FEAR

Achievemephobia

Sounds fake doesn’t it? The fear of success. Who in their right mind would fear such a thing? Well therein lies the issue, it’s an irrational fear and by definition, if you have it, you aren’t in your “right mind”. It’s a new one I’ve discovered that I have. I’m close, so burningly, ball-achingly close to finishing the steampunk series. There is but a heartbeat, a few pages, some mere explosive splurges of imagination onto the page remaining before I can call this series complete. And yet these last few chapters have taken longer and longer to pen. It’s not that I don’t know what to write – I’ve had the ending plotted out for some time now. It isn’t that I don’t have the motivation to write. It is that I have a fear of finishing.

To a writer, their books are like children. We give birth, nurture them to maturity, provide them with everything they require to gain life and then at some point we let them go out into the world. Just like a parent does with their grown children, we can check in on them periodically, see how they are doing, maybe give them a boost (think marketing) to help them out once in a while, but really, they are beyond our reach. We have done all we can, and can only hope that they don’t fall over so far that they never get up again. Is this the reason I’m struggling to write these last few pages? Probably.

There are other factors to consider. What do I do once I’m finished? Well, I have my other series of course, and I intend to write many more things, but there is no doubt that this epic monstrosity of a world that I’ve created will leave a gaping hole in my life when I have no reason to go back and visit it any more.

I don’t want to let go.

I don’t want to finish the series. I’m afraid of losing it.

Just like a reader who falls in love with the characters in a book – so to have I fallen in love with these products of my imagination. I don’t want to say goodbye to Larissa and Holt. I think I might cry when I write the last few paragraphs containing Cid. I can’t let go, and some part of me is fighting back, drawing out the process. I’m like a mother standing at the school gate for hours after my kid has gone inside. It hurts to say goodbye.

So to any fellow writers who have found themselves in the same position, please let me know how you cope with such a loss when your books are done? Because right now, I need some reassurance that I’m not going to end up curled in a ball screaming “I CAN WRITE BOOK FIVE”…

I really need to finish this series, and quick!

Write on! 

PLOTTING FOR NON-PLOTTERS

I do not plot.

That felt like some sort of confession, like I were admitting a guilty secret. Ok so it’s not as bad as telling you that I have some dead bodies stashed under my patio… I don’t… honest. Moving along.

I have tried to plot several times and found one main stumbling block in using this method, the minute I plot it stifles my personal creative process. It feels like the fun has been drained out of the writing when you set specific targets to reach. I enjoy writing for the same reason that readers enjoy reading – the ride and the journey. The discovery of secrets, the unveiling of character traits and the arc they all follow. It’s as entertaining to learn these things as a writer, albeit that the payoff takes a little longer due to the time taken to physically write things out.

If you are a writer who plots vigorously, then I applaud you. You can do something I cannot. This blog post is for those of us who have tried and failed or who just can’t even get their heads around the idea of plotting.

What I have found - being very far into two different series of books – is that the further I go along, the more I feel I need to plot (just a little bit). It’s very easy to lose track when you’ve built a complex world full of rich characters who all have separate agenda’s, so for me, there comes a time when I have to make a bit of a plan.

It’s a lot like Russian dolls. You start with the big picture, you know where you are up to this point and you may have a general idea of where you’re going. Plotting the journey is simply a case of putting aside the big doll and picking out the various smaller dolls, painting them bright colours until you get to the very smallest of details. Once you have worked down to the small level all you have to do is start packing it all back together again.

For me, I start with a new document and a set of bullet points. I will share some of the actual notes that I had on my new book The Pirate by way of example:

·         Have Holt explain his affection towards Rebecca

·         Bring Imago back

·         Walk through the jungle

Now these are very basic notes of things I wanted to achieve. I added to the list as the story progressed and crossed things off when items were completed to my satisfaction. It was not extensive plotting but it served a purpose. Now I’m up to book four of the series I’m finding my simplistic approach needs expansion and I have tried to do the full on chapter by chapter plot approach. You know what happened? I stopped writing it afterwards. Now I will get back to it – I need to get back to it – but plotting took all the fun out of it. It’s like writing out your own list of spoilers.

My advice to those of you with complex stories who aren’t plotters but you feel the need to do something to hold it altogether, try the bullet point list to start with and work your way up from there. I believe you can still call yourself a ‘pantser’ even if you do this, we’ll just keep it our little secret ok? Like those bodies…

I kid.

Write on!

Themes

I recently completed a five thousand word short story for an anthology. I used to only write short stories until last year and since then I’ve really only written novels so it was interesting to go back to writing shorts. It is certainly a different discipline, you have to cram everything in, keep the interest, build character and have a well-rounded story in but a few pages. Something I’ve noticed in short stories that take them from being merely a glimpse into a small scene and turn them into a more complete story is theming.

By this, I mean when an author introduces certain themes in from the very beginning and subtly keeps them up throughout, it helps to tie the story together. For example, the short story I just completed was about a fireman (the guy who stoked the fire of a steam engine) who is on a journey which ends with him flying off on the back of a dragon. Throughout the text I have several themes in place. The colour black – the fireman is coated with soot, the people on the train are all dressed in black and the dragon is a black beauty. Also the theme of fire is prevalent though not profuse. Finally there are themes in dialogue, the instructions that the engineer barks at our hero at the beginning of the journey are the same words the fireman uses to command the dragon at the end.

Now I’m not saying that I’ve written the best piece of literature in the world here, but I’ve had good feedback from it, and I’m as sure as can be that the theme’s therein are a large part of its success. The trick is to include themes without making them obvious. You can’t simply keep repeating one concept, themes need to be weaved into the narrative subtly, they need to be seamless to work.

You can take this approach and apply it to novels as well, keeping themes spread throughout a book helps to tie one chapter to the next, one character to another and to bring the whole book together. A good example of themes in books – specifically in character – is the adventures of Sherlock Holmes, drugs and alcohol are consumed frequently by our hero. The theme of justice through use of intelligent deduction rather than heroic muscle power, Holmes does not rush around town beating up the bad guys, he outwits them at every turn.

Alternatively, if you prefer a more modern example then let’s look at Harry Potter. Arguably the largest themes in the books are love, family, and death. For a more subtle theme, consider that none of the Defence Against the Dark Arts teachers last more than one year in their post.

Themes are important in stories and the very best writers will include them without even knowing they’re doing it. It is easy to go overboard though, so take heed.

Write on!

The Underdog Genre

When I began writing my erotic romance book,  I started it for no reason other than I had this story in my head that wouldn’t go away. I viewed it simply as an exercise in writing with no intention of writing a whole book, let alone a series, and certainly wasn’t considering publishing. Well here we are several months later, the first book is out, the second is half way done and the series will be a trilogy – this damn story just will not go away.

What I have learnt since embarking on the next phase after the first draft was completed – you know the phase no-one tells you about, the networking, the marketing, et cetera – is that erotica is generally looked down upon by the literary elite. I tell my authorly friends that I’m publishing an erotic romance and watch their noses screw up in disgust. I know why. There are lot of badly written books in the world, especially when it comes to erotic works. It is very easy to write a bad erotic book with one dimensional characters (and that’s being generous) and a non-existent plot. Add to the fact that erotic books – in spite of having a humongous audience – are still seen as a guilty pleasure, a naughty taboo, something people just don’t admit to reading. Most writers who do publish erotica do so under a pseudonym. So for me to stand up and proudly announce that I’ve written one and stuck my name on it in big letters, people look at me like I’m mad.

But guess what folks? I’m not. I approached this book as with any other. I began first and foremost with the characters. I’ve said before that the thing readers connect with in a book is the characters. Not the plot, not the worldbuilding, not the situations – the characters. I didn’t even start to think about sex (even though there is a sex scene right at the beginning of the story), until I knew a lot about who my starring people were. Then followed the plot, which is born from the characters and their needs and desires, then the worldbuilding and so on. The sexy parts of the story are entirely relevant to the plot. This – I hope – is what takes my work, and any other good erotic story, and sets it apart from the plethora of ‘bad’ erotica out there.

Additionally, my approach to the actual naughty bits was considered. I avoided the overly graphic descriptions, any that you might spot are sparsely scattered and carefully placed. You can write erotica without being vulgar. Neither do I sugar coat it, I call a spade a spade, nobody gets ‘deflowered’ the sexy parts are sexy.

Am I still glad to have stuck my name on it? Absolutely. I stand by the work. I’m not ashamed of it in any way shape or form and if you think I should be then you are the one with the problem, not me.

Here’s to good erotic literature. It is looked down upon, sneered at and thought of as the underdog genre. Pushed to the darkest corner of bookshops (if at all) and condemned as poor writing for horny housewives by literary snobs who secretly like a good hard hump just as much as anyone else. Don’t discount erotic work without first reading one of high-calibre, and if you don’t know where to start, I can make a good recommendation ;)

Check out the look inside feature and see if you get hooked…

https://www.amazon.com/dp/B01FCAVCQI

Write on!

DETAILS AND COMPLICATIONS

You know what I most often get stuck on when I’m writing? Details. I don’t mean details within a scene, how it looks or what’s going on. I mean thematic and plot details. Allow me to clarify with an example:

character (a) has problem x, y, and z,

character (b) needs to do 1, 2, and 3,

character (b)’s item 2 conflicts with character (a)’s problem x and z

if I allow character (b) to achieve item 3 then that will screw up problem y for character (a)

This is an oversimplified version of what I’m talking about, but you get the gist.

Now, I know there are programs in the world that have been designed with issues such as this in mind, that writers can use (*cough*, scrivener, *cough*) but I don’t need/want a computer to resolve things like this for me. I have always simply done it in my head. That was all well and good for a short story, novella or even one whole book. As I near the end of the full length trilogy, it’s becoming trickier to keep a tight handle on everything.

That’s the thing that plagues writers, we introduce all these elements into our stories, all these layers of conflict which makes for an entertaining read (we hope) but are a nightmare in reality. It’s like having a bunch of beautifully crafted kites in the air at one time while a hurricane blusters past and you try in vain to not let your strings cross and keep all those creations from crashing down into a tangled mess. It’s exhausting, frustrating and sometimes depressing.

What’s the solution? I don’t have a simple answer I’m afraid. I tackle it by doing frequent re-reads, going over and over what I’ve already put in place to ensure I remain consistent. Sure, an editor should be able to pick up on places where a writer misses something or makes a mistake, but I don’t like the idea of handing off responsibility for that to someone else, that’s just sloppy and lazy in my opinion.

So, if you’re a writer then feel free to share your advice on how you tackle such complications in writing in the comments, I'd love to hear other peoples approaches.

Write on!