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. 

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.

Scottish Showcase: Review of The Grind

Today’s post is a review I wrote for ShortStops, a literary online site that celebrates the short story.

The Grind is an online journal showcasing creative work from across Scotland had its first issue recently. I thoroughly enjoyed reading this as can be seen from the following:

THE GRIND – A NEW CREATIVE JOURNAL

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It was enlivening to read the first issue of The Grind, an online magazine showcasing short fiction and visual art from across Scotland. The Grind will give new artists and writers the opportunity to have their work seen by an interested audience. Always ahead in the field of Education, Scotland has its own voice and personality, perhaps insufficiently seen internationally.

Some of the contributors will be completely unknown, others have already won acclaim for their work. I enjoyed all the contributions but can only mention a few in a brief review.

The first issue is certainly as diverse as the parts of that country. Dramatic treescapes from Jamie McFarlane open the magazine. This is followed by some poetic gems. I particularly liked Dreamscape by Seonaid Francis, short but lyrical, and delicately to the point.

The tone is very different for the arresting architectural and life-style statements by Declan Malone. These photographs both appealed to the eye while depressing the spirit, and as spatial configurations, they somehow sum up a visual experience for a significant proportion of the population.

Also memorable, are the very disturbing psychological portraits by Bryan M Ferguson. Somewhat filmically, he portrays what is happening and has happened to his subjects whom he allows to speak for themselves. His use of black/white contrast add to the effect upon us.

There is flash fiction in this issue, as well as poetry. I would pick out the haunting set of mini ghost stories by David Flood. These are less fantasy than a representation of the living loss for the ordinary person of those departed. The short pieces held together well as a set.

In the same vein, I loved the haunting shadowy photographs of TV Eye, like flickers of memory. Some photographs please as a work of art, some as technique. These appeared to strike some new ground, touching on half formed thoughts or minimally perceived movements.

In strong contrast, the impressive and central work NMDA by CD Shade is an intellectual presentation. It uses text, rhythm and diagram to present a visual representation of the glutamate receptor and its functions. This work really needed larger pages for readers to appreciate the scientific, cognitive, language and life implications it draws attention to. I enlarged each section in order to read it properly. NMDA is in essence a scientific poem, unique in its style. I am sure it will receive the attention it deserves .

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This is a stimulating and exciting magazine. I did wonder if a different title would benefit it; a hydrophonics magazine has been using it for some time. Otherwise, only one criticism – the layout sometimes made it difficult to determine whose work I was seeing, so that I had to return to the Contents page. The author’s name, often written very small, hovered between pages. One artist framed his work, and this made for much easier viewing, especially on a tablet.

The talented writers and artists present a range of themes and genres in this first issue of The Grind. If there are to be changes in the later issues, I hope there will be a chosen theme each time. It will be exciting to see how the different individuals respond to this within their own medium and style.

I shall be looking out for Issue 2.

First published on www.ShortStops