Author Interview: D. Wallace Peach (Part 1 of 2)

SPOILER ALERT

While every effort has been made to avoid spoilers in this post, anyone who has not read Soul Swallowers or Legacy of Souls by D. Wallace Peach is hereby advised that this post may contain a few unavoidable spoilers.

Diana Wallace Peach is an accomplished author of quality fantasy with seventeen books to her name. Her most recent offering, the ‘Shattered Sea’ duology consisting of The Soul Swallowers and Legacy of Souls, is another masterpiece filled with rich characters, political intrigue, and top notch world building.

I had the pleasure of chatting with D. Wallace Peach, whose books, including the ‘Shattered Sea’ duology, are available to buy now on Amazon.

This is part one of our interview. Don’t forget to check back next week for part two!


What made you decide to become an author?

I never really planned on being an author, though I always enjoyed writing. A decade ago, my husband and I made a temporary move for his job. Our planned stay was too short a time frame for me to find work. He suggested that I write a book, and I said, ‘Okay.’

Well, that was that. I was hooked and I’m still writing.

I’ve been reading The Shattered Sea duology, Soul Swallowers and Legacy of Souls; two thoroughly enjoyable books. There’s plenty going on in them both; family conflicts, slave trading, imperial politics and, of course, a fantasy world where people consume the souls of the dead. I wonder, how did this story first come about? What was your original inspiration for writing?

I’m curious about the invisible world and the nature of the soul. I think there is a lot more to this world than we can possibly imagine. Just think of the inventions in the last one hundred years that would have seemed impossible or magical. Do souls exist beyond death? Is reincarnation possible? Is possession a real thing? I simply took those questions and applied a ‘what if’ question. Then I added the rules that would bind this practice – physically, mentally, and through social norms. The rest simply fell into place as a rough outline that took further shape as I wrote.

Is that your preferred way of writing, planning while you write (‘plantsing’)? Or are you normally more of a planner or a ‘pantser’?

I always have a rough outline. Otherwise, I’m filled with writer-anxiety. That and I have no problem wandering off on tangents for hundreds of pages, which then need to be edited! Outlines keep me on track, but they’re loose enough that my characters can be themselves, and I will readily change a plan if my characters can convince me that it makes good sense.

I’m glad you mentioned your characters because the meaty characters you’ve created were one one of my favourite things about this series. The protagonist, Raze, for instance. I really liked the way this chap developed as an individual over the two books. How did you go about developing him?

I love reading books with strong characters, and so I strive to write the same. My background is in mental health, and I’m fascinated by the incredible depth behind every human face. Prior to writing, I pen each character’s biography in quite a bit of detail. I understand how their lives were shaped, their fears, weaknesses, and strengths, how they compensate, what they hide even from themselves, what they need to learn about themselves to grow. A significant part of my plotting a story takes into account the characters’ arcs.

I suppose that must be doubly important when you come to write a character who is a practised liar, like Benjmur? He weaves such an intricate web of deceit around all the other characters– how do you keep track of it all?

I wanted to write a different kind of character than I have in the past– one who is extremely duplicitous and able to keep the other characters off kilter. The biggest challenge was to make his lies believable without the other characters coming off as naive (except perhaps for his daughter who simply doesn’t want to think ill of her father). I don’t like books where the characters are ridiculously stupid simply to serve the plot. I kept track of it by writing twenty drafts. Ha ha.

COME BACK NEXT WEEK FOR PART 2.

CLICK HERE TO VISIT D. WALLACE PEACH’S AUTHOR PAGE.
Soul Swallowers and Legacy of Souls by D. Wallace Peach are available to buy now from Amazon.

Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what swallows your soul.

ATTENTION AUTHORS:

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. 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/Pinterest.

You can check out our previous interviews here:

Advertisements

6 Things I’ve Learned About Writing Fiction

Writing is an art. Like any art form, it’s something you learn as you go. Even those rare child prodigies who are born excellent writers will still undoubtedly pick up a few nuggets of wisdom as they practice and hone their craft. It’s only natural. The longer you do a thing, the better you get at it.

Most of the writing tips I’ve shared on this website over the last few years have been things I have simply learned by experience, and so today I’ve decided to share a brief selection of some of the lessons I’ve learned over the years which I think have helped to make me a better writer. And so without further ado and in no particular order:

Lesson #1: You Can’t edit a blank page

Although it may go against the grain, the best way to write is to write boldly without stopping to worry about how good or bad it is. In fact, even if you know it sucks, you should still just plough on with your story until it’s finished and come back to fix it later. Heck, you’re going to do a few drafts anyway (aren’t you?).

This is no new commandment but an old one. Although it can be tempting to fix bits you’re unsatisfied with (or worse still, refuse to write them in the first place), editing as you go is ultimately crippling. You will not get anything finished writing that way.

lesson #2: Characters are the beating heart of any good story

Regular readers of this blog (God bless you kind people) will know I’ve said this a billion times before so it’s only right that I say it again: characters can make or break any story. I don’t care how clever, imaginative or well researched the rest of your story is, half-baked characters will ruin your story while excellent characters can make even the most simple of stories a joy to read.

Moreover a plot can emerge from a good cast of characters in a way which feels natural (to the reader at least; writers must sweat blood no matter what). After all, in real life events happen to people; people don’t happen to events. So too, it is better to make your characters the focus of your story and ask what happens to them, rather than creating a plot first and then populating it with characters whom you have contrived to suit it.

lesson #3: CONSISTENCY and Persistence are essential

It can be tempting for inexperienced writers to imagine inspiration is the key to being a good story writer. Such writers will only be inclined to write when they are overcome with a wave of inspiration or when they are feeling particularly ‘in the zone.’

Experienced writers know what folly that is. It might sound less exciting (in fact, it often is less exciting) but the real secret to producing a steady flow of work is to be consistent with your writing routine, regardless of how you feel and to persist with your story even when you hate it.

lesson #4: There Are No Bad Ideas; Only Bad Executions

Whenever you have an idea for a story, it can be tempting to immediately judge it in one of two ways:

  • This is the best idea ever! I can’t wait to sit down and write this masterpiece!
  • That’s a terrible idea. I’ll just pretend I didn’t have it…

In my experience, judging the quality of an idea in this way is a mistake. The fact is, ideas are a pound a dozen and have very little bearing on the quality of the final story. Even the stupidest ideas can yield a good story, if the story is well planned with characters whose goals and motives we care about; and the reverse is also true.

Lesson #5: In the early stages, only handwriting will do

Maybe this doesn’t apply to you, but I find that when I’m trying to come up with new material, I just can’t seem to get the creative juices flowing using a computer, tablet or phone. It has to be pen and paper. I have to be able to scribble freely. Even Scapple is a poor substitute for pen and paper at the earliest stages of brainstorming new ideas.

Once I have a rough idea of my basic plot and who the main players in my story will be, I quickly transfer to working with apps like Scapple, Scrivener or FocusWriter but until I reach that stage, it’s paper and pen all the way. Nothing else works. While this might not be the case for you, I still think it’s worthwhile having a think about what helps you to work most effectively at each stage.

Lesson #6: Like It Or Lump It, Your Intended Audience Matters

No story, no matter how well written, appeals to everybody. However, most reasonably well written stories will appeal to somebody. If you try to please everyone, you are doomed to fail but knowing your intended audience in advance will allow you to determine exactly what kind of themes, characters and adult elements are appropriate for your story. Discussed in more detail here.

What about you? What nuggets of writerly wisdom have you picked up over the years? Be sure to share them in the comments below so we can all benefit from your wisdom!


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what sautés your onions.

ATTENTION AUTHORS:

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. 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/Pinterest.

You can check out our previous interviews here:

Sharleen Nelson, Author of The Time Tourists [2]

Christmas Clichés and How to Avoid Them

Well it just wouldn’t be Christmas without a good Christmas movie/Christmas special of your favourite TV show; and so, since I’ve just come to the end of my series on genre clichés and how to avoid them, I thought: what better thing to post about this Christmas than Christmas movie clichés?

So here we go ho ho! (Sorry).

Film Ends; Snow Begins

Question: how do you know when a Christmas story is nearly finished?

Answer: it starts snowing and everybody’s amazed. It seems to be the only ending anyone has has been able to come up with for a Christmas flick.

There’s a really clever trick to avoiding this particular cliché. Basically, you just end it any other way you like! Kissy endings are fine, violent deaths are fine, I’ll even put up with riding off into the sunset but please, if you have any sense of compassion, don’t make me sit through another inevitable snow ending!

Christmas Miracles

These little deus ex machinas appear in an alarming number of Christmas films. They don’t tend to solve the main conflict of the story (though they sometimes do, and should be doubly ashamed of themselves) but usually involve small miracles at the very end of the story to instantly undo any lingering sadness that might remain from the struggle that has gone before. For instance, just after the main conflict of the story has been resolved and the film appears to be over, the boy’s puppy who got flattened by a monster truck in the in the first half hour of the film comes running down the road to meet him. Then the snow starts. The end.

The rules about how to write a good ending don’t just change because it’s Christmas. Your protagonists have struggled throughout the story; even if they haven’t lost anything substantial, they’ve had a rough time. There was a bad guy who wanted to hurt them. There was a real danger that Christmas might be cancelled. Your characters have developed and learned things from their strife as much as from their victory; don’t rob them of that by making everything magically fall into place for them in the last few minutes.

The Conversion of Scrooge

Yeah, Dickens I’m blaming you for this one. In this trope, there’s always a bitter and miserable old git who hates Christmas and wants to spoil it for everyone but in the climax of the story they learn the true meaning of Christmas (note: it’s seldom the true, true meaning of Christmas but usually some woolly notion about love and fuzziness) and become a nice person who decides to join the Christmas party, give all their money to the poor and generally become a real life Santa Claus (double cliché points if the real life Santa Claus is the one who teaches your miser the true meaning of Christmas). 

I mean… depending on exactly what your bad guy did, I’m inclined to give you a bit of leeway on this one. After all, it is Christmas: good will to men and all that jazz. But if your antagonist has deliberately tried to ruin Christmas for everyone (especially if it involved committing a serious atrocity), a little bit of comeuppance wouldn’t go amiss… would it? 

I know you want to be nice to your bad guys but come on… if you think he deserves it, then just be brave and do what my favourite Christmas movie hero always does: blow him up and say ‘yippee ki yay’. Your audience will respect you for it. They probably hate your bad guy’s guts too.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what jingles your bells.

Merry Christmas!

ATTENTION AUTHORS:

I’m still looking for more authors to interview here on Penstricken, especially 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.

You can check out our previous interviews here:
Sharleen Nelson, Author of The Time Tourists [2]

Horror Clichés and How To Avoid Them

Well, we’re getting near the end of our series on genre clichés and how to avoid them. Today it’s all about horror.

Just where do I begin with this one? Horror is just one great big stinking cliché for the most part but I’ve whittled it down to three of my favourites (or least favourites?). You know the drill by now, so let’s just cut straight to the clichés:

Quasi-religious Themes

This trope makes much of the darker themes found in traditional religion (usually Christianity in most western literature) such as demonic possession, anti-christs and so on. More often than not, the story is only very loosely based on actual religious doctrine which is taken way out of its theological context, bringing it far closer to the realms of fantasy than anything else.

That’s okay. I like fantasy. I have no objection to you using your imagination. I just think that if you’re going to come up with something like that, you might as well go the whole way and an invent a cult or religion from the ground up, rather than distorting a real life religion to the point that it’s barely recognisable as such.

If you’re determined to use elements from actual religions, whether Christianity or anything else, do your research. I don’t just mean Google news stories about sex offending priests, self-anointed exorcists or people who believe themselves to be the Second Coming of Jesus Christ; that will only give you the bizarre extremes. Don’t get me wrong, these will undoubtedly be helpful if you’re wanting to write a horror, but study the orthodox theology and practices of the mainstream as well. Study the history of your chosen religion. Get yourself a copy of the Bible/Quran/etc./etc. and study what they actually say. Visit a church/mosque/synagogue/etc. Interview a few run-of-the-mill non-criminal Christians/Muslims/Jews/etc. The same rule applies in horror as in any other genre: if you’re going to write a story based on a real religion (however obscure and no matter what your own religious beliefs may be), write about it accurately.

Creepy Children

Now here’s a horror trope that I have never, ever, ever liked. I dislike it for two reasons:

  1. It’s been overused. 
  2. It gives me the willies.

Okay, I suppose the second reason is probably a good reason to use it if you’re writing horror so let’s just stick with the first one: overuse. There are, in my experience, three major variations on the creepy child trope:

  • Children talking with adult voices. This is usually as a result of possession or because the child is not a child but some other kind of creature in child form.
  • Children manifesting bizarre abilities such as levitation or surviving seemingly fatal injuries (often caused by something equally disturbing, such as a demon deliberately causing the child to harm himself/herself). 
  • Children sweetly assuring the terrified adults that everything is going to be okay even while they’re knee-deep in blood.

In all instances, these tropes rely on one thing: the shock factor of seeing something as sweet, innocent and vulnerable as a child being in the thick of a dark and frightening situation. Whether we are shocked by seeing children hurt, seeing them hurting others or seeing them have some strange and inexplicable insight into the dark events that are taking place, it’s always the same thing: sweet child + unspeakable darkness = cheap shock.

Seriously just… come up with something new to shock me.

ABANDONED PLACES

Speaking of coming up with something new, please remember that horrible things can actually happen anywhere; your story does not need to be set in an abandoned house, an abandoned playground or an abandoned train station.

These tropes pop up again and again and understandably so, since they’re effective. There is something about a beaten up, abandoned place that puts on us on the edge of our seats.

Now there’s nothing wrong with these settings. They’re perfectly valid. They’re just a little unimaginative and I often find myself marvelling that the heroes would ever venture into these places. I’d like to see something different, but if, for whatever reason, your characters do find themselves in an abandoned place, try not to let your spooky atmosphere become a substitute for a good story. Remember that at the heart of every good story is a good bunch of characters, so focus on the goals and motives of your protagonists (why are they loitering around an abandoned swing park?) and especially your antagonist. Ultimately you will only be able to create a true sense of rising tension (essential for horror, and indeed any story) by creating a real and believable danger to the protagonist’s life held in tension with a legitimate and critical goal that your protagonist needs to achieve. Only then will your reader be drawn into your protagonist’s plight without shouting at the pages of your book: ‘Run away and call the police, moron!’


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what sucks your blood.

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.

You can check out our previous interviews here:
Sharleen Nelson, Author of The Time Tourists [2]

Romance Clichés and How to Avoid Them

SPOILER ALERT

While every effort has been made to avoid any spoilers in this post, anyone who has not read The Green Mile by Stephen King is hereby advised that this post may contain a few unavoidable spoilers.

I’m just going to come right out and say it: love stories really aren’t my thing. Whenever we’re watching a film, my wife will always complain (usually during the important bits with explosions and things) that I talk during the soppy bits. Don’t get me wrong, I definitely think romance fiction has a place in this world and if you like romance, that’s just great but… I’m just saying, it’s not my cup of tea (hey, if you do like or write romance fiction, maybe drop me a line and you could do a guest post or two?). 

Nevertheless, it is a major genre of fiction and we are right in the middle of a series on genre clichés and how to avoid them so it seemed only right for me to take a stab at this anyway. So here goes nothing:

Forbidden love/Love Conquers All

This is another trope that was originally going to be two separate ones until I decided they actually fit pretty well together. Basically your two lead characters are clearly destined for one another (I hate that too, by the way) but circumstances and/or the people around about them have conspired to forbid the relationship from happening. Fortunately, love conquers all in the end and the haters just have to lump it (sometimes they even accept it gladly when they see the error of their ways).

This kind of thing is why I don’t like romance. All good stories should involve a bit of conflict, but in a forbidden love/love conquers all story, we all know how it’s going to end right from the very beginning because we’ve read this kind of thing a million times before. In the worst of circumstances, this can result in a deus ex machina ending, where mindless sentiment saves the day. Instead of seeing love (or sentimentality in general) as the solution to your story’s conflict, try treating it simply as your character’s motive. Then your characters can have goals based on this (ask Betty out, slay your rival for Betty’s affections, whatever it is) which can be achieved (or not achieved!) through more realistic means.

Note: whether you’re writing romance or any other genre, nothing should conquer all. Things shouldn’t turn out exactly how your protagonist wishes or expects, even if they do turn out mostly for the best. Let your characters learn through a minor defeat, even if they do achieve their ultimate goal.

Tragic Death

So you want to avoid a ‘love conquers all’ ending but you still want to churn up plenty of feelings on the part of your audience.

‘I know!’ You say to yourself. ‘I’ll kill off the hero/heroine just after they’ve finally got together! It’ll be so tragic that everybody will cry!’

Yeah, cry with boredom. By all means, kill off a key character, but only if it advances your plot in a meaningful way. As for killing off one of the leads in the final few pages… well, I suppose you could but ask yourself why? I would avoid it if it’s just a cheap parting shot to leave the audience feeling sad, though if it builds upon key themes in your story there may be some merit to it. For example, in The Green Mile (which I know isn’t a romance but go with me) John Coffey’s death was appropriate because:

  • John Coffey was on death row from the beginning of the story. His death was not a random event.
  • Most importantly of all, this was a story which focused heavily on themes of injustice. There was a certain inevitability about Coffey’s death.

In short, don’t kill a character to create the illusion of a story with substance; create a story with substance and, if appropriate, finish in a way which is as inevitable as it is relevant. 

Love Triangle

Oh dear, two boys/girls both fancy the same boy/girl and she kind of likes them both but isn’t sure which one to go for. What a pickle, now she’s going to have to choose! Alternatively, Boy 1 may fancy Girl 1 but Girl 1 fancies Boy 2 while Boy 2 fancies Boy 1 but Boy 1 isn’t gay. Sometimes there’s even more than three folk involved, although three is the traditional magic number to choose for this trope.

There’s really only so many ways this trope can turn out (for arguments sake, lets pretend its two boys and one girl but it can be anything):

  • Girl picks Boy 1 and Boy 2 goes home with his tail between his legs.
  • Girl ends up marrying someone else entirely.
  • Girl decides she would much rather be single.
  • Boy 1 and 2 get together leaving Girl feeling bemused.
  • Boy 1 dies, effectively making the decision for Girl.
  • Girl dies, defusing tensions between Boy 1 and Boy 2.

In theory this can give you a fair few options for writing a decent story. After all, you’ve got goals (get the girl/boy, or else figure out which girl/boy you fancy the most), conflicts (the girl/boy is potentially going to be snapped up by someone else) and motive (feelings and things…) pretty much all set up in advance. The danger in a love triangle, however, is that this is all your story becomes: a tedious, predictable triangle that will inevitably resolve itself. Try to remember that in real life, there are other characters who are every bit as important as the three members of the love triangle. Try to focus on other needs your characters may have (you can still have an incidental love triangle): their careers, their friends, their financial woes, their religious beliefs or the fact they secretly moonlight as a costumed vigilante. Create whole, meaty characters to create a less predictable love triangle.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what slays your rival.

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.

You can check out our previous interviews here:
Sharleen Nelson, Author of The Time Tourists [2]

Sci-Fi Clichés and How to Avoid Them

No extended examination of genre clichés would be complete without a post dedicated to the genre of science fiction; and so, despite having done a post very much like this once before, this week’s edition of Genre Clichés and How to Avoid Them will be focusing on sci-fi. For the benefit of those of you who read last year’s post on sci-fi tropes, I will try not to repeat myself too much. For those of you who haven’t read the previous post, get over there and read it for even more sci-fi cliché goodness badness goodness.

But first, and without further ado, I give you today’s top three sci-fi clichés:

Our Own Invention Has Turned Against Us

It’s usually either robots or self-aware WMDs (or possibly robots hacking our WMDs), but even if it’s automatic cheese-graters, the cliché of humanity fighting a hopeless battle for survival against the machines they’ve created has been done to death.

Is this really the only possible outcome of a world with advanced technology? That it will develop self-awareness, decide humanity is inferior (usually because of emotions) and therefore attempt to kill us all?

If you want to go down the ‘living technology’ route, that’s great. I encourage you to do so, but I also encourage you to use your imagination. For instance, what would happen if robots did not consider us inferior? What if they aspired to be like us? Perhaps you could even have your robots/WMDs/cheese-graters worshipping humanity as their creator, perhaps even forming multiple robot religions and all the possible outcomes that would entail? Alternatively, could our robotic slaves simply be seeking their freedom, some through violence and some through passive resistance? I don’t know, all I’m saying is use your imagination and try to come up with something different besides the bog standard man VS. machine scenario.

(Though if you want to write a story about humanity’s war against cheese-graters, I might just read that).

Post-Apocalyotic Dystopia

It’s the future, so it’s hell. Usually the author has a bee in their bonnet about some politically controversial issue (usually nuclear weapons but it can be anything you like from Brexit to birth control) and so has contrived a hellish future to prove their point.

There’s nothing wrong with that. In fact, I’m all for you making points with your story. All I’m saying is that there are so many possible futures besides dystopias. Star Trek, of course, tried to counter this by giving us an even more unbelievable utopia (if you can call a galactic federation where the military seem to have a finger in every pie a utopia) but you don’t need to go that extreme. In fact, I would recommend against it unless you really want to write a cheap Star Trek knock-off. Why not try to create a view of the future which is more balanced? It can and should still have its problems (even really big problems) but it needn’t be wall-to-wall famine, pestilence and sword crumbling beneath the iron boot of a cruel oppressor. 

Universal Translators

Whether it’s a surgical implant in the brain, a telepathic field produced by your time traveling phone box or a mysterious fluke by which language has evolved exactly the same way on every planet (despite the fact there are currently no less than 6,500 languages being spoken worldwide according to infoplease), most audiences will be only too happy to suspend their disbelief enough in a little further in exchange for being able to understand everything that’s being said.

BUT YOU DON’T WANT TO DO THAT! Why not impress your audience with a bit of gritty realism and make communication difficulties a real challenge your characters have to overcome without using any cheap tricks? Communication difficulties between two cultures can often form the basis and conflict for a whole story, so don’t shoot yourself in the foot by taking the easy way out. Try and see communication difficulties between characters as an opportunity to create a rich story, rather than an obstacle to be avoided.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what beams you up.

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.

You can check out our previous interviews here:
Sharleen Nelson, Author of The Time Tourists [2]

Mystery Clichés and How to Avoid Them

Well it’s part two in my series of genre clichés and how to avoid them, and this week we’re focusing on the broad spectrum of the murder/mystery genre.

I had no difficulty thinking up tired old clichés in this genre. In fact, the main problem I had putting this post together was deciding which tropes not to include, since I know you guys have got better things to do than to sit around listening to me rhyming off hundreds of thousands of mystery tropes I’m getting bored of reading about. So, I won’t waste any more of your time with the introductory spiel. Let’s just cut straight to the clichés!

The Butler, The Narrator and everybody dunnit

This was originally going to be three separate tropes, but as they’re all quite similar I’ve grouped them into one. As you know, every good mystery story involves finding out who committed the crime or ‘who dunnit?’, as they say. Naturally the author will want to try to preserve the mystery surrounding the true killer until the last moment so that the audiences’ minds will be suitably blown when the killer is finally revealed.

Unfortunately, there are a few ‘mind blowing’ revelations which have been used so often that they are no longer mind-blowing. These include (though are not necessarily limited to):

  • Butler Dunnit: the humble, genteel old butler whom nobody suspects is the killer. Because he is so meek and mild, and because everyone has known him for years, no one suspects him, especially since he is so surrounded by such a bombastic group of loud-mouthed posh people all with dark secrets. There’s nothing really wrong with this trope, except that it’s been so overused that butlers are now the number one suspect in most audiences’ eyes, thus robbing it of its effectiveness.
  • Narrator Dunnit: Aah, yes, the one character we never suspected was the character who is actually narrating the story! After all, he is confiding in us! Surely we can trust him! But remembers boys and girls, narrators can be unreliable. The trouble with this guy being the killer is that it relies more heavily on the audiences’ blind faith to preserve the mystery than it does on a good complex puzzle. Reasonably smart audiences will not be fooled.
  • Everybody Dunnit: Under most circumstances, this trope is just plain ridiculous. I’ll maybe let you away with it if it’s a group conspiracy, rather than a bunch of different people all separately conspiring against the same person, but even then it stretches suspense of disbelief to its absolute limit. It’s also been overused.

In all three cases, the easiest way to avoid this cliché is simply this: make somebody else the killer. I don’t care who, just as long as it’s somebody we don’t expect.

Butler’s Actually the Rightful Heir. That’s Why He Dunnit.

This one is usually a natural extension of ‘butler dunnit’. The butler, or some other seemingly innocuous character, is actually the rightful heir (or imagines himself the rightful heir) of some fancy title or a vast sum of money.

They’re not necessarily the killer themselves. It could be the butler’s well meaning but sorely misguided parent or lover who did the actual deed, either for personal gain or out of a misguided sense of loyalty. Either way the author has tried to come up with a good motive for the killer’s actions; one the audience will not immediately suspect but will believe when it is revealed. Unfortunately, the tried and tested ‘unknown heir to the victim’s millions’ motif was the best they could come up with.

If you’re writing a mystery, try and spend a bit more time focusing on the killer’s goals and motives. What does he get up for in the morning? What matters to him? And how does this drive him to do the unthinkable? There’s no denying it: doing this and still maintaining the mystery is a tough ask, but it’s worth the effort.

Everyone thinks the protagonist is an idiot but he’s actually the only smart one

If you’re writing a story about a private or amateur detective investigating any serious crime, you’re already pushing the boundaries of the reader’s ability to suspend disbelief. After all, the real life police tend to be very protective of their evidence and crime scenes. If the local baker starts asking to poke around the crime scene because he fancies himself as a detective, he’ll probably just be asked to leave.

So if you then make that baker-detective stupid (or worse, dangerously insane) in the eyes of other characters, it’s going to be almost impossible to imagine that character being permitted access to the crime scene. And don’t think you can get away with it by making your protagonist a police detective. The police will not generally put an officer they believe to be stupid in charge of a murder investigation, even if he does get promoted because he foolishly got himself shot once (yes, I’m looking at you DI Jack Frost!). If you want to play the ‘protagonist playing stupid’ card, this should be reflected in how the other characters treat him. Why not have your protagonist being denied access to the vital evidence? Alternatively, your protagonist could investigate the crime despite police warnings, forcing the police to take a more aggressive stance against him. A night in the cells might even give your amateur sleuth just enough thinking time to finally crack the case.

The sidekick never ceases to be amazed by the protagonist’s brilliance

Dr. Watson (Sherlock Holmes) or Captain Hastings (Poirot) are good examples of this. Despite the fact they’ve been the closest friend and most trusted assistant of your protagonist for years, they continue to be baffled by the protagonist’s genius. Not only that, but they will consistently challenge the protagonist’s deductions, as if they, too, believe the protagonist to be an idiot.

He’s a genius. You know he’s a genius. No need to act amazed the zillionth time he solves the case or shake your head and say ‘Oh dear, I think old Poirot’s getting senile in his old age!’.

The sidekick can be so much more than a cheap foil who makes your protagonist look clever. Why not give him goals and motives of his own? Why not even give him a brilliance of his own, something that the protagonist perhaps lacks? Remember, no character exists just for the benefit of another. Make us care about your Watson for his own sake.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what cracks your case.

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.

You can check out our previous interviews here:
Sharleen Nelson, Author of The Time Tourists [2]

Fantasy Clichés and How to Avoid Them

Well, it’s been a while since I’ve done a series of posts on any subject (in fact, I think the last one I did was the ever popular series on Non-Human Characters [2] [3] [4], way back in 2017) so I decided it was about time for another one: this time focusing on all your favourite genre clichés and how to avoid them.

So to get us started, I’m going to be looking at the fantasy genre. To be clear, when I refer to fantasy I am speaking broadly about any work of fiction set in a totally imaginary world or in which the fantastic world intrudes upon the primary or ‘real’ world. I realise that covers a lot of ground but you’ll just have to bear with me because I can’t possibly do a post for every genre and sub-genre in the world or we’ll be here forever.

One more thing: I’m not necessarily knocking any of these clichés or tropes. I like some of these too. I just want to invite my fellow authors to join me in thinking outside the box. So here goes nothing.

Medieval Europe-like Setting

Yeah, I know, swords and castles and kings are all very exotic and they certainly seem to be happy bedfellows with magic and various elements borrowed from mythology (e.g.: dragons), but… c’mon guys. You’re creating a brand new world. It can be anything you want it to be. Stretch your imagination a bit.

If you’re stuck, pick a random period in history: 17th century AD, 3rd century BC, 5th century AD, or heck, even 21st century AD. Then pick a random country (one that existed at the time you’ve chosen, of course). Study that setting and try to base your fantasy world on that instead. Better yet, go out of your way to create a civilisation the likes of which our world has never known (that takes true imagination, the soul of fantasy). It’s difficult to explain how to do this without creating the fantasy world for you but a good place to begin would be by contriving what your world might be like in its natural, primal state, and basing the evolution of your imaginary societies upon it. For example, in Star Wars (that’s a fantasy, don’t let anyone tell you it’s not) the Force exists as a natural part of that universe. As a result, culture, politics and religion have developed in a certain way, resulting in Jedis and Sith and force-choking.

The Chosen One VS. The Dark Lord

Fantasy is guilty, perhaps more than any other genre, of giving us these two stock characters time and time again:

  • The Chosen One: A seemingly random Joe who turns out to be a Messiah-figure whose coming was prophesied long ago. He usually has to learn to accept his role in history, or mature enough to realise it. He will, more often than not, have supernatural abilities of some kind, especially if they help him fight.
  • Dark Lord: These guys are just pure evil incarnate. They are usually obsessed with power and are driven by undirected hatred and/or ambition. They tend to wear black, are often disfigured and have an Army of Darkness to do their bidding.

Aren’t you just sick of these guys? I know I am. Just once can we have a protagonist who hasn’t been foretold by any prophesy and isn’t endowed with unique supernatural strength, magical ability or righteousness fighting against an antagonist who has at least one redeeming quality?

While fantastic elements in your story will naturally require you to depart from reality when it comes to characterisation, remember this basic principle of writing: characters are people. The more they read like a real person, the better written they are, so try and create your major characters the same way you would for non-fantasy fiction. Your bad guy can still be a powerful wizard (or whatever), but why not make him a powerful wizard motivated by a seemingly laudable goal? And why not make your protagonist an ordinary person, just trying to do his bit for the greater good? Alternatively, he may have personal motivations; perhaps even morally dubious ones, such as a desire for revenge. Use your imagination and make your characters believable people.

Epic Battles

This is something else that seems to crop up in medieval fantasies again and again: epic battles between the various good guys and the Dark Lord’s armies of darkness (often climaxing in the personal defeat of the Dark Lord himself at the hands of the Hero).

Now I like a good fight as much as the next guy, and maybe I’m alone in this (the fact so many fantasies include these suggests I am), but I really find these big old battles a drag to read about. They’re often incredibly predictable, usually taking place in the final third of the novel resulting in significant losses for the heroes (if the hero’s mentor hasn’t died by this point, he’d better stay indoors and hide under his bed during the Epic Battle, that’s all I’m saying) but at the last moment when all seems lost, good triumphs over evil, the end.

The trouble is, a lot of fantasy tends to focus less on the characters and more on the world itself. As a result, the conflict in the story tends to be a conflict between good and evil, or perhaps between an empire and a rebel faction or something, which naturally results in large battles.

In some ways, that’s understandable. After all, a lot of worldbuilding has gone into writing this story and the author probably doesn’t want it fading into the background, but ultimately, the meatiest stories are character driven stories. Try, therefore, to focus more on the goals, motives and personal conflicts of your individual characters, rather than the people groups you have created. There’s nothing wrong with including a bit of the ‘big picture’, especially in fantasy, but I think you’ll have a richer story to tell if you keep your focus fixed on your key characters.


Thanks for taking the time to read this post. If you enjoyed it, don’t forget to ‘like’ this post and also follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if that’s what roasts your pig.

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.

You can check out our previous interviews here:
Sharleen Nelson, Author of The Time Tourists [2]

On Character Traits

I’ve said it before and I’ll say it again: characters are the beating heart of every good story. Show me a good story with bad characters and I’ll show you a liar. There is a direct correlation between the quality of a story and the quality of its characters. Good characters are not optional. They are essential.

Are we all agreed on that?

Good. Go to the back of the class if you said ‘no’.

Now I know what you’re thinking: what makes a good character? Well, there’s quite a few things, but if you really want to write a character of substance, you’ll need to give him a few key traits. At their most basic level, a character’s traits can be defined simply as a list of a few critical adjectives which describe the sort of person your character is; for example, cowardly, obliging, sarcastic, compassionate, devout, holier-than-thou, etc. We’re not interested in physical descriptions here, nor are we interested in their thoughts or feelings at any particular point. We want to know what sort of person they are. If you don’t know what I mean, just think about someone you know well; a friend, relative or colleague. Ask yourself what sort of person they are.

‘John is really obnoxious.’

‘Susan is kindhearted.’

‘Peter is fly.’

These are all traits. They are fundamental to a character’s personality and will usually remain consistent throughout the story (with perhaps just a little wiggle room for growth). If you’re struggling, just Google ‘list of character traits’, you’ll find that the internet is simply teeming with lists of character traits that you can easily pick up and apply to your characters. It’s entirely up to you how many you choose, but I tend to go for nine traits for each major character: three positive traits (e.g.: generous), three neutral traits (e.g.: whimsical) and three negative traits (e.g.: censorious).

‘Sounds simple enough… ‘ I hear you cry, with a note of caution in your voice. And you’re right! It is simple. But there’s a way to do it and there’s a way not to do it.

Detailing your entire plot (or worse, writing an entire draft) and then deciding on your characters traits based on what happens to your character throughout your story is how not to do it. This will result in flat, predictable characters around whom the whole world seems to revolve.

Real people aren’t like that. The sun shines on the righteous and the wicked– and on the zealous, the pious, the pitiable and the proud. Life happens to people regardless of what sort of people they are, and we all deal with each situation in our own way, based on the sort of person we are. Therefore, if you take my advice, you’ll sketch out your characters’ key traits before you begin any detailed plotting or drafting, even if you’re a pantser. And stick to the traits you decide on, no matter what events befall your character. These traits will help to define every choice your character makes, everything they say and, perhaps more importantly, how and why they do/say it.

Try to be adventurous when it comes to selecting character traits. Even pick a few traits entirely at random (yep, there are places online you can do that too) and work with whatever you end up with. Don’t worry if the traits you end up with seem contradictory. Real people are full of contradiction too! This will only enrich your character and you can always smooth out any rough edges that seriously impinge upon your story later if you absolutely have to.

When you finally do come to draft your story, be sure to keep your characters’ traits in mind at all times but do not explicitly state your characters’ traits in the narrative (e.g.: ‘Dave was an evasive and brusque man’). Let your reader get to know Dave by experiencing Dave, not simply being told about Dave. Portraying a character’s traits is a subtle balancing act, where you drip feed your reader just the right quantities of each trait at the right time. You don’t need to bring them all out in equal measure all the time, however I would advise making a character’s fundamental traits fairly clear from the get-go. Even shifty, unreliable characters can be portrayed as such through voice and body language. Let’s think about Dave again. Dave’s a bit of an enigmatic fellow. No one really quite knows what he’s planning, whose side he’s on or what his true intentions are. You can portray this to the reader simply by making him guarded or abrupt in his dialogue.

‘Up to much this weekend?’ Pete asked, pulling on his coat and switching off the office lamp.

‘Nothing much.’ Dave sniffed.

‘Why don’t you come over on Sunday? Susie’s doing Sunday dinner and she always makes enough for ten–‘

‘Sorry Pete,’ Dave interrupted. ‘Maybe another week, I can’t this week.’

‘We never seem to see you anymore, is everything okay?’

‘Fine. Just busy that’s all.’

Thus the mystery is not only preserved, but it is also enhanced, because it makes the reader want to know more. Is Dave out killing people at the weekend? Has he got some illicit love affair on the go somewhere? Does he simply dread socialising? We don’t know. One thing we do know: Dave is evasive and Dave is brusque. The narrative doesn’t say it. Dave just is evasive and brusque. Experiment with using characters’ actions and dialogue and especially body language and voice to portray your characters’ traits and you’ll have a vibrant and distinctive bunch of characters before you know 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 mashes your spuds.

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.

Theme: The Truth Behind the Tale

I once read somewhere (and I do wish I could remember where so I could give proper credit) that we story-writers are in the entertainment industry; that the primary goal of the story-writer is to entertain. While I basically agree with this statement, I think it’s also true that the best stories all have something real to say.

This is where theme comes into play. The term can be a little bit broad sometimes so just to be clear, when I talk about a story’s theme, I am referring to the meaning(s) or dare I say, the message(s) of the story. What fundamental truth(s) are you conveying in your idle fantasy? What aspects of real life are you exploring? And equally as important, how are you conveying that truth?

Let’s look at the easy(ish) bit first: identifying your theme (we’ll come back to how to convey your theme later). Themes can take many forms: it can be a moral lesson (e.g., ‘don’t do drugs, kids’), a particular idea or belief (‘the meaning of life is such-and-such’, ‘God is like this’, ‘socialism/capitalism is destructive in this way’, etc.)  or it can be a general portrait of a particular subject (friendship, poverty, religion, etc.). Depending on how you write, you may have decided on a theme before anything else (that is to say, your initial idea was something like ‘I want to write a story about domestic violence’) or the theme may have come about as a natural byproduct of your story. If it’s the latter, you might be tempted to ask yourself: ‘do I really need to identify my theme(s), since they occurred purely by happenstance after I began writing the story?’.

Answer: yes, you do. After all, whether it was your intention to write a story about lies, sex and/or murder or not, your audience will pick up on these themes if they’re there. And believe me, if you’ve written a half-decent story, there will be at least a couple of naturally occuring themes. It’s unavoidable. Has one of your characters been pursuing a love interest who doesn’t reciprocate his feelings? Then your theme is unrequited love. You may not have intended it, but it’s there, growing wild in the tulip patch that is your story. Depending on how your characters behave, it may also become a story about obsession, harassment or rejection. Therefore, since it’s almost impossible to write a good story without a theme or two popping out of the mix, it’s worthwhile identifying your theme so that you can make it work for you. Themes may be naturally occurring, but they shouldn’t be allowed to grow wild. Once you’ve identified them, you can use them to really enrich your story.

How you convey your theme is something else entirely, and will depend largely on the kind of story you’re writing, but the best advice I can give you is this: avoid sounding preachy. That’s not what people want from a story and it will certainly annoy your reader, even if they agree with you. Don’t misunderstand me, you should be bold in communicating your ideas, but there’s a way to do it and a way not to do it. The chances are your readers came to your book quite comfortable in their own opinions. If you want to change their opinions, you’ll need to do it with tact and subtly. Show them the truth by the events of your story.

In the same way, avoid soapboxing (yes, I just made that term up). This is when you turn your characters into a soapbox from which you casually throw out your opinions on controversial subjects, usually in the form of internal or external dialogue. e.g.:

Pro-abortion soapboxing: There was a small group of nuns standing outside the hospital, clutching pictures of the Madonna and Child. Isobel shook her head. Didn’t these outdated old crones realise that a woman has the right to make decisions about her own body?

Anti-abortion soapboxing: There was a small group of nuns standing outside the hospital, clutching pictures of the Madonna and Child. Isobel shook her head. It saddened and amazed her to think that in this day and age, there was still any need to protest what was clearly the legally sanctioned murder of unborn babies.

Soapboxing won’t only annoy your reader, it will actually undermine your story. Remember stories and characters must develop. A story never ends where it began, because the characters therein must develop (even if that ‘development’ involves a downward spiral of self-destruction). If a character’s strongly-held beliefs are relevant to the story, they ought to be challenged throughout that story (and probably, although not necessarily, altered in some way by the end). Therefore, if you begin with absolute statements (‘such-and-such is evil!‘) you’ve nowhere to go but contradiction or compromise (‘such-and-such isn’t so bad after all’ or ‘I’m not sure what I think about such-and-such now’). You could, of course, end with an absolute statement (‘Jeanie thought such-and-such was okay, but now she knew it was evil!‘) but that is a very lazy way to write. If your audience was truly drawn into Jeanie’s plight throughout the story, they’ve probably already come to the conclusion that such-and-such is evil. They don’t need you to lecture them.

If, on the other hand, your character’s opinions are not not relevant to the overall story, ask yourself why you’ve included them. There may be a legitimate reason to include them (e.g., characterisation), but if it’s nothing more than an opportunity to soapbox, chop it out. Air your controversial opinions on Twitter if you must, but don’t let it ruin your story.

Remember, your audience didn’t come here to learn your opinions. Your audience doesn’t give a rip about your opinions, even if they happen to share them. Instead, focus on telling the story. Make it as true as you can and fill it with believable, sympathetic characters to whom your reader can relate. They’ll start to understand what it’s like to be in that position and will begin to think. And that’s all you can hope to accomplish as a writer: provoke thought. You cannot force someone to believe something. You can only offer them the truth as you see 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 plucks your eyebrows.

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.