Throwback Thursday: The Overwhelming Art of World-Building

Originally published 19/06/2016

Research is, undeniably, one of the most important stages of writing a story. Understanding the time and place your story is set in will enable you to make that story more true to life, and therefore, more compelling. But what if you are writing a fantasy, set in an imaginary world? Make no mistake: research is just as important in fantasy as it is in non-fantasy, perhaps even more so since you are creating a world from scratch. If you’re writing a historical fiction set during the Spanish Civil War, you probably won’t need to research whether or not gravity existed in Spain or what colour the grass was. We can take these things for granted in non-fantasy, but in fantasy you need to become an expert on your entire world… and still make time to actually write the story!

I find that a good place to start is by learning a little about the real world; historical events, religious beliefs, foreign cultures, you name it. Anything that interests you. Sooner or later, you’re going to need to be able to create a bit of everything for your world anyway, so read as widely as you can bear to. If you’re still not sure exactly what you want to write about, my advice would be to read up on anything which grabs your attention and inspires you. For example, the inspiration for the novel I am currently working on came about as a result of me reading about a variety of unrelated real life subjects which I found interesting (specifically, the Beer Hall Putsch, the concept of extra-terrestrial real estate and the mythology of various ancient cultures). Even if you already do have an idea in your head about what you want to write about, it would still pay to try and expand on your idea by researching related real life subjects.

The more you read about the real world, the more you’ll come to realise that a believable world is replete with all kinds of different stuff; different races, religions, creeds and philosophies; different wars, treaties, governments and despots; different guilds, parties and organisations both legitimate and otherwise; different traditions and dissents of science, history, philosophy and art; different forms of vegetable, animal and mineral; different languages, dialects and accents; different laws, crimes and systems of justice; different myths, legends and parables… you get the idea. The natural world is a complex and intricate machine, interacting with the equally complex and often contradictory machines of human society. As if that weren’t complicated enough, what happens in one generation invariably affects the next, so history also matters. If you’re creating a fantasy world, you need to understand how all of this works within your world without falling into the trap of spending so much time world-building that you never actually write the story. Personally,  I feel that there are at least three key parts of any fantasy world that are vital for the author to understand.

The first thing to consider is the basic natural laws of your fantasy world, because this is the skeleton on which everything else in your story will hang. Is it spherical like our world? Terry Pratchett’s world wasn’t: his world was a disc supported on the backs of four elephants standing on top of a giant space-faring turtle. What about plant and animal life? Are there dragons, elves or something else entirely? Do the natural laws of your world include magic? If so, how does this magic work? Do supernatural beings influence your world? You can probably be as imaginative as you like but remember there are two basic rules I like to stick to:

  1. There must be some form of natural law to bring order to your world and to allow it to function in a rational, if strange, way. In short, it must make sense.
  2. Avoid superimposing fanciful things on a world which is otherwise identical to our own. Our society would not have developed as it has done if there were wizards running around the place with the power to magically engineer personal, social or political changes and nor will yours.

The next thing to consider is how society functions. This will undoubtedly be rooted in the rules you established for your natural world. For example, if your characters live among natural predators, you can bet your life that would impact their laws and values regarding the rights of animals. Better yet, what if their natural predators had a highly developed society of their own? For example, Zebrapeople and Lionpeople living on the same world. Would there be war? Would treaties be signed to keep the peace? What would such a treaty mean for the Lionpeople?

If your world is governed by gods, this will probably be reflected in your society’s religion and philosophy. If your world is not governed by gods, religion and philosophy will still exist and within each belief system, there are likely to be numerous denominations and splinter-groups to consider, each with their own individual opinions on how things are and how things should be. For every traditional belief or practice, there will probably be dissenters. You also need to consider if there are many empires, nations and tribal societies, how does each one of these function? What are their own particular customs, fashions, taboos, mannerisms, languages and so forth? As with the natural world, these things must function in a logical fashion but you should also make room for conflict: this will undoubtedly be the cornerstone of your story.

Finally and closely related to both of these is history. How did society get to where it is now? For example, let’s say the King of the Lionpeople has signed an agreement with the King of Zebrapeople saying that they won’t eat the Zebrapeople any more. The common Lionpeople take umbrage and revolt. That the premise for your story. The question we must now ask is why was this agreement signed? Was it to end a long running and costly war? If that is the case, who started the war and why? No society pops out of thin air; society is the way it is because of what happened previously to lead us to this point. To create a believable world, this must also be the case with your fantasy world. Go back into your world’s history, as far back as you feel you need to, in order to understand what brought us to this point, where your story begins.

Finally and most importantly, you must know when it’s time to stop nit-picking and start writing your story. You almost certainly won’t be able to please everybody nor is it a realistic ambition to try and determine every single last thing that ever happened everywhere on the surface of your world. Decide on the scope of what you are trying to accomplish in advance. Ask yourself what is the most relevant to your story and focus on that. J.R.R Tolkien probably had no idea what Gandalf’s great grandfather’s cousin’s pet budgie was called, but that didn’t stop him writing The Lord of the Rings.

Don’t let it stop you either. Write your story.


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AUTHOR INTERVIEWS:

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: Being a ‘Real’ Writer

Originally published: 03/09/2017

There seems to be a notion in a lot of folks’ minds that while lots of people may wish to be authors, and may even actually sit down and try to thrash out an original work of fiction, not all of these are real writers. If you look around the internet or other public forums where writers gather, you’ll see what I mean. People will say things like ‘if you don’t write something every day, you’re not a real writer,’ or ‘real writers read at least twenty books a year– oh and newspapers as well!’

These are just examples but you get the idea. Many try to be writers, but only those who do this-this-and-that are real writers. But wait just a minute. What does it even mean to be a ‘real writer’?

Oxford Dictionaries has a rather lengthy definition of ‘real’ you can view here, but let me draw your attention to the important bits:

Adjective

2. (of a thing) not imitation or artificial; genuine.

2.2 [attributive] Rightly so called; proper.
‘he’s my idea of a real man’

I would suggest that when people talk about being a ‘real’ writer, they are referring to something akin to this: ‘[attributive] Rightly so called; proper’. So, a ‘real writer’ is someone who displays certain key attributes we might expect a writer to possess, and is therefore justly called a writer. In other words, ‘real writers’ are people who do a certain thing, behave a certain way, drink a certain brand of coffee or write in a particular genre (or who spit out the word ‘genre’ are if it were an insult); something which separates them from other unreal/pretend/bogus/inferior/impostor writers.

Well I think you can see where I’m going with this. I’m here to set the record straight. And I’m going to do it with a parable.

The Parable of the Real and Pretend Writers

by A. Ferguson

In a certain town there lived an Aspiring Author. This Aspiring Author religiously attended the local coffee shop every day with his laptop. He would arrive early in the morning and drink their most expensive coffee and diligently study blogs about how to be a writer (he was a particular fan of Penstricken.com). His mug said ‘WRITER AT WORK’, and his table was always littered with notepads (with snazzy writer slogans on the front) and pens. He had even scribbled out a few character profiles and he had a strong idea for a plot in his mind. He got to know the staff there and told them all about the novel he was writing and promised to give them all signed copies when it got published. He also had a Twitter page which he used to communicate with other Aspiring Authors, tell the world about the novel he was writing and to share inspirational quotes about writing.

This Aspiring Author also had a five year old daughter. She spent most of her time in her bedroom scribbling out stories in crayon (complete with illustrations) which she then sellotaped together into a book and sold to her long-suffering relatives. To date she has “published” seventeen such books and is now working on her eighteenth: The Day Mummy Took Me To The Zoo (We Saw Lions!).

So… the question is, who was the real writer: Aspiring Author or the daughter?

The answer is the one who displayed the attributes of a real writer. Specifically, the one who actually wrote stuff: the daughter!

Dear friends, writing stuff is the only truly defining attribute of a writer that I know of. If you’re writing stuff, you’re a writer. If you’re not writing stuff, you’re not a writer. If you publish ten thousand best sellers, all of which get made into films, then stop writing, you’re no longer a writer. You may be the author of Such-and-Such a Work but you’re no longer a writer. Similarly, if you are writing with any kind of regularity, you are a real writer. You might be a professional or only an amateur, but you are a writer. Really.

‘But you don’t understand…’ I hear you lament. ‘I only manage to write five days a week!’

That doesn’t invalidate the fact you write. I agree that you should write as often as possible, and certainly if you intend to become a professional writer you might want to do it as close to daily as possible, but I’ve found that writing regularly is far more beneficial than writing constantly. In any event, how often you write does not define you as a writer, as long as you write often.

‘But you don’t understand…’ I hear you lament. ‘I care about my husband/wife and kids more than I care about writing. Why, I even missed a deadline to attend my husband/wife while s/he was in hospital!’

That proves nothing except that you prioritise your family above your writing (a perfectly right and healthy thing, if you ask me). Believe it or not, I’ve actually heard it suggested that ‘real writers’ put their writing before their families, but I for one profoundly disagree. In any event, how you prioritise your life does not define you as a writer. When my daughter was born, I took the day off my day-job as a clerical officer to attend her birth. When I returned to work, no one questioned whether or not I was a ‘real clerical officer’, just because I had other things that mattered more to me. In the same way, whether writing is your life, your day-job or just a hobby: real writers are people who write.

‘But you don’t understand…’ I hear you lament. ‘I only seem to be able to write YA space operas!’

So what? You still wrote it, didn’t you? If you write, you’re a writer. Don’t let snobs get you down. No genre is any more valid than any other so write what you’re going to write. People that like your writing will read it and people that don’t, won’t, but the same is also true of people who write so-called ‘serious literature’.

There seems to be a strange mysticism surrounding writers, as if being a writer is something otherworldly; an awesome gift bestowed upon only the Chosen Few. Worst of all, I fear it has perhaps gone to some of our heads; that we may be tempted to believe we really are somehow supernatural or unusually gifted. But we’re not. Writers are people who write. Excellent writers practice their craft, yes, but ultimately they’re still just people who write. If you are in any way committed to writing, then I hereby acknowledge and publicly confess (for better or worse) that you are a real writer.


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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AUTHOR INTERVIEWS:

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: Using Magic in Fiction

Originally published 12/03/2017 under the title ‘A Few Words About Using Magic in Fiction’

I’ve recently been reading The Final Empire by Brandon Sanderson and am so far loving everything about it. I love the characters, I love the world-building, I love Sanderson’s use of language, but more than anything I love the magic system he has created for his fantasy world.

Magic (as I’m loosely defining it here) features heavily in fantasy. The forms magic can take from one fantasy story to another, however, greatly vary. If you think I’m going to give you an exhaustive break-down of all the kinds of magic that appear in fantasy fiction, you’re sadly mistaken because I have neither the time nor the inclination do so, but I do want to try and break down what it takes to construct a good one as Sanderson has.

Let’s begin by highlighting an important pitfall we need to avoid. I am of course talking about the dreaded deus ex machina. For those of you who don’t know this term, deus ex machina (literally, ‘God in the machine’) is a literary device by which the problem faced by your characters is miraculously solved in an implausible or unexpected way which tends to be profoundly disappointing for the audience. If you’re including magic in your fantasy, there is a real temptation to endow your characters with a kind of practical omnipotence whereby they can rescue themselves from any situation simply by performing the right magic trick but doing this will suck all of the excitement out of your story.

I don’t want to harp on about Sanderson’s magic system in The Final Empire too much (mainly because I haven’t finished reading it yet and I might get things wrong) but it does serve as a good example of how to avoid this. This magic system (called Allomancy) involves ingesting and ‘burning’ certain key metals. Each metal endows the user with a particular ability. There are, however, only so many metals which can be used in Allomancy, which therefore puts a limit on the kinds of magic that can be used. Characters cannot randomly breathe fire or travel back in time but they can enhance all their physical attributes if they burn pewter, for instance. Allomancy is further limited by who can use it (Mistborns, who can burn all the metals and Mistings who can burn only one kind). There are many other limitations on this system too, but I hope you get the point: by creating limitations on magic, deus ex machina can be avoided because even the most powerful Allomancers can only act within the boundaries of what that world’s magic system allows them to do.

Another thing to bear in mind is that your magic system is inseparable from world-building. Indeed, creating your magic system is part of your world-building process. You need to ask yourself, therefore, where the magic comes from and how it works, even if you don’t make this explicit in the text itself. For instance, is it something inherent to certain creatures or people-groups in your world (fairies, wizards, dragons, women, children, the rich, the poor, etc) or is it something that can be learned or even purchased? Is it perceived as something natural or supernatural (in the same way we might perceive a difference between the science of medicine and miraculous spiritual healing)? In short, you need to ask yourself exactly what magic is, who has it, where it comes from and why.

Incidentally, it’s also worth remembering that the longer your fictional world has existed, the further your society’s understanding of magic is likely to have developed, in much the same way in the real world our knowledge about the universe has steadily increased – and we have developed technology which exploits that knowledge. If your characters are still crawling around in caves, they probably are barely aware of the intricacies of magic (even if they are aware of it at a primal or superstitious level), but if they are already flying around in spaceships, it’s likely that their understanding of your magical system will also be more advanced and this will be reflected in how they use (or avoid using) it.

Also remember that no matter what kind of system and history you create for magic in your world, it will affect the rest of the world and the characters in it, even if they cannot all perform magic themselves. It is not possible, for instance, to write a story set in a world just like our own except that all the children are telekinetic. Believe me, if a world ‘just like ours’ featured telekinetic children, we would have a very different society indeed; perhaps even a paedarchy. Certainly family life and systems of education would be drastically different from anything we have in the real world.

This is why it is so important to also ask yourself, why your story needs magic and what kind of magic it needs to make the story work. Having magic in your fictional world will fundamentally redefine that world and can undermine your story. Therefore, do not include magic just for the sake of having it. Like everything else in any good story, it must serve some function. And please, do not fall into the trap of thinking that magical abilities are your story. They are not. You can write a story which features telekinetic children if you like, but that’s not a plot or a cast of characters. That’s just a premise. Even in a magical fantasy, characters and the situations they find themselves in are always, always, always the beating heart of your story. The audience doesn’t really care about what your characters can do. The audience cares about what your characters need to do.


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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AUTHOR INTERVIEWS:

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 Ways to Write a Terrible Novel

Originally published: 18/06/2017

You might recall, if you’ve been putting up with this blog long enough, that I once wrote a post on how to avoid becoming a writer. Of course, if you are a writer, you’ll know how insistent that little Inner-Writer’s voice can be, constantly banging on about the different ideas he’s come up with that you absolutely have to write. You might find it simply impossible not to write.

But fear not, ye who are enslaved by the urge to write. Your salvation is at hand. If you dread becoming a full time author, but cannot resist the urge to write, there is another solution: write badly.

It’s easy to do. Just follow these simple steps.

1. Use Dry Descriptions; Avoid Figurative Language

How you describe things can often be the difference between an excellent story and a terrible one. I can’t labour this point enough. Using metaphors, personifications and other forms of figurative language can turn even the most unexciting passages of narrative into a thing of sheer beauty, whereas dry descriptions can make even the most intense scenes seem duller than the Phone Book. Allow me to demonstrate using the first few lines of John Steinbeck’s Cup of Gold:

All afternoon the wind sifted out of the black Welsh glens, crying notice that Winter was come sliding down over the world from the Pole; and riverward there was the faint moaning of new ice. It was a sad day, a day of gray unrest, of discontent.

Steinbeck, J. (2000), Cup of Gold, Penguin Classics, UK. p. 1

This is what you want to avoid. All Steinbeck is doing here is describing the weather, yet it’s so chock full of figurative and poetic language that it’s an absolute joy to read. It flows beautifully and really makes you feel like you’re there, in the Welsh glens, feeling the cold of winter rolling in from the Pole. If you write like that, everybody will want to read your novel. Instead, aim for something like this:

It had been windy all afternoon in the black Welsh glens. You could tell it was nearly winter. In fact, the river was starting to freeze. The sky was grey and the mood was sad. There was a bit of a breeze and a bad feeling in the air.

Considering the above paragraph is only two and a bit lines long, you’ve got to admit… it’s a tedious read. I got bored writing it! You can be sure your reader will get bored if you write your whole novel that way.

2. Use Stock Characters

You know how I’m always saying that characters are people, and should therefore have all the wonderful complexity and contradiction that make up a real person? Well… forget all that. If you want to write a bad story, you’ve got to make sure your characters are as flat, predictable and stereotypical as possible. So, you might have characters like this:

Johnny Famous (our dashing hero). He’s strong, noble and righteous in all things. He neither smokes nor drinks, has no skeletons in his closet and knows neither fear nor selfishness.

Emperor Zorg (dark lord of all). Wears a black cape and wants to conquer the universe. Thinks love is a weakness. Lives in a black castle, or maybe an underground base.

Daisy Divine (love interest). Stunningly beautiful and serves no function in the story except to be rescued by and fall in love with Johnny. If you must give her a back story, don’t let it be anything that might interfere with her living happily ever after with Johnny.

3. Use ‘deus ex machina’

Even the most well written story can be ruined at the last minute by deus ex machina (‘God in the machine’). This is a technique writers sometimes use (usually when they can’t figure out how to progress the story in a way which is believable and satisfying) which essentially involves a random, improbable or otherwise unsatisfying solution to your story.

Just the other day I was watching an episode of Star Trek: Voyager called ‘Twisted’ in which a spacial implosion ring is slowly twisting and crushing the entire ship from the outside in. Eventually the regular cast find themselves trapped in the one and only unaffected room on the ship and are desperately trying to come up with a solution to save themselves before that room also implodes. Finally, they accept that they can do nothing but accept their fate. The implosion ring enters the room and begins to crush the remaining crew…

Then it suddenly disappears and everything is fine. Turns out the implosion ring wasn’t nearly as deadly as it seemed. In fact, it was trying to communicate.

I wasted an hour of my life watching that. Take note: deus ex machina is a great way to make your readers hate you forever.

4. Employ Numerous Cliches

Actually, just between you and me, you can sometimes include a tiny amount of small, carefully camouflaged cliches in a story and still end up with a good story… but as a rule of thumb, the more cliches you have and the more obvious they are, the more terrible your story will be.

There’s an almost endless list of possible cliches you could use to make your story extra-awful, but a few examples include:

  • The Chosen One: Our hero thinks he’s just an ordinary guy but it turns out he is actually the fulfilment of an ancient prophesy and must save the world because it’s his destiny (in a good story, the protagonist will act in a way which is in keeping with their own motivations and desires).
  • Love conquers all: Just when all seems lost and the world is doomed, the bad guy’s evil plans are utterly thwarted because someone performs some great act of love (usually either involving sacrificing oneself for another or just plain old fashioned snogging).
  • The Final Battle: The whole story culminates in final dramatic fisticuffs between the noble hero and the evil dark lord in which, after a bit of a wobbly start which is supposed to make the reader think all is lost, the noble hero inevitably wins.

5. Info Dump

To understand what is going on in your story, your reader must be aware of certain facts. Characters’ backstories or particulars about how your fictional world works, for instance. Good writers feed this information to their readers in small doses and, where possible, will subtly weave it into the narrative so as not to drag the pace of their story down to a tedious belly-crawl.

But you don’t want to be a good writer! You want to write a terrible novel, so make sure your novel reads like a textbook of facts and figures about the history of your characters and the world they inhabit. Ideally, if you can devote the first chapter or two entirely to providing facts and backstory without getting down to telling the actual story, you can be sure your reader will put your book down without finishing it. If that seems too hard, try to info-dump in a character’s dialogue instead. For example,

‘I was born on the 29th of May 1982 at the Queen Mary Maternity Hospital to Jean and Philip Jones.’ said Peter Jones. ‘I lived with them in the leafy suburbs of Anytown all my life until I met Miss Backstory who broke my heart and now I can’t handle adult relationships at all…’

Follow even just some of these steps and I can guarantee you, you’ll never write a good story in your puff. No matter how many manuscripts you complete and submit for publication, you can still return to your tedious office job day after day, secure in the knowledge that you’ll die at that grindstone before you ever have to take the plunge to become a professional, full time author.


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: Using Google Docs for Writing Fiction

Originally published 01/12/2019

I’ve resisted using Google Docs for writing fiction for a long time. It’s not that I think there’s anything wrong with Google Docs. Lots of people swear by it and I had no reason to doubt the good reports I was hearing, however I’m already pretty well established in the apps I like to use (Scrivener for long works like novels and Focus Writer for shorter pieces). Besides, in spite of all the good things I’d heard about Google Docs, it sounded a bit too much like a plain old fashioned word processor, without any peculiar functionality that might make it stand out to a fiction writer such as myself.

However, Christmas is coming. And here on Penstricken, Christmas can only ever mean one thing: the Penstricken Christmas Special. That meant I had only a few weeks to write, edit and publish a 1,000 word Christmas story and – to be perfectly frank – I don’t have a lot of time on my hands for starting a brand new story from scratch. I have a full time job, a toddler and (lest we forget) a novel I’m supposed to be writing. Most days I’m lucky to get half an hour to write, and I can’t possibly devote it all to the Penstricken Christmas Special. Then I had a brainwave:

Google Docs stores your work online so you can continue writing on the go!

My plan was to use a set portion of my normal writing time to work on the Christmas story using Google Docs on my PC, while using the Google Docs Android app on my phone to continue writing whenever I had a spare five minutes in my day (when I’m on the bus, during lunch breaks, etc).

Seeing no alternative to this plan, I swallowed my pride and began writing my first draft on Google Docs, starting with the browser version. The first thing to do is choose a template for your document. There are loads to choose from and not one of them has anything to do with fiction writing. Unwilling to be deterred, however (I mean, really, you don’t particularly need a fancy template for writing short works of fiction), I decided to start with a blank template.

So far, my thoughts on the subject had been proven absolutely right. At first glance, Google Docs really is just another word processor. In some respects, this was a good thing. It took absolutely no time to learn how to use, since everything is very familiar to anyone who has ever used a bog-standard word processor before. Another major selling point was the fact it automatically saved your work to Google Drive and instantly made it available to you anywhere in the world. You can also make your work available offline.

Perhaps its most obvious selling point is the fact you can share your work with other users who can edit your work or add comments. This is handy if you’re writing collaboratively or are looking for someone to give feedback on your work. Comments appear in small boxes to the side of your work which are anchored to particular portions of the document. You can reply to each comment, allowing for easy discussion with your fellow editors and, once you’re happy the issue has been resolved, you just click the button labelled ‘resolve’ to hide the comment. Personally, I like to write alone but I do find the comments function a useful tool for getting feedback on my writing.

Another key feature I found useful as a story writer was the outline function. It took me a little while to figure out just how to use this, but essentially the outline feature allows you quickly navigate around your document using headers, which is essential if you’re creating a lengthy piece of work and don’t have the benefit of Scrivener’s binder for separating your work into chapters and scenes. Alas, you can’t do too much to customise your outline. It’s basically just a list of links to every portion of text you’ve formatted as a heading, but you can’t use it for actually outlining or planning your story in any meaningful way.

My one big concern with using Docs to write my Christmas story was the mobile app. My plan relied pretty heavily on being able to seamlessly transition between the PC browser and the mobile app, but in my experience, mobile writing apps are often clunky, cluttered and have limited functionality. Fortunately, it wasn’t nearly as bad as I feared. There’s a small menu bar at the top and bottom of the screen as you write, allowing you to easily access to basic functionality such as formatting your text, adding comments or undoing and redoing. Everything else is discreetly tucked away in a menu you can access by tapping the button on the top right hand corner of the screen.

In short, Google Docs is a good online word processor and is has more than adequately served my needs when it comes to writing this Christmas flash fiction. I don’t think it would be much use in the planning stages of any story and I certainly wouldn’t fancy writing a longer piece of work on it, but for every day short story writing on the go, it’s more than equal to the task.

And hey, it’s free.

My rating: 🌟🌟🌟🌟


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: The 5 Circles of Inspiration Hell

Originally published: 20/08/2017

It was an ordinary day like any other. The sky was grey and the bus was late. Suddenly, the tiniest green shoot of an idea sprouted in your head. It was small, but healthy and full of promise and you knew — you just knew — that it was going to be the novel/play/film that you would be remembered for in generations to come. Today was the day it finally happened. You got inspired.

Of course, experienced, wise and learned authors know that before you can sign that publication deal and pick up all those awards, you’ve got to actually do something with your wave of inspiration to turn it into a fully fledged story. Initial ideas (especially plot bunnies which unexpectedly pop into your head) are always full of holes, not all of which can be easily plugged. It takes effort to craft it into something that really works.

Those experienced and wise authors I mentioned will know exactly how to handle their ideas and will churn out a good story in no time at all. The rest of us, however, if we’re not careful, might find ourselves languishing somewhere in INSPIRATION HELL.

Abandon hope ye who enter here. Wanderers in this dismal place may find themselves endlessly going around and around the same circle for weeks, months or even years before moving onto another or, worse yet, back to one they’ve already been on. They are damned to be forever inspired without completing a single draft. As a former inmate, it is my sorrowful privilege to shew unto thee the Five Circles of Inspiration Hell.

I: The Burrow of the Plotbunny

If you ever find yourself walking along one day, minding your own business when a wonderful and more-or-less fully fledged story idea suddenly pops into your head with little or no effort, beware! You are in danger of wandering into the Burrow of the Plotbunny. On the surface, it is a paradise where the ecstasy of inspiration fills even the most self-doubting writer with confidence that they will one day become the next Shakespeare, but in the end, nothing ever gets written lest the euphoria be broken. Those who find themselves in the Burrow of the Plotbunny are forever doomed to think about the wonderful idea they’ve had and dream of the day they publish it for all the world to enjoy… but they never actually begin to write it.

II: The Drawing Board of Despair

After spending untold days, weeks or months wandering in the futile bliss of the Plotbunny’s Burrow, you may decide it’s finally time to make your idea really happen. And so you conclude, quite correctly, that if you’re ever going to break free of Plotbunny’s Burrow, you’ll need to sit down and plan out your story. So far, so good. No good idea ever became a story without much toil.

However, beware! It won’t take more than a couple of minutes attempting to bring some structure to your idea that you begin to realise this idea isn’t nearly as good as you thought it was. It’s full of holes and is going to take way more effort than you ever dared to imagine. In fact, you’re not even sure if it ever can be crafted into a good story. The longer you spend, scratching away at the old drawing board, the more you tie yourself in seemingly impossible knots and sink, ever deeper, into a pit of despair. You’re no author. You’re ashamed to have ever thought you were.

III: The Pants of Denial

You wake up one morning after a good night’s sleep and remember that idea you had… that idea that was so wonderful until you tried to plan it.

‘Yes…’ you say to yourself, ‘it was planning that ruined my story…’

So you decide to throw away all notions of planning and simply ‘pants’ it instead. You convince yourself that if you just make it up as you go along, you’ll have a finished draft in no time. The trouble is, all those holes and problems you discovered with your idea at the Drawing Board of Despair weren’t caused by planning. They were simply discovered through planning. And so you spend eternity churning out disjointed narrative after disjointed narrative until you’re up to your armpits in random scenes and character auditions that serve no purpose. You convince yourself you’re making progress but the problems you faced at the Drawing Board of Despair remain unresolved. Your idea is still full of holes.

IV: The Fires of Refinement

Your enthusiasm has taken a few bruises now but you’ve accepted that your idea will never become a true story unless you sit down and plan it properly, even if that means making drastic changes to your initial idea. And so you decide to try planning again, only this time, with a more realistic attitude.

Your idea sucks. You know it to be true. But that’s okay, because all ideas suck until you turn them into a story. So you plan diligently, ruthlessly, killing whatever darlings stand in your way. You twist and mould and sculpt your initial idea until it’s no longer recognisable. But it’s taking shape. It’s getting better. It’s becoming a story. In fact, you even manage to produce a first draft. It’s hard graft and it hurts like blazes but you’re finally beginning to make real progress as you put your precious idea through the fires of refinement.

If you’re thinking this is a great opportunity to break free from Inspiration Hell, you’re absolutely right. In fact, you’re within spitting distance of The Pearly Gates of Authors’ Heaven. But beware! There is a trapped door beneath your feet which leads to…

V: The Pit of Capitulation

It was all going so well. You endured the pain of true planning and clawed your way to the very brink of completing your novel. You might have even produced a draft.

But it sucks. Your plan sucks. Your first draft sucks. You suck. And so you fall upon your own sword. You refuse to work on that idea any longer. The whole idea is dead to you.

What you failed to realise is that first drafts are meant to suck. Bringing a good idea to fruition requires perseverance. Planning, drafting and redrafting are all vital stages in producing anything even remotely good but it can be so difficult to keep going when your momentum starts to falter. You must persevere to succeed. The truth is, your initial idea really did have potential; potential it was perhaps even starting to realise. But potential alone does not make for a good story. It must be refined and polished again and again before it will truly shine as a story.

So… is there a way out of Inspiration Hell?’ I hear you cry.

Yes, there is.

First, you must actually begin working on your story idea. Second, you must remember that no story idea is perfect. It may have potential, but it will require serious effort and darling-killing if you’re to refine it into something worthwhile. Finally, no matter how hard it gets and no matter how awful your plans and drafts appear to be, remember and keep the Golden Rule:

Quitting is NOT an option!


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: 6 Mental Cobweb Shakers for Writers

Originally published 23/07/2017

Ever sat down to write and found your imagination covered in so many cobwebs that you can’t even remember how to pick up your pen? Ever sat staring at a blank screen for hours without even the faintest idea where to begin? Ever wasted your set writing time reading patronising articles on the internet telling you writers’ block doesn’t exist (when you know better) because you just can’t quite seem to get settled into your day’s work?

No?

Well I have, and whenever that happens to me I need something to quickly shake away the cobwebs to help me get off the starting block. Therefore, I am going to commend a few of my favourite cobweb shakers to you today. I don’t know if these will work for you or not but they work for me so… you might as well give them a go, eh?

Write Urgently

I’ve blogged about this before, but it has so revolutionised my whole writing life that it bears saying again. If you find yourself staring at a blank page for hours and have little or nothing to show for it when you’re done, try resolving to write for no more than thirty minutes, twenty minutes or even less all day. Better yet, start your writing session at a time when you know you’ll have no choice but to stop very soon; i.e., while your dinner is in the oven or in that spare twenty minutes before you have to catch a bus to get to work on time. It sounds crazy, but I find that writing in short bursts creates a sense of urgency which forces me not to procrastinate or edit as I write.

Background Noise

Silence may be golden, but it can also be as distracting as having someone talking in your ear. The solution? Get yourself some background noise. You could always do this by seeking out a noisier location, but assuming you don’t particularly want to move anywhere, I can highly recommend Noisli to you as a free tool which allows you to customise your own blend of ambient background noises including (but not limited to) thunder, a crackling fire, a train moving and a coffee shop. These sounds loop indefinitely, so you can turn it on and let it lull you into a false sense of sitting in a coffee shop on a rainy day or listening to birds singing beside a crackling fire.

I know lots of writers enjoy listening to music while they write, although personally, I still find that a bit too distracting, especially if it involves complicated melodies or (worst of all) vocal parts with lyrics. If you must listen to music while writing, I recommend keeping it gentle and instrumental. Video game music is particularly useful as it is designed to be incidental and keep you focused on the task at hand.

Play a Game

Speaking of games, I also find playing a computer game a good cobweb shaker. Nothing too mind-numbing, of course. Avoid anything that involves decimating sweets or throwing helpless animals (actually, just stay away from mobile gaming altogether). I find it far more effective to play a game I need to use my brain for and preferably something with a story of its own. I’m a big fan of retro gaming, so classic adventure games such as Grim Fandango and Monkey Island often fit the bill for me but anything you need to use your brain for should do.

The danger with this, of course, is that you can waste all day gaming. If you’re going to game away the cobwebs, be sure to set yourself a strict time-limit.

Indulge A Different Creative Interest

Like gaming, this approach will also require a strict time-limit but if you’re feeling too lackadaisical to get started with your writing project, you might find pursuing another creative endeavour will give you the spark of enthusiasm you need. Of course, you’ll know better than I do what turns you on apart from writing. It could be singing, dancing, painting, conducting bizarre scientific experiments* or something else entirely. Whatever it is, set aside a little(!) time to immerse yourself in something that makes you feel alive and gets your mental juices flowing. You’ll come back to writing feeling able and rejuvenated.

Go For a Walk/Exercise

Though I’m loath to admit it a bit of fresh air and exercise is a great way to shake away the mental cobwebs. Even just a five minute walk and a change of scenery can work wonders. Just don’t wander so far that you don’t have time to write!

Free-write
freewrite
Example free-writing session.

Free-writing is ideal for when you just don’t have the time to waste gaming, exercising or cloning your budgie. Simply set a timer for a minute, five minutes, ten minutes or whatever you feel is necessary and write WITHOUT CEASING for that whole time. You don’t need to think about structure, plot or anything. Just write. It doesn’t matter if you have typos. It doesn’t matter if you write piles of meaningless rubbish with all the orderliness of a pig’s regurgitated dinner. It doesn’t even matter if all you manage to write is ‘I don’t know what to write, I don’t know what to write, I don’t know what to write…’

What matters is that you pick up your pen and write!

Sometimes it can even help you to come up with ideas, but even if it doesn’t, don’t worry about it. The most important thing is that you stop doing nothing and start writing something. Anything. As long as it’s something.

I hope you found some of these tips useful. Do let us know if you did by commenting below, and also if you’ve got any mental cobweb clearing tips of your own, why not comment below so we can all benefit from your wisdom and experience?

Until next time!

*This website does not in any way endorse dangerous, unethical, illegal or otherwise ill-advised scientific experiments. Any suggestions to the contrary in this post were meant only as a joke and should not be taken seriously.


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 Kill Someone (in Fiction) and Get Away With It

Originally published 17/07/2016

SPOILER ALERT

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

As much as I love the BBC sci-fi/drama, Doctor Who, I have to admit that in recent years, whenever one of the main characters die, I react in a way which I am quite sure the writers did not intend me to… I yawn.

I yawn because I just know they’ll be back. No one ever really dies on Doctor Who anymore, or if they do, some wibbly-wobbly timey-wimey thing happens to bring them back. The same goes for the bad guys as well as the good guys; The Master, Clara, Davros, Rory (Okay, strictly speaking he was erased from history, but still the principle remains; he ceased to exist and should never have come back) – they always find a way to cheat death just when all appears to be lost. Which means that for the viewer, all never really appears to be lost. It doesn’t matter if they get vaporised, blown up along with their spaceship or erased from history; the viewer always knows there’s a good chance that somehow, with a little sprinkling of TARDIS magic, they’ll be back.

Dear reader, what a waste this is. In real life, death is final; that’s what makes it such a big deal and why it is such a valuable tool for stimulating the audience emotionally. While killing a character only to bring them back later might seem like a cheap and easy way to make your story more exciting, it robs death of its sting if the audience knows that in this story, death is not final. If you want to produce any kind of reaction in your audience other than a bored yawn when you kill off a character, you’d better make sure the Reaper’s grip is as tight in your fictional world as it is in reality.

Moving on from implausible resurrections which suck all the drama out of fictional deaths, there are a few other unfortunate ways your audience might react to the death of a character. If you read last week’s post, you will no doubt be aware of how fickle a thing the audience’s support for your character can be. Just because you, as the writer, have decided who the good guys are and who the bad guys are, it doesn’t necessarily follow that the reader will like, support or sympathise with the characters you want them to like, support and sympathise with. The reason John  Coffey’s execution in The Green Mile was so sad was because over the course of the book (or movie, whichever you prefer…), we begin to sympathise with him more and more, especially when it becomes clear that he was not guilty of the crimes he was convicted of. If, however, he really had raped and murdered the girls he was accused of, I doubt very much that the typical reader’s response would have been quite so favourable towards him and it would have completely undermined the bitter note on which The Green Mile ended.

There is another point which is also loosely connected to this. Not only is it important that the audience has the right level of sympathy for the character you plan on killing, but the audience also has to have the right level of sympathy for the surviving characters too. After all, what really makes a death scene tragic is often far more to do with these characters than the ones who actually die. In the final scenes of Of Mice and Men by John Steinbeck, one of the protagonists – the simple minded Lennie – accidentally kills a woman (‘Curley’s wife’). Most of the other characters in the story get the wrong end of the stick and decide to lynch Lennie. His friend, George, knows Lennie too well to really believe that he ever killed the Curley’s wife out of malevolence and ends up shooting Lennie in the back of the head to save him from being lynched. There are really two important deaths here: Lennie himself and Curley’s wife. Both of these characters have another character closely related to them with whom the reader has varying levels of sympathy (in Lennie’s case, it is George and in Curley’s wife’s case it is, of course, Curley). George, being one of the protagonists, garners considerable support from the audience on account of his protective behaviour towards the more vulnerable Lennie; Curley, on the other hand, is an altogether unlikable little man who is jealous, quick to anger, full of his own importance and who sees Lennie as somebody he can bully.

We’re not meant to like Curley. He’s a nasty little man from the moment he first appears so when his wife finally does die, all he is concerned about is having his revenge on the naive and lovable Lennie. In fact, the only time Curley ever appears to truly admire another character in the story is when he finds George standing over Lennie’s body and assumes that George heroically wrestled the gun out of Lennie’s hand and exacted revenge on Curley’s behalf – not realising that George killed Lennie as an act of compassion. It is almost impossible to truly sympathise with this man on account of his loss (no matter how tragic his wife’s death may have been) because his own reaction is one of hatred. He always hated Lennie for how he (accidentally) injured and humiliated him earlier in the story and now he finally has an excuse to kill him. That’s all his wife’s death means to him: an excuse to kill a guy he took a disliking to earlier in the story. George, on the other hand, clearly cares about Lennie, despite finding his behaviour challenging at times. Lennie’s death occurs only a few paragraphs before the story finally ends, but in those few paragraphs, George displays more genuine grief and regret over the death of his friend than Curley displays anywhere in the whole story. Thus, a certain bitter poignancy is added to Lennie’s death by George’s reaction, which is not so obvious in the death of Curley’s wife.

The death of a main character can easily be one of the main turning points in your story. A skillful author can use it to provoke any number of responses from all of the other characters, as well as further taking the reader’s sympathies in almost direction you like. Don’t spoil it or cheapen it by killing characters unnecessarily. If you’re going to kill a character then I implore you… don’t remove the fear of death from your story. Make sure dead characters stay dead, no matter how difficult it makes things for your other characters and be sure to do the proper ground work to get the correct response from your audience.


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: Can’t Afford Scrivener? Try yWriter.

Originally published: 12/11/2017

Many years ago, when I decided to make my first serious attempt at writing a novel, I did what a lot of enthusiastic beginners probably do: I searched high and low for the perfect novel writing app. I didn’t know about Scrivener back then (in fact, I’m not even sure it was available for Windows at that time) but I did come across another app in a similar vein called yWriter by Spacejock Software. I attempted my first ever novel with it and I absolutely swore by it for a long time. Only the discovery of Scrivener for Windows really turned my head. However, in homage to auld lang syne, I’ve decided to download and review the most recent version of yWriter (specifically, yWriter6) for those of you who don’t want to spend any money (for there is no other good reason not to get Scrivener).

yWriter1
Fig. 1

yWriter’s main window (fig. 1) is, for the most part, fairly self-explanatory. Like Scrivener, it allows you to organise your various notes on characters, settings, etc. and, like Scrivener, it allows you to organise your work into separate chapters and scenes. You can either begin with a blank project or you can use the project wizard… which is basically the same as making a blank project, only you begin by specifying the title, author’s name and file directory you want to save it to before you begin, thereby saving yourself thirty seconds later on.

ywriter-editor
Fig. 2

The window which you use to actually write your scene is also pretty self-explanatory for anyone even remotely familiar with ordinary word processors. Unlike many modern word processors, however, you are essentially restricted to writing in a rich text box rather than on a virtual page. As such, there is no easy way to format your page layout (rulers, margins, etc). However, in addition to the features you would expect to find on any word processor, you also have the ability to hear your story read out to you by Microsoft David or Microsoft Zira (a feature which can be handy for helping you to edit a manuscript you’ve grown overly familiar with) and there’s a whole host of tabs on this window which allow you to edit all sorts of information pertaining to the scene you’re working on, if you find that sort of thing useful. You can also easily jump from one scene to another using the drop down menus at the bottom of the scene editing window.

Though this app is simple in many ways, and certainly lacks the flexibility of Scrivener, it does boast a plethora of handy little features which you can use or ignore as you see fit. I doubt if you’ll be inclined to use all of them and I don’t have nearly enough space here to mention them all, but suffice to say it seems pretty obvious to me that the developers have tried to appeal to a broad spectrum of novelists by adding a variety of tools.

ywriter-ratings
Fig. 3

Personally, I am rather fond of the word usage window, which shows you a list of every word used in your story and tells you how often you’ve used it; a handy feature if you’re given to tediously repeating certain turns of phrase over and over again. In addition, the help menu includes a ‘writing tips’ option, which brings up a simple message window containing a snippet of handy writing advice such as ‘take a 5-10 minute break every hour. Walk, exercise, make a drink’ and ‘sometimes it’s quicker to rewrite a short scene from scratch than to keep editing it’. You can also rate the relevance, tension, humour and quality of each scene you write and collate that information into a handy-dandy line-graph (fig. 3), which could be a potentially useful tool when you come to edit your drafts (assuming you can be honest with yourself about the quality of your work). The tools for developing characters, settings and items which appear in your story are simple enough to use, if a little basic and inflexible, although there’s plenty of room for writing whatever notes you want.

If there’s one major thing yWriter lacks, it is the ability to compile your manuscript into a suitable format for distribution. For instance, with Scrivener, you can easily compile your work into a variety of useful formats including (but not limited to) standard manuscript format, screenplay format or e-book format– and of course, if none of the presets appeal to you, you can customise your own format. You can’t do any of that with yWriter. It does allow you to export your project in a variety of ways, but if you’ve got any serious plans to submit your work for publication, you’ll need to transfer your exported project to a suitable word processor and format it yourself.

I realise I’ve unintentionally spent a lot of time here comparing yWriter to Scrivener but I hope you won’t misunderstand my intentions. I really like yWriter. Yes, there is room for further development but I do think it’s worth trying, especially for new authors who are just dipping their toe into novel writing for the first time. Nevertheless, bells and whistles not withstanding, it is quite limited when it is compared to more expensive tools like Scrivener. My advice would be to give it a go. You may find yWriter is more than sufficient for your own particular needs, in which case you should be able to get your novel written and save yourself a few bob into the bargain.

My rating: 🌟🌟🌟🌟

UPDATE 25/06/20: yWriter 6 and 7 both export to Mobi and Epub using Calibre to create the final output file. You can also export to Latex to create paperback editions.


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: Like It or Lump It, Your Intended Audience Matters

Originally published 24/07/2016

The Parable of the Audience

by A. Ferguson

The stadium was a sea of overpriced band tees and elaborate haircuts. Heavy metal music was being played, inappropriately, as quiet background music over the speaker system. Suddenly and without warning, the lights went out and the music abruptly ended. The hubbub of chatter and the friendly jostling of the crowd was replaced with an almighty roar as every eye turned to the stage. People pushed and shoved their way to the front, clapping and screaming to be heard above the crowd. A plastic cup filled with beer flew towards the front, showering the ravening crowd as it passed by but no one paid any attention. There was yet another almighty roar as the band ran out on stage and struck the first chord of their opening number: Mozart’s Piano Concerto No. 21 in C Major.

*   *   *

A great number of the posts I’ve written on this site giving writing advice have come about as the result of me learning these lessons the hard way first. This week is no exception.

Every now and again I  hear authors, publishers and other would-be writing gurus all saying the same thing: it is very important to know exactly who your audience is before you write. I don’t mind telling you that every time I hear that, I groan. I don’t like to be restricted by boring things like that; I just wanted to write my story. Let the publisher worry about how they’re going to market my story: I am creating a work of art, darling!

Believe me, if you ever feel that way, you’re not alone. But lately I’ve learned that knowing who your audience is is just as important to the artistic side of writing (the most important part, surely?) as it is to the boring business side of things.

Allow me to explain. I like to write because I like to read. The type of things I write tend to reflect my reading preferences – which is hardly surprising, I’m sure you’ll agree. Now for me personally, there are a few things I like and dislike. For example, I like speculative fiction in various forms especially if it is based on mythology or history, but I also enjoy historical fiction, murder/mysteries and literary fiction. I like a little bit of action and tension in my fiction, but I do not enjoy thrillers which tend to maximise action at the expense of substance. I like the narrative to flow with all the rhythm and expressiveness of poetry while still maintaining believable and natural sounding dialogue. I like complex characters. I don’t mind a little bad language in my dialogue (as far as it is necessary) but I do not like stories which overdo the foul language as a cheap attempt to add grit and I especially despise the use of profanity in the narrative itself except on very rare occasions (and almost all of those occasions involve a first person narrative). In short, I have a bit of a mishmash of preferences. When I finish a book (even one I really enjoyed) I will say something like ‘it was very exciting, but the characters lacked substance’ or ‘it was very thought provoking but needlessly heavy on the bad language’.

Unsurprisingly, when I started trying to write my novel, I brought these and all my other likes and dislikes to the table with me. You won’t find any profanity in my narrative, for example, and only the absolute minimum that is required in my dialogue. But I also wanted to write a story which would appeal to everyone, and needless to say as I continued to work on this story, I found that I was growing increasingly frustrated with it. I just couldn’t seem to make it good although I was having difficulty putting my finger on why… until it hit me:

Nothing appeals to everyone. It is not possible to write a story that will appeal to everyone and trying to bring together elements that would appeal to all audiences only serves to create a mixed up and inconsistent story that won’t appeal to anybody. In tone, my story would have primarily appealed to a YA audience but there were too many elements which didn’t fit to classify it as such. The biggest problem was the protagonist: a bitter ex-soldier in his mid-forties who was struggling to pay his taxes. There were bits of my story that would appeal to some audiences and bits of my story which would appeal to other audiences. Even I, as the author, only liked bits of it. In trying to create a work of art for every audience, I created something that wouldn’t really appeal to anyone, because nothing appeals to everyone.

So I went back to the old drawing board and asked myself just who did I want to write for?

I tackled this question artistically (after all, business and marketing are not my forte. If anything has the power to put me off being an author, it’s the thought of all that stuff but I digress). I asked myself what kind of thoughts I was trying to provoke and what kinds of feelings I wanted to stimulate. How gritty did I want my story to be? How funny? How violent? How sensual? How family-friendly? The more I did this, the more I came to realise what I had already begun to suspect: I wanted to write (this particular story, at least) for a young adult audience.

It came as quite a surprise to me, I can tell you, but nevertheless, I made a decision to go through my story with a fine tooth-comb and make it conform to standards which would suit a YA audience. For example, my protagonist is no longer an angry ex-soldier; he’s the seventeen year old son of an angry ex-soldier. I was a little nervous that if I started to fully young adultify my story, I would ruin it but in actual fact it’s had the opposite effect. Suddenly it works. It flows from point to point with a certain consistency that was missing before and it has made for a better story; not because I made it into a young adult story specifically, but because I decided who my audience was and constructed a story which would fully appeal from beginning to end to that audience. I could have probably done the same for any audience (within reason).

By writing your story for a particular audience, you aren’t stopping other potential audiences from also reading and enjoying your story, any more than being a Mozart fan prevents you from also being a Black Sabbath or Alice Cooper fan (I’ve been known to listen to all of the above myself). All you are doing is adding a consistency to your story which allows it to work and flow in a way which makes sense. Besides, nothing in this life appeals to everybody; therefore, be sure to make your story appeal to somebody… And if the result of all this effort is a more marketable novel then so much the better!


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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: