Creative Writing Course – Week 21

There are only five more weeks of my writing course to go until it’s all finished – time flies.

This week’s class had us looking at some of the things that you need to improve on in your third chapter. We had to write down three aspects that you saw as possible weak points, and then address each one with a solution.

For me these were;

  1. Adding in more plot details to reveal and push on the plot of the story.
  2. Less internal dialogue – ‘he thought to himself…’
  3. Build more of a ‘world’ around my work, to make it more encompassing.

My suggested solutions for my issues were;

  1. Use dialogue and/or extra characters in scenes to push plot forward and to add extra depth.
  2. Be ruthless with prose to cut internal dialogue stuff and find other ways to achieve the effect I want.
  3. To not be afraid of a little more exposition now and again to add more depth to the world the characters live in.

We then went around the room asking everyone else what their first issue was. Here’s the list;

  1. More plot detail and development (this was my mine)
  2. Better use of dialogue
  3. Stronger climaxes/cliffhangers
  4. Dealing with ‘light’ scenes, those with little impact
  5. Too much internal monologue (not mine but I had the same issue written down)
  6. Not enough bridging between scenes
  7. Details that don’t add impact
  8. Concentrating on one point of view
  9. Scenes may be too long
  10. Rushed/stitled dialogue
  11. Use fewer words and don’t repeat the same points in narrative
  12. Showing-Not-Telling

Once collated, we went back to the above list and made suggestions about how to address them.

  1. More action, more twists and more unexpected turns so that there are several things being revealed and unanswered at the same time. (This was my problem/solution and is applicable because I’m trying to write a crime thriller…)
  2. Make dialogue memorable – this can be achieved by making the dialogue like a back-and-forth exchange, which is far more naturalistic once you listen to real life dialogue.
  3. Find one extra detail/revelation per chapter (this is also applicable for my concern about making the plot move forward)
  4. Write a new synopsis so that the narrative remains focused and not off on a tangent. It’s also a good idea to re-do this several times as you write the novel, that way you can see its evolution.
  5. Find new ways to deliver thoughts, ie in actions and responses to events.
  6. Think forwards and backwards to fade/dissolve one scene into the next.
  7. Be prepared to cut scenes or parts of scenes if they are not working.
  8. Provide an external POV within the main POV.
  9. Create a menu of scene objectives to stay focussed on the events.
  10. More on-screen and off-screen movement to accompany any dialogue.
  11. Shorter sentences. (<— intentional ;) )
  12. Write visually, using description. Think of the reader’s sense of wonder and transmit that through your characters.

Another of the aspects we discussed was the importance of achieving tonal shift, which is important when you have different POVs from different types of characters. For me, I’ll be trying to do this by using a different tone or writing voice especially when I’m introducting a new character for the first time. In the example of the novel I am currently working on, which is a crime novel revolving around a corrupt undercover policeman, I’ll attempt this by writing from the POV of one of the criminals. By making the lifestyles totally contrast with those of other characters, hopefully it will be obvious each time the narrative switches. But first I’ll have to write the damn scenes…

The list above were the concerns of a dozen amateur writers, but I’d be intrigued to hear if they are common, universal issues of people writing fiction. Do you have any others that often blight your work, and even better, how do you address them?

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Beauty In Decay.

This is the derelict site of the Motor Chef diner in Warwickshire not far from where I live. It’s right on a dual carriageway/highway and I’ve driven past it countless times. I decided it was worth investigating with my trusty … Continue reading

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Creative Writing Course – Week 20

Week 20 of the creative writing course centred on readings from our 3rd chapters of our novels-in-progress. This included me reading out a passage from my first draft of chapter three. It’s not until you read out a passage from a work in progress to a room full of critics that you become aware of the glaring inadequacies of your work, but that’s precisely why you have to do it. As well as reading out our work, we discussed with the tutor about how our work was progressing and ways in which we could develop the story further. I found this quite helpful in that it provided me with a few more little ingredients to include or expand upon.

A lot of the discussion came down to the kind of issues that are often seen in first drafts of writing. The writing can be too wordy sometimes, where the writer gets carried away with a scene and ends up with a lot of material that can be cut. Often the dialogue is unnatural and it’s only with re-reading and re-writing does it get straightened out.

For my part, chapter three is a little short, it could do with another 800ish words I think. I have reached a natural stopping point at the end of the chapter, so I have to decide whether to develop this, or add more depth elsewhere in the chapter.  I have four completed chapters of this novel at the moment, and the end of the third and fourth chapters provides a convenient scene break, so it feels strange to add more text between them. I need to look at what I have in the fourth chapter to see if I could amalgamate the two perhaps.

I seem to have a problem with starting/finishing projects. While I should be pushing this forward, I’m sidetracked with the concept of writing a horror novel based in China. I mentioned this in last week’s blog, where I did a writing exercise for it. Try as I might, ideas and scenes for this new monster keep infiltrating my mind. I can’t be the only writer this happens to? Does anyone else try to work on one thing but keeps returning to something else instead? At this rate I’ll have a hard drive full of half finished projects and nothing with a concluded ending…

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Creative Writing Course – Week 19

I missed week 18, the start of the third term, so this week was my first week back for the final term of the course. It turns out that it will be the last time the course runs pretty much ever at the University, as they’ve decided to change the way short courses are run. It was fun while it lasted…

As the third term will be spent working on our third chapters, a few people read their work out to the rest of the class. We were also asked to look at our weaknesses as we perceive them. This was mostly issues to do with dialogue and over-writing, common problems that plague us all.

One interesting tip that I picked up was to avoid using character names that sound similar or even have the same first letter. Two central characters that are called Bob and Bill could easily be mixed up by a reader, leading to a lack of clarity. If the reader has to go back a few pages to work out which one is which, you’ve created an unneccesary stumbling block for them. If in doubt, make them sound and look totally different on the page. Bob and Bill can become Xavier and Gerald…

The latter half of the class was spenting working on a written exercise. We were given a scenario to write about and were told not to include any inner monolgue, thoughts or feelings from the character(s). This was interesting as one of the issues I’ve been grappling with recently was whether or not to use ‘…he thought to himself…’ type sentences.  I’ve used it a few times, but on reading it back I’ve instinctively wanted to cut it, but then wondered if it would still make sense to the reader. I think on the basis of this exercise I’ll cut them out and work on ways to make the situation more explicit.

The exercise was a kind of blind-writing task, 15 minutes to write about the following scenario with the above rules;

The character/characters discover a body somewhere.

I have been toying with yet another work-in-progress which is a horror story set in an abandoned half-built theme park in China, so I decided to use this exercise to create some prose for it. Here’s my attempt. Remember, it’s not meant to include any inner monologue, feelings or thoughts.

~~~

Lu followed the tracks in the mud out of the courtyard. It was dawn, and the weak winter sun made the world look like everything was made of steel. Harsh, flat and gray. The tracks weren’t foot prints, more like the drag-marks made by something heavy being hauled along, possibly against its will. She walked out of the enclosure and onto the footpath beyond. There the marks were harder to discern against the broken and cracked asphalt, but there they were, continuing up the path and trailing off into the undergrowth. A ragged gap had been punched through the shrubs and overgrown weeds.

Something compelled Lu to follow, to step through into the darkness beyond. She picked her steps carefully, as if she might disturb something from the gloom at any moment. The broken and bent vegetation betrayed the movements of whatever had gone before her. Lu’s eyes adjusted to the light under the canopy of thorny bushes. At the base of a gnarled and twisted tree was a bundle of rags in a haphazard pile. Lu stepped closer. Not rags. A body. It lay in a perverse, twisted repose, unnatural for anything living. The entire thing was black with blood, giving it a dull, matt sheen. The body cavity had been ripped open, exposing a tangled jumble of organs that should never see the light of day.

~~~

I think the start of the second paragraph might fail the test - ‘Something compelled Lu to follow…’ but this is the only weakness that I can see in terms of not using thoughts and feelings. It’s actually pretty hard, I had to consciously hold back from expressing the feelings of my main character whilst writing it.

I’ve come to regard ‘he thought/she thought to herself’ as lazy and shall try to banish it from now on. How do other people deal with this? My other problem now is whether to work on the nagging Chinese horror story that has appeared from nowhere, or persist with my crime novel for this course, or the complete the edits for the novel that is actually finished!

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Top Three Fictional Fiction Writers

This has almost certainly been done before, but I thought I’d write a piece about my favourite fictional fiction writers from TV shows. That’s writers who only exist as characters in TV series, not as depictions of real writers. These aren’t in any particular order because it would be hard to choose and because it’s pretty meaningless anyway…

  1. Ken Cosgrove – Mad Men
    Mad Men is one of my favourite TV shows and Ken Cosgrove, played by Aaron Staton, is probably one my favourite characters. Part of this is due to the fact that most of the characters in Mad Men are dispicable bastards, and Cosgrove is one of the few likeable guys on the show. He’s a copywriter for the ad agency, but moonlights writing short stories for magazines. As Mad Men is set in the 60s, Cosgrove writes sci-fi of the classic alien invasion type which was so prevalent at the time. In a recent episode news of his publishing success comes to light in the office and he’s warned off from pursuing it by a bitter senior partner.
  2. Hank Moody – Californication
    I must admit to only having seen the first season of Californication, on account of the show changing stations/times between seasons, but Moody, played by David Duchovny, definitely deserves a place in my top three fictional writers list. The show is unashamedly trashy, featuring an unholy amount of beautiful women and raucous behaviour, and a lot of the appeal of Moody’s character is that he personifies a one-dimensional male fantasy role; he’s a hard living womaniser with a cool job. The original premise of the show is that he moves to California and suffers from writer’s block. And then has a lot of sex. There’s not much about writing or being a writer, that kind of gets lost in the car-crash of his personal life, but it’s entertaining nonetheless.
  3. Brian the Dog – Family Guy
    Brian is the family dog from Family Guy, and one of the many running jokes of the series is that he is a struggling writer, often mocked by his nemesis, Stewie the baby. Like Moody in Californication, he’s a drunken womaniser too, but we love him all the same. Part of his appeal to me is his jaded sarcasm. Brian gets to express his in a comedy animation, whereas I have to make do with annoying those around me.There are probably a host of other fictional writers on TV shows, and no doubt many journalists like Ray in Everybody Loves Raymond, but these are my favourites. If only I could combine the writing success enjoyed by Ken Cosgrove with the hedonism of Hank Moody, crossed with the razor-sharp dry wit of Brian the dog Griffin.
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Work in Progress – Chapter 2

The creative writing course I am attending recently broke up for the end of the second term, leaving me with a few class-less weeks before it restarts in late April. The second term was spent writing and editing our second chapters, which have now been submitted for marking. I posted the first chapter here a few weeks back.

Following that post, I’ve put the second chapter up here. To recap, the working title is ‘Cover’ – it’s about an undercover policeman who uses an investigation into drug trafficking to feather his own nest and follows his increasingly desparate moral descent, dragging others with him.

It’s still a work in progress, and will almost definitely experience a re-write of some kind. I realise I might be being overly optimistic by posting a 2,000 word plus blog post, but hey…

~~~

Chapter Two

Sullen but co-operative, Mitchell went through the booking-in process with the custody sergeant at Paddington Green station and was escorted to a cell where he sat and waited. The white walls and featureless confines gave Mitchell a blank canvas on which to play out the car park incident over and over again in his mind.

He lay back on the thin plastic mattress and shut his eyes in an attempt to block out his surroundings. He needed to be focussed and single-minded if he was to stop the situation slipping beyond his control, but it wasn’t long before a more familiar, persistent set of recollections returned to him. A chaotic slideshow played inside his head like scenes cut from a film and discarded on the editing room floor. Piles of spent brass cartridges lying in the dust. The moist, sweet smell of sweating soldiers crammed inside armoured vehicles. Toothless Afghan villagers staring at him and his men and long shadows cast over the desert floor by a setting sun. It wasn’t just the horror and the dislocated fragments of fire-fights that stayed with him, it was the everyday transactions of his two tours. Mitchell had come to accept them now. No point trying to fight something in your own head.

Keys rattled in the cell door and he was summoned out. A uniformed officer accompanied by a couple of grim-faced detectives in suits and ties stood waiting in the corridor. Had he been a normal suspect in a double murder case he would have had to endure hours of waiting while the investigating officers compiled their notes and arranged his legal cover, preparations for the start of a lengthy investigation and interview process. But this was no standard case. The detectives didn’t introduce themselves and Mitchell didn’t recognise them, which was probably a good thing. Un-cuffed, he was led back in silence through the labyrinthine bowels of the station to the secure car park. He was shown to an unmarked police car and told to sit in the back while the two detectives got in the front.

Mitchell knew where they were headed. The Met had commandeered a grim 1960s three storey building which had once been council offices. Most of the large open plan space was used for storage, the rooms filled with packing crates full of non-sensitive paperwork and office equipment. The top floor was the operational headquarters for Operation Whetstone.

The anonymous detectives walked him up the cold stairs, their footsteps echoing down the empty stairwell. Mitchell imagined this was what it would be like to live in a totalitarian state and find yourself at the hands of the security forces; taken from your cell to an undisclosed location for interrogation and an uncertain fate. The building was unheated, adding to the clinical feel of the place. Almost totally devoid of colour and human touches. Most of the staff working on the operation had finished for the weekend, and those who would have been here now had been sent home. Clusters of empty desks filled the office space, chairs patiently awaiting their occupants.

He was ushered into a meeting room and the door closed behind him. At the far end was Detective Superintendent Neal Winters, sitting at the head of a long expanse of desks. The two men maintained their respective positions at either end of the room until Mitchell broke the deadlock by making an exaggerated show of rubbing his wrists – soothing the cuff-marks left from his earlier arrest – as if to show Winters the discomfort he’d endured over the last hour or so.

“Well?” Winters asked.

Neal Winters was a career policeman. Decades of walking the beat, criminal investigations and countless hours of paperwork and strategy meetings had put him at the head of the Metropolitan’s Covert Operations Group. From this vantage point he looked down on Mitchell. He could summon him, interrogate him, berate him, promote or fire him. He expects you to do most of the talking and only cuts in to tell you what to do or when you’re wrong.

“It was pretty much like I told you on the phone.”

“You got jumped by some machinegun wielding foot soldiers and returned fire, killing two men?”

“That’s right.”

“You didn’t recognise them?”

“No. They looked Turkish or Greek. Middle Eastern maybe.”

“You’re going to have to write a report on this, for my eyes only at this stage.”

Mitchell nodded.

“And you’re offline until we know more of the details,” Winters said, pointing a bony finger at him to emphasise his point.

“For how long?”

“For as long as it takes us to deal with the investigators and work out what type of shit this is likely to cause at street level. You’re either looking at being thrown back into standard detective work or a charge for double murder – and right now I have no idea which way it’s going to go.”

Mitchell swallowed hard. Firing weapons on duty always led to lengthy and painful investigations. He should have seen the possibility coming, but it was still hard to hear. He didn’t want to ask how he’d been freed without even an informal interview after killing two men. But he knew it wouldn’t have happened without Winters’ intervention and a whole stack of begrudging sign-offs from the very top.

“All I was doing was walking back to my car. Why give me a gun if I can’t defend myself?”

“I’ve heard it countless times before over the years,” Winters said, in a tone that suggested he didn’t want to hear any form of excuse. “A police shooting is bad enough for a standard firearms unit, but there is nothing standard about this. You’ve got the easier end of the deal.”

“What? I was the one almost gunned down in a car park. I’m the one who has to live with the death of those two men…” Mitchell shouted, jabbing himself in the chest.

“Yes, but this whole operation is my vehicle. I run it. I pick the personnel. I make the decisions. I spend millions pounds of tax-payers money on something that might land us in prison or at least discharged from the force with no pension if it goes wrong. I authorised the firearms issue for you. As far as the Home Office is concerned, I pulled the trigger.”

Winters was shouting now. Mitchell had only seen him do it a couple of times – and only at other people – and it was a sobering experience. He was on the streets, but Winters was the one dealing with the fallout, convincing people behind closed doors that all the expense and risk would be worth it in the end. But now neither of them were so sure.

“And you’re certain there weren’t any witnesses. Just you and the shooters?”

“Yes, like I said earlier. They chose the location well – a deserted car park and a CCTV blind spot.”

Mitchell could see Whitaker making a run for his car after witnessing the shootings. Right now he almost wished he’d killed Whitaker too. Caught in the crossfire, an innocent man tragically caught up in gang violence. It would have been depressingly plausible, Mitchell thought.

“Good.” Winters moved to the window and stared down onto the streets below. The building looked out onto a nondescript part of London. A dual carriageway, industrial units. A rail line and rows of housing. “Do you think this was Cleavis’ crew?” he asked, still peering out into the darkened streets.

“I don’t think so.”

“What makes you think that?”

“For one I can’t think of a reason why they’d want me dead. We’re in the middle of negotiating a deal with them. Plus, they wouldn’t use hired muscle to do it, especially not Turks or Greeks or whatever. They’d have their own guys for that.”

“Exactly what I was thinking,” said Winters, as if he’d only asked to confirm his own thoughts on the matter.

“So where does it leave us?” Mitchell asked.

“Right now, it leaves you writing a report on the incident, and me with a lot of explaining to do.”

Mitchell nodded. He turned to leave, but Winters spun away from the window to face him.

“Where are you going? Write it now. I want an account of the events, second by second. Leave nothing out.” He marched over to the door and flung it open. The two detectives came in and stood awaiting orders.

“Don’t let Detective Mitchell leave until he’s finished. When he’s done, call me and I’ll collect it.” Mitchell sighed and let his head hang in resignation. Winters left him with the two detectives standing by like teachers making sure a detention was served.

***

Baba was a fat man. Fifty-eight years of over-eating, smoking, not exercising, and generally not giving a fuck about his weight had made him seriously obese. His walk had become a lumbering waddle. Just moving from room to room robbed him of breath and made him break into a sweat. His breathing rattled and wheezed, as if forced from a tired and over-taxed set of bellows. But he didn’t care. He was rich. He was respected in his community.

Wreathed in cigarette smoke and eating a plate of dolma, Baba sat alone in the back room of the Agiri Social Club in Haringey watching his favourite soap opera on a Kurdish satellite channel. People knew not to disturb him during the show. This was his personal time. Surrounded by stacks of tubular steel chairs and Formica-topped tables, it was his private sanctuary. Baba liked the down-at-heel simplicity of his surroundings. No sumptuous office or plush suite for him.

There was a knock at the door – it was Ozi and Mamir. Baba had been expecting them. He looked over from the TV and they both gave a slow, negative shake of their heads in unison. Baba turned back to his TV show. The two men stood in the doorway, not sure if they should stay or leave. Baba picked up the last remaining dolma and crammed the whole thing into his mouth. Ozi and Mamir watched his cheeks bulge and his grey, bristly moustache twitch as he chewed and then finally swallowed his food. He then wiped his face and hands with a napkin and took one last, long drag on his cigarette before crushing it into the ashtray. He grabbed the empty plate and hurled it, discus-like, at the two men. It smashed into the wall, covering them in shards of china and scraps of food. He stood up, almost knocking the table over as he did so.

“They let him get away?” Baba bellowed in Kurdish.

“No, Baba. That man killed them both,” Ozi replied.

“What?”

“We don’t know what happened, but they’re both dead.”

“What happened to the man?” Baba asked, his huge bulk trembling with anger.

“We don’t know,” Mamir said softly, staring down at the cracked vinyl floor tiles at his feet.

Baba seized the large glass ashtray and launched it at the TV. The screen smashed and the picture vanished with a loud terminal-sounding pop. The sudden absence of the soundtrack was deafening.

“Get hold of Cleavis for me. I want to know what the fuck is going on.”

Ozi and Mamir scrambled out of the room. Baba stood alone, surrounded by broken glass and crockery. Something fizzed and crackled in the wreckage of the TV set. He sat down again, gasping for breath, his fingers franticly tearing open a fresh packet of cigarettes. This was a complication Baba could have done without.

~~~

Wow – you made it to the end of the post? I thought a 2k+ word post would be too much for most people, but maybe I was wrong. Of course, you may have just skipped to the end, but I prefer to think you read all the way to here. ;)

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Creative Writing Course – Week #17 OR ‘What biscuits do you recommend when writing?’

Week 17 was the final class for the second term, so it was also submission day. I submitted my second chapter after some last minute edits, but I can’t shake off the feeling that I basically just scan-read it, hit print and handed it in. I’d spent some time the previous night making edits and adding an extra event to a scene, but it still felt rushed. I’m not too concerned by this, as I find the comments and feedback a lot more helpful than the numerical mark/grade it will recieve. Plus it’s not like the grades contribute to a degree or a vocational certificate etc.

As it was the last class of the term for the second chapter, we turned our attention to the third chapter, which will be the focus for the third and final term. It was suggested that the third chapter should really have a kind of mini-ending to the previous chapters, but also lay some more foundations for the rest of the story. Answer some questions, but ask some more for the reader to engage with.

It was also pointed that in the main, you should have introduced all the major players by the third chapter, either directly or indirectly. To generalise, there are often about thirty chapters in a novel, so three chapters in is roughly ten per cent of the whole novel. Another key element to tackle at this point in the novel is the sense of ‘world’ you are creating. A reader should grasp very early on what kind of world your characters inhabit. I fell foul of this recently when it was pointed out by readers/listeners of my work from the group that they only realised it was set in London due to geographical references I made in the second chapter. This can be easily fixed by refering to the setting much earlier on. Mental note; shoehorn in a reference to London in chapter one. This doesn’t necessarily have to be the use of the town/country the scene is set in, it could just as easily be something that is universally recognised that puts a pin in the map for the reader. A reference to the Statue of Liberty would say New York straight away. A reference to pubs or pints is a bit more subtle, but it would suggest Britain to most readers.

Other time was spent talking about the road by publication in general and routines and practices that various people employ, which I always find interesting to hear about. There was also some discussion of the best kind of biscuits to accompany the act of writing. Ginger Nuts were highly recommended, as were chocolate digestives I think. Personally, I think I’d have to place a ban on myself eating biscuits while writing. In fact, we don’t often buy biscuits due to the simple fact that I usually nail them in about two sittings, so it’s best not to have them around.

We then went to the pub where a lot more bollocks was talked, mostly by me.

So, what kind of biscuits/cookies do you recommend to accompany the writing routine?

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