Throwback Thursday: Daydreaming is an Essential Exercise for Writers

Originally published 01/04/2018 under the title: ‘Daydreaming: An Essential Exercise for Writers’

One of the main things I remember my school teachers complaining about in my report cards was that I spent too much time daydreaming. I guess they thought I should’ve been doing something more important like figuring out maths problems or some other such nonsense. I don’t know.

In any event, I found that as I got older, daydreaming came a lot less naturally. I don’t know if it’s because adult life puts too many demands on our time or if it’s because I had one too many report cards telling me to stop daydreaming, but for whatever reason, daydreaming is a habit I’ve had to make a conscious effort to get back into.

Yes boys and girls, you heard me right. Daydreaming is a habit you should definitely get back into, especially if you plan on being a story-writer. After all, stories begin in the imagination and the imagination is just like a muscle, which needs to be exercised on a regular basis to keep it strong. Fortunately, you don’t need to pump irons to keep this muscle strong. You need to daydream.

Now before I go any further, I just want to clarify exactly what I mean by daydreaming. I don’t mean staring vacantly into space. I mean tapping back into that wealth of creativity that as children we used in imaginative play which allowed us to spontaneously imagine ourselves to be anyone, anywhere, anytime doing anything. For children, it’s effortless (almost unavoidable in fact). The rest of us, alas, need to work at it.

Make Time For It

I don’t think my teachers objected to me daydreaming per se. I suspect their real problem was with when I did it. It’s really not polite to daydream while someone is trying to teach you about something “important” like mathematics. Children don’t understand this, of course, and they just daydream whenever they feel like it. They also have buckets of time specifically set aside for imaginative play. As adults, however, we have constant demands on our time, none of which are imaginative play time: jobs, family, marriage, divorce, births, deaths, dishes, mortgages, cooking, driving, social events, hospital visits, court summons, insurance claims, driving, dating, washing, buying furniture, grocery shopping, taxes, hoovering and a myriad of other “important” things.

To be sure, some of these things are important. But if you want to tell stories of your own invention, you need imagination as active and as vibrant as that of a child. So be sure to set aside time in your busy schedule to daydream.

Be Proactive

True daydreaming, where the mind simply wanders into the realms of fantasy without stopping to plan, edit or revise, is not easy to do on demand. As adults, we tend to over-complicate things and so when we come to our daydreaming time, it’s easy for us to fall into the trap of sitting there simply thinking ‘Right, I must try and come up with some flight of fancy now. Let me think, what shall I dream about? Hmmm, no, that wouldn’t work. I’m thinking, thinking…. Gagh, I feel silly just sitting here doing nothing. This is hard. I can’t do it. I have no imagination. I’m a failure’. Worse still, we might end up just thinking about all the “more important” things we have to do.

tip1So what’s the solution? Simple. Consider again what children do. They don’t just sit there daydreaming all day. They draw, they role play, sometimes they even write. In short, they express all that raw imagination soup in their head by giving it some kind of form. Why not try it yourself? Try free-writing, or buy yourself a cheap drawing pad to doodle in. Get some of your friends together for some imaginative role play. Play with finger puppets if you have to! Whatever it takes to really exercise that imagination.

Anything Goes

This isn’t writing. It isn’t even planning. It is simply exercising that part of your brain which spontaneously generates possibilities, however bizarre they might be. Therefore there is absolutely no need to edit. Plot holes, structure, and even plagiarism count for nothing in your daydreams.

Daydream about being Batman if you like. It’s not plagiarism if all you’re doing is fantasising, so allow yourself to wonder what it might be like driving a batmobile, fighting crime in Gotham’s seedy underbelly or changing your clothes while simultaneously sliding down a fireman’s pole. Try and put into words, if you can, how it feels to drive the batmobile. What does Gotham’s seedy underbelly smell like? Does that fireman’s pole chafe on the way down?

And what would happen if Batman encountered the villain from your story? How would Batman handle that? Yes, I know it’s silly. So what? Have fun with it. No one is going to edit, mark or even see your daydreams so let your imagination do whatever it wants. All that matters is that you imagine widely and imagine often, so that when you do come to work on creating proper works of fiction, you’ve got a strong enough imagination to do it.


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.

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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.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: The Church Mouse

Originally published 07/05/2017

My original plan for today had been to blog about works of fiction that are nevertheless based on true events but I also had a niggling feeling that it’s been ages since I’ve put any of my own stories on Penstricken.

I know what I’ll do! I thought. I’ll write a story based on true events! I just need to decide what true story to base it on…

At about the same time as I was thinking all this, I found evidence that a mouse had taken up residence in my house and that gave me just the idea I was looking for. So without further ado, I give you…

The Church Mouse

by. A Ferguson

Based on a true story

[1]

The Landlord and Landlady were busy today, pulling out the furniture and hoovering behind every nook and cranny where I’d been, or even might’ve been. They even shoved their infernal vacuum nozzle into my room. I wasn’t in at the time, praise God. I was out scavenging, but they’ve definitely been here. They’ve cleaned up all my business, sure, the bits they could reach anyhow. They’ve settled down now. Their telly’s been on for hours.

Ah, that’s it off now. Finally. They’ll be going to bed soon, I can hear them moving about. He’s washing the dishes, like he usually does just before bed. She’ll be upstairs already then. I’ll give them an hour, once I’m sure they’re asleep and then I’ll–

Wait. Snifffffffff. What’s that?!

Sniff, sniff?

Chocolate and.. sniff?… raisins and caramel by goodness! Ohh, mamma mia… sniffffffffff! Oh yes! A Cadbury’s Picnic if I’m not very much mistaken! Ohh, yes, yes, yes, yes, yes, I’m eating well tonight! 

No! No… no, no, I mustn’t yet, he’s still out there… gotta wait… gaagh! Hurry up and leave, already!

I think… yes, he’s gone. I can hear him on the stairs. I should wait but… oooh, I have to have that Picnic! Maybe, I’ll just have a peak… he won’t be back now till morning anyway… and that smell, it’s so strong… it must be…

Yes! There it is, right outside my door! That idiot’s left a whole chunk of the stuff just lying around in this little plastic box for me. I’ll just pop in, grab the choccie and…

Ow! The door just fell on me! It’s not very heavy, though, that’s something. If I just back-peddle like this I can pull out the choccie and… yes! I’m free! Haha! Oooh, my precious little Picnic, I can’t wait to get you back to my room… ! Hehehe!

[2]

Ooh! Another day, another Picnic! Maybe I’ve got the Landlord and Landlady all wrong. Maybe they really like me and want me to stay? Eh? Nah, don’t be silly. I’ve had all night to think about this and I don’t think that door closed on me accidentally last night! It’s just dumb luck, really, that my bum was still hanging out the back or who knows what might’ve happened…

I should leave it, I know. I’ve still got plenty left over from last night but… ooooooh, that smell just drives me wild! I got out okay last night, I’ll probably be okay again just as long as I’m careful. I know it can be done and… oh mercy, I won’t be able to think straight with that sitting outside my front door all night long.

Just need to watch. Make sure, take care, always beware. Don’t let them outsmart you. You can do this, just… take care. Beware. Don’t let carnal passions cloud your judgement. Use your brain, take your time, claim the prize.

Good… good, it’s the same kind of trap as before. Nothing that’s gonna snap my back or open my skull. I’ll just do what I did last night, leave my bum in the doorway and… gagh, the choccie’s a bit smaller tonight though… tucked right away up at the back it is, I can’t quite reach… ooooh, but it’s right there, I can almost taste it! Just another half inch…

Woosh! Rats, rats, ratty-rats! The door’s closed! Ohh, no, no, no, no, no, no, please God, let me out! Let me out! Ooh, God forgive me, I know it’s my fault, I… I got greedy and I’m sorry! Please, God, let me out! Please… I’m sorry, I’m sorry… please!

[3]

Ngh! What? I must’ve fallen asleep. But it wasn’t a dream. I’m still here, in the stupid box with the stupid choccie. I don’t fancy it quite the same anymore. I feel sick. I can’t move. They’re here. The Landlady, she sees me. She’s calling to her husband. They’re so… big! 

Aaaagh! He’s picking up the box! What’s he doing with me? Where’s he taking me? To eat me? I hear humans burn up smaller animals before they eat them! Maybe he’ll leave me if I just sit very still but… oh no, it’s a forlorn hope! What else can I do?

Please, please, please, please, Lord God Almighty, rescue me from the hand of this monster! I know it’s my fault, I promise I won’t ever be greedy again I’ll… oh, Lord, please have mercy on me a sinner!

Agh! The light! He’s taking me outdoors, into their car… where are we going?

I wish I could move. I’m so afraid, every part of my body feels like it’s turned to stone. All except my bowels; they’re working overtime. Whatever he’s doing, oh Lord, let it be over soon. To die in terror, trapped in this dungeon, tiny even by my standards and drowning in my own business…

He’s stopped the car.

Oh… rats.

This is it.

Here it comes. He’s picking me up and taking me outside and opening the box… he’s shaking it at the ground. In one sudden motion my petrified body and the choccie fall to the ground and land among the long grass on the roadside. I’m out! I’m free! I’m out of here! Oh thank you, thank you, thank you, God! Thank you kind Landlord! I’m free!

* * *

Mr. Mouse fled through the grass and the bushes for hours. He swore never to succumb to gluttony again.

In the winter of 2017 he became a church mouse. He devoted his life to the ministry and service of the church and was ordained as a minister in 2018.

He died peacefully at the age of three in 2019 and was buried on the grounds of his parish along with the piece of Picnic which he had preserved as a memento of the day his life was spared.

THE END

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.

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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.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: 5 Types of Story Ending

Originally published 17/09/2017
SPOILER ALERT

While every effort has been taken to avoid spoilers in this post, anyone who has not read Of Mice and Men by John Steinbeck or seen the Doctor Who (2017) episode ‘World Enough and Time/The Doctor Falls’ is hereby advised that this post may contain a few unavoidable spoilers.

Don’t you just hate endings? For me, they’re one of the hardest bits of the story to write, but they’re also one of the most important. Your audience will (usually) put up with a fair amount of uncertainty in the middle of a story but by the time they reach the end, they want their ‘i’s dotted, their ‘t’s crossed and all their questions answered. And who can blame them? They’ve devoted a considerable portion of their valuable time to reading/watching/listening to your story. The least we owe them is a good ending that doesn’t leave them scratching their heads (or worse, venting their hatred for you on Twitter). And so, it is my pleasure to present you with a whistle stop tour of the pros and cons of five common ways to end a story.

They All Lived Happily Ever After

Let’s begin with the classic. It’s been a rough old ride but evil has finally been vanquished, the hero has married the love interest and all is right with the world. In short, the story is over. There is nothing left but a fuzzy feeling that our heroes will now live forever in a kind of literary heaven where nothing ever goes wrong for them.

Pros: It leaves the audience feeling good about the fact that all conflicts have been resolved and all questions answered. The story is undeniably finished and the audience can get on with their own lives.

Cons: It’s not terribly true to life. I can’t think of a single instance in my life, nor the life of anyone I know, where all problems have been resolved in one neat little package leaving not a single cloud on the horizon. It also downplays the significance of any tragedies that have occurred during the story (unless of course your protagonist has lost nothing throughout the story… in which case, I’m afraid you’ve written a guff story).

Word of Warning: ‘Happily ever after’ is the most implausibly clean cut way I know of for a good writer to end a story, so beware you don’t accidentally leave some questions unanswered. Sure, your bad guy has fallen into his own pool of sharks but… what about his armies of darkness, for example? If they really believed in their Leader’s cause, is the world really safe?

To Be Continued…

This ‘ending’ (I use the word loosely), involves deliberately leaving unanswered questions. The story is not completely over. Evil is not quite vanquished forever. A sequel is certain to follow.

Pros: If you’ve done your job right, you’ll probably find your sequel will fly off the shelves a heck of a lot quicker than the first instalment did.

Cons: It runs the risk of also having the opposite effect if your audience wasn’t completely in love with your story. Remember, sequels cost money to buy and time to consume. If they feel like your first instalment was a waste of time and money, they might not want to put themselves through the same ordeal again. I’ve left many a series unfinished because the first book left me feeling underwhelmed.

Word of Warning: Whether you wrote a wonderful story or a terrible one, your audience won’t thank you for an ending that’s all cliffhanger and nothing else. The first instalment of a series should still be a complete instalment. While danger may yet loom on the horizon, hinting at the sequel to come, this instalment is finished. Be sure to complete your narrative and character arcs to give your reader a sense of satisfaction.

What Have We Learned?

This ending focuses more on drawing your central theme or moral to a conclusion, rather than the events themselves. Such endings can involve the protagonist succeeding in their goals, failing in their goals or something else entirely. The point is not so much what happens as what is learned.

Pros: It’s truer to life than most endings, insofar as in real life, one event always leads to another without a neat ending (even deaths lead to funerals, lawyers meetings, grief and the buying/selling of property). It can also leave your readers pondering your story for months.

Cons: It’s not easy to pull off. If you don’t pack a strong enough punch with it, your readers will feel like the story is unfinished and they’ve been left with nothing but a glib moral platitude.

Word of Warning: This one’s not for you, genre fiction. Literary fiction might just get away with it, if the author is skilled enough, but genre fiction tends to be far too reliant on questions such as ‘will good triumph over evil?’, ‘will the hero get the love interest?’, and generally ‘however will they get out of this pickle?’.

Deus Ex Machina

Just when it seems like all is lost and there is no chance for good to triumph over evil… BOOM! God appears and makes everything better, or the protagonist wakes up and it was all just a bad dream or the water lady from the first episode shows up out of the blue and saves the day with Moffat Magic. This is the ending for the writer who wants a ‘happily ever after’ ending, but can’t be annoyed fixing all the problems in his or her narrative that make a happy ending impossible.

bean-plant-2348098_1920
Fig. 1

Pros: It’s easy to do. Just add magic.

Cons: Instead of resolving the problems and answering the questions that make the story worth reading/watching/listening to, all you’ve done is shrugged them off. It’s bad writing and it will make your audience hate you.

Word of Warning: See fig. 1

They All Lived Sorrowfully Ever After

Sometimes a happy ending just isn’t what you want at all. In John Steinbeck’s Of Mice and Men, the two protagonists (Lennie and George) had big plans to set up their own ranch one day. However, in the end, George is forced to shoot Lennie in order to save him the more arduous death he was about to suffer at the hands of a lynch mob. The story ends with the death of one protagonist, and the other has survived only to be consumed (presumably) with regret over his actions and the unravelling of his dream.

Pros: It’s good for creating feels and driving your central theme/moral home in a powerful way.

Cons: Sad endings, by definition, must leave your audience feeling a bit sad. If your audience cares about your protagonists (and they should), they’ll probably have been hoping that they would achieve at least some of their goals.

Word of Warning: In the right hands, a sad ending can be profound. Of Mice and Men is one of my favourite novels. But in the wrong hands, it can be an extra-terrible form of deus ex machina, in that it resolves problems simply by sweeping them aside, only without the warm fuzzy feeling you get with a happy ending. At least the last series of Doctor Who ended with a happy deus ex machina ending but for goodness sake, don’t kill everybody just for effect.


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.

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.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: Keeping a Writer’s Journal

Originally published 30/04/2017

There are a some folk out there who will tell you that if you don’t keep a journal, you are doomed to never, ever be a writer of any kind. In fact, you will probably fail miserably at everything you ever set your hand to, both in business and at home. Others just get very snooty about the ‘right’ way to keep a journal (as if writing something simple like ‘I ate chips for my tea. That’s all I can think of to write’ means you have failed at journaling, and therefore, failed at life).

Obviously, that’s a load of poppycock.

However, even if you’re not the sort of person who normally bothers to keep a journal, you might find it useful as a writer to at least keep a writer’s journal— especially if you’re working on a large writing project such as a novel.

‘Oh nooo!’ I hear you cry. ‘That sounds too hard/time-consuming/pointless’ (delete as appropriate).

It needn’t be. You don’t need to fill it with epiphanies written in flawless iambic pentameter, you don’t need to handcraft your own leather bound volume to write in and you don’t need to write ten thousand words a day (having already written ten thousand words in your actual story). In fact (just between you and me), you don’t need to keep a journal at all if you don’t find it helpful, though I would recommend giving it a bash for a week or two to be sure that it’s not for you.

All that matters is that you do what helps you to write, and in my experience, journaling can be profoundly helpful. How you do it, however, is entirely up to you! You can write in it as often as suits you; it can be long or short; handwritten or digital; illustrated or not; written in all, some or none of the colours of the rainbow and best of all, it can be as messy as you like. No one’s going to mark it. No editor will ever read/watch/listen to it. No publisher will ever publish it. All that matters is that it helps you to write.

For me, I like to keep a written note of how many words I write each day. It’s encouraging to have evidence of daily progress when you feel like you’ve been writing forever and getting nowhere. More than that, however, I find it helpful to express all my thoughts, feelings, ideas and problems relating to my story in some way. Externalising all that stuff once a week, or thereabouts, usually suffices and it helps me to think through it all in a way that sitting staring at my manuscript does not.  If I don’t write it down, I tend to end up boring my wife to tears by talking at length to her about my characters, my setting, my story arc, my word count or whatever else it might be.

If you’ve got a thick skin and are not too worried about who gets to read your journal, you might even find it useful to start a blog (or Twitter account, if you agree the brevity is the soul of wit). While it isn’t why I started Penstricken, my regular readers (God bless you patient and forbearing people) will be able to testify that I frequently do use my blog as a place to rant and rave about things I’ve learned and the problems I’ve encountered and solved while writing. Often the posts I categorise as ‘writing tips’ are aimed at myself as much as they are at anyone else. Another big perk to this kind of public journaling is that you get a little bit of feedback (hopefully from people who care about you, your story or creative writing in general) and it will hopefully serve to motivate you to journal regularly if you have regular readers who will be expecting you to post something every day/week/month/decade.

If you’ve never tried it before, why not start now? To make sure you get the most out of it, take a little time to ask yourself a few questions such as:

What should I write in my journal? Are you wanting to keep a detailed log of your progress (i.e., daily word counts, problems encountered, feedback received and so forth) or would you prefer to use it to express the enjoyment/fear/doubt/despair you experience while writing? Perhaps you might even find it a helpful place to scribble down plot bunnies for future reference.

How often can I commit to keeping a journal? It needn’t be excessively frequent. However in my experience, it is far easier and more enjoyable to keep a journal if you do it on a regular basis. Daily, weekly or even monthly- whatever you can stick to.

What format should my journal take? It’s your journal, for expressing and exploring what’s going on in your own writer-brain. Will it be kept private or will it be online for the great unwashed to view? Will it be in written, audio or video form? Try to use a format that allows you to express yourself as freely as possible – and most importantly, which compliments your writing.

What do I hope to get out of this? There are many possible benefits to journaling: catharsis; developing your skills; tracking your progress; etc. What you are hoping to get out of journaling will probably impact on how you do it. For instance, if you’re using it mainly as an outlet for your self-doubt and frustration with your novel, you probably won’t want to publish it online. It’s not likely to improve your sales figures if ever you do publish your novel.

Do you keep a writer’s journal? Do you find it helps you to write or do you just find it a big old slog keeping it up to date? Share your insights with the rest of us in the comments section below and we can all benefit from each other’s 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 TwitterPinterest and like Penstricken on Facebook.

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.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: Writing Non-Human Characters #4: Mythical Creatures

Originally published: 04/06/2017

Well you’ll be relieved to hear that this will be the last week of my impromptu series on writing non-human characters. We’ve already covered animals, aliens and robots so this week we’re going to finish up with what I’ve very broadly defined as mythical creatures.

When I Googled ‘mythical creatures’ to help me prepare for this post, I was presented with a very helpful list of about thirty different kinds of mythical creature. Gods-and-Monsters.com managed a much longer list of about 72 distinct creatures from mythology. And so writing a single 1,000  word post on how to write any mythical creature is going to be quite a challenge so I hope you’ll bear with me while I go over a few very general principles.

You all know how this works by now. The secret to creating a good non-human character of any kind is to remember that your audience is made up entirely of humans. Therefore, if you want to make your character relatable to humans, you need to endow your character with the right amount and kind of human qualities. You won’t be surprised to learn that the same is true of mythical creatures. I don’t want to harp on too much about that in this post, since most of what I covered in the first and second posts especially applies here too. Protagonists and other relatable characters need more human qualities (while not compromising on the mythical qualities that make them recognisable; don’t have your vampire going outside in the daylight, for example) while there may be some benefit to deliberately dehumanising characters who you want to serve as terrifying monsters rather than relatable characters.

This is where it is vital to know a thing or two about the kind of creature you’re using. There are, broadly speaking, two kinds of mythical creatures you might use: “real” mythical creatures (that is, creatures from actual myths and legends, such as dragons, minotaurs and or fairies) and ones you made up for the sake of your story. In both cases, research is vital. You need to familiarise yourself with all the variations that exist on your creature in different myths, legends and even modern fantasies around the world (because believe me, there are often significant variations) and pick out all the differences and similarities you can find. In the case of creatures you’ve made up from scratch, or if you’re writing a piece of high fantasy, this involves researching their place in the history/mythology of your fictional world (click here for more on world-building and research).

For instance, suppose you wanted to create a dragon. You might already have an idea in your head as to what that means. But it only takes a quick peruse of internet to find that dragons come in many shapes and sizes both in terms of their physical appearance and their personalities. Dragons are often portrayed both as ferocious beasts, more animal than person but perhaps more often they are portrayed as being intelligent, rational and even quite wise or calculating creatures. Sometimes they can speak, sometimes they can’t. Sometimes they have a lizard-like appearance, sometimes they have feathers. In most cases, there will be myths about their origins you can explore and what function they serve.

Of course, in your own story you can have a little bit of flexibility. I personally have no qualms about making a small number of minor changes to the appearance or behaviour of mythical creatures for my stories, but on the whole you want to be aware of the common defining characteristics of your chosen creature. What makes a centaur a centaur? Is it simply having four legs? Or is there something more that a centaur is simply not a centaur without? Remember, if you’re using a creature that already exists in folklore then you’re not only borrowing someone else’s work; you’re actually building upon centuries of tradition, so don’t go mad when you come to put your own stamp on it.

If you feel more creative (especially if you’re writing a piece of high fantasy), you might want to try and invent your own creature. This certainly gives you more freedom to do whatever you please, but you need to be aware that your audience will have no prior knowledge of your creature and will need to have it spoon-fed to them in a way they wouldn’t with a dragon or mermaid. Try to keep it simple. Combining body parts from unrelated animals is often a good approach and is easy to describe (the body of a lion with the wings of a bee for instance). Also you might find it helpful to weave them in with mythology surrounding big questions such as the origins of the world, birth, death, and so forth.

Once you have established these things, you will find it much easier to anthropomorphise your creature in a way which is appropriate. Remember, the goal in anthropomorphising your non-human characters is not to turn them into humans (noun) but to make them human (adjective) enough so that the audience will be able to relate to them and care about what happens to them. Exactly which human qualities you choose to add will depend entirely on which kind of creature you’re creating, so I’m afraid I can’t give you any specific advice on that. You’ll need to do your research. The important thing is that you correctly balance making your creature human enough to be related to by your human audience but still have enough of those key defining characteristics that make your mythical creature recognisable as what it is supposed to be.

And that’s it for the non-human characters series! Phew! Next week I’ll be getting back into writing my usual sort of weekly individual posts (unless of course I’m inundated with complaints that I forgot a particular type of non-human creature, but I don’t think I did and frankly, I’m sure you’re sick of hearing me banging on about them).

Until next time!


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.

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.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: Writing Non-Human Characters #3: Robots

Originally published: 28/05/2017

Well, it’s week three on my impromptu series of posts on creating non-human characters for your stories. We’ve already done animals and aliens, so this week, I want to focus on creating robots. Now I don’t want to waste too much time getting bogged down on the technical differences between robots, androids, cyborgs and so on, so for the sake of this post, I’m using the word ‘robot’ simply as an umbrella term for any kind of mechanical or artificial person. Suffice it to say there are important differences between robots, androids and cyborgs and you would be well advised to understand them before attempting to create one for your story.

If you’ve been keeping up to date on the last few posts, you will have noticed a common theme running through them: the idea of anthropomorphising (that is, giving human traits to) your non-human characters to to make them more relatable to your audience. However, as we have also seen, the extent to which you anthropomorphise your character and how you go about anthropomorphising your character will vary greatly depending on the kind of character you’re trying to create and what their purpose is in your story.

One of the first things to consider in creating your robotic character is a bit of the history of the character and the history of robotics for your fictional world in general. Of course, backstory is important in all character building, but for robots there are a few other important questions you will need to answer first. For example (and this is by no means an exhaustive list):

  • Are robots commonplace in this society or are they a new invention?
  • What is the function of robots in this society (e.g., slaves, free and equal citizens, problem-solving machines, childrens’ toys, etc)?
  • Are robots in general/your robot in particular built with fail-safes, such as Asimov’s Three Laws of Robotics? If not, how are they kept from running amok? Indeed, are they under control? Many stories about robots revolve around this very theme.

Depending on your answer to these and similar questions, you may want to make your robot characters seem very human or very mechanical. However, if you’ve got any intention of making your robot a main character in your story, you will probably want to give them at least some human traits to make them relatable to your entirely human audience. This is a fairly absolute rule for all non-human characters (as we’ve seen in previous weeks), so you should consider giving your robot some or all of the following:

  • The ability to think, learn and reason independently. You’ll have a hard time creating a full-blown independent character without this.
  • Self-awareness and consciousness of its surroundings. Again, I think it would be exceptionally difficult (though not impossible) to create a proper robotic character without this human quality.
  • Emotions, dreams, empathy, and other such non-logical thoughts to motivate their actions etc. This of course, is certainly optional; many robots in science fiction tend to be very logical and emotionless but why not break with tradition?
  • Recognisable physical body parts. Of course, ‘recognisable’ does not necessarily mean that they have to be human-shaped. K-9 from the Doctor Who franchise is shaped like a dog and one episode of Star Trek: Voyager even featured a sentient WMD. K-9 is the more relatable of the two, of course, because we humans are used to relating to dogs. Dogs that we can talk to and play chess with, therefore, are highly relatable. On the other hand, when was the last time you tried to interact with a WMD? (Don’t answer that).

The difference with robots is that your audience will already have quite particular ideas about how a robot “should” behave. This is, in part, due to the influence of sci-fi authors like Asimov, but is also due to the fact that robots and computers do exist in real life (though in a more limited fashion than you would expect in a sci-fi novel)We know, for example, that computers are logical to a fault and it’s important that your character reflects that peculiarly robotic quality if you want your audience to accept them. Abstract thinking, imagination and personal ambition is something beyond the grasp of most computers and robots. The trouble is, if you want your audience to care about your character, they’ll probably need to be capable of at least some of the above.

How you balance this contradiction will depend largely on the story you’re writing and the kind of character you’re trying to create but one of the best ways around this problem is how you use voice. Often you can create the illusion of a highly logical, robotic mind simply by the way your character speaks. Let’s consider two androids from the Star Trek: The Next Generation franchise: Lore and Data.

Both androids are physically identical and were built by the same person. Only Lore, however, was capable of emotion and with this came a whole host of other human traits such as ambition, passion, deceitfulness and even megalomania. Lore’s human qualities were what made him such a great villain and were central to his role as a bad guy in Star Trek. Therefore, it is perfectly appropriate that he also talks like a human.

Haven’t you noticed how easily I handle human speech? I use their contractions. For example, I say can’t or isn’t, and you say cannot or is not.

Lore in Star Trek: The Next Generation, ‘Datalore’, source: http://www.chakoteya.net/NextGen/114.htm

Data, on the other hand, lacks emotion and the other human qualities which turned Lore into a bad guy. In spite of this, he remains one of Star Trek‘s most beloved characters. How is it that such an emotionless, logical, robotic character became so relatable (and far more likeable than his more human brother)?

Simple.

He’s not nearly as logical and robotic as he appears. It’s a trick, based largely on dialogue (and the occasional scene where he casually removes a body part) to make the audience believe that he is emotionless and logical because — after all — all robots are. He speaks in a “robotic” manner, such as calculating time intervals to the nearest second and not using verbal contractions, and so the audience believes that he is a machine and yet his goals and motivations are often very human indeed. For example, in ‘Pen Pals’, what motivated him to disobey Starfleet regulations and his captain’s orders if not compassion for the frightened child he had met? So, the writers have given Data a human quality (e.g., compassion) but have essentially tricked the audience into believing that they did not, because he appears robotic and makes the occasional claim that he is incapable of such traits. So, while is very important to strike the correct balance of human/robotic traits, the real trick with robots is how you portray them and thus convince your audience that the relatable and sympathetic character they are witnessing is, in fact, a machine.

I’m afraid that’s all I’ve got time for this week! But be sure to come back next when I’ll be continuing the series on non-human characters, this time focusing on mythical creatures.

Until next time!


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.

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.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: Writing Non-Human Characters #2: Aliens

Originally published: 21/05/2017

Last week, I had planned to write a single post talking about how to write non-human characters, such as animals, aliens, mythical creatures and so forth. Unfortunately, it turned into such a long post that I decided to chop it up into a series of posts instead. This week’s post is the second instalment on writing non-human characters and today I’m going to focus on how to write aliens from other other worlds. If it’s animal characters you’re interested in, that was covered in last week’s post, which you can see by clicking here. If, on the other hand, it’s robots or mythical creatures you’re after… well, you’ll just have to wait.

Before we begin, let’s take a moment to remind ourselves of the golden rule for writing non-human characters:

Your audience is made up entirely of human beings; therefore, your audience must be able to sympathise with your characters as human beings.

In other words, if you want your audience to sympathise with your character, you need to give them certain human qualities. In doing this, you anthropomorphise your character; that is, you humanise them in the minds of your audience. The more human they are, the more easily they can be related to. So, with that in mind, let’s have a think about aliens.

Unlike animals which are very common and familiar things in real life that science has taught us a great deal about, we know nothing about real sentient alien life. We can’t even be certain that it exists at all. However, if it ever turned out that sentient alien life actually did exist, it would almost certainly have very little in common with us Earthlings. There’s absolutely no reason to believe that they would share human values and culture (or even understand concepts such as ‘values’ and ‘culture’), walk on two legs, communicate with spoken language, listen to music or do any of the other things humans do. Culturally, socially, philosophically, anatomically and in every other way, they would almost certainly seem bizarre to us in the extreme. After all, we humans often find it hard enough to relate to other human cultures, never mind alien ones!

It is, of course, certainly possible to create “realistic” aliens like this for your story. Unlike with animal characters (who you probably will want your audience to relate to), it can sometimes be beneficial to have aliens who are bizarre and impossible to relate to, depending on the kind of story you’re writing. Many have done it already to great effect. However, it is worth remembering that there is a reason these “realistic” aliens are very seldom portrayed as good guys. They’re not even usually portrayed in the same way as traditional bad guys, who will usually still have goals and motives that we can relate to and sympathise with (even if we don’t approve). Instead, such aliens are usually portrayed as destructive (or at the very least, strange and frightening) forces of nature. The aliens in War of the Worlds or Alien are good examples. These characters, while believably alien, are more of a danger to be overcome or escaped than a character to be related to. Because your audience cannot sympathise with them as people, it makes it an almost(!) impossible task to create aliens of this type who fit into any traditional role for a character to play. Remember, the weirder your alien is, the less your audience will sympathise with or even understand them. This can be a great boon to authors who want to create terrifying monsters, but not to authors who are trying to create relatable people.

Contrast this with the types of aliens you are perhaps more used to seeing in popular science fiction such as Star Trek or Doctor Who. They sit somewhere in the middle of the alien-human spectrum. They might have one or two physical features that make them look alien, such as blue skin, pointy ears or strangely shaped foreheads, but they still basically look human-ish with mostly recognisable human body parts in roughly the correct place. They will usually have one or two cultural or social quirks to keep them from seeming too human (for instance, the Vulcans in Star Trek are famous for their logical and stoic minds) but nothing so bizarre that it defies understanding. After all, humans often do appreciate logic; the only difference is that Vulcans have founded their entire culture upon it whereas we have not. This makes them seem exotic, but relatable. Such aliens are not terribly realistic when you analyse them closely, but they’re sufficiently different from humans that the average audience will accept them as aliens while still being able to sympathise with them as people, rather than monsters.

Beware, however, that you do not go too far in trying to make your aliens relatable. Aliens are, by their very nature, foreign in the extreme. Your audience, then, will expect your alien characters to be at least a little bit unusual. If they seem too human, you will have utterly failed in your goal to create an alien character. For example, one of the biggest things that irks me about Supergirl (the TV series) is the character of Mon-El who, having only just arrived on Earth from the planet Daxam, is utterly indistinguishable from the average American millennial in the way he talks, behaves and relates to other characters. This level of anthropomorphising goes too far and robs the audience of their ability to believe that the character they’re witnessing is really from another world at all. Sure, he’s a relatable character but remember, it’s important when writing sci-fi to suspend your audiences’ disbelief. Your audience will not be able to believe in an alien who seems more human than their own family do.

Creating alien characters, then, is all about balance and purpose. Before you begin, ask yourself: what is the purpose of this alien to be in my story? Are they a protagonist, antagonist, love-interest, etc.? Why exactly are there aliens in this story? This will determine to what extent your audience (and indeed, your other characters) will need to be able to understand and relate to them, and consequently, will help you to determine how alien or human they should appear. However, let’s be clear on one thing: this is not the same as creating a balance between how good and how evil your character is. Rather, it’s a balance between the familiar and the strange. Very human characters can still be bad guys. Very alien characters might even be good guys, although it’s unlikely that the audience will relate to them and so I would be very careful about how you go about doing this.

That’s all I’ve got time for this week I’m afraid, but be sure to come back next week when I’ll be continuing the series on creating non-human characters, this time focusing on robots and cyborgs. 

Until next time!


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.

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.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: Writing Non-Human Characters #1: Animals

Originally published: 14/05/2017

If you’re serious about writing stories, you need to be serious about writing characters. No story is complete without them. This we know. We also know that your characters can make or break your story depending on how well they’ve been constructed. Apart from that, of course, your characters can be anybody you want them to be (in fact, the more variety the better, I find). You can make them male or female; black or white; rich or poor; gay or straight; nasty or nice or even human or non-human. It’s the non-human characters (particularly animals – I’ll come to the others next week) I want to talk about today.

Non-human characters are nothing new. They’re everywhere. We’ve all seen more dog or cat movies than we can care to remember, right? Meanwhile fans of shows like Doctor Who will be all too familiar with the concept of an alien protagonist. C.S. Lewis loved writing stories which featured talking animals, while his friend J.R.R. Tolkien is perhaps best known for Lord of the Rings, which follows the adventures, not of a human, but of a Hobbit. And in short fiction? Why, only last week, my regular readers were subjected to a story with a certain rodent protagonist.

I’ll be spending most of this week dealing with how to write animals in particular (because it’s ever so slightly more complicated), however, no matter what non-human species your protagonist may be, there is one golden rule you absolutely must keep in mind at all times. Ready? This is it:

Your audience is made up entirely of human beings; therefore, your audience must be able to sympathise with your characters as human beings.

In other words, you need to anthropomorphise your character to one extent or another. Perhaps only a little, perhaps a lot, but to some extent, you need to give your non-human character certain human traits to make them relatable. At the very least, they will probably need to be able to think like humans in order to work through their goals, conflicts, epiphanies, etc. and possibly will need to speak like humans too (though there are numerous examples of strong animal characters who do not speak).

Of all the non-human characters you might create, animals are arguably the hardest. Unlike aliens or mythical creatures, animals are something we all see every day and science has studied them all from almost every angle, in terms of how they think, how they’re physically built and how they relate to others. While this might seem like a boon for us authors (after all, it should make research easier… right?) it can also be a bit of a pain if you’re remotely concerned about realism.

For example, in The Church Mouse, my protagonist was (you’ve guessed it) a mouse. In real life, mice have incredibly poor eyesight and find their way using their whiskers. Unfortunately, my story would not have actually worked quite as well if the mouse had been blind (for instance, he is seen examining a mouse trap in the second chapter to make sure it’s not potentially lethal). The easiest way around this is to do what I did — give him the five basic senses of a human. We can easily write that off as artistic licence. Apart from that, I left him physically as a normal mouse; walking on four legs, leaving his mess just lying around about him and having a strong sense of smell.

The larger problem, of course, was in the mind. Mice do not think the way humans do. I don’t for one second claim to be an expert on the psychology of rodents, but I’m pretty confident they don’t have goals, plans and motives like Mr. Mouse did – and even if they do, they certainly don’t think about them conceptualise them in rational terms like Mr. Mouse does. However, in order for your audience to relate to your animal character, you need to give them a mind which is close enough to being human for a human audience to relate to them. In the case of Mr. Mouse, the only truly rodentian quality I preserved was the way the smell of chocolate worked him up into a frenzy of instinctive, primal desire. This provided him with a motive. Beyond that, his thinking (his goals and epiphany; his opinions of the ‘idiot’ Landlord and even his concept of God) was quite human. It needed to be so for the audience to care about him.

Take a moth for instance, instinctively flying towards a flame. In all probability, moths cannot explain to themselves or anyone else why they are drawn to something as deadly as fire (do they even have a concept of what mortality is?). It’s pure instinct. But give a moth the rational mind of a human and suddenly you have a story about forbidden desires; about lust, danger, temptation and death. They know it’s not allowed. They know it’s bad for them but they just can’t resist. Suddenly we’re in Moth-Eden and the Moth-Devil is whispering in Moth-Eve’s ear,

‘You shall not surely die, for God knows if you go near the flame, you will be like God understanding good and evil… ‘ 

A word of warning, however. There is a danger in going too far with all of this. Too much anthropomorphism can lead to your character becoming a bit ridiculous, which will be disastrous for your story unless you happen to be writing a comic, cartoon or lighthearted family movie. Mr. Mouse, for example, never actually spoke. could have given him the ability to speak, but it was unnecessary. He never once interacted with another character (whether human or mouse) so it made more sense to simply write what he was thinking from one moment to the next. If I had him sitting on a little sofa in his mouse hole, reading the Sunday paper and sipping a cup of tea, it would have all got a little bit too Tom and Jerry... which is fine if that’s what you’re wanting to create but the more serious your story, the more understated I recommend you keep this. Remember, you only want to anthropomorphise them enough for the audience to understand and care about what happens to them. Think carefully, therefore, about how far along the anthropomorphic spectrum you place your character to avoid any unfortunate comic side-effects (or, if you are trying to write a cartoon, make sure you don’t underdo it and potentially create a boring character).

Phew!

Well, it had been my plan to write about other non-human characters such as aliens, robots and mythical creatures as well but I’m afraid that’s perhaps going to need another post! Be sure to swing back next week for that! In the meantime, why not get your notepad out and try your hand at knocking together an animal character or share your own insights in the comments section below.

Until next time!


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.

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.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: How to Help Your Audience Suspend Disbelief

First published 03/02/2019

Before I begin, let me ask you a question: what is the hardest thing to believe about Superman? Is it the fact he can fly, deflect bullets and shoot heat rays from eyes? Is it the fact he is faster than a speeding bullet, more powerful than… you know? Or is it something else?

As you may be aware, if you’ve been following this blog regularly, I’m cooking up an original superhero story, which I plan to publish in regular instalments here on Penstricken. Now all writing has its challenges, but if there is one thing that I’ve found difficult to get right with this particular story, it is the willing suspension of disbelief.

‘The willing suspension of disbelief?’ I hear you cry. ‘What the heck is that?’

I’m glad you asked. Basically, whenever an audience sits down to read a book or watch a play, they make a subconscious decision to accept the truthfulness of what is happening despite knowing it to be a work of fiction. If the audience does not suspend their disbelief, they will never be able to enjoy the story, because they’ll spend the whole time pointing out all the obvious contrived and plain ridiculous elements that are required to make a good story. While it is ultimately something the audience can decide to do or not to do, you as the writer have a responsibility to write a story which makes it easy for the audience to suspend their disbelief.

Does this mean magic, goblins and (in my case) superheroes are out? Certainly not. People have been telling stories about magic, goblins and yes, even super-powered humans doing incredible things since ancient times. If the current trend in Marvel and DC films is anything to go by, humanity’s taste for the impossible has not dwindled much in the last few millennia. It’s also true that there are plenty of non-fantasy/speculative stories which can utterly fail to inspire the willing suspension of disbelief. The issue is not one of what is possible. The issue is of what is likely.

The hardest thing to believe about Superman isn’t the fact he comes from another planet, nor is it the fact he has incredible powers. Those things are perfectly acceptable within the rules of the Superman universe. The most ridiculous thing about Superman* is the fact that Lois Lane (and everyone else) is actually fooled by a pair of glasses. I started wearing glasses for the first time back in 2014, and when I went into work the next day my colleagues didn’t all demand to see my ID badge, nor did my boss phone me up and ask me why I wasn’t at work. They knew it was me. That’s because glasses really don’t obscure a face that well.

But as much as everybody loves you there is one question that keeps coming up: “How dumb was she?” Here, I’ll show you what I mean. Look (puts glasses on). I’m Clark Kent (glasses off). No, I’m Superman (glasses on). Mild-mannered reporter (glasses off). Superhero. Hello? Clark Kent is Superman. Well, that was worth the whole trip. To actually meet the most galactically stupid woman who ever lived.

Lois and Clark: The New Adventures of Superman, s. 2 ep. 18 ‘Tempus Fugitive’ 

Source: https://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=lois-and-clark-the-new-adventures-of-superman&episode=s02e18 (parentheses mine)

At this point, there is something very important to point out: in order to function, almost every story you ever write will feature a little unlikely element here or there. That’s okay, as long as you don’t push the audience’s ability to suspend their disbelief too far. Think of these things like using selloptape to wrap a Christmas present. You need a little, but too much spoils the whole thing. The audience will put up with one very small ‘oh come on, that wouldn’t happen!’ moment provided it helps your story along and isn’t the beating heart of your story in and of itself. For instance, Superman wouldn’t work without the glasses ‘disguise’, but its not fundamental to who he is or what he does. It’s just a simple trick to allow him to lead a double life and it’s unobtrusive enough for the audience to forgive, assuming the audience wants to enjoy the story (a determined audience can and will find the joins in even the most perfect stories; don’t let them get you down).

Having said all of that, you still need to take care when you are constructing fantastic elements for your story too. You can’t just have a dragon pop up and save the day in the last few pages of your story when previously you had no dragons. You can make your fantasy world as ridiculous and as imaginative as you like (have you read The Colour of Magic?) but there are still a few important things to remember if you want the audience to fully suspend their disbelief. I’ll rattle through them quickly.

Every fantasy world has rules. These can be almost anything you want, but you can’t deviate from the rules of your fantasy world any more than you can deviate from the laws of physics in real life.

Consider your genre and your audience. You’ll get away with elves in a fantasy. You won’t get away with them so easily in a space opera. Your audience will almost certainly approach your story with certain expectations, so think long and hard before you deviate from them.

Foreshadow. Don’t introduce fantastic elements as and when they’re needed. If Superman only flew when he had a missile to catch but got the train everywhere else, we would find this sudden introduction in the story’s climax a little jarring (might even read like a deus ex machina). If he can fly, he can fly– so let him fly! Don’t have him climbing ladders to change light-bulbs. He can fly! He’s not going to forget he can fly!

Avoid making things too easy for your characters. Whether it’s a personal code of morality, a price for casting magic or some other Achilles heel, if all your hero has to do is snap his fingers and save the day with his powers, you’ll have created an anticlimax. Nothing in life is ever as easy as simply magicking your problems away, and no matter how much your audience might enjoy magic or reversing the polarity, a good story reflects this. Your hero has to face a challenge to overcome using their head, their heart and their hands. There’s a reason Superman always winds up a cage made of Kryptonite. The bit where he escapes the Kryptonite using nothing more than his wits, his natural human strength and his burning passion to save the day is always more satisfying than the bit immediately after where he catches and disarms the missile in midair and actually serves to make the final ‘magical’ rescue all the more exciting.

*Okay, there’s also the fact of his impeccable moral purity, but that’s a deeper issue of character writing that I’ll talk about some other time. In fact, I already have.


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.

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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.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here:

Throwback Thursday: Dear Authors, Size Does Matter

Originally posted 15/01/2017

These days, there is almost no limit (in either direction) on how long a story you can write. There is an audience out there for epic fantasy sagas consisting of seven or eight 300,000 word books; there is an audience for stories consisting of only a single, short sentence and there is an audience out there for almost everything in between. How and where you can publish these stories varies, but thanks to the magic of the internet, there’s always a way to get them out there to be read by millions.

Best of all, you’ve had a story idea! A superb story idea that you’re sure other people are going to love too! Well isn’t that just fabulous? I’m made up for you. Really. You won’t see the verdant steam of jealousy billowing from my ears at all. In fact, I’m so happy for you that I’m going to help you make sure you don’t ruin it.

‘Ruin it?!’ You cry, aghast and perturbed. ‘What could possibly ruin this little gem of mine?!’

Lots of things, but what I’m really thinking about today is the length of your story: writing a novel that should be a novella; a novella that should be a short story; a short story that should be a one hundred word story; a one hundred word story that should be fifty… or indeed, writing a fifty word story that should be a 550,000 word trilogy with a spin-off stage musical.

It’s important to decide well in advance what length of story you want to write for two reasons:

  1. It’s all part of knowing your target audience, especially if you’ve got any inclination to ever get your story published. Casual browsers of Twitter can read your six word story in no time; only dedicated bookworms and fans of your genre are likely to look at a seven book series.
  2. (and this is the reason I want to focus on the most today) Poorly chosen length can have a devastating effect on the pace of your story.

Pacing is important. A well paced story will both excite your audience at the appropriate times and make them feel involved in your character’s situation. I don’t want to get too technical in this post about the intricacies of pacing (perhaps I’ll write a post about it in the future), but suffice it to say that all good stories are made up of slow bits and fast bits, and it is this balance of slow against fast which creates the desired reaction in your reader. In the case of written fiction, the slow bits will be very detailed and will probably (although not necessarily) feature a lot of key dialogue. They are there to draw your reader into the character’s situation; to let your reader know exactly what’s going on for your character and to enable your reader to care about them. The fast bits are less detailed; it’s all about the action.

This is a difficult art to master at the best of times. You’ve probably read many a published novel or watched many a film even in which the pacing ruined it for you. Personally, I felt that the pacing in George R. R. Martin’s A Song of Ice and Fire caused the story to drag a little too much for my liking. It’s not because it’s a bad story, or even because it’s poorly written. It’s a very good story in a lot of ways so please don’t shout at me. But by the time I got about half way through the second book, my boredom was complete. A story of that kind of pace really can’t afford to be seven books long. If he had stopped at one or two books… things could have been so very different.

It works the other way too, of course. While I’m focusing mainly on written fiction today, I want to briefly mention the film adaptation of Frank Herbert’s Dune, because it makes the point so well. Dune is a great book. It’s very long but that’s okay, because the story is well paced. The film adaption of Dune is reasonably faithful to the book and yet… I almost got dizzy watching it. There was too much story crammed into a much-too-short film and it made the whole thing feel a bit rushed (there were also too many voice-overs to let us hear the characters’ thoughts, but I’ll save that rant for another day). If only it had been a bit longer (even if it meant breaking it up into a series of films), it could have been a really great retelling of that classic sci-fi novel.

Do you feel breathless just reading your story because the pace is so darn fast, or that you are struggling to cram everything you need to say into a restrictive word limit? Maybe it’s time to consider turning that short story into a novella or even a full length novel. Or do you feel that your narrative is dragging despite all your best efforts? Ask yourself seriously if your novel wouldn’t benefit more from being a short story or flash fiction instead.

I recently wrote a story entitled Little Thieves Are Hanged, which started out life as a 2,000-3,000 word short story. I was really convinced the story idea had potential and I was very pleased with the characters and sequence of events I had created but… try as I might, I couldn’t seem to make it interesting. It was about as much fun to read as a phone book but I couldn’t shake the idea that this was a good story.

I decided to start from scratch. Exactly the same plot but this time with a word limit of only 100 words. Let me tell you, I had some serious darling killing to do but within days I had a story I was proud to submit for entry to the National Association of Writers’ Groups’ 100 Word Mini-Tales Competition (which is why I haven’t published the story here; it’s still waiting to be judged).

Ideally, you want to settle on the right length of story before you write. You’ll save yourself an awful lot of time and energy if you do but the truth is, knowing exactly what length your story should be is often a matter of experience. Chances are you will occasionally find yourself getting it wrong the first time, like I did with Little Thieves Are Hanged. If that happens, don’t let it discourage you. Be brave and start again with a more appropriate word limit. I know it’s a drag, but you will probably find that it pays dividends.


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.

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.

Please be advised that due to a recent surge in interest, I am presently committed to a significant number of reviews/interviews over the next couple of months. If you would like an interview or review, I would still love to hear from you, though it is unlikely that I will be able to begin work immediately.

You can check out our previous interviews here: