Creating Conflict Between Your Characters

I’ve often said that good characters are at the heart of every good story. This is true, however there is another crucial element that is required for a compelling story and that is conflict. Of course, as we shall see, a well-written conflict is born of well-written characters. The two elements are not mutually exclusive. Let’s start by trying to define what we mean by conflict.

The Cambridge Dictionary defines conflict as ‘an active disagreement between people with opposing opinions or principles’. This is certainly a good enough definition, however when it comes to the conflict found in any good story, I would take it one step further and suggest that conflict is an active disagreement between people with opposing goals. Alternatively, your central conflict may also revolve around one character’s goals being at odds with a particular circumstance. In any event, your protagonist wants something so badly it was worth writing a novel about it and yet someone or something is preventing him from getting it.

Creating a strong conflict is mandatory in any style or genre of story writing. Your reader will bore quickly without it. Even the most seemingly mild-mannered, light-hearted, inoffensive stories have conflict at their core. My two year old is currently quite obsessed with The Gruffalo by Julia Donaldson, in which a mouse living in the woods avoids being eaten by various predators by pretending he’s going to meet a particularly ferocious imaginary friend. It’s a children’s picture book, yet at its core we still have this conflict between the cunning but ultimately vulnerable mouse who wishes to avoid being eaten and all the other characters who do want to eat him. Thus we have characters with diametrically opposing goals, thus we have conflict, thus we have a story.

So if you’re writing a story and you feel like it’s lacking that bit of tension needed to keep it interesting, take my advice: go back to your characters. It can be tempting to try and fix a lack of tension by throwing in more fight scenes or adding a pointless romantic subplot, but if your characters’ goals are not at odds with each other or with a particular circumstance, adding extra subplots or intense scenes will only make your story appear bloated.

First, check your characters’ motives. What is that one thing that gets them out of bed in the morning and spurs them on to action? Remember, this will be the basis for whatever goal your character has and it is this that will lend importance to your characters goals and make your audience care about whether or not they achieve them (I’ve spoken a bit about this before here).

Now ask yourself: on the basis of my character’s motive, what are they actually trying to achieve? This is their goal. Success or absolute* failure will mean the end of the story because the conflict will have been resolved. All of your main players should have clearly established motives and goals. If you have a character whose goals are diametrically opposed to another’s, you pretty much have your conflict and a clearly established antagonist [2] into the bargain.

Of course, there are other, less obvious types of conflict than simply pitting two characters against each other. These will still be grounded in your protagonist’s motives and goals, but instead of coming into conflict with another character, they will be brought into conflict with themselves or other external forces, such as God, nature or a socio-political situation which is beyond their control. Even in these cases, the principle remains the same: your character needs to acquire or accomplish something but something external to his or herself is stopping them from doing it.

In addition, there are also internal conflicts, where a character is wrestling with his own contradicting goals and motives. I’ll maybe(!) write a separate post about internal conflict because it can be footery to get right, especially if you’re wanting to write a story where something actually happens (and yes, you do want this). Suffice it to say for now that the issue still concerns a conflict of goals and motives: the main difference being that the protagonist’s goals are in conflict with each other. For my money, however, an internal conflict should not be used as a substitute for an external conflict, but something to go alongside it.

Whatever kind of conflict is at the heart of your story, remember this: it starts with your characters. A character will not throw themselves into danger for no reason. They need to want or need something badly enough that they are willing to struggle against themselves, others and all the forces of nature to get it. Only when your audience understands and cares about their goals and motives will they care about whether or not your protagonist manages to overcome whatever antagonists you throw their way.

Footnote:

*There will usually be an apparent failure halfway through the story. This is not the end, but rather gives the protagonist the final push they need to try again and succeed. You knew that already though.


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 TwitterPinterest and like Penstricken on Facebook, if that’s what types your writer.

Want a blog of your own? Start writing today with WordPress.com!

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ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

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:

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Throwback Thursday: Typewriter: An Old-Fashioned Solution for Modern Writers

First published: 02/10/2016

We writers all know (or if we don’t know, we soon will learn) that perfectionism is the enemy of the writer. Of course, we all want our novel/play/movie/TV script/comic to be as close to perfection as it is possible to get. There’s nothing wrong with that. Some might even say that it is our sworn duty as story tellers to create the best story we are capable of and to present it in the most pleasing way possible. That’s all very commendable.

However, anyone who has been writing for any length of time will be able to tell you that you will almost never be able to simply sit down and produce a perfect first draft. It is almost guaranteed to be full of errors, typos, weak metaphors, poor dialogue and perhaps even gaping plot holes. An experienced writer knows this to be the case and therefore also knows that the only solution is to write a bad first draft, attack it with the Red Pen of Editing and then write a slightly better second draft. Repeat until you have attained perfection.

Back in the old days, there was no other choice. One could not simply hit the delete key and erase the last couple of words, much less copy and paste whole paragraphs. These days, however, it is tempting to just edit that first draft as you go along and make it perfect. After all, we have the technology. A typo can be easily fixed. Something you forgot can be easily inserted in the middle of the document. Words can be chopped, changed, pasted and tinkered with until it’s just right. The trouble is, nothing ever actually gets finished that way. As we have said before, a bad first draft can lead to a good second draft; a non-existent or unfinished first draft won’t ever amount to anything.

Unfortunately, I speak from personal experience. I am a perfectionist, and as such, I often found it all too easy to use modern technology to help me agonise over the same paragraph for hours or days at a time. Knowing that writing first and editing afterwards is the best way to work did very little to change this (because I’m contrary like that). Until one day…

I had a brainwave.

I’ll buy a typewriter! I thought. I’ll write my first few drafts on a good old fashioned typewriter and only do my final draft on the computer! Oh boy, this is going to be going swell!

For those of you born any later than the mid ’90s, a typewriter was a primitive (usually unpowered) machine with a QWERTY keyboard which printed directly onto physical paper as you typed. Since typewriters don’t have delete keys, copy and pastes or anything like that, the writer is forced to wait until the second draft to make any major changes. I therefore thought it might be the cure for my perfectionism. Unfortunately, the only way I was going to lay hands on a typewriter these days was to break into a museum and even then, I would be spending the rest of my life trying to find increasingly hard-to-find replacement ribbons. It was going to be a lot of trouble and expense when all I really needed was the discipline to not edit while I wrote.

Not to be deterred, however, I decided to search the internet for an app which does the same thing. Since I’m a Windows man and still loathe writing on tablets, I was quite specifically hunting for a typewriter app I could use on my Windows PC.

There aren’t many. I guess there’s not that much demand for word processors with virtually no functionality whatsoever. I found a grand total of three that ran on my PC plus one for Mac called Rough Draft (I don’t have a Mac so I cannot tell you if it’s any good or not. Let me know if you’ve reviewed it on your blog and I’ll maybe reblog it for you). Of those three, one appears to no longer be available except as a fifteen day trial version and the other was a very clunky web-based app that I found needlessly complicated to use. The other problem with both of these apps was that they emphasised the look and feel of a typewriter more than the simple functionality — which is what I really wanted.

Then I found it.

Typewriter – Minimal Text Editor: a very simple ASCII text editor which runs on Java (and thus, will run on just about any computer) and includes absolutely zero editing functionality. Unlike a lot of typewriter apps which waste time by mimicking the sound effects and ugly fonts of physical typewriters, this app still looks and sounds like any other distraction-free plain text editor. The only difference is that you can’t edit.

Delete key? Forget about it. If you make a typo, you’ve just got to like that typo.

Copy and paste? No way hosay. If you want to make text appear on that screen, you’ve got to type it in yourself; and once it’s there, it ain’t going anywhere.

The only functions (besides typing plain text) available to you in this app are:

  • Colour scheme switching (you can have green text on a black background or black text on an off-white background. Whichever one you choose, it will not affect the appearance of your document when you print it, since *.txt is the only file type available to you)
  • Full screen switching (full screen is good for creating a distraction free environment but you might find it more convenient to have this off if you’re doing other things simultaneously… like writing a blog about the app in question)
  • Open file
  • Save file
  • Save file as
  • New file
  • Print
  • View key mappings
  • Quit

That’s it. That’s all the help this baby is going to give you. Heck, you can’t even use your mouse to navigate around these options, since there are no buttons or menus of any kind. All of these functions are only available to you via keyboard shortcuts (i.e., ctrl+O to open file).

This app is not for the faint-hearted. It will show your writing to you in all its unedited ugliness. But if you can swallow your pride and ignore all your mistakes, it will keep you writing right up until you’re ready to print off your work and attack it with that all important Red Pen of Editing.

It’s exactly what I’ve been looking for.


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 TwitterPinterest and like Penstricken on Facebook, if that’s what types your writer.

Want a blog of your own? Start writing today with WordPress.com!

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ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

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:

Monday Motivation

Want a blog of your own? Start writing today with WordPress.com!

WordPress.com Jetpack WooCommerce

ATTENTION AUTHORS:

Every Tuesday, I post a new edition of Spotlight: a short post which shines a proverbial spotlight on a published novel or collection of short fiction. If you would like to have your book considered for a future edition of Spotlightdrop us an e-mail including a short synopsis of your book and a link to where we can buy it. Better yet, send me a copy of your book and I can include a mini-review.

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:

Monday Motivation

Want a blog of your own? Start writing today with WordPress.com!

WordPress.com Jetpack WooCommerce

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:

Throwback Thursday: Ten Writing Commandments

First published 18/09/2016

I’m in a cliché sort of mood today and since I don’t want to burden the novel I intend to work on this afternoon with clichés, I’m afraid I’m going to burden you with them instead. Behold, my Ten Writing Commandments, predictably humorously written in a crude approximation of ‘King James’ English and with helpful expositions of each rule.

Most of these rules are as old as the hills and are probably familiar to you. I am not, for one second, claiming to have invented any of these rules. However, this is a compilation of ten writing precepts, from a variety of sources, that I have found to be particularly useful to me. I should add that the expositions I have included are all my own.

So, without further ado…

1. THOU SHALT SHOW; THOU SHALT NOT TELL.

This is what separates quality prose from a technical manual. Allow me to demonstrate with an excerpt from John Steinbeck’s Of Mice and Men:

‘They sat by the fire and filled their mouths with beans…’ (emphasis mine).

John Steinbeck, Of Mice and Men

This is a well written line. Rather than telling you what happened, it uses imagery to allow the reader to experience for themselves the sight of two men, stuffing their faces with beans.

Here is what that exact same passage might look like if it was all telling and no showing:

‘They sat by the fire and ate lots of beans.’

Exactly the same thing is happening here but it fails to capture the gluttony of the ravening men. The reader is not transported to the fireside to witness the feast of beans. We are simply informed. Boring!

2. THOU SHALT NOT MAKE UNTO THEE UNREALISTIC GOALS.

Be honest with yourself about what it is possible to achieve. A thousand words a day seems like a small goal, but after only one year, you will have 365,000 words; that’s a trilogy of novels, all because you succeeded in reaching your daily goal. But if you set yourself a goal of 10,000 words a day and fail to meet it, you will never complete anything.

Slow and steady wins the race (I haven’t got these clichés out of my system just yet)!

3. THOU SHALT REMOVE ALL DISTRACTIONS.

I’m looking at you, Facebook. Get rid of anything that might distract your attention. TV, internet, chattering relatives, the lot. Focus solely on achieving the goal you have set for yourself that day. If you find yourself prone to a wandering mind, allow yourself regular but carefully timed breaks to do all the other little things you need/want to do… but when it’s writing time, it’s writing time.

4. THOU SHALT NOT USE WORDS IN VAIN.

Waffle is no fun to read… so why it write it?

Oh, I see… you want to ‘pad out’ your story to reach your word limit, so you’re thinking of adding in lots of unnecessary words to make your sentences longer? Well, don’t. All that does is breaks up the flow of your story. Take this phrase for example: ‘The brightly shining sun…’

There are four words in that phrase, two of which (‘brightly’ and ‘shining’) are superfluous. The reader doesn’t need you to tell them that the sun is shining brightly, because the sun always shines brightly by its very nature. It’s never dull or dark. The noun ‘sun’ naturally conjures images of bright shininess all by itself. If the sun was shining dimly for some reason, then an adverb might just come in handy!

If in doubt, remember the rule that every word and sentence you write ought to help the story to progress. Don’t tell the reader what they already know or do not need to know.

5. THOU SHALT KNOW THINE AUDIENCE.

Even if you’re the sort of person who doesn’t like to think about the commercial side of writing, knowing your intended audience is the only way to know exactly what to write. No story, no matter how well written, will suit everybody; therefore, it must suit somebody. It is only possible to reliably accomplish this if you know in advance who that somebody is.

6. THOU SHALT WRITE REGULARLY AND OFTEN.

Some say you have to write every single day or you are doomed to fail. I think that’s a slight exaggeration but the principle is sound. Depending on your circumstances, it might be more appropriate to write seven, six or five days a week but what really matters is that you get into a habit of writing often (because believe me, good writers practice their craft) and at regular set times to help you avoid distraction. Not only this, but having a regular writing time means you will also have a regular ‘clocking off’ time – because writing every hour God sends is no healthier than being at any other job 24/7.

7. THOU SHALT WRITE SWIFTLY…

Planner or pantser, the same applies to both of you: when it comes to writing, the best thing you can do is to make sure words are constantly appearing on the page without stopping to improve (or worse, delete) what you’ve just written. This is not the time for editing or second-guessing yourself. Get your story down in all its dreadful badness. A bad story can become a good story, but nothing won’t become anything. If you really can’t bring yourself to do it, join an archaeology expedition and try to dig up an old typewriter and write your story on that instead.

8. … AND THOU SHALT EDIT SLOWLY.

Having said that, you still want your story to be perfect. So, once you’ve got your story written down, go over it with a fine tooth comb. Analyse it carefully and in detail; word by word, sentence by sentence, paragraph by paragraph. Find whatever stylistic or grammatical problems there may be and do not rest until they have all been resolved to your satisfaction.

9. THOU SHALT RETAIN PROFESSIONAL DETACHMENT FROM EVERYTHING YOU WRITE.

What I mean by this is that no part of your story – words, sentences, metaphors, word-play, characters, plot twists or anything else – should be safe from being changed or completely deleted as necessary. What matters is the story. This is especially important for writers of speculative fiction who feel the need to explain every intricate detail of how their fantasy world functions. You as the writer might be very excited about what you’ve created, but the truth is, the reader is not. The reader is looking for a story, so don’t go off on long tangents.

The same is true, however, even in non-speculative fiction. Perhaps you have written some really powerful dialogue or the perfect fight scene… but they have no real function in your story. They will need to go. Therefore, do not become overly attached to anything you have create or else when you come to edit, it will be like having one hand tied behind your back.

10. THOU SHALT BREAK THESE COMMANDMENTS AS YE SEE FIT.

I mentioned at the beginning that these were ten rules that I have found to be useful to me personally. The truth is, I’ve come across dozens of books and websites claiming that ‘this, that or the other’ is the most important rule to follow in writing but really… there are successful writers who follow one set of rules and there are those who do the exact opposite. Some write daily; some do not. Some plan; some pants. I remember once on Star Trek: Deep Space Nine, a particular character commented that you can only write about what you have experienced… which got me wondering what planet (literally) the writers of Star Trek were living on. I’ve said it several times today and I’ll say it again: what matters is your story.

If the only way you know to get words on the page is to do the opposite of everything I’ve written here, then do it with my blessing. Rules are made to be broken.

Monday Motivation

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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:

Monday Motivation

Want a blog of your own? Start writing today with WordPress.com!

WordPress.com Jetpack WooCommerce

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:

Throwback Thursday: A Fight Scene Worth Reading

Well, Penstricken has been around for quite a while now, doggedly posting writing tips, reviews, flash fictions and author interviews every Sunday without fail. So I thought it was time to start doing Throwback Thursday posts every week, where I’ll be revisiting a few of my old favourites from yesteryear.

This week I’m revisiting an old post exploring the tricky subject of writing a decent fight scene. Enjoy!

A Fight Scene Worth Reading

First published: 11/09/2016

We all know (instinctively at least) that conflict, of one kind or another, is at the core of every good story. Whatever the protagonist’s goal may be– to get the girl/boy, to vanquish evil or simply to get through the day in one piece –there is always something or someone who will seek to prevent it from happening. In fiction, as in life, conflict between two characters often leads to fisticuffs. It can be an exciting moment in your story where the tension finally erupts and your audience are beside themselves with anticipation of what the outcome will be… Or it can be tedious, pedestrian, predictable and downright boring.

I am thinking particularly of fight scenes in novels, short stories and other forms of written fiction, since fight scenes in film and theatre are (at least to some extent) more a matter of choreography than writing. As a reader, I often find that even in the best books, it is badly written fight scenes that can really ruin my enjoyment of the story, whether it’s a quick wrestling match between two minor characters or an epic battle between ten vast armies of elves, dragons, wizards and goblins. It’s not that I think fight scenes are unimportant (sometimes they’re necessary) or unexciting (well-written ones can be thrilling); they’re just difficult to get right.

So, first things first. Ask yourself if you really need a fight scene. If it doesn’t help the story to move forward in some concrete way then the answer is probably ‘no’. Some reasons you might want to include a fight scene include:

  • You need to kill off a character (‘need’ being the operative word; only kill a character off if it is necessary to help the story progress)
  • You need to release tension between two characters and create a turning point in their relationship. Although it might not be a good philosophy to live your real life by, physical altercations in fiction often help to clear the air between two characters. In the Star Trek: The Next Generation episode, ‘Family’, Captain Picard and his brother have a constant simmering tension between the two of them until they have a good old punch-up in the middle of the vineyard. Alternatively, a fight could change your characters’ relationship from restrained dislike to open enmity.
  • Organised violence might be a central part of the story. For example, The Hunger Games centres around an annual televised battle to the death; thus, characters are expected to fight. War and spy novels are also likely to include such fights where violence is ‘just part of the job’, rather than personal.

If you’ve decided that you’ve got no choice and that you must include a fight scene, there’s a few things you should be aware of. You probably know the first commandment of writing: ‘Thou shalt show; thou shalt not tell’. Well, if you’ve ever tried to write a fight scene for a novel or short story, you probably know that it is blooming difficult to write a fight scene and fully observe this rule. Even in written fiction, a good fight still needs to be ‘choreographed’: each character moving to attack, defend and respond to the other characters movements. It’s difficult to accomplish this in words without resorting to a simple description of who attacked who and how, and for this reason I would be inclined to keep it as short as possible and keep the technical details to an absolute minimum. Even though it might lack the details of who struck who and how, this will help to preserve the excitement and pace of your fight scene. What you really want to capture is the sense of chaos and brutality involved. Which of these do you think is the most exciting?

Enough was enough. Willy had really done it this time and John was going to teach him a lesson he would never forget. He reached back with his right hand and punched Willy squarely in the nose, drawing blood from his nostrils. Willy said, ‘Ow! Why did you do that man?’ and clumsily karate chopped John’s left shoulder with his right hand.

Or…

Something snapped inside John. His hand flew towards Willy and touched his nose with a crunch. Blood was on his hand and all over Willy’s shirt. Spluttering with fury, Willy launched himself towards John, his hands launching out aimlessly.

Another thing to consider is the thoughts the protagonist who is involved in this fight. Internal dialogue allows you to maintain that character-driven quality which separates a good story from a boring one and it also helps to break up tedious descriptions. However, beware! In a fight, it is unlikely that characters have time for long drawn out and complex thoughts. The pace of the scene must still be maintained. For example,

John laughed inwardly at Willy’s pathetic retaliation. A karate chop? Really? What did he think this was, a ’60s TV drama? Doesn’t he realise that in the battle for life and death, one must keep a cool head or else they will be overcome by their rage and will surely be defeated? This is just like that time in high school when I got into a fight with Tom over some girl we both fancied. Gosh, what was her name again? I can’t even remember, I just remember how embarrassed I felt for him, even as we were fighting.

That’s too much internal dialogue for a fight scene. I don’t care if your character is the most introspective and reflective of all God’s creatures; there is supposed to be a fight happening while he’s having these thoughts. Writing lengthy internal dialogue like this makes it seem like either 1) the fight has been temporarily postponed for a moment of reflection or 2) John has become so consumed by his own thoughts that he doesn’t realise Willy is now bludgeoning him to death with a hammer. Instead, something like this would be more appropriate:

John laughed inwardly at Willy’s pathetic retaliation. His rage was his weakness.

See how much shorter that is – and yet it communicates almost exactly the same idea: John’s confidence that he will triumph over Willy because Willy is ruled by his emotions.

Ultimately, a fight scene is like any other part of your story: it is there to move the plot along by what your characters do and think and say. The reason fight scenes are so tricky is that they are such complicated physical acts with very little rational thinking or dialogue involved and it is easy to make them boring. The bottom line, then, is that fight scenes should be used as sparingly as possible and be sure to keep them snappy. Only include what is necessary and as far as possible, focus on the characters as people rather than a technical blow-by-blow account of the action itself. A good fight scene should be like a pressure valve; quickly and decisively releasing the tension which has already been building up for a long time. Get it right and your reader won’t be able to put your book down, at least for a few more pages.


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 TwitterPinterest and like Penstricken on Facebook, if that’s what punches your lights out.

Want a blog of your own? Start writing today with WordPress.com!

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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:

Monday Motivation

Want a blog of your own? Start writing today with WordPress.com!

WordPress.com Jetpack WooCommerce

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:

Monday Motivation

As most of you will know, I normally only ever publish posts on Sundays. However, from now on, I’ll also sharing a Monday Motivation in the form of a handy little quotation about writing, to get all my fellow writers in the zone for starting a new writing week.

The usual 500-1,000 word posts will continue to appear every Sunday as normal.

Enjoy the change.

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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: