Remember Gandalf? He’s baaack….

Stars of Peter Jackson’s The Hobbit have re-convened here in Wellington NZ for final pick-up shooting.

I took this just before the premier of the Hobbit movie in 2012.

I took this just before the premier of the Hobbit movie in 2012.

I’m undecided whether I’ll see the rest of the trilogy. I saw the first – and wasn’t impressed.

My gripes? The cast couldn’t be faulted. Wonderful, wonderful performers. But The Hobbit (novel) was a tightly constructed hero journey. Jackson’s first-part movie wasn’t. It rambled. It brought sub-plots and details that Tolkien never wrote.

It seemed to veer between epic serious – on a scale well above the novel – and Jackson-style visual slapstick, which didn’t bear much resemblance to Tolkien’s quietly intellectual jokes.

I am a huge Tolkien fan. And a huge Jackson fan. Movies don’t have to follow books – but they do have to work as a movie.

This time? Meh.

Have you seen The Hobbit – what are your thoughts?

Copyright © Matthew Wright 2013

Being a Tolkien fan is all about the reading experience

It occurred to me the other day that I could probably be classified as a bit of a Tolkien fan. I’ve been soaking up Tolkien’s books ever since I was about 10.

Yes, like a geeky Tolkien fan I had to pose in the entrance, such as it was - you could circle it, just like the door Aslan made to get rid of the Telmarines in .Prince Caspian'.

I had to pose in the entrance of the 2012 Hobbit Artisan Market in Wellington …but that’s the limit of geek, for me.

I must have read The Lord Of The Rings a dozen times or more. The Hobbit as often. I have the maps, I saw the movies, and I went to the exhibition of movie props.

But I wouldn’t call myself a total Tolkien fan. I don’t dress up in the costumes – you know, green cloaks that render you invisible against green grass, green rocks, green water, green sky etc.

My copy of The Lord Of The Rings is from three different editions. Nor do I collect memorabilia, or go to Armageddon comic-con gatherings to ogle merchandise and be photographed beside the guy who swept the studio floor on alternate Sundays while they were shooting out-takes for The Return of the King.

It is a limited kind of enthusiasm; and I also view what Tolkien did in a literary sense with a suitably critical eye; he wasn’t perfect, and he wrote a lot of stuff the hard way.

So what is it, for me? Well, it’s the reading experience. Tolkien created a world that became real for the reader. He did it by description – if you open The Lord Of The Rings at virtually any page, you’ll find evocative descriptions of the settings – the sounds, the smells, the feel.

He did it by depth; his world was rich with its own mythology and history, rich with culture, with language, with peoples of all kinds, all of them carefully described.

Tussock and Echium - Patterson's Curse, in the top of Lindis Pass.

Not actually Rohan. Tussock and Echium – Patterson’s Curse, in the top of Lindis Pass.

He did it with scope; his themes struck chords with the very heart of western thinking, western mythology, and western culture; epic battles between good and evil, between right and wrong. Clear-cut, scarcely shaded in any greys.

And he did it by giving us heroes we could identify with – not Aragorn, who was the archetypal mythic  hero; but the hobbits, who were ordinary, everyday folk. Effectively, people like us – people who we could identify with and journey with, who became heroic.

A message of hope, swathed in all the things that speak to our sense of culture, right, wrong – and place.

That’s why I like Tolkien. Have you read his books? What draws you to them – for you, is it the reading experience, or something else?

Copyright © Matthew Wright 2013

Coming up: more writing tips, humour geekery and other stuff.

Sixty second writing tips: how J K Rowling twisted the tropes

One of the secrets to successful writing is offering something readers can identify with, but that has enough originality to be new. The same…but different.

Kastel de Haar, near Utrecht, Netherlands - site of the Elf Fantasy Fair at which Hobb was visitor in April 2008, though that wasn't when I took this picture of the place.

Modern meets fantasy in another way – a pic I took a few years back of Kastel de Haar, near Utrecht, Netherlands.

J. K. Rowling’s shown us how it’s done. Back in the 1990s, Brit boarding school stories were dead, dead, dead. The world of ripping wheezes at the expense of The Beak, followed by clandestine visits to the tuck shop  with Bunter Major, was soooo 1930s.

Trad magic stories were pretty much dead too – I mean, spells, wizards and potions were so cliched. Put together, they should have worked even less well.

What Rowling did was genius – mashing up two cliches and giving them a twist. That came partly from the way she reinterpreted the spell-and wand trope, partly from the seven-story plot cycle, and partly from her style – easy, unadorned and well pitched for the readership. And now writing has its first billionaire author.

Time for the rest of us to follow suit. But not with school magic mashups. They’ve been done…

Copyright © Matthew Wright 2013

Writing is quality-to-time, not word-count

I am often bemused at the way we measure writing, these days, on word count.

1195430130203966891liftarn_Writing_My_Master_s_Words_svg_medSoftware rates us on it. Contests pivot on it. You can get widgets that graph word-count on a progress bar. It has become a goal of itself.

All of which, to me, stands against what writing is all about.

When I see someone announce – let’s say on Twitter – that they’ve just written 2000 words, I often say to myself ‘great, but were they the right words?’

And how much more time will be needed to get the finished words?

Let me explain.

To me, the goal of writing is to evoke emotion in a reader. That happens not through word count, but through content. The actual number of words is almost irrelevant in this sense – what we have to look for, instead, is the right words. Do they convey the message? Do they do so with proper structure.

So where does word count come in? It has two places. Structurally, word count is important, because the word count tells you the scale of the work – and from that, you can work out the scale of the relevant components. But it is not a goal. Writing isn’t about words; they are simply the vehicle for ideas, concepts and thoughts.

At professional level it is also a standard measure on which everything from books to  features can be commissioned and paid for. It means publishers can budget production to known scales, and it means authors can budget time, based on how long it will take to complete a piece with x-number of words.

That’s the other issue. Completing a piece to length is a very different matter from writing that number of words.

If I draft a book of 70,000 words, that’s great – but I know there’s a lot of work yet, even on those 70,000 words, before I can submit the MS to my publishers. Even when a complete manuscript goes to a publisher, there may yet be 100 hours spent going through it on my part, checking editorial changes and publisher proofs, or answering queries. All of which is essential to completing the book – and none of which adds word count.

What are your thoughts on this one?

Copyright © Matthew Wright 2013

Coming up this week: more writing tips, ‘write it now’, geekery and more.

Write it now, part 17: Tolkien’s lessons about writing a best seller

How do novels become not just sellers, but best sellers – and hyper-sellers?

I had to prone to take this picture. 'Get up,' She Who Must Be Obeyed insisted. 'People will think you're dead.'

Hobbit Market, November 2012. I had to lie prone to take this picture. ‘Get up,’ She Who Must Be Obeyed insisted. ‘People will think you’re dead.’

Quality’s important, but not always a criteria. Seldom have I read a novel as incompetently researched and clumsily styled as The Of Vinci Code (I know what I said). I haven’t read Fifty Shades of Grey, nor do I want to, but I’m sure somebody’ll comment about what I am told is, well, derivative dribble.

I posted the other week about how genre becomes popular because it keys into changing social ideals – and last week about how types of genre become specifically popular on the back of particular social trends.

The best-sellers are the ones who float to the top of those heaps. The thing is, they’re usually transient. But every so often a book transcends that – becomes not just a best seller, but a lasting best seller. A classic.

Something everybody has at least heard of – even if they haven’t read it – and which stays in the public mind for years – even decades.

Like The Lord Of The Rings. In just a few heady years during the late 1960s,  J R R Tolkien’s epic effectively mainstreamed fantasy. His mythos was embedded in western popular literature even before Peter Jackson’s movies (filmed in my country and my city, bwahahahaha) catapulted his creation to stratospheric popularity.

This was the best aisle of craft stalls. That's also because it was the only aisle...

Hobbit market, November 2012 – Tolkien, mainstreamed.

An astonishing achievement for a modest and retiring Oxford don who had to be nudged into finishing anything for a publisher.

Tolkien never planned it that way. His publishers didn’t anticipate it either. The book he presented Allen & Unwin with in the early 1950s was barely publishable – they broke it into three parts to spread the risk, and a glance at early print runs reveals it shifted only a few thousand copies.

Then, in the mid-1960s, it took off. Kicked into life by a pirated American edition, followed by Tolkien’s authorised edition. It kept on selling. And on. And on. And on….

What happened?

His themes struck chords with a new generation, particularly the idealised pre-industrial England of the Shire and the hippified, natural Earth-spirit lifestyle of Tom Bombadil. The link between Bombadil and counter-culture values was lampooned with all the subtlety of a sledge-hammer in Bored Of The Rings.

Rohan. No - central Otago. No, Rohan...oh, I give up...

Rohan. No – central Otago. No, Rohan…oh, I give up…

This was a generation that read a lot of fantasy, partly because fantasy had become an element of their fabric of escape. Tolkien met their need on both counts. Genre tastes, in short, had caught up, though his own motives were different in many respects (eerily, also similar – every generation found reason to object to industrialisation).

Other authors tried to imitate him. Tolkien, in short, had created a new genre, about a generation ahead of its time.

Hutt River or Anduin. Well, maybe the houses are the give-away.

Hutt River or Anduin. Well, maybe the houses are the give-away.

As if that wasn’t wonderful enough, the book gained an enduring public audience. Part of that was due to the way that 1960s youth ideals were mainstreamed. Part of it was the scope of Tolkien’s vision, engaging symbolisms at a fundamental level. And that wasn’t surprising. He was trying to write Britain’s missing mythology; he wrote to fundamental themes – capturing our cultural framework in soaring battles between total good and utter evil; the symbolisms of mythic heroism.

All was given a dimension that ordinary people could identify with, through the ordinariness of the hobbits – little folk who, inevitably, were more heroic than anybody could imagine.

A stunning achievement. And not something that can be easily repeated – certainly, I suspect, not by design.

What do you figure?

Copyright © Matthew Wright 2013

Next time: getting down to the nuts and bolts of novel writing.  More humour, more writing tips – and, well, more. Watch this space.

Sixty second writing tips: getting entitled

One of the biggest challenges an author faces these days is the title. Those words are often the first thing a buyer knows about the book.

1197094932257185876johnny_automatic_books_svg_medThat’s why publishing contracts give the right to select title to the publisher – and their marketing departments. They’re up with the play on what’s selling, and usually way more experienced than the author at picking the words.

But self-publishers face the same issue. It’s an art as much as technique.

These days the wording is more crucial than ever. The title has to be snappy, up to the minute and filled with verve. It has to be informative – to sum up the book in one or two punchy words. My tips:

1. Be brief. One to three words are best.

2. But phrases can work, if they’re cool, obvious and grabby. A book I’m reading now – ‘How to think like a Neanderthal’ – is sheer genius.

3. Avoid transient fashion words. Nothing dates faster than today’s slang.

4. Get other opinions.

How do you develop titles for your books? I’d love to hear from you.

Copyright © Matthew Wright 2013

Write it now, part 16: hurrah for the sensitive new age vampire

What is it about our obsession with vampires? Vampires, it seems, are where it’s at today. And I don’t mean real vampires – you know, the ones who suck self-esteem. I mean the fantasy types, currently in pop-literature and movies in their sensitive new-age guise.

Cydrean_Vampire_darkgazer_svg_medThese days, novels about these reinvented suckers are  a license to print money, if  done right. Actually, it seems to happen even if they’re the literary equivalent of dribble.

I thought I’d finish this brief series of posts on the history of novels with a few thoughts about this rather – uh – pointed genre. I think it tells us quite a bit about our own society. And that’s Step 1 on the way to writing books that sell – which doesn’t mean ‘best sellers’, but does mean books that sell enough to generate a viable living.

That, alone, is a triumph for authors. I am not kidding.

Vampires always were a part of human mythology. Their first boost into western popular psyche came during the nineteenth century – heralded by penny dreadful stories like Varney the Vampire. The whole thing was given a kind of respectability, if you could call it that, by Bram Stoker, whose Dracula of 1897 defined the genre in one best-selling shot.

Superficially it was a horror story. Actually it was about something else – tweaking the sensibilities of Victorian-age, idealism. The salacious subtext – the subversion of morality – wasn’t much hidden, and readers loved it. Vampire stories were a socially acceptable frame around which to wrap what readers really wanted.

Part of the reason why Stoker and his imitators got away with it was because the vampire was also portrayed as evil. That stereotype persisted through the twentieth centry – right up until the 1970s when Fred Saberhagen turned the genre on its head with his hilarious The Dracula Tapes.

This told the story from Dracula’s perspective. Vlad Tepes – Dracula – was a polite nobleman who wanted to set up house in Britain and live quietly and privately in the centre of civilisation for a while. He got shipwrecked at Whitby (I mean, he wouldn’t sabotage his own ship – what sort of idiot did people think he was?), then ended up being harassed by an imbecile self-appointed vampire hunter named van Helsing who couldn’t be reasoned with. Very, very funny inversion of the genre.

About the same time Anne Rice wrote Interview with a Vampire, which presented much the same concept of vampires as dimensional, multi-faceted individuals. That set off the whole new-age vampire schtik – everything since has been, to my mind, a follow up to and in many ways diminuition of her concepts.

As far as I can tell, these days the writing of it has got down to one-dimensional teen angst style romance stories along with fifty shades of – well, salacious Mills and Boon. With blood. Uh…yay…

But that stuff still sells. Why? Just like it did for Stoker, over a century ago, the genre meets an immediate need – keys into something society feels it lacks. Vampires offer the twenty-first century a style of escape that is – well, interesting.

It’s to do with the underlying psychology. It’s about validation through being attracted to power, and the ability to achieve desire (represented by the vampire) – although that attraction carries a cost (blood sucking, a metaphor for power and strength). Interesting, made more so by the fact that the vampire  is supernatural. And that begs questions about why we’ve latched on to this – what is lacking in oursociety that attracts us to validation via supernatural means instead?

What’s your take on this one?

And let’s hear it for SNAVS. They’re what might make writing profitable…

Copyright © Matthew Wright 2013

Next time: fantasy genres, more geekism, comedy and some other stuff. Watch this space.

Sixty second writing tip: melodrama vs real drama

There is a scene in Dan Brown’s The Of Vinci Code (I know what I said) where the protagonists meet the villain ‘Teabing’ and spend most of a chapter on exposition.

1195428087807981914johnny_automatic_card_trick_svg_medWhile they’re doing it, a pink-eyed assassin is sneaking up on them. I never liked that scene. It was melodrama. You can imagine it in a British music hall skit:

Audience: He’s behind you!

(intruder ducks, ostenatiously, behind a couch).

Baige Gent: (finally looking) Oh no he isn’t!

Audience: Oh yes he is!
(etc).

I suspect Brown had the asssassin turn up because the scene was otherwise a boring “please explain, Professor” data dump. No tension.

The way to make a scene like that dramatic isn’t to have The Bad Guy sneaking up on The Good Guys while they’re pontificating. It’s to throw tension into the interactions of The Good Guys. This is where tension comes from any scene:

1. The character arc of the main protagonist creates it – the dissonance between what they want, and what they need.

2. It is created by dissonance between the differing goals of the characters (given multiple dimension, and the difference between what them wants, and what they need).

3. Drama also comes from some threat to the intended goals of one or more of the main characters, either from the difference between their goal and that of another character – or an actual threat. Think Hemingway and The Old Man And The Sea. Hugely dramatic, all the way, because of the relentless tension created by the interpolation of the sea.

To make these work, you also have to create a character the reader feels for – that they identify with.

The master of tension-by-dialogue was Isaac Asimov, whose books generally consisted of long discussions. But they carried in them all the drama and character development demanded of any novel.

How did he do it? Those rules above, that’s how.

Copyright © Matthew Wright 2012

Write it now, part 15: the rise and rise of the genre monster

One of the big literary inventions of the nineteenth century was one that transformed the novel-writing scene. Genre.

When novels first emerged in the early part of the century they were, as often as not, social commentaries. Jane Austen’s Pride and Prejudice was typical. So were Charles Dickens’ various stories. They were joined by others that we might , indeed, call ‘genre’ – notably Mary Shelley’s Frankenstein. But for a long while these things were few and far between.

Jules Verne, public domain from Wikimedia.

Jules Verne, public domain from Wikimedia.

That changed with the commercialisation of novel writing – with the advent of the steam driven printing press, with the advent of mechanisms for mass-producing and mass-selling novels to the rising urban middle classes of the developing world who had the leisure time – and the spare cash – to buy books and then read them.

One of the earliest genres was science fiction, a device for social commentary. Jules Verne introduced the world to it, using his ‘science fiction’ stories –really, travel romances – to lampoon national cliches; German stern-ness and order (Professor Lidenbrock/Journey To The Centre of The Earth), American go-getting (From the Earth to the Moon) and British reserve (Phileas Fogg/Around The World In Eighty Days) among them.

H. G. Wells used science fiction for social commentary towards the end of the century. When five British Maxim gun crews slaughtered 1500 spear-wielding Matabele at the Battle of the Shangani river in October 1893 – and another 2500 a week or so later at Bembese - the world was horrified.  ‘Whatever happens/we have got/the Maxim gun/and they have not,’ Hilaire Belloc intoned in The Modern Traveller, a little later. From that also emerged Wells’s The War Of The Worlds, a remarkably slim book pivoting on one question; how would the British feel if a superior technology descended upon London?

Detective stories flourished. Conan Doyle effectively popularised and defined the ‘short story’ format for them at the end of the nineteenth century – giving the world one of its most iconic and enduring literary characters in the process.

And on the other side of the Atlantic, Americans thrilled to their own genre – westernsl, celebrating the myths of frontier. A form epitomised by Zane Grey, who spent periods big-game fishing in New Zealand’s Bay of Islands.

The point was that popular genres changed as society changed. Cowboy stories went in and out, detective stories rose and fell. Science fiction, which began life for social satire and comment, retained that function into the twentieth century – but became a way of popularising tech-wonders.

If anything, genre change is moving at hyper-speed on the back of the web revolution.  We have to keep up with – and ahead of – the trend if we’re to succeed.

Urban fantasy, anyone?

Copyright © Matthew Wright 2013

ANZAC Day 2013: remembering why we fought

Wright_MilitaryBookCoversIt’s ANZAC Day this week in New Zealand – 25 April,  our equivalent of Memorial Day in the US or Armistice Day in Britain.

It’s iconoclastic. Most nations remember their military dead on days when a war ended – typically, for Commonwealth countries, 11 November, when the guns fell silent over the Western Front in 1918.

But not New Zealand and Australia. Here we remember our war dead on the day we began our first big overseas military campaign, the ground assault on Gallipoli that began on 25 April 1915.

Wright_Shattered Glory coverThe day is tied into our national identity. That wasn’t always the case. When the Australian and New Zealand Army Corps (ANZAC) embarked on that campaign it was to do duty for Empire – for Britain, a country we called ‘home’ even though most of our young men had never been there.

I used to write histories of our twentieth century wars. In my final foray into that field, Shattered Glory (Penguin 2010), I explored the virtually spontaneous celebrations on 25 April 1916, the anniversary of the landings – at which time the Gallipoli campaign was turned, by sleight of hand, from an ignominious defeat (which it was) into a triumph of New Zealand’s contribution to Empire.

It became nationalist towards the end of the war, a spontaneous focus for grief flowing from the terrible death toll of the Western Front, New Zealand’s most lethal campaign of all time and the definition of what the First World War meant, socially and historically.

Of late, 25 April has become New Zealand’s de-facto national day – a moment to remember those who gave their lives – the young men who were never wearied by age.

To me it is also a day to ask a simple question. Why? Why did they go to war?

It is easy to suppose that young men were fooled by Boys’ Own images of war as glorious, a superior sports event that showered honour on soldiers, family and especially school.

I have found letters and diaries suggesting that this may have been true for the Boer War of 1899-1902, our first military campaign. But not the First World War. Not really. Most of the young Kiwis who went to fight even in 1914 knew what war entailed, even if they had yet to learn the true lethality of industrial age fire-power. That lesson had been driven home by 1916; and certainly most of their sons were cynical enough in 1939, when Europe again plunged into war and New Zealand’s young men flocked to sign up.

They did not go because it was glorious. They went because it was necessary.

We forget how close the world was, then, to a new dark age. In the 1930s democracy was but one of three competing systems, and it was on the back foot. In New Zealand of the day, the government of Michael Joseph Savage opposed fascism wherever it stood, even at risk of annoying a British government that felt appeasement was a cheaper option. But Savage was right. So was Winston Churchill, a politician, writer and historian who knew very well what both Nazi and Communist flavours of totalitarianism stood for. But such voices of warning were not heard until almost too late. And for a while in 1940-41, as Britain and her Comonwealth stood alone as the last main bastions of civilised western democracy outside the United States, things stood on a knife edge.

New Zealand’s part in that war took our fighting division from Greece to Crete to Egypt to the Western Desert to Syria, to Libya, Tripolitania, Tunisia, and finally Italy and – in the last hectic days of the struggle – Trieste. They did so under a remarkable commander, Lieutenant-General Sir Bernard Freyberg, VC, DSO (3 bars), etc. (It is nearly a decade since Penguin published my biography of this incredible man; I still think it is one of my best books).

Other Kiwis fought with our navy, with the Royal Navy and with the Merchant Marine. Still others fought in the skies, with the RNZAF and RAF among other services. And we had a presence in the Pacific, where a New Zealander, Major-General Sir Harold Barrowclough, led forces that included a US contingent under Richard M. Nixon. Yes, that Richard M. Nixon.

All this was done not for glory, or rewards of heroism, but because it had to be done. Whatever it took. The alternatives – a world dominated by Nazi evil, fuelled by what Churchill called the ‘dark lights of perverted science’, were too horrible to contemplate. And we knew it.

Today we must remember those who died to make the world a better place, safe for democracy - who helped make the modern world what it is. Both here in New Zealand – and around the world.

Please join me in remembering them.

Copyright © Matthew Wright 2013