5 Signs You Should Quit Reading That Novel

Disappointment. There’s no other feeling in the world quite as crushing as disappointment, especially when it comes to reading a book you thought you were going to like. Apart from the fact you’ve already invested time and money into this book, you now find yourself in a horrible dilemma: to finish or not to finish?

Strange as it may seem to the uninitiated, there is a sense of personal failure and social stigma attached to giving up on a book; almost as if we were too lightweight to bear the responsibility for choosing the wrong book. And so, we grit our teeth and read on: another hundred, two hundred, or even four hundred pages of despair, anguish and disappointment.

I can count on one hand the number of books I’ve actually abandoned altogether. Some have sorely tempted me at points but there are an elite class of books which have been so abhorrent to me that I’ve been forced to quit. If you’re reading a novel you’re not too sure about, here’s a few warning signs that it might be time to abandon it altogether, randomly helpfully illustrated with Star Trek gifs.

When You Know Exactly How Many Pages Are Left Until The End

There are books of all different kinds of length out there. There are long books and there are short books; there are long books that feel short and there are short books that feel long.

Even the shortest little novellas can be a chore if we can only bring ourselves to read one or two pages at a time. On the flip-side, I read the full, unabridged version of The Count of Monte Cristo, and despite being one of the longest books on my shelf, it was a joy to read and was over far too soon. But with other books (including much shorter books), all I can think about is how many pages there are left until the end. Eventually I find myself literally doing sums to work out how many pages are left, not just once, but once or twice in every sitting. When you get to that stage, it’s time to chuck that sucker out. Life’s too short.

When You Start Making Excuses Not To Read

I read lots. I do it because I like it. I read in the evenings after my daughter’s gone to bed, I read immediately before I go to bed, I read during my lunch break at work and I read pretty much any other spare moment I get during my day when I’m not working, writing or playing with my daughter. But every now and again, with some books, all of that changes:

My daughter’s finally asleep! Time to fire up the Xbox...

Reading just before bed? Not tonight dear, I’ve got a headache.

Work is busy; there’s no time to have a leisurely lunch/reading break.

Spare moments to read? I don’t have any spare moments to read. I’ve got to install a brand new field induction sub-processor!

All these little excuses only make the book last longer and rob me of one of my favourite past times. Time to bite the bullet and read something else.

When You Hope The Hero’s Mission Fails and They Die Horribly

Let’s be honest. Most novels conclude with the protagonist winning, or at the very least growing in some way. They seldom die a meaningless death and the bad guy generally won’t ever win.

That’s partly why it’s so important for the reader to sympathise with the protagonist. Sure, the protagonist should have weaknesses, flaws and outright bad qualities; that’s part of being a believable person. But if you find yourself developing an active hatred for the protagonist, you’re unlikely to find the end of the story satisfying. Moreover, you’ll suffer throughout the entire novel, because following the adventures of a protagonist you hate is a bit like being forced to sit next to a co-worker you hate all day, every day. It grates on your nerves and arouses your most violent instincts. You hope they die, painfully, in a pool of their own vomit*.

If you find yourself hating the protagonist with such a passion, get out of there fast.

When You feel Personally Insulted by the Author

I’ve spoken before about how important themes are to a good story, and how a theme or moral we disagree with doesn’t make it a bad story. Indeed, it’s good for a novel to challenge the things you take for granted and no subject should be off limits. It’s good to be forced to think.

Nevertheless, some novels do it better than others. If you feel personally ridiculed, attacked, stereotyped or preached at by the author, don’t feel bad about abandoning it. Remember, reading a book is a one way dialogue. You can’t answer it back when it offends you in some significant fashion**. All you can do is swallow it or chuck it, and I, for one, see no reason to sit there and be insulted in your own living room.

When You Begin Every Sitting By Telling Your Family How Much You Hate This Book

When we normal people read a book and enjoy it, we tend to read it quietly and despise interruptions. However, every now and then, I will punctuate my own reading sessions with little outbursts to my family, friends, co-workers or anyone else in earshot:

‘I’m really not enjoying this book…’

‘I hope this book gets better or I’ve wasted £12 and untold hours of my life on it for nothing…’

‘Do you think it’s too late to get a refund on this book?’

Sometimes, in extreme circumstances, I will even rant about a book before I pick it up, just to get me in the mood for reading it.

‘Urrghh, well, I suppose it’s time to read another chapter of this horrible little book…’

If you love your family, you won’t force them to share in your suffering. If you can’t read it without whining about it, just stop reading it.

Footnotes:

*Unlike with fictional characters, you can’t simply throw away co-workers you don’t like and wishing real people dead will poison your soul. Please, try to get along with them and be kind to everybody.

**Well, you could always write to the author but please don’t; they’re entitled to publish their opinions. Nobody is forcing you to read 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 Twitter and like Penstricken on Facebook, if that’s what fries your bacon.

ATTENTION AUTHORS:

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

You can check out our previous interviews here:

Sharleen Nelson, Author of The Time Tourists [2]

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6 Things I’ve Learned About Writing Fiction

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

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

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

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

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

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

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

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

lesson #3: CONSISTENCY and Persistence are essential

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

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

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

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

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

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

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

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

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

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

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

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


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

ATTENTION AUTHORS:

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter/Pinterest.

You can check out our previous interviews here:

Sharleen Nelson, Author of The Time Tourists [2]

Super Snappy Speed Reviews: Children’s Edition (vol. 2)

SPOILER ALERT

While every effort has been made to avoid spoilers, anyone who has not read Monkey Puzzle by Julia Donaldson, Little Miss Inventor by Adam Hargreaves, Elmer in the Snow by David McKee, Perky the Pukeko by Michelle Osment or The Gruffalo’s Child by Julia Donaldson is hereby advised that this post may contain a few unavoidable spoilers.

Believe it or not, the last edition of Super Snappy Speed Reviews was way back in October, just before series 11 of Doctor Who started, so I decided it was time for another exciting instalment. This time (though not for the first time) I’m looking at children’s books. Just to be clear, my daughter is not quite two years old yet, and so, when I say ‘children’s books’, I am talking about books aimed at very young children, rather than children’s novels.

You know the drill by now. These reviews reflect nothing but my own personal opinions and impressions, sliced, diced and shredded into a few short sentences. The books I have selected have nothing in common, save the fact that they are all fictional stories for very young children. They are not necessarily books I particularly liked or disliked, nor are they sorted into any particular order. So, here we go.

Monkey Puzzle by Julia Donaldson

My daughter loves this book and so do I. The narrative is uncomplicated, written in rhyme (always a plus for small children) and with a goodly dash of humour which does not seem to be lost on my one year old. It’s also not without its educational value, giving descriptions of a whole bunch of different types of animals.

My rating: 🌟🌟🌟🌟🌟

Little Miss Inventor by Adam Hargreaves

I think this is my daughter’s favourite at the moment, judging by the fact I have to read it to her at least fifty times per hour. Little Miss Inventor is a fun character, intelligent and not to be deterred from making Mr Rude a birthday present he’ll really love despite him being one of the most unpleasant individuals in all Mr Men lore. If I’m really picking nits, I think the writing style was a bit clumsy at points, with sentence breaks in places I would not have expected them, for example: ‘She made a back-pack-snack-attack fridge for Mr Greedy. For snacks on the go.’

I’m pretty sure that could have been one sentence.

My rating: 🌟🌟🌟🌟

Elmer in the Snow by David McKee

My daughter’s got a few Elmer books and she seems to enjoy them. Personally, I find this one a bit of a drag. The narrative lacks the snappy rhythm required to hold a toddler’s interest and the plot is frankly boring. Even toddler’s books should have a little bit of safe, inoffensive conflict to make the story worth reading (e.g.: Little Miss Inventor couldn’t think of a good invention for Mr Rude; Monkey lost his mum and his only helper is completely useless; etc). All in all, on the rare occasions my daughter asks for this one, I tend to sigh inwardly (though outwardly I’m enthusiastic for her sake) and hope she won’t want me to read it over and over too many times.

My rating: 🌟🌟

Perky the Pukeko by Michelle Osment

This story is okay. My daughter likes it, perhaps not with the same enthusiasm as Little Miss Inventor, but she asks for it now and again.

It’s written in rhyme, which is a plus for toddler’s stories, though I find the rhythm of narrative is a little off beat at times, often, I fear, because the author was trying a bit too hard to be clever. It is the only toddler’s book I have ever read which actually featured a glossary at the back.

My rating: 🌟🌟🌟

The Gruffalo’s Child by Julia Donaldson

This book is, by all accounts, a sequel to The Gruffalo so it probably helps to be familiar with that story before you read this one. It’s not really necessary though. The story makes perfect sense on its own merits. In Donaldson’s usual masterful style, this story ticks all the boxes for repetition, rhythm and rhyme. Young children can easily relate to the protagonist who initially ignores her father’s instructions, designed to keep her safe, only to quickly realise her mistake and return to the safety of her father’s cave.

My rating: 🌟🌟🌟🌟

Don’t forget to check out all the previous editions of Super Snappy Speed Reviews
Super Snappy Speed Reviews: Doctor Who Edition Super Snappy Speed Reviews: Children’s Books Edition (vol 1)
Super Snappy Speed Reviews: TV Edition (vol. 2)Super Snappy Speed Reviews: Writing Apps for Android
Super Snappy Speed Reviews: Books (vol. 3)Super Snappy Speed Reviews: Games Edition
Super Snappy Speed Reviews: Star Trek EditionSuper Snappy Speed Reviews: Books (vol. 2)
8 Super Snappy Speed Reviews: Film5 Super Snappy Speed Reviews: TV Edition
8 Super Snappy Speed Reviews

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

ATTENTION AUTHORS:

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter.

You can check out our previous interviews here:

Sharleen Nelson, Author of The Time Tourists [2]

What Should I Spend My Waterstones Vouchers On?

There’s never a Christmas goes past where I don’t get at least a couple of Waterstones vouchers from somebody. It’s one of the highlights of my year, every year! Free books and lots of them!

This year has been no exception, so I’m calling on you, dear reader, to help me decide what to buy from Waterstones this year (while reserving the right to ignore all your suggestions if I don’t like them). I have only one rule: it must be fiction; not that I’ve got a problem with non-fiction but… I’ve got plenty of non-fiction I’ve still not read. I’m fresh out of new fictional material and besides, this blog is all about fiction so fiction it is!

To help, I have compiled a list of all the books on my shelf which I liked at least a little bit. I’ve not included books I hated, books I never finished, books I never started or books I no longer own, so if it’s on this list I still own it and have derived at least some small modicum of pleasure from reading it.

I also tried to sort them into order of how much I enjoyed them, starting with the one I enjoyed the most and ending with the one I enjoyed the least. That proved to be a heck of a lot more difficult. The fact is, books are hard to compare in such a black-and-white fashion, especially when they are of different genres, so I’ve probably not given a very accurate reflection of how I feel about these books but I’ve done my best. I’ve tried to avoid thinking about which ones were technically better, and have focused simply on which ones I enjoyed the most; thus, this list says more about my tastes and moods than it does about the actual quality of the writing. So don’t get cross if you’re favourite is at the bottom. I’m not sure if the order of this list makes as much sense as I’d hoped anyway.

So anyway, here goes nothing:

  • Of Mice and Men by John Steinbeck
  • Cannery Row by John Steinbeck
  • Tortilla Flat by John Steinbeck
  • The Final Empire by Brandon Sanderson
  • Madness by Roald Dahl
  • The Grapes of Wrath by John Steinbeck
  • The Well of Ascension by Brandon Sanderson
  • Ben Hur by Lew Wallace
  • The Acts of King Arthur and his Noble Knights by John Steinbeck
  • The Green Mile by Stephen King
  • The Pillars of the Earth by Ken Follett (click here for my review)
  • Hero of Ages by Brandon Sanderson
  • Doctor Faustus (The ‘A’ Text) by Christopher Marlowe
  • The Wayward Bus by John Steinbeck
  • The Pearl by John Steinbeck
  • Deception by Roald Dahl
  • Cup of Gold by John Steinbeck
  • The Mysterious Affair at Styles by Agatha Christie
  • Dr Jekyll and Mr Hyde with The Merry Men & Other Stories by Robert Louis Stevenson
  • The Edge of Eternity by Isaac Asimov
  • The Red Pony by John Steinbeck
  • Sweet Thursday by John Steinbeck
  • East of Eden by John Steinbeck
  • The House of Silk by Anthony Horowitz
  • Hercule Poirot’s Christmas by Agatha Christie
  • Different Seasons by Stephen King
  • The Count of Monte Cristo by Alexander Dumas
  • The Vagrant by Peter Newman
  • Curtain by Agatha Christie
  • Murder on the Orient Express by Agatha Christie
  • Five Little Pigs by Agatha Christie
  • The Murder on the Links by Agatha Christie
  • Moriarty by Anthony Horowitz
  • The Seven by Peter Newman
  • The Malice by Peter Newman (click here for my review)
  • The Murder of Roger Ackroyd by Agatha Christie
  • Out of the Silent Planet by C.S. Lewis
  • The Final Act of Mr Shakespeare by Robert Winder
  • Ready Player One by Ernest Cline (click here for my review)
  • The Adventures of Huckleberry Finn by Mark Twain
  • The ABC Murders by Agatha Christie
  • The Collapsing Empire by John Scalzi (click here for my review)
  • The Gospel of Loki by Joanne Harris
  • The Hobbit by J.R.R. Tolkien
  • A Touch of Frost by R.D. Wingfield
  • Frost at Christmas by R.D. Wingfield
  • Winter Frost by R.D. Wingfield
  • Hard Frost by R.D. Wingfield
  • A Killing Frost by R.D. Wingfield (noticing a pattern here? One Frost novel is pretty much like another!)
  • Night Frost by R.D. Wingfield
  • The Time Tourists by Sharleen Nelson (click here for my interview with the author [2])
  • A Game of Thrones by George R. R. Martin
  • I, Robot by Isaac Asimov
  • Perelandra by C.S. Lewis
  • Men Without Women by Ernest Hemingway
  • The Fellowship of the Ring by J.R.R Tolkien
  • That Hideous Strength by C.S. Lewis
  • The Return of the King by J.R.R. Tolkien
  • The Two Towers by J.R.R. Tolkien
  • Emperor: The Gates of Rome by Conn Iggulden
  • Uncommon Type: Some Stories by Tom Hanks
  • The Winter of Our Discontent by John Steinbeck
  • The Afrika Reich by Guy Saville
  • Arena by Karen Hancock
  • The Great Dune Trilogy by Frank Herbert
  • The Man in the High Castle by Philip K. Dick
  • Hard Times by Charles Dickens

And that’s a wrap! Good golly Miss Molly, that is one mixed up list. I don’t even think it comes close to capturing how I truly feel about some of these books but meh… hopefully it will give you a vague notion of my tastes at least and help you come up with good book suggestions for me. Ready, set, go!


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

ATTENTION AUTHORS:

I’m still looking to interview fiction authors here on Penstricken, especially new or indie authors. Whether it’s books, plays, comics or any other kind of fiction, if you’ve got something written, I want to hear about it. If you’re interested in having your work featured on Penstricken, be to sure to drop us an e-mail or message us on Facebook/Twitter.

You can check out our previous interviews here:

Sharleen Nelson, Author of The Time Tourists [2]

Super Snappy Speed Reviews: Children’s Books Edition

SPOILER ALERT

While every effort has been made to avoid spoilers, anyone who has not read Fish by Fiona Watt, Elmer by David McKee, A Squash and a Squeeze by Julia Donaldson, The Very Hungry Caterpillar by Eric Carle or When I Am Big by Penny Johnson is hereby advised that this post may contain a few unavoidable spoilers.

I might have mentioned once or twice before that I have a little daughter. She’s only a toddler, but she loves playing with books (not always reading from start to finish, but carefully examining them at any rate) and she loves it when we read to her (read to your kids, guys). As a result, we’ve amassed quite a collection of childrens’ books in her short lifetime.

‘And so,’ my wife suggested, ‘why not write a Super Snappy Speed Reviews post about books for children?’

‘Good idea!’ I thought. After all, I’ve already speed-reviewed books [2] [3], TV shows [2], filmscomputer gameswriters’ apps and even the Star Trek movies, so this time it’s going to be all about books for small children. I’ve picked 5 of my daughter’s favourites and reviewed them all in only a few short sentences.

As ever, these reviews reflect nothing but my own personal opinion. The books I have selected have nothing in common, save the fact that they are all fictional stories for young children. They are not books I particularly liked or disliked, nor are they sorted into any particular order. These reviews reflect nothing but my own impressions and opinions, shrank, squished and flattened into a few short sentences. So without further ado…

Fish by Fiona Watt

It’s difficult to summarise this story without plagiarising it, since the whole story is only a couple of sentences long. Suffice it to say it’s a perfectly simple little story about a fish looking for his friend and finding him without any real difficulty. The book itself is also soft, like a pillow, though my daughter has shown no interest in this aspect of it. She just hands it to me and says ‘Again!’ before waiting expectantly for me to read it again… and again… and again. Ideal for children aged one year and under.

My rating: 🌟🌟🌟

Elmer by David McKee

If you like your childrens’ books to be fun but still carry a message about diversity, you can’t go wrong with Elmer. It’s a little dated (I remember it from when I was little) but I enjoyed it then and I still like it now. The story takes a fairly heavy subject and makes it reasonably accessible and enjoyable for slightly older children, owing to its length and relatively complex narrative style.

My rating: 🌟🌟🌟

A Squash and a Squeeze by Julia Donaldson

Another story with a lesson, this time about appreciating what you’ve got. The story is written in a simple rhyme with lots of repetition making it highly accessible and enjoyable for small children. Even as an adult, I can’t help but appreciate the humour in this story as the protagonist, following the advice of the slightly puckish wise man, tries to make more room in her house by filling it up with various farm animals, before her final glorious epiphany in the end. A great story to read to your toddler.

My rating: 🌟🌟🌟🌟🌟

The Very Hungry Caterpillar by Eric Carle

My daughter, like every other toddler I’ve ever come across, loves this book. Like A Squash and a Squeeze, there is a repetitive pattern to most of the story which makes it highly accessible for a child of her age and a goodly dash of humour. It also provides her with a sly introduction to numbers and days of the week. She tends to lose interest at the part where the caterpillar makes a cocoon, and I suspect this is due to the way the narrative suddenly loses its sense of rhythm and repetition. Frankly, even I find the narrative drags a bit there, but apart from that, this book is a must-have for any toddlers bookshelf.

My rating: 🌟🌟🌟🌟
When I Am Big by Penny Johnson

This is a sweet, if not terribly exciting, little story about a rabbit wistfully looking forward to all the fun things she’ll be able to do when she’s older. It is written with a simple ‘AABBCC’ rhyming system, though it perhaps lacks that repetitive quality which would make it even more accessible to a one year old. It’s a nice enough story although it doesn’t hold always manage to hold my daughter’s attention all the way through.

My rating: 🌟🌟🌟

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

Until next time!

ARE YOU AN AUTHOR?

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

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

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

Pants, Plants and Plans: A Beginner’s Guide

If you’re the sort of person who spends a lot of time reading up on story writing, you’ve probably heard myself or other writing bloggers talk about the differences between planners, pantsers and plantsers. It’s a spectrum we writers are all spread out across, separating those on the one extreme who plan everything before they write from those who pants their way through their story (that is, they write ‘by the seat of their pants’, making up the story as they go along with absolutely no forward planning whatsoever). And of course, slap bang in the middle of the spectrum, we have Plantsers (because it’s a combination of the words ‘planner’ and ‘pantser’, see?).

We all naturally gravitate to one side or another on this spectrum. However that doesn’t mean we can’t choose to plan, pant or plant even if it doesn’t come naturally to us. After all, we might be tempted to think that one method is inherently better than the others, and that we should try this.

We might even be right. For my money, I think there are some situations where planning is more appropriate and others where pantsing is more appropriate. I’m not going to tell you categorically that any one method is better than another* but there are pros and cons to each. If you’re struggling with whatever method comes naturally to you, it may be time to try a different approach. And so, what follows is my own short and ill-informed concise analysis of each approach, comparing pros and cons as evenly as I can.

Planning

Strengths: Planning everything in advance saves buckets of time. If you already know exactly what is going to happen, how it’s going to happen and who it’s going to happen to, all neatly ordered into chapters and scenes, you won’t waste time writing lengthy portions of narrative you won’t use. You can also rest easy in the knowledge that your first draft won’t have too many large plot holes to sort out.

This makes it easy to work to a schedule. If you know you can knock out 1000 words a day, you can reasonably well estimate that it will take you about three months to complete a draft, especially in those first drafts, because you won’t get stuck about what to write.

Weaknesses: it’s easily the most strict approach to writing. The writer must be disciplined enough 1) not to begin writing a draft too earlier and 2) not to deviate from the plan when he does start drafting. This does not suit everybody. Many authors find it sucks the pleasure out of writing and stifles the imagination, as new ideas insist on being heard throughout the writing process.

Tips for Planning: Be disciplined. Plan everything and resist the urge to draft until you have completed all your chapter outlines, character biographies, the lot. When you finally do begin to draft, don’t deviate from the plan. Add nothing, change nothing, remove nothing. Write it exactly as you planned it. Remember, dear planner, you’re not making art. You’re constructing an intricate machine.

Pantsing

Strengths: This approach to writing allows the imagination to run wild. Most people who write stories tend to do it because they’re people who like to dream, to create and to give artist form to their flights of fancy. Pantsing lets you do just that. I often find that, while pantsing can produce a lot of excess material, some of it can even be later recycled to create a whole new story. Many of my story ideas have come from material I rejected while pantsing an earlier work.

Weaknesses: If you’re serious about writing for any reason other than as a hobby, you will probably find this approach seriously undermines your productivity and success, especially if you’re writing anything longer than a short story. Pantsing out a novel length story in a couple of months is easy in theory but it is doomed to be full of half baked themes, plot holes and other inconsistencies that will need to be fixed before they can pass over any agent or publisher’s desk. You may find yourself virtually starting from scratch when you come to do your second draft, assuming you ever reach the second draft stage.

Tips for Pantsing: Don’t get too attached to your work. A draft that has been fully pantsed will require a lot more editing than a meticulously planned draft. While killing your darlings is always good advice for any writer, pantsers will probably find themselves producing a lot more darlings (because their imagination has been given unlimited credit in the sweetie shop) that have to be killed (because their story will be full of things that simply don’t work).

Plantsing

Strengths: Plantsers have the best of both worlds. They are anchored to a plan but they are not enslaved to it. If the author wants to make changes halfway through writing their draft, or if they identify problems with their story, they can simply adjust the plan as they go along. The imagination is thereby given space to work but is also kept under a tight leash.

Weaknesses: It’s probably the hardest method to strike the correct balance with, even if you do find yourself naturally gravitating towards it. Planners know to write nothing until their story is fully planned out and pantsers don’t give a rip if their story doesn’t make sense in the first draft, but plantsers must learn to bring these two extremes together and make them work in harmony. It is difficult to create a systematic approach to plantsing and will be largely figured out by trial and error. This can be time consuming and frustrating.

Tips for Plantsing: Plantsing is not creating a plan then disregarding it, nor is it writing a draft then making a plan around it. Both of these are a waste of time. Plantsing involves blending these two seeming opposites in a way which allows you to work to your strengths, while still enjoying the benefits of both extremes. For example, you might pants out a few zero drafts to stimulate your imagination while you plan. Alternatively you might create a very loose-fitting plan (story beats for example, but no chapter outlines) and pants out your novel within the boundaries of that limited plan. You might also decide to forsake character biographies in favour of conducting several ‘interviews’ or ‘auditions’ with your characters to help you get to know them better. The possibilities are truly endless when it comes to plantsing. My best advice is to spend a little time finding an approach which works for you.

Footnotes:

*I know what you’re thinking: ‘if he’s going to be so unbiased in his approach, why has he only got pants in the featured image and nothing else?’ Well the short answer is I just couldn’t find a single picture on the internet which depicted a plan, a pair of pants and a potted plant so I had to pick one. I picked pants because pants are funnier. Sue me.


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

Until next time!

ARE YOU AN AUTHOR?

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

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

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

App Review: Goodreads Android App 2.0.2

Anyone who is serious about reading is bound to come across Goodreads sooner or later. They might not like it or see the point of it, but they’ll encounter it. And if they happen to sign up for the bookworm’s social network, it won’t be long before they get emails asking them to download the Goodreads App.

Personally, I’ve used Goodreads on and off a couple of times throughout the years. It’s a handy place to read reviews on almost every book ever published and it’s quite a good place to discover new things to read. It’s also great for those people who feels the need to organise and display everything they’ve ever read on the internet like it’s some kind of virtual trophy room.

Anyway, today I got an email asking me to download the new and improved Goodreads Android App.

‘Yes, I will.’ I thought. ‘And then I’ll tell all my faithful readers exactly what I thought of it, mwahaha!’

So, first impressions: it’s much easier on the eye than it used to be. In fact, it’s much easier on the eye than the actual website itself. The home page is a clear and simple single column consisting of your name, your books (ordered into shelves and neatly compressed so that you don’t see all your books on the homepage), your friends/groups and all your updates. Everything you could possibly want to do is accessible from the sidebar menu (again, this is hidden unless you open it) and a single icon for all notifications on the top right. There is also a search bar for looking up books.

There isn’t much in the way of new features. Just a few badly needed improvements on the old ones, making version 2.0.2 oh so much more pleasant to use than the older ones.

One of the newest features (also available on the website) is the ‘Explore’ page. ‘Try the new Explore page!’ The Goodreads blog says. ‘Browse books trending on Goodreads, new releases hot off the presses, and community-created reading lists across every genre’, it says. So I did, I tried it. It was alright. I don’t know if it’s new as much as newly packaged, but it’s still worth a look if you’re looking for something new to read. If you live in the US you can also use the Explore page to get deals on books by your favourite authors or from your ‘want to read’ shelf sent directly to your inbox.

The ‘My Books’ section has also been improved to make it somewhat more customisable. Books can now be sorted in order of title, author, average rating, number of ratings, publication year and a whole bunch of other things. As far as I can tell, doing this on the app does not in any way affect the order of your books on the website. You can also use the ‘My Books’ section to access your Kindle notes.

Another feature that has been added to the ‘My Books’ section is the ability to add additional dates for when you read a book. This is handy if you’re the sort of person who likes to re-read books. On the surface, this feature is very intuitive and easy on the eye however when I attempted to add a second set of dates for a book I had previously read, I discovered I had to add a finishing date at the same time, which was a little annoying though hardly the end of the world.

As before, the app has one major advantage/annoyance (delete as appropriate) that the website does not have: the ability to use your phone’s camera to scan a book’s bar code, and use that information to automatically add said book to your Goodreads bookshelf. If you do it that way, you even stand a fair chance of finding the correct edition of your book! Alas, even with this new and improved version of the app, it still took about a hundred attempts at holding my camera perfectly still and exactly the right distance from my book just to scan a single bar code, however when it finally did scan, it did scan accurately. You can also scan front covers, which is nice. Covers are a heck of a lot easier to capture with a camera if, like me, you’re not a photographer and you do not have arms of stone.

All in all, not a bad app. There isn’t a whole lot of new features to scream about and it’s certainly not perfect but it’s much easier on the eye than before and runs a lot more smoothly. It’s hardly blown my socks off but it’s alright.

My rating: 🌟🌟🌟


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

Until next time!

ARE YOU AN AUTHOR?

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

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

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

Theme: The Truth Behind the Tale

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

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

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

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

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

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

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

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

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

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

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


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

Until next time!

ARE YOU AN AUTHOR?

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

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

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

Writing a Good Character Description

If I’ve said it once, I’ve said it a thousand times: characters are the beating heart of every good story. Good characters, more often than not, make for a good story. That means you need to write a character with strong goals, strong motives and a clear problem to overcome. We know this. Nevertheless, it also goes without saying that your characters must all have a physical appearance, which you can describe to the reader (unless, of course, you’re writing some highly ambitious piece of supernatural fiction where all your characters are non-corporeal beings who never interact with physical reality as we know it).

Let me tell you right now, there’s an art to describing characters. Do it right and your audience will have such a vivid image in their minds that they’ll swear they’ve actually met your character. Do it wrong and you might just produce one of the most pedestrian scenes in your entire story. Nothing drags the pace of a narrative down quite like a long winded description of Jimmy’s hair colour, eye colour and whatever unremarkable clothes he might be wearing. I say it’s better to have no physical description than a bad one.

If you give a simple description of height, weight, hair colour, eye colour and so on you will not only bore the reader to tears but you will also, in the most long-winded way possible, tell us nothing significant about the character. Instead, focus on distinguishing features and other details which help us to really get to know the character. Let us refer, once more, to the master, John Steinbeck. He described his character, Lennie Small, in this way:

A huge man, shapeless of face, with large, pale eyes, with wide, sloping shoulders; and he walked heavily, dragging his feet a little, the way a bear drags his paws. His arms did not swing at his sides, but hung loosely and only moved because the heavy hands were pendula.

(John Steinbeck, Of Mice and Men).

If you’ve read Of Mice and Men, you’ll know there are two essential things to know about Lennie Small: 1) he’s a large and strong man and 2) he has a childlike mind. These two facts form the basis for his entire plotline from start to finish. Is it any surprise, then, that Steinbeck’s description emphasises these qualities? Just look at the adjectives/adverbs: ‘huge’, ‘large’, ‘wide’, ‘heavily’, ‘heavy’. All these words signify bigness. Notice, incidentally, that Steinbeck never says ‘tall’, nor does he give a specific height. After all, Steinbeck’s purpose is to emphasise how physically imposing Lennie is but not all tall people are imposing. Whether Lennie is tall or not is unimportant. What matters is that he is huge.

Similarly words like ‘shapeless’, ‘pale’ and ‘hung loosely’, used to describe his face, eyes and body language all have a certain vacant quality to them. The bear metaphor is especially powerful, as bears are animals which are known to be physically imposing but not frightfully intellectual. Nothing in this description is superfluous. It tells us everything we need to know about Lennie. We can imagine unimportant details like his hair colour for ourselves.

Another important thing to consider is how subjective/objective your word choice is. Objective language sticks to the facts. For example: ‘Johnny had brown eyes’. Subjective language is based on one’s personal impressions: ‘Johnny had eyes of the richest chocolate’. Or alternatively, ‘Johnny had eyes like a pair of dirty brown pebbles’. Striking the right subjective/objective balance can be hard and will be largely dependent on your narrative POV. As a rule, First Person and Third Person (Limited) narratives can and should include a generous dose of subjective language, since we are being given the personal impressions of a particular character. We want to know whether or not the narrator is attracted to or repelled by the character in question. Third Person (Omniscient), on the other hand, should be more reserved with its use of subjective language. But that’s only a guideline.

One last tip: use vivid but precise language. Consider again Steinbeck’s description of Lennie. The word ‘pendula’, used to describe the movements of Lennie’s arms, creates a very sharp image in the reader’s mind. After all, we’ve all seen the lazy, mindless but unceasing swing of a pendulum that hangs from a clock, powered by nothing but simple physics. We can imagine that motion so clearly that it is easy to picture Lennie’s arms as they swing in a way that more bland language might not have been able to convey. Beware, however. Don’t let clever sounding words get in the way of a description which is also precise. Steinbeck is a master of description not only because of the vivid imagery he employs, but also because the imagery is so very appropriate. If simple language creates desired effect, use it. Don’t bamboozle your reader with peripheral unnecessary purple prose, especially not if it is less precise than simple language. You will lose your reader’s attention if you do. Instead, aim to use words and metaphors which convey an accurate and vivid image in the most direct way possible.

Remember, your reader doesn’t really care what your character looks like. They care about who your character is. So when you describe your character’s looks, cut to the chase. Keep it snappy, keep it sharp and most importantly of all, keep it relevant.


ARE YOU AN AUTHOR?

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

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

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

50 Quotes About Fiction

  1. “I like telling stories.” — Hunter Parrish
  2. “All fiction has to have a certain amount of truth in it to be powerful.” — George R.R. Martin
  3. “Literature is a luxury; fiction is a necessity.” — GK Chesterton
  4. “The best fiction is geared towards conflict. We learn most about our characters through tension, when they are put up against insurmountable obstacles. This is true in real life.” — Sufjan Stevens
  5. “Truth is so hard to tell, it sometimes needs fiction to make it plausible.” — Francis Bacon
  6. “The power of historical fiction for bad and for good can be immense in shaping consciousness of the past.” — Antony Beevor
  7. “The nature of good fiction is that it dwells in ambiguity.” — E.L. Doctorow
  8. “It’s no wonder that truth is stranger than fiction. Fiction has to make sense.” — Mark Twain
  9. “Fiction is like a spider’s web, attached ever so slightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible.” — Virginia Wolf
  10. “Imagination and fiction make up more than three quarters of our real life.” — Simon Weil
  11. “Science fiction is any idea that occurs in the head and doesn’t exist yet, but soon will, and will change everything for everybody, and nothing will ever be the same again. As soon as you have an idea that changes some small part of the world you are writing science fiction. It is always the art of the possible, never the impossible.” — Ray Bradbury
  12. “Human kind has been telling stories forever and will be telling stories forever.” — Jim Crace
  13. “Fiction is the lie through which we tell the truth.” — Albert Camus
  14. “I have claimed that Escape is one of the main functions of fairy-stories, and since I do not disapprove of them, it is plain that I do not accept the tone of scorn or pity with which ‘Escape’ is now so often used. Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if he cannot do so, he thinks and talks about other topics than jailers and prison-walls?” ― J.R.R. Tolkien
  15. “The good ended happily, and the bad unhappily. That is what Fiction means.” — Oscar Wilde
  16. “There is no doubt fiction makes a better job of the truth.” — Doris Lessing
  17. “Life is infinitely stranger than anything which the mind of man could invent.” — Sir Arthur Conan Doyle
  18. “If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales.” — Albert Einstein
  19. “Fiction reveals truth that reality obscures” — Ralph Waldo Emerson
  20. “While we read a novel, we are insane—bonkers. We believe in the existence of people who aren’t there, we hear their voices… Sanity returns (in most cases) when the book is closed.” — Ursula K. Le Guin
  21.  “It’s the truth even if it didn’t happen.” — Ken Kesey
  22. “Fiction wouldn’t be much fun without its fair share of scoundrels, and they have to live somewhere.” —  Jasper Fforde
  23. “General fiction is pretty much about ways that people get into problems and screw their lives up. Science fiction is about everything else” — Marvin Minsky
  24. “Fiction just makes it all more interesting. Truth is so boring.” — Charlaine Harris
  25. “The story you are about to read is a work of fiction. Nothing – and everything – about it is real.” — Todd Strasser
  26. “Fantasy is storytelling with the beguiling power to transform the impossible into the imaginable, and to reveal our own “real” world in a fresh and truth-bearing light.” — Leonard S. Marcus
  27. “[Characters] are the beating heart of any story that’s worth reading. All my favourite stories, whether they be books, films, TV shows, comics, computer games, or any other kind of story you care to mention, feature compelling characters. Characters who are not just believable people (though that is vitally important), but who are intriguing, unusual, captivating and – most importantly – unique. Their distinctive qualities makes them memorable, interesting and appealing (even if they are the most sinister villains) and they don’t slot too neatly into cliched archetypes – damsels in distress, moustache twirling villains, reluctant heroes or any other such thing.” — A. Ferguson
  28. “Stories of imagination tend to upset those without one.” — Terry Pratchett
  29. “Fiction is the only way to redeem the formlessness of life” — Martin Amis
  30. “History has its truth, and so has legend. Legendary truth is of another nature than historical truth. Legendary truth is invention whose result is reality. Furthermore, history and legend have the same goal; to depict eternal man beneath momentary man.” — Victor Hugo
  31. “Even in the world of make-believe there have to be rules. The parts have to be consistent and belong together.” — Daniel Keyes
  32. “A well-thought-out story doesn’t need to resemble real life. Life itself tries with all its might to resemble a well-crafted story.” — Isaac Babel
  33. “There is no society that does not highly value fictional storytelling. Ever.” — Orson Scott Card
  34. “The best fiction is true.” — Kinky Friedman
  35. “To write something out of one’s own mind, worth reading for its own sake, is an arduous contrivance only to be achieved in fortunate moments, few and far in between. Personally, I would sooner have written Alice in Wonderland than the whole Encyclopedia Britannica.” — Stephen Leacock
  36. “Just as pilots gain practice with flight simulators, people might acquire social experience by reading fiction.” — Raymond A. Mar
  37. “It’s never too late – in fiction or in life – to revise.” — Nancy Thayer
  38. “All fiction is about people, unless it’s about rabbits pretending to be people. It’s all essentially characters in action, which means characters moving through time and changes taking place, and that’s what we call ‘the plot.'” — Margaret Atwood
  39. “I love fiction because in fiction you go into the thoughts of people, the little people, the people who were defeated, the poor, the women, the children that are never in history books.” — Isabel Allende
  40. “I mostly associated video game storytelling with unforgivable clumsiness, irredeemable incompetence – and suddenly, I was finding the aesthetic and formal concerns I’d always associated with fiction: storytelling, form, the medium, character. That kind of shocked me.” — Tom Bissell
  41. “When a writer is already stretching the bounds of reality by writing within a science fiction or fantasy setting, that writer must realise that excessive coincidence makes the fictional reality the writer is creating less ‘real.'” — Jane Lindskold
  42. “In the best works of fiction, there’s no moustache-twirling villain. I try to write shows where even the bad guy’s got his reasons.” — Lin-Manuel Miranda
  43. “I just had a crazy, wild imagination all my life, and science fiction is the greatest outlet for me.” — Steven Spielberg
  44. “The most watched programme on the BBC, after the news, is probably ‘Doctor Who.’ What has happened is that science fiction has been subsumed into modern literature. There are grandparents out there who speak Klingon, who are quite capable of holding down a job. No one would think twice now about a parallel universe.” — Terry Pratchett
  45. “I write essays to clear my mind. I write fiction to open my heart.” — Taiye Selasi
  46. “A play is fiction– and fiction is fact distilled into truth.” — Edward Albee
  47. “All my fiction starts from a feeling of unique perception, the pressure of a secret, a story that needs to be told.” — Barry Unsworth
  48. “Politicians should read science fiction, not westerns and detective stories.” — Arthur C. Clarke
  49. “Fiction is too beautiful to be about just one thing. It should be about everything.” — Arundhati Roy
  50.  “I can make up stories with the best of them. I’ve been telling stories since I was a little kid” — Rabih Alameddine

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

Until next time!