Critical mass part 2

Criticism is part and parcel of the writing process. Without it we will never know if our work is any good, but to benefit the writer the comments must rise above the personal – those kindly responses that don’t offend but don’t offer anything useful either – and address the problems with the writing itself, rather than with the writer.

My mother always used to say, If you can’t think of something pleasant to say, don’t say anything. This might be useful advice in some areas of my life, but it’s completely useless when critiquing another’s work. Writers, particularly beginners, want to know if their work hangs together, makes a thumping good read, has believable characters and plot. Some even want to know if they’ve got the spelling and punctuation right, too. Hearing that the result of sleepless nights, tortuous plotting sessions and numerous rewrites is ‘quite a nice read’ is more likely to send us into a slough of depression than any amount of constructive criticism.

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Critical mass

A few weeks ago I rejoined my local writing group. I originally left because the weekly homework and reviewing of other members’ work left me with little time to write anything else, and I felt I was getting into a writing rut and not learning anything new. However, I soon found that without that weekly discipline, I did no writing whatsoever.

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It’s all the same to me

Ever looked over a piece of work and realised that you’ve used the same word several times in one paragraph? I sometimes do this deliberately when I’m in a hurry to get something down and don’t want to interrupt my train of thought with the thinking up of possible alternatives. Then, I highlight the offending word and come back to address the problem later.

No, the repetition I’m talking about here is the unconscious use of favourite words time and again. Once you’ve noticed it, it’s easy enough to substitute another word using your computer’s inbuilt thesaurus – what a miracle that synonyms function is – or a well-thumbed copy of Roget’s, if you’re still struggling to find the exact word.

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Jumping off the page

The brief for this week’s homework from the writing group is to write about a grandparent, creating a fictional account of a factual event from their life.

Easier said than done, I thought. Two of my grandparents died before I was born and the only memory I have of my maternal grandmother is of a tiny woman with greying curly hair, sitting at the kitchen table, warming her hands round the teapot. So that leaves my paternal grandfather; long dead now, but I have plenty of memories from my childhood.

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Creating characters

It was my turn to take our writing group last week and as my theme I chose a topic I’ve written about in the past – Characterisation.

As well as what the story is about, readers are interested in who it’s about. They want a protagonist they can empathise and identify with throughout the story, but these characters won’t necessarily be nice people; some memorable characters from literature have been downright horrible – think Heathcliffe from Wuthering Heights, Vanity Fair’s Becky Sharp, Patrick Bateman from American Psycho, Pinkie Brown from Brighton Rock.  Whether likeable or thoroughly villainous, we need to believe that the characters we create are real, breathing people or our readers won’t believe in them either.

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To NaNo or not to NaNo?

With NaNoWriMo fast approaching I find myself on the horns of a dilemma. Shall I participate or not? If I do, I wave goodbye to my partner and most of my free time for the month of November. If I don’t, I miss out on a potential 50,000 new words that will form the basis of a new novel.

Given that procrastination is my natural inclination, indecision isn’t new to me. So what’s holding me back?

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Architectural Composition

How does the structure of a novel help to build our understanding and appreciation of its characters? Does its construction support a particular kind of storytelling? I’ve just finished reading a beautifully crafted novel – ‘A Perfectly Good Man’ by Patrick Gale, which has an unusual construction, but one that undoubtedly gets the best out of its subject matter.

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Indian Summer

I had intended to use the time off work to get some serious writing done – I don’t often have the opportunity of a full week to clear my mind of all household- and work-related matters. Pity it didn’t quite work out like that.

Day 1 – coincidentally the first day of an unpredicted Indian summer. Late sunshine too warm to resist. We packed sunscreen (yes, sunscreen, in Norfolk, in September. It beggars belief.), books and a picnic and headed for the coast. Kids are back at school now and the beaches round here, never very densely populated, are deserted.

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Stumbling Blocks

Friends who have achieved a similar age received diamonds, or trips to Venice. What did I get as a birthday present? An invitation to take part in a bowel cancer screening programme. Be still my beating heart.

Epic Fail!

But it got me thinking about the nature of failure in general, and that of budding writers in particular. I thought it would be useful to discuss some of the pitfalls that can betray us as amateurs and which should be avoided at all costs.

Perchance to Dream

First of all, apologies for my prolonged absence. Just the small matter of a very significant birthday (suffice to say I’m now eligible for a bus pass), which needed celebrating, with various visiting friends and relatives to share the fun, leaving very little time to think – my usual precursor to writing. I have done no work on the new novel, or any editing of the old one. I wanted some time out to sit and order my thoughts and I felt myself getting rather tetchy when I couldn’t do this because I was too preoccupied planning the next meal.

Celebrations, friends and family are very important so I won’t beat myself up too much about the lack of writing. We all need the stimulation of social interaction to give us inspiration and keep our writing fresh. I mean, where else are we supposed to get all our ideas?  Continue reading