What writers can take from Django Unchained

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I finally got to see Django Unchained at the weekend, a film I'd been looking forward to for a long time since a) I love Westerns, b) I like Tarantino and c) I love Leo DiCaprio. My review is over on my film blog, but I had a few thoughts about what writers could take away from the movie.

1) Do your research.

The world of Django Unchained felt very plausible, and very real. At no point did I look at anything and think it was anachronistic, although while checking things for this post, I discovered that Tarantino has included dynamite some eight years before it was invented. Still, fiction is allowed to take some liberties, as long as they're within the bounds of possibility. The costumes were fabulous, the set design had a real attention to detail that period pieces always need, and Tarantino had clearly researched the social situation of 1858. No matter whether you're setting your story in 2087 or 1887, it needs to feel real to a reader. Even futuristic pieces need research to extrapolate the likelihood of possible inventions becoming reality.

2) Don't be afraid of controversy.

Don't feel you have to court controversy - for every person who reads your work out of genuine interest, you'll have another who reads it for its reputation, and that's a Pandora's box you don't want to open as you scrabble to top each controversial outing. Having said that, don't shy away from a topic because you feel it is, or might be, controversial. Fiction will always need brave authors willing to talk about things that no one else will discuss, and if you have an original, fair, or unique take on a subject, why not try it out? Tarantino certainly did. Whether he was right or wrong to do tackle the subject of slavery using the generic conventions of both the Western and the Revenge film so is not for me to decide, but kudos to him for having the balls to raise the topic in the first place.

3) Know when to end a scene.

There were more than a few scenes where I found myself mentally screaming "CUT! FOR THE LOVE OF ALL THAT IS HOLY, CUUUUUUT!" Tarantino's often had the tendency to ramble, letting scenes go on far longer than they need to, while the additional running time does nothing to further the story (although it may increase your need to duck out to the bathroom). As a reader, if you feel that a scene is going on too long you might just skip to the next one - or worse, you might put the book down altogether. Writers need to know when to stop a scene, or cut it entirely. If it doesn't further the plot or illuminate something important, lose it. If it feels like it's running out of steam, cut and get on with it.

4) Using up your big finish too early.

It wasn't one of his biggest hits but Death Proof got it just right when the climactic set piece, that epic car chase, was at the very end of the film. Likewise the fight sequence between the Bride and O-Ren Ishii in Kill Bill Pt I. Trouble is, I felt like Django Unchained's big shoot-out was the big set piece, as opposed to the actual climactic ending...meaning that the film after said shoot-out sagged a little. That would be like Luke destroying the Death Star and spending another forty five minutes wandering around. Keep your big finish for the end.

5) Give your hero flaws...but don't make him easy to dislike.

I think my biggest problem with Django Unchained is that I warmed to King Schultz very easily, and I really liked the character, but I found it nigh on impossible to root for Django himself. If your sole presented reason for me rooting for someone is how badly they've been treated by someone else then you're not exactly presenting a rounded character. Likewise, making the guy a natural shot so he's a better gunslinger than Wyatt Earp without any practice just makes me too incredulous. His motivations were understandable, and possibly even commendable, but as a character, I just didn't like Django. I know that, in places, Django himself was playing a character in order to further his own ends, but it didn't feel like Django was stretching himself too much to play a bastard. Schultz had flaws, but they were there to make him human. By contrast, Django's flaws just made him into a cartoon character. So by all means give your protagonist flaws - after all, we don't want yet another Mary Sue - but don't make them unlikeable in the process. Even anti-heroes like Snake Plisskin are likeable.

What do you think?

iBook Author app - good or bad?

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I read this article in the Metro newspaper last week, and found it online. For those of you who hadn't heard, a new iPhone app has been released that allegedly makes it even easier to publish books yourself. The iBook Author app lets you drag a word file into the app, and it does all the hard work by fixing the format and layout. Apparently users (note users, not writers) can fiddle with the layout and add photos and videos to their books. Oh dear me. While on one hand I applaud the recognition given to the e-publishing phenomenon, on the other hand I cannot help but groan that the writing process has been devalued to the extent that it's now simply the input portion of an app, in much the same way that anyone with the Instagram app now thinks they're a photographer.

Writing is not simply a case of chucking something together in Word, dropping it into an app and then making it available for sale through iTunes. Putting together a book should be a process that involves writing a draft, getting feedback from beta readers, and preferably having an experienced editor look it over. Hell, teach yourself the basics of HTML so you can code the thing yourself! I'm all for self-publishing, and I'm not saying that self published writers can't put out books - I've read some very, very professional self-published books that give the traditional publishers a run for their money - but I am saying that they need to look at the wider picture. Don't make the mistake of thinking that typing The End means your book is finished, and ready for public consumption.

The thing that bothers is me is that some people choose the self-publishing route for the better royalties and the greater degree of control over their work, and they're the writers who put in the effort, learn how to market and generally do quite well. They've weighed up the pros and cons of self-publishing, read up on it, and are determined to produce something that's just as good as, if not better than, something a traditional publisher might put out. Other people choose the route because their work as been consistently knocked back by agents and publishers alike, and instead of stepping back to look at what's wrong with the work itself, they just decide to put it out themselves. If that's you, then for God's sake get some feedback on why no one will take a punt on your project, and really work on it until it shines before you put it out there (unless you're one of those unfortunate writers whose work simply isn't classifiable, in which case you have your work cut out for you when it comes to marketing).

If you're hell bent on using this new technology, then how about this?

1 - Write the very best book that you can.
This should be a no-brainer, but don't just throw any old thing together and trust it will sell.

2 - Have trusted readers look it over.
I don't just mean your spouse or your mother. Have a set of beta readers whose opinion you trust, and who won't be afraid to tell you if something's not working. Other writers will provide invaluable feedback in terms of craft, while voracious readers will be able to give you their opinion in the context of what they read anyway.

3 - Get an editor to look at it.
You really do need an editor of some description, both in terms of typos, grammatical errors and other technical factors, but also in terms of flow, pacing and general storytelling. It's shocking how many e-books I've tried to read, only to find sentences peppered with bad grammar, repetitive words and typos.

4 - Spend some time playing around with covers.
If you're no good, ask the design department of your local college, enlist the help of a design-savvy friend, or invest in the services of a book cover designer if your budget stretches that far. People DO judge a book by its cover and just throwing something together in Photoshop will look terrible.

5 - Now use the app!
You will have a polished book that will be a credit to you, and will help boost the reputation of self-published books.

Goodreads

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After some subtle persuasion from Paul Anderson and Carrie Clevenger, I set myself up with an author profile on Goodreads. It seems odd to say that, to call myself an 'author'. I'm not sure why - I have had short fiction published sporadically online since July 2008, I have actually sold copies of my first e-book, The First Tale, and I now have a short story included in a bona fide anthology - the Chinese Whisperings Yin Book. If the definition of 'professional' is doing something and getting paid for it, then I must be a professional writer (even if it isn't my main source of income).

The very supportive Benjamin Solah was good enough to put The First Tale on Goodreads, and it's very cool to see that people are reading it. I genuinely blush when people send me tweets saying they enjoyed The First Tale - and it takes A LOT to make me blush. Yet it's so nice to know that people actually read what you do - and enjoy it. In a lot of ways, it makes the whole thing worth doing. I can't think of anything more sad than being a writer and never letting anyone read your work. I suppose I can understand the reasoning behind it - after all, if no one ever reads it then no one can ever tell you that you're no good. Besides, if you're writing for your own enjoyment and you're keeping yourself happy then it doesn't mean that you need to show it to anyone else.

Then again, writers tell stories. It's what we do. Whether we're novelists, journalists, copywriters or chroniclers, we're all telling stories. Is a story still a story if it isn't read? It's that age old philosophical question - if a tree falls in a forest and no one is there to hear it, does it still make a sound? I mean, I tell these stories for two reasons. 1) I write them because I have to (I'd go crazy from the voices in my head if I didn't write down what they said). 2) I write them because I want people to read these stories - I want to entertain people! If someone reads something I've written and can escape from the mundane drudgery of their existence for those few minutes it takes to read a flash, then I consider the whole endeavour worthwhile. If the readers learns something too, then brilliant.

The most momentous stage in setting up my profile was selecting what genres cover my style. 'Short fiction' was an obvious, if generic, term, and I felt compelled to put down 'science fiction & fantasy' as opposed to 'horror' because I feel a lot of my stuff comes under the 'speculative fiction' or 'urban fantasy' bracket, as opposed to 'horror'. I always wanted to be a horror writer, but I realised fairly early on that I was no Clive Barker or Stephen King. Indeed, an email I once received about my short piece Left convinced me of that - the author of said email told me my style reminded him of Neil Gaiman or Ray Bradbury. When I'd recovered my jaw from the floor, I realised that horror clearly wasn't my 'bag' unless it was based on reality. But more importantly, I finally nailed my colours to the mast and put down "historical fiction" as one of my genres. I really enjoy writing things that require research, so you can expect a few more historical pieces over coming weeks.

Of course, one of the many advantages of historical fiction is it covers such a wide range of topics. I can continue to write my tales about bodysnatchers, mental asylums or vengeful knights, but still continue to write steampunk (a genre characterised by its adherence to an historical 'aesthetic') and stories about pirates...

Track Your Writing Progress

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Last week, I posted an entry about making your own motivation to write. I feel like I possibly left things hanging, as I missed out two of the Internet-based tools for helping you to write, for both keeping you motivated and keeping track of your progress. How remiss of me! So here I am, on my vacation, but still blogging to pass on what I know in the hope it may be of some use.

http://750words.com
Have you signed in to this service yet? It's very easy - I personally sign in using the Google ID I already have, although you can also sign in using Facebook, Yahoo or OpenID, as well as creating an account. The idea behind the site came from the famous notion of "morning pages" in The Artist's Way. I've never read the book, but I do know that author Julia Cameron recommends writing three pages, ideally longhand, in the morning. The idea is to purge the mind of random nonsense, to get it ready for creating. I've seen this described elsewhere as being akin to clearing the rubbish out of an attic before you can redecorate.

Well three pages equates to roughly 750 words, hence this site! You can use it for whatever you want - writing your novel in progress, keeping a journal, doing a brain dump...whatever! It saves your work as you go but beware, it won't save it beyond your current session, so if you're writing a novel, you'll need to copy and paste into Word (or similar). Personally, I use it as a brain dump of whatever is bothering me, so instead of keeping a journal or ranting at my loved ones, I let off steam and write about the things on my mind, thus clearing my brain and getting me ready for creative endeavours!

Now, I've managed to write on five days in August, and in that time, I've written 3,987 words. When you've written your 750 words (or more), you get to check out your stats for that day. Some of my most frequently used words for today's words were "because, done, first, know, people and write". Most of it was written about the present, and the primary sense used is sight! Beyond these somewhat random stats, you get a little scorecard, which is a neat little way to keep your motivation up. After all, you've written for four days straight - you don't want to break your streak, do you?

Write or Die
This is my other favourite tool. People need deadlines - it's so easy to find an excuse not to write if you think it isn't required or expected. As the About page says, "Many people find themselves unable to write consistently. I believe that this is because their reason to write is intangible. For instance, I want to write and finish a book because I want to be published and make a living as a writer. That goal is a long way away so I often find it difficult to sit down to the task of writing. Conversely, I'm in a creative writing class for which I manage to consistently write and finish projects (albeit at the last minute). I therefore draw the conclusion: A tangible consequence is more effective than an intangible reward."

If you want to use the application, just select either your word goal or time goal (handy if you only have ten minutes to spare), along with the consequences for not writing (four different modes that range from a pop up box reminder to the application actually 'un-writing' your writing) and the grace period (three options depending on how quickly you want the consequences to kick in) and away you go.

The idea is not to edit, so when you're finished writing, you have to copy and paste your text into an editor. The concept is based on doing your writing in a burst, and then editing later, at a more leisurely pace. Write or Die just wants you to get the words down - after all, you can't edit what you haven't written.

Which will you choose?
So there you go. Two tools to help you keep track of how much you write, or to make sure you keep writing! Go on, give them a go, or why don't you let me know how you've managed with either of them?

Einstein did say that time is all relative

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I follow an awful lot of blogs, and I have to admit that I'm a very big fan of Dan Goodwin's A Big Creative Yes blog. I love his writing style, and the fact that he manages to encapsulate such common sense advice that can be applied to so many creative endeavours. So when I came across his post about developing creative motivation, it really struck a nerve with me, for two reasons. Firstly, I feel like I don't do enough writing myself, and secondly, it seems like not many other people do, either.

I don't do enough writing myself
I write my Friday flashes and my ongoing serial every week without fail, and I sometimes even work on separate flashes or short stories on top of these. I'm also in the process of editing my first novel, Fowlis Westerby. Still, I feel like I could be doing more. I have the time to write, I just get easily distracted. My problem is not necessarily one of motivation, more one of attention span. Once I get into the "writing zone" I can keep writing until something intrudes, but getting into that zone is tricky. I've already talked about 'unplugging' before as a way to eliminate distractions, so I'm taking small steps towards utilising the time I have. But if I don't write, then I have no one to blame but myself.

You tell me you'd love to write, but don't have the time
I'm often struck by quite how many people I know want to write. Some of them are writers, and they work hard on novels, flashes and serials. They fit all of this in around day jobs, or busy family lives. They are writers because, quite simply, they write. However, many people tell me they'd love to write, or "get back into writing", but they don't have the time. It's a common complaint, but it just tells me they don't really want to be writers. They like the idea of it, but the theory is more attractive than the practice. They're "far too busy" to squeeze in ten minutes of scribbling. Doesn't sound like they really want to do it, if you ask me.

Snatch time
Yes, I know you have a day job. So do I. Australian writer Benjamin Solah tackled this very subject on his blog recently. Now, I have quite a draining day job, and I often find I feel too tired to write when I finally get home at 7pm, so I snatch time where I can. I have an hour's lunchbreak - sixty whole minutes of writing time! Half of my hour-long commute to and from work is spent simply sitting on a tube train, so I grab writing time then.

Get creative
To start with, you only need to fit in a short period of writing. Even ten minutes is enough to get you used to making writing a part of your daily life. If you use public transport, you can write there instead of pulling out a paperback. Write in short bursts during the advert breaks of your favourite TV show. Schedule a ten minute writing session instead of gossiping on the phone. Wake up ten minutes earlier, and write before you go out. Skip watching that trashy soap and use the time to write instead. Hell, even write on the toilet - at least you know you won't be disturbed (I hope).

Give yourself permission to write
If you were an athlete, or an actor, or a musician, then you wouldn't hesitate in giving up time to practice or train. No one thinks twice if someone gets up at the crack of dawn to go swimming for an hour before work, and if someone spends their Tuesday evenings at a drama class, no one thinks any the less of them. Hell, even artists are given the time and space to be arty without anyone giving them any grief. But writers often feel silly asking for the room to write. Why? Is it because, realistically, the only equipment you need is a pencil and a piece of paper? Are we somehow maligned because our chosen vocation can be done anywhere, therefore we don't need to be left alone to do it? Well, as silly or uncomfortable as you might feel asking not to be disturbed for half an hour, or trying to justify why you can't stay for that last drink because you want to go home to write, it's what you're going to have to do if you want to write. It's a sacrifice, but you never get anything for nothing.

It's only because I love you
Maybe this all sounds incredibly harsh, but I'm only being cruel to be kind. If you want to write, then you will. You'll find a way. If you still feel that you can't spare the time...maybe take up something else. Writing isn't something you'd like to do - it's something that you must do.

The image for this post is by Col Adamson, and can be found in its original home here.

Becoming A Writer

Tweet I finally finished reading Dorothea Brande's seminal text on creative writing last night. Becoming A Writer was first published in the 1930s, yet the wisdom contained within is still just as relevant today. Most writing texts concern themselves with the mechanics of writing - grammar, character, dialogue, setting etc. While these elements are clearly important, being able to implement them can only occur in the first place if you've managed to establish a set routine, and flicked that switch in your brain that allows you to write whenever, wherever. Essentially, this book is intended to help flick that switch. Brande is more concerned with the personality problems of the fledgling writer than the technical errors and it is these which she seeks to help the writer to overcome.

The language is a little old-fashioned and her insistence that the author is always referred to as 'he' is a tad annoying but considering the age of the text, it's still an immensely readable, useful book that prompts the writer into doing exactly what they do best - write.