Suggestions for writing a trilogy.

 

Much advice for writers suggests that series work best for indies. Is the same true of a trilogy?

A trilogy suggests an entity like the three-movement sonata in music, or the triptych in art. The form must be complete, whereas the novelist has more freedom to finish where s/he likes, at any point, at any length.  

A Relative Invasion is probably the only trilogy I’ll write. It was meant as a novel. I began to write the story of a good-hearted boy, Billy, who was going to need all the resilience he could muster to weather the threat of war, as well as that of his manipulative cousin. A trilogy never entered my mind. I wanted to explore how the emotions that led to WWII might play out in micro, in a South London family. This was a story about a life-time rivalry that would have lasting effects, mirroring the tensions in micro of those in pre-war Europe.

This is what happened when I was in the throes of writing the story:

Billy was only five years old at the start of the narrative. At around the fifth chapter I knew what the ending must be, and I wrote that in full. I then returned to Chapter Five. Just a matter of getting Billy from that point to the end, but by the time I had written one hundred thousand words, he was still only seven. At that point I stopped, thinking I had better made the story into two books. Backtracking, I wrote a suitable ending to Book One, which came at around seventy-five thousand words.           

When Book Two reached a similar length, World War Two had just ended, but I was a long way from the climax and culmination of the story. VE Day provided a natural conclusion of Book Two. Billy was then twelve, and cousin Kenneth, thirteen. Adolescence and the terrible austerity of London’s 1940s lay ahead, together with the fall-out from their life-long rivalry.

Book Three had to bring the boys to adulthood, and by the time I’d written to that point, I was at one hundred and twenty thousand words. I could have started the boys’ careers and made four books, but I had published and described the previous books as part of ‘a trilogy’.  I stuck to this, revised, and cut Book 3 down to one hundred and five thousand words. After all, the climax and the ending were set just as I’d planned.

Billy’s story was told, the arc I’d envisaged had been completed. I had written a trilogy. What can I advise would-be trilogists?

Early on, write a time-line.

Put in the historic events, check exact dates of these. Ensure you record each character’s date of birth, location, key events. In a trilogy, you may need to come back to them. Old incidents come back to bite the bottoms of the unwary.

Write your real ending before you get too far into the narrative.

You need to retain a clear sense of where your story is going as you write chapter after chapter. 

Mark out how much will happen in each book.

This way you can pace the drama evenly, making sure you don’t stack up the high points too closely together.

The flow of life needs to show:

precursors in Book 1, developments in Book 2, outcomes in Book 3. In music the third part would be recapitulation. Outcomes do have this element: a reworking of earlier events. If there’s a crisis in Book 1 it can resolve, but not really conclude there;  longer-term effects should pop up in Books 2 or 3.

There needs to be some sense of linear movement

even if the books are not arranged in chronological sequence. The reader will want to feel the size of the whole time span by the time s/he reaches the end.

Include several fully-imagined characters.

Three books are too many to focus on just one or two main characters. The work needs other characters with their own concerns for the main ones to knock against and react to. The range of possible interactions gives a more detailed picture of the protagonist(s) and a fuller character development .

Similarly, there needs to be more than one theme.

For instance, the main theme in my trilogy is the far-reaching effects of an ongoing childhood relationship. Connected to this is the theme of coming-of-age, bullying, parenting issues, the subtler effects of war service, and a re-examining where personal responsibility lies.

Although the trilogy will follow one arc each book also needs its own arc

My trilogy arc was before WWII began until the war effects in Britain ended – “You’ve never had it so good”) The three books fell into line with historic events: Book 1 – threat of war until its onset; Book 2 – the war years; Book 3 – post-war austerity. Each book contained its own drama; each marked great changes in Billy’s life. It’s these changes that make for a satisfying place to end one book and start the next.

AND I’d also suggest the following about a trilogy:

The story has to be substantial.

It has to touch on something in human nature that will resonate meaningfully over the timescale of your three books so that the three do comprise an entity, not three stories about the same people.

Finally, you need to be a sticker;

someone with a persistent, resilient personality who does not give up what they have started. I wrote these traits into my main character, and he helped me to stay the course.

Obsessive women: satirical short stories

 

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.   

There are Kindle and ebook versions while the paper-back — neat enough to slip into a handbag or breast pocket — is available in bookshops (ISBN=978-0992716790) 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” while another suggests it’s a delight “for both sexes”

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 story, describing the most neurotic character. 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. 

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?

 

 

Character-writing: resources

Writing characters? E.M. Forster admitted that “We all like to pretend we don’t use real people, but one does actually. I used some of my family …”

Perhaps you can’t or won’t do that. As a writer, you will need different resources for bringing your characters to life.

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Character invisible on the stage

You may have access to a group or category of people who encapsulate the characteristics you want for your character. But perhaps the stage is empty . . .

You want to give your character a convincing appearance and a convincing voice. It’s good if  you can summon up a face and voice that is still in your head. But suppose that isn’t the case and you need to create one? You won’t want the fruit of someone else’s vision — i.e. you don’t want to copy a character from a film or tv script.

Feeling stuck? Try these resources:

  1. Documentary films. The British Film Institute site is not just for buying films you’ve missed seeing. Let’s say your character is a steelworker in 1948. You can see a 1948 close-up of steel production to get the manufacturing process vivid and exactly right, take in the working clothes worn at that time (including a man in a suit working with heavy machinery) and hear the tones and terminology of the narrator.

  2. Oral History interviews  are a wonderful source of actual opinions and attitudes. You can hear audio clips of contemporary voices such as those being compiled by the BBC’s Listening Project, or past voices in archives such as those at East Midlands Oral History Archive, or in the US via the G. Robert Vincent Voice Library – a collection from 1888 of voices from all walks of life.   http://vvl.lib.msu.edu.

  3. Online discussions. Say you have never been in your character’s situation.  Find a blog on that subject, then wheel down to the comments: real people reacting to the situation. For instance, unemployment or being cheated by a friend. You’ll not have to guess how it feels. The comments following an advice column, even review sites include personal accounts with the tiny details that will make your paragraphs sing.

    horse-1333937_960_720
    Pixabay

    Always better to get it from the horse’s mouth.

 

 

Strengthening your writing via stimuli.

roseSmell_opt

Writing stimuli. What gave you that sudden idea that made you urgently scribble it down? It’s worth exploring.

The power of olfactory stimuli in activating memory is well known. But it’s much harder to ‘dream up’ a smell that might affect the character in your story, than it is a sound or sight.

When we’re stuck for ideas for a visual stimulus,  Art can provide perspectives, narratives, symbols to enrich our writing.  For auditory stimuli, theatre and radio present us with ideas and emotions through sound patterns, speech or music.  snuff_optThere is no equivalent for smells.

So having found the right sound or sight stimuli to cause your hero to pale with emotion how to find the right smell/scent/perfume/stink to cause emotional impact? Leave aside the obvious triggers: magnolia, blood, excrement, cabbage (who wants to write hackneyed stuff?). Will the character stop short as spinach fumes enter his/her nostrils, or candy floss?  What particular scent might have been recorded in his/her long term memory?

skunk_opt

You can prepare for that blank moment. How about noting down your own strong reactions to any smell, pleasant or unpleasant? List the source for each. This will make you rack your brains, and may well summon up incidents that you can use in your story. Add any smells that you already know act as powerful reminders for you – and write down why.

A scent for one person may be a stink for another. One perfume might raise very different memories for two different characters. Identifying that memory can enrich your story line. For instance, the whiff of musty clothes in a charity shop reminds Kara of a great aunt, but Debra of pass-me-downs when she was young.  The scent of aloe vera takes Anna back to the birth of her baby, but reminds Dan of a little lane in Almeria where he was set on by teenage thugs. They find themselves quarrelling . . .

TapirAtSDZ

With such a list of smells, you can google them to add any interesting facts to their source and the memories they evoke for you.  Strengthen your writing with that detail that enthralls readers and brings them right into your story.

Title Optional

Struggling to find the right title?

A writer recently remarked that she had difficulty in thinking of titles. I thought I’d concoct a list for beginner writers allowing use for different genres. Let me know if you like this kind of post. It can be taken seriously or not. Who knows, one of these may spark the next novel for someone. These titles are intended for you to make your own associations (and stories). I had fun.

 

One day too long

Caught in Time

Idyll in Back Alley

Plenary Session

Forbidden Journey

Is There Hair on my Burger?  (or their hair – works as well)

fur burger

An Intricate Endeavour

It Takes Time to Jam

Black is the New Grey

They never called me Edna

Not Everyone Marries in a Cathedral

Blogging To Bliss

Entropy

 

IF YOU LIKE THIS, I CAN DO MORE. (But I should be finishing my next chapter).

Winning Writing

Persianmss14thCambassadorfromIndiabroughtchesstoPersianCourt

This lovely image is Iranian.

I like playing Scrabble, but I’m not competitive. The challenge presented by the board in hand and the variety of options, limitations placed upon moves is sufficient. Sometimes the layout feels like an art form. It’s fun to enliven the game further by restraints such as allowing only nouns related to e.g. writing, for words of 4 letters or more. Going to an event based on competition would spoil the enjoyment completely.

It seems that the lack of competitiveness has a worthy origin.Chess_Players_of_Haft_Awrang

Chess is thought to originate in India, before the 6th century AD and then spread to Persia, pictured here.

Chess reached Southern Europe via Arabs and Muslims, and by the 15th century it had evolved into its current form.

The “Romantic Era of Chess” was characterized by swashbuckling attacks, clever combinations, brash piece sacrifices and dynamic games. Winning was secondary to winning with style and the focus was upon artistic expression. I’d loved to have been an audience then before the style changed, in the 19th century, to one of technical mastery and long-term planning.

In presenting our fiction to the world we writers are exhorted to use multiple techniques to gain sales.  Innocent days of creating the best that our talent and art form allow, end. Months of miserable media-bashing follow. What contrasting activities, what different emotions!

Reading about the origin of chess brings similarly opposite emotions to reading self-help books that teach tricks of beating algorithms or garnering a following. It’s these books themselves that sell in huge numbers, their authors then ‘teaching’ a system to all other writers on the basis of this ‘sure’ success.

How sad.  William Boyd, Anne TylerKasuo Ishiguro novels, say, may have comparable Amazon sales rankings with a very badly produced book on Twitter techniques. Even the most reputable newspapers may show best-selling books for their Top Twenty rather than a list of most highly regarded fiction.

Swashbuckling attacks on the media, clever combinations of layered promotion, technical mastewinningry of marketing ploys and long-term planning of a marketing campaign is what sells books and makes a winning writer. Thank goodness that reputable writing competitions rely on writing judges, not the amount of ‘votes’ an entrant can grab via social media. Nowadays, all of us writers are pushed into this.

I wonder whether a ‘romantic era’ for art forms will ever return.

ARABIA – Walter de la Mare

ARABIA.

What is left to say?

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This was the first poem I loved, and it’s still my favourite. Here the country is the character, and like all well-drawn characters it is complex and has its dark side.

 

Far are the shades of Arabia,
Where the Princes ride at noon,
‘Mid the verdurous vales and thickets,
Under the ghost of the moon;
And so dark is that vaulted purple
Flowers in the forest rise
And toss into blossom ‘gainst the phantom stars
Pale in the noonday skies.

Sweet is the music of Arabia
In my heart, when out of dreams
I still in the thin clear mirk of dawn
Descry her gliding streams;
Hear her strange lutes on the green banks
Ring loud with the grief and delight
Of the dim-silked, dark-haired Musicians
In the brooding silence of night.

They haunt me — her lutes and her forests;
No beauty on earth I see
But shadowed with that dream recalls
Her loveliness to me:
Still eyes look coldly upon me,
Cold voices whisper and say —
‘He is crazed with the spell of far Arabia,
They have stolen his wits away.’

ARABIA – Walter de la Mare

 

 

Bulgarian fiction

Bulgariaborder

In Bulgaria, the short story is not a lesser literary form as it is in the UK. Quite the reverse, it is highly valued. There are some fine Bulgarian writers of short stories and this post concerns just one.

Miroslav Penkov‘s short story collection, East of the West, is the most powerful of reads. We are taken into the heart and bowels of Bulgaria through the voices and situations of the various characters. This is very fine writing, and not just the name story. That won the BBC short story award of 2012 (by unanimous vote of the judges).

The story is full of symbolism. A village is divided by river and that river is used as a boundary between west and east at the end of World War II.  There is jealousy caused between the villagers because those on the west bank have access to western materialism. The eastern bank villagers long for jeans and Nike trainers, however worn-out.

The villagers are allowed to meet once a year, but they try to keep contact other times by shouting across at its narrowest point, or, in the case of young lovers, by swimming to the centre and risking shots from the armed guards. The villagers once tried to maintain their identity by diverting the river so that it kept the village undivided. The result was a flooding, the church being completely drowned. The protagonist is encouraged by his loving, but aggressive cousin, to meet her at the submerged cross of this church.

His sister makes a similar swim to meet her fiancé, to show the ‘diamonds’ for her wedding the next day. Both are shot by guards. They are dressed in their finest, dead, for two funerals, each on its own  bank of the river.

Somehow, in the face of his own love and career disappointments, the protagonist must move on, a metaphor for Bulgaria.

EastpfWest

 

 

It seems opportune, at the very time that the number of Bulgarian immigrants (amongst others) is being agonised over, that the harsh lifestyle Bulgarians suffer is brought to the consciousness of other nations. It may be that it takes someone raised in the culture, but career-boosted outside of it, to write about Bulgaria with that telescope of understanding.

Penkov studied so hard that his English was excellent by the time he reached the US to further his studies. Therefore, his stories have the advantage of being written in English, not translated. Each of these stories is entirely absorbing and thought-provoking. The choice of words often holds a significance that points to larger issues. It was sobering to find that several stories were written when the author was very young. No-one, we would think in the West, should have inside knowledge or direct experience of such dark matters: the hanging of dissidents, the enforced changing of names, the lack of medical aid to severely ill people, the poverty and hunger, the lack of corporate compassion for the young or needy.

Penkov manages to get within the head of young and old Bulgarians, male and female. Filtered through the narrative is the history of a once-strong country beleaguered by political discord and powerful nations. The consequent poverty and desperation that cause alienation and anarchism come through these stories in a way that is fresh and bleeding.

The stories are both warm and dark, some so dark that it is difficult to read on. Why turn to fantasy and horror when more real events are offered here?  For instance, the dead (accidentally killed?) child being lifted into position for a family photograph. Or the almost dead vagrant on the church plinth being readied, or is it desecrated, for eternity? An adolescent with his sidekick, running loose, alienated, anarchic and yet retaining some humanity, ends up in the church tower pissing down on his compatriots who are literally jumping to political command – a darkly humorous message.

The tragic and emotionally neglected young girl, her head shaved so that she can be like her dead brother, is trained to make bagpipes, their soft section the nearest to a comforting breast her world provides.  When her father is arrested, she is left to care for her terminally ill mother and ultimately is left alone with her bagpipe. The reader can almost hear its plaintive sound.

A young man goes against home politics by being in America, wars with his grandfather who is eventually proved to be in the more enviable (Bulgarian) position. The Bulgarian desire to receive good education, career opportunity, a decent lifestyle, conflicts with all those values and close family ties that make life worthwhile.

The yan that drives and threatens to destroy the individual has a meaning beyond mere envy. It almost has a personality of its own, defining the Bulgarian and almost, his culture.

Rijpe_mispels

Like the medlars prevalent in the countryside of Bulgaria, these tales are bitter but necessary to assuage (literary) hunger. We can understand why Bulgarians, despite loving their country, need to emigrate to gain the basic necessities of life.

I feel the richer for reading these stories, and their content will stay with me.Penkov is due to publish a novel shortly. It is something to look forward to.