Author Interview: Jacob Klop

Posted on 15/09/201915/09/2019 by Ndrw

‘A thin crack is all it takes for wickedness to coil into our world. Winding through the delicate minds of innocents and the twisted desires of killers, it preys upon the crippled pieces of our souls.’

Jacob Klop: husband, father, accountant and author of The Community, has just released an excellent new collection of short horror stories, collectively entitled Crooked Souls.

I had the pleasure of chatting with Jacob about his new book, the writing process, and what he feels makes for a great story.

How did you get into writing?

I always took creative writing as my optional courses throughout university, but my brain sent me into accounting and then life/kids came along. About five years ago I wrote the first couple chapters of The Community and then set it aside. I showed it to my wife a year and a half ago and she said it was good enough to be published. Since then, I’ve been obsessed. I believe I was born to be a writer in my heart but my brain sent me in another direction.

It must be quite a challenge to find time for writing while you’re still working as an accountant on top of your family/life commitments. Any tips for juggling it all?

Honestly, I believe the best strategy is to do your best to set a daily goal. Three hundred words a day and you’ll have a first draft of a novel in a year. I aim for a thousand words, but my kids are older now.

What kind of process do you go through when you write? Do you have a particular process that works for you?

I do. I like to write a chapter then do a first edit of the chapter before moving on. I find that tackling the first edit in one chunk can be overwhelming.

Often when you talk to some authors they’ll tell you that they’ll have their stories all planned out and then as they write, their characters will take on a life of their own and take the story off in unexpected directions. Do you ever find this to be the case or do you like to stick doggedly to a plan?

For my short stories I often only have two or three sentences outlining a general plot when I start and they can take a life of their own. My novels need a bit more planning though. As I write I tend to improve my original version/thoughts when I think of better ideas.

So let’s talk about your new collection of short horror stories, Crooked Souls. There’s some really compelling stories in here, each with their own tantalising, grizzly themes running through them. What inspired you to write this book?

I had the idea for one of the stories ‘Trick or Treat’ from years ago so I wrote it for fun in between novels. I had so much fun writing it that I just kept going with more short stories. It helps that my wife is addicted to short horror stories, so I always had a fan to show my work to.

Is horror your ‘usual’ genre then, or do you dabble?

Oh, I’m a dabbler. My first novel was dystopian fiction. I have a completed Sci-fi and MG Fantasy that I need to do final edits on and I’m currently working on a sci-fi in a cyber world with an augmented detective as the main character.

Going back to Crooked Souls, I was quite struck, in a good way, by how in some of the stories the more fantastical horror themes are blended together with ‘real life’ monsters: nurses who get off on the suffering of patients, sleazy groups of men hoping to take advantage of a lone woman and so forth. Would you say horror, despite its fanciful surface themes, has something valuable to say about the darkness of real life?

I suppose it can, but personally, I’m just doing my best to entertain the reader with realistic characters facing horrifying situations. Once the story is in my readers hands it’s up to them to take whatever they want from them.

So what makes for a really great story in your opinion? What ‘does it’ for you personally as a reader?

In my opinion, great stories are driven by a combination of strong character development and an entertaining plot peppered with enough description for the reader to visualise what’s happening. As a reader I want to see what’s happening and feel like I’m getting into the mind of the character. I want to feel immersed in the story.

Do you have any particular author heroes?

Robin Hobb is my favorite followed by Dan Simmons probably. Lately I’ve been reading a variety of indie authors.

And finally, do you have any tips for new writers working on their first book?

Just do it. Don’t hesitate. Get writing, but keep reading and keep writing. I thought my first novel was great, but set it aside for about six months. When I returned to it, I cut out two thousand words because I’d essentially continued to grow and improve as a writer.

Crooked souls by Jacob Klop is available to buy now on amazon.

CLICK HERE TO VISIT Jacob Klop’s AUTHOR PAGE.

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, Pinterest and like Penstricken on Facebook, if that’s what crooks your soul.

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

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:

10 Minute Story Challenge

Posted on 24/02/201923/02/2019 by Ndrw

In my experience, one of the hardest things about writing is coming up with a brand new story idea from scratch. I only know one way to force new story ideas on demand, and that is to sit down and write something. Anything. Maybe it’s different for all of you, but for me, a crumby little zero draft is the best and only way I know to stimulate brand new ideas from nothing. However the temptation to perfect those ideas as I go can be crippling. Ofttimes it can take ages to get started because I want to come up with a good idea before I start writing, which completely defeats the purpose of writing a zero draft.

And so today I thought I would try something new (new for the blog at least). I’ve picked a random writing prompt using Arc Apps’ Plot Gen Pro for Android and have given myself exactly ten minutes to write a zero draft based on it and post the results here, typos and all. I didn’t finish it on time (didn’t even come close to doing so) but that wasn’t the point. The point was to alarm myself into producing something that could conceivably grow into a full story. I’ve also filmed the whole thing so you know I didn’t cheat (the video is at the bottom of this post). So here goes nothing:

Untitled and Unfinished Zero Draft

by A. Ferguson

Prompt: You are living in an evil and corrupt city. Your character is reclusive and has no status in society. you have supernatural strength. You must bring someone back from the underworld.

The kettle on the stove began to whistle furiously. Tagan lifted it off with a curse. He had forgotten all about it.

There was a knock at the door. Tagan glowered suspiciously towards the door. The old man seldom ventured outside any more. He had no friends. He didn’t want any friends in this godless city. He wanted to be left alone.

Another knock at the door.

‘Go away’ Tagan growled. ‘I’ve nothing here for you.’

The door opened by itself and a man entered the hovel: tall, slender and dressed in the robes of a High Wizard. Tagan didn’t know the man’s face but he recognised his attire. One of many corrupt cults of magic that had come to the city in recent decades.

‘Get out of my house.’ Tagan spat.

‘I need you to come with me.’ The man said in a quiet but stern voice. ‘I’ve heard of your quests to the underworld–’

‘Many years ago.’ Tagan grumbled. ‘I don’t do that anymore. Not for anyone.’

‘I’m afraid you have no choice.’ The Wizard told him. ‘The Emperor’s son has died–’

‘So?’

‘So the emperor wishes him returned. You’re the last of the Heroes. No one else can make this voyage into–’

‘Then let him die.’ Tagan said firmly. ‘The whole nation’s corrupt. Everybody’s gone after black magic, despicable pagan practices and now they’re all liars and murderers and adulterers–’

‘I don’t see why–’

‘Everyone who dies is a rest for this world. Maybe soon the whole sorry generation will go the way of all the earth and I frankly don’t care. I’m not going down there, not for the emperor or anyone else.’

The Wizard looked Tagan dead in the eye and said dangerously: ‘You will go down and retrieve the emperor’s son. If you don’t, you will die.’

As he spoke, Tagan felt a curious crushing sensation grip him around the throat. He couldn’t breath. No hand touched him, but he felt as if this young wizard had both hands squeezing tightly on his throat, crushing his wind pipe.

‘Alright.’ He wheezed. ‘I’ll do it.’

The choking sensation immediately stopped and the Wizard appeared to relax.

‘The Emperor will be so pleased. You will leae

TIME UP!

Well that was a fun game. I didn’t manage to write a whole story: more like a really rubbish and half baked inciting incident but maybe I’ll do better next time. Why don’t you give it a go? Use the above prompt (or another of your choosing) and try to write a story based in on it in no more than 10 minutes and share it with us in the comments or on your own blog if you’re feeling brave. I can guarantee you you’ll not write a good one. If you’re like me, you probably won’t even manage to finish it unless you write a really tight flash fiction, but it’s still a good exercise for the imagination. After all, this crumby little scene I’ve written contains the seeds of a story, so maybe one day I’ll write it properly.

Anyway, here’s the video proof I promised you:

Music credits:

Wanderer by Alexander Nakarada |
https://www.serpentsoundstudios.com
Music promoted by https://www.free-stock-music.com
Attribution 4.0 International (CC BY 4.0)
https://creativecommons.org/licenses/b
y/4.0/

Precious Life by Savfk |
https://www.youtube.com/savfkmusic
Music promoted by https://www.free-stock-music.com
Attribution 4.0 International (CC BY 4.0)
https://creativecommons.org/licenses/b
y/4.0/

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 pickles your onions.

ATTENTION AUTHORS:

You can check out our previous interviews here:

Sharleen Nelson, Author of The Time Tourists [2]

6 ‘Six Word Stories’ for the 6th (Vol. IV)

Posted on 06/01/201931/12/2018 by Ndrw

It’s that time again! Sunday the 6th only ever means one thing here at Penstricken: another exciting instalment [2] [3] of 6 ‘Six Word Stories’ for the 6th.

You all know the rules by now. I roll six story dice and I use these to inspire six stories, all exactly six words long, then you guys come along and post your far superior efforts in the comments section. So here goes nothing:

Mad Axe Murderer Exonerated Post Execution

Mushroom cloud, nuclear winter, the end.

Slew the sheriff, saved the maiden.

‘Sorry I missed you.
– The Cat’

Downloaded Treasure Island for free.
…
… … What?

‘I was tired of giving in.’

Well, that one was even tougher than usual but I’m sure you’ll do better!
Just use the stimuli above to come up with six ‘six word stories’ of your own and share them in the comments below.

We’ll do it all again on the 6th of October!

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:

You can check out our previous interviews here:

Sharleen Nelson, Author of The Time Tourists [2]

Not Sure Where To Begin With Your Story? Try Free Writing.

Posted on 15/07/201813/07/2018 by Ndrw

Fact: it is absolutely impossible to write a novel, a script, a screenplay or even a six word story without starting somewhere. There must come a point, somewhere in the journey of your life, when you put pen to paper, so to speak. Not only that, but starting must be the first thing you do. You can’t begin working halfway through the process, nor at the end. You need to start at the very beginning. It’s not just a very good place to start. It’s the only place to start.

We know this to be true and self-evident. And yet getting started is often one of the hardest parts. In fact, the whole reason this week’s post came about is because I spent the last hour and all of my blog-writing time last week being completely unable to start. So I’m writing from personal experience. Friends, let me assure you that there is a reliable way to get those juices flowing on demand: it’s called free writing.

Free writing is a time honoured prewriting technique which works by encouraging the writer to write without fear of criticism or failure for a set period of time. Of all the manifold techniques that exist for helping writers to get into the zone, this is easily the one I find the most useful.

Anyone can free write. All you do is set yourself a time limit and then write anything and everything that comes to mind as fast as you can without stopping. And when I say ‘without stopping’, I mean without stopping. You don’t stop to correct spelling or grammatical errors, nor do you stop to delete something you’ve changed your mind about. You don’t even stop to think about what to write next. You may find yourself writing nonsense. You will almost certainly be appalled by your own spelling and grammar. That’s all okay. If you’re anything like me, you will probably find your page is punctuated with little passages bemoaning how difficult it is to write: ‘yes, anyway, right, what will I write now? i don’k know, I can’t think what to write now. I’ll think of something in a minute. I hope. Maybe’.

That’s all okay. That only means you’re doing it properly. The point of free writing is not to write something good. It’s not even necessarily about coming up with ideas for proper writing (though you often will). It’s simply about getting out of that lazy, defeated-before-you’ve-even-started zone and into the writing zone.

Want to give it a go yourself? Here’s a few tips:

Make It The Very First Thing You Do

Think about it: when do you usually write? After you’ve done other stuff, obviously. It might’ve been work, it might’ve been recreation, it might’ve been sleeping, it might’ve been shopping but one thing is certain: before you started writing, you were doing something else. And now you come to your story unmolested by writers’ block and with a head full of life-things; and all life-things are potential sources of ideas. If, on the other hand, you decide to free write only after you’ve been staring a blank page for three hours, you’ll only have a head full of writers’ block and a gnawing feeling of self-doubt. While it doesn’t matter what you write, you’ll probably find it a more rewarding and enjoyable experience if you write something other than ‘I suck at writing’ a million times over.

Keep The Time Limit Brief

How long you need will depend on your own abilities as a writer, but I find ten-fifteen minutes usually works well for me. You don’t want it to be so short you barely have time to get started, but you also don’t want to drag it out so long that you run out of things to write. Give yourself just enough time to vomit every last drop of consciousness onto the page.

Use Typewriter or Something Similar

Remember, you are not allowed to edit at all. However, knowing this does not always remove the temptation to hit that delete key, just once. We’ve grown so accustomed to quickly correcting our spelling errors and tidying up as we go along that we don’t even realise we’re doing it. If that applies to you, grab yourself a free copy of Typewriter – Minimal Text Editor. It’s a simple ASCII text editor with absolutely no editing functionality whatsoever. The delete key does nothing. You cannot copy and paste. You can only make words appear. If you’re feeling really hardcore, there are also apps out there like Write or Die which will punish you in cruel and unusual ways for writing too slowly.

Make It A Habit

You’ll probably feel a bit silly the first time you free write. Stick with it until it becomes a regular part of your prewriting routine. If nothing else, it’s a good way to signal an official ‘beginning’ to your daily writing session, like clocking in at the day job. Before long, you’ll look forward to turning on that timer every day for the easiest part of your writing session.

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.

Flash Fiction: The Girl & The Car

Posted on 27/05/201829/05/2018 by Ndrw

You know what? Sometimes, it’s murder coming up with a good title for your story. I wrote this little flash-fic ages ago, and although I don’t think it’s the best story I’ve ever written, I wanted to at least share it on the blog but… I just haven’t been able to come up with a decent title for it to this day; and believe me, it hasn’t been for a lack of trying. Still, it’s been sitting on my computer doing nothing for too long so for better or worse, here it is. Feel free to suggest better titles in the comments.

As always what follows is entirely my own work and has not been published anywhere else in the world, whether in print or online, nor do I expect or permit it to be. And so without further ado, I give you:

The Girl & The Car

by A. Ferguson

The car was mine. I found it, so it was mine.

I don’t know how it got there. I was just playing in the bushes at the bottom of the hill one day and there it was, in the clearing. It didn’t have any glass in the windows and two of the doors were missing. Also the steering wheel came off if you turned it too hard.

I couldn’t have been happier. My own car. A real one. I let Michael and Paul use it too, and sometimes I even let them drive it because it’s no fun on your own. That was okay because they knew it was mine because I found it. I didn’t tell Mum and Dad about it and I told Paul and Michael not to tell their mums and dads either. Adults have funny ideas about things like that. I knew they wouldn’t let me keep the car, even though I found it fair and square and it didn’t really go.

It was Sunday. Me and Michael were playing Batman in the car while we waited for Paul. His family went to a different church from me and Michael so we always met him after lunch. I was Batman (obviously, because it was my car) but it was Robin’s turn to drive.

When Paul arrived, he had a girl with him.

‘Girls aren’t allowed in the car!’ Michael objected. ‘Why’d you even bring her here? This is private property.’

‘Aw, c’mon Mikey, she’s my cousin!’ Paul whined. ‘Mum said I had to. It’s just for today. I swear I tried not to but they said I had to or I couldn’t come out. I swear I tried!’

‘Well, she’ll have to sit in the back!’ I decreed, thinking myself generous. I don’t know how old she was but she was younger than us. Too young. And a girl.

‘I want to drive!’ She cried with glee. ‘Please please please please, pretty, pretty please!’

‘No.’ I said. Enough was enough.

‘How not?’

‘Cause. It’s my car. Girls aren’t allowed.’

‘Come on, Haitch, let her have a go.’ Paul said. ‘It’s only for today.’

‘He’s siding with her!’ Michael jeered, gripping the wheel even though it had fallen off again.

‘I’m not! It’s just Mum said I had to or I couldn’t come out. It’s only for today. Come on!’

‘Your mum only said she had to come with you. She’s with you.’ I ruled. ‘She doesn’t even know about the car so that doesn’t count.’

‘Henry!’ Michael hissed, grabbing my arm. ‘What if she tells?’

‘I’m telling!’ The girl taunted us. ‘I’m telling, I’m telling!’

‘That was your fault!’ I said, punching Michael in the arm.

‘How’s it my fault? Paul brought her!’ He hit me back, though not hard. I guess he knew it was his fault.

‘I’m telling, I’m telling!’ The girl sang in words that didn’t rhyme. ‘Let me drive or I’m telling!’

‘Henry, just let her drive!’ Paul pleaded. ‘What’s the big deal? It’s only for one day.’

‘She’s a girl!’ I exploded. ‘And she’s too wee, she’ll tell!’

‘I’ll not tell if you let me have a go.’ She promised. I was about to argue but–

‘Alright.’ Michael said, opening the imaginary door and climbing out. ‘You can have a go, just a quick one mind! But you’d better not tell!’

Treachery!

‘That’s not how it works!’ I said, clambering across to the driver’s seat and grabbing the wheel. ‘It’s mine!’ I said, pointing to the place on the dash where I had scratched ‘HBS’ into the dashboard. That’s my initials: Henry Barrington-Smyth. ‘I found it, so it’s mine!’

‘Fine!’ The girl shouted. ‘It’s a stupid car anyway! I’ve got a better one at my bit, with proper doors and windows and everything! And it drives for real! And you’re not getting a go!’

Then she went away. Paul went after her.

‘Just let her go!’ I shouted after him. He turned to face us but kept walking backwards slowly.

‘I can’t! My mum, she said…’ He trailed off. Then he turned and ran after her.

‘Paul! Paul! Just let her go, Paul!’

He ignored me. Michael ran after him, leaving me alone in the car. I couldn’t move. It felt important to hold my ground in the car. The car was mine as long as my bottom was on the seat and my hands were on the wheel. Ahead, at the edge of the clearing, I saw Michael grab Paul by the arm to pull him back. Paul shrugged him off and shouted something at him. I don’t know what it was but his face was livid. He stormed off through the bushes, out of the clearing. Michael followed him, shouting after him but was back a few moments later. He came back to the car.

‘Henry, what if she tells?’ Michael asked again. His voice was quivering and his face was ashen.

‘She won’t tell.’ I said, fighting to ignore a hollow sensation in my stomach. ‘Paul won’t let her. She won’t tell. She was just saying that.’

* * *

Well, she told. Ten minutes later, Michael’s mum came down into our clearing where our car was parked. We were still sitting there, forcing ourselves to be Batman and Robin. Michael got such a blazing row off his mum that I didn’t know where to look. She gave me a good tongue lashing as well, then I went home and got more of the same from my own mum. I wasn’t surprised by that. Once one adult knows something, they all know it.

We never saw Paul again for weeks. He didn’t go to the same school as me and Michael and whenever we went in for him, we were told he couldn’t come out. I felt sick. What if he wasn’t talking to us any more, all because of some stupid burnt out car? Michael and me never spoke about it but I think he felt the same. Then one day Paul came in for me. Turned out his parents had just grounded him and never told us, not even when we went in for him.

We never saw the car again. In some ways, it was a relief. We went back to the clearing a while later (and I mean a long while later) but the car was gone. I don’t know where. We didn’t dare ask. It didn’t matter that it had my initials on it or that I found it. It wasn’t mine any more. I don’t think it ever had been.

THE END

ATTENTION AUTHORS:

I’m hoping to do author interviews here on Penstricken over the coming year, especially with new fiction authors. 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.

Until next time!

6 ‘Six Word Stories’ for the 6th (vol. III)

Posted on 06/05/201802/05/2018 by Ndrw

Well can you believe it, it’s that time again already? Today is Sunday the 6th of May and that means it’s time for another exciting instalment [2] of 6 ‘Six Word Stories’ for the 6th!

You probably know the rules by now. I roll six Story Dice and I write a six word story loosely based upon whatever image is displayed on each die, starting from the top left. As ever, the following stories are entirely my own work.

So here we go.

Screenshot_2018-03-20-09-02-36

Alea iacta est.

New Earth colony. Same old stories.
The Englishman’s mortgage was his castle.
‘Judas, take charge of the moneybag!’
Final upstairs climb, borne by ambulancemen.
Bit the coin. Not real gold.
Old friends, old wine, old times.

Phew! It doesn’t get any easier! Why not give it a go yourself? Use the stimuli above to come up with six ‘six word stories’ of your own and share them in the comments below so we can all see how much better you are than me.

We’ll do it all over again on Sunday 6th January 2019.

Until next time!

ARE YOU AN 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.

Should You Use Profanity in Your Story?

Posted on 21/01/201820/01/2018 by Ndrw

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.

giphy — 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.

Until next time!

ARE YOU AN 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.

100 Word Story: The Secret of Sig. Pieroni’s Pizza

Posted on 03/12/201702/12/2017 by Ndrw

Those of you who have been floating around Penstricken for a while may recall that I once mentioned a particular plot bunny that assailed me when I was travelling home from work. As my bus passed by a Chinese takeaway, it occurred to me that a takeaway restaurant could make a lot of money if only the owner had exclusive and discreet access to a time machine, thus allowing him to deliver food promptly no matter how busy a night he was having. However, I neglected to actually show you the story that came about as a result of that plot bunny.

And so… here it is. As always, what follows here is entirely my own work and has not been published anywhere else in the world, whether in print or online nor do I expect it to be.

THE SECRET OF SIG. PIERONI’S PIZZA

by A. Ferguson

‘What if we’re caught?’ Derek whispered.

‘It’s our customers Pieroni’s stealing with his “piping hot pizza delivered in under five minutes.”’ Sandra hissed. The lock gave. They were in. ‘No way he’s doing that single-handed, whatever he says. It’s a tax thing, gotta be. Try find his ledger.’

‘What’s this?’ Derek whispered, fiddling with an unlabelled control panel beside the pantry. Something inside the pantry began to hum. Derek stepped inside.

‘Found it!’ Sandra called. ‘Let’s go!’

No reply.

‘Derek!’ She whispered, following him into the pantry. ‘Quickl-’

They were outdoors.

In the distance, herds of dinosaurs fled an erupting volcano.

THE END

Until next time!

50 Quotes About Fiction

Posted on 19/11/201718/11/2017 by Ndrw

“I like telling stories.” — Hunter Parrish
“All fiction has to have a certain amount of truth in it to be powerful.” — George R.R. Martin
“Literature is a luxury; fiction is a necessity.” — GK Chesterton
“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
“Truth is so hard to tell, it sometimes needs fiction to make it plausible.” — Francis Bacon
“The power of historical fiction for bad and for good can be immense in shaping consciousness of the past.” — Antony Beevor
“The nature of good fiction is that it dwells in ambiguity.” — E.L. Doctorow
“It’s no wonder that truth is stranger than fiction. Fiction has to make sense.” — Mark Twain
“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
“Imagination and fiction make up more than three quarters of our real life.” — Simon Weil
“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
“Human kind has been telling stories forever and will be telling stories forever.” — Jim Crace
“Fiction is the lie through which we tell the truth.” — Albert Camus
“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
“The good ended happily, and the bad unhappily. That is what Fiction means.” — Oscar Wilde
“There is no doubt fiction makes a better job of the truth.” — Doris Lessing
“Life is infinitely stranger than anything which the mind of man could invent.” — Sir Arthur Conan Doyle
“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
“Fiction reveals truth that reality obscures” — Ralph Waldo Emerson
“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
“It’s the truth even if it didn’t happen.” — Ken Kesey
“Fiction wouldn’t be much fun without its fair share of scoundrels, and they have to live somewhere.” — Jasper Fforde
“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
“Fiction just makes it all more interesting. Truth is so boring.” — Charlaine Harris
“The story you are about to read is a work of fiction. Nothing – and everything – about it is real.” — Todd Strasser
“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
“[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
“Stories of imagination tend to upset those without one.” — Terry Pratchett
“Fiction is the only way to redeem the formlessness of life” — Martin Amis
“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
“Even in the world of make-believe there have to be rules. The parts have to be consistent and belong together.” — Daniel Keyes
“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
“There is no society that does not highly value fictional storytelling. Ever.” — Orson Scott Card
“The best fiction is true.” — Kinky Friedman
“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
“Just as pilots gain practice with flight simulators, people might acquire social experience by reading fiction.” — Raymond A. Mar
“It’s never too late – in fiction or in life – to revise.” — Nancy Thayer
“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
“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
“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
“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
“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
“I just had a crazy, wild imagination all my life, and science fiction is the greatest outlet for me.” — Steven Spielberg
“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
“I write essays to clear my mind. I write fiction to open my heart.” — Taiye Selasi
“A play is fiction– and fiction is fact distilled into truth.” — Edward Albee
“All my fiction starts from a feeling of unique perception, the pressure of a secret, a story that needs to be told.” — Barry Unsworth
“Politicians should read science fiction, not westerns and detective stories.” — Arthur C. Clarke
“Fiction is too beautiful to be about just one thing. It should be about everything.” — Arundhati Roy
“I can make up stories with the best of them. I’ve been telling stories since I was a little kid” — Rabih Alameddine

Until next time!

Fiction: Reality Refined

Posted on 05/11/201704/11/2017 by Ndrw

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.

Until next time!