Archives for category: Writing tips and techniques

Last week, Ro had just been publicly rejected by an upmarket prostitute. Now let’s finish this chapter.

He held her gaze to enforce that promise but she smiled as if she did not believe the seriousness of his statement. All at once, a rustling and a crashing arose from behind Ro.

He spun and beheld a woman, grey-haired, sway-backed, pointing a bone up at Ninevah. His first impulse was to leap at her and knock the bone away, for that was in the nature of a curse in other lands. But Ro was not superstitious in his better nature and in the City of Brass, the old gnawed bone was harmless fortune-telling anyway.
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I’m a great fan of Stanza, as regular readers may have gathered. Stanza, for those who don’t know (so, how is life under that rock, anyway?), is an application which lets you read books on your iPod Touch or iPhone. It, and applications like it, is at least partly responsible for the surge in ebook reading being reported by industry lately: it has two million users (well, downloaders, anyway) and more trying it out all the time.

The little screen may seem off-putting to some of those new users, so here is my best tip for getting the most out of reading on the iPhone/iPod Touch.

One, turn off your wireless access. This seems to make the battery last longer.

Two, open Stanza, load the book you want to read, and adjust the font a couple of notches up (or down). You can also optionally fiddle with other settings.

Three, turn the Touch on its side so that the screen rotates. This best replicates the page-line length of a printed book and eases the eyes.

Keep reading this entry for more detailed instructions. If you want to know more about ebooks in general, check out this page. If you’re all over ebooks and have a tip for me on reading on Stanza, let me know in the comments.
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Today’s the day I work through my NaNoWriMo novel from a few years back. Follow along from the beginning here (and then refer to the archives).

Last week, Ro still hadn’t reached the House of the Broken Jar, but we had a few hints about what he was going to find when he got there.

A few moments later, Ro entered unto the House of the Broken Jar. Inside, the wide common area was as spacious as ever. On one side, beautiful boys and women attended as the cup-companions of gaming soldiers and other low men as they drank wine and smoked opium. On the other side, a more refined clientele shared coffee and talked in low voices, while a musamirun, a teller of tales for the evening sat smoking and waiting for a young singer to finish. He caught Ro’s eyes as he entered, and looked away disinterestedly.
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Tabourot’s Law is a concept you might have only come across should you be learning to play the theremin. In fact, until this post, the phrase “Tabourot’s Law” was almost a googlewhack – except I’m cheating because true googlewhacks only happen with two words but no quote marks.

You’re saying, “shut up about the googlewhacking, what the hell is a theremin?”, aren’t you?

An early thereminA theremin is a musical instrument (picture courtesy of Theremin World). It was invented by a Russian man named Lev Terman, or Leon Theremin in the West, about 90 years ago. You play it by moving your hands around the two antennae, one of which controls pitch, the other volume, attached to oscillators.

You have heard one: its sound (though not the instrument itself) is used in the Beach Boys’ Good Vibrations – listen for the “quavery wobble”. It’s also one of Hannibal Lector’s two favourite instruments.

Reverend Guppy's Aquarium cover imageThe theremin, and Tabourot’s Law, came to my attention through the auspices of The Reverend Guppy’s Aquarium: Encounters with heroes of the English language, from the Earl of Sandwich to Joseph P. Frisbee by Philip Dodd. It is, of course, a (fascinating) book about eponyms – words derived from people’s names, and obviously enough, Theremin is one of them (described in the chapter about Adolphe Sax).

Dodd mentions a teach-yourself theremin book. Thanks to a reference on the theremin site, at the bottom of this page of discussion, I now know it was probably Dr. R.B.Sexton’s Method for the Theremin. Ah yes, the famous Saxon Method: wave your hands around the antennae.

Saxon provides a piece of advice he in turn got from Tabourot, who was a castenet tutor who wrote Castanuelas, Olè. I can’t quite tell if this was written relatively recently or 500 years ago by a monk (and republished relatively recently) whose real name wasn’t even Tabourot anyway.

I’ll quote Dodd: “Its central method was that if you are having problems trying to achieve something difficult and are convinced you will never make any progress, then at the very point you are about to give up in frustration, that is precisely when you are going to make a breakthrough”.

Or, to quote Saxon himself, in more vivid terms:

Tabourot’s Law states that success always comes after you start screaming in frustration but before you actually give up.

Dodd says, “It’s an excellent law, which I recommend applying to most human endeavours” – including the endeavour of writing fiction. And not just human endeavours, either – when we were teaching our dog the ‘down’ command – old dog, new trick – he barked in frantic and high-pitched frustration just before he finally worked out what we wanted from him, the exact expression of Tabourot’s Law.

I’m sure the mental anguish and stress that tends to accompany a breakthrough – the outward expression of the mental force being expended – has a name in psychological research and has been studied extensively, but I find “Tabourot’s Law” to be picturesque.

Next time you’re working on a story or a scene and you’ve been going around in circles and it seems like it’s just never going to work and you should just pack the whole thing in and go do something actually rewarding like learning to play an obscure musical instrument, mutter to yourself, “Tabourot’s Law” and keep trying just that little bit longer.

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Last time, Ro took a detour on his way to the House of the Broken Jar. You’d think he’d get there this week, but no…

But as he hurried along the darkening streets, a loud and hearty voice hailed him. He turned quickly and saw four of the Shah’s elite guard, the Janissary, striding towards him, all matched in hair and height.

Ro smiled. The hair was more often than not dyed to get that spectacular white-blonde and some of them wore heeled boots. Before even the old Shah’s time, the guard had been made up of hand-picked boys descended from settlers from the north, chosen for their intelligence, their strength and physique, and their blonde hair. Often they were taken forcibly from their parents, who were nevertheless recompensed well. Trained from a young age, they lived supposedly celibate lives in devotion to the Shah. Ro had joined the older than most, under the guidance of the old Shah, and eventually become captain, given the position solely on his parents’ achievements. By that time, they had long since given up the colouring requirement and resorted to dyes instead.

He had been a good captain and they loved him still. He returned the hail and shook hands all round. Three of them were too young for him to know personally, but the fourth was a man now a sergeant, then a young boy Ro had taken under his wing.

‘You back in town, captain?’ this one said.

‘Just arrived,’ said Ro, in the same light, cheerful tone. ‘Been a few changes.’

The response disappointed him. Not a flicker of disgust or shame showed on the sergeant’s face. ‘There has, there has.’

Ro did not pursue it. They were loyal to the Shah still and would never hear a word against him, unless of course he tried to cut their pay or privileges, as the old Shah had leant. That was when the narrow streets off the main circular thoroughfares, zigzags and dead ends and alleys ended in stairways that went nowhere, were barricaded by the people of the City of Brass themselves to protect themselves from a violent uprising of the Janissary.

But all had been peaceful since those times, since the Citadel of the Dog-Headed had fallen, since the time of the plague. So peaceful, the Shah had resorted to sending his people out to raid harmless village folk, apparently.

Ro shook his head. No doubt the girl-slave glossed over her people’s provocation. The City of Brass did not attack for no reason. But he did not ask these men about it, for he had no wish now to be delayed any longer from the Broken Jar and Ninevah.

‘You will, of course,’ said the Sergeant, ‘Present yourself to the Shah at your earliest convenience. You know he looks forward to seeing you.’

‘Of course,’ said Ro with equanimity, shifting the position of the parcel under his arm. ‘I have surpassed myself this year with my gift for him.’

‘Yes,’ the sergeant, and his tone changed a little. Ro had just reminded him he was no longer a soldier and now a merchant, for all that he still carried the long sharp sword no merchant was allowed to own concealed in the packs hung on his camel.

Ro bowed and flashed a wide and stupid smile. ‘Excuse me, gentlemen. I attend the Jar.’

Soft hoots greeted that, and the sergeant laughed. ‘You try again, Ro?’

But they stepped back and Ro bowed again and marched off down the street before they could get ribald and seek to engage him with coarse jests.

With this scene, we learn a little more about Ro’s past and current position in the city and his value to the Shah, mention that mysterious package again, and also again get a hint that there is something both well-known and somewhat funny about his regular attendance at the Jar.

Here’s where the book drifts off from what I think I now want. I don’t think Ro should have been a captain in the elite guard. It adds something to his character – a certain expectation of decisiveness or heroics or leadership that he simply does not have. If I kept this aspect, I will have to change the guards’ attitude to him, because I do not think they would respect him. In fact, either way, on the re-write of this scene, the guards will not be respectful towards him and we’ll see more of their swaggering, turn-any-moment nature.

So there is another purpose of reviewing scenes – do they match with what you want to put across about characters? Last time, I showed something of Ro’s character…this time, I again show it, but wrongly, so it needs to be changed.

Using social networking to market your fiction book…what a misleading title! This is more about how not to, or when not to.

I recently decided to put a little more effort into marketing my second book, The Frog Prince’s Daughters, than I did my first, After the Dragon.

Lesson one: mention the title as often and as gratuitously as possible.

When I say, a little more effort, I mean any at all. Obviously, I’m starting way back behind the line and I am yet to shake off my deep-seated ambivalence to marketing (lord, the number of marketing articles I’ve read in which the writer expresses outrage that internet users are able to ignore intrusive, sorry “interruption-based” advertising…). Did I say, ambivalence? Oh, my feelings aren’t ambivalent at all. I outright don’t like it.

So, I started off by reading Plug Your Book! Online Book Marketing for Authors by Steve Weber, which is available free as an ebook through Stanza. Read the rest of this entry »

There’s a special consideration to the Show, Don’t Tell rule. It has to do with exposition, explaining things to your reader. Generally, if you’re guilty of telling, you’re guilty of over-explaining to the reader. By showing, you’re giving them the chance to work things out for themselves. But if you don’t get the balance right, they might not work it out and be left lost. How do you decided where to draw the line?

Well, firstly, this is one of those things where you won’t be able to make all your readers happy. Regular readers of this blog will know I am a great fan of under-stated fiction which does not hold my hand and hit me over the head with explanations, examples of this taste being Never Let Me Go by Ishiguro and the recent The Forest of Hands & Teeth. Other readers are driven nuts by this style.

So the first guide is to write what you like: if you don’t like it when writers dump a bunch of information on you rather than letting you work it out for yourself, don’t do it to your own readers. If you hate it when writers drip-feed information and refuse to explain themselves, don’t do it to your own readers.

This doesn’t have to be consistent – for example, I recently complained in this review that the author wasn’t explaining things enough, which is rare for me – but it was to do with a) geography and b) sequel stuff, both of which I don’t want to have to waste time musing over when I’m trying to get into characters and story. Ask yourself what you like to spend time thinking about while reading, and if it isn’t geographical questions about the fantasy world, don’t make your readers spend time over it either (a map helps a lot with this).

The second guide is, simply put, understanding what your readers need to know. If it is absolutely essential that they get a plot point, you may very well have to be guilty of beating some readers over the head just to make sure that no one is left lost. Review readers are very helpful in finding this point.

Let’s look at an example for the work I wrote last year and am currently editing for publication. It features three main character, Simon, Hal and Augusta. Simon and Hal are very close war buddies, but three months before the book starts, they had an incident (too long-winded to explain), which has left their relationship strained.

Diana Wynne Jones once said she prefers writing for children because “Writing for adults, you have to keep reminding them of what is going on. The poor things have given up using their brains when they read. Children you only need to tell things to once.” I have a rule where if I mention anything more than once, readers better start paying attention. I mention this incident quite a bit.

In fact, the whole first half of the book is leading up to major argument between the two of them, caused by the incident, that temporarily splits them and also establishes a character trait (that the calm and efficient Hal does very rarely lose his temper and when he does is liable to act far more destructively than the erratic Simon ever could) that is important for the climax.

In the lead-up, I do the following things (this is all from Simon’s POV):

  • Very early, I mention that there has been an incident and show that Hal is still waiting to be punished for it and is tense about it, and that Simon has forgiven him – but not told him he’s forgiven him…
  • During an outbreak of Simon’s vicious streak, Hal seems almost pleased that Simon is veering close to yelling at him about the incident
  • Shortly afterwards, they start to have a nasty blow-up that would at least clear the air, but Augusta heads it off
  • Things do seem better now, and Simon is inwardly pleased that their relationship is finally returning to the easy way it used to be
  • Simon’s vicious streak pops up again, he takes violent action, Hal thinks a re-occurance of the incident from three months ago is about to occur…

And at that point, Hal loses it and explodes at Simon. Now, I kind of feel I did pretty good set-up for it, so imagine my dismay when one of my readers not only feels that Hal’s reaction was not in character, but the whole argument was put in solely for plot purposes. He didn’t get it. I checked with one of my other readers – he didn’t think it was forced but didn’t understand why Hal blew up at that point and not earlier (men!).

If two of my four review readers don’t get it, that’s two too many – this point is too important to me to leave readers behind. But I also don’t want to alienate the readers who do get it. I made several changes:

  • Firstly, at the first outbreak of the violent streak, where Hal seems almost pleased, I also make him seem relieved that the topic of the incident is about to be raised (and then it’s not)
  • Secondly, at the aborted argument, I make Hal seem disappointed that again Simon avoids the topic
  • Thirdly, when the major argument starts and Augusta again tries to stop it, I have Simon reflect that she shouldn’t have stopped it the first time because then it would have been over with in less tense circumstances
  • And fourthly – and this is the one that really goes against the grain for me – I out and out say that Simon watched Hal’s guilt (over the incident three months ago) and fear (that it’s happening again) turn into rage etc.

I have to now hope that is enough, because I cannot bring myself to go further than that (and maybe I already went too far for some readers).

It’s very hard to know yourself if your readers are going to get a plot point that they need to know – you already know (you wrote the thing) so you can’t put yourself in the position of a reader coming fresh to the book. On my side of the fence, it’s difficult to assess the impact of each sparse clue you’re giving to slowly build the picture. For over-explainers, it can also be very hard to resist thinking that, firstly, readers need to understand everything, and secondly, that you’ll just add in another line, another explanation, another few words, to make sure they do understand.

Thinking of the quote from Wynne Jones, you might start thinking you have to mention things over and over again. But readers stop reading if you make them feel stupid (which applies whether you over-explain or under-explain, which is why the balance is important). If they’re smart enough to pick up your book, they’re smart. Treat them as such.

Be ruthless, and narrow down the essential plot points to a handful – what do you really care that the readers get, and what do they have to get to have the climax make sense. Then, on your re-read, try to be objective – try to think how you would feel as a reader – hit over the head, or lost? This talent does develop with practise. And lastly, get a few review readers to tell you how they are feeling as a reader – ask specifically for exposition feedback.

Last week was a bridging scene which set up a few things for later in the book. Ro is on his way to the House of the Broken Jar. Except he doesn’t go to there, he takes a small detour and we meet another new character.

Ro strode off with his parcel, leaving the young man with his windfall. Perhaps he, too, would make his way to the House of the Broken Jar, though probably not even Ro paid well enough for that. One of the lesser Consort establishments, then.

He stopped at the public baths, the hamman and sluiced away the dirt of his journey across the edge of the desert, the swaddled package perched on the tiles beside him as he soaked. He was early for the baths, before the crowds made their evening pilgrimage, and he shared the steaming waters with only as few other men. Behind the screen, the idle giggles of women made him smile a little. He thought of Ninevah and started to get out.

A girl, her eyes downcast, her garments scanty and soaked to her body knelt beside him. Ro, battle-scarred, laid a possessive hand on the package, standing waist-deep. It went everywhere with him because he could not trust its safety in other hands, and all in the City of Brass knew it.

The girl asked something in a voice too low for Ro to hear. The cloth that gave her bare decorum was not just soaking wet but ripped. Ro narrowed his eyes to see it.

‘You wish service?’ the girl repeated. She still did not meet his eyes.

His eyes narrowed further. ‘You are a Consort?’ But he doubted one of that respected profession would ever negotiate using such terms.

‘I am a slave,’ said the girl, simply.

Ro pressed his lips together. One year ago, the City of Brass had not tolerated slavery. ‘Slave? How so?’

‘My brother and I were captured,’ she said, addressing his belly button. ‘My brother was put to the sword. I was purchased by the Master of the Hamman.’

‘But we do not kill or enslave prisoners of war,’ he said. ‘We put them to work and when they have earned enough, we allow them to settle in the City of Brass.’

‘Ah,’ she said. ‘Silly me. Perhaps it is because we are not prisoners of war, but spoils of raids.’

‘We don’t –’

Her gaze lifted. Her eyes were grey and they silenced him utterly.

‘Girl-slave,’ called one of the other male bathers. ‘If he would waste your time with talk, I have good coin over here.’

‘So you are paid?’ said Ro quickly. Consort was a fine respected profession.

‘The coin goes to the Master,’ she said. ‘Of course.’ She stepped away from him. ‘You will adjust,’ she told him sadly over her shoulder. ‘All else did.’

Ro dried off and put on the plain clean robes supplied by the Master of the Bath. His own clothes would be washed and returned to his home. More women hastened to dress him and he looked askance at them. None had grey eyes.

He left the bath and headed along the zigzag streets towards the Broken Jar, carrying his parcel under one arm. He was impatient now, and although the girl-slave was like a flea in the armpit, he put her aside. Tomorrow was time enough to assess the changes in the City of Brass.

So we’re seeing some of the changes in the city since Ro was last here. I’m building a case against the Shah, who has people working to overthrow him. Are they justified, since he now allows raids as opposed to war…not that the difference is all that apparent to me from this far distance. I will probably change the language or dwell on this just a little more to justify the difference between ‘legal’ war and ‘illegal’ raids in terms of the codes of honour of those times.

We see here also Ro’s character – he is rather shocked by the girl’s plight, but he just dries off and leaves her there. This is his pattern – to react in his head but to take no concrete action. This is why he deserves to die – arguably – the book is asking the question (did he deserve it?), not trying to tell the reader.

And lastly, it introduces a bit more about the concept of Consorts, which was indeed quite a respected and valued profession back then.

As with last week, a few more lines of description here and there couldn’t go astray. For example, making “Behind the screen, the idle giggles of women made him smile a little” into “Behind the screen, the idle giggles of women as they bathed together out of the sight of the men made him smile” adds only a few words but makes it clearer. I could write in a bit more about perfumes and steam and so on to set the scene better.

You can see that on this first pass through I am not worrying too much about language. What I am doing is checking that the scene serves at least one purpose, does not go on so long that it drags, and does not take the story off in the wrong direction.

We all know how important regular back-ups of your work are. Don’t we? Well, we all learn pretty quick the first time a harddrive fails us, a virus wipes our files, or our laptop gets stolen, anyway.

But religiously doing back-ups does not guarantee you’ll actually save your work if something were to happen. That’s why you not only need to do back-ups, you also need to test that your back-up system achieves what you want it to achieve.

My back-up system is meant to not only preserve my files but also allow me to keep working should my laptop become unavailable. Recently, it went to the shop for a cooling fan replacement, and I had a chance to see if my system really worked all that well.

I use Mozy to do online back-ups, usually twice-daily – once after I’ve finished my freelance work for the day, once after I’ve finished my fiction. Mozy is a secure online back-up service which gives 2GB free storage for home-users. Its simple advantage is that it runs automatically but can be manually started any time, and it preserves your data off-site, which is insurance against something like a fire which could wipe out both a computer and any back-up devices kept with the computer.

Disadvantages? 2GB will only store your most important files but probably not manage the entire contents of your computer now that digital photos, music and video is the norm (it’s only $4.95 per month for unlimited storage). Your account is accessed by username and password – which is all very well when you’re on your own computer and have those details stored – but if you don’t have your own computer, you might find you’ve forgotten your log-in details. Another factor which I see as an advantage (it saves space) but others might see as a disadvantage is that Mozy will remove a file from your online storage a few months after you’ve deleted the file on your own computer – so if you accidentally delete something but don’t notice for a time, you could lose it.

Secondly, I use a SanDisk USB geek stick which contains CruzerSync U3 Edition, a mobile desktop style program which picks up your email and personal files and allows easy access to them on any computer, plus sychronised return to your main PC/laptop.

This is the part of my back-up system which is meant to let me keep working if my laptop becomes unavailable, and it is the part of the system that failed me when my laptop did become unavailable.

It has either a quirk or a bug where newly created folders are not picked up by the synchronisation process (unless you remember to go in and manually tick the new folder). Which meant that my newly created folder for some new freelance work was not picked up, and was therefore absent when I plugged the USB stick into a borrowed PC to keep working. To be fair, it’s more for tranporting your email inbox around than for use as a back-up system.

Luckily at the last minute I had used a second spare USB drive to manually grab the needed files off the laptop, just in case – and of course, I could have got the files from Mozy (if I had managed to remember my log-in details, stored so securely on my now-absent laptop…)

Other disadvantages include that you have to remember to do a back-up (I’m supposed to do it daily, and end up doing it maybe twice a week), that again, storage space is limited, and that USB drives, like any other harddrive, can wipe suddenly. You can also lose them.

Thirdly, once per week, I do a full back-up to an external harddrive. This picks up all the files that Mozy and my geek stick get, as well as the big stuff – new music, videos and photos. Since they don’t change very often, I won’t lost much if something were to happen. On the downside, it’s a physical hard-drive stored near the laptop, so theft or fire could wipe both out. That’s a pretty big downside when I think about everything I could lose in that event. Even without catastrophe, physical harddrives fail.

Another issue that came up when I was without my laptop was compatibility issues. I’m on the new Word – docx. The PC I was borrowing only had the old Word – doc. Microsoft have been kind enough to provide a free add-in for the old Word to allow it to read docx…except I was on a workplace PC that would not allow exe download and install without administrator permission, which had to come from an IT Dept located halfway around the world. I was just lucky that in this case that I was working in doc format since my employer also is still in the old format.

You can see that despite having a three-fold system, I still have gaps in my armour – but I only realised that when I went without my laptop. For writers, when you need to work every day, just preserving files is not enough – you also need to be able to keep working.

Turn off your main working computer and pretend it isn’t there. How are you going to keep working? Is there a different computer you can use? If so, go use it – stick in your back-up drive or CD or however you do it. Can you get to your files? Can the borrowed PC manage the format? What if you use specialised software like InDesign or drawing programs? Think properly about what you need to do, and test to see if your system can handle it. If it can’t, make adjustments.

My main adjustments so far have been to download the Microsoft compatibility patch and add to to the USB stick, just so I at least have it handy (it doesn’t mean a PC will be set to allow me to install it, of course). I’ve added my Mozy username and a password hint to the USB stick so that I can more readily access my files on the remote Mozy server; I think Mozy is stronger than the USB stick as a solution for being able to keep on working. I’ve also started storing my external hard-drive separately from the laptop – this is a temporary solution. Ultimately, I will probably upgrade to the Mozy unlimited plan. There’s not much I can do right now about losing access to my specialised software…but once this laptop needs replacing, I will keep it as a spare for temporary use if the new laptop goes down. It will already have the software I use, and Mozy or the USB stick will transfer my relevant files.

No system is entirely foolproof, but by simulating a computer loss, you can at least test your system out.

Last week, Ro finally entered the city. I’ve already identified the need to tighten the opening up. Now we introduce a new character.

He walked across the square to the street that curved southwards to the merchant quarter, where those who sold wares for a living made their homes. The Consorts, too, in all their honesty.

There his assistant would be waiting for him with the wealth of nations.

Harun did indeed wait before Ro’s great warehouse. The young man bowed as Ro approached. The cresset-bearer passed by, lamplighting. The smell of his cart indicated he had already begun his other nightly duties of collecting waste and dead animals from the street.

Ro wrinkled his nose, his stomach suddenly roiling. He had bought a stick of dripping meat from a wayside stall but now he did not have much appetite for it.

‘Stand up, Harun,’ he said. ‘What do we do?’

‘Master,’ said Harun, refraining from a second bow. ‘I have had the camels unpacked and stabled. All is in order.’

‘Good.’

‘Shall I have the guard doubled, master?’

‘No,’ said Ro. ‘Or we might as well shout to sky that we have something especially valuable in there this time.’

He gave his young assistant three oxen, bronze coins, three camels, silver coins, and one gold horse. It was thrice Harun’s normal pay, and twice his normal bonus for the safe completion of a trading journey. The boy had done well; he deserved it.

‘Do you have it?’ he asked, before Harun in wide-eyed wonder could thank him.

‘I took it from Jabuatia myself, master,’ said Harun. He reached behind him and took up a large swaddled object which he laid reverentially into Ro’s arms.

‘Did she fuss?’ Jabuatia was Ro’s vicious camel, prized only because she was white. He’d have sent her to slaughter long ago if not for that.

That, and the fact she would kick to death any stranger who tried to take the parcel from her.

‘She knows me, master.’

And that was true enough. Ro turned. ‘I go to the House of the Broken Jar.’

Harun blinked. ‘Are you sure, master?’

Ro looked at him in white-lipped silence, and Harun learnt one hundred years of wisdom in one breath. ‘Yes, master.’

So I introduce Harun, establish that this trading mission was in some way especially profitable, introduce the parcel Ro carries with him everywhere, and hint that there’s some reason why Ro might not want to go the House of the Broken Jar. That’s pretty effective for such a short little passage.

Unlike the previous passages, which were wordy (NaNoWriMo; what better way to get the word count up than description), this one’s a little under-nourished. I prefer sparse to over-written, but I could probably put in a description of Harun, especially as he becomes a relatively important character. If this was his only appearance, I wouldn’t really bother developing him further.

He’s also a little different here than he is later – where he seems older and cheekier. So this scene would have to be adjusted to account for that.

Other than that, it’s a nice short passage that gives a bunch of information without hitting the reader over the head with it, and that’s pretty much all you can ask from a scene-bridger.

Now, that line, ‘He learnt one hundred years of wisdom in one breath’ – that isn’t mine – I believe I lifted it directly from a book discussing the Arabian Nights tales (The Arabian Nights: A Companion by Robert Irwin, a facinating book and what I was reading about the time of NaNoWriMo way back in 2003). I need to find a way to let the reader know I’m only quoting; I really should have noted where I was quoting at the time, since coming at it more than five years later, I’ve forgotten and am going to have to sift out such instances by the vague sense that it’s not quite what I would have come up with by myself.

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