Archives for category: Writing tips and techniques

How cool is this? Bookseer. All right, it’s just linking to Amazon recommendations (the LibraryThing search never turned up anything for me), but it’s still fun.

It’s been posted a lot, but what the hell: www.bookshelfporn.com. This is how you cope with overcrowding-by-book — turn it into a feature and pretend you did it on purpose.

Neil Gaiman has written an episode of Dr Who which will be airing next year.

Australian members of Good Reads might like to enter a giveaway for a free copy of my latest book, Bastard’s Grace. The rest of the world, you had your chance last week…

Nonplus means to bewilder to the point of speechlessness, from the Latin “not more” or “no further” — nothing further can be done (or said). To be nonplussed, then, is be in a state of perplexity or confusion, at a loss for words.

That is always the sense in which I have known this 500-year-old word and how I have read the word’s meaning. But over the years, and in fact, twice in the last week, I’ve come across it used to mean the exact opposite — as if “nonplussed” meant “not fussed” — in published, supposedly edited, works. This isn’t recent, as this commentary from 1999 shows, but it is a language change that I can point to as something I never came across in childhood, and am coming across relatively often now. Read the rest of this entry »

I’m just trying out different “page flipper” (look inside a book) type widget thingos. You can try them out yourself by taking a look (more than 100 pages of my upcoming genre fiction book here for you to read) but I’m really just experimenting for my own purposes. Read the rest of this entry »

I’ve previously discussed, for writers, how to choose your POV character. There’s an extra component to the POV, though — not just who, but how: first person, second person, or third person.

The character you tell your story with is often driven by the story itself, but the ‘grammatical person’ you use can be more about what you’re comfortable writing, what’s in fashion, and what your readers expect or the impression you want to give. Read the rest of this entry »

I infrequently post on writing rules and how too strict an adherence or too literal an interpretation can result in writing that is technically perfect but lifeless or otherwise gets in the way of telling a good story rather than facilitating it. The last of them is here, and you can follow back from the links at the bottom of that post if you’re interested.

But writers don’t just get swamped by rules about the actual writing part of their job. They also discover plenty of rules when they finish the final polish of their manuscript and begin the endless jumping through hoops that is the attempt to get published. And because getting published is often a matter of luck and good timing, writers, especially beginning writers or unpublished writers, get completely snarled up and bound by the rules surrounding submissions as they try to tip the very long odds ever so slightly in their favour.
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As a writer, I’m crap at marketing and even my own mother wouldn’t listen to me give advice on this topic. As a reader, however, I can give you a nicely specific example of what made me try out a new author this week, which may give you fiction writers looking for marketing tips a few good ideas. Read on.
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So, there’s been massive blow-up over in romance writing world, as evidenced by the discussion at Smart Bitches, Trashy Books about the new Harlequin Horizons venture. It hit a nerve – it now has over 500 comments. The upshot is that Harlequin have started up a vanity press (not a self-publishing venture) and have now been dumped off the RWA list of recognised publishers. That’s pretty damn major.

I’m not a romance writer (nor a traditionally published writer), nor do I read romance much, so one part of me is merely watching the whole shebang with raised eyebrows. But I’m not dumb enough to think this can’t spread to other genres. Writers Weekly has been discussing the ever-lower rates offered to freelancers (insultingly low rates); writers’ work is being devalued and if other publishers see this make profit for Harlequin they may well also decide to “monetize their slush-pile”, as one commenter put it.

At least two commenters on that discussion said they had thought, before reading other people’s explanations, that they had to pay to get published.

Good God! I know I’ve said in the past on this blog that you shouldn’t expect millions from writing, but nor should you expect to pay out big bucks. If you too think you have to pay to get published but don’t want to read 500 comments to work out otherwise, here’s a summary:
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There’s a couple of questions you hear often when people find out you write fiction, one of which is, “where do you get your ideas from?”. People, especially people who do not consider themselves creative, seem thrown by the very thought of making things up.

There’s two parts to the mystical Getting of Ideas: one is the initial story-spark, and the second is the plot ideas to turn an initial premise into an actual story with characters, events and outcomes. Many writers are great at that first part – the original story idea – and not so good at sticking with it and generating the ideas needed to write a rounded story. Others struggle with generating story ideas, but are better at coming up with plot directions once they have eventually come up with a solid premise.

Too many ideas in either area requires a special sort of ruthless discipline to finish a manuscript, but what about when you can’t come up with anything? For those who are feeling the dearth in one or both areas, the good news is that creativity can be trained and developed.
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I had little idea what the point of it was, but it was a trick that I could do.”

Flash Forward cover image

So John Sulston writes in his book, co-written by Georgina Ferry, The Common Thread, about the international scientific effort to map the human genome (and how private interests sought to sabotage the government-funded collaboration for their own gain; if anyone thinks the private company Celera in any way lived up to their hype that they would do it cheaper and faster, and wouldn’t try to patent genes or hold back information for profit, they need to read this book for the insider view).

Sulston is talking about the Baconian approach to science: gathering data without a hypothesis. He came up with a technique based on a new technology or method, and applied it just for the sake of it, with no preconceived notions in mind. In his case, it led fairly directly to sequencing the genome, quite the payoff.

Payoffs come in writing, too, when we are prepared to follow leads without worrying about other people’s expectations, what we thought we were writing when we started out, how commercial or mainstream the work is, and so on: when we write for the sake of writing, not to meet our preconceived ideas.
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Andrew Burt, the captain over at Critters, a very well-organised critique site, has re-published an article he wrote for the SFWA Bulletin, about the statistical difference between great SF and mediocre SF books in the way they use relationships, as worked out from a semi-scientific survey he’s carried out.

In summary, the better SF books pay more attention to relationships than the forgettable ones, though only slightly approaching how much attention mainstream books tend to pay. We’re not talking about romantic relationship melodrama here, but characters who actually have family and friends rather than existing in a vacuum.
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