Obsessive women: satirical short stories

Obsessive women? In this 2nd edition of Me-Time Tales: tea breaks for mature women and curious men, there are stories short and long about women of all ages, at all stages.

Katie Fforde called the stories “Quirky and Intriguing”. No, they are not erotica. Hardly a glimpse of bare flesh. There is a subtly dark edge to the stories, most of which seem, at first, light-hearted. My intention was for readers to have second thoughts, just after they’ve finished a story.  

The Kindle and ebook versions are at promotion price of 0.99 this week. The paper-back — neat enough to slip into a handbag or breast pocket — is available in bookshops and on Amazon. It makes a good present for someone you know, or better still, their husband. A top-100 Amazon reviewer states “. .  . their hallmark of wry humour reminds me of a female, modern-day Saki”

During the writing, I imagined being each of these women: aged sixteen, covered with tattoos and lusting for good legs in a man; a shocked and frustrated shopper experiencing a moral dilemma; someone infertile, another overly fertile, a women with a dreadful aversion, someone adored and someone certainly not. I wrote them at different times and in different places, and subsequently forgot them.

The collection began when I came across one, describing the most neurotic of the group. I realized I had several stories about women unused in my files. Looking them all out, I discovered their obsessions. I added more stories, coveringimages various kinds of angst. Reviewers converge on the descriptor ‘quirky’.

My other fiction is more serious, but, look, my avatar has two sides. These stories represent my irreverent one. I did enjoy writing them!

 You’ll encounter an array of fish, a pile of hot money, a loving mattress, a mangy dog, a range of bras and a prosthesis. I hope each story will perk up your commute or dispel your night-time preoccupations, and send you to work or to sleep with an uneasy smile of recognition on your face. Do enjoy, do write a review.

New writer? Writing persistence.

Is this how you feel about your work in progress? Advice: the punching must be on computer keys — daily.

Stephen King’s biographical On Writing: A Memoir of the Craft reveals King as an avid reader, a no-nonsense advocate of writing skills, an honest, humorous, generous guide and a devoted husband of over thirty years to boot. The book soon impresses with his engaging style and self-revelations. At first, you may think, there’s no guide here, for the first half of the book relates Stephen King’s early life, hardships, but the message must be taken from his, above all, persistent writing. He writes when he’s hungry, in a corner, on his lap, in a trailer, in a run-down apartment, after ten bit jobs and later, a rough day’s teaching. He does everything to put food on the table for his wife and little one before turning to his writing. But he carries on. Then the wondrous telephone call comes and he makes his first big money. (Carrie is the novel and I wonder if carries on was uppermost in his mind when he wrote it).

This is such a nice guy, you find yourself thinking, I want to know and celebrate his success and then take account of the how and why. That success is so immense, but above all, so appealingly hard-won, that you just can’t refuse to accept what he is saying. And he says it in the second half of the book. His advice is clear, uncluttered, simple and to the point.

Many, if not most writers read books about writing: style, plotting, planning, joining retreats, engaging in courses, identifying underlying themes. They despair that they’ll never gain sufficient organisation and techniques.

King has no truck with much of this.  His recommendations come down to this: honest, always honest writing; getting the story down ‘as it comes’; ensuring that the action is or could be true of the characters; similarly that the dialogue rings true of them. He is not precious, and does not value pretensions.  He states that all his stories stem from some initial experience and the personalities he has met. What he adds is a stunning ‘What If?’

He gets his first draft finished without recourse to beta readers, then puts it strictly away for six weeks. He works on other things.  In the second draft he fills out as well as corrects. At this point he may sit back and think what the novel is really about, what is important and consistent throughout the story.  This is when he might come up with an image or metaphor that enriches the writing.

What is very apparent is that Stephen King is excited about what he writes and loves the activity. He is not identifying a genre where he can make money nor is he intending to write blockbusters. He writes with an audience, an ‘Ideal Reader’ in mind.

His book can clear a writer’s mind and stop the flow of words circling round and down the plug-hole.dyslexia

On Writing is not a new book and it will have been lauded and praised many times before this. However, if there is any reader who has not read a book on Writing, they would do well to read On Writing.   It could well set you on a good, productive path.

Persistence pays, and King has evidenced this. 

Five essential writing tools

Starting out on your first writing journey?

Starting out, Flickr, Simonov

If you are just starting out to write and self-publish, whether fiction or non-fiction, put some money aside for the journey. After all, if you were about to open a shop,  or offer a repair service, you’d expect up-front costs. Don’t expect the writer’s expense to be limited to computer, printer, ink, paper and reference books. Below I’ve listed five essential writing tools. You will be very thankful for these. If I’d known of them when I began, I’d have saved many months of time.

  1. WRITING PLAN  Scrivener  software organizes you. Forget writing from A-Z on one document. Scrivener encourages you to write in scenes, sections, chapters, ideas, dialogues, time frames, or whatever takes your fancy. Everything is updated and saved automatically. You can set yourself targets. Slip easily between looking at your notes, the outline, research, all beautifully laid out. Yes, you have to learn how but you can use the tutorials, or, easier, buy this book : Scrivener Essentials. Author Karen Prince explains clearly and succinctly: a big contrast to Scrivener for Dummies where the only tilt at your newness to the application is the occasional very weak (and patronising) joke. When you’ve finished the last chapter and have compiled the various sections into one book, Scrivener formats it for you: paperback, ebook or mobi. This in itself is a huge help.
  2. EDIT AND REVIEW Pro-writing aid This is a comprehensive editor, good to use chapter by chapter so that when the book is finished, your editor and proof reader will have far less work and cost you less. Pro-writing aid surveys your grammar, writing style, (over) use of words, and lots more. Paying attention to its advice will make you a better writer as you are progressing with your book.
  3. READ GUIDANCE Kindle  If you don’t have one, do it now. This cheapest one is quite good enough, clear to read indoors or out. You can download free, or free to read guides for your writing, marketing, style etc. onto the Kindle and have it beside you as you work on your book on your desktop or laptop. That’s so much easier than reading, making notes or trying to remember steps, and then returning to your computer to put it into practice.
  4. NOTIFY OTHERS Canva You may want an illustration in your book, but more likely you will want to blog about it or post on Facebook. Canva allows you to painlessly compose visual images and add text. It’s quick, too.
  5. FORMAT AND PRODUCE Vellum  Above all, when you’re sure your book is ready, avoid hours and days trying to format your book for the different platforms. Buy a lifetime licence for Vellum and have beautifully laid out books with no stress. 
    This advice comes from painful experience. If you don’t follow any of it, the same pain will be yours!

Writers’ Criminal Ideas – developing a short story

I hate that question, ‘How do you get your ideas?’ because I rarely know. When I wake, story phrases or conversations come to me out of the dull mist of very early morning.

But in respect of this story, I can give a direct answer about my criminal ideas.  

Some years ago I was watching the news of multiple shootings in a school by an adolescent. The account was truly shocking and the media tried to analyse its reasons. Sadly, other such massacres have followed.

As a psychologist, I had sometimes interviewed/assessed such youngsters. I remember several school haters rather than school refusers holed up in their bedrooms after school, keeping themselves separate from family and peers. These boys, and sometimes girls, believed those around them were ignorant of what they themselves knew. Their ‘knowledge’ was of violence, rebellion, conspiracy, retribution. They had dark posters on the wall. Those youngsters, I can’t write about, but I did use the experience to imagine a new character in that role.

I can’t write about those particular youngsters, but I did use the experience to imagine a new character in that state of alienation. (This writer’s criminal ideas)

I created a younger boy from another geographical and social setting and imagined what might lead to such an extreme act. I wrote a longish short story. It was long-listed in the (now defunct) FishKnife competition that year.   

Later it won a Bloomsbury review after topping the favourites on the YouwriteOn site. The editor said that I “was a writer of potential” (pun), that I had “an intriguing premise”, my first line provided “a gripping opening” that “plunges the reader straight into the novel’s moral dilemma” and that she “was impressed by use of a first-person narrator.” She went on, “The use of an unreliable narrator is tricky to pull off, and you handle it well – the character of Jake has stayed with me since I first read it.” She suggested how I might develop it as a novel, associating it with ‘Before I Go to Sleep‘ and ‘Gone Girl‘.

I put the story with its criminal ideas to one side, because I was wholly involved with rewriting my trilogy, A Relative Invasion.  Later I tweaked it and put it on Kindle. “A Boy with Potential,” is the first of my Crime Shorts. Will it be a killer?

It’s a 5k read. I believe there is an appetite for stories of that length. Indeed, one reviewer (Morgen Bailey) has written: “This story has a feel of The Curious Incident of the Dog in the Night-time, although I much preferred this one, and it just goes to show how much can be done in around 5,000 words.

Icy Short Story – performance art

‘Icy short story’ could feature a crime, an arctic setting, or a scientific experiment – even cryogenics.

These skilled stories heard by the packed audience at Story Fridays in Bath, UK.   My own icy story explored the ultimate chill in a relationship. 

There’s a growing popularity for short stories as performance art. Story Fridays, A Word in your Ear, in conjunction with Kilter Theatre, is the creation of the talented playwright and short story writer, Clare Reddaway. The event occurs every second month inspired by a theme. The most recent is theme was ICE.

I was very happy that one of my short stories was chosen: A Fragment Retained, and thrilled that it was read by talented actor, Kirsty Cox

Sometimes it’s better not to read your own story when it’s written in the first person: the association with the writer/reader can distract the audience from the writing itself. More importantly, my story was delivered far more effectively by Kirsty. Why read a mini drama yourself when you can have a professional?  You can judge here how brilliantly Kirsty performed the story of a woman trapped into an unplanned conclusion.

This icy story is a mid-point gasp in my (mostly humorous) collection of satirical short stories, Me-Time Tales: tea breaks for mature women and curious men.   (The companion volume, Curious Men, follows later this year). The story has another name in the book. I tweaked it for performance. It’s often a good idea to make adaptations for stories heard, rather than stories read silently.

Last time I had a story in Story Friday I also enjoyed the advantage of a very skilled actor  performing, (Olly Langdon). He memorably brought my character, a WWI POW to life, which would have been difficult for a woman to achieve.

It is nice to connect with an audience through something you’ve written, reading it as if written especially for them. I enjoy doing this when the story is a narrative, but these two stories had a single distressed character and they benefited enormously from the actors’ magic touch.

Stories for performance need such decisions – personal connection with the audience, or making a character more credible?

 

 

Writers, do you beautify your main character?


Prince Albert – Winterhalter

The recent TV production, VICTORIA, enchanted viewers in the first three episodes thanks to the girlish, if skittish character of Jenna Coleman’s princess. The appearance of the awkward and distant Albert added drama, if not as much attraction, as riveting Rufus Sewell, Lord Melbourne.

I discovered that the ridiculous hair style of Albert was no TV concoction when I visited the Chateau de Compiégne, Picardy.  There the wonderful portraits of Franz Xavier Winterhalter (known for his true-to-life painting) formed a special exhibition.

Winterhalter became one of the royal pair’s  favourite painters. It seems that Victoria praised his truthful representations, so we must accept that her own portrait is as she was, with bulging pale blue eyes, plump arms and stocky little body even in her youth. Whereas Tom Hughes is near to a spitting image of Albert, Jenna Coleman’s Victoria is very much beautified.

It may be that the scriptwriters came closer to the couples’ personalities. After all, clashes between two strong spirits is the stuff of drama. If one were portrayed as wholly sweet and cooperative, the series would fall a long way short. In my own case, I preferred the image I had concocted from history books to Tom Hughes, but sadly his lisping portrayal of the penniless prince was probably near the truth.

Have you written a character close to truth of someone you’ve actually known, while another you’ve deliberately beautified? Readers are left unsatisfied when excuses are made for the protagonist with unblemished features and unstained character, whereas the antagonist’s redeeming elements are ignored. Such black/white characters are termed ‘cardboard’. It’s surely the shades of grey that grip a reader, so don’t beautify your characters.

History is far more interested in what Victoria really looked like, not how beautiful a painter could make her. The same is true of writing.

Writers: are you a planner or pantser?

Do you have a writing plan?

It seems there are two kinds of writers: those who plan, and those who write on the seat of their pants.
   I would love to write synopsis, theme, the backgrounds of each character, the main events of each chapter before I ever begin, but that just won’t work for me.
   When I start a novel I only have a germ: a snatch of dialogue, an incident, a theme. I don’t even know what kind of characters will pop up, which will prove to be major and even where the setting of dramatic scenes will be. But despite the discipline of degrees and diplomas and a Ph.D. I’m an irrevocably, irredemiable pantser.
   Working on the small germ,  something happens to the character speaking or experiencing the incident. That turns into a chapter. At the end of one chapter, I know what has to happen in the next but not further. By about the fourth chapter something emerges that enriches or expands the plot, becomes a sub-plot or develops one of the characters.
   The novel outline falls into place when I know the ending. Usually that’s before I get halfway. Then it’s a matter of laying out the remaining ground, including character backgrounds, needed for reaching that end.
   All my fiction has one thing in common (as well as their manner of creation) — they are character-led. I can’t write any other way.
   There’s no great plan but interesting things gradually emerge.
   Here’s an example of my writing process. A Relative Invasion (a trilogy set in the Home Front of WWII) began with one tiny thread.  An elderly man told me his school had been evacuated to a village where after milk and biscuits, the children were walked around the village in a crocodile seeking billets.  A tall seven-year-old, (‘He’ll cost a bit to feed and clothe’) this man was the last to be chosen.   
   I thought, children must have been so resilient at that time. And so Billy was born, a sturdy well-meaning child. He was only aged five in 1937, and so I found myself writing historical fiction (with all the research that entails). The key figure at that time was, of course, Hitler, and his rise to power came as result of German resentment , humiliation and envy after the end of WWI.
   Consequently, a cousin for Billy surfaced. He would experience these negative emotions and be a psychological bully to make Billy’s life a misery. I made him artistic and physically frail.  However, this Kenneth would need to be a charmer for the adults to be blind to the bullying.
   Now I had a theme for my novel: the feelings and tensions in Europe (macro scale) would be mirrored in micro by the two cousins in their developing rivalry.
   Billy then needed a secret symbol of power to support him.  I hit upon a Cossack sabre, that then needed a background story of its own.     This led me to research the Russian/Germanic conflict at the start of WWI. And I realised that the sabre icon would need to filter right through the story.
   I am not recommending this approach to writing, just showing how a novel can unfold as the narrative continues, and in this case, it was a trilogy that emerged.
   Are you are writer? Consider which kind you are, planner or pantser.

New book on the block: WWII trilogy

 New book in the Relative Invasion trilogy: IMPACT

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Post-war, the fall-out. Book 3 of the trilogy: IMPACT is now available on all e-book platforms.   https://www.amazon.com/dp/B01N759C1Q

https://books2read.com/r/B-A-IJPB-ZGSL 

and in paperback,  from Amazon and bookshops.

The new book is much longer than Book 1 and Book 2, bringing the two boys painfully to adulthood.

Bill’s trials with his cousin, the manipulative Kenneth, continue in adolescence. Kenneth seems determined to grasp every important possession and relationship in Bill’s life. Their rivalry reaches a climax that is bound to be explosive. 

This is the layout of the three books:

1937-1940. In Book One, INTRUSION, five-year-old Billy Wilson is introduced to his frail, artistic and manipulative cousin, Kenneth. Against the background of impending war, Kenneth begins his invasion into Billy’s life and the rivalry begins.

1940-1945. Book Two, INFILTRATION, finds the two boys evacuated to the country. Billy finds nurture in his foster home that has been missing with his own parents, and begins to develop strengths of his own. Then a family tragedy enables Kenneth to invade Billy’s life wherever he is. The event will bring changes for both boys that are permanent.

1945-1951. Book Three, IMPACT.  In July, with the VE Day celebrations fading in memory, Bill is torn from the foster home he loves to return home. Reluctantly he faces a dirty and destroyed London in company with Uncle Ted, who is home from the war safe, but so odd and uncommunicative. Bill must share his Wandsworth home with manipulative cousin, Kenneth. The adolescent boys’ rivalry intensifies as Kenneth intrudes further, insinuating himself into relationships, toying with his friendships and betraying his secrets. A drama is inevitable. Can Bill deal with the dreadful fall-out?

1936_austin_seven
Uncle Ted drives the family home in an Austin Eight.
demobhero
Bill’s father and uncle have no hero’s return like this.

IMPACT should appeal to all those who have made a fatal mistake and must live with the consequences.

PLEASE DO REVIEW ON AMAZON AND GOODREADS.    Thank you.

Creating edgy short stories.

I have written a few edgy short stories, and I enjoy reading them. As an example, Hilary Mantel’s story of Margaret Thatcher’s fictional death

It’s the suggestion of outrageous possibility that can make a story  or an image edgy.

madrehitler

If the first person form is used as a literary device, the narrator of an edgy story is often unreliable, but his or her fantasies around true events don’t make a fantasy for the reader. There can be a self-deception that the reader can assess.What is ‘edgy’ is the uncertainty around what is real, especially if that threatens safety, physical or attitudinal.

Where stories are written in the third person,  the main character does not have to be likable.  It is edgier if s/he’s unlikable yet the reader constructs a sneaky liking for him/her. This makes the reader uneasy. (What sort of person must I be if I feel sympathy for this jerk?)

images-2The reader does have to be drawn to the main character in some way – horror or outrage can achieve this – what will he do next? But uncertainty and confusion work best.

 

 

The author can shock the reader by reversing all expectations, or make the protagonist cross over some unacceptable line. He may kill but must he debase? He may cheat, but the person who has just saved him, or his own mother?

Edginess needn’t involve extreme sexuality or aggression.  An action close to home can cause the uneasiest feelings, or an everyday event suddenly appearing to have a different significance. It doesn’t have to involve crime or erotica. It can suggest something subtly sinister. It can be socially provocative. It can even be shockingly funny.

Assumptions we make when we read a story when reversed, can highlight our own prejudices.  Edginess can produce unease and give rise to questions over morality, practice, managing relationships. A story is satisfying when it is thought-provoking and lingers in the mind after the last page.

I hope I’ve achieved this in my Crime ShortsA Boy with PotentialNot Her FaultHomed banner_new