Super Snappy Speed Reviews – Books (Vol. 3)

SPOILER ALERT

While every effort has been made to avoid spoilers in this post, anyone who has not read: Uncommon Type: Some Stories by Tom Hanks, The Seven by Peter Newman, Goldfinger by Ian Fleming, A Touch of Frost by R.D. Wingfield, Ben-Hur: A Tale of the Christ by Lew Wallace or The Green Mile by Stephen King is hereby advised that this point may contain a few unavoidable spoilers.

You know the rules by now! After all, we’ve already had super snappy speed reviews for books [2], TV showsfilmscomputer games and even the Star Trek movies. And so today we’re back for a third dose of super snappy book reviews. As before, the books I have reviewed here have been selected entirely at random from my ever-growing book collection and do not necessarily have anything in common apart from the fact that they are all books. They are not necessarily books that I particularly liked or disliked, nor are they sorted into any particular order.

As always, these reviews only reflect my own personal opinions and impressions, sliced, diced and minced into a few short sentences. So without further ado…

Uncommon Type: Some Stories by Tom Hanks

Yes, that Tom Hanks. His debut collection of short stories was decidedly okay. He almost lost me in the first story Three Exhausting Weeks when he used emojis, and the overall flow of the narrative was a little clumsy at points throughout the collection (too many unnecessary profanities for my taste) but there was enough high quality material in there to keep me reading until the end. For me, his writing demonstrated a wonderful creativity but was just slightly deficient in the subtle use of language which can turn an excellent story into a beautiful work of art.

I expected worse but I hoped for better.

My rating: 🌟🌟

The Seven by Peter Newman

I swore I would never review this book; not because I don’t like it, but because there is just so much Peter Newman love on this website [2] [3] [4] [5] and on my Twitter account [2] [3] [4] [5] [6], I was getting scared he might think I was some kind of weirdo stalker and call the police on me. But what can I say? These books were chosen at random and this is what came up so, here we go. A nice, measured, critical review of The Seven:

I LOVE THE SEVEN. It is an excellent conclusion to an excellent series filled with sharp characters, a vividly imagined dystopian setting, nicely seasoned with just the right amount of comedy relief. I don’t know if I love it quite as much as the first book but I still love its socks off.

My rating: 🌟🌟🌟🌟

Goldfinger by Ian Fleming

The original novels upon which the James Bond movies are based tend to be quite hit or miss. Some of them are unputdownable thrill rides which have you on the edge of your seat from cover to cover. Unfortunately, Goldfinger features waaaaaay too much golf for my liking.

I’m not knocking golf. But this is a spy-thriller for goodness’ sake and my main memory of it is Bond playing golf with Goldfinger. Fleming devoted not one, but several chapters to describing this single round of golf in considerable detail. I won’t lie to you, I started skipping whole paragraphs after a while. It’s not often I say this, but just watch the film instead.

Bored, James Bored.

My rating: 🌟

A Touch of Frost by R.D. Wingfield

There are some things I loved about this novel and there are some things I did not love about this novel.

I loved the useless, bumbling and irreverant Frost character and, to a lesser extent, the Mullett character and the interplay between them. The overall plot was good and reasonably well paced.

I did not love the poorly handled third person omniscient narrative which told us almost everything every character was thinking. Nor did I love the crude and at times downright sleazy humour Wingfield invoked. The female characters are all presented as cheap sex objects and the males without exception are chauvinists at best, often making crude jokes about rape and other sensitive topics.

My rating: 🌟🌟

Ben-Hur: A Tale of the Christ by Lew Wallace

If only all Christian fiction was as excellent as Ben-Hur; for Christian fiction it is, though it is so far removed from the modern genre that it is barely recognisable as such. This novel’s got it all: conspiracy, revenge, romance, adventure and even chariot racing. Themes of family, friendship, gender, slavery and life-after-death are all explored in a way that leaves the reader thinking long after the book has been finished. The characters are excellent, especially the protagonist (Judah Ben-Hur) and his childhood friend turned arch-nemesis, Messalla. I should warn you that there is quite a lot of theo-philosophical discourse between various characters. Fortunately, I like theo-philosophical discourse and it is executed in such a way that it does not seriously harm the pacing of the story.

My rating: 🌟🌟🌟🌟🌟+ ∞

The Green Mile by Stephen King

When I reviewed the film adaptation of this novel, I gave it a glorious 5 stars +∞; a rating I give only to those stories which (in my opinion) set the standards for their particular genre. But a good film adaptation will never be born of a bad novel and the same is true here. The Green Mile is an excellent novel; by far my favourite by Stephen King. It might be something to do with the fact I’m not a particular lover of horror but I don’t think so. This novel has vibrant characters, detailed settings and a beautiful first person narrative in which the protagonist describes events that happened in his past as well as events that are happening to him now, as he writes the story decades later.

My rating: 🌟🌟🌟🌟🌟


Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what reviews your books.

Until next time!

ARE YOU AN AUTHOR?

I’m looking for authors (especially, but not limited to, new and/or indie authors) whose work I can feature here on Penstricken over the coming year. It will simply take the form of a quick Q&A about yourself and your work via private message or e-mail and, of course, a link to where we can all get a copy of your work.

I’m open to interviewing authors of almost any kind of story, provided your work is complete, original and of course, fictional. I will not consider individual short stories/micro-fictions, however I am happy to feature published anthologies or entire blog-sites of micro-fiction, provided you are the sole author.

If you’re interested, or want to know more, be to sure to drop us an e-mail or message us on Facebook/Twitter.

5 Writing Rules I Like To Ignore

If you Google ‘writing rules’, you’ll find that there’s no shortage of writing-gurus out there telling you their top 5, 10, 25 or 100 rules for how to write a killer story. All very useful stuff. I definitely recommend taking their advice on board. In fact, I’ve been known to write a few posts like that myself (though I am not a writing-guru by any stretch of the imagination).

Sometimes, however, you just need to rebel and write according to your own darn rules. So what follows are my top five common story-writing rules and wise sayings which I frequently bend, break and flat-out disagree with.

1. You Must Write Every Day

This is often put forward by some writers as the golden rule all serious writers simply must follow. The idea goes that if you want to be a real writer, the only way to do it is by writing every single day for the rest of your natural life. Personally, I find that rule more of a hindrance than a help.

Don’t misunderstand me. I do believe it’s fundamental to write often and especially to write regularly. I write every weekday evening (I have a day job) and I write all day on Saturdays. But on Sundays? Nope, no writing for me on Sundays. Sunday is my day off. Come hell or high water, Sunday is a no-writing day, except for scribbling down any ideas that pop into my head so I don’t forget them.

When Monday comes around, I’m invariably the better for having rested.

2. When You’re Not Writing, You Must Be Thinking About Writing

Yes, you got me. I’m paraphrasing Eugene Ionesco who said, ‘For a writer, life consists of either writing or thinking about writing’. And while what Ionesco said wasn’t exactly a rule, many would-be writing-gurus like to turn it into a rule. And understandably so, because it’s a catchy soundbite with that wonderful absolutist quality that we writers love to use, because it makes us sound just a little bit supernatural. It creates a nice little distinction between Writers and Lesser Mortals.

Now I can only imagine what it must have been like to be Eugene Ionesco. Maybe he really did spend his entire life in a perpetual state of writing or thinking about writing without a moment of interruption. Maybe lots of writers are like that. I don’t know. If so, good for them. Far be it from me to comment on the lives of others.

But for me personally, writing is only part of my life. It’s a huge part, but only a part. I’ve got a wife and daughter. The day I got married and the day my daughter was born, my story didn’t get a look-in all day. I’ve also got a part time job. When I’m there, I’m not allowed to write and the job requires too much of my concentration for me to spend the whole afternoon daydreaming about my story.

And you know what? I think it’s perfectly healthy (vital, even!) for a writer to have room in his life for other things. There. I said it.

3. You Must Only Write About What You Know

Writing what you know is great. It’s hard to go wrong writing stories based on real jobs, relationships or experiences you’ve had. I’m all for that. If you read through my stories (especially my flash fictions that I post on here), you’ll find a lot of them seem to be set on public transport. That’s because I spend an average of ten hours a week travelling by bus. But I also like to write about spaceships, wizards and fantastic worlds of my own invention. You may recall I once wrote about what it is like to be a mouse. These are things I simply can’t experience — and so, I imagine.

Don’t get me wrong, it’s important to check out your facts before publishing anything and a good way to research your facts is through gaining firsthand experience. I’m not saying you should write in ignorance. But a writer is nothing if he can’t use his imagination to fill in the blanks.

4. You Must Write First and Edit Later

‘But we’ve heard you preaching this rule before!’ I hear you cry.

Yes, you’re right. In general, I absolutely believe that if you want to get anything done, you need to resist the urge to edit until the draft is complete. But on very rare occasions, when I’m discouraged with the draft I’m working on and thinking about giving up… I do find doing a cheeky little edit perks me up and gets me back in the zone.

Still, it’s a nasty habit. Don’t do it.

5. You Must Ignore The Rules

An alarming proportion of the ‘writing rules’ you’ll come across on the internet (including mine) conclude with this altogether unoriginal rule: ‘ignore the rules’.

The idea behind this ‘rule’ is simply this: since there aren’t really any rules for writing, it doesn’t really matter how you write. Just as long as you do write.

Well… sometimes (not always, but sometimes) I like to ignore the ‘ignore the rules’ rule, especially if I’m having a bad writing day. After all, these rules exist because they work, right? So if you get stuck (and we all do from time to time), there’s no shame in taking a bit of instruction from those who know better. Only a fool would spurn their wisdom out of hand.


Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what bends your rules.

Until next time!

ARE YOU AN AUTHOR?

I’m looking for authors (especially, but not limited to, new and/or indie authors) whose work I can feature here on Penstricken over the coming year. It will simply take the form of a quick Q&A about yourself and your work via private message or e-mail and, of course, a link to where we can all get a copy of your work.

I’m open to interviewing authors of almost any kind of story, provided your work is complete, original and of course, fictional. I will not consider individual short stories/micro-fictions, however I am happy to feature published anthologies or entire blog-sites of micro-fiction, provided you are the sole author.

If you’re interested, or want to know more, be to sure to drop us an e-mail or message us on Facebook/Twitter.

Want to Add Handwritten Notes to your Scrivener Project? Try Notebloc.

If you’re anything like me, the bulk of your writing projects will be done on computer, probably using a purpose-built piece of novel-writing software like Scrivener. Nevertheless, as I’ve mentioned before, there are some stages of the writing process (especially in the early days of planning) where I find the only way to make any progress is to sit down with a physical notebook and pen and scribble all my thoughts down. You might also be the sort of author who, like me, feels the need to keep a writer’s journal. Finally, if you’re like me, you’ll also be the sort of person who likes to hold on to every scrap of work you produce (including your brainstorm-scribbles) and keep it all neatly organised in one place.

Which is a pain. After all, you can’t add your handwritten notes to your Scrivener project.

OR CAN YOU?

Let me introduce you to Notebloc for Android and iPhone. This handy little app not only uses your smartphone’s camera to capture images, but it also automatically adjusts the colour and angle of your image(s) before easily exporting them as jpg or pdf files, making adding your handwritten notes to Scrivener (or wherever it is you keep your project files) a breeze. I should note, I’ve only tested the Android version of this app. If anyone has used the iPhone version and found it to be different from what I describe here, do let us know in the comments.

The first thing you have to do when you use this app is add images of your handwritten notes either by using your phone’s camera to capture an image or by importing a pre-existing image from your phone’s storage. Once you’ve done that, you will find yourself faced with an intuitive little screen (fig. 1) which allows you to adjust where the borders of your image should be. You can also rotate your image from this screen. So far, however, I’ve never had to actually do any manual adjusting; Notebloc does it automatically and with remarkable accuracy. However, in the unlikely event that it does not accurately identify the borders of your page, it’s a cinch to fix by simply long-pressing and dragging the borders to wherever you want them to be.

Once you’ve done that, Notebloc will then automatically adjust the shape and colours for you to create an image which favours readability. As you can see from fig. 2, the image it produces is pretty darn decent. The text is still clearly legible (poor handwriting notwithstanding; it’s a smartphone app, not a magic wand) and the colours have been reasonably well preserved. It even handles pencil with surprising ease. If, however, you’re not satisfied with the way it adjusts the colours, there are a few other colour adjustment styles you can choose from (see the menu along the top of fig. 2).

Once you’re happy with how the image looks, it gets added to your Notebloc document file (fig. 3). You can add as many pages to a document as you see fit and re-order the pages simply by long-pressing and dragging each page to wherever you want it to go (they will appear in the order in which you added them by default). From there you can print your document, share it online or copy your pages to another document if you so desire. Alternatively, you can do what I do and convert the document into a pdf or jpg format to be easily imported into your Scrivener project (fig. 4). I should add that if you opt for a jpg file, you will actually end up with numerous jpg files; specifically, one for each page. If, however, you opt for a pdf file, all the pages will be compiled into a single document, which makes it the best option for my money if you’re planning on adding it to Scrivener.

I’m pleased to say I haven’t found any glaringly obvious bugs in this app and it does what it says on the tin to a fairly impressive standard. It doesn’t have much in the way of bells and whistles and while I generally think that’s a good thing (too many superfluous features make an app cumbersome), I do think it would benefit from a few additional features; character recognition being the most obvious. The tools for manually adjusting the shape and colours of your image could also be more flexible; as it is, your options are quite limited if you don’t like the adjustments it makes automatically.

Oh and before you ask, this app is completely free and, best of all, it contains no ads. Go and get it!


Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what digitises your handwriting.

Until next time!

ARE YOU AN AUTHOR?

I’m looking for authors (especially, but not limited to, new and/or indie authors) whose work I can feature here on Penstricken over the coming year. It will simply take the form of a quick Q&A about yourself and your work via private message or e-mail and, of course, a link to where we can all get a copy of your work.

I’m open to interviewing authors of almost any kind of story, provided your work is complete, original and of course, fictional. I will not consider individual short stories/micro-fictions, however I am happy to feature published anthologies or entire blog-sites of micro-fiction, provided you are the sole author.

If you’re interested, or want to know more, be to sure to drop us an e-mail or message us on Facebook/Twitter.

Who’s Narrating Your Story?

Broadly speaking, the text of a piece of prose can be divided into two parts: the dialogue (the words the characters say to each other) and the narrative (the other words which describe all the stuff that’s happening). I’ll maybe talk about dialogue another day (in fact, I already have) but for now I want to talk about narration; or, to be more precise, the narrator. Just who is it that’s telling your story?

‘Well…’ I hear you tentatively cry. ‘It is I, the author, who tells the story… right?’

Sort of.

When we talk about the narrator, what we are referring to the perspective from which the story is being told. This may be a character in the story or it may be a nameless outsider. But whenever we read a portion of narrative, we’re hearing somebody’s voice, even if it is just a voice you, the author, have chosen for yourself.

Choosing the right narrative voice for your story is no marginal issue. It deserves serious consideration. An omniscient narrator, who knows everything but has no personal interest in the events described will tell a story in an entirely different way from one of the central characters.

So, how do you choose? As the author, you can (and probably should) experiment with a few different styles of narration to see what works, but let’s have a look at a few of your options to get you started:

First Person Narrative

This is a story in which the narrator is a specific character (not necessarily the protagonist) who tells the story from their own perspective, using pronouns like ‘me’ and ‘I’ to describe this character. For instance, Stephen King’s The Green Mile is told from the perspective of the protagonist, Paul Edgecomb.

Benefits: It’s a great way to garner the audience’s sympathy for a particular character, especially if you’re wanting the audience to sympathise heavily with a character besides the protagonist.

Drawbacks: A first person narrator cannot give us first-hand information about events they did not personally witness. You have to work within the confines of that one characters perceptions from start to finish.

Tip: When using first person, voice is more important than ever. Be sure to write using only the kinds of vocabulary and turns of phrase you would expect that character to use. Also be sure to let that character’s beliefs, biases and interpretations of events shine through in the narrative.

Second Person Narrative

This is a story in which you, the reader, are referred to as a character in the story. This is quite rare in prose, though not unheard of. For instance: “With his head cocked on the pillow and his hair combed just so, you couldn’t see where his brother conked him, and Eric, for his part, went easy, even came to the funeral in irons and his Sunday suit” (Stewart O’Nan, A Prayer for the Dying, emphasis mine).

Benefits: It has the potential to draw your reader into the story in an unusual and interesting way.

Drawbacks: Unless you’re writing a ‘Choose Your Own Adventure’ style story, it has the potential to seem pretentious if it is not executed with skill. Additionally, if the “you” character behaves differently to how your audience is inclined behave, you may end up undermining the effect you seek to create.

Tip: Ask yourself honestly why you’re using this. If it makes your story work, great. Do it with my blessing. But if you’re just doing it to be a smart Alec, reconsider.

Third Person (Omniscient)

The story is told from the point of view of an all-knowing, all-seeing outside observer, referring to characters only by name or with pronouns like ‘he’, ‘she’ or ‘they’; never ‘I’, ‘you’ or ‘we’. In this style of narration, the narrator knows everything there is to know about the story, and the audience can therefore be made privy to the thoughts, actions and feelings of every character.

Benefits: You can share whatever facts with your audience that you see fit. We can see the villains, scheming in their lair in one scene and in the next, see the protagonist flirting with the love-interest, all the while being privy to both characters’ thoughts.

Drawbacks: Too much information can rob a story of intrigue. In addition, this style of narration will not easily draw the reader into the plight of a particular character, since the action is all observed from a safe distance.

Tip: Try not to go overboard with the internal dialogues describing each character’s thoughts. These can become cumbersome, especially if they’re happening parallel to proper dialogue. Also, be sure to favour those characters you want your audience to sympathise with. Just because a narrator knows everything doesn’t mean they have to share everything.

Third Person (Limited)

The story is told by an outside observer but unlike ‘third person (omniscient)’, the narrator does not know everything. Instead they follow the comings and goings of one character in particular (usually the protagonist) and are privy only to his/her thoughts and feelings.

Benefits: This style of narrative allows you the freedom of a third person narrator while still garnering a lot of the audience sympathy you can generate using first person narrative. It also allows you to protect the audience from learning too much information too quickly (this is especially useful in mysteries, etc).

Drawbacks: It can be tempting to let slip something a second character is thinking.

Tip: A third person limited narrator is like a little stalker, following your protagonist around and reporting everything he does, thinks and feels. He’s too busy stalking your protagonist to stalk anyone else.

Unreliable Narrator

An unreliable narrator is one whose credibility is in doubt. It may be that they are being deliberately deceptive or it may be that they are simply mistaken in their interpretation of the facts. They may be trying to impose their own particular biases on the audiences. The narrator could also be a young child trying to explain complex, adult scenarios they they have become involved in but don’t fully understand. Whatever the reason, the story is conveyed in such a way that the audience has to think twice about taking the narrator’s every word as gospel. These are usually first person narratives.

Benefits: This style of narrative can be thoroughly engrossing and can leave your audience pondering the events of your story long after they’ve stopped reading it.

Drawbacks: It can also confuse your reader to death if the truth of your story is kept too obscure. Furthermore if the audience never suspects the unreliability of your narrator, they might end up believing something you had intended them to doubt.

Tip: Don’t have the narrator telling a pack of bald-faced lies only to confess the truth on the last page. That will just annoy the audience. Instead, subtly introduce the audience to the narrator’s biases, incapacities, delusions or errors early on, thus sowing doubt in the audience’s mind.


Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what narrates your story.

Until next time!

ARE YOU AN AUTHOR?

I’m looking for authors (especially, but not limited to, new and/or indie authors) whose work I can feature here on Penstricken over the coming year. It will simply take the form of a quick Q&A about yourself and your work via private message or e-mail and, of course, a link to where we can all get a copy of your work.

I’m open to interviewing authors of almost any kind of story, provided your work is complete, original and of course, fictional. I will not consider individual short stories/micro-fictions, however I am happy to feature published anthologies or entire blog-sites of micro-fiction, provided you are the sole author.

If you’re interested, or want to know more, be to sure to drop us an e-mail or message us on Facebook/Twitter.

100 Word Story: Popping Off

It’s time I subjected you all to another one of my under-performing flash fictions I nevertheless believe in. I actually had quite high hopes for this one and submitted it to a couple of places in hopes of publication but no cigar as they say in Cuba. But that’s what blogs are for!

As ever, what follows here is entirely my own work and has not been published anywhere else in the world, whether on print or online, nor do I expect it to be. And so, without further ado, I give you…

Popping Off

by A. Ferguson

My family have a curse. One hour before death, we become omniscient. Foreknowledge, insight, everything. Can you imagine?

I’m at the office and it’s happening to me now. I’m only thirty-one.

Imagine that.

I should phone Janice, but when I think how she badgered dad with questions at his Hour…

Stuff it. I’ll write her. Might as well use up the office stationary.

‘Jan,

Saturday’s lotto numbers:  4, 7, 12, 22, 34, 36, 5.

You’re welcome.

Nick’

I need to post this quick. I’ll be out of time soon.

‘Kate, family emergency.’ I call to my supervisor. ‘Can I pop off early?’

THE END


Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what pops your clogs.

Until next time!

ARE YOU AN AUTHOR?

I’m looking for authors (especially, but not limited to, new and/or indie authors) whose work I can feature here on Penstricken over the coming year. It will simply take the form of a quick Q&A about yourself and your work via private message or e-mail and, of course, a link to where we can all get a copy of your work.

I’m open to interviewing authors of almost any kind of story, provided your work is complete, original and of course, fictional. I will not consider individual short stories/micro-fictions, however I am happy to feature published anthologies or entire blog-sites of micro-fiction, provided you are the sole author.

If you’re interested, or want to know more, be to sure to drop us an e-mail or message us on Facebook/Twitter.

Novelist: A Handy App for Planning Your Novel

I have always said that to write a novel, or any significantly sized piece of writing, a writer must be willing to park himself down at his computer and write. There is no quick fix for writing. No easy button you can tap on your phone and make a high quality novel pop out.

I still believe that. But that’s not to say mobile apps can’t help you in your quest to write a story, especially when you’re on the go and need a simple, orderly means of gathering together all those little plot bunnies that jump into your head at the worst possible moments. For that reason, I’ve been trying out a nice little app I discovered on Google Play called Novelist by Alessandro Riperi.

novelist (4)

the home page

Is it a good app? Yeah, I would say it is. It won’t make your breakfast for you and it certainly won’t make you the next John Steinbeck, but it has all the basic functionality needed to help you get you from a plot bunny to a complete chapter outline with little fuss.

Let’s look at a few of its features.

The first thing you will get when you open the app for the first time is a little spiel explaining how to use the app. After that, you go straight to the home page and — as far as I can tell — you never get the little introductory lecture again. The home page itself is a pretty self-explanatory window displaying all of your projects (which you can illustrate with an image from your device’s memory, if you’re that way inclined), including a pre-loaded ‘tutorial’ project which you can edit and tinker with to your heart’s content (don’t worry! If you make a total mess of the tutorial project, it’s easy to generate a new one from the menu on the home screen).

Once you create a project, the app takes you through three stages: ‘plotting’, ‘outlining’ and ‘organising’, apparently with the idea that you work through these three stages in order.

LordDeathmetadata

An example character profile using metadata.

Under ‘plotting’, we have a space to create all those elements which are fundamental to story-writing: characters, locations (settings), themes, key events and so forth. These are referred to as ‘items’ in this app, which are easy to customise with a title, synopsis, text and images as you see fit. All of these items can be tagged, duplicated and shifted from one category to another. Best of all, each of these items comes with the option of including metadata, allowing you to quickly list all the vital details of your character, setting or theme. You can also add ‘notes’ and ‘text’ to each item, though I must admit I’m a little fuzzy on why these are separate features.

Under the ‘planning’ tab, you are invited to organise your story into scenes. You create new scenes in a similar way to how you create items in the plotting section, with a title and a synopsis. As before, you have the ability to add text or notes to each scene, however you do not have the ability to add images or metadata. What you can do is tag your scenes with the items you created in the plotting stage; not a feature I personally find useful because that’s just not the way my brain works but I know it will suit plenty of other writers down to the ground.

Finally, the ‘organising’ section allows you to organise the scenes you have created into chapters/sections as you see fit. The order of these scenes and sections can be easily jiggled about until you are happy that you have a full-blown chapter layout. The only real drawback here is that you can’t see any of the details about the scenes you created in this section apart from their titles and synopses. Apart from that, it makes it an absolute joy to organise and re-organise the order of your sections, chapters and scenes.

 

There’s something else I love about this app: it’s free. Okay, I know that’s not technically a feature but still… it’s an actual, truly, honestly to goodness full version that’s absolutely free. Not ‘free, but hey, we’ve got a better version that’s not free’; not ‘free for the first thirty days’; not even ‘free as long as you tell us where you live and watch a bunch of ads’. In fact, I haven’t even seen any ads! It’s just FREE. I am so happy I could weep.

In summery, if you’re looking for an app to write your manuscript on, this isn’t it. I don’t think it was ever meant to be used for that purpose. But if you own an Android device and are looking for a clean and simple way to develop an idea into a fully fledged chapter outline, including character profiles and all that other marvellous stuff that planners love so much, this app is definitely worth a look. It’s free, easy to use and covers all the story-planning essentials without forcing you to watch any pesky little ads. Go and get it!

My rating: 🌟🌟🌟🌟


Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what outlines your novel.

Until next time!

ARE YOU AN AUTHOR?

I’m looking for authors (especially, but not limited to, new and/or indie authors) whose work I can feature here on Penstricken over the coming year. It will simply take the form of a quick Q&A about yourself and your work via private message or e-mail and, of course, a link to where we can all get a copy of your work.

I’m open to interviewing authors of almost any kind of story, provided your work is complete, original and of course, fictional. I will not consider individual short stories/micro-fictions, however I am happy to feature published anthologies or entire blog-sites of micro-fiction, provided you are the sole author.

If you’re interested, or want to know more, be to sure to drop us an e-mail or message us on Facebook/Twitter.

50 Quotes About Writing

Well, we’ve already had fifty quotes about fiction in general so today it’s time for another fifty quotes, this time providing advice, encouragement and general reflections on the process of writing. So without further ado…

  1. ‘I love deadlines. I love the whooshing noise they make as they go by.’ — Douglas Adams
  2. ‘There is no greater agony than bearing an untold story inside you.’ — Maya Angelou
  3. ‘There is nothing to writing. All you do is sit down at a typewriter and bleed.’ — Ernest Hemingway
  4. ‘Writing is easy. All you have to do is cross out the wrong words.’ — Mark Twain
  5. ‘If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.’ — Stephen King
  6. ‘It’s hell writing and it’s hell not writing. The only tolerable state is having just written.’ — Robert Hass
  7. ‘We write to taste life twice, in the moment and in retrospect.’ — Anaïs Nin
  8. ‘Writing is an exploration. You start from nothing and learn as you go.’ — E.L. Doctorow
  9. ‘A writer, I think, is someone who pays attention to the world.’ — Susan Sontag
  10. ‘You have to write the book that wants to be written. And if the book will be too difficult for grown-ups, then you write it for children.’ — Madeleine L’Engle
  11. ‘If a story is in you it has got to come out.’ — William Faulkner
  12. ‘You never have to change anything you got up in the middle of the night to write.’ — Saul Bellow
  13. ‘I’m not a very good writer but I’m an excellent rewriter.’ — James Michener
  14. ‘You only learn to be a better writer by actually writing.’ — Doris Lessing
  15. ‘It is a very cool thing to be a writer.’ — Bryan Hutchinson
  16. ‘You must stay drunk on writing so reality cannot destroy you.’ — Ray Bradburry
  17. ‘If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.’ – Toni Morrison
  18. ‘Start writing, no matter what. The water does not flow until the faucet is turned on.’ — Louis L’Amour
  19. ‘Substitute “damn” every time you’re inclined to write “very”; your editor will delete it and the writing will be just as it should be.’ — Mark Twain
  20. ‘The only writer to whom you should compare yourself is the writer you were yesterday.’ — David Schlosser
  21. ‘Step into a scene and let it drip from your fingertips.’ — M.J. Bush
  22. ‘Growing up is highly overrrated. Just be an author.’ — Neil Gaiman
  23. ‘Be ruthless about protecting writing days, i.e., do not cave in to endless requests to have “essential” and “long overdue” meetings on those days.’ — J.K. Rowling
  24. ‘What doesn’t kill us gives us something to write about.’ — Julie Wright
  25. ‘There are three rules for writing a novel. Unfortunately, no one knows what they are.’ — W. Somerset Maugham
  26. ‘When asked “how do you write?” I invariably answer “one word at a time.”‘ — Stephen King
  27. ‘Writing, to me, is simply thinking through my fingers.’ — Isaac Asimov
  28. ‘Writing is show business for shy people.’ — Lee Child
  29. ‘It is perfectly okay to write garbage –as long as you edit brilliantly.’ — C.J. Cherryh
  30. ‘If you’re writing stuff, you’re a writer. If you’re not writing stuff, you’re not a writer. If you publish ten thousand best sellers, all of which get made into films, then stop writing, you’re no longer a writer… Similarly, if you are writing with any kind of regularity, you are a real writer. You might be a professional or only an amateur, but you are a writer. Really.’ — A. Ferguson
  31. ‘If you want to change the world, pick up your pen and write.’ — Martin Luther
  32. ‘Write about what really interests you, whether it is real things or imaginary things, and nothing else.’ — C.S. Lewis
  33. ‘Fill your paper with the breathings of your heart.’ — William Wordsworth
  34. ‘Imagination is like a muscle. I found out that the more I wrote, the bigger it got.’ — Philip José Farmer
  35. ‘I write to find out what I’m talking about.’ — Edward Albee
  36. ‘Throw up into your typewriter every morning. Clean up every noon.’ — Raymond Chandler
  37. ‘You should write because you love the shape of stories and sentences and the creation of different words on a page. Writing comes from reading, and reading is the finest teacher of how to write.’ — Annie Proulx
  38. ‘Don’t be a writer. Be writing.’ — William Faulkner
  39. ‘Writing is like giving yourself homework, really hard homework, every day, for the rest of your life. You want glamorous? Throw glitter at the computer screen.’ — Katrina Monroe
  40. ‘Write what disturbs you, what you fear, what you have not been willing to speak about. Be willing to be split open.’ — Natalie Goldberg
  41. ‘To write well, express yourself like the common people, but think like a wise man.’ — Aristotle
  42. ‘You can make anything by writing.’ — C.S. Lewis
  43. ‘I write to give myself strength. I write to be the characters that I am not. I write to explore all the things I’m afraid of.’ — Joss Whedon
  44. ‘I need solitude for my writing; not “like a hermit” — that wouldn’t be enough — but like a dead man.’ — Franz Kafka
  45. ‘Writers don’t make any money at all. We make about a dollar. It is terrible. But then again we don’t work either. We sit around in our underwear until noon then go downstairs and make coffee, fry some eggs, read the paper, read part of a book, smell the book, wonder if perhaps we ourselves should work on our book, smell the book again, throw the book across the room because we are quite jealous that any other person wrote a book, feel terribly guilty about throwing the schmuck’s book across the room because we secretly wonder if God in heaven noticed our evil jealousy, or worse, our laziness. We then lie across the couch facedown and mumble to God to forgive us because we are secretly afraid He is going to dry up all our words because we envied another man’s stupid words. And for this, as I said, we are paid a dollar. We are worth so much more.’ — Donald Miller
  46. ‘Some writers enjoy writing, I am told. Not me. I enjoy having written.’ — George R.R. Martin
  47. ‘A word after a word after a word is power.’ — Margaret Atwood
  48. ‘A writer is someone for whom writing is more difficult than it is for other people.’ — Thomas Mann
  49. ‘Writing is thinking. To write well is to think clearly. That’s why it’s so hard.’ — David McCullough
  50. ‘Serious writers write, inspired or not. Over time they discover that routine is a better friend than inspiration.’ — Ralph Keyes

Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what inverts your commas.

Until next time!

ARE YOU AN AUTHOR?

I’m looking for authors (especially, but not limited to, new and/or indie authors) whose work I can feature here on Penstricken over the coming year. It will simply take the form of a quick Q&A about yourself and your work via private message or e-mail and, of course, a link to where we can all get a copy of your work.

I’m open to interviewing authors of almost any kind of story, provided your work is complete, original and of course, fictional. I will not consider individual short stories/micro-fictions, however I am happy to feature published anthologies or entire blog-sites of micro-fiction, provided you are the sole author.

If you’re interested, or want to know more, be to sure to drop us an e-mail or message us on Facebook/Twitter.

Should You Use Profanity in Your Story?

I’ve been reading Tom Hanks’ Uncommon Type: Some Stories. It’s not really my intention to review it here today (not least of all because I haven’t read it all yet), but I will say I’ve been pleasantly surprised by the quality of his writing. It doesn’t read like an actor trying to make a few extra quid by writing a book. It reads like something written by a professional author who knows a thing or two about writing quality stories. In short, I’m enjoying it. But something else about it surprised me: the language. There’s a lot of profanity in there and for some reason, I expected Tom Hanks’ work to be a little bit more family friendly. Don’t ask me why. Maybe it’s just because I’m hearing it in Woody the Cowboy’s voice.

Anyway, this all got me thinking about the use of profanity in fiction. We authors walk a fine line between realism and rudeness, especially when it comes to writing dialogue. Where do you draw the line?

Well… it depends.

The first and most obvious thing is to consider your audience and what they expect from your story. Certain audiences tend to go for certain genres, and as such, the level of profanity in your work will often be largely dependent on your genre. If you have a real aversion to using any profanity whatsoever in your writing, the simplest way around this is to stick to those genres which tend to have less profanity in them. Alternatively, you can always sit down and watch the soaps for inspiration. Really, I’m serious. Emmerdale, Eastenders and Coronation Street are simply chock full of characters having heated arguments about adultery, betrayal, crime and all sorts of other grim subjects without a single f-bomb being dropped.

giphy

Image source: http://gph.is/1c3k48L

However, let’s assume you are willing to use some profanity in your story. There might be lots of reasons why you use bad language in your story. In Star Trek IV: The Voyage Home, Spock makes frequent (mis)use of mild profanity in a vain attempt to fit in with 20th century human society. Here it serves a very simple function: comedy relief (even though The Voyage Home is pretty light-hearted anyway). It also works, because it’s done in a fairly subtle way. Bad language is also often used to add a sense of anger or urgency to a character’s dialogue. It is, therefore, an undeniably useful tool for some authors.

A word of warning, however: profanity has the power to augment your story or to utterly ruin it, perhaps more than any other technique you might use. A measure of bad language may or may not be appropriate if you’re writing for adults, but bad language is not the defining characteristic of a good adult story. It is simply a tool that you may decide to use or not use as you see fit. Overusing it, as with any other literary technique, can destroy your story. The fact is, profanity loses its power very quickly. The more often bad language is used, the more desensitised the reader becomes to it. What began as a striking technique with which to shock or amuse the audience quickly becomes nothing more than a few pointless extra words which ruin the flow of the narrative.

‘But in real life, some people do swear ten times in a single sentence!’ I hear you cry. ‘How can I make my dialogue realistic if I water it down?’

It can be tempting to think this. On the surface it seems perfectly rational. However, any seasoned author knows that dialogue in fiction is actually very different from the way real people talk from day to day. Dialogue flows. Dialogue makes sense. Dialogue is to-the-point. Even when sub-text is used, what is said remains clear and advances the story in a very definite direction. For this reason, profanity may sometimes be necessary but it should be carefully measured, lest it lost its power.

In real life, people talk rubbish. They say things they don’t mean. They’ll change the subject. They’ll utterly misunderstand the subject and, you know, they’ll like… how can I put it? They’ll, I don’t know, they’ll– respond in inappropriate ways. You know, like, you’ll say something and they’ll say something back and it’s obvious they’ve not understood you because what they’ve said back doesn’t make any sense. Like that time I was talking to Sandra about fly fishing and she… [insert long winded, irrelevant anecdote here]. They’ll misuse pacific words, mishandle slang and make such a mess of their utterances that it frankly beggars belief that humans are able to communicate verbally at all.

In the same way a real person might swear twenty times per sentence, but if you want to fictionalise that person, you’ll probably want to tone down his language lest it ruin the flow of your narrative.

One last thing to bear in mind: You’re never going to please everyone. What matters, therefore, is you, your story and your intended audience (not necessarily in that order). Ask yourself, why am I using profanity here? Is it really necessary to make my story work? Am I comfortable using it? Will it produce the correct response in my intended audience (forget your ‘unintended’ audience; you can’t possibly please everyone), or will it bore/offend them? Ultimately, you have to decide for yourself what’s appropriate. Personally, I find less is usually more when it comes to profanity, but maybe that’s just me.


Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what #!$@*!!’s your &#@%!!!.

Until next time!

ARE YOU AN AUTHOR?

I’m looking for authors (especially, but not limited to, new and/or indie authors) whose work I can feature here on Penstricken over the coming year. It will simply take the form of a quick Q&A about yourself and your work via private message or e-mail and, of course, a link to where we can all get a copy of your work.

I’m open to interviewing authors of almost any kind of story, provided your work is complete, original and of course, fictional. I will not consider individual short stories/micro-fictions, however I am happy to feature published anthologies or entire blog-sites of micro-fiction, provided you are the sole author.

If you’re interested, or want to know more, be to sure to drop us an e-mail or message us on Facebook/Twitter.

5 Fantastic Flash Fictions

If you’ve been hanging around here for any length of time, you’ll know that I sometimes post links to other blogs which have featured particularly useful, enjoyable and insightful posts on fiction writing.

This week, I’ve decided to do it slightly differently and post links to five original flash fictions penned by my fellow bloggers. Of course, if you search WordPress for tags like ‘flash fiction’ or ‘microfiction’, you’ll know there are hundreds of such posts out there. What follows, therefore, is just a selection of some that I have particularly enjoyed over the last week.

And so, without further ado and in no particular order:

The Nosy Neighbor by E.A. Wicklund

Dreams on Parade by Brent Patterson

Letter Home by Trent P. McDonald

Alone by Writing Nic

I Would Do Anything For Them by Heather Gonzalez


Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what flashes your fiction.

ATTENTION AUTHORS: 

I’m hoping to do author interviews here on Penstricken over the coming year, especially with new fiction authors. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter.

Until next time!

What Villains Want

For me, antagonists are often the most fun characters to create. However, most of the usual rules apply and it’s especially important (as it is with all characters) that your antagonist’s motive and goals are clearly established in your mind. More often than not, these will form the whole basis for the conflict your protagonist has to deal with, so it’s vital you get this right.

If I was to boil it down to a single rule for antagonists, it would probably be something like this:

An antagonist’s motive can be anything at all, but their goal should bring them into direct conflict with the protagonist.

Let’s start by thinking about the first part of that rule: ‘An antagonist’s motive can be anything at all’. Motives are simply what drive a character from day to day. When it comes to your bad guy, this could be something sinister such as megalomania or it could be something far more ordinary– perhaps even laudable. For instance, in The Count of Monte Cristo, the antagonist, Fernand Mondego, is in love with the protagonist’s fiancee. As a result, he falsely accuses the protagonist of treason so that he can marry Dantès fiancee instead.

So, Mondego’s motive is that he is in love with Dantès fiancee. His goal (in the beginning, at least) is to get Dantès out of the way. Loving a woman is not a particularly evil or unusual thing, nor is it a motive common only to antagonists. Plenty of good guys in other stories (especially romances and romantic comedies) are driven by the exact same motive.

Ahh, but he was in love with the protagonist’s fiancee! I hear you cry. That’s bad!

Well, I agree it’s not an ideal situation, but in and of itself it doesn’t make him an antagonist or a ‘bad guy’. There are plenty of stories out there with characters who refuse to behave inappropriately when they’re in love with someone else’s partner. What made Mondego a bad guy was his goal, not his motive. His motive (which he arguably had in common with the protagonist) drove him to carry out a sinister plot against the protagonist. That’s what made him a villain and an antagonist. It is highly unlikely a good guy would act on this motive the same way Mondego does (though remember, not all protagonists are good guys; some protagonists are bad).

Which brings me neatly onto the second part of our working rule: ‘[the antagonist’s] goal should bring them into direct conflict with the protagonist’. It’s worth mentioning that this is not the same as saying their goals must be inherently immoral.

Oh sure, they can be. They often will be. Personally, I love it when an antagonist is really bad. Murdering the hero(es), stealing something valuable and violently taking over the world are just some of the more common goals antagonists sometimes strive for. But remember, an antagonist is not necessarily defined as a morally evil character; they are simply a character whose goals conflict with that of your protagonist. They can be morally evil, but even then, their function is to present the protagonist with a real and significant problem that cannot simply be ignored. They are, if you like, a walking, talking conflict for your character to face.

giphy

When you’re so evil you want to blow up all reality. Image source: http://gph.to/2AhoZVE

Take C.S. Lewis’ story The Screwtape Letters as a radical example. This story is written from the perspective of a senior devil (Screwtape) writing to his nephew (Wormwood), giving him advice on how to lead a human into eternal damnation– a morally objectionable goal to say the least. In it, Screwtape makes frequent references to their ‘Enemy’ — namely, God. In this story, Wormwood is the protagonist. His motive is his natural diabolical nature and his goal is to secure the damnation of his unsuspecting human ‘patient’. Even though God is clearly not portrayed as evil in this story (C.S. Lewis was a Christian), nevertheless he is still the antagonist because his goals are in direct conflict with those of the protagonist.

“He (God) wants servants who can finally become sons. We want to suck in, He wants to give out. We are empty and would be filled; He is full and flows over. Our war aim is a world in which Our Father Below has drawn all other beings into himself: the Enemy wants a world full of beings united to Him but still distinct.”

C.S. Lewis, The Screwtape Letters (parenthesis mine)

Which brings me neatly onto my third and final point: the audience’s sympathies. This can sometimes be a sticky issue when you try to create an antagonist of any real depths, as I previously discovered.

In The Screwtape Letters, C.S. Lewis presumably wanted us to sympathise with God’s goals instead of Wormwood’s, even though God is the antagonist. After all, The Screwtape Letters is as much as Christian Apologetic work as it is a story. Under most circumstances, however, you will want your audience to support the protagonist’s goals instead of the antagonist. I know of only two ways to do this effectively:

  1. Make your antagonist at least a little bit immoral (optional – but usually a good idea)
  2. Create a strong protagonist with goals and motives the audience really cares about (mandatory)

Remember, an antagonist might provide the vital point if conflict in a story, but he is not the sum total of the story. If all you have is a really complex antagonist who threatens to take over the world and some half-baked protagonist to fight him just because that’s what good guys do, you’ll not hold onto your audience for very long. Remember this rule:

Your story is about your protagonist, not the antagonist.

The antagonist is the point of conflict for your story, but he is not the story in and of himself. Take the Wicked Witch of the West from The Wizard of Oz. She is a persistent hindrance to Dorothy throughout the film. Without her, it would be a frankly boring film about a girl who gets a bit lost (okay, very lost) then goes home. But none of that would matter if it wasn’t for the fact that Dorothy wants to get home. If we didn’t care about Dorothy and her plight, the Witch would be pretty redundant.


Thanks for taking the time to read this post. Be sure to leave us a wee comment if you enjoyed it and don’t forget to ‘like’ this post and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what twirls your moustache.

Authors: 

I’m thinking about doing author interviews here on Penstricken over the coming year, especially with new fiction authors. It will probably just take the form of a quick Q&A via private message or e-mail and, of course, a link to where we can all get a copy of your book. If you’re interested, be to sure to drop us an e-mail or message us on Facebook/Twitter.

Until next time!