Jane Austen and other classics that were around long before such a structure was given a name. Most fiction starts with a question – ‘What if…?’ – or a crisis, to kick start the action and grab the reader’s attention. Much of the plot will then evolve from the interaction between the characters and the events, to drive the story forward. Action is generated by both external events and internal processes, such as the emotional reactions of the characters, and their development and changes over time. We want our characters to have an impact on the external events and also be affected by them, creating tension on a number of levels to keep the reader engaged. The relationship between character and plot, between internal and external can be as complicated as you can handle, and as the reader you have in mind will be happy with. My advice would be to keep things relatively simple while you’re learning the craft.
- Point of view: whose shoulder are you sitting on, seeing and hearing what they see and hear in each scene? Do you write in the first person, or the third person? In the present tense, or the past. The ‘costs and benefits’ of all those approaches can also be ‘taught’ and rehearsed, leaving you the writer ultimately to make the best choices for the effect they wish to generate.
- The idea of a ‘theme’ that runs throughout your work. I’m not certain about this for a beginning writer. It could lead to some pretty pretentious and self-conscious stuff, and needs to be handled lightly, but this too – like keeping notes on the details of your characters – can help the continuity of longer works of fiction and add to the shape and structure of what you write. You should be able to answer the question ‘What’s your story about?’ without just recounting what happens. Incidentally, the answer to the question will also help in ‘pitching’ your story to an agent or anyone else in the book and film business. In the scale of what can be ‘taught’, the issue of ‘theme’ might not be the first thing I would ask the apprentice writer to tackle, but it would be something to work on before you start to write in earnest.
- Planning and thinking before you start to write: learning patience, when all you want to do is get writing. I paid a heavy price for my impatience in writing my first novel, embarking on the first draft way too soon and getting into all sorts of trouble that took years – yes, years – to untangle. What I’ve learned to do – having been well taught in various workshops – is to start with an idea or a question, and gradually expand to a page of the overall shape of the plot, then expand again, and again, and again, into ‘Acts’ or stages, then into sections, then chapters. I call this working from the inside, out.
- Displaying your plan. By this time you’ll have an outline for most of your sections or chapters. Now pin them up somewhere, on a wall, or lay them on a cleared floor, and look at them. Take in the big picture and start moving things around, adding bits, changing bits. You can’t do this by reading sequentially on a screen: you have to get a ‘simultaneous visual impression’ of the shape of the whole work, before you start to write. This is your map of the territory. You may change your mind about the route once you embark on the trip, and you may even change your destination, but the map is always there to ground you and to keep you going if you start to feel lost or stuck.
I’ve written this pretty fast – it’s a blog post of a thousand words or so after all, not an essay. There’s loads more you could add, and heaps of great books and advice available. But this might do for a start. I wish I’d thought about these few things before I started. I haven’t even mentioned dialogue, which is definitely something you can be taught, but if you get the characters rights, and the setting, and speak out loud whatever you have characters say, you can improve the quality of dialogue immeasurably. And then there’s the challenge of the opening paragraph. Bets way to learn that is to look at opening paragraphs, consider what makes them work, and then write your own. See what I mean? So much to be learned, and all of it can be taught, if you have the right teacher.
by admin | May 18, 2014 | character, crime fiction, genre, plotting, self-publishing, structure, writing
‘Once a teacher, always a teacher’: I think that’s true, and being a teacher – however long ago – makes you permanently and irredeemably critical of how information and ideas are presented. Although I’ve not taught school students for many years, I make part of my living still through ‘teaching’ adults, and after twenty years of doing so I have an idea of what works.
So a visit to Crimefest in Bristol last week was a chance to learn about writing crime fiction from a brace of presenters I’d never seen in action before – Matthew Hall (the MR Hall of ‘Coroner’ fame), and William Ryan. It was an afternoon workshop, and something about the blurb made me think it might be useful. From Cumbria to Bristol is a long way, but it turned about to be worth every mile and every pound it cost me. What did they do that I found so helpful?
For a start, they told us right at the start that some aspects – but not all – of successful fiction writing can be taught, not just ‘caught’ or developed through some mystical intuitive process. They were well-organised and positive. The room was small, a screen had to be invented using a tablecloth as nothing else was available, a laptop failed to function and had to be replaced. Clearly they had worked together before and in supporting each other they reassured us that they would do whatever it took to give us a positive professional experience. They had two clear foci – character and plot – and some slides to support what they told us and asked us to do. All the materials had been circulated well in advance by email. Obviously they had presented this workshop before, but had customised to fit the timings and the size of the group.
I’ve seen this before as an educator, but it was fascinating to see how the passivity of our group during the previous session – about which more later – transformed into engagement given the opportunity to do so. Each one of us was involved in specific tasks that were clearly relevant to the issues of the three act structure, character development and dynamics, and the protocols of crime fiction as a genre. The time was tight, the pace fast, and intense short group activities were interspersed with more anecdotal and expository slices that had me scribbling furiously, not what was being said but insights and ideas that began to tumble around my mind about my own next writing project. I was clearly learning not just listening and it was exhilarating.
Several months ago I had a similar experience at the Winnipeg central library in a workshop presented by Andrew Pyper. He’s a Toronto journalist turned very successful novelist (latest book, ‘The Demonologist’) and used a similar structure and presentation style that engaged and excited his audience. On that occasion too, in just a few hours, I learned so much which has proved very useful since.
Andrew Pyper was a journalist; Matthew and William Ryan had both been barristers in a former life and are now highly successful authors: all three have a passion for words and stories, both spoken and written. The previous session at the Crimefest day in Bristol provided an alternative – much less satisfactory – experience: the contrast sharpened my understanding of what for me is helpful and what is not.
We were faced with a panel of two professional editors and two agents, who were asked quite good questions about their roles and function first by a moderator, and then by us. If I hear another agent tell me that the criterion for choosing a submission is that ‘they fall in love with it’, I think I’m going to scream. They talked about ‘dating’ to describe the relationship between author and agent, and told us that the process of taking the book from manuscript to publication was like ‘giving birth’. I regard myself as an old-fashioned feminist but this excessive ‘feminisation’ was actually deeply unhelpful. What are we as writers to do with such advice? I was also struck by how all four of the panellists cheerfully informed us that they were too busy ‘going to meetings’ during the working day to read the submissions or manuscripts they were supposed to be working on. All the reading was done in the evenings or at the weekends. Not sure how my fellow participants felt about that, but I found it depressing. How could that make any writer feel confident about the professional attention their efforts would receive?
Even more depressing, but perhaps revealing too, was that none of the four had ever actually written anything, or felt they were capable of doing so. These were not writers, or even speakers of words, these four people spent their time responding to other people’s words but not themselves engaged in creating them. Advice to self: if you want help with being a writer, learn from people who write. Further message to self: whatever the current role of the agent is, I think some of them have lost the plot, literally.
by admin | Apr 10, 2014 | character, dialogue, Explicit details, fact-based fiction, memory, plotting, speech
In the past few days I’ve met many new people, re-connected with friends I’ve not seen for years and heard so many stories, told in many different voices. Half my mind has been on the content of our conversations, but I’ve also been noticing habits of speech, how people walk, all sorts of things about them that I’m storing away to use in future. People won’t reappear in my fiction as complete replicas of those I’m seeing around me. I’ll take a turn of phrase here, a posture there, an over-heard snippet of conversation and many other apparently trivial observations, stir them up and leave them for a while. Then I’ll discover which details bob to the surface when next I’m creating a fictional persona. My memory may need a jog, so I’ll make a few notes: just a hint – a smell, a hand, a scar, a voice – an impression to spark a later response.
It’s clear to me that these observations have always been part of my fascination with people, but I’m now more specific and intentional in my ‘noticing’. And I’m more curious too, about the backstory and how and why someone’s idiosyncratic characteristics have developed. Give your imagination space to play and you can capture so much interesting stuff. Even if I’m not sure yet about the plot and shape of Book 4, I’m beginning to find some of the characters, and consider how they may react and behave in challenging circumstances.
I think I already have the central character. She is someone I already ‘know’, with a rich backstory already in place. Now I have to find the people around her, or against her, and provide the circumstances in which all them can reveal who they really are. Once the final painstaking stages of publishing Book 3 are behind me, then I can let the fun part of Book 4 really start. It won’t be long.
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