I’m an inveterate eavesdropper and people-watcher. The minutiae of other people’s lives, with all their complexities and mundanities, fascinates me. They might seem tedious to the casual onlooker, but they are very fertile hunting grounds for the writer.
A healthy dose of inquisitiveness is a useful quality for a writer and one worth cultivating. Continue reading →
Writing is quite a solitary experience. Even when you’re writing in a library or crowded coffee shop you’re not exactly inviting people to sit down and chat. You don’t want to be interrupted, torn from your story and required to make conversation; all you want to do is explore that really important plot development you’ve just thought up. The folk on your wavelength give you a wide berth, appreciating your need to be alone. And you’re grateful for the solitude.
So why is it that after a long day with only the notebook or keyboard for company, you feel exhausted, intellectually drained, fit only for an evening vegetating in front of the television? Continue reading →
After the death of my father some years ago I became the curator of the family photographs. Dad and Mum had collected them throughout their lives, stuffed individually and often anonymously into boxes and biscuit tins or mounted and labelled carefully in old leather-covered albums. There’s my older brother’s baby book, framed wedding photographs, wallets of holiday snaps from unknown destinations and hundreds of single images of who knows who. Sometimes there’s a scrawled name on the back, but often there are no clues about the identities of the individual or group of people caught in fading sepia. Continue reading →
It always pleases me how often normal, everyday life can inform our writing, if we keep ourselves open and alert to the possibilities. You might think the following incident has little or nothing to do with writing, but bear with me.
All writers need to understand the motivation of their characters. Strong motives produce convincing storylines; weak motives make for flimsy and unconvincing stories. Your characters’ problems and desires contribute towards their motivation; but these must be logical and believable. In fact, they should be inevitable; your characters should have no choice but to act in the way they do otherwise weaknesses and holes in the plot will be revealed and the reader will not be convinced.