Sunday, 29 June 2008

Back on Track

My internet was down last week, hence no blog.

Which is nice since I didn't have much to say last week.

This week however has been a good one. The novel feels like it's back on track. I completely stormed it this weekend and got lots done and I'm feeling my usual happy self again.

I was rejected by Murky Depths, yesterday, which is a shame. They said it was good and that I'd done a fine job getting into the head of the main character but they're not looking for a story like it in that length. Or as Roy Walker would have put it "It's Good But It's Not Good Enough."

I think the problem is that though I am now good enough to be published, I am not published enough to be published.

Which makes my next piece of news very contradictory as I am being published. Twisted Tongue got back to me and said that they would love to publish me. Aces. I shall be in their August issue and if I make editor's choice I'll get £10! Hurrah! I'm happy more for the kudos of course, to have one publishing credential on my covering letter shall be a right feather in my cap and no mistake and editor's choice would be even nicer.

They've asked for a short bio but I meekly requested to hold off until I find out whether or not I can also put Waterstones WYS competition winner. Let's see people talk that Roy Walker smack at me if I win that!

Right, I'm off to bed. A friend was kind enough to get me a copy of The Graveyard Book by Neil Gaiman (out in October *scoff* *scoff*). I'm really enjoying it, the beginning was excellent but I'm only two chapters in. I shall report more next week.

Thanks for reading,

signed

Grey Freeman (soon-to-be-published-author *scoff* scoff*)

Sunday, 15 June 2008

Paperbound

Hello again.

you can now read my short story Paperbound on the Waterstones 'What's Your Story' website. Just type in 'Williams' (my actual surname) under surname and there it shall be. Now I just have to sit and wait and will hopefully get an email beginning of next month telling me I've won. I'm cautiously optimistic about winning, I think it's a fair piece I've entered but it only takes two people to be better than me I suppose. Oh, well, here's hoping.

I'm tired this week. I've put a lot of work in. I tore down the beginning to Act Two (again) and have rewritten about 40 pages from scratch. It seems to be working. The beginning was too complex in its original incarnation, now I've simplified it and suddenly the whole thing seems more streamlined, will hopefully be able to start linking it up to later parts and just get on with the whole thing.

That's it really, not much to report. Stories are still with mags and I'll get some replies soon. I have a good feeling that some things might start going my way. But then that's no different than all the other times.

Got a load of new books to read, so I'd better go and make a start on them. Yan Martel's Life of Pi for starters. Nice.

Thanks for reading.

Sunday, 8 June 2008

Adverb Users Anonymous

Hello.

My name is Grey and I am an adverb user.

I've known for a long time now that using adverbs is wrong in prose. That 'shouted loudly' and "Piss off", he said, angrily" are near cardinal sins in the profession. Using these blunt, clumsy adverbs are an addiction I had long ago thought I had conquered.

Alas, it seems that what I have done instead is hidden my addiction to them even from myself. I have merged my aversion to adverbs with the treatise of 'show not tell' creating lines such as "Piss off" he said, waving his arms in the air' I do this a lot and it is only recently that I have realised how wrong I am to do it. These bits of description in dialogue are unnecessary and I hereby vow to remove them, creating a more confident sounding novel that trusts that the readers know what my characters are feeling.

I still have a lot to learn.

In other news, I'm moving on to chapters 25-30 of the novel. 21-24 aren't done yet but I just can't see what's wrong with it, I only know that it's something fundamental. I can't see the paragraphs through the words. I'll go back another time and hopefully the answer will be right there waiting for me and I'll be able to fix it.

Short stories are still all with mags and I'm awaiting responses soon and the Waterstone's competition still hasn't posted my story on the site yet (they post all of the entries, I think).

Right, that's it from me. I'm tired and frustrated and need to relax.

Thanks for reading.

Sunday, 1 June 2008

Learning by Degrees?

Just had a very awkward converstaion/argument in the pub.

The beauty of being an unpublished writer is that until you actually are published everyone feels qualified to tell you how to do it. And even when you are published I doubt that'll change much.

It's like people who assume they're good at music because they have loads of CDs or can boom out advice at the football players on television even though they themselves are fat, drunk people who have never really left their armchair in twelve years.

As you can see, the argument has riled me a little. But that doesn't mean I didn't listen to their points of view. They're comments have given me pause for thought and made me rethink my position on writing. Sometimes when this happens I rethink my standpoint, in this case I just came back to the same conclusion I had before but thought of all the things I should have said at the time (always the way).

The girls' stance (baring in mind that they have never read anything I've written) was that to be a good writer you need to learn philosophy and psychology, possibly even to a degree level. One so you can broach interesting issues, the other so you can understand what makes people tick and write how they would react.

When asked to name famous author's that have done this names were few and far between. No, that's being too diplomatic, one name came up: Jostein Gaarder who wrote Sophie's World subtitled A Novel about the History of Philosophy. I'm not sure if they knew that that was the subtitle or just hadn't considered it.

The stance I take is this: learning about these things don't make you good at writing novels, they just make you good at writing about psychology or philosophy. Yes, I imagine that learning psychology would make you better at understanding psychology. But how much do you really need to know to write a good story, make deep, interesting characters? If a character is punched around the face do I need to crack open a basic text book on psychology to find out how they would react? Or would they hit back, run away, cry or do any of a million things depending on the context, who hit them, who that person is etc?

Of course psychology and philosophy will make you better, perhaps, at writing some things, but I suspect they'll only really make you better at psychology and philosophy. Should I also study biology to have a better idea of how a frog hops or a sheep bleats? Or shall I just say what I just said knowing full well that the reader will know what I mean when I say 'the frog hopped'.

There's no doubt that research needs to be done on subjects to create a good novel, to make them live and breath but research is secondary to writing. Research is a tool, not an end in itself. When I'm writing about someone who is psychologically disturbed I'll do the research (hell, I have done. RWBW had someone suffering Munchausen Syndrome and I did my research). When I'm writing from the point of view of a philosopher I'll look into philosophy. At some point I'll have to look at farming techniques for my novel.

The point I think I have to make in the end is that you write the books you want to read. Gaarder (I'm reading here) contributed to textbooks on philosophy before he went near fiction. In the end he wrote a book he wanted to read and he did it well. Good for him.

Now, I'm going to write a book I want to read. It won't be about psychology or philosophy, it'll be about what I'm interested in: people and hopefully all that they entail, lovely, wondrous creatures that they are.

Thanks for reading.

Sunday, 25 May 2008

The Form and The Function

It's been all about the desk clearing, this week.

I've had so much on my plate with adminy type things to do that I've been finding it difficult to concentrate on the novel. I suppose being a writer does involve some small amount of paper work but where's the justice in that? I'm meant to be sitting pontificating over a big mug of tea creating believable characters and worlds not writing the covering letters and synopsise to go with them!

Well, that's exactly what I've had to do. So a couple of days were put aside writing covering letters for Earworm Turns and RWBW to send with my submissions. I really don't like writing synopsise, feels like you're sucking the life right out a story exactly when you need it most. This was especially difficult for Earworm Turns as the concept is really quite simple. Man hears song on tube, thinks its the best thing he's eve heard, goes mad trying to find it. See? Not exciting at all but it makes sense if you actually read it!

Anyway, they're done now. Earworm Turns is off with Interzone. RWBW hasn't gone to Cemetery Dance yet as they insist on you sending an SAE complete with US stamps. Of course, you can't get US stamps in the UK and USPS (which the mag suggests) no longer post stamps outside the US. So, I'm asking a favour of a friend from work to bring some back for me after she's gone to Boston. (Thanks Audrey!)

I did get a little break, however. Waterstones is doing a big writing competition 'What's Your Story' where you submit a very short story on one of their special postcards.
If you win you'll have the story printed in a small book of postcards alongside some big authors who have done the same: Neil Gaiman, JK Rowling, Nick Hornby, Margaret Atwood and such and runners up have their cards displayed in the shop windows nationwide.

So, I've already written my entry but I've been obsessing over how to present it. Shall I handwrite it? Type it up and stick it to a card, submit electronically?
I think the story in itself is fine but for something so short (134 words) it needs a little more atmosphere; more form. So I went through all the fonts on Word and chose the one that looks like it a) was written by hand because my handwriting is rubbish b) looks like it was written in pen and c) makes capital letters look bigger than lowercase letters.

I chose Freestyle Script in the end and I'll send it off next week after people I've sent it to give me back comments. If I don't win I'll post up the story on the blog. Can't say fairer that that!

As for the novel, I'm really not enjoying it still. Finding it really hard to get to grips with it. I'm hoping that now all the adminy things that needed doing are done it'll free up some headspace and I'll be able to dedicate myself more fully to it again. I'm printing it off now to get a different perspective on it. *Sigh* I think we need some kind of marriage counsellor.

Well, that's all from me!

Thanks for reading.

Sunday, 18 May 2008

All in front like a wheelbarrow

Well, what is there to say?

Still editing the first few chapters of Act Two. It's going well. Think I'm a bit faster at the whole process now I know what I'm doing.

Rob returned the first chapter of Act One, complete with scribbled notes. The gist is 'the story is fine, just needs a polish' which I knew already. Quite a relief, really.

The Earworm Turns is now complete and I'll send that off to Interzone sometime in the next week after I've written a good enough covering letter. Finding that a bit difficult as it really is quite a simple premise and I don't think it sounds interesting unless you actually read it (and even then, I'm not so sure).

Murky Depths got back to me after I sent them the synopsis for Of The Father. They said they would like to see it. The Managing Editor even remembered I'd sent in something before but he suggested that I give Of The Father one last look through and see if I could cut it down before sending it as he thought that RWBW was a little overlong. I was a little miffed at that. I'd spent all that time editing it in the first place and he thought it still might need more? So I looked the story through; 1,400 words came out. It was a whole scene that came out plus about three other sentences. Anyway, that's been sent.

I also gave RWBW another look through before I send it to Cemetery Dance (again with a covering letter, I hate covering letters). About 700 words came out of that as well.

I suppose that's what editors are for. To make us writers look good.

So, hopefully, I'll be getting an acceptance for something soon.

Here's hoping.

Thanks for reading.

Monday, 12 May 2008

Finely Polished Words, in the pursuit of

A slightly late post this week.

It's been a fairly busy week this week. After the initial flurry of activity editing Act Two has frankly become a bit of a bitch. It's like starting a roll of sticky tape; I've just been skimming the surface unable to get my nail back underneath where it needs to be. It's getting easier, however, and I'm slowly getting back into it as I go.

I've written in new scenes I thought were needed, there's one I'm not sure will remain, there's a good chance it will get cut. Truth is I've never been sure about it, it breaks the flow of the story a little, I feel, but I really like the message it gives, I enjoy its juxtaposition with the status quo of the rest of the story, how human it is. So right now it has to stay until I either a) give in and delete it regardless or b) manage to fit the message in a different way. So that means it's just a massive A4 post-it note reminding me to try and get that message in.

In other news RWBW was rejected again. This time by Future Fire who said (and I quote):

"This was a well-written and convincing horror story, with nicely fleshed out characters and clever, well-paced narrative; the finale was especially chilling. However, the theme and content are not really what we are looking for in the magazine."

So that's 2 mags that loved the ending to 1 that hated it. A victory to me (for now).

That's all there is to report really this week. All there is left to do is copy and paste this section from Neil Gaiman's blog (link here to the full thing) which I found especially comforting and useful about the second draft stage.

"On the second and subsequent drafts, you do four things. 1) You fix the things that didn't work as best you can (if you don't like the climactic Rock City scene in American Gods, trust me, the first draft was so much worse). 2) You reinforce the themes, whether they were there from the beginning or whether they grew like Topsy on the way. You take out the stuff that undercuts those themes. 3) You worry about the title. 4) At some point in the revision process you will probably need to remind yourself that you could keep polishing it infinitely, that perfection is not an attribute of humankind, and really, shouldn't you get on with the next thing now?"

Thanks for reading.