From Head to Hand: It's Ok to Specialise...or Not

When people find out I'm a writer, they often assume I can write anything.  This couldn't be further from the truth.  I suck at poetry and I never took any poetry units at uni because of this.  I did a feature writing unit only to find it very difficult.  Short stories are a struggle for me, because of the word limits.

I'm a novel writer.  I did a children's fiction unit at uni and really enjoyed it.  I'd quite like to dabble in children's books at some stage.  Even if I decide to ONLY be a novel writer, that's ok.

Then I get the people who assume because I'm a creative writer that I'm creative in other areas.  Drama, yes.  Sadly, I suck at music, sewing, knitting, painting, drawing, crafty projects, graphic design, and cake decorating.

Sometimes there is the pressure to be broadly talented.  Others face pressure to specialise when they're not really sure which direction they want to take their work in; they just like experimenting and dabbling.  They don't want to be known as the 'charcoal artist', or the 'scrapbooker', or the 'poet'.

Just because you're a creative person, doesn't mean you need to be talented at all things creative.

I'm a novel writer...and a blogger.....and possibly a children's writer....and that's ok. 

It's ok to specialise...or not.

From Head to Hand: Literary Agents

I've been investigating the wonderful world of literary agents in recent months.  What's a literary agent, you may ask?

A literary agent represents writers and their written works to publishers, theatrical producers, film producers and film studios.  They receive a fixed percentage of the proceeds of sales as they negotiate on behalf of their clients. 

Most people have assumed that I will send my book straight to a publisher.  Why send your book to an agent when they'll take some of your earnings?  Well, because sending an unsolicited manuscript to a publisher is a huge gamble.  The big publishing houses received hundreds of manuscripts from wannabe writers every year.  It has to be very, very good to grab their attention.  Most never get read properly.

It is much better to go through an agent first.  An agent will read some sample chapters and assess your book for marketability.  In other words, they won't take you on as a client if they don't think you're any good and that they can make money out of you.  They will send your manuscript to publishers on your behalf with their endorsement.  A reputable agent will NEVER ask you for money upfront or charge you to become their client.  If an agent asks for money, BACK AWAY.

I think it is well worth going through an agent.  Yes, they will take a cut of your earnings, but they will also help you get the best deal.  For me to approach publishers on my own is like going to court without a lawyer, or trying to sell/rent out your property without a real estate agent.  I know too many people who've tried to save money by doing it themselves only to have their investment property trashed by dodgy tenants.  If the publishers were interested in my book, I wouldn't have a clue on negotiating contracts etc.  I want someone there who knows the tricks of the trade, who has my back.

Steps to seeking an agent in Australia:

1.  Visit the webpage Australian Literary Agents Association which lists reputable agents.
2.  Agents usually only accept certain genres (i.e. some may only do children's books, or adult fiction, or travel etc.).  Choose an agent which accepts the genre of your work.
3.  Visit the agent's website to determine their requirements for sending your material to them.  They will usually want a cover letter and synopsis (Google examples of these so you know how to write one.  DON'T copy it word for word though).  Make sure your work is in the correct format (i.e. font, line spacing, margins).

I have a 2-10 week wait to see if I've been successful.

From Head to Hand: Pen Name

One question I've been asked a few times in regards to writing is what name I'm going to write under.  Will it be my married name, my maiden name, initials, or a pen name?

I've always wanted to write under my maiden name.  Even though I wasn't too fussed about my surname growing up, it's who I was when the idea for this book was first conceived in my mind, it's who I was when I began writing it, and it's who I will be when I finish it.  Writing under my maiden name will have the advantage that more people know me under that name.  People I knew growing up in Albany would go, "Ah, I knew her," but if they saw my married name on a book it wouldn't attract their attention.

I like the idea of keeping my public and private lives separate.  That doesn't mean I think I'll become a big celebrity, but I do want to protect my family.

Since it's a fictitious novel about Aussie Rules football, I've had a few people suggest I use my initials for my first name or use a man's name.  I briefly gave the idea some thought before deciding against it.  It seems nothing much has changed since the days where women were forced to publish under male aliases if they were to be successful.  J.K. Rowling decided on initialising her name instead of being Joanne Rowling because she thought more people might be interested in Harry Potter if they didn't know she was a woman!  Apparently women don't know anything about wizards or football - I'm going to prove them wrong.

Maybe I'd sell more books as a man, but I'm determined to be myself...who I was in the beginning.

From Head to Hand: In it to Win it

It's quite possible that the best writers in the world are not actually the best writers in the world.

Perhaps no-one knows the best writers because they've never actually taken the first step towards becoming published....getting started!

I had some brilliant writers in my Creative Writing classes at uni.  I could imagine that some of them would be good enough to make it in the cutthroat writing world, but I wonder if they've ever actually written something since uni days.  Perhaps they just went and got an ordinary 'day job', became overcome with the usual busyness that goes with family, career and life in general in suburbia and forgot all about writing.

You've got to be in it to win it.

When I hear some people say they're going to start writing a book, unfortunately I just don't believe them.  They don't stick to anything, they just have a million ideas that never really get off the ground and a few half-baked attempts.  They forget that writing takes 90% perspiration and only 10% inspiration.

I know that some people doubt I will ever get my book published.  But I've started editing again for the first time since Rory was born.  Approximately once a week, I put him in daycare for a few hours and go to the public library in town with my laptop and edit away.  Every word is a word closer to the finish line.

I won't give up.  I may not be the most talented writer out there, but at least I can say that I did it...I wrote a book.  Whether it ends up published or not, I gave it a shot.

From Head to Hand: Lessons Learned From Enid

Whenever I'm sick, I inevitably end up watching more daytime TV.  I never usually watch it normally, even during my days at home.  When Duncan and I were both sick and channel surfing, we came across a midday movie that was definitely worth watching.  Simply titled Enid, it was a movie based on the life of Enid Blyton - one of my all time favourite childhood authors.

What started as excitement soon turned to horror.  Although the very versatile Helena Bonham Carter puts in a fantastic performance as always, the way Enid Blyton is portrayed was absolutely shocking.  She is made out to be a malicious, adulterous witch who is trapped inside her own fantasy world.  She drives her first husband to the drink and neglects her two young daughters, instead churning out over 6000 words per day on her typewriter.

Now, you never know how accurate biographical movies are.  How much of it is true and how much is sensationalised is anyone's guess.  I know I would be outraged if a movie was made about my life and I was made out to be a monster.  I did some Googling and found interviews with Enid's two daughters, Gillian and Imogen.  The now late Gillian said her mother was a wonderful mother.  Imogen, on the other hand, saw it very differently.  She apparently came on set while the movie was filmed and gave tips on how to portray Enid.  There was no love lost between them.

Apart from the shock of seeing one of my childhood heroes shown in such a negative light, what did I learn from this movie in regards to my own writing?  It can be summed up in one sentence:

Don't give up your day job!

I don't mean 'day job' necessarily as a career.  Most writers need other income to support themselves.  While I've written before about needing to be proactive in creating the necessary time to write, it's important to know that writing isn't everything.  I need my current job for the income and to get out of the house.  But while Enid didn't have other employment while she wrote, she did have two very important roles - wife and mother.  There is one scene where she invites some of her young fans over to her country manor for a tea party.  When one of them asks why her own daughters aren't invited to join in, she replies, "Oh they see me all the time anyway."  I thought, Rubbish!  They are always stuck with the nanny.

As I approach parenthood, this was a huge wake-up call to how I balance raising a young family with my desire to write.  While I still feel the urge to write, I don't want my kids to feel that I love the characters I created in my own head more than I love them.

From Head to Hand: Editing My 'Baby'

I've been in the editing process, off and on, for the better part of two years now.  I finished my fat novel in April 2010 and have since been hard at work trying to make it a skinnier novel.  After many smaller edits, I finished the first major edit early last year, and shipped it off to four people who had volunteered to be my editors.  Their job was to proofread as well as comment on the plot.  They were my 'guinea pigs.'  Now that most of the feedback has been collected, I am in the thick of doing the second major edit.  I've decided that I will NOT slack off any longer.  This is the time of my life to get this book completed so I've set myself a deadline - end of the year at the absolute latest.

This post is about my editing experiences.  I've learnt some hard lessons.  My lessons may well help someone else who is contemplating doing some writing.  This post is NOT meant to be a kind of Bible on the subject.

I've heard over and over again that artists of any kind shouldn't be too precious with their work.  The only way to improve is to let others see and critique your creation.  What is the point of writing something only to hide it away for fear of rejection?  I get it, I really do.  I WANT my book to be the best it can possibly be.  After all, if it does get published, it's going to be out there and criticised by everyone and anyone under the sun.  You can't stop criticism.

You see, while I do agree that I need to be less tight-fisted and defensive about my work, I also have some reservations with that kind of advice.  While your work is at the editing stage, you need to pick the RIGHT people to help you along the way.  I admit, sometimes it can be hard to know who the right people are.  Sometimes you just need to get out there and throw some mud and see what sticks.  At uni, I constantly heard the term 'constructive criticism'.  The point is that we are not just inviting others to criticise our work, we are inviting them to be constructive about it.  An editor's aim should be to help the writer be the best they can possibly be.  They should have the writer's best interest at heart.  My beef is that there are plenty of people out there who want to be editors because they love to criticise and tear down.  They do not choose their words carefully.  They forget that this is someone's creation.  While at uni, I had to edit fellow students' work.  Some of the things I read were downright awful.  But I tried to be constructive.  What have they done well?  What could they improve on?  Give them suggestions.  Be specific.  Don't just write 'good story' or 'crap'.  It's like marking an essay.  If you're an editor, you really need to be giving good direction.

As I look back over the past two years, what have I learnt?

• If you can afford a professional editor, do it.  I calculated it would have cost about $2000 to get my book professionally edited (due to the length of it).  At the time I felt it wouldn't be a wise use of money, so I decided to go down the road of getting people I know to read it who weren't professionals.  Looking back, I really regret this decision.  Some of my editors were fantastic, but they took a long time to do it.  This is understandable as they have other jobs and families to consider, but if you're going to volunteer to do something, then you need to be realistic about whether you can commit the time to do it.  I've felt bad having to nag all the time.  Another reason is that a professional editor is...well....a professional.  They work to deadlines because it's their job.  They aren't your friend - that's the key point.  If an editor is harsh with my work, then I've lost nothing as far as relationships go.  They were never my friend so if they hurt my feelings, that's just too bad.  I feel like I'm not in a good relationship with one of my editors now because of some of the things she wrote about my book.  This person is a long time friend of my family so it does make things awkward.  It wasn't that I objected to what she said, it was how she said it (the whole constructive criticism thing again).  She wrote quite sarcastic comments and even said dramatic things like, "I hate this".  I think this person just has no idea about written etiquette because I've also had several run-ins on Facebook with her.  Be very careful when selecting friends as your editors.

• If you really can't afford a professional editor, choose friends who are in the same demographic as your target audience.  This was my plan from the start, but it didn't quite work out.  The main target audience for my book is 20-50 year-old men.  I approached a number of male friends in this age bracket, but many of them said they weren't readers and wouldn't have the time to help me out (or they wanted copious amounts of beer).  At least they were honest, I guess.  However, I did have one male editor in his early 40s who was fantastically helpful.  He assisted me with my sentence structure, working on making the book shortier and punchier.  He gave lots of good feedback from a male perspective.  I was so encouraged when he told me that the main character was an accurate portrayal of a man.  He said he reckons many guys put on an act of bravado to hide their insecurities and cowardice.  The editor who was quite critical said the opposite.  She said she couldn't stand the main character because she thought he was a wimp.  This lady is in her mid 60s and I got the feeling from her comments that she was looking for a James Bond/Indiana Jones hero-type character.  In hindsight, I accepted her offer to be an editor because I was desperate when she really isn't the target audience for the book.  I kind of knew the book wouldn't really appeal to her (she doesn't watch much football for a start).

• Don't have too many editors.  If you're using friends, don't have any more than a handful.  I really do believe too many cooks spoil the broth.  Three of my editors were largely in agreement with each other (they found some parts confusing and wanted more clarification), while the more critical person said the opposite (she reckoned I wrote in a way that treated her like an idiot).  If you have too many editors, it can be hard to know who to listen to. I had soooo many women wanting to help out as editors, I had to say, "Thanks, but no thanks," to a lot of them.  They weren't really my target audience and if it waited around for them all to finish reading it, I'd never get it done.

• Choose people who can actually edit.  This can be hard if you're not using professionals.  Basically you want people who can spell properly and are good with sentence structure.  One of my editors is a high school English teacher and gave me lots of constructive feedback with my essays in high school.  Therefore, I knew she'd be good.

• Be as ruthless as you can with your own work.  Now I'm doing the second major edit, I'm finding that I'm chopping more stuff out than my editors did.  If it doesn't need to be there, it has to go.  If I have a niggling doubt about something, it probably needs to be re-written.

I think it's ok to see your work as your 'baby'.  It is a labour of love.  To those people who think I'm being too precious, try thinking about how you'd feel if someone insulted your friends or your kids.  Even if it was the truth, if it's said harshly, it can be hard to take.  Most artists I've spoken to have said it's not WHAT was said, but HOW it was said, that deflated their spirits.

But then there also comes a time when you just have to be brave and put yourself and your work out there.  If you want it to be the best it can be, this step is vitally important.

From Head to Hand: Imagine If You Will

Imagination is a wonderful thing.  Creating new worlds and people beyond my realms of experience and watching them unfold on paper or a computer screen is something I love doing.

I don't want it all to be about 'reality'.  I live in the real world every day.  To me, fiction is about escapism.

Having said that, I do draw a line.  I don't like plots to be TOO unrealistic.  Think of the scene in Mission: Impossible where Tom Cruise's character goes flying along in the tunnel and manages to grab hold of the train.  Or in Halloween H20 where the killer just won't die.

My own book could be best described as 'It hasn't happened yet...but it could'.  Just because we haven't seen or experienced something in our own lives doesn't mean it can't happen.  The Famous Five and the Tomorrow series are other examples....

I don't know any groups of clever children who have outwitted criminals.....but there could be.
Australia hasn't experienced a full-on invasion.....but we could.
Likewise, I don't know anyone like Hayley in my book....but there could be a real life Hayley out there somewhere.

As much as I love him, Duncan can be very annoying to watch movies with at times.  He sits there scoffing and says, "That's so unrealistic.  That couldn't happen."  I tell him, "Ssssshhh!"

If you're a writer, let your imagination run wild.  Have fun.  There will always be people wanting to tear down your plot or characters because that's not how THEY'D behave in that situation (so, in their opinion, any character who doesn't think or act like they would is unrealistic).  But it's YOUR story.

Imagine if you will.....

From Head to Hand: The X Factor

I've known I want to be a writer since I was seven years old.  I studied Creative Writing as my major for my Bachelor of Arts.  I've written my first novel and I'm about to start yet another edit.

But a nagging fear remains...

What if I don't have what it takes?  What if I'm deluding myself by thinking I can write?  What if I'm just regurgitating stuff every other author has written?  What if a publishing company says to me what Marty McFly feared a record company would say to him in Back to the Future - "I mean, what if they say I'm no good?  What if they say, "Get out of here, kid.  You got no future."?

Duncan and I have been watching The X Factor a bit lately.  When a contestant with a truly awful voice takes the stage, Duncan often comments, "Do they seriously think they're any good?  Don't they have anyone in their lives who can tell them the truth?"

I think I might be as deluded as some of The X Factor contestants because, despite some uncertainties, I don't have a great fear of rejection (probably because I haven't experienced it on a large scale yet).  I feel very strongly that God wants me to succeed as a writer.  I have a great passion for reaching those who don't know Christ through fiction.  Sometimes I'm more scared of my own determination than anything else.  Everyone keeps saying how hard it is to break into the industry.  I must be a fruitloop for thinking I can make it.  I've asked four people to look over my manuscript and give me their honest reflections.  So far, all of the feedback I've received has been very helpful.  I was especially chuffed that a bloke in my target age range (20-50) really likes it; he has just mostly been helping with sentence structure etc, but he loves the plot.  My editors are truthful people; they wouldn't say that they like it just to please me.  They are honest, but tactfully so.

Yet, despite some people thinking I will make it, I'm trying to dose myself up on reality.  Apparently JK Rowling was rejected by one publisher because they thought the Harry Potter storyline would be too difficult for children to understand.  Sarah O'Hare (now Murdoch) was apparently turned away by a modelling agency because she had short hair.  Yep, I bet those agencies are now kicking themselves!

Those examples give me hope because they show that one rejection (or even a few) doesn't mean the end of the road.  The 'experts' can be wrong.  My question is: how wrong can they be?  They ARE the 'experts' after all - they must have some idea of what constitutes talent.  How many rejections should you experience before you give up?

I really have no idea what I'd do if my book gets rejected by publisher after publisher.  I guess I'd keep trying because I've worked my butt off on this book and I'm not going to lie down without a fight.  But rejection can be demoralising.  I'm trying to prepare myself as best as I can in my head.

Maybe I should take my own advice and advice others have given me:

• Don't stress about originality - your work is still unique.
• Invite others to critique your work. 
• Edit, edit, edit.  It's painstaking, but worth it.  Don't be satisfied until it's the best it can be.
• Take a writing course like I did at uni.  Even if you don't want to do a full degree, it might be worth doing a few units.
• Explore self-publishing options.  I don't want to go there with my book, but it might be worth considering.

If you really, honestly think you've got what it takes to be a writer - don't quit!  I read somewhere about an old guy who sat his bar exam to be a lawyer quite a few times before he passed.  Be realistic, but never say never.

From Head to Hand: Tall Poppy Syndrome

As I continue to edit my first novel, and interested family and friends ask questions about the storyline and characters, I am becoming more and more aware that my book will not appeal to everyone.

And that’s ok.

Seriously, who can write a book that will appeal to everyone? Nor do I want to attempt that feat. I am writing, first and foremost, for myself, and if others like it, great! If they don’t, too bad. Of course I am hoping for a considerably large readership so that my first major writing venture may be successful, but I will not compromise my own passions and interests and become a slave to the ‘audience’.

I also know that some of my friends and family will have no qualms with letting me know all about it should they dislike my book. Not only do I seem to be a magnet for such outspoken people, I’m already aware that some people consider themselves designated literary critics. I often hear them complaining about the latest bestseller, lamenting how such a lame piece of work (in their eyes) could have become such a hit. “That author can’t string a decent sentence together,” they complain.

Then there are those who automatically loath anything that becomes popular and mainstream – simply because it is popular and mainstream. The Harry Potter series seems to be on the receiving end from these critics who prefer the quirky, offbeat, and ‘undiscovered’ pieces of literature. Then when the alternative becomes mainstream, they either don’t like it anymore, or claim loudly that THEY were the ones who discovered it first. When I ask them if they’d actually read something popular, such as Harry Potter, they reply, “No, why would I waste my time?”

Hmmm don’t judge a book by its cover.

As my book has edged closer and closer to being submitted to a literary agent, I am becoming increasingly aware of when I ungraciously spit out my own destructive criticisms on other artists. It’s easy to wonder how exactly some Hollywood celebrities did manage to grace the red carpet when they seem devoid of talent, but it’s also easy to be an armchair critic when you have never actually attempted any creative work yourself. Now that I’m attempting to become a published author, it sure would hurt if some of my loved ones hurled the same contempt at me and my book that they reserve for Britney Spears. We really do need to ask ourselves, “What have WE done that’s better than them?” Have we got a bad case of the green-eyed monster? Is Tall Poppy Syndrome coming into play?

I know some people will be less than gentle with my creative work because they are less than gentle people with their words full stop! But it won’t stop me asking for people to be gracious and tactful. I’m not writing this book because I want to invite everyone to give an opinion; I’m writing mostly for myself, and to tell a fictitious story that I hope will bring much entertainment.

If you’re an artist of any kind, then you’ll probably be able to relate to this. It’s a scary process putting our work out there because often we’re putting a part of our heart and soul out there. Please don’t be discouraged. Critics will come, but it’s also an opportunity if they don’t like it to dare them to do it better.

From Head to Hand: Nothing New Under the Sun

Being a writer, or really a creative person of any kind, can be stressful.  There are many critics out there who would love nothing better to sink their claws into your work and tear it to shreds.  What is the main thing critics look for in an artistic piece?  Originality.

I hear many creative people agonise over their work.  Is it original enough?  Or is it the same old plot, rehashed for the fifty millioneth time?  In fact, I've heard that Hollywood really only has about 5-10 movie plots which they work from, but slightly adapt each time.  That's why so many of the movies churned out are dull and predictable.  At times, I agonise over my own novel.  I worry that many potential readers will think it's one of those feel-good, sporting stories, and cast it aside in disgust.  I worry that it's not original enough.

This may sound very strange, but when I'm feeling that way, my comfort is Ecclesiastes 1:9-10: What has been will be again, what has been done will be done again; there is nothing new under the sun.  Is there anything of which one can say, "Look! This is something new"?  It was here already, long ago; it was here before our time.  I know this is probably taking the verses out of context, but it really encourages me as a writer who sometimes gently panics about the originality of my work and what others will think.  My work is NOT new.  I CANNOT be entirely original.  No-one's work is.  We all gain inspiration from those around us and those who have gone before us.  That's how it is meant to be.  As I read other books, I am learning how to improve in the craft of writing.  I gain inspiration from other authors to put towards my own work.  That doesn't mean I blatantly rip off others' ideas, but it does mean my book is a complicated, mish-mash of inspiration from movies, books, my own life, and the lives of others.  My book will never be original, but it is unique.  My book may remind some readers of other books they have read, but there is still no other book quite like mine.

So, if you're a creative-type, worrying about the originality of your work, be encouraged by Ecclesiastes 1:9-10 today.  Don't try to succeed in a fruitless quest.  I'm sorry if that is strange advice and doesn't sound very encouraging; I have just found it incredibly liberating.  Your work will never be entirely original; it will always be a delightful hybrid of inspiration, but take heart in that there is no other work out there that tells a story the same as yours.

From Head to Hand: Being a Christian Writer

As I edit my first novel, I am well aware that my faith in Jesus impacts on what I write about and how I write it.  It's a fine line, and Christians differ greatly on what constitutes 'Christian literature' in the realm of fiction.

I'm learning the delicate balance of communicating what I believe through storytelling, but creating characters who do not share my beliefs.  Nobody wants to read a schmaltzy Christian story where everyone becomes a Christian in the end.  Life is just not like that.  I want to portray a world like the one we journey in....gritty and real.  I'm inspired by C.S. Lewis and U2 who communicate their faith through fiction and song lyrics.

Readers will always read things into stories that the author never intended.  They will assume because a character holds certain values, that this must be the embodiment of what the author holds dear.  That simply is not the case in my book.  My main characters make decisions and think thoughts I disagree with, but it's all part of their growth and learning.  I would certainly not label it a 'Christian' book by any stretch of the imagination, but there are definite Christian 'themes' which emerge in the storyline.  As I've became a Christian and slowly mature in my faith, the plot of my novel in progress has changed accordingly.  When I started, I was a non-Christian fifteen-year-old, obsessed with the ways of the world and achieving glory for myself.  My book begins with ten-year-old Brad Sinclair growing up in the working class Adelaide suburb of Alberton in the mid 1980s, with his heart set on becoming a champion footballer.  Without giving too much away, Brad grows into a young man who is confronted by challenges and obstacles which force him to re-evaluate his perspective.  I believe such a change only occurred when my own worldviews and plans shifted after coming to Christ.  Before that, the plot involved Brad achieving everything he ever wanted and finding maximum fulfilment from sport.

Christian artists cannot simply detach themselves from their characters and say, "It wasn't me....it was them."  Yet neither can they write in a way that is completely devoid of reality.  If we are to somehow communicate the gospel through our art medium, we need to be holy, yet real.  Some things I'm wrestling with as I write and edit are what constitutes swearing? Can I describe sexual activity?  The majority of characters in my book are professional footballers...young men in their twenties and thirties.  They would not speak to each other as old ladies sipping cups of tea would.  Yet, I've come to the belief I don't need to actually write swear words in my story for readers to get the point; I can say, "He swore loudly," for instance.  Likewise I can write about a sex scene in a tasteful way.

When I studied theatre at uni, I was faced with similar moral dilemmas.  I was planning on auditioning for a play and just before I was called in, I read the fine print on the poster which I'd neglected to read before.  It said full nudity would be required.  I walked out of the green room at that moment.  There are other issues which come into play as well...should I be in a play where I'll have to use foul language or kiss another actor?  It's too easy to just say, "I'm playing a character.  It's not really me."  But what we do with our bodies, acting or not, can have an impact on our spiritual health.  I have come to the conclusion that if I am to be salt and light in the arts community, then I cannot just lose my saltiness.  The world is watching, they know we follow Jesus, and they want to see how we'll react.

Even as I wrestle with these issues, I know I'll always come under fire from Christians who disagree with my convictions.  I was told quite bluntly by a fellow Christian a few years back that writing about a sex scene between two characters who are not married to each other is always wrong.  I know some will dislike my use of the terms, 'crap' and 'bastard', for example, in my book.  But while we should strive to be godly, we cannot live up to everyone's differing expectations.  Christian writers like myself can only do what we feel called to do.....to communicate the gospel through fiction with the hope it will reach a needy world.

From Head to Hand: The End!

Starting a story is easy.

Ending it is much harder.

When I read a book, I want the ending to be realistic yet fulfilling.  The schmaltzy Hollywood conclusions where everyone lives happily ever after only do so much for me.  But, on the other hand, I don't like endings that are too random or just plain miserable.  Novel reading is meant to offer a sense of escapism after all, and I don't want to be reminded too much of the stark realities of life.

For a long time I toyed with two possible endings for my book.  One is happier, but still has its downsides.  It's positive, but not perfect.  I think most readers will feel fulfilled, but still not have everything happen that they may have liked.  The other ending would have thrown some readers a bit more, and I think some may have been disappointed.  Therefore, I decided on the first ending.

I've watched a fair few movies in recent years with somewhat random endings.  Without warning, the credits started rolling, and I was left staring at the TV screen wondering, "Is that it?"  In my view, you can't just stop a storyline out of nowhere with no form of resolution and expect audience/reader satisfaction.

A silly ending can really ruin an otherwise good story, and then the reader is not going to remember the fabulous twists and turns in the plot; they will only remember the ridiculous conclusion which sunk the whole storyline.  I remember a few years back I was watching the Australian movie Lantana, and was completely fascinated by the mystery in the storyline, wondering how on earth such a great plot was going to resolve itself, only to be disappointed by the completely lame ending.  If you're writing a piece of fiction, I suggest you have a clear view of the plot from start to finish, and how it is going to end.  Writing with no real direction risks a dumb ending that can change an otherwise positive view of your work.

How about you?  If you've written any fiction, did you find it easy to end your work?  If you're a reader, what sort of endings satisfy you?

From Head to Hand: The Head to Hand Divide

One of the most frustrating things about being a writer is that what appears on paper (or on the computer) is seldom as good as it was in your head. Somewhere between head and hand, there is a derailment of sorts and the masterpiece of your thoughts gets somewhat lost in the writing process.

Often I think of some great dialogue in my head but by the time I get it down, I've forgotten it. Sometimes this happens late at night and I'm contemplating putting a notebook next to my bed to jot down any inspirational thoughts before they disappear forever.

Someone told me that Woody Allen once spoke about this frustration and I've been searching for a quote from him online but can't find it. If anyone knows the exact words, please let me know. I sure know what he was talking about though.

Generally I'm pretty happy when I reread what I've written but it still doesn't reach the lofty heights I thought I had achieved in my own head.

Still, that's being a writer for you.

From Head to Hand: Inspiration and Perspiration

I know a lot of people never thought they'd hear me say this but......MY BOOK IS NEARLY DONE! Yes, I'm at the climax of the story but I can't give too much away because I want you all to read it. However, when I tell people I'm nearly at the end of my epic adventure, many of them say, "Is that the book you started years ago?" or "About time."

Unless you've written a book, it's hard to understand the hard slog involved in getting a story from head to hand. There are moments of writer's block, distractions, busyness, tiredness and laziness to contend with. Writing a book is a bit like study; it requires self-discipline and motivation. Some people, who are not writers assume that only an inpsirational idea is needed to write a bestseller and that all I need to do is regurgitate my idea onto my computer. I wish! It's more like 10% inspiration and 90% perspiration. It's easy to have an idea and fine-tune it in your head. It's much harder to stick at it when the going gets tough.

Some writers are 'inspiration writers' who have an idea and then rush off to their computer to record their thoughts. This can happen at any time, even in the middle of the night.....basically whenever they get their 'inspiration'. I find it frustrating when I go to bed and immediately think up some great dialogue for my book....but I'm supposed to be sleeping. I COULD get up and immediately get it down on paper, but I have another job and I need to be disciplined. It wouldn't look good turning up to work with bags under my eyes and struggling to stay awake but some writers don't worry about that.

I'm more of a 'disciplined writer'. I set aside a designated period of time to write and I stay there until the inspiration flows (and it usually does eventually). I figure that I can't rely on mindblowing 'inspirational moments' because they might not come or might come at inopportune times. Some hard yakka is required.

If you've got a book in the pipeline, please don't give up. If it was worth thinking up, then it's worth getting down. The actual writing part may not be as fun as refining your plot and characters in your head, but it's all part of the journey. Don't listen to people who tell you how long you're taking. Keep going! I'm going to have a massive party to celebrate when my book's finished and prove all the doubters wrong.

From Head To Hand: Breaking The Rules

One of the hardest things I've found with fiction writing is knowing what the so-called 'rules' are and then dealing with the tension between wanting to obey them yet experiment at the same time.

During my creative writing course at uni, I did two assignments in which I sought to break the rules. Instead of the usual plot outline of beginning, middle and end, I divided the narrative into segments each with its own subtitle to create a newspaperish effect. Although each of the segments were in chronological order and all were in third person, the narrative jumped around to different venues to enhance its fast pace. Some of the segments were indeed bits of fictional newspaper articles.

For another assignment, I decided to play around with the time sequence of the plot. The story started off when the main character was 19, then flashed back to when she was five, then jumped forward to when she was 17 and went back and forth between the latter two. Then it went further on into what happened when she was 17 then jumped forward to when she was 19 and skipped back and forth between two separate incidents when she was that age. Finally it ended back at the time when it started. I had no idea if what I was doing had a name but when I got my assignment back, my tutor had written, This is called a discontinuous narrative and it's very nicely done. So there you go. I didn't even know what a discontinuous narrative was but I had created one without knowing what I was doing.

Beware though. If you're playing around with the time sequence in your story, make sure it is understandable. My tutor said it worked because even though my story was jumping all over the place, he could still follow what was going on. It is probably best to get a few people to read your story and let you know if it makes sense. If they all can follow it, then great. If they're all confused, then you probably need to simplify it. I like what another tutor of mine once said. "If only one person doesn't get it, then they're probably just dumb. If the whole class doesn't get it, then either you haven't done it well enough or they're all drunk."

From Head to Hand: 1st? 2nd? 3rd?.....What?

Once you've decided to write a short story, novella (short novel) or novel, you must decide what 'point of view' you want to write in. There are three types of POV.

1st person - This is when you write from the point of view of a character in your story. The advantages are that the reader gets an insight into the characters thoughts, emotions and motives. This is a good POV for people who consider themselves 'character writers'. The downside is that the reader views everything through the lens of that character...although of course that doesn't mean they have to agree with what the character is thinking (e.g. I really don't like Jane Brown. She is so annoying).

2nd person - This is the least used of the three POVs and the one I find the most difficult to explain. I have never written anything in 2nd person but basically it is where the narrator of the story (either the author or one of the characters) is speaking to you as the reader (e.g. I bet you're thinking that right now). It is the POV used for 'Choose Your Own Adventure' books. It's not really my cup of tea but each to their own in this case.

3rd person - This is where the author is the narrator and assumes an overarching 'God-like' position. The author may choose to focus on the thoughts and feelings of one character (e.g. Wayne felt his jugular was about to burst) or change between characters. Usually it is the former but I recently read Territory by Judy Nunn (a brilliant book which I highly recommend) and she changes between characters so you get a fair idea of what is going through each character's mind but she remains the storyteller. In my book, I am writing in 3rd person and it is from the POV of my main character, Brad, so there is no scene without Brad in it. 3rd person is especially good for those who consider themselves 'plot writers'.

Have a play around and see which POV suits you best. Personally, I prefer either 1st or 3rd POV (I intend my next book to be written in 1st person). If you want to read more about POVs then just Google the terms. There are heaps of sites out there which probably explain things better than I do.

From Head to Hand: Plot

I have been told that there are two types of fiction writers. Those who create marvellous and complex characters and then create a story around them. And those who create a marvellous plot first and then form the characters who will feature in it. I was also told that there is no right or wrong here. Both are acceptable ways to write. If you've ever written any fiction, think back and determine which one you are.

Personally, I'm a plot writer first. I think of a storyline and some vague outlines for characters and the characters' personalities gradually become more complex in my head and also as I write. In my view, here are the pros and cons of each.

CHARACTER WRITER
Pros - You end up with three-dimensional, interesting characters because you have taken the time to carefully formulate them.
Cons - You can end up with a plot that doesn't really go anywhere and exists merely for the chance to show off your characters.

PLOT WRITER
Pros - You can end up with a complex, ripping yarn that takes your readers on a wild adventure.
Cons - You can end up with 'wooden characters' who you haven't really taken the time to develop because you were so focused on creating a the twists and turns in the plot.

I think most writers tend to be one or the other. I know I have to be careful to make my characters seem real to the reader. The book I'm writing is so long with little subplots here and there, I don't want to fall into the trap of creating characters who don't really have much purpose in the narrative.

Another 'golden rule' that was pushed onto me at uni was to write about what you know. In other words, don't try to be too imaginative and write about situations that you have no experience in. Get inspiration from your own life or the lives of others close to you and create characters based on those you know. This is codswallop in my opinion. While some people do lead very interesting lives which would make great reading, I think some people are also right when they say that their lives are very boring. If everyone wrote about what they knew then who would write historical fiction, period pieces, fantasy, sci-fi etc? A lot of authors out there write about people living centuries before then and they rely on research for historical accuracy. Even if they were inaccurate, none of us were alive back then to protest anyway. My book is nearly ALL beyond my experience. I have had to rely on research and I hope to get some people who have experiences in areas that I don't to read my manuscript and give it an honest assessment. Many movies and books are scrutinised by those who are experts in the field but in the end you have to ask what the main goal of writing fiction is. I suspect it is entertainment. Think of some popular Aussie TV shows. Doctors and nurses will always criticise All Saints, homicide detectives will scrutinise City Homicide and farmers love to poke fun at all the glamorous women on McLeod's Daughters. But these shows continue to pull viewers because of the entertainment value they offer.

Don't be afraid to write beyond your experience. Take your readers on a grand adventure that hooks them from the start. Research, research, research and call on the life experience of those you know.

From Head to Hand: Characters

Here is the long awaited first post of my series on writing. I thought about calling this series 'Just for Middo' since it was Middo who suggested I do it at the start of the year.......I hope you're reading this Middo! :)

Please note....these are just my views, they are not from a creative writing 'bible'. I did a creative writing major at uni and I learnt heaps about general rules and principles but throughout uni I enjoyed experimenting and breaking those so-called rules.

Here are is what I think is of importance when creating characters:

• Base them on people you know. Seriously those around us provide us with the best inspiration. Even if the character is an animal or a mythical creature, you can still give them personalities of those we know. This prevents the characters being two-dimensional and 'wooden'. I like creating 'hybrid' characters where I will take the body of someone I know and the personality of someone else and combine them to create a character.
• But be careful! Don't make your characters TOO much like someone you know. Would you like reading about yourself in a book, warts and all? You have be careful you don't get sued for portraying someone negatively in a book. Be subtle......don't think just because you've taken someone's character and given them a different name in your book, that the person won't recognise themselves.
• Search the net for questionnaires and surveys and answer them as your character. This helps create 'three-dimensional' characters.
• The good vs evil concept works well with children's books such as Harry Potter and many of Enid Blyton's stories but I think in adult fiction, characters with more substance are required. However, that doesn't mean that the behaviour of an evil character always has to be justified with an excuse.
• Avoid stereotypes e.g. the mad scientist with wild hair wearing a white lab coat. One creative writing tutor I had gave the example of a little old lady with a grey bun and floral dress in a nice little cottage.....who is growing dope in her backyard. Now THAT would be interesting ;)
• Make your characters flawed. No-one can relate to perfect characters, we generally want to read about people with struggles like our own but who can overcome them.
• Send your characters on a journey. This is one of the golden rules I was taught. Don't suddenly and dramatically change the characters' personalities but as they go through the story, they will learn, grow and change.
• Keep a notebook of random scribblings about the characters as you think up things.

In my novel that I'm currently about three quarters of the way through, I used the bodies of celebrities, people I know and my own body; changed little things about them; mixed them with several different personalities including my own, those of people I know and characters from other books and movies. One character in fact is part myself, part Maria from The Sound of Music, part Joan of Arc, part Pollyanna, part Velvet from National Velvet. Hopefully that's an interesting mix. However, many of the other characters are based on real people physically but have made up personalities.

What the gurus say.....

• Bryce Courtenay has admitted that The Power of One is based on his own story of growing up in South Africa. Yet, he's said when the main character, Peekay, begins pursuing his dream to become a champion boxer this was where the similarity to his own life ends. He urges budding writers to make their characters 'larger than life' so that people will want to read about them.
• Marian Keyes writes about characters suffering from low self-esteem just as she did.
• Candace Bushnell admitted the character Carrie Bradshaw in Sex and the City is her alter-ego.
• Enid Blyton went against the trend by declaring her characters, bar one, are always imaginary by rule and, as a result, they have been criticised for being two-dimensional.

The thing to remember about creative writing is that everyone will have a different opinion to mine and even to the 'experts'. There are recommendations but there is no right and wrong so play around and have fun!

Some of this was based on an assignment I did in third year (2003).