Throwback Thursday: Should You Use Profanity in Your Story?

Originally published 21/01/2018

I’ve been reading Tom Hanks’ Uncommon Type: Some Stories. It’s not really my intention to review it here today (not least of all because I haven’t read it all yet), but I will say I’ve been pleasantly surprised by the quality of his writing. It doesn’t read like an actor trying to make a few extra quid by writing a book. It reads like something written by a professional author who knows a thing or two about writing quality stories. In short, I’m enjoying it. But something else about it surprised me: the language. There’s a lot of profanity in there and for some reason, I expected Tom Hanks’ work to be a little bit more family friendly. Don’t ask me why. Maybe it’s just because I’m hearing it in Woody the Cowboy’s voice.

Anyway, this all got me thinking about the use of profanity in fiction. We authors walk a fine line between realism and rudeness, especially when it comes to writing dialogue. Where do you draw the line?

Well… it depends.

The first and most obvious thing is to consider your audience and what they expect from your story. Certain audiences tend to go for certain genres, and as such, the level of profanity in your work will often be largely dependent on your genre. If you have a real aversion to using any profanity whatsoever in your writing, the simplest way around this is to stick to those genres which tend to have less profanity in them. Alternatively, you can always sit down and watch the soaps for inspiration. Really, I’m serious. Emmerdale, Eastenders and Coronation Street are simply chock full of characters having heated arguments about adultery, betrayal, crime and all sorts of other grim subjects without a single f-bomb being dropped.

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Image source: http://gph.is/1c3k48L

However, let’s assume you are willing to use some profanity in your story. There might be lots of reasons why you use bad language in your story. In Star Trek IV: The Voyage Home, Spock makes frequent (mis)use of mild profanity in a vain attempt to fit in with 20th century human society. Here it serves a very simple function: comedy relief (even though The Voyage Home is pretty light-hearted anyway). It also works, because it’s done in a fairly subtle way. Bad language is also often used to add a sense of anger or urgency to a character’s dialogue. It is, therefore, an undeniably useful tool for some authors.

A word of warning, however: profanity has the power to augment your story or to utterly ruin it, perhaps more than any other technique you might use. A measure of bad language may or may not be appropriate if you’re writing for adults, but bad language is not the defining characteristic of a good adult story. It is simply a tool that you may decide to use or not use as you see fit. Overusing it, as with any other literary technique, can destroy your story. The fact is, profanity loses its power very quickly. The more often bad language is used, the more desensitised the reader becomes to it. What began as a striking technique with which to shock or amuse the audience quickly becomes nothing more than a few pointless extra words which ruin the flow of the narrative.

‘But in real life, some people do swear ten times in a single sentence!’ I hear you cry. ‘How can I make my dialogue realistic if I water it down?’

It can be tempting to think this. On the surface it seems perfectly rational. However, any seasoned author knows that dialogue in fiction is actually very different from the way real people talk from day to day. Dialogue flows. Dialogue makes sense. Dialogue is to-the-point. Even when sub-text is used, what is said remains clear and advances the story in a very definite direction. For this reason, profanity may sometimes be necessary but it should be carefully measured, lest it lost its power.

In real life, people talk rubbish. They say things they don’t mean. They’ll change the subject. They’ll utterly misunderstand the subject and, you know, they’ll like… how can I put it? They’ll, I don’t know, they’ll– respond in inappropriate ways. You know, like, you’ll say something and they’ll say something back and it’s obvious they’ve not understood you because what they’ve said back doesn’t make any sense. Like that time I was talking to Sandra about fly fishing and she… [insert long winded, irrelevant anecdote here]. They’ll misuse pacific words, mishandle slang and make such a mess of their utterances that it frankly beggars belief that humans are able to communicate verbally at all.

In the same way a real person might swear twenty times per sentence, but if you want to fictionalise that person, you’ll probably want to tone down his language lest it ruin the flow of your narrative.

One last thing to bear in mind: You’re never going to please everyone. What matters, therefore, is you, your story and your intended audience (not necessarily in that order). Ask yourself, why am I using profanity here? Is it really necessary to make my story work? Am I comfortable using it? Will it produce the correct response in my intended audience (forget your ‘unintended’ audience; you can’t possibly please everyone), or will it bore/offend them? Ultimately, you have to decide for yourself what’s appropriate. Personally, I find less is usually more when it comes to profanity, but maybe that’s just me.


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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: Super Snappy Speed Reviews (Star Trek Edition)

Originally published 24/09/2017
SPOILER ALERT

While every effort has been made to avoid spoilers in this post, anyone who has not seen all of the films in the Star Trek franchise is hereby advised that this post may contain a few unavoidable spoilers.

The day we’ve all been waiting for with a combination of both hope and dread is finally here. Star Trek: Discovery premieres in America today, and so, in honour of this momentous occasion (and since we Brits won’t be getting it until tomorrow), I am pleased to present Super Snappy Speed Reviews: Star Trek Edition!

We’ve already had super snappy speed reviews for books (twice, in fact), TV shows and films but today it’s going to be a bit different. Today I’ll be reviewing all thirteen Star Trek films in order of release. As ever, these reviews only reflect my own personal opinions and impressionsphasered, disruptored and bat’lethed into just two or three sentences. So without further ado…

Star Trek: The Motion Picture

While it has a lot of the elements we might look for in a good Star Trek episode, The Motion Picture is spoiled by ridiculously slow pacing.  Buckets of atmosphere but not much else to say in its favour.

My rating: 🖖🖖

Star Trek II: The Wrath of Khan

This film’s got it all: a familiar antagonist with a score to settle, exciting space battles and plenty of sub-plot. Arguably the best film in the entire franchise.

My rating: 🖖🖖🖖🖖🖖

Star Trek III: The Search for Spock

I can’t say much about this without giving away spoilers galore but suffice to say it’s a good popcorn muncher and is integral to the overall Star Trek canon. Its main let-down is the half-baked antagonist: a random Klingon with no redeeming qualities trying to steal a technology which he thinks will make a good weapon of mass destruction.

My rating: 🖖🖖🖖🖖

Star Trek IV: The Voyage Home

Definitely the most light-hearted of the Star Trek movies. Plenty of humour, a casual ecological moral and no real antagonist to speak of (okay, there is a giant probe thing threatening to destroy Earth, but only because it wants to make friends with some humpback whales and earth doesn’t have any them any more)

My rating: 🖖🖖🖖

Star Trek V: The Final Frontier

The rest of the world seems to hate this film but I quite enjoyed it. Sybok was a particularly interesting antagonist, in that he seemed to be well-meaning, if badly misguided. It probably could have benefited from unpacking some of the more important themes, however.

My rating: 🖖🖖🖖

Star Trek VI: The Undiscovered Country

My favourite Star Trek films and episodes are always those which focus on interstellar politics, particularly the Federation’s tense relations with the Klingon Empire. If that’s your flavour too then this film’s got it all: conspiracies, interstellar peace talks and even a Klingon courtroom scene.

My rating: 🖖🖖🖖🖖🖖

Star Trek: Generations

This film has a great bad guy (although I could have done without the Duras sisters…), strong themes and apart from being a little on the slow side at points, is generally well paced. The (mostly humorous) subplot concerns the previously emotionless android, Data, now fully equipped with emotions he can’t control, which is funny at first, then gets serious before kind of just fizzling out and resolving itself without explanation.

My rating: 🖖🖖🖖🖖

Star Trek: First Contact

If Wrath of Khan isn’t my favourite in the franchise, this one is. Excellent acting, strong writing and well paced. The Borg Queen in particular provides the previously faceless Borg Collective with a leader who is as subtle and seductive as she is evil. Unfortunately, this film does also include my least favourite line of dialogue in all of Star Trek history: ‘You people, you’re all astronauts on… some kind of star trek?’

As an aside, non-Trekkies should not begin here; this film is full of important references to the TV series.

My rating: 🖖🖖🖖🖖🖖

Star Trek: Insurrection

This might’ve worked as a TV episode, but as a film it’s just boring, boring, boring with extra boring on top. Some dude we’ve never heard of (with a simply appalling plastic surgeon), from a race of aliens we’ve never heard of wants to chase some helpless innocent people we’ve never heard of away from their planet and Picard doesn’t like it and… zzzzzzzzz…

My rating:  🖖🖖

Star Trek: Nemesis

Tom Hardy and Patrick Stewart’s acting as Shinzon and Captain Picard respectively are about the only things this film really has going for it. In theory, the premise had lots of potential but it turned out to be a bit of a poorly written non-story about a disgruntled clone who decides to kill everybody with a particularly nasty WMD, only to be thwarted by an inevitable act of self-sacrifice from one of the heroes.

My rating:  🖖

Star Trek

As reboots (especially prequels) go, this was a zillion times better than I thought it was going to be. It features, quite simply, some of the best plotting, characterisation and pacing I’ve seen in a Star Trek film. There are a few inconsistencies with prime universe that are not explained by the time travel story but nothing anyone but the most knit-picky of fans would worry about.

My rating: 🖖🖖🖖🖖

Star Trek Into Darkness

Take all your favourite scenes from Wrath of Khan, mix them up a bit and boom! You’ve got Star Trek Into Darkness! Even so, with its strong plot, superb acting (especially from Benedict Cumberbatch) and plenty of excitement, this remains my favourite Star Trek film since First Contact.

My rating:  🖖🖖🖖🖖🖖

Star Trek Beyond

After Insurrection and Nemesis, Star Trek Beyond is my least favourite Star Trek film. The writers clearly decided to forget about pacing, characterisation and all that boring stuff and created a non-stop heart-pumping thrill ride instead. Great acting though, I’ll give it that. Click here for a more detailed review on this film.

My rating: 🖖


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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.


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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: 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.

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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: 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: Fiction- Reality Refined

Originally published: 05/11/2017

There are two kinds of story in this world. Those that are not at all true to life and therefore are completely unsatisfactory, and those that create the illusion of being true to life but, in fact, are not. Very few stories (even those meticulously and faithfully based on true events) accurately reflect real life once they’ve been structured in a way which allows them to be communicated, because real life is far too much of a jumble for that to be possible.

‘But wait just a minute here,’ I hear you cry. ‘I read a book/watched a film/attended a play/played a game just the other day there and it was the truest darn thing I’ve ever seen in my entire life!’

Well of course it’s true that if you’re writing a story, you’ll want it to be true to life in the sense that it must accurately reflect the human experience. A skilled author can (and should) attempt to communicate far more fundamental truths than this about life and death, war and peace, society, philosophy, religion or whatever it might be in their stories. And of course, stories based on true events must remain faithful to history. No one is denying any of that.

However, in real life, events are disjointed and random. Things happen for no reason. Reality must therefore be refined in order to turn it into a digestible and entertaining story. For instance, you might be writing a novel (based on the true story) about your holiday to France where you met your future wife and fought to win the respect of her disapproving father. Now while you were there, you also bumped into Mr. Donald, your former maths teacher. It turns out he’s there to attend the Fête de la Musique because (to your surprise) he’s ridiculously enthusiastic about music and will travel far and wide to attend music festivals all over the world. You make polite conversation about this for twenty minutes and then go your separate ways. You put the event out of your mind. Life goes on. It never comes up again. All that you have learned about Mr. Donald, his passion for music or that there is an all-day music festival that happens in Paris every June neither harms or benefits you in any way, at any point in your life, ever.

So… when you come to write the novel about how you went on holiday, met a girl and won the respect of her father, you’re not going to include that event, are you? Because in all story telling, everything happens for a reason. Meaningless events only serve to break up the flow, rhythm and pace of the story. Have you ever been watching a film and noticed that nobody ever says goodbye to anybody else, even on the telephone? Or that nobody ever walks into a room and forgets what they went there for, or forgets what they were about to say. And no one ever needs to go to the toilet, unless there’s a mad axe murderer in there already poised and waiting to kill them. This isn’t true to life at all! In real life, people always forget things, usually do say goodbye on the phone and, more often than not, have uneventful visits to the bathroom.

Not only that, but in all good stories (even those based on true events) there is a clear and identifiable structure, sometimes called the ‘story arc’ or ‘narrative arc’ (a simple definition and description is available here) and all the events in your story should contribute in some way towards its construction. This is not true to life, but it is good story telling. In real life, you meet new people all the time. They enter your life, do or say so many things and then leave your life, often without ceremony. Many different events happen all at once and are often never fully resolved. Good story telling isn’t like that. In good story telling, A leads to B which leads to C and in the end, all the loose ends are tied up. They might not necessarily all live happily ever after, but the story comes to a neat end. Our questions are answered and we are happy to assume that life goes on (at least for the survivors).

If all of this is teaching your granny to suck eggs, let me draw your attention to one more point: dialogue. In dialogue, you walk a fine line between creating a distinctive and believable voice which tells you something about the character and constructing your dialogue in a way which allows your narrative to flow.

It may be difficult to do because we’re all so used to verbal communication, but next time you’re having a verbal conversation with someone, listen to the words they use. Don’t just listen to their meaning. Pay careful attention to every utterance. You will notice that, more often than not, the rules of grammar go out the window. New sentences are often begun before the previous one is finished. People interrupt and talk over one another. Sometimes misunderstandings will derail a conversation (‘Do you like coffee?’ ‘Oh yes I’d love one, thank you!’). Words are often misused (for instance, when people say ‘pacific’ instead of ‘specific’). Sentences are often punctuated by non-sensible utterances (‘erm…’, ‘uhh…’). The list goes on.

Seriously, I encourage you to try it someday. Make a precise transcript of a real-life conversation in exactly the order it is spoken and read it back to yourself. You will marvel at the fact human beings are able to communicate at all when you see just how muddled up our verbal communication is.

In fiction, however, your dialogue can’t be like that. You can add dialects, accents and perhaps even the odd bit of bad grammar to your heart’s content but the flow of the conversation still has to be clear for the reader. Dialogue, just like the rest of your narrative, has a purpose. It drives the story on, and therefore it must accomplish its ends. Still, it must sound believable. You as the author, therefore, walk a fine line between making it sound so implausibly perfect that your characters seem wooden and so realistically imperfect that it reads like meaningless waffle and drags your story’s pace down to a crawl.

Not only that, but you also have to beware of making the content of a conversation sound too contrived. It can be all too tempting to use dialogue as a place to info-dump. E.g., ‘I visited my sister, Andrea McLaren, 24, who lives just around the corner from the butchers on Western Road’.

Real people don’t talk like that. If Andrea’s full name, age and address are important, they need to be worked in with subtlety and believably. There are many techniques you can use to lend credibility to your dialogue, but I’ll come back to that in a future post.


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

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

WordPress.com Jetpack WooCommerce

ATTENTION AUTHORS:

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

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

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

You can check out our previous interviews here:

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

Originally published: 04/06/2017

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

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

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

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

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

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

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

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

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

Until next time!


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

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

WordPress.com Jetpack WooCommerce

ATTENTION AUTHORS:

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

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

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

You can check out our previous interviews here:

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

Originally published: 28/05/2017

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

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

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

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

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

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

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

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

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

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

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

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

Simple.

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

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

Until next time!


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

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

WordPress.com Jetpack WooCommerce

ATTENTION AUTHORS:

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

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

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

You can check out our previous interviews here:

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

Originally published: 21/05/2017

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

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

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

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

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

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

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

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

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

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

Until next time!


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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.

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