Wednesday, 18 July 2018

Creative Kicks - Week 5 - Creating Characters with Clare Flynn

Creating Characters that Readers Care About 
By Clare Flynn
Photographs by JD Lewis

Whether you’re a daredevil seat-of-the-pants writer who sits down with a blank page and lets the story unfold, or a meticulous planner and plotter who knows in advance what will happen in every chapter, there are times when a character will surprise you. What? You might say, I’m the author, I’m in control! But that’s not always the case.


Why do characters have a nasty habit of running off on their own – sometimes in a different direction from the one we intended, leaving us lolloping along behind them? Well, it can be a sign that they are living, breathing people who have a clearer idea of their own destiny than the plot structure imposed on them – or it could mean they aren’t yet fully formed.

One way to find out, is to know your characters as well as, or, given that self-knowledge is rarely a strength, better than yourself.

A fundamental element of story, from Shakespeare to Star Trek, is the concept of a hero’s journey. One of my favourite expositions of this is shown in this short clip from Kurt Vonnegut

So, what are your characters’ journeys? The start point is getting clear on what each character’s role is in the story. The main character or protagonist (MC)? – the central focus of your story – the hero on his or her journey. The antagonist? – whether well-intentioned or plain evil, they are out to foil the MC’s mission. A minor character? – if so, what is their role in the story and relationship to the MC? For the purpose of this post I’m going to focus on the main character – as if you get that wrong you’ve lost your reader.


Exercise 1

Answer these questions about your MC (it’s a good idea to do them for the antagonist and supporting characters too).

· What’s their role in the story?

· What do they yearn for? This is fundamental! It’s what drives them and sends them on their journey

· What do they look like? Whether you include these details in the book or leave them to the reader’s imagination is irrelevant – YOU need to know this – and this goes for all of these questions!

· A brief pen portrait of their personality – just a few sentences

· What’s their occupation?

· Do they have any habits or mannerisms?

· What’s their background? (history, family, location, backstory)

· What are their internal conflicts? What causes their angst? Their dark nights of the soul?

· What are their external conflicts? Who or what are the source of these?


Exercise 2

Once you’ve done that, here’s another exercise. This time write freely in the voice of your character filling in the blanks. Don’t stop to think – just get it down on paper, preferably by hand.

Let me tell you who I am ––––––

As well as all that, what you really need to know about me is ––––––

OK confessional time here, what I really want is ––––––––

I’d be able to have exactly what I want if only ––––––––

Don’t tell anyone, but what I dislike most about myself is ––––––––

My life changed forever the day –––––––––

The worst thing that ever happened to me was –––––––––

The best moment of my life was –––––––––––


Exercise 3

To get right under the skin of your characters, give them the Spanish Inquisition.

You can use The Proust Questionaire http://hoelder1in.org/Proust/fill_questionnaire.html ,

or any online personality test

or do what I did when I was writing The Alien Corn and needed to reconnect with the characters in the previous book, The Chalky Sea, and use the excellent one JJ Marsh wrote about here, or make up your own.

I recently did an online course with a university on outlining (I was trying to move from being a seat-of-the-pantser to a plotter). One of the exercises was to fill out a very comprehensive questionnaire in the voice of your main character. Many of the participants found it difficult, if not impossible, to answer as their character rather than as themselves. That’s fine if you’re writing a memoir, a fictionalised account of your own life, or are transplanting yourself into your novel as the main character Hey, why not live vicariously? You too can swing through Amazon jungles or live as a Trappist monk. But in most cases your characters are NOT you and you need to get to know them better than you know yourself.

Most of the questions in a questionnaire may seem pointless – I’ll never use it in my book, you say. But you’ll be surprised at the gems you uncover that can add colour and shade to your characters. Think of characters as being like icebergs – the biggest part is hidden from view but it’s what gives strength, power and presence. A character who only consists of the words that make it onto the page is going to be thin and insubstantial. We are all what we lived in our pasts – a complex construct of past slights and injuries, compliments and excitements, moments of joy and sadness.

Some of the areas to think about (not an exhaustive list) in forming your characters are –

· What is their backstory?

· Voice and manner

· Tastes

· What do they dream about?

· Quirks and behaviours

· Skills and aptitudes

· Fears and desires

· Strengths and weaknesses

· Formative experiences

· Friends and enemies

My last top tip is, having done all the exercises, print them out and keep these together as a reference document to inform your writing. Or if you are paper averse, save them in a folder where you can easily refer to them as you’re writing. If you ever feel “stuck” a dip back into the folder can produce rich pickings.


Author of seven novels, Clare Flynn writes historical fiction with a strong sense of time and place and compelling characters.
After a career in international marketing, working on brands from nappies to tinned tuna and living in Paris, Milan, Brussels and Sydney, she ran her own consulting company for 15 years and now lives in Eastbourne where she writes full-time – and can look out of her window and see the sea.

Clare’s latest novel,
The Gamekeeper’s Wife, is available in paperback and as an e-book on Amazon http://mybook.to/gamekeeper
Website www.clareflynn.co.uk
Facebook – www.facebook.com/authorclareflynn
Twitter – www.twitter.com/clarefly
Instagram – www.instagram.com/clarefly

Wednesday, 11 July 2018

Creative Kicks - Week 4 - Blurb with Louise Mangos

You’ve written 120,000 words of your book and pared them back to around 90,000. You’ve edited and re-edited and edited again. You feel like you’ve read those words eleventy bazillion times (yes, that IS a number). You can even quote big chunks of the narrative from memory. Now you need to write a blurb. And the very thought makes you want to abandon everything and pour yourself a pint of prosecco. 


The blurb is a handful of sentences that sets the scene for your novel. If you’ve written in genre, the blurb should show something at stake for your protagonist or main characters in the narrative, whether your story is a romance, a crime, or a historical novel. The blurb often, though not always, asks a question of the reader – what would they do in a precarious situation? It should state the premise – perhaps a sentence about the dramatic opening to your story – and a hint of at least one reason your protagonist is not getting what they want. Most importantly, it has to make the reader want to dive into your work.

The blurb will appear on the back cover of the book, so it’s the second thing a potential reader will read after the title and your name. It has to be more perfect than all the words in your novel. It is not a synopsis. You must not reveal any spoilers. At this point you are giving nothing away beyond the first chapter.

The blurb is also useful as an elevator pitch. When someone asks you ‘What’s your book about?’ you need to be able to tell them without hesitation, especially if it’s an agent or a publisher. You never know where you’re going to meet these people. They are the gatekeepers of the publishing industry, and you must be ready to present them with the golden key. Assume you only have the time it takes to journey in the lift between four floors to forge your key and unlock the magic.

*

Exercise:

The easiest way to write a blurb is to create a mind-map.

1. Take your main protagonist. Write their name in a bubble at the centre of your mind map.

2. In a bubble above your character, write a sentence about the rising tension to the first dramatic incident in your plot. You could also make this a question – ask the reader what they would do in your protagonist’s shoes.

3. The other bubbles around the centre should include early plot arcs or twists in the narrative.

4. Pick one, and write a sentence that hints at the jeopardy or conflict in that incident.

5. Expand on the consequence of the drama, without giving away any obvious clues.

6. What is at stake for your protagonist? State their most intrepid challenge. This should be the final line of your blurb.


As an example, here is the blurb for my debut psychological thriller Strangers on a Bridge:

To what lengths would you go to protect your family? 

When Alice Reed goes on her regular morning jog in the peaceful Swiss Alps, she doesn’t expect to save a man from suicide. But she does. And it is her first mistake.

Adamant they have an instant connection, Manfred’s charming exterior grows darker and his obsession with Alice grows stronger.

In a country far from home, where the police don’t believe her, the locals don’t trust her, and even her husband questions the truth about Manfred, Alice has nowhere to turn.


*

You’ve got your blurb, something you’ve decided you can also use as your elevator pitch. And you pitched it so perfectly in that lift, you now have an agent who’s interested in representing you. Alternatively, you might have gone down the indie route and decided to self-publish. Now you need a tag line – one short sentence that will appear on the front cover of your book to deliver an essence of the tension in your story to the potential reader. Your tag line could be the last hanging sentence of one of your most tense chapters.

The tag line for Strangers on a Bridge is: ‘She should never have saved him

This might shock the potential reader. Most of us would do anything to prevent the suicide of someone – our instinct is to pull any fellow human back from the brink. So why shouldn’t Alice have saved Manfred? She does actually think this at some point in the narrative. Your tag line should make your potential reader want to find out why.

However, I should add that if you’re lucky enough to strike a deal with a large publishing company, it’s likely you won’t have any say in the tag line chosen for the cover. There may be three or four people working on the marketing and publicity for your book, and they will come up with a selection of possible tag lines. These will be passed around the team and a shortlist drawn up. Focus groups might then have the taglines tested on them before the final one-liner is chosen. Not by you. By the publisher.

A final note on writing the blurb: Most authors only write the blurb after the manuscript has been perfected. But it helps some writers to have a vague version of the blurb when they’re plotting the chapters. I use the mind map method to plot my novels, and have adapted my own system from the Snowflake method taught by Randy Ingermanson. You may not have a final title for your novel, but it helps to create a working title, even if it’s something like ‘Woman Stalked by Man’. Around the title, forming the start of your snow crystal, you have your main characters, and from there you have key moments in your plot. This method can be used as deeply as you wish. You might want to plot each of your chapters this way, each with its own individual snowflake. Here is a link to Randy’s site for writers who might be finding it difficult to plot their novels:

https://www.advancedfictionwriting.com/articles/snowflake-method/

I look forward to seeing all your wonderful novels on bookshop and library shelves!




Strangers on a Bridge was a finalist in the Exeter Novel Prize and long listed for the Bath Novel Award and is published by Harper Collins imprint HQDigital. Louise also writes short stories and flash fiction, which have won prizes, placed on shortlists and been read out on BBC Radio. You can visit her website www.louisemangos.com with links to more of her short fiction, or connect with her on Facebook or Twitter @LouiseMangos. Louise lives on a Swiss Alp with her Kiwi husband and two sons. When she’s not writing you can find her in her kayak on the lake in summer or on the cross-country ski loipe in winter, painting in her studio, or drinking prosecco in vast quantities when she’s trying to write blurbs for her novels.

Link to Harper Collins page: https://www.harpercollins.co.uk/9780008287948/strangers-on-a-bridge/

Amazon.com link: https://www.amazon.com/Strangers-Bridge-gripping-psychological-thriller-ebook/dp/B079KL6VSB

Amazon UK link: https://www.amazon.co.uk/Strangers-Bridge-gripping-psychological-thriller-ebook/dp/B079KL6VSB














Wednesday, 4 July 2018

Creative Kicks - Week 3 - The S-word with Jean Gill


The S-word we all hate


That is, of course, s for structure. Before you rush off to read something that’s more fun, just answer one question. What if the story starts with Cinderella looking in the mirror at her middle-age spread and grey hair, as she remembers the moment when her bad-tempered husband, now King Charming, fell in love with her? How does that change the story? Hold those thoughts!

‘Structure’ sounds rigid, all rulers and straight lines, but we’re going to get messy, fool around with the sequence of scenes in a story, and consider the consequences.


The simplest structure for a story

Good storytelling is as old as sitting round a fire with friends and, although the terms used for the craft might change with fashion, the craft itself remains the same. My touchstone as to the simplest story structure, very useful for a play or short story, dates back to Aristotle. His theory of three unities suggests that you should limit your story to one location (place), one day (time) and one plot (action). Breaking one unity is fine but if you break more, you risk confusing your audience and losing the power in your storytelling.

In a novel, we can play with multiple places, times and subplots, but we should still be aware that this adds complexity.

Let’s return to the Cinderella story and consider some of the choices related to one of Aristotle’s unities, time.

Time structure is the order in which the content of the book (whether story, poems or facts) is revealed to the reader. This is where we have fun and get messy because there are so many options. There are no rules - just consequences!

The simplest time sequence for telling a story
is chronological, by the time and date events happened. Imagine a four-year old telling you, ‘Then I went on the swings, then I went home.’

Even with a chronological structure, we can incorporate memories (the past) and hopes or fears (the future). We can change points of view (but not too quickly or the dreaded ‘head-hopping’ will annoy our readers). Versions of Cinderella’s story often begin with her being ill-treated as she does endless domestic chores, then she sees the invitation to the Prince’s ball. In between there are obstacles and resolutions. The ending is a Happy Ever After – classic romance structure.


What is the effect if you begin at the end?

In my Cinderella version, the beginning shows poor Cinders disillusioned and wondering what went wrong – the chronological ending of the story. This is now women’s fiction instead of romance, so there is a genre change. The hook is no longer ‘Will she meet her Prince, against all odds?’ (and because it’s romance, you can expect that she will) but ‘I know just how she feels. I want to spend time with this real woman and find out what went wrong.’

What if you begin in the middle?

Jane Davis’ superb novel ‘Smash All the Windows’ starts in the chronological middle of the story. The opening chapter shows us the trial and verdict regarding a lethal disaster in a London underground station. We know who was killed. The structure removes all suspense as to who dies, or what the trial verdict will be. This transforms what could have been an all-action disaster thriller into a contemporary novel focused on the survivors’ relationships and emotions.

You could start the Cinderella story with a middle scene. She is at the ball dancing with the Prince. This changes the mood of the beginning from misery to happiness and gives different ways of continuing the story, perhaps a) flashback to all the events leading to the dance, followed by losing the Prince again and a similar story arc until they are together at the end. Or b) a dual timeline, one chapter narrating Cinderella’s tough life with her stepfamily and the next continuing from the dance.

Why use a dual timeline?


Juxtaposing Cinderella’s time with the stepfamily before and after the dance with the Prince would allow psychological depth. She could know despair after happiness was snatched away, and realise that the cruellest emotion of all is hope. This would be a good structure for a novel raising questions about our existence.

A dual timeline is also useful for any story where two sequences of related events are separated by time, especially – but not only – Historical Fiction. J. T. Lawrence’s ‘Why You Were Taken’ creates sci-fi suspense by switching between two related women’s viewpoints, in 1980s and 2020s South Africa. When it works as well as this, readers are hooked as they puzzle over the connections.

A dual timeline can converge at any moment in the book, when the connection is revealed, but authors often leave the full revelation to the end, where a conclusion ties up all the main threads, apart from those left for the next book in a series.

Create suspense through the sequence of scenes

Readers love knowing something that the characters don’t, so show the reader something that’s going on, then let another character head for disaster, not necessarily straight away.

Let’s add a scene to Cinderella.

1) Cinderella finds Prince Charming in bed with her (ugly) sister.

From Cinderella’s point of view, this could come as a great shock or be no surprise but either way we know as much as Cinderella does.

However, if we see

1) Prince Charming in bed with a sister then

2) Cinderella talking to her friend about how happy she is with her dream husband

we feel the pain of Cinderella’s betrayal and we’ll read on quickly to find out what happens when she finds out! This is a classic example of dramatic irony and is one of the most effective weapons in the writer’s armoury.

Now it’s your turn to have fun with these techniques.


Exercise

1) On separate post-it notes or, if you’re hi-tech, in Scrivener or other software, arrange the scenes below

i) chronologically. What genre/s is the story?

ii) in alphabetical order. How does this change genre and mood? How would you write the link from one scene to the next?

iii) randomly. Shuffle the scenes, lay them in a row and add any scenes you like. Add a point of view for each scene (could be the same throughout)

iv) as a dual timeline. Add four scenes from the life and viewpoint of the stepmother twenty years before the ball. Put these in a row. Choose 4 scenes from Cinderella’s story and put these in a row above the stepmother’s. Read the story, zig-zagging from one row to the other, then add or write one scene to bring the two timelines together.

2) Play the same analysis game with any novel which struck you as having an interesting structure, especially if it’s in the genre you are writing.

3) Write each key scene in your story in the same way and have fun moving scenes around. Plotters can do this before writing and pantzers can do it at any stage. Both can do it at re-drafting stage. A key scene is whatever you want it to be – could be an event, could be a revelation (e.g. Luke Skywalker finds out that Darth Vader is his father).

J. Cinderella sees the invitation to all girls to go to the ball at the Palace so the Prince can find a wife

A. Cinderella’s ugly step-sisters are horrible to her and say she can’t go to the ball.

M. Her stepmother gives Cinderella lots of housework to do so she can’t go to the ball.

B. Stepmother and sisters get dressed up and go off to the ball.

O. Cinderella is crying and her fairy godmother appears.

R. Fairy godmother makes coaches out of pumpkin, footmen out of mice and creates beautiful gown. She instructs Cinderella to be home by midnight.

D. Cinderella is at the ball and dances with Prince Charming. Love at first sight.

P. Clock strikes midnight. Cinderella runs away. One shoe falls off.

V. Visit from the Prince and entourage to Cinderella’s house with shoe to see if the shoe fits. Ugly sisters try shoe.

L. Discovery of another girl in house. The shoe fits. The Prince has found Cinderella. Joy. Wedding.




Jean Gill is a Welsh writer and photographer now living in the south of France with two scruffy dogs, a beehive named Endeavour, a Nikon D750 and a man. For many years, she taught English in Wales and was the first woman to be a secondary headteacher in Wales. She is mother or stepmother to five children so life was hectic.

Her nineteen books are varied in genre, including the award-winning Troubadours Quartet, memoir, military history, dog books, poetry, and a cookery book on goat cheese. With Scottish parents, an English birthplace and French residence, she can support the winning team on most sporting occasions.



CONTACT

Contact jean.gill@wanadoo.fr

Sign up for Jean’s Special Readers’ Group http://eepurl.com/AGvy5

Youtube Channel https://www.youtube.com/channel/UCPvXZBW-VLBibveKhXA-QZQ

IPPY Award-winning ‘Best Author Website’ www.jeangill.com

Blog www.jeangill.blogspot.com

Twitter https://twitter.com/writerjeangill

Facebook https://www.facebook.com/writerjeangill

The Troubadours Page https://www.facebook.com/jeangilltroubadours

Goodreads https://www.goodreads.com/author/show/4619468.Jean_Gill

Instagram https://www.instagram.com/writerjeangill/






Wednesday, 27 June 2018

Creative Kicks - Week 2 - Characters over a Series


By Triskele Books

Way back in 2015, we gave ourselves the objective of developing our writing skills over the summer. We'd spent four years building the Triskele brand, learning about marketing and publishing, so it was time to go back to basics.And that meant writing.

We tried a bunch of exercises just to flex our creative muscles. Many were directly applicable to our WIP, such a Character, Voice, Point of View, Story Structure and Descriptive Prose.



But that was four years ago, and since then some of us have developed a series.

Gillian Hamer, JJ Marsh and JD Smith have all followed the same key characters over several books with every intention of continuing.

So we spent some time looking at the best way to keep those characters fresh and how to ensure they change and grow, rather than stagnate.


Exercises

1. What legacy of experiences mark your character’s personality and preferences now? Not just past trauma, but why is s/he allergic to seafood, soppy about butterflies, nervous of men in hats? Define a least one actual experience which has marked her/him. Then decide on something which has affected your MC vicariously (ie not something experienced directly – seen on TV, overheard, urban legend).

2. What stages of development does his/her personality undergo? How does that affect relationships with other familiar characters? What are the key turning points in each book?

3. When is the reader surprised by his/her actions? When does the reader have an ‘of course s/he would do that’. Even better, when does the reader have a moment of ‘I should have known!’ regarding character development?


4. Think of one past action scene which demonstrates your character’s personality (for better or worse). Now picture your character two/three books later – how would that behaviour change in those circumstances?

5. How other characters see your MC doesn't always reflect their true personality. That's logical - none of us is consistent or 100% honest. Look at your character from the outside. On the left hand side of a piece of paper, write down five of your character’s key values. What are the things they hold dear? Think conceptually, eg, truth, loyalty, persistence, kindness, etc

Now on the right, write down how those characteristics could be perceived by someone who hates your character. Eg, truth can be seen as rudeness, loyalty as blind devotion, persistence as pig-headedness, kindness as being a sap, etc

Triskele Books
For more detail on how each author approaches characterisation over a series, see this article.


Wednesday, 20 June 2018

Creative Kicks - Week 1- Voice with Nancy Freund

By Nancy Freund 
Images by Julie Lewis

Voice matters most. Aristotle’s Poetics famously revealed the Greek philosopher’s answer to the question of whether plot or character is the more essential to a good tragedy. He chose plot. Of course, if there’s no story, no building momentum, no carefully constructed pace, whether quiet or thrilling, there’s nothing worth reading. But no novel or story can stand without all three legs of its tripod: plot, character, and voice. Plot is what happens, character is by whom and to whom -- both vital -- but voice reveals the real nitty gritty. Not just the narrator’s identity and personality, but more importantly, the writer’s. Voice defines the relationship between writer and reader. Especially with the inundation of media competing for our attention today, voice matters most.

If there’s no voice inviting the reader in, the reader often won’t read enough to see the plot begin to build. Your plot needs a compelling story question to pique the reader’s interest – your hook. Get the voice right, and your hook will then keep the reader’s interest, increasing their investment of time. The question, who’s telling me this story, is key. Do I want to hang out with this person, this writer, for 300 pages? Through voice, you’ll ensure the answer is yes.
In ‘Art and Fear,’ David Bayles and Ted Orland say, “To all viewers but yourself, what matters is the product, the finished artwork. To you, and you alone, what matters is the process – the experience of shaping that artwork.” Although this fabulous little book is about creating visual art, it also applies to writing. But I disagree with them here. Today’s audience wants process. Readers often want an author’s photo on the book. They want a website to visit. They read interviews, attend book signings, check out google and youtube. They want to peek behind the writer’s curtains, demystify the process and the person behind it. This awareness broadens the relationship between writer and reader. It expands on what begins in the literature with voice.

Voice can be tricky. Writers can aim to give voice to people who don’t have it. Giving voice is not the same thing as delivering voice. One gives agency, the other lends atmosphere. Lifting repression or halting the silencing of marginalized people can be an important literary endeavor. But it’s not voice. Voice is more synonymous with vibe, short for vibration. Mood. Emotional response. Do you recognize and understand the personality of the writer you’re reading? Do you get the writer’s vibe? Are you vibing with the writer? Do you trust him or her? Are you intrigued to get to know him or her better? Do you read a page, or a paragraph, and want more? Literary agent Aimee Ashcraft of New York’s Brower Literary said she looks for “voicey YA that’s experimental.” She prefers “historical fantasy that’s voicey.” Basically, she wants the writer to reveal him or herself to the reader (and the agent! and the publisher!) from the word go.

Voice is the writer’s manner of expression, not the protagonist’s. The writer, the narrator, and the main character are three distinct people – unless the narrator and the main character are merged, in which case, that distinction blurs. But even if narrator and main character are tightly aligned, the writer’s voice should still be distinct. If your protagonist’s favorite thing in the world is a good old-fashioned hoe-down, your narrator doesn’t have to show up in a gingham checked shirt and over-alls. And neither do you.

Voice is consistent. The plot will sweep a full spectrum, pace will pick up and slow down, there will naturally be diversity in the work. But the emotional delivery, the way the reader connects with the writer, remains. Further, the way that writer connects with readers should be essentially consistent throughout all their work. A writer is gentle or playful or erudite or brash. Or a wild mix of delivery, page by page. But he or she presents a personality and sticks with it. Writers who cross genres sometimes use pseudonyms for differentiation. Generally speaking though, if the emotional vibe between writer and reader meets reader expectation of voice, whatever the genre, no pseudonym’s required. My best advice is to simply be you.


So how to develop voice? Five ideas:

1) Don’t overthink. Write how you speak, for a first draft. Rapido! Rapido! Get your words down on the page, fast. Use dictation software, if it helps you speak your story. I like Dragon Dictation.

2) Go easy. My high school creative writing instructor recommended beginning a story “Dear Mom,” and then you just write a letter. My mom both loved and criticized everything I wrote, so writing to her would have stymied me. But it’s a great point. Pick one person to write for, and your voice will remain consistent. Who loves what you write? Who gets you? Who brings out your good stuff? For me, it’s my friend Annie J. She doesn’t even know this! She’s awesome and fun and just formal enough, I think, to demand my attention to detail and clarity – and she wouldn’t put up with too many gratuitous swear words. She makes me a better me, even when she’s only in my imagination while I’m writing. It works for revising too – read your draft out loud as if Annie J’s in the room. You might find some good opportunities for rephrasing.

3) Slang. Use it, but don’t abuse it. If you aim for a super casual relationship with your reader that allows for f-bombs and whatever-the-hells, have at it. But if that doesn’t suit your readership, be judicious.

4) Be yourself! Be someone else! You can take on whatever voice suits your story. Know your genre. Know your market – and use the right voice, accordingly. You can ask someone to check your voice for authenticity when you’re finished. Does it sound real? Is some phrasing awkward or incorrectly used? Is it right for its time period? Be brave and ask.

5) Eavesdrop. My 8th grade creative writing teacher had us sit in a coffee shop to record nearby conversations. Today we might get busted for stalking or general weirdness doing that. Maybe you can use your phone to record people talking and transcribe the words later. Or transcribe conversations on TV shows. Copy down passages from other authors whose voices you admire. By writing it down, you develop your ear for nuance, fine-tuning vocabulary and manners of expression. Of course, conversation does not equal dialogue between characters, and dialogue does not equal voice -- but studied eavesdropping informs the dialogue between you and your reader, i.e. voice.


Nancy Freund is a writer, editor, mentor, speaker, and prior English teacher. Born in New York, raised in Kansas City, and educated in Los Angeles, she was married in England, and today lives in Switzerland. 
 She is the author of Foreword Reviews finalist for Book of the Year in General Fiction and Category Finalist for the Eric Hoffer Prize 'Rapeseed,' (Gobreau Press, 2013) 'Global Home Cooking: International Families' Favorite Recipes' which earned the Eric Hoffer Prize Honorable Mention and Amazon #1 bestseller status (2014), and 'Mailbox: A Scattershot Novel of Racing, Dares and Danger, Occasional Nakedness, and Faith' which was named a Foreword Reviews finalist for Young Adult Book of Year (2015) and a Writer's Digest Young Adult/Middle Grade finalist. 
Her writing has appeared in many journals and her radio interviews have aired on BBC London, World Radio Switzerland, and Talk Radio Europe. She holds a B.A. in English/Creative Writing and an M.Ed. from UCLA. She begins work toward her Masters in Creative Writing from Cambridge this October.

website: www.nancyfreund.com
www.facebook.com/nancyfreund/
Twitter: @nancyfreund
Instagram: nancyfreund



Wednesday, 13 June 2018

Creative Kicks - Introduction

For the last two years, we've run a FREE summer creative writing course via Triskele Books. Ten weeks of playtime. Forget the WIP and word count. Come have some irresponsible fun.


This year, we're relocating to Words with JAM. Each week we post an exercise from a well-respected writer who invites you to participate. Share if you like, or keep it to yourself. Either is fine with us.

The course starts next week and we'll be exploring Voice, Character, Blurb, Lyrical Language, Names, Pace, Plots and Going Wild amongst others. We're very excited about our guests who can bring genuine gravitas to the topics and offer useful advice as to improvement.


Here are a few examples of our most popular posts from the previous courses:

Story Fundamentals by Emma Darwin

Characters Inhabiting Their World by Sunny Singh via Catriona Troth

Flirting with Subtext by Jason Donald


Join us every Wednesday (or whenever suits you) for half an hour of muscle-flexing. Even if you don't write poetry, just give lyrical language a go. Try out an exercise on scientific world-building. Use creative moves you've not tried before. You might be surprised.



This summer, we hope you get all the kicks you want.


Next week, Nancy Freund on Voice.

Images by Julie Lewis

Wednesday, 6 June 2018

The Women's Prize 2018

By JJ Marsh and Catriona Troth

It's nearly time! The winner of The Women's Prize for Fiction is due to be announced today. We've read all the shortlisted novels and quite a few of the longlisters. Below, you'll find extracts from our reviews with ideal accompaniments and our own top tips for who we think should win.

When I Hit You or Portrait of the Writer as a Young Wife by Meena Kandasamy

I climb into the incredible sadness of silence. Wrap its slowness around my shoulders, conceal its shame within the folds of my sari.

A fictionalised account of domestic violence and rape within a marriage, told through many different lenses. It begins with the mother recounting, over and over, the state of her daughter’s feet when she fled home. There is poetry in this prose, and a humour so dark it’s like pepper on the tongue.
Read full review by Catriona Troth

You’ll Enjoy This If You Loved
: Dark Chapter by Winnie M Li, A Cupboard Full of Coats by Yvvette Edwards, Stay With Me by Ayobami Adebayo, Under the Udala Trees by Chinelo Okparanta

Avoid If You Dislike: Frank and intimate depiction of domestic and sexual violence

Perfect Accompaniments: Cumin and coconut, turmeric and chilli flakes, cinnamon and star anise.


Sight by Jessie Greengrass

This was a tough one to like but eventually, I did. Greengrass allows her character to meander and ponder and consider the human condition in every aspect. Stream-of-consciousness is a term often over-used and patronised, but here Greengrass uses it to best effect. Self-awareness is the only way to X-Ray the mind.
 Read full review by JJ Marsh

You'll enjoy this if you liked: Mrs Dalloway, Zoƫ Jenny, Scarlett Thomas

Avoid if you dislike: Self-examining narrators and lack of narrative

Ideal accompaniments: A fried egg, camomile tea and a still pond.


  Home Fire by Kamila Shamsie

Western media has been quick to paint all those who have been drawn into the net of the Islamic State as uniformly evil – and their families as either equally evil or ignorant dupes. Home Fire dares to look beyond the headlines at the human beings caught up in the apparently unending cycle of violence unleashed by terrorism and the ‘War on Terror.’
A powerful and important book that should be read by anyone wanting to find humanity beyond the headlines.
Read full review by Catriona Troth

You’ll Enjoy This If You Loved: Burnt Shadows by Kamila Shamsie; Antigone by Jean Anouilh, The Golden Legend by Nadeem Aslam

Avoid If You Dislike: Looking beyond tabloid headlines about terrorism

Perfect Accompaniment: A mug of the best coffee you can find and a quiet corner to drink it in.


Sing, Unburied, Sing by Jesmyn Ward

Part road trip, part social critique, part American nightmare, this beautifully written novel makes us feel the weight of the past in a visceral sense. There is an inexorable feeling of tragedy, as if we know what must happen in the end, but cannot help hoping things will turn out differently.
The book won America's National Book Award 2017 and was selected as Book of the Year by The New York Times amongst others. I can see why.
Read full review by JJ Marsh

You'll like this if you enjoyed: Beloved by Toni Morrison, Salvage the Bones by Jesmyn Ward or Meridian by Alice Walker.

Avoid if you dislike: Dysfunctional families, violence, ghosts.

Ideal accompaniments: Gravy and biscuits with a glass of cold water


The Idiot by Elif Batuman

The Idiot perfectly captures that nihilistic stage of late adolescence. That feeling of being out of phase with the rest of the world. Desperately seeking meaning in the most mundane of words and actions – and feeling depressed because you fail to find it. The inevitable passion for someone just out of reach. Mistaking sophistry for sophistication.
Read full review by Catriona Troth

You’ll Enjoy This If You Loved: The Idiot by Dostoeyevsky, The Maestro, the Magistrate and the Mathematician by Tendai Huchu, The Namesake by Jhumpa Lahiri

Avoid If You Dislike: Story lines that drift rather than drive

Perfect Accompaniment: Hungarian vodka


The Mermaid and Mrs Hancock by Imogen Hermes Gowar


Historical fiction doesn't get much better than this. The author's sympathies with the lot of women and comprehension of class permeate every chapter. Limited opportunities, social judgement and the currency of beauty is a delicate balance for a woman with no means other than looks and intellect. The ladies refer to their genitalia as 'the commodity'.

Gowar builds a London as it was, and a cast of characters so real, spiteful, snobbish, kindly, humble, capricious and arrogant, one cannot help but want more.

Read full review by JJ Marsh

You'll like this if you enjoyed: Sarah Waters, Rosie Garland, Angela Carter

Avoid if you dislike: The grim injustice of female situations in the 18th century.

Ideal Accompaniments: Millefeuilles and sweet wine, or freshly shucked oysters and brine.


And who do we think should win? 

Kat's tip: Utterly torn between Shamsie's Home Fire and the astonishing blend of poetry and brutality that is Kandasamy's When You Hit Me. Either would be worthy winners, but for sheer beauty of writing, my heart goes with Kandasamy.

Jill's tip: I think this is Shamsie's year, although Ward is a powerful contender. But my personal favourite was Gowar's The Mermaid. I still miss those characters.