5 Basic Star Trek Plots

Back when I was still a kid writing Star Trek fan fiction, there were only four Star Trek TV series and ten movies. No Discovery, no Kelvin universe or any of that other snazzier, slightly darker stuff we’ve been getting served recently. And now I hear that they’re expanding the franchise even further, with more shows and films, including a new Captain Picard show.

Now… I don’t want to knock the new stuff. Most of it is quite good in its own way. But if I have one criticism for them all, its that they lack that cheese, that optimism, that je ne sais quoi that made Star Trek, Star Trek. They’re just a bit to grim. Too serious. Dare I say, too cool. And for that reason, I’ve got my doubts about this new Picard show. I’m fearful that it’s going to take one of the franchises’ most beloved characters and ruin him. And so, for the benefit of any would-be Star Trek writers, I have compiled this list of five basic Star Trek plots to help you on your way to writing a traditional, cheesy Star Trek story.

A Disasterous Transporter Malfunction

transoprter.gif
Source: http://gph.is/2mm5hol

In Star Trek, the transporter is a ‘completely safe’ device which breaks an object or person down at the molecular level and re-materialises them on another ship or planet.

What could possibly go wrong?

Lots, apparently. It turns out that a dicky transporter can leave you with stones embedded in your body (ENT: “Strange New World”); separate your ‘good side’ from your ‘evil side’ so that you become two separate people (TOS: “The Enemy Within”); beam you up naked (VOY: “In The Flesh”) and re-materialise you as a child (TNG: “Rascals”). Remember, would-be Trek-writer, the transporter is a treasure trove of light-hearted nonsense with which you can easily fill up an hour with.

Going Faster Than Fast And Ending Up Somewhere Crazy

Sometimes, perhaps due to an alien seizing control of the ship, because we entered a wormhole or because somebody accidentally broke the ship’s engines, we’re now moving even faster than we ever thought possible.

The burst of speed only lasts for a moment, and naturally the first thing to do is figure out where we are.

But wait… this must be a sensor malfunction. But it’s not! You’re three or four galaxies away from where you started (TNG: “Where No One Has Gone Before”)! You’ve ended up in front of a terrifying new antagonist (TNG: “Q Who?”)! You’ve mutated into an amphibian and had amphibian babies with your amphibian captain (VOY: “Threshold”)!

How will we ever resist the mind-altering properties of this weird place?!

How will we escape the terrifying aliens?!

How will we ever look Captain Janeway in the eye again!?

There you go. There’s your story.

We’ve Been Unwittingly Killing/Enslaving Intelligent Lifeforms!

It’s life Jim, but not as we know it. And that’s our lame excuse for hunting it like vermin (TOS: “The Devil in the Dark”), destroying its natural habitat (TNG: “Home Soil”) and forcing it to carry out dangerous or degrading tasks for us (TNG: “The Quality of Life”).

However, nobody but the regular cast seems to realise that this poor creature is clearly an intelligent life-form and any suggestion that it might be will be met with great hostility. This kind of story usually goes one of two ways:

  1. The creatures declare war on humanity and almost destroys the ship. The climax consists of a stand-off between humanity and the new lifeform in which only a last ditch attempt at diplomacy can save the day.
  2. A few frightened/unbelieving humans (usually guest stars) propose a course of action which will destroy the new lifeforms, resulting in a conflict between themselves and the regular cast, who are more enlightened and realise that killing is wrong.

The Inevitable Time-Travel Episode

No Star Trek series is complete without at least one time-travel episode. The crew’s odyssey through time is often (though not always) involuntary and, more often than not, it will involve correcting a significant change in established historical events. Sometimes this change will have been brought about by a malevolent force who is deliberately interfering in history (e.g.: DS9: “Trials and Tribble-ations”; VOY: “Relativity”) while other times it will be the regular cast themselves who have accidentally changed by history simply by being there (e.g.: TOS: “The City on the Edge of Forever”; DS9: “Past Tense”).

There are exceptions, of course. Star Trek IV: The Voyage Home paid precious little attention to the continuity of the time-line (the crew invented transparent aluminium early, took a native back to the 23rd century and regrew a woman’s kidney without a second thought). So by all means, have fun with time-travel.

The Inevitable Court-Room Episode

Budget drying up? Try writing a court-room episode. These feature hardly any flashy effects and are mostly dialogue-driven. It’s nearly always a member of the regular cast who has either been wrongly accused of some offence (TOS: “The Wolf in the Fold”, TNG: “A Matter of Perspective”, DS9: “Inquisition”) or else is fighting for their basic rights (TNG: “The Measure of a Man”, VOY: “Author, Author”). However, there are exceptions. Sometimes its a guest character who’s on trial with the emphasis being placed on the character’s main advocate, who is usually a member of the regular cast (TNG: “The Drumhead”, VOY: “Distant Origin”).

Honourable Mentions:
  • Someone Is Violating the Prime Directive!
  • A God-like Alien Is Bullying Us
  • A Regular Character Falls in Love and Gets Dumped in One Episode
  • The Whole Crew is Going Mad!
  • The Whole Crew has Caught a Plague!
  • There’s Klingons/Romulans/Jem’Hadar/Borg on the Starboard Bow!

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

Until next time!

ARE YOU AN AUTHOR?

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

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

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

Writing a Second Draft When You’re a Plantser

‘But how many drafts should I write?’ … The short and somewhat glib answer is, ‘as many as it takes’

(A. Ferguson 2017, ‘How Many Drafts Should I Write?’).

About a year ago, I had this great idea for a novel which I was really excited about. In fact, I was so excited about it and the idea worked so well that I produced a first draft in virtually no time. Seriously, I’ve never known productivity like it.

Of course, it wasn’t perfect. It wasn’t supposed to be; it was only a first draft. That’s why we have second drafts. They give us an opportunity to take our original, crumby story and turn it into a good story by fixing all the problems with characters, plot, theme, world-building and all that sort of stuff, so I wasn’t worried. In fact, I was downright enthusiastic. Even before I sat down to study my first draft, my head was already bursting with ideas for how I was going to improve upon my initial effort. Oh yes, this second draft was going to be a doozy alright.

Well that was about six months ago; and let me tell you, it’s been a tough six months for writing. I haven’t even come close to finishing this second draft yet, and I now know why. It hadn’t been for a lack of trying. I’d been diligently working to wheedle out all the little problems with my story before launching in to the writing stage and, for the most part, I had been successful but… I just couldn’t seem to fix some of the problems I perceived with my magic system (I’m writing a fantasy). The one I had in my first draft worked, but I didn’t think its origin story made a lot of sense. However, whenever I tried to fix it, I found myself undermining my actual plot. It just seemed that the more I tried to fix it, the more problems I ended up creating. Sometimes I even feared that I had completely ruined my story beyond all redemption all because I couldn’t make sense of this blasted magic system (that’s why you should never delete anything pertaining to your story, no matter how useless it may seem). Let me tell you, I came up with a lot of different variations on that magic system but I was just tying myself in knots. I was accomplishing very little and growing frustrated with my wonderful novel.

It was my wife who finally reminded me: I’m a plantser. I begin with a rough plan, but it’s only when I write and let my imagination run wild that my plan starts to grow a bit of flesh and take on a life of its own. Why was it, then, that when I came to write my second draft that I felt so compelled to have a perfect plan in place before writing anything? After all, all those wonderful ideas I had for improvements in my second draft only came about as a result of having written and then re-read the first draft. And so she encouraged me to keep my original magic system for now (which worked anyway) and just write my second draft. If I’m still not satisfied when that’s done, it doesn’t matter. I can always write a second second draft (‘draft 2.1’, you might say). For the plantser (and, arguably, for all writers), redrafting is a process of refinement. You take a terrible story and make it better. You take your better story and make it quite good. You take your quite good story and make it excellent.

And how do you, as a plantser, accomplish this? Exactly the same way you wrote your first draft. Plan it out as best you can and figure out the rest as you write. For me, the origins of my magic system were the only kink I hadn’t been able to figure out using Scapple. I’d managed to fix just about everything else. So instead of being forever held back by this one trifling point, I decided to sit down with my more-or-less complete plan and write the second draft, knowing full well that a second second draft, and perhaps even a third second draft, will be necessary.

‘But that will take ages!’ I hear you cry.

Not if you get your head down and get on with it. You can knock out a novel length piece of work in a few short months if your diligent enough about it. Spending six months banging your head against your desk and whimpering to yourself about your lousy magic system and how you’re a failure at writing: that’s a waste of time.

Learn from my failure. If you’re a plantser, then plant yourself on that seat and write your second draft with occasional reference to a half-baked second draft plan. It’s foolishness to the planners and a stumbling block to the pantsers, but for we plantsers, it’s the only way to get anything done.


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 floats your boat.

Until next time!

ARE YOU AN AUTHOR?

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

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

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

Writing a Good Character Description

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

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

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

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

(John Steinbeck, Of Mice and Men).

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

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

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

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

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


ARE YOU AN AUTHOR?

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

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

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

Super Snappy Speed Reviews – Books (vol. 2)

SPOILER ALERT

While every effort has been made to avoid spoilers in this post, anyone who has not read: The Final Empire by Brandon Sanderson, The Colour of Magic by Terry Pratchett, A Game of Thrones by George R.R. Martin, The Moon is Down by John Steinbeck, Different Seasons by Stephen King, Curtain by Agatha Christie or Dr Jekyll and Mr Hyde with The Merry Men & Other Stories by Robert Louis Stevenson is hereby advised that this point may contain a few unavoidable spoilers.

It’s that time again! We’ve already had super snappy speed reviews for books, TV shows and films, and now it’s time to return for a second helping of super snappy book reviewsAs before, the books I have reviewed here have been selected entirely at random from my ever-growing book collection and do not necessarily have anything in common apart from the fact that they are all books. They are not necessarily books that I particularly liked or disliked, nor are they sorted into any particular order.

As always, these reviews only reflect my own personal opinions and impressionssquished, sliced and diced into a few short sentences. So without further ado…

The Final Empire by Brandon Sanderson

As much as I like fantasy, I’m also picky about it. Fortunately, this book (the first instalment of the Mistborn series) has it all: a richly imagined fantasy world, compelling characters, an excellent magic system and a plot which kept me glued to its pages from beginning to end. Best of all, Sanderson has obviously understood that while good world building and detailed magic systems are important elements of fantasy, it is characters that really count when it comes to writing a good story.

My rating: 🌟🌟🌟🌟🌟

The Colour of Magic by Terry Pratchett

Speaking of fantasy, this book (the first instalment of Pratchett’s Discworld series) is arguably one of the most imaginative books I have ever come across. The characters are compelling and there is a goodly dash of wit spread throughout this rather dream-like narrative. My only complaint is that while the world building does demonstrate something of Pratchett’s superhuman imagination, the time spent he spends explaining the minute details of his world (and the additional time required for the reader to assimilate it all) does drag the pace down to a crawl at certain points.

My rating: 🌟🌟🌟

A Game of Thrones by George R.R. Martin

At the risk of being flamed to death… I found A Game of Thrones a bit of a drag. No, wait, hear me out! It’s got a lot going for it! There’s a lot of different characters’ points of view represented in the book which made it more true to life (though a bit more difficult to follow; just who is the protagonist in this story?), strong world-building, a good plot it’s just… I don’t know. I found myself getting bored as I read it. I’ve not been able to bring myself to read the next six books yet. Maybe I’ll watch the TV show one day and see what all the fuss is about.

My rating: 🌟🌟🌟

The Moon is Down by John Steinbeck

Steinbeck can do no wrong. This little novel is about a small but tactically important coal mining town which is taken over by a battalion from a non-specific nation (reminiscent of Nazi Germany) who are at war with England and Russia. It is essentially a story about freedom, democracy and oppression, crafted with the kind of fineness of style that only Steinbeck can produce. Read it now.

My rating: 🌟🌟🌟🌟🌟

Different Seasons by Stephen King

This collection of stories by Stephen King includes, among others, the classic Rita Hayworth and Shawshank Redemption. In true King style, most of these stories have a dark tone to them, although I wouldn’t really have described any of them as horrors or fantasies in the truest sense of the word (although The Breathing Method does include certain fantasy elements, I suppose). I loved, loved, loved Shawshank. The Body and The Breathing Method were alright too. Apt Pupil was also very well written, however it did focus on a young boy with an unhealthy obsession with violence and his toxic relationship with a Nazi surgeon. Personally, I found it a little too dark for my tastes.

My rating: 🌟🌟🌟🌟

Curtain by Agatha Christie

In this, the final adventure for Christie’s famous Belgian detective, we see a Hercule Poirot (now very frail and elderly) who has been drawn back to the scene of his first adventure to solve one last crime before it even takes place. The mood is somewhat more melancholy than in earlier Poirot novels and I must admit… I found the ending just a little bit ridiculous, given the otherwise serious tone of the book. It feels a bit like Christie came up with a compelling mystery but then was unable to imagine a good way to resolve it. In a word, an okay read until you get to the end.

My rating: 🌟🌟

Dr Jekyll and Mr Hyde with The Merry Men & Other Stories by Robert Louis Stevenson

I thoroughly enjoyed most of the stories in this little volume. Jekyll and Hyde is, of course, a classic tale which has justifiably earned a familiar spot in modern culture, even among those who haven’t read it. The Merry Men was okay, although I found Stevenson’s rendering of the Scottish accent difficult to follow (and I’m a Scottish person myself!). Markheim and Olalla were both enjoyable enough little reads with (not too) dark undertones. Janet Thrawn was decidedly tedious. The Treasure of Franchard, with its larger than life characters, was easily my favourite.

My rating: 🌟🌟🌟🌟

Well, I hope you enjoyed these itzy-witzy book reviews. No doubt we’ll do it all again soon! Why not comment your own thoughts on these books below? Or maybe you could give us a short review of something else that you’re reading? And if you enjoyed this post, be sure to ‘like’ it and follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if you fancy it.

Oh, and be sure to come back next week for the next instalment of 6 ‘SIX WORD STORIES’ FOR THE 6TH.

6 Mental Cobweb Shakers for Writers

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
Here’s what my free-writing session looked like. Pretty dismal, right?

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? And if you enjoyed this post, be sure to follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if you feel so inclined.

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.

7 Things I Hate In Fiction

No matter what genre of fiction or medium of story-telling you’re into (even if you’re into nearly all of them, like me!), we all have our own little things in fiction that we don’t like. Sometimes it’s the little things that can absolutely ruin an otherwise potentially good story for us and make us seriously think about leaving it unread/unwatched/unlistened to.

For your enjoyment, therefore, I have compiled a list of my own fiction bugbears with expositions. Maybe you won’t agree with them all. That’s okay. I’m not for one second suggesting any of these are hard and fast rules about what constitutes a bad story. These are just things that, for me, are a bit of a turn-off. So without further ado and in no particular order…

Obvious Morals

Don’t get me wrong. I definitely think it’s a good thing for stories to say something meaningful about real life. I’m not knocking stories that have morals to them. I’m not even knocking controversial morals. Quite the reverse, a good story definitely should have true and important morals or observations about life. But there’s nothing that puts me off reading a book or watching a film/TV show/play quite like that horrible sinking feeling you get in the first five minutes when you think to yourself: ‘I think I know where this is going…’

Even if it’s something I profoundly agree with, that’s not the point. I don’t read stories to be preached at, whether I agree with the message or not. Entertain me, and by all means make me think, but don’t preach at me.

Excessive and/or Long Fight Scenes

On TV and film, I can just about(!) put up with drawn out fight scenes, but in novels… boy, I find them tedious. They’re often either too detailed (and so, the pace is dragged right down at what should be the most exciting part) or else they’re not detailed enough and I lose the thread of what’s going on entirely. If you’re going to write a fight scene, I want it to be described in such a way that I feel like I’m really there witnessing it, which must by necessity include experiencing the danger and urgency of being in a battle. It can be done with words, but only a few writers seem to be able to do it in a way I find truly enjoyable.

More on fight scenes here.

Unnecessary Profanities

Sometimes in adult fiction, a little profanity may be justified, if it becomes the character (remember boys and girls, a character’s voice can have a profound impact on their identity). After all, in real life, people do sometimes use foul language. However, I find that in fiction, it loses its effectiveness very quickly and can come across as a fairly amateurish attempt at generating tension. Therefore, use it sparingly. If you’re struggling, watch the soaps for some inspiration: Eastenders, Coronation Street, Emmerdale and so forth.

No, really, hear me out. I don’t have a lot of good things to say about soaps, but I’ll give them this: because they’re usually on before the watershed, the writers of these shows are forced to generate tension and outright screaming matches between characters without using a single profanity. Study these carefully if you’re really struggling to write tense dialogue without the potty-mouth.

Flashbacks

As a rule of thumb, I find that flashbacks tend to interrupt the pace of the narrative too much. In addition, I often find that they are simply used as a way to info dump the backstory and as we all know, info dumping is bad, bad, bad. I might, possibly, maybe let you away with them if the story absolutely requires that one character tells another character a lengthy, detailed story about something that happened in the past (Agatha Christie’s Poirot novels, for example, frequently include flash back style chapters where one witness is telling Poirot their version of events) but on the whole, I find flashbacks a bit of a drag.

All Action; No Substance

If I wanted a meaningless thrill ride, I’d just go to Alton Towers. Don’t get me wrong, a bit of excitement is needed to keep up the momentum of your story, but if the protagonist is doing nothing but jumping over walls, dodging bullets and crashing helicopters from the outset, I won’t have any opportunity to get under the his skin enough to sympathise with him or understand his goals and motives.

All Substance; No Action

The opposite is also true. I know I want to understand the characters’ goals and motives, and I know I want the odd profound or emotional scene but I don’t want to be bored to tears either. Sooner or later, we need a bit of excitement.

Call Your Story Confessions of an [Optional Adjective] [Noun]

This will make me hate your story before I’ve even read it. See my previous post On Titles.


Well that was cathartic for me at any rate.

Did any of that ring true for anyone else? Or maybe you actually love flashbacks, lengthy fight scenes and tedious titles? Maybe I’m alone in disliking these things…

I know! Why not leave a comment below and share your own fiction pet-hates with the rest of the world? You might feel better if you get it off your chest. And if you enjoyed this post, be sure to follow us so you never miss another post. You can also follow Penstricken on Twitter and like Penstricken on Facebook, if you feel so inclined.

Until next time!

8 Super Snappy Speed Reviews – Film

Spoiler Alert

While every effort has been taken to avoid spoilers, anyone who has not seen The Terminator (1984), The Green Mile (1999), Rogue One: A Star Wars Story (2016), Dune (1984), The Greatest Story Ever Told (1965), Star Trek Beyond (2016), The Illusionist (2006) or Les Misérables (2013) is hereby advised that this post may contain a few unavoidable spoilers.

It’s that time again! We’ve already had super snappy speed reviews for books and TV shows and now it’s time for the film edition. As before, the films I have reviewed here have been selected entirely at random from my ever-growing movie collection and do not necessarily have anything in common (apart from the fact they’re all films), nor are they necessarily films that I particularly liked or disliked, nor are they sorted into any particular order.

As always, these reviews only reflect my own personal opinions and impressions, squeezed, whisked and flattened into a few short sentences. So without further ado…

The Terminator

Arnold Schwarzenegger plays the title antagonist in this movie: a cyborg sent back in time from the future to kill the woman whose unborn son will one day lead the rebellion against the Machines of Skynet. It’s a real popcorn muncher, full of cheesy humour, senseless violence, time travelling robots and a guy travelling back in time to sleep with his best friend’s mum (who he’s always fancied) so that he can become his own best friend’s dad…

Still, it’s justifiably a cult classic. Very ’80s but I defy you not to enjoy it at least a little bit.

My rating: 3.5 stars

The Green Mile

Tom Hanks portrays the protagonist in this heart-wrenching, fantasy(ish) film set on death row in the 1930s. It’s definitely not a family film but it is arguably one of the most excellent movies I have ever seen in my life. If you like a film which really draws you in and stirs every emotion from the outset and leaves you with Mega Feels for hours after then this is definitely the film for you.

My rating: 5 stars + 

Rogue One: A Star Wars Story

Who doesn’t love Star Wars? This film is set in between the prequel trilogy and the original trilogy and follows the story of a group of rebels who have joined together to steal the plans for the Death Star. While the tone is somewhat darker than in traditional Star Wars movies, I didn’t find it nearly as outrageously different as some had led me to believe it was. For me, it stood comfortably alongside the other films in the Star Wars canon and was at least a thousand times better than the prequel trilogy.

My rating: 4 stars

Dune

The original Dune novels by Frank Herbert are as long as they are complex and I get the impression that that David Lynch (writer and director) was trying really hard to faithfully capture the beautiful complexity of Herbert’s creation in this movie. Unfortunately, the end result was a film which was poorly paced, unclear and frankly… a bit of a mess. It also includes one of my pet peeves: voice overs, allowing us to hear characters’ thoughts. On the plus side, it boasts a stellar cast including Sean Young, Patrick Stewart, Virginia Madsen, Max Von Sydow and Sting.

My rating: 1.5 stars

The Greatest Story Ever Told

In true 1960s Hollywood style, The Greatest Story Ever Told was a big budget and reverently embellished retelling of the life, death and resurrection of Jesus Christ (Max Von Sydow… again). If you’re looking for a film which is entertaining or exciting, you’ve come to the wrong place. Most of the characters do just seem to kind of stand and gawp unless they’ve got a line to read, though I must admit to a certain fondness for this film all the same. Also if you thought Dune had a famous cast, it is nothing compared to the legion of names you’ll see in the credits of this biblical epic.

My rating: 2.5 stars

Star Trek Beyond

It’s not quite as bad a Star Trek film as, say, Star Trek: Nemesis but still… it was pretty disappointing. The plot and the characters actually had a lot of potential (I really thought we were going to finally see some proper Bones/Spock banter), but this was unfortunately wasted by the poor pacing. The end result was nothing more than a non-stop, heart-thumping, thrill-ride that never really gave the audience an opportunity to be drawn into the story in any significant way.

My rating: 2.5 stars

The Illusionist

The Illusionist is a period drama about a stage magician (Edward Norton) from a humble background caught up in a love triangle/class war with his aristocratic love-interest (Jessica Biel) and her equally blue blooded but abusive fiance (Rufus Sewell).

The pacing was beautiful. The acting was delightful. The twist at the end was marvellous.

My rating: 4.5 stars

Les Misérables

I don’t think I’m the sort of guy to scrunch my nose up at a film just because it’s a musical, and everyone else tells me this adaptation of Les Misérables is the best thing since sliced bread but…

You asked for my opinion so I’m just gonna say it: I hated this film. I can’t think of anything less satisfying than watching Russell Crowe singing for two and a half hours. My wife enjoyed it though, if that means anything to you.

My rating: 1 star

My wife’s rating: 4 stars


And that’s a wrap! No doubt we’ll do it all again soon with a different selection of stories.

Until next time… !

My Thoughts on FocusWriter

There’s an old saying I tend to adhere to: you need to use the right tool for the right job. For me as a writer, that means I have lots of different writing tools depending on the kind of writing I’m doing and what stage of the writing process I’m at. For instance, I use Scrivener to write my novel and other large projects; Hemingway Editor for times of editing; Jotterpad to scribble notes and song lyrics on the go (you didn’t know I wrote music too, did you?) and FocusWriter for short and flash fiction, which is the subject for today’s little review.

There are, of course, plenty of “distraction free writing environments” out there. In fact, even the other apps I mentioned at the start of this post boast distraction free modes which hide most or all of the toolbars to allow you to focus exclusively on your words. What sets apart FocusWriter from these, however, is how highly customisable that environment is and how many features of a typical word processor are still available without being intrusive. Personally, I sometimes find that even the best distraction free interfaces can be a little too sterile when it’s just you and the blinking cursor on a blank screen, daring you to write a word. With FocusWriter, that’s not a problem. You can make the interface as pretty or as sterile as you see fit.

When you first download the app (for free, I might add, though you can give a “tip”), you will find it is already preloaded with a selection of themes. Some, such as the ‘old school’ theme are very plain featuring nothing but plain text on a plain background. Others include background images and coloured pages for your text to appear on (as you can see from the screenshots below). If none of these themes are to your liking, you can customise them by changing the font; margins; line-spacing; text background colour and opacity and much more besides. You can also create, save and export your own themes using (or not, if you prefer) images from your own library.

There is a traditional toolbar and a selection of menus at the top of the screen which includes all the basic features you would expect from a word processor; however, this is all invisible except when you hover the cursor over it, thus giving you easy access to all the basic features without getting in the way while you are trying to write.

There is also an option to grey out all text save the sentence, sentences or paragraph you are working on. Personally, I have not found much use for this feature but I suppose I can see why it might help you to focus on a particularly troublesome few sentences, especially if you decide to edit your work with FocusWriter. And of course, there is also the option to make FocusWriter full screen.

For those of us who like to keep careful track of our progress or who find it helpful to time ourselves as we write, FocusWriter also includes features for setting yourself daily word count or minutes-spent-writing goals. Again, this is not visible on the screen unless you hover your cursor over the very bottom of the window, where a tiny little bar will appear and tell you your exact word count and how close you are to achieving your daily goal. If you wish, you can also record your progress so you can see how often you are reaching or exceeding your goals over a longer period of time.

If you wanted to, you could probably easily use this application to write almost anything, including novels and other long and complicated works. However, I personally find it most useful for writing shorter works, such as short stories or flash fiction. It’s easy to create a different theme for every day and every mood so that your productivity is never hindered by niggling distractions or the pure white horror of a completely blank screen, no matter what kind of person you are and no matter how you feel. The main reason I don’t use it to write novels is because, unlike Scrivener, it is not so easy to gather together your notes and story bible all in the one place. In general, you will be focusing on one document at a time, but sometimes, that’s all you need. Personally, I don’t really like using Scrivener for short stories or microfiction because I find it can be a bit too cluttered, when all I really need is space to write.

Other features include (but are not necessarily limited to) a spell checker, ‘smart quotes’ which manages how you use quotation marks throughout the document (personally I’m yet to find a use for that) and ‘sessions’; an interesting little feature which remembers which document(s) you had opened and which theme you were using so that they’re already opened and waiting for you the next time you open FocusWriter.

All in all, I think it’s a fantastic app and well worth a look for anyone who’s serious about writing. It’s a real favourite of mine which I use often; far more often than some of the other apps I’ve given written positive reviews about in the past. And did I mention it’s free?

Well it is. So go have a look. I think you’ll be pleased.

Until next time!

Writing Non-Human Characters #4: Mythical Creatures

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!

Writing Non-Human Characters #3: Robots

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!