Category Archives: Nuts & Bolts

The nitty gritty of the English language and then some.

In Other Words – Make Every Word Count!

I’ve been out of WordPress-land for the past week or so; I’ve been focused on editing and didn’t want to blog until I had something worth writing about.  I thought I’d tell you a bit about what I’ve been working on & thinking about:

One golden rule in writing is to make every word count; along that yellow brick road are all kinds of signposts and potholes.  Signposts are things like “make verbs do the actions”, while potholes are “watch out for unnecessary words” – either for the sake of padding word count (e.g. for a short story or report that needs to reach a certain word count), or words that slip in needlessly.  Examples of unnecessary words are -ly adverbs (if we use the best verb, the adverb will be superfluous), strings of adjectives, really, very, and there is/are/were/was.  Recently I’ve been scanning my current manuscript for the kinds of words that slip in easily while writing in a flow; I have a list of things that I watch out for personally, and one item is “there”.  While I try to catch them as I write, sometimes I will intentionally use them as a “place-marker” – knowing that I’ll come searching for them later, find it, and re-write the sentence or scene with a fresher eye than I had at the time I originally wrote it.  That’s just me – I know myself, that I won’t leave things like that long.  If you’re not sure you’ll catch those sentences you want to improve on later, then mark them with a different coloured text, or an e-post-it, or something that will jump out at you.

Mark Twain - Very, Damn

Here are a few examples of sentences (from my current manuscript) with “there” before and after editing:

…there was a crisp off-shore wind… —> …a crisp off-shore wind blew…

…there was no recollection in his eyes… —> …no recollection flickered in his eyes…

…there was a twinkle of amusement in his eyes… —> …amusement twinkled in his eyes…

…there was no sign of the HMS Norwich… —> …the HMS Norwich was nowhere to be seen…

…there would be dire consequences… —> …dire consequences would follow…

…there was a smirk on the captain’s face… —> …a smirk spread across the captain’s face…

Tightening up the wording makes the sentence less clunky and more precise.  Making every word count is not about reducing word count, although that will be a natural consequence sometimes; at other times, by changing the sentence to mean more precisely what you want to convey, it may result in the word count actually increasing.  Just make sure that the words you use carry their weight.  Waffling, rambling & repetition will not win us any brownie points; I could easily go into detail about the ropes of a ship of sail, but it would probably bore most readers to death!  Sometimes “less is more”; it’s enough to say “ropes”.  If I describe a surgeon’s table and list the instruments he’s about to use, it may be TMI (“too much information”) if using the word “instruments” is enough; if I want something more specific, then I could name a tool at a particular moment in the scene.  Though I like the (audio) book “The Host”, by Stephenie Meyer, my one gripe with it is what I call the “roll call” scenes – where the characters present are listed, as if in a roll call.  It’s TMI – it would be enough to say something like, “those I counted as allies were with me”.

Other times, a list of words may become a linguistic collage, painting a picture in the reader’s mind of a character, or a place, or a mood.  A classic example of this is Lewis Caroll’s Jabberwocky; most of the words are nonsensical, non-existent words, but they nevertheless paint a clear image in the reader’s mind.

It’s why writing is never an exact science, and why, as a writer, I can always learn something, always hone my skills.  If I ever become satisfied with my own level of writing, to me that’s a warning sign that I’m missing a significant moment of improvement.  That should never stop someone from publishing – from letting their baby grow up and go out into the world to make other friends – but in the writing and editing process, be prepared to let go of pet scenes, or even some characters, in favour of an improved manuscript.  Making every word count requires that we learn to recognise what counts, and what doesn’t.  So keep writing, and keep honing your skills!

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Filed under Articles, Musings, Nuts & Bolts, Research, Writing Exercise

Interconnectivity

interconnectivity-internet

Interconnectivity

This weekend I led a singing workshop; at the time I was focused on the instrument as such, and the amazing, complex expressions the voice can produce.  I covered topics like anatomy, and the psychology of singing, as well as techniques and choices – the “paint palette” a singer can learn and use to produce a desired impact on the listener, painting an image before the mind’s eye through the choice of vocal colour and tone.  For me, the truest sense of interconnectivity in the context of vocals is that they are an expression not only of an individual’s anatomical uniqueness but also the personality, and even the spiritual condition.  I believe that we are created in the image of God – that is, a trinity:  We are body, soul, and spirit; and as such, when one area is facing challenges it will affect the other two areas, as well as the expression of the voice, tone, attitude and even the extent of the performer’s control over their vocals at any given moment.  [I also touch on this topic in my article about layering.]

Afterwards, the writer’s side of my brain kicked in and I began thinking of such things in terms of character development.  As I build a character’s profile, something must challenge that character or they’ll come across as flat and lifeless.  If a character had a traumatic experience with water as a child, they may have to face their fears through swimming across a lake, or getting into a rickety boat; if they’ve been abandoned by a parent, they may need to recognise a paralysing fear that keeps them from committing to relationships, and their arc may have primarily to do with overcoming that fear or not – it may be a side issue, but it will still add depth and humanity to the character.

Whatever weaknesses or challenges I decide on for a given character will guide the story to some extent; they will also influence their attitudes, responses and reactions in connecting with other characters.  These things will in turn influence the way they dress (rebellious, reserved, bold, fearful, quirky to keep people at a distance, etc.), the way they might walk or talk, or certain quirks like mannerisms or ways of speaking.  I might go through a list of a hundred related items (if they’re the main character, especially) to narrow down who the character is, even though most of it might not make it into the final cut.  The more I understand my character, the more consistent their responses, dialogues and actions will be throughout the story.

I just thought I’d share these thought processes with you, in the hopes that they can inspire you in your own characters’ developments.  Give them challenges, and find ways they can overcome (or be temporarily overwhelmed) in the midst of other more pressing issues, and (if you’ve chosen the path of hero-success over hero-failure) still find a way for them to triumph in the end.

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Filed under Articles, Musings, Nuts & Bolts, Plot Thots & Profiles, Writing Exercise

Wordless Wednesday no. 17: Architectural Inspirations #1 – Fantasy

 

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March 1, 2017 · 5:28 AM

Imagination vs Knowledge

Some say that imagination is more important than knowledge; to a certain extent, that may be true because imagination leads to new discoveries, inventions, and revelations.  But knowledge is often the basis for such discoveries; that which has been passed down by others who’ve researched, discovered, identified and recorded are the foundational stones upon which things are often built, whether in science, technology, or life in general.

beware-of-the-half-truth-wrong-halfIn this day and age, however, sometimes imagination overtakes knowledge (or simply ignores it).  An informed mind is a powerful tool; an uninformed mind can be a dangerous weapon.  This is true whether writing non-fiction, fiction, or passing on something on social media.  We should beware of the half truths – we may have gotten hold of the wrong half.

It’s now more important than ever to test the veracity of reports and even images; anyone can make an ass out of an angel, so to speak, with photoshop, et al.  How much misinformation is spread by simple carelessness or wilful misdirection (that includes, unfortunately, mainstream news media)?  Or by assuming that since something is from a trusted friend it must be true?  How often have you gotten upset by an article you’ve seen and commented on it, or passed it on, allowing it to form an opinion in your subconscious at the very least, and in your active thoughts at worst, only to find out later that it was a false report, a hoax, or sloppy journalism?

abraham-lincoln-internet-quote

As you probably know, I love to learn; I have a steel trap of a mind for little bits of trivia, like the fact that certain microbes concentrate and disperse (read “poop”) gold, or that all living creatures, including you and I, emit visible light (probably a byproduct of biochemical reactions).  As a writer of fiction that comes in handy; I can extrapolate knowledge and use it as a plot detail or a character quirk; but when I’m writing a blog, e.g. about a historical detail, I want to make sure I get it right.  A case in point was an article I wrote in 2014 about post-mortem photography in the Victorian period; it was by far the most popular post to date on that blog and continues to generate interest.  In particular, two points from the article were addressed, researched, and edited/corrected either in the article itself or in the comments and discussion that ensued.  Mistakes happen, but when I catch them, I will do my best to correct them!

For writers, it is important to cross-reference anything you find online, especially if you’re basing something significant on it such as character development, location, or plot.  Assumptions can also get you into trouble; I know that Geneva is part of Switzerland, but in writing 18th-century fiction, I need to be aware of the fact that it was merely an ally of the Swiss Confederacy from the 16th century, but only became part of Switzerland in 1814.  Any reference I have to it in my trilogy needs to reflect that fact.

I recently read a collection of short stories on Kindle, and on nearly every single Kindle page there were mistakes (that adds up to a lot of mistakes per manuscript page!):  Missing words that the authors assumed were there, typos, commas 2 or 3 words off-position, stray quotation marks, and countless words they assumed were the correct ones but obviously were not (e.g. catwalk instead of rampart for a castle).  This is where imagination overtook the writer, and knowledge gave way to ignorance…  I have understanding for one or two such errors in a manuscript of that length, but none whatsoever for several per page; that simply smacks of laziness and poor-to-no editing, and it boils down to an unintentional slap in the face to any reader who’s taken the time to read their story.

Knowledge without imagination is like a rusted hinge; imagination is the oil that makes the knowledge come to life, and the writer is the door handle that opens the door to new worlds, new ideas, new discoveries, and inventions. It sounds noble, doesn’t it?  But did you realize that many of the electronic gadgets we take for granted today were at one time birthed in the imaginations of men like Gene Roddenberry, creator of Star Trek?  It inspired countless children who went on to become astronauts, scientists, and engineers, who made those science-fiction inventions become reality and discovered distant worlds (now known as exoplanets).  I’m waiting with bated breath for the transporter to replace airline security queues…

Those hinges are necessary, as is the oil, so that the door handle can do its job and get out of the way, allowing the world beyond to unfold.

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Filed under Articles, History, History Undusted, Musings, Nuts & Bolts, Plot Thots & Profiles, Research, Science & Technology, Space, Astronomy

Buying Credit

No, the title is not referring to money or cash cards, but writing.  Stick with me.  If you’ve made yourself at home here and nosed through my cupboards, you’ll know that I do a LOT of research.  I love it.  It adds spice to my character’s meals, salty spray that blackens the redcoats of marines aboard a royal navy ship, tells me that heated arsenic smells like garlic, and makes the ship creak so loudly you’ll swear you’re going down to Davy Jones’ locker.  But there are times when, as an author, I’m required to blur the lines between fact and fiction.

There are certain things that people erroneously assume (such as Viking helmets) that I may need to adapt in order not to lose a reader’s trust (though trust me, I will never add horns!):  The sentence structures of bygone days were far more complex, with vestiges of Germanic linguistic influences – for my current manuscript (set in 18th century England and mostly aboard a Royal Navy ship of the line) I need to modernize the syntax without losing the High English flavour, and without compromising on the linguistic purity of my story’s time-setting; modern sensibilities (in social ladders, issues such as slavery, war, etc.); laxer standards (in, say, relationships or politics or social ranks), and so on.  A modern reader will most likely not appreciate the complex social mores of a time when men and women were never alone in a room – even when the man wanted to propose to the woman, and the parents wanted it to take place; and so, such things need to be adapted at times, to a certain extent, to reach a modern audience without alienating the audience that revels in bygone literature.

If I, as an author, want my reader (who is perhaps a stickler for all things historical) to give me the permission to bend a few social rules of the 18th century, I must first buy credit with them – prove to them that I’ve done my homework – so that they won’t get ripped out of the story in disbelief when I contrive to leave a man and a woman alone in the same room without a chaperone.  In my current manuscript, the husband and wife come from opposite ends of the social ladder, and the husband becomes a captain in the royal navy at the tender age of 20 or 21.  Both of these situations have many historical precedents; I know that from countless hours of research.  But most people who read historical novels might think, “But Viking helmets always have horns” – or something to that effect.  If written well, these disparities in understanding can be smoothed over, so that when I really DO break historical moulds, I am allowed to do so without offending the reader “in the know”.

1761-joshua-reynolds-lady-elizabeth-keppel

1761, Lady Elizabeth Keppel, by Sir Joshua Reynolds

This portrait illustrates an important point:  Many people, when thinking of the British rule of India, perceive it through postmodern lenses; we see it from the hindsight of Gandhi and the independence of the country from the imperialistic rule of British paramountcy.  But the other aspects were the children and wives of British soldiers, diplomats, and tradesmen, and the loneliness faced, the friendships struck with Indian men and women… these are important aspects to weave into a story, too, and thus require research.  Notice the pearls adorning the Indian woman below?  The researcher in me wants to know her story far more than the story of Lady Keppel (who died of a broken heart at the age of 29, just months after her husband had died of injuries from a riding accident).  Some readers may get jolted out of the world you create by the pearls, though it is historically accurate – so you’d still need to buy credit by setting up that aspect well.

These same credit-buying rules apply to any genre, even science fiction:  If you create a world set on another planet, that world will have laws – physics laws, indigenous social mores, etc. – and you as a writer must know what they are, and if or how they can be broken if need be.  You can’t claim that all liquid on the planet is frozen, and then have your character drinking from a fountain or stream, unless you explain how that’s possible.  If you do, you’ve taxed your believability credits and pulled the reader out of the world they’ve agreed to follow you into.  The manuscript that I’ll work on next (after the current one is published!) is science fiction; the air of the planet is toxic to humans, so I need to create a way for facial expressions, dialogue, etc. to come through even when the characters are outside in their suits.  I have done a lot of preliminary research into geology (that told me about heated arsenic, among other things); I also need to explain how a planet with multiple suns can have a stable enough orbit not to be drawn into one of the stars and burn up – i.e. I need to follow known physics laws, or explain how they are suspended for my planet.  I think you get the idea!

So if, as a writer, you want readers to believe what you write about a fictional character set in British India, you first need to buy credit with your readers by doing your historical homework and sculpting the landscape and characters in the rich tapestry they deserve.  If you are writing science fiction, establish your world and stick to your rules so that, if you need to bend them for a plot development, the readers will be willing to follow you on the adventure.  Whatever you do, keep writing!

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Filed under Articles, History, Military History, Nuts & Bolts, Plot Thots & Profiles, Research, Science & Technology, Writing Exercise

A Little Light Reading… Not

I will admit that I have quite odd tastes in reading, especially for a woman; I tend toward history, nautical, and obscure or long-forgotten books.  In writing my current manuscript, which is Asunder, the third book in the Northing Trilogy, I’ve read more than a fair share of military history books, specifically covering the 18th century of the Royal Navy.  Once, on a research trip to London, I searched out a bookstore that specializes in military and transport books, even reputed to have remainders; I don’t think they’d seen a woman in the shop in years (who’d entered intentionally) by the looks I got; one of the men even said, “The beauty shop’s two doors down, love.”  When I asked if they had the out-of-print autobiography by William Spavens, a unique lower deck view of the 18th century navy, they froze as if they hadn’t heard me correctly.  The question must have been laced with catnip, because after that I had the entire shop of men eating out of my hand, and I spent nearly two hours in there being helped to the finest pick of naval history books (including the autobiography I was after!).  Sadly, the last time I was there the shop was gone, but I’ve since found the largest used book shop in London, Skoob, which is highly dangerous for a bibliophile with a private library…!

A few of the books I’ve read in the course of research for Asunder are fairly gory, like Medicine Under Sail (I’d bet my bottom dollar that the screen writers for “Master and Commander“, with Russell Crowe, read that book as they wrote the script) and “Poxed & Scurvied” – the story of sickness and health at sea, while others have been like reading a thriller, such as “The Seven Years War” by Rupert Furneaux  or “A Sailor of King George” by Captain Frederick Hoffman.

I devour history books like other people devour pulp fiction; but especially during the first draft of the book, I had to continually keep in mind that I was writing historical fiction, not a history book; the details that I included had to serve the plot and character development, and not visa versa.  Only a fraction of what I learned has gone into the book; but those rich details give salt to the waves, creaks to the ship, and whip to the rope (I’ve also spent hours aboard the Cutty Sark “filling in the blanks” of a docked ship, so to speak, but that’s another story).  I could have peppered the dialogue with so much naval slang you wouldn’t have been able to swing a cat (naval slang, by the way), but if readers were to get ripped out of the story trying to figure things out, then I would have missed the mark.

So, the next time you sit down for a little light reading, you might want to consider one of the books linked above; then again, if you don’t want gory dreams, rather go with “The Price of Freedom“, or “Redemption“, or “The Cardinal, Part One or Part Two“…  and enjoy!

third-rate-ship-of-the-line-diagram

One of my library posters

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Filed under Articles, History, Military History, Musings, Nuts & Bolts, Research

Rules of Writing: Elmore Leonard

elmore-leonard-authorElmore Leonard, best known for countless novels and their film adaptations, such as Get Shorty, Jackie Brown and Out of Sight, was known for this gritty writing style and strong dialogues.

Here are a few of his gems of advice for writers (with my comments in parentheses):

  • “If it sounds like writing, I rewrite it.”
  • “Try to leave out the parts that readers tend to skip.” (Think: thick paragraphs of prose; boring lists; role calls that seem to be there more to remind the writer who’s in the scene than to entertain the reader.)
  • “If proper (grammar) usage gets in the way, it may have to go.  I can’t allow what we learned  in English composition to disrupt the sound and rhythm of the narrative.” (This advice should follow the adage, however:  First learn the rules; then you’ll know how and when you can break them.)
  • “Never open a book with weather.  There are exceptions.  If you happen to be Barry Lopez, who has more ways to describe snow and ice  than an Eskimo, you can do all the weather reporting you want.”
  • “I never see my bad guys as simply bad.  They want pretty much what you and I want:  They want to be happy.”
  • “At the time I begin writing a novel, the last thing I want to do is follow a plot outline.  To know too much at the start takes the pleasure out of discovering what the book is about.”
  • “It doesn’t have to make sense, it just has to sound like it does.”

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Filed under Lists, Nuts & Bolts, Plot Thots & Profiles, Quotes

On Perceptions and Perspectives

I saw this image a few weeks ago on Pinterest, and found it fascinatingly creepy.  It’s a great example of perspective, thwarting assumptions, and the fact that the image automatically raises certain expectations – until you see the caption.  What our minds initially perceive may or may not be accurate; only when we see the bigger picture, or have more pieces to the puzzle, does that perception or perspective change, or get adjusted to a more accurate overall understanding.  Doing this with words is an art form:  It’s about building expectations and thwarting them without making the reader feel like you’ve drawn them in under false pretences.  If they can look back through what they’ve already read and realize that only their assumptions were wrong – that the writer never misled them, but they misled themselves – then you’ve managed to find that fine line!

 

kitchen-sink

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Rock, Snake or Spock?

Almost everyone in the world has at one time or other played “Rock, Paper, Scissors”, or a variation of the game.  My husband and I use it to decide who goes first whenever we play a dice or card game together, which is nearly every evening.  If you scratch beneath the surface, you’ll find that there are a lot of variations; some make sense intuitively, some need to be explained to make sense, and others, you just need to accept as the way the game works.  In looking into this topic online, I came across several forums that discussed in length whether the rock sharpened the scissors, thus making them allies against paper, or why the paper wouldn’t be defeated by the rock because it holds it down; but the fact is that in this widespread variation, the rock is wrapped (defeated) by the paper, the scissors cut the paper, and the rock smashes (or dulls) the scissors.  Sometimes the game is accompanied by a preparatory chant, such as, “eeny, meeny, miny, moe”, “one, two, three” (in whichever language it’s being played in), or something like “ickety, ackerty, ock”.

Other Variations of the Game:

Rock, Scissors, Paper, Dynamite:  Dynamite (palm out, fingers spread wide like an explosion) blows up the rock and paper, but the scissors can cut the fuse.

Rock, Scissors, Paper, Fire,Water:  Fire (waving fingers, pointing upward) destroys paper and scissors but is put out by the rock and water; the water (hand held horizontally, palm down) drowns the scissors and puts out the fire but is moved by the rock and floated on by the paper.

Earwig, Elephant, Man:  The elephant is tamed by man; the man is bitten by the earwig; the earwig is stepped on by the elephant.

Hoof, Bandage, Knife:  The bandage wraps the hoof, the knife cuts the bandage, and the hoof breaks the knife (presumably by stepping on it).

In the Idaho panhandle:  Hunter, Bear, Woman:  Players stand with their backs to each other to prepare, jump and turn, landing in the stance of their choice. The hunter mimes a rifle, the bear displays claws, and the woman symbolizes breasts with cupped hands.  The hunter defeats the bear, the bear defeats the woman (unarmed), the woman defeats the hunter (putty in her hands).

rock-paper-scissor-lizard-spockRock, Paper, Scissors, Lizard, Spock:  Scissors (first and second fingers extended) cut paper (open palm) and decapitate lizard (hand held with thumb against fingers, as for finger puppet); paper covers rock (fist) and disproves Spock (Spock’s gesture of peace – palm out, fingers divided into V between middle and ring fingers); rock crushes lizard and scissors; lizard poisons Spock and eats paper; Spock smashes scissors and vaporizes rock.

Variations Around the World

Whether you call it “rock, paper, scissors”, Janken (the Japanese word for the original game), Kai bai bo (Korean), or Janjii (Thailand), the goals are the same – to win over an opponent, or to make an arbitrary decision, such as who goes first in a game.  Here are a few variations from around the world:

KoreaKai bai boKai is scissors, Bai is rock, and Bo is cloth or paper.  China has a similar version, except that it is sometimes hammer (guu) and bomb (paa).

Malaysia and parts of ThailandWan Shi Zan –Pistol, Water, Bird, Stone, Plank:  The pistol defeats everything except water, and the bird loses to everything except water. The stone defeats the bird and the plank, but loses to the pistol and the water. The plank defeats the bird and the water, but loses to the stone and the pistol. The water defeats the stone and the pistol. The bird loses to the plank.

India and Indonesia, and on Bali:  Elephant, Human Ant:  The elephant beats the human, the human beats the ant, and the ant beats (scares) the elephant.

Myanmar:  General, Soldier, Tiger:  The general defeats the soldier, the soldier (with a gun) defeats the tiger, and the tiger kills the general (unarmed).

Vietnam:  Hammer, Paper, Scissors:  The same hierarchy as Stone, Paper, Scissors.

Laos:  Hammer, Nail, Cloth:  The hammer defeats the nail; the nail pierces the cloth; the cloth wraps the hammer.

Russia:  Rock, Scissors, Paper, Well:  The rock smashes the scissors; the scissors cut the paper; the paper floats on the well and wraps the rock; the well swallows the rock and scissors.

France:  Rock, Scissors, Leaf, Well:  Same principle as the Russian variation.

ChinaGosukumi [i.e., 5 choices instead of 3]:  Idol, Chicken, Gun, Fox, Termite:  The idol is the thumb, chicken the index finger, gun the middle finger, fox the ring finger, and termite the little finger. The chicken is sacrificed to the idol; the gun introduces people to the idol (the idol wins); the termite eats the idol; both the gun and the fox defeat the chicken; the chicken defeats the termite; the gun defeats the fox. The idol and the fox are good friends, as are the gun and termite, and the fox and termite ignore each other, so these symbols tie with each other. According to these rules, the god and gun are strongest, and the chicken weakest.

Japan:  There are many variations of the game throughout Japan, where it is very popular; one is called “Mushiken” with a snake, slug and frog:  The snake (thumb) fears the slug (ring finger); the slug is eaten by the frog (index finger); the frog is eaten by the snake.

Shouyaken” is played by gestures made with the whole body. The symbols were the village-headman, musket, and fox. The village-headman sits in a dignified manner, as if in the seat of honour. The musket was mimed as if carrying a gun in both hands. The fox was indicated by holding up both fists at an angle.  The rules were that the headman beat the gun, the gun beat the fox, and the fox beat the headman.

Do you know of any other variations?  Please put it in the comments below, explaining how your version is played!

Some information gleaned from the following sites:
http://www.democraticunderground.com
https://en.wikipedia.org/wiki/Rock%E2%80%93paper%E2%80%93scissors
http://archive.ec/Rjp5v

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Novels Worth Reading

As a novel writer, I’m first and foremost a reader; I love to read, I love to buy books, smell them, feel them, upload them… any form is fine by me.  I want the books I read to be witty, intelligent, and well developed in terms of plots, characters and environments.

Kitchen Sink Realism

Everyone has different tastes – that’s why there are so many different genres; but for me personally, there’s also a list of things I don’t want in a novel:  I don’t want to be confronted with messy lives dealing with self-inflicted problem after problem; I don’t want tragic or sad or bitter endings; I don’t want to be confronted with the grit, grime, blood and gore of dysfunctional lives that end up learning nothing, making no character arcs, and end up in the mud by the end of the tale.   This genre description actually has a name:  Kitchen Sink Realism.  It was a cultural movement in Britain back in the ‘50s and ‘60s that was portrayed in films, books, plays, and art – the grit, grime, anger, disillusionment and harsh realities of realistic social scenarios.  It’s what might also be referred to as postmodernism.  My personal response to this kind of novel is, “If I wanted that kind of realistic tension, I could just go hang out at the nearest bar.”

A Tough Nut

I once had an English student, and our focus was medical English in preparation for their upcoming medical exams (two nurses came together for semi-private tutoring).  As part of the lesson we needed to work on basic conversational skills and sentence structures, and I find that the best way to bring in a wide variety of scenarios is usually to do a type of role play – nothing embarrassing, but each person is given a character to put themselves into a situation that they might not normally deal with:  They may be a chef, or a secretary, or a customer in a hardware store.  This particular student, when asked what kinds of books she read, said, “history and autobiographies or biographies”.  When asked what novels she read, she said she found such things ridiculous and a complete waste of time (this was back before I became an author!); she categorically refused to even try to put herself into someone else’s shoes for the scenarios.  My impression of her as a person was that she was narrow-minded, knew it, and was proud of that fact.  She was a hard character, and all the time I knew her or met her afterwards, I never saw a soft side emerge, either toward herself or toward others; I often found myself wondering why she’d gotten into the nursing profession in the first place – as a patient, I wouldn’t necessarily want her working on my ward…  A line from the novel I’m currently writing (Asunder, the third book in the Northing Trilogy) would have fit her life too:  “he has never had the propensity for engendering compassion; I pray he never needs it, as he never gives it.”  An epic love story might do her a world of good.

What’s Worth Reading

What I want when I read a book is to be transported into another life, whether that’s in the past, present or future, on this earth, or on another planet, or in another dimension; I want to be entertained, made thoughtful, learn something about the world around me, and learn something about myself.  Ideally, I will come away from the experience having been changed, in even a small way.  I want to feel connected; somewhere out there is a person I can relate to – whether it be the author, or the character, or other readers that appreciate the same books.

Aside from places and times that are genre-specific, such as science fiction and alien planets in the future, or London in the 18th century, all of the elements of what I like in novels are universal.  Humans the world over, in every century, want to feel connected; to feel that they can relate to something someone else is going through; even to have parts of their own life’s experiences explained through someone else’s perspectives in similar circumstances.  Above all else, at the heart of every good novel – regardless of the genre – is a story of love; that is the ultimate connection between characters.  It may be a child finding the love of a family after being shoved through the knocks of life too much for their age; it may be the hero or heroine finding love; it may be a widow or widower finding love again, or reuniting with true loves; it may be someone coming to the point in their life that they accept and love themselves just the way they are.

On to You!

When you read novels, what is it you’re looking for?  I would love to hear about it – please comment below, even if it’s just a few key words!

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