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No Giant Worms
Looking back through the last few entries, you could be forgiven for thinking that this is a blog entirely about video games, or my unhealthy obsession with certain sprites. So as a reminder that I do also occasionally write stuff, here is a quick round up of my progress on "stuff that doesn't involve the Xbox".
1) Ink for Thieves has edged into that strange, twilight country known as “I’m a real book now almost, will someone please give me a home?”
2) I’ve just finished my first read-through of The Steel Walk since I finished the first draft, oh, ages ago. I think your writing style evolves over time, so reading back over it is a weirdly frustrating experience in places, as everything seems slightly off and a little wonky. However, with a lot of hacking and slashing (very appropriate for that book) I may well have something readable by the end of it.
3) The Copper Promise, which is the working title of my tentative ebook serial project, is happening in fits and starts at the moment. The current plan is to finish the first part (roughly 20,000 – 25,000 words) by the end of October, and take on parts 2 and 3 during Nanonwrimo, with the goal of getting the first bit out there for people to read by Christmas. All while re-drafting The Steel Walk… hmm.
4) Short story-wise, I seem to have fallen into a natural break. I have two stories not currently on submission anywhere, but in truth I am not altogether sure where to send them, as they’re both a bit… well, weird. For the time being I’m going to keep hold of the pair and see if something suitable occurs to me.
And that’s that! I’m sure you won’t have to wait long for me to be blogging about aliens and big guns again…
On the Importance of Being a Reader
Still no review of Dragon Age 2 I’m afraid. This is largely because I’ve, well, started playing it again, but I’m sure that my second play through as a bisexual mage will add all sorts of nuances to my final verdict (I called him Theon in the end, rather than Spanky).
Instead I’ve been thinking about the importance of reading in regards to the process of writing. Lovely twitter peep @RozD has started a blog recently detailing her current challenge to read 100 hundred books (go here to check it out) and we briefly discussed the idea of reading as procrastination. But the truth is reading is an enormously important part of the writing process too. To be a writer, we are told, you must:
a) Write
b) Read
But, it’s a little tricksier than that I think. The actual physical act of writing, sitting your bum down and getting the words out, is obviously the key to being a writer. BUT, I am tempted to put reading on an equal footing. Firstly, if you don’t read, then why are you writing? If you don’t love books, then why do you want to make them? It sounds daft, but I have encountered people before who were rather in love with the idea of being a writer- on the surface it sounds cool, like you’re an eccentric lone wolf who drinks neat whisky and stares broodily out of windows whilst scribbling in a notebook*. But when I asked said people what their favourite books were and who they hoped to emulate, they would shuffle their feet and shrug and indicate that, well, they were only really interested in their own books. When they finally got around to starting them, that is.
Also, without reading you have nothing to aspire to. Or, if you like, you won’t experience that snarky little rage that causes you to twirl your moustaches and think, “I could do better than this!” You would never be inspired, or informed, or enlightened by the simple marvellousness of the fiction that is available to us. If I hadn’t read Perdido Street Station, for example, I might still be labouring under the misapprehension that all fantasy had to look and sound a certain way. If I hadn’t read A Song of Ice and Fire I’d never have gotten a girl-boner for swords and written The Steel Walk (although I’m still unsure whether that was a good thing or a bad thing). The idea of writing without reading is incomprehensible. Mind-boggling. And so, when we spend hours giggling over Wodehouse or days dallying in the world of Jonathan Strange (as I have been doing lately) then we must not feel guilty, or that we are neglecting our writerly duties.
Because to write you have to a) write, and a) read.
*this is an accurate depiction of my life, obviously.
The Year that was Writing Dangerously
So it’s that time of the year where we blog about the last twelve months, summing up the triumphs and the achievements and so on. Well, to be honest I’ve always been incredibly bad at remembering what happened in what year (I know, useless isn’t it? I have a great memory for pointless facts and a terrible one for the actual timeline of my life) so this blog post will be the vaguest sort of summary of 2010, including some of the things that I’m reasonably certain happened this year.I started and finished The Steel Walk, a sword and sorcery novel about an ex-prostitute turned swordswoman forced into protecting the unwanted child of an evil family, whilst fighting off the evil machinations of the Green Council and their dreaded “dead walkers”. It was a book that didn’t go exactly according to plan, but it taught me lots of lessons that I’ll take on with me to the next book. And I did finish it, always the hardest bit.Short story wise I’ve had a reasonably successful year, achieving way more than I ever thought I would. I’ve had a tiny wee piece of flash fiction published in Black Static as part of the Campaign for Real Fear- picking up a copy in Alt:Fiction and seeing my name in print was particularly exciting! I’ve been published twice in Hub Magazine and received some fabulous feedback on the stories. I’ve found homes for other stories in the From the Dark Side and Farrago anthologies, had a spot on the Un:Bound blog for Barleycorn (one of my favourites) and recently became involved in Dark Fiction Magazine where I had a lot of fun reading out Sarah Pinborough’s Do You See? I even had two of my own stories included, the second of which was a Christmas ghost story read out by Kim Lakin-Smith (who did a beyond fabulous job!). It’s been a good year for me and short fiction, and I owe a huge thanks to everyone who took a punt on an unknown writer. I hope I can keep it up in 2011!Speaking of Alt:Fiction, I am pleased that I got my arse out of the house for once and attended a proper convention, meeting many lovely people and hearing so much writerly wisdom that I was filled with huge optimism and enthusiasm as well as dread and terror at the size of the task in front of me. Mostly, I just loved geeking out about books for an entire day with a bunch of like minded people.I started writing Dead Zoo Shuffle in November with Nanowrimo. DZS was a big challenge for me; it was science-fiction/crime, and written in the first person, neither of which I had tried with a full length novel before. I got through 50,000 words in a month, and of course I’m still writing the bugger. Mainly I’m pleased with how much this book is making me think- trying to figure out the plot of a crime novel at 9.30am in Starbucks really sets you up for the day.So at the beginning of 2010 I christened it “The Year of Writing Dangerously”, and in many ways it was. I formed a routine and forced myself to stick to it, and wrote more words in one year than I ever have before (the quality of those words is quite another thing, of course). I wouldn’t have had such a fun and groovy year without the help of a number of people, so since I’m here I’d like to say a quick thank you! Firstly, to my partner Marty Perrett (@Boxroom on twitter and go here for his website-http://boxroomboy.co.uk/ ) who has provided endless support and chocolate in the face of my erratic enthusiasm and changeable moods, whilst also putting together some amazing creative projects of his own. Thanks as well to Adam Christopher (@ghostfinder on twitter and go here for his blog-http://www.adamchristopher.co.uk/ ) a friend and writing buddy who has beta read for me all year, always giving useful advice and a kick up the arse when needed. I also owe Adam specifically for his ability to remind me of the right writing competition at the right moment, and for singing my praises to others. I’ve been lucky enough to meet a whole gang of marvellous people on twitter too, including Sharon Ring (@DFReview) and Del Lakin-Smith (@dellakin_smith) in charge of Dark Fiction Magazine http://www.darkfictionmagazine.co.uk/, and Neil C Ford (@nubenu) who was kind enough to lend a struggling writer a netbook, enabling me to construct my coffee shop related writing routine. Thanks also to the lovely Adele (@Hagelrat) at the Un:Bound blog http://hagelrat.blogspot.com/, and the charming Alasdair Stuart at Hub magazine http://www.hubfiction.com/ who were kind enough to give my stories a home. And a general hug and slurred drunken “love ya!” to all the fabulous twitter peeps who have kept me sane and entertained this year- you know who you are!So if this was The Year of Writing Dangerously, what is 2011? The Year of Getting My Arse in Gear and Finally Editing Something?
Stealth post!
Hello! Yes, here I am! I've cocked up the last couple of weeks, bloggingly speaking, so here is a random update.I've been away mostly because a) I finished The Steel Walk finally (thank christ) and b) threw myself immediately into planning the Nanowrimo book, which has a working title of "Dead Zoo Shuffle".The Steel Walk was a rough journey at times, and it very nearly went all tits up at the 60,000 word mark (I seemed to be cursed at that stage of the book) but I dragged myself through and although I believe it is somewhat flawed, I'm glad I got to see what happened to Eri, Joseth and Saul. In that weird slightly lost state you have after finishing such a big project, I started to think about what exactly I've learnt over the course of the last four books, and what I'll take with me into Dead Zoo Shuffle. I actually wrote some of it down, due to my memory being like one of those things with wotsits in.*1) You need a subplot to balance the main narrative.2) I like writing about cities. Lots of trees- not so much.3) You've got to have some idea where you're going. Let's not do another "A Boy of Blood and Clay".4) Stories are secretly all about people and how they deal with each other.5) Know your characters.6) Don't worry so much. You're trying to find your own voice.7) Chapters are useful. Try and keep track of them, yeah?
*holes!
*holes!
Pop Quiz, Hotshot!
I don’t have a huge amount to say at the moment as my brain is well and truly frazzled trying to finish The Steel Walk (whilst also trying to fend off the part of my brain that really wants to be writing the next book now)…On a subject vaguely related to the as yet untitled November project, I have a question for you: what is your favourite example of the First Person narrative in a book?**I would probably nominate everything Michael Marshall Smith has ever done, but no surprise there...
Space Bitch
Forgot to update yesterday- my blog sense appears to be slipping a bit. I’ll blame it on The Steel Walk nearing the end, and the Bird and Tower podcast project, both of which are nibbling away at my every spare thought. I’m also trying to up my short story output, but this is a goal that continues to be frustrated. While ideas for novels tend to stew away for years and finally become ready gradually, short story ideas seem to pop up from nowhere when you least expect them; perhaps they brew in a deeper, darker part of the mind. And of course when you really could do with one popping up, all goes silent.I’ve written two or three short stories that genuinely came to me fully formed and out of the blue, and they were scrawled into notebooks in a feverish state. A recent (and very short) short was partly given to me in a dream, which sounds like complete arse, I know, but it’s true. So the rest of the time I am left staring sulkily at half formed titles and snippets in notebooks, willing them to suddenly become gorgeous little storylets, and… absolutely...nothing…happens. So that’s my writing update! In other news I’m contemplating playing Mass Effect all the way through from the start, on Hardcore level, and as Space Bitch: The Shepard Who Taketh No Shit, Especially Not from Annoying Reporters. I just have to work up the patience to go through all the Mako levels again.
Post-its and Planning
So I completely forgot to update last week. I can’t even remember why now, but let’s just pretend it was due to a flurry of productivity on my part, and not just huge laziness, which is more likely but less heroic.The Steel Walk is edging towards 100,000 words now and alarmingly enough, shows no particular signs of being near the end. At least I am well into the third act and having fun with the story; Eri is angrily traipsing through the swamps of the Green Jenny Council while evil things are afoot in all corners of Ferrum, and Saul has some difficult choices to make. I may even have some clue as to how the whole thing ends.Writing The Steel Walk has been an education in the process of how to put a book together, although I’m not sure I’m any closer to figuring out the best way of doing it. So far each book has been approached differently, and I have learnt different lessons.Bad Apple Bone- Started writing it before I even knew it was a book, and consequently I only had a vague idea of the plot by around the 30,000 words mark. An exciting if agonising way to put a novel together, it did however all fall together with surprising neatness. I’m sure this was a fluke, and unlikely to ever be repeated.Bird and Tower- When I started this one for NaNoWriMo, I was very clear on the beginning and the end, and had a vague structure for the middle (“Quint searches for other siblings, hijinks ensue”) but what with the fabulous by-the-seat-of-your-leg-hats* approach of NaNo, if I did any more planning than that I don’t remember it. A joy to write, quite honestly, even if I kept forgetting one of the characters existed.A Boy of Blood and Clay- A lesson in how it is wise to have, you know, even the slightest clue of how the plot will develop and who your characters are. Not sure what I was thinking with this one (I still believe that when it’s finished, it might be the best thing I’ve written)Ink for Thieves- This book was a return to a vague plot outline and detailed character notes, and thanks again to the backside-wallop of NaNo, largely quite fun to write. It had it’s moments of “I have shamed myself and my ancestors with this book” but the characters came to life for me and behaved in naughty ways, the plot headache of the Embers resolved itself and I got to the end of it. After A Boy of Blood and Clay, that was a big relief.So, what have I learnt? Mostly, that no planning is bad, except when it works, and over planning is good, except where it doesn’t. Does that make sense? I had detailed character notes for Eri and Saul before I started The Steel Walk, but they still went merrily ahead and behaved in all sorts of unexpected ways anyway, and Alice, a character who barely existed at the planning stage, has come to impact on the plot in all sorts of drastic ways.The next, as yet unnamed project, is a sort-of-science-fiction first person narrative with strong crime elements (and a girl called Zootsi) so I think I have no choice; planning will be done, notes will be made, and post-its will be wasted, until I can go into NaNoWriMo this year knowing that I just have to fill in the fun bits. I may restrain myself from drawing a map though.*for an explanation of leg-hats, please go and listen to The Soldiers of Tangent, the fab new comedy podcast from those behemoths of audio genius, Danny “The Accent” Davies and Marty “Churlish” Perrett. http://thesoldiersoftangent.mevio.com/
Of Swords and Deviltry
I’m reading The First Book of Lankhmar at the moment, and I have to say it’s bloody good fun.Fritz Leiber’s tales of Fafhrd and the Gray Mouser, barbarian warrior and thief/dark magician, are vibrant, adventurous and ever so slightly rude, taking you off to distant exotic lands full of evil dukes and treacherous beauties, shoving you right into the middle of fist fights and duels, while at the same time tipping a sly wink to the pettiness of human nature; even in the wild worlds of Nehwon, people are ultimately badly behaved and out for what they can get. I stumbled across this (huge) collection of stories thanks to a number of articles I read concerning “sword and sorcery”. I had come to the conclusion, to my own vague surprise, that The Steel Walk falls firmly within this genre, when I had never really thought about what “sword and sorcery” actually entails. And you will find that any blog on the subject will mention Fafhrd and the Gray Mouser, and with good reason; there are swords aplenty, and dark magic, betrayal and lust and greed, and all the really good stuff that epic fantasy sometimes forgets about when its off on quests to defeat The Big Bad Thing in the East/West/Alternate Dimension. Working my way through it whilst trying to ignore the cover (jeez, the cover is ugly. I have no shame at all about being a fantasy reader, and will gladly wave about on the bus a book with any number of dragons or scantily clad ladies on the front, but this is almost too embarrassing even for me. The huge tattooed man in the foreground looks more like he belongs in Eastenders, whereas the tiny bloke in the background looks a wee bit like Richard O’Brien about to whip his harmonica out. Neither remotely resembles the two main characters, so it is all a bit mystifying. Why, Fantasy Masterworks, why?)- I found myself vaguely reminded of Terry Pratchett. It’s the barbarian heroes, of course, and the Thieves Guild, and the dangerous magic. What it is, of course, is the source. Pratchett without the satire (but certainly not without any humour; Fafhrd’s dealings with young ladies had me chuckling out loud more than once), and it’s a joy to realise that the Discworld had a bigger, juicier older brother… Silly me.These are the pitfalls and joys of accidentally working your way backwards through a genre, I suppose; I can only say that I wish I’d met up with our young warrior and thief much, much sooner…
Blank-Spacing
A sort of updatey blog post today.Progress on The Steel Walk continues in patchy fashion. I have to admit, writing for an hour in the morning before work does appear to work, and I’m certainly getting more words done on a regular basis than I have ever done before. I’m up to around 63,000 words at the moment, which is traditionally where the story grinds to a halt and I wrestle with the idea of just jacking the whole thing in (A Boy of Blood and Clay imploded at this point). Fingers crossed, that hasn’t happened yet, but I do know from the previous two books that the last 40-50,000 is always a bitch, and it certainly isn’t going to get any easier. In happy news, I’ve had another short story accepted by The Hub, which should be in the next issue. Hurrah! I’ve been reading George R.R Martin’s short story collection Dream Songs, which is equal parts inspiring and daunting. I think what impresses me the most about his short work is that with many of them I could see an entire book written about the characters featured, or just set in the worlds he has created. I’d love to get this sense of scope in my own work, but I think that’s a way off yet. I have also been thinking about blank-spacing. You know how you often find that ideas occur to you when you’re doing some sort of monotonous physical task and you’re not thinking about anything in particular? It’s day dreaming I suppose, and it’s an important part of a writer’s life. I notice that a lot of writers talk on their blogs about going for walks (especially when stuck for ideas) and this often helps them on their way. Justin Cronin, author of The Passage (soon to be gracing tube carriages everywhere, no doubt) came up with most of that book while out running. I have found that I often come up with short story ideas while I’m in the shower or washing up (this rather suggests that I need wet hands to think of anything good…)Anyway, it appears that simply sitting and staring into space is not enough; we need to be physically occupied, as if once our bodies are distracted our brains can start thinking again. I have decided to call this Blank-Spacing- mainly because it sounds all business wordy and more official than Day Dreaming, and it sort of describes how you need to empty your head about before excellent ideas fill it up. When I was little, I used to ride my bike around the close on an endless circuit with one of my soft toys stuck in the basket, and I used to tell him or her stories as they occurred to me (usually it was Louie, Donald Duck’s green baseball cap wearing nephew, or Mousie. I think you can guess what sort of toy Mousie was).Ideally I’d like to go for a few walks, or perhaps take up skipping. Or knitting. Or kung-fu. Or break dancing. This blank-spacing/day dreaming period is quite vital I think, but what with life and writing already taking up all my time, it is very difficult to allocate a decent amount of time to it.I’d love to know how other writer’s handle day dream time. Is it vital to you? Does it happen when you’re supposed to be doing other things? Do you consciously pursue it? Tell me!
The Voices in Your Head
Some writers hear their characters in their heads. Have running conversations, arguments, even have to put up with particularly pushy characters complaining about what’s happening in their story. I know this because I read about it all the time on other writerly blogs. It’s fondly regarded, I believe, as a sort of eccentricity that comes along with being a writer- if you write stories, you’re probably not alone in your head.This makes me worry that I’m doing it wrong. My characters don’t talk to me. They’re not my friends and they don’t keep me company on the bus home by complaining about the state of my shoes or harassing me to get on to the exciting scene. This doesn’t mean that I don’t think about them, because I do, very much, but always in the context of the story. When I am following the story in my head, day dreaming where it will go next, I am observing the characters closely, and feeling what they’re feeling, but they don’t talk to me.The reason, I think, (and this sounds weird) is that it wouldn’t be canon. My characters don’t know who I am because I don’t exist in their world, and my world wouldn’t make sense to them, so they don’t chat casually with me either. Eri Fellsmith lives in a world of swords and the walking dead- I’m not sure what she’d make of a receptionist from South East London, other than my clothes are really strange and I can’t hold a sword to save my life. It just wouldn’t be authentic, to me, which is why my mind seems unable to make that leap to conversations in my head.Does any of this make sense? Does anyone else out there not hear the voices, and wonder if this will make them a less competent writer? Any writers who believe that it is essential to the writing process?
