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.

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.

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    Pixabay

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

 

 

Strengthening your writing via stimuli.

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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?

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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 . . .

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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)

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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

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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.

9 points on writing edgy stories

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My second post on writing edgy short stories.

Here are some suggestions. (My previous post will add meaning to this.)

1. Write with a clear voice. Not yours, your character’s. It doesn’t have to be first person. You can write third person from the main character’s (MC) point of view. What matters is that point of view, the reader feeling sure s/he is standing in the MC’s shoes.

2.  The reader doesn’t have to like the MC. It is edgier if a sneaky liking for a character makes the reader uneasy or worse. (What sort of person must I be if I feel sympathy for this baddie I’m reading about?)

3. Short stories can’t cope with having too many characters. The edginess may depend on being in the MC’s head most of the read, so the reader has to be drawn to him/her in some way – even horror or outrage can achieve this.

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4. Dialogue has to do its job well and pithily. Every word counts; every unnecessary word detracts. A character merely saying ‘Whatever‘ can give a total feel of his/her reaction, whereas a whole sentence may not.

5.  Structure. If you are working on : 1/5 start, 3/5 middle. 1/5 end, that final fifth must hit home. Either shock the reader by reversing all his/her expectations or let your MC cross over some unacceptable line. It may ‘only’ mean stealing a child’s bike and pretending innocence. However, the ‘journey’ must be there, and it’s vital that whatever happened is some kind of shock to the system.

6.  Edginess doesn’t necessarily require extreme sexual or aggressive behaviour. Risk of some form is usually involved but an action close to home can cause the uneasiest feelings, or an everyday event suddenly appearing to have a different significance.

7.  The edgy story does not have to be crime or erotica. It can suggest something subtly sinister. It can be socially provocative. It can be funny.  It’s no longer edgy for sexual abuse to be involved, not because it’s any more acceptable, but because it’s now hackneyed as a character device.

8.   It is still edgy to nudge into those actions that would be too awkward to admit to a friend. e.g. a friendship established in the first 4/5th of the tale where we worry that this friend is about to cheat or betray. The last fifth reveals that we are wrong. The kickback is that the assumptions we made highlight our own prejudices.  Edginess must produce unease.

I hope I’ve achieved this in the first two of my Crime Shorts, A Boy with Potential and Homed. Do let me know if I have.

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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

 

 

Author Litfest talks

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Literature Festival speakers. How can they best serve the audience? What makes attendance worthwhile for the writer?

For fans, seeing their favourite writer, or one who has fascinated them, is an exciting and uplifting experience. For writers, writing or research techniques may be uppermost in their minds when they attend to the author speaking about his/her book. There is a variety of approach an author might use, such as at WellsLitFest where the authors used a podium to deliver talks illustrated by their readings. I was privileged to hear Jonathan Bate give the first of his (superb) talks about his just-published Ted Hughes:the Unauthorized Life.  As an academic at the pinnacle of his profession, he is an exemplar of this approach. However, the podium speech can be the undoing of speakers without his fluency, confidence and erudition.
Unknown-1Two other recent presentations, both by favourite authors of mine,  allow an interesting comparison of approach.

Jeanette Winterson came to a church in Bath, thanks to the excellent Toppings bookshop’s fest, and wowed a packed audience with a theatrical exposition around her latest book,The Gap in Time.  41eJ+yx5MuL._AA160_

The jazz music increased in volume, the slight figure with an aurora of back curls strode up the aisle. A video of stage, screen and radio versions of A Winter’s Tale then preceded Winterson’s own dramatic performance. The voices of her characters rang out, even their oaths resounded beneath the stone reliefs of dead benefactors. I couldn’t help thinking of the rigidly religious Mrs Winterson, adoptive mother, bridling in outrage. As Jeanette Winterson stood where once there had been a pulpit, the drama around the foundling, pulled from the receiving window of the convent by her protagonist became immediately alive for us. A compelling reading continued for half an hour.

This can truly be described as an oeuvre, a reworking of Shakespeare’s Winter’s Tale as a novel, and brought into the present day to New Bohemia, an imagined area in New York.

With hardly a breath’s gap, Winterson went on to describe the historical and dramaturgical context of her novel. For instance, the changes in theatrical productions at the time Shakespeare had this play showing at The Globe, and how the innovation of intervals affected his play structure. Admirably fluent, she then discussed her own re-creation of the storyline, her choice of concepts and people to fill the character roles, and her powerful attachment to this play. The foundling that she was in her personal life and loved in A Winter’s Tale, led to the making of her novel and for a riveting hour for her audience.

Of most impact for me, however, was the fact that a play was recreated as a novel. The telling of this writing process then became a theatrical production in its own right.

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Another winter was presented in a totally different manner at the Budleigh Salterton Litfest. Patrick Gale spoke of his book using the conventional style of the two armchairs, the glass of water, the introduction and intelligent questioning from the discussant. Putting his new novel in its context, Gale chatted about his fortunate childhood and education: the loving parents,  the enlightened teacher who allowed an afternoon every week for writerly boys to sit and write without interruption or instruction, his family’s total tolerance and freedom to be himself that contrasted so tellingly with what Winterson had experienced. It was as if we were no longer in Budleigh Salterton’s village hall, but relaxing back on leather armchairs, drink in hand, listening to the urbane author in a post-prandial chat. He is as entertaining in talk as he is on page.

A Place Called Winter is not a soft and gentle story. At many points it is tragic and in some places tough on the emotions.

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The context of this novel is very personal since the tale is based on the experience of Gale’s grandfather. He went to Canada at a time when land was being given free to those who would live there and farm it. Once there, the new landowners discovered that they were now incredibly remote from any sign of civilization, and that for many months they struggled to avoid being literally frozen. This man left his comfortable life, his wife and children to go. But there was a reason.

Discussion of this reason took us through the Victorian response when facing anything different, especially within the family. Gale captivated his audience with often amusing anecdotes of his own experience, those he had discovered about his grandfather, and had imagined for his protagonist who is an extension into fiction.

Winter is at several levels in this novel. The Canadian town truly is called Winter, and not after the season. Surviving there involved managing the fearsome winter months, the winter of isolation, and of separation from all that is emotionally summery. Further, the protagonist has many reasons to have winter in his heart. Much later in the novel, there is certainly winter in the heart of his closest relative.

Before Gale’s entrance, the person next to me said she had not read any of Gale’s novels. I told her of my favourite (Notes from an Exhibition). After Gale’s presentation, she, like the rest of the audience, rushed to buy A Place Called Winter. ‘My husband will love it.’

I have mentioned striking contrasts in these two author’s presentations of their new works. There is something vital in common. Both introduced contextual and background information that was new knowledge, rich detail set in a story that is totally gripping.

At Litfests it is not enough to talk about a book and its plot or characters. There needs to be a background story to the book, its research, its personal meaning to the author and its underlying theme or issue. We had this with these speakers, and for the writer, the healthy increase in the urge to scour new historic sources.