I am often inspired by the visual so firstly:
Search on Tumblr – people create amazing art and take inspiring photos. There are writing communities and fan communities and people who just post random stuff. Search for something and follow the tags that come up.
Check out pixabay – free to use images and illustrations.
Play on canva – create some designs with their simple ceative tools.
Pinterest, obviously. Create a mood board or just pin quotes to get you motivated.
Look at readymade book cover designs. They always make me want to write the book that goes with them…
Don’t neglect audio inputs for inspiration. Many writers listen to music while or before they write, but music is not the only option.
Ambient noise, such as this ready-made cafe background noise. This really works for writing at your otherwise boring desk.
I also like nature recordings of water or surf. These are good for relaxation but also for when you are trying to describe a specific sound. The British Library has a host of recordings you can listen to, from all around the world.
Spotify playlists. There are lots of categories and styles, and if you are a regular listener, it suggests music you might like with Spotify Discover.
Movie scores. These are my go-to writing background music. Lately, it’s been the fantastically romantic and uplifting score from Fantastic Beasts, but what you choose would depend on what you’re writing.
I’ve mentioned Spotify for music, but I also listen a lot to classical music on Classic FM.com. This isn’t stuffy old recordings of hour-long obscure pieces – this is [popular classical, mostly short pieces and includes contemporary classical, movie score and music composed for games. I’m no Final Fantasy gamer but the music is awesome.
Titillate your ears with foreign language radio. I don’t mean a language you can understand, I mean sounds that your brain will stumble over. get those synapses firing! BBC Radio Cymru is good for this – where else, outside of Wales, will you hear Welsh spoken?
Touch and Taste
New inputs from other senses are inspirational too. I’ve picked two pleasant ones!
Eat new food. If you live in a city this is an easy option. You can pick somewhere new to eat out – Lebanese or Polish or Korean. If you’re at home then you can cook that thing you never cook from the recipe book. Travel is the best way to taste new foods – iguana, say, or reindeer – but there are restaurants around which serve you zebra burgers and crocodile nuggets, if you look.
If all else fails, check out The Gallery of Regrettable Food. I found this site in about 1997 and it’s still great! Pictures from the recipe books of your mother. Or grandmother. Get inspiration on quirks for your stories with articles like Cooking with 7-up or Jello Art of the 20s and 30s.
Touch something new. I know that sounds weird, but truly, how often do we feel new stuff? (OK – every I time go clothes shopping. I touch every item in the shop to see if it passes my can-bear-to-have-it-near-my-skin test. But still). I touched sealskin in a market in Norway and wolfskin. I’ll never forget that. I understood immediately how hunters used sealskin for waterproof clothing. And the wolf fur was deeper than my fingers could reach. Just seeing a picture of the thing would ever convey the understanding that touch collected.
What inputs do you seek out for fresh inspiration?
This blog is about my biggest pants yet. That should have been the blog’s title, but pants is funnier in British than American, so I didn’t. What’s the point when half your readers won’t find it as snortingly humorous as the other half? Anyway, learning by the seat of your pants, and in public, is a great tool for improving your writing, and your life. Being a bit of a muppet in public shows you that so long as you are not, say, president of a crazy and secretive nation, or crazy president or an otherwise completely fine nation, the world will not end. (If you are such a president, then I only hope there is large secret-service person close by, who will snatch your hand away from the big red button).
So why is learning in public so useful? Jami Gold says it can help you get feedback as you work, and build interest in your idea or brand. She also highlights a few downsides – including sharing something which contains errors. (I’ve done that for sure – I corrected some typos in one of my AZchallenge posts just this morning. Yikes.) Another potential pitfall she mentions is setting yourself up for problems if you don’t deliver what you promise – readers excited to receive your finished work might be very unhappy if it doesn’t appear when promised. Read her entire post about it here.
Joe Bunting says sharing your work helps you to fail faster. And the faster you fail, the quicker you get to success. Weird logic, but you can see how that would work. Check out more of Joe’s articles on his writing community, The Write Practice.
Jeff Goins is a big proponent of failing in public, and like Joe was one of my inspirations in creating this blog. Jeff’s philosophy on this is that other creatives don’t do their thing in a garret. Musicians don’t just record their music and listen to it themselves: they share it in live performances. Artists, even graffiti artists like Banksy, don’t hide their work, they put it up where people can see it and get excited about it, one way or another.
It encourages other people who are on the same path as you. Austin Kleon believes you should share something every day. That helps solidify a habit, and it creates a habit for your audience, too, to look out for each day’s contribution from you.
It gives you confidence that mostly your actions don’t have terrible consequences, and most consequences can be fixed. I went back and removed those typos I mentioned earlier. Nobody commented to complain about my shoddy proofreading, and I apologise right now for not having gone over that post properly before publishing it. I’ve also changed my mind about all the structure stuff I posted on when I started this blog. It was a mistake to ignore structure for most of my writing life until now, and I admit that freely. I’m learning from that mistake!
It challenges you to hold yourself accountable to your audience. This blog allows me to practise blog writing (!) and also to reflect on things I love and hate in the world of literature. I could do this in my private diary, but by doing it in public, I have to check spelling, test sentence structure, and make sure that each post’s argument more or less hangs together.
I think most of all it encourages you to share your work. Once you get over the idea that what you do can be seen by other people, it emboldens you to give them more things to look at. I could post a new novel, chapter by chapter in public, and get feedback as I go. I could test out story system ideas on people instead of in my head. I could do anything. I never intended this blog to be a platform for my stories, but I’m starting to wonder if I should change that. I love Austin Kleon’s idea of sharing a poem every day.
It kills off perfectionism. I encounter a lot of writers who are afraid to start writing because they know that what they write will not be perfect. Or writers who go over and over their first chapter, trying to make it flawless, before they move on.
If you’re writing in public, on a schedule, you haven’t got time for that. You check your work to the best of your current ability and you send it out into the world. I learned this in 2013, when posting fanfic chapters every day. My readers would message me asking when the next part was coming. I wanted to meet that demand, and so even when I could see a sentence which could be honed further or a plot point which could be developed more, I held back my perfectionism and pressed Publish. It was time to share, and I shared. I achieved so much more this way than if I had stalled and fussed over my writing. It’s not perfect, but it’s out there being read, and that was my aim.
Here are some places you can share your work and learn in public:
Tumblr – I use it for stories, many people use it for art.
Twitter – Jeff Noon tweets stories – haunting, beautiful, weird stories.
I think learning in public has toughened me up and made me more aware of my audience. It’s brought me a good habit of writing to be read.
What do you think of public learning? Are there other outlets where you share your work? Let me know in the comments! I love to find new places and ideas.
I’ll be back tomorrow with Q – with a mystery theme…
If you plan to blog regularly, you will need a regular supply of material to blog about. If you’ve been blogging for a while, you may have already plucked the low-hanging fruit – the ideas which first prompted you to start writing, the hot topics which pushed your buttons. But now you still need fresh content. How can you find it, and how can you give yourself structure so that all your writing time is productive? Here are some suggestions.
You need a problem to solve. Every blog post needs a theme, a problem, and some suggested solutions for that problem. If you’re blogging fast, then three is a nice round number of solutions – though a lot of bloggers favour nine or ten, or go completely crazy and promise 50 ways to address your issue.
If you can come up with a title, a problem for that title, and three ways to solve it, you’re good to go. Once you start writing, more ideas will occur.
Think of issues you yourself have faced, and if you have already blogged about them, seek out the problems others are experiencing. How could your content approach these issues in a fresh way?
If thinking about problems seems rather negative, turn that on its head, and think of your personal successes. Then consider what you had to overcome to achieve that success. Tada – you now have problems, and solutions, and a happy outcome you can offer your readers.
Action: think of the top five problems in your blog’s theme. For writing, these might be to do with grammar, writer’s block, and finding inspiration. Invent a snappy title for each problem, and list three possible ways to resolve each problem. Bonus: what twist can you put on the problems facing your readers? What have you done that might seem weird or counter-intuitive, but which worked for you?
You need the magic combination of restriction and freedom. This sounds as if it would restrict the flow of ideas, but the opposite is true: give your brain a limitation and it will work harder and more creatively to resolve it. Saying, I must think of something about Gardening for my gardening blog, is likely to result in a blank page. Say instead, I must think of 30 ways to handle vegetable growing in a dry climate, and your botanical brain will come up with 40.
Have regular brainstorming sessions to think of themed ideas for new content. Set your imagination a challenge to come up with new or more or crazy ideas for a very limited theme and it will suprise you with how much material it generates.
Action: Make a list of tightly-themed titles right now and use them as your jumping-off point. That’s what I did for this challenge – there’s no way I could come up with something new 26 times just off the bat. I had a restrictive A-Z structure, see my post about this, and then I worked out a list of titles, and voila, I had a starting point to write from.
You need a fallback plan. If you’re blogging alone, creating one-hundred-percent zinging new content is going to be very hard work. That’s OK, but sometimes you need to accept that a post will offer more general content, that forms part of the ‘reference section’ of your output. This might be a master post list, or a post researching someone else’s brilliant idea. Start an ongoing feature and return to it whenever you have a fallow period. On a car restoration project blog, you might have an ongoing series on Worst Tweaks Ever, or Wildest Transformations. They’re not your car projects, but they’ll still be relevant to your readers.
If all else fails, write a review – of a conference, industry event, new book, or film. If you attempt this, the item in question must be blog-relevant in some way, and your writing must be sufficiently entertaining that people who have not experienced this book/film etc will still enjoy your post. I will read anything by David Mitchell or Jemery Clarkson – who each write on a broad range of topics – because I am completely confident that their piece will make me laugh. I care not one bit about shiny cars, but Clarkson can make anything entertaining. His politics are not my politics but I still love to read them. And Micthell could make a shopping list fascinating and hilarious.
Action: seek out news relevant to your readers and write a post about it – or invent an ongoing feature for your blog that you can return to when writing times are hard.
You need a guest blogger. if you’ve temporarily run out of fresh material, or simply want to expand what your blog offers, invite a friend or colleague to write for you. Find a like-minded blogger and collaborate – write a post for them too, and share the exposure. Somehow it is much easier to come up with ideas for someone else’s thing than your own, so this approach could have multiple benefits.
Action: invite a guest blogger to contribute. Most people will be flattered to be asked, and will bring a fresh take on your theme that readers will appreciate.
I hope this helps. How do you consistently generate fresh blogging or writing ideas? Let me know in the comments!
I’ll be back tomorrow with O – Ordinary writing
A short post today just to share that last week I found out that I am the overall winner in The Write Practice’s Spring Writing Contest! I’m so thrilled, especially as the standard of stories submitted was, as always, very high. I’ve been given an honourable mention in previous contests but never won. I let out an involuntary whoop in a hotel restaurant when I found out last week, and then grinned through the entire meal.
My winning story appears on the front page of Short Fiction Break today – please check it out and let me know what you think. As I’m writing this ahead of time, I’ll include this separate link in case the guys at SFB move things around before Tuesday.
A couple of things about The Write Practice and why their community and their contests are so great:
To enter, you must first submit your story in the workshop for feedback. Yes, that’s right – unless you go through this step, your work will not be accepted. This is so important as it teaches writers – some for the first time – to share their work and receive feedback. You don’t have to accept the suggestions made by those in your workshop group, but I’ve found that readers pick up on so many things I’ve missed: not just typos etc, but where a story doesn’t slow, or where a sentence scans awkwardly, for example. Fresh eyes on your story are invaluable for improving it, ahead of submitting to a contest.
It’s also part of the deal that you give feedback on the stories of others in your workshop group. Again, this is valuable practice for all writers – learning to read critically and identify parts of a story which aren’t working for you. The Write Practice has a tradition of careful and constructive feedback (one-worders and dismissive feedback are strongly discouraged) so the critique you give and get focuses on an aspect which worked, and an aspect which could be stronger.
Everyone who enters can have their work published. I don’t know of another contest that does this. If you agree, then your story – winning or not – will be published on Short Fiction Break and seen by their readership. What a great incentive, for those of us building up our writing CVs! Your work will have passed through the workshop, and has now been published – great for your resume. (Writers can opt out of publication if they wish. I didn’t wish.)
It might seem weird that in the workshop, you would be helping other competitors improve their chances against you – but honestly, this works. When you read a story and think This is great! you want to make it even better. And likewise, I’ve received so many helpful comments that have highlighted my weak points – and what readers enjoy.
I encourage everyone to join a critique group like the Write Practice – a regular writing deadline and consistent, helpful feedback are the most valuable tools for improving your writing.
Many thanks to The Write Practice and Short Fiction Break, and I hope you all like my story. Woohoo!
The Write Practice: the contest workshops only exist during competitions, but the weekly writing group membership runs all year. There’s also an online cafe where we chat about relevant – and irrelevant – things, and a forum for getting feedback on story ideas. And if that wasn’t enough, there are focused courses, such as Write a Novel in 100 Days. Find out more here.
Today’s post was out of alphabetical order. I’m back with N- No ideas but still need blog content? tomorrow.
What makes a main character, or protagonist, successful in a story? What tendencies should the writer avoid? This is a huge topic, so I will just suggest some elements I look for in a great protagonist, by highlighting some of my pet hates.
Pet hate #1: The ‘Flawed’ Heroine. (Or Hero). This is like that question in job interviews where they ask you about your greatest weakness. “Oh, my weakness is my perfectionism. Or my punctuality. Or the way I just can’t rest until I’ve done great work!” What a suckup. The boss can see right through you, you idiot.
Heroines in a lot of novels I’ve read (or started) have this kind of ‘flaw’. She’s stunningly beautiful but clumsy, or has no dress sense, or (I actually read a book like this) is terribly self-conscious about her magnificent bosom. This makes me grind my teeth. These flaws feel bolted on and, like crippling workaholism, are not really flaws at all in the eyes of the management/the love interest.
I like flaws that have an impact on a character’s life. Hilariously bumping into the Love Interest and making him drop his Mysterious Book – it feels so lame. I notice, too, that most of these flaws disappear after a single session of remedial training with a Gay Confidante, or a makeover with a Quirky New Friend. (These side characters are also waaaayyy overused, but at least I like them.)
A real flaw – something the protagonist must work to overcome – will be one that both offers a perceived benefit to the character BUT is holding them back. Say, fear of flying – it seems to offer safety BUT it is preventing career progression, contact with distant loved ones, adventure of a lifetime, et cetera. Or how about selfishness – it seems to offer material security, BUT never sharing means loss of meaningful human relations.
These flaws would have an impact on every aspect of the protagonist’s life. The reason for a flaw is where you’ll find the juicy stuff. Mr Darcy was all moody and sneering because he’d been pursued by gold-diggers all his life, as had his vulnerable younger sister. Disdain brought him safety from grasping social climbers, BUT it held him back from finding happiness.
Phobias are authoring gold, as I have previously mentioned. Check out this list of phobias to see how many things we might be afraid of. (Note: make sure you don’t fix your MC’s phobia with a shake of fairy dust. Phobias are gold because they offer big, challenging problems for a character to overcome. Be wary of trivialising a phobia. Understand why your character has this problem, how it helps them, how it’s holding them back.)
I think this formulaic insistence on a flaw in main characters stems from romance and action novels where otherwise the lead would be unbearably perfect. Good looks, youth, capability, professional respect – I loathe them already. But sticking on ‘clumsiness’ doesn’t instantly add depth, unless the author has fully imagined how such a flaw could affect the character’s existence.
You should also consider how the flaw is tied to the story’s final goal: how would the heroine’s innate clumsiness or giant bosom impact the thrilling climactic scene? I guess clumsiness could work. Either the heroine catches the MacGuffin at the end, overcoming her flaw (lame!) or drops it, but uses one of her many other skills to save the day (better). Just thinking about scenarios for the giant bosom one makes me cringe. We need a 38GG woman to land this plane or we’re all going to die! Right.
Pet hate #2: Completely unlikeable hero (or heroine). Ugh. A character known only by his surname stamps about gruffly executing people and showing off his giant expertise with minutely-described weapons. Occasionally, this person will encounter a beautiful woman and ‘bed’ her. Nothing makes Surname laugh, or cry, but he’s very good in bed. At the end of the story, Surname is exactly the same as when he started, but has fired a lot of specific guns and displayed a lot of brutality. He has no redeeming features – almost, no features. He doesn’t dream or feel or appear to be related to his backstory. Ugh.
I see this the most in science fiction. Soooo much tech, soooo little characterisation. I really don’t think that because we are In Space, we’re going to lose our personalities. As if to prove this, Kim Stanley Robinson’s Mars books are brilliant at showing all our human troubles, transferred to a dangerous new environment. His characters are lively, and passionate about their beliefs. They are relatable. He shows Russians and Chinese and Israelis all not getting along – and that seems highly plausible to me, even In Space.
I think this Unlikeable Hero trait is the unintended result of a long tradition of beloved action heroes. And sure – sometimes I think we all yearn for a simple hero who does his (or her) duty and doesn’t get all emotional about it. Biggles doesn’t chat about his feelings while shooting the Hun out of the sky. Hornblower is rigidly attached to the Navy even thought it regularly almost kills him. But both these heroes are likeable. They have friends, they try to do good, they have a sense of humour. Even Jason Statham in full Transporter mode is likeable – his character is a guy trying to do a brutal job, but his conscience battles his obligations in a way that even he admits can be funny.
The current most popular hero is Jack Reacher, created by Lee Child. I love Jack Reacher. He’s gruff, known mostly by his surname, can be extremely violent and use highly technical weapons, and he gets the girl every single time. But he’s so likeable. He has a strong conscience – like Biggles and Hornblower. He has a dry sense of humour. He can make friends and fall in love. And even though some things make him angry enough to seek vengeance, he seems at heart to be a decent guy. These are the elements I miss in some of that hard SF and gritty thriller writing.
Those are my top two dislikes in a main character. Do you agree? What are yours? Let me know in the comments!
I’ll be back tomorrow with O. I know that’s out of alphabetical order, but there’s a reason for it, I promise.
N will appear on Wednesday.
If you write romance, or have a romantic subplot in your story, you have to come up with the mushy stuff, or the hot stuff, whether you feel it or not. And that’s hard, excuse the pun. So what tricks can you use to generate a bit of romance when you really, really cannot be faffed? Music-? Reading or watching something romantic -? Perhaps, except you are supposed to be using your precious writing time for writing, not getting in the mood for love. So here are a couple of things you can do to introduce a little Unresolved Sexual Tension, aka sizzle, when otherwise every character would remain platonically friendly forever.
Smell. Lovers like how each other smell. Oh yes. Make sure your romantic leads get a faceful of each other’s delicious personal scent. Be a bit poetic too. She smelled like almond leaves and hope is rather purple, but in a first draft, it gets the job done.
Touch. Have them keep touching, preferably without planning it. Think, their hands brushing by chance, as they labour together on a shared mission. Cram them up against each other in lifts whilst tending the rescued puppies. You get the gist. It’s corny but it does, quite literally, bring your characters together. Perilous situations offer the perfect excuse for this, clinging to swiftly-fraying ropes, and so on.
Listen to what your leads are telling you. I threw my hero and a beautiful princess together in chapter one of my WIP, a but in a throwaway line he told her he wasn’t interested, and I frowned, and then he met the antagonist and took one look at him and I was like right, so there’s where we’re up to then and had to rewrite a whole lot of everything because these two kept gazing at each other. True story. It was also much better than my original plan, because there is so much to prevent my hero and his opposite number getting together, whereas the rebellious princess was, in my hero’s opinion anyway, far too available.
So if your lead characters really don’t want to get together, then put them with the one they do want. It’s usually your author instinct telling you that there is a more interesting story going on over there in the B characters than in your good-looking, competent, successful A characters (who frankly, when you look at them, are boring.)
Enforced bed sharing. This always works. Have them obliged to share a sleeping space through some hotel booking mishap, or oblige them to share a tent or a teetering ledge on the edge of the mountain they’re climbing. Enforced intimacy reveals lots about both characters, and Inappropriate Thoughts begin to occur, and off you go. It can be funny, romantic, or disastrous, but it always peps up a story. This is the oldest trick in the book, but it does work.
If your two characters absolutely must get together and you cannot bear to see it, write it with your eyes squinted shut – by the numbers, dial it in, and return to it later. He kissed her, she kissed him, they fell into the hay gasping and clutching at each other – new chapter. When you revise, the scene might not be as awful as you think, and anyway, improvement is what the editing stage is for. I write a passionate climax scene that I had really lost interest in by the time I reached it – but thus far, nobody has commented. It was a while ago, and reading it over recently, I found that the romance had never been the heart of that story anyway – other themes of trust and madness were the focus. So my less-than-sizzling scene was not the climax: that took place earlier, and the romantic get-together was the denouement. Phew. Some writers distance let me see this.
Write a really really long build up. If you were about to jump into bed with someone, you might start by hoiking them up into the sink, Fatal Attraction style. But probably not, probably it would be all, can I take your coat, oh right, thanks, have you got any decaff because I’ve got an early shift tomorrow… and if you keep that going and really put yourself in that awkward, real moment, you can usually write it. Eventually.
Please don’t have your leads get it on in their regular bed. Dull dull dull. Pick a fantastic location, like a lighthouse in a storm, or inside a clock tower, or on top of a burning building. This is fiction. Why would you have them make love in the master bedroom, when all of 1930s Paris, say, is at your feet?
Make sure the romance climax, pun intended, is tied to the story climax. They must solve the mystery AND get it on within or close to the same story space. Their emotional arc must intertwine with the story’s mystery arc, or the romance feels bolted on. If the romance is in fact bolted on, take it out. Much as I love romance, not all stories need it.
I love writing romance, but sometimes I am exhausted with it by the time I reach the all-important romantic climax, so my top tip for writing those scenes is to write them first, when you first imagine the story. Don’t waste that passion on planning, Put the plot in later. If you have an amazing scene in your head for how your two characters get together, write that out now and then build in the rest. Without this approach, my Musketeers story would never have made it to 60,000 words and the big reveal scene. I was shattered with the intricate plot and the length of time the story took to write, but luckily I’d written that romantic scene months previously, and could pull it out and slot it into place. Use your passion when it strikes, and your most difficult romantic scenes should be down on paper by the time you have to fit them into your story.
I recommend this book for anyone approaching their first (explicit or implicit) love scene: Be a sex writing strumpet, by Stacia Kane. It’s hilarious and packed with practical advice about writing those intimate scenes.
I’ll be back on Monday with M – Main characters and how (not) to write them
- I never expected to write a Star Trek fanfic. I always liked the TV show as a kid, but was in the ‘OK but no great fan’ level of interest. I like SF, but I couldn’t name any specific episode – or most of the characters. And then they recast Star Trek for a new audience, and suddenly I was extremely interested because they had written a modern story and had proper CGI and it was all exciting and thrilling, the way it must have seemed in 1966. ‘I must write,’ I cried in 2013, and so I did.
My throwaway, non-canon, completely AU (alternate universe) Star Trek fanfic story got more hits per day, consistently for weeks, than anything else I’ve ever written. It was amazing. I think it stands today at 80,000 hits. That’s not big compared to Twilight fanfic, but for me, it’s pretty good. At the time, I was writing fanfic in the Sherlock fandom – also very big back then – and if a fresh chapter didn’t attract 1000 hits overnight, I’d be disappointed. But this Star Trek one was in another league. Long after the story had ended, it kept – keeps – getting views. I don’t know how people are finding it, given that it must be way back on page 900 of the fanfic websites by now. But people are still finding it, and they are still reading it.
I got so much feedback too. That is my favourite benefit of writing fanfiction: engagement, day by day, with your readers. I learned so much from the feedback (more on that below). My story was ‘different to other fanfics’ they’d read (I get that a lot). And it was an ensemble piece, which I had never tried before, and found I absolutely loved writing.
I’ve often idly wondered what was it about my most successful fanfics that made people love them so much. How come, years later, I still get breathless reviews from people who sat up all night reading them (some are long – 40,000 words, 60,000 words) or from people who thought they wouldn’t like it but then loved it – people who laughed and cried. One Elementary fanfic, Torchlight, has somehow earned a placed as a classic of its kind on TVTropes.com.
So what can I learn from these experiences to apply to my original fiction? Based on the feedback I got, here are my ideas for a successful story:
Know the conventions of your genre. A lot of fanfiction is experimental, playing with structure and form within the bounds of the story premise. This is great for writers learning their craft, and for readers to experience new forms. But for success, I find that understanding reader expectations is key. So a Sherlock or Elementary story must involve a proper mystery, and a Star Trek one must involve tech/space/politics/alien culture. I know that for my main genre of fantasy, readers will expect at least some action, some magic, and detailed worldbuilding.
Strong romantic arc. Two characters, with plenty in common but plenty to hold them apart, are thrown together by Duty or Peril.
Related: Unresolved Sexual Tension (UST). I’ve been told that UST is my thing, and certainly, it’s what I love when I read stories or watch TV. Smouldering glances and people not saying what they mean and readers thinking hey, is something going on here? It is! I love it. A bit of UST – even if maintained to the end with no get-together for the characters – can really pep up a story.
A proper story. A lot of fanfic is written purely for gratification, or because the author wants to see Mr Darcy meet Dracula. But the most successful stories have a fully-developed plot with its own internal logic and a character arc where the protagonist has changed and grown by the end. I know people are somewhat bemused by fanfic, but I can tell you, the standard of writing is often very high. Original or fanfic, you can’t just string together ‘scenes we’d like to see’ and then stop. You need a plot.
Ensemble cast. The tale of a ragtag band of characters is harder to write than a story focused on a single protagonist, but it brings so many benefits: your story can be in several places at once; you can showcase your setting and make your mystery more complicated; you can play with a multitude of different characters voices. Readers love the B characters as much as the A characters, sometimes more. Look at Jane Austen fanfiction to see how many are devoted to Mr Collins or Kitty.
Thrilling action. Like romance, this depends on your genre, but including the heart-racing action scene will lift your story. It might be a scene in which Kirk, with a broken arm, wrestles a half-finished escape pod through enemy fire to the safety of a hospital ship (ahem!) or it might be where your romance’s heartbroken heroine has to tackle motorway driving for the first time since passing her test. Whatever the level of excitement you need for your genre, make sure you extract the most impact from it.
Humour. Even the most angsty fiction benefits from humour. It might be rather dark and sarcastic, or it might be side-splitting one-liners from your main charcater, but a touch of humour elevates every story. Humans are compelled to use humour, especially in tense situations, and a humourless protagonist is a fast way to turn me off. I find that the harder I try to write something serious or sad, the funnier it gets. Watch this space for my hilarious account of escape from domestic violence.
A snappy summary. This is vital in fanfiction, and all fiction. I will not click on a story where the author has put something like, This probably sucks, I don’t know why you’d read it but please review me lol! Or where they have mis-spelled the word summary. The summary should mention the characters involved, the basic premise, and a hook to make readers want to click to Chapter One where you will, of course, grab them and never let them go.
I’m still pondering what magic combination of plot, characterisation, romance and humour made my most successful stories so popular. If I have a lightbulb moment, I’ll update you. And by the way, none of my fiction features Klingons.
If you’re curious about the fics mentioned:
The Logical Choice (Star Trek 2009 movie) An imagined first meeting between Uhura and Spock at the Academy, and the story of their romance. There is respect, and interest, and the promise of something more. Meanwhile, conspirators plot to sabotage Starfleet’s flagship.
Torchlight (Elementary). Blackout in New York. It started with a touch, and whirled out of control until she never wanted it to end, and then it was over and the lights came back on. Sherlock and Joan and being in the dark.
Wolves (Three Musketeers) Anne of Austria is on a straightforward journey. All is well. She has protection. But she cannot shake the feeling that something is wrong. Featuring everybody. A light-hearted adventure.
I’ll be back tomorrow with Love, and how to write it when you’re really not in the mood.
I was recently obsessed with New York 1926. If you think that rings a bell, it might be because the Jazz Age is the setting for last year’s Fantastic Beasts movie, which I saw, and alone of all Harry Potter things fell in love with. Partly this was because it was about adults facing, sort of, adult problems. But mostly it was because of New York, and 1926. Steams ships and old cars and prohibition bars and detailed clothes and old-fashioned manners. And magic. It was a perfect storm, and when you threw in romance (as one must always do when Eddie Redmayne is playing the diffident lead) then it is impossible to resist.
I immediately wrote a what-happened-next fanfic with my own beasts and peril and of course romance.
But what I really wanted after seeing the movie, was to read more stories about that era, more peril and magic and romance. And as usual, I could not find much that I liked. It was all either too romance – thin plot, characters I disliked as soon as I read the blurb – or too 1926 – misery, terrible working conditions, poverty and inequality and depression and miners’ strikes. JK managed to create something which felt authentic but what absolutely wasn’t, which offered the fantasy view of the past we all crave. LaLaLand tapped into this same yearning for escapism.
So what are the elements of a successful Jazz age fantasy? I mean, what would satisfy me in a story?
Romance. It’s not the point, just a happy side outcome.
Fabulous clothes – of course. These might be flapper dresses and pinstripe trousers and spats – or they might be farmboy bags and floral country dresses and a few vestigial Victorian grandmamas.
Manners, especially male manners. A comedy of manners is always good. Bertie Wooster was an idiot, but a courteous one.
Mystery. This was the golden age of sleuth fiction, still riding the thirty-year wave of the launch of Sherlock Holmes. Mysteries set in posh houses, peopled with the privileged stereotypes of the day, were de rigeur.
Old tech. Phones and gramophones and telegrams and letters written by hand, and typewriters and steam trains. Bakers’ boys and blokes on bikes, and handcarts and horses as well as trams, and the Underground or Le Metropolitain. Old tech! Check out this 1928 footage of New York City.
Prejudice which the author can whisk away with a wave of the Poetic Licence wand. Gay people can have happy endings, black people can take centre stage, female people can do interesting jobs, all is good.
Seek out some Jazz Age stories here:
- The Mummy (1999) rocks that retro vibe, as does Indiana Jones and the Raiders of the Lost Ark.
- In a similar vein is the recent Tutankhamun drama with Sam Neill – leaning more to archaeology in the 1920s than urban life, but still awesome.
- Of course there is The Great Gatsby.
- I cannot fail to mention the later series of Downton Abbey.
- Bertie Wooster existed for about forty years in a time era known only to his creator, PG Wodehouse. In several, Bertie visits New York in what appears to be the 1930s, but might also be the Fifties. Or the Twenties. If you’ve never watched the excellent dramatisation with Hugh Laurie and Stephen Fry, then do!
- Hemingway, basically.
- The Peter Wimsey books of Dorothy L Sayers.
I’ll be back on Saturday with Klingons on the starboard bow – elements of a successful story
I could go all metaphorical here and say that every writer is an island because ideas must spring from the writer’s head alone… But I won’t. I’m thinking about real islands and why I like them and why we humans are so fascinated by them. I also suggest some specific islands that could inspire your next story.
Islands fascinate because of their essential isolation. This has a big part to play in a story’s dramatic impact. Would And Then There Were None have had the same impact if the guests were all in a house in central London? Of course not – because at any moment they could escape into the metropolis and avoid their fate. Even if the story had taken place on a desolate moor, there would still have been the chance for the victims to get away. But on an island, trapped by the sea and a storm, the guests must face their doom.
An island setting provides instant drama: beautiful or haunting scenery, the chance to described an enclosed community like the sad Plague Island of Venice, the possibility of being trapped by weather or shipwreck.
Islands offer the tantalising idea of exploration and discovery. Perhaps this island has never been inhabited. Perhaps no human has ever set foot on it before… Robinson Crusoe (1719) and Gulliver’s Travels (1726), two of the earliest novels in English, tap into our human love of the new and the unknown, and involve various islands.
Some islands are functional – lighthouse points, or shipping sentinels in the sea. One of my favourite stories, aged seven, was Five Go to Demon’s Rocks, where Julian, Dick and Anne, George and Timmy the dog stay in a lighthouse and, of course, solve a thrilling mystery. I will always remember the strange curved inside of the lighthouse, and that it was where I first encountered the word ‘buffeted‘.
Fantasy and science fiction offer the notion of floating islands – either literally, an unmoored piece of land which drifts from ocean to ocean – or metaphorically, with every colony ship or space station. Stories which take place on cruise ships offer the same dramatic possibilities.
Alongside isolation come benefits – the phrase, a private island conjures an irresistible idea of glamour and secrecy, an escape for the super rich or the super recluse. Richard Branson and Barack Obama seek out islands to evade the spotlight.
Some islands might be secret for other reasons: a military installation, an illegal tests location, an island which has been struck from the map after a disaster or disease. Jurassic Park doesn’t work anywhere except on an island. Check out this list of Forbidden islands. Doesn’t just the title make you want to reach for the keyboard?
Some islands are famously mysterious – Easter island/Rapa Nui is the classic, but what about the abandoned workers’ island featured in that Bond film – or Sentinel island, where the inhabitants resist all attempts to make contact?
How about a part-time island, like Lindisfarne or St Michael’s Mount, both tidal islands, where you can walk out from the mainland at low tide?Burgh island, the inspiration for Agatha Christie’s And then there were none and also Christie’s home, is another tidal island, to which I have actually walked. (It’s awesome, and apparently the 1930s hotel is now restored. I first saw it in 1977 when it was a spooky ruin – and it’s probably the reason for my obsession with islands… The shiny new website makes me want a return visit, in style. Cocktails on the terrace and preferably no murderers, please.)
Then there are ex-islands – where silt deposits or deliberate land reclamation, have rejoined the island to the mainland; islands lost when rivers have been covered over in city improvement projects – or underwater lands like Doggerland off the east coast of Britain, submerged over the millennia. Some islands are vanishing right now as a result of rising sea levels. Inundation is a terror for all of us who live on islands, feeding off Plato’s 2000-year-old story of Atlantis and the still-real fear of a sinking ship.
The planet is creating new islands all the time. The volcanic Canary islands are still relatively new, but actual brand-new land is being thrust up from the sea near Japan. This is good news, because I crave more islands.
Reality can only provide so much island goodness, though, which leaves imaginary islands. One man has extensively mapped the imaginary Koana Islands off Madagascar. Fantasy islands on fantasy maps are the best. Someitmes they are walled, or chained, or covered in a dome of glass or ice. Sometimes they have a mind of their own and can hide or run away. They are home to magic and mystery and monsters. Reaching them is a huge challenge for the fantasy characters. These islands, even more than their real-life counterparts, hold secrets and thrills. I think it’s safe to say that in stories and in life, I love islands. Yes!
I live in an archipelago of around 6,000 islands, known collectively as the British Isles. I can’t contemplate moving to a continental landmass. My big-island home and the islands I visit for work and play are part of my writer’s psyche, and islands will always form a source of inspiration to me.
What’s your favourite island in life or fiction? How does it inspire you? let me know in the comments!
I will be back tomorrow with J – the Jazz age writing vibe