Writing inspirations – Sydney harbour on a sunny Saturday

Today’s writing inspiration – for NaNoWriMo entrants as they plan for next month’s writing sprint and for writers of all persuasions – is a photo I took the other week of Sydney harbour on a sunny Saturday afternoon, filled with boats scurrying in all directions.

Sydney harbour on a sunny Saturday afternoon...

Sydney harbour on a sunny Saturday afternoon…

Sydney has to be one of the world’s great cities – certainly, with its bridge and Opera House, one of the most iconic. What we forget is that it is also a city of vibrant life, pivoting around Port Jackson with its 240 km of winding coastline.

Have you been to Sydney? And does it inspire you?

Copyright © Matthew Wright 2014

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Essential writing skills: understanding points of view and other novel-writing puzzles

The other week someone asked me how many points of view it’s possible to have in a novel. It’s a tricky question. The best answer – certainly for novice or learning novelists – is ‘one’. That’s the simplest.

Wright_Typewriter2It’s simplest because the author is dealing with but one major character arc, and a single point of view can be handled from various writing angles – first person singular (‘I’), as if the novel was a personal narrative. The reader only gets to see what the narrator sees. It’s closely related to ‘third person singular’ – which is the same as first person, but where the author steps back and refers to the lead character as ‘he’ or ‘she’.  But they don’t reveal anything that anybody else sees.

Both angles offer differing advantages, depending on what the author has in mind. With first person singular, for instance, it’s possible to play with styles. The classic, to my mind, is George McDonald Fraser’s Flashman series, written in first person singular in the style of a ‘found’ nineteenth century memoir, to the point where one reviewer thought it actually was. Brilliant. It’s harder to produce that sense with third person singular, where the writing style is more independent of the content. But that independence may be what’s desired.

Handling multiple points of view – in effect, treating every character as a lead – is possible but quite tricky to accomplish well. It virtually dictates that the novel has to be written from ‘third person plural’ perspective – ‘he’ or ‘she’ perspectives, covering multiple people. It’s possible to play with styles and voices to give a different feel to each narrator. But it carries structural complexities – the multiple ‘lead’ character arcs have to be very carefully planned so they mesh properly around the plot, as just one challenge.

Great novel writing definitely includes multiple POV. But I would not recommend this for novice authors. Nor would I recommend it for a contest like NaNoWriMo – it’s too time-consuming to get multiple POV right. I can be done, of course – but don’t forget, what I’m talking about here isn’t just how to write fast. It’s how to write fast with quality. Some forms of writing – well, they impose speed limits. And multiple POV is one of them.

More soon.

Copyright © Matthew Wright 2014

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Writing inspirations – deco dreaming

Today’s writing inspiration – for NaNoWriMo entrants and for writers of all persuasions – is a photo I took during the 2014 Napier Art Deco weekend. It’s a fun festival celebrating the magic of fantasy Hollywood, all to the backdrop of the fabulous art deco buildings in Napier, New Zealand.

Anybody might think it was 1940...

Anybody might think it was 1940…

The V12 Rolls Royce Phantom, centre frame, never did grace Napier’s streets at the time. But it’s fun to dream, fun to imagine. What I wonder, would the lives of the people who owned such a vehicle in the late 1930s have been like?

Copyright © Matthew Wright 2014

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Essential writing skills: what Ebenezer Scrooge teaches us about character arcs

One of the key things all novellists have to master is the character arc. It’s fundamental to the nature of the novel  – the reason why readers become emotionally engaged. Usually, the arc of the main character dictates the fundamental plot structure of the novel.

Wright_Typewriter01So what is a ‘character arc’? At basic level, it’s the journey a character takes as a person. They learn something. They develop. They change. The plot and events of the novel will always be about how they make that change. What does the character need to learn? How can they discover the better person they probably already believe themselves to be?

Take Charles Dickens’ A Christmas Carol. It’s all about Ebenezer Scrooge’s personal character arc – his transformation from a mean-spirited Grinch into a kind and generous man. The whole of the plot is subordinated to that goal. So how does Dickens handle it? Very, very unsubtly, broadly as allegory. That, of course, is why this tale is such a great way of exploring the integration between plot and character arc. Several key points emerge:

  1. Scrooge doesn’t know how to find his own joy. So the key tension of the character arc is going to be one of self-discovery. Undoing self-delusion is one of several possible character arcs.
  2. The plot of the story takes us on a journey through that character arc – it is designed to show first how Scrooge has insulated himself from Christmas joy, then how he is made to discover himself. It’s not subtle – nor did Dickens intend it to be. When the transformation is complete, we are shown how Scrooge has become a different man. The narrative ends there because there is nothing more to say about Scrooge’s transformation. The story is over.
  3. Dickens didn’t ‘pad’ the story with any unnecessary events. Everything was subordinated to defining Scrooge and taking us on a journey through his character transformation.
  4. The drama came wholly from within Scrooge – driven by that internal transformation. It didn’t rely or need external crises, adventure or other setting. And that’s the best way to develop story drama.

If you deconstruct other stories you’ll often find much the same thing – Tolkien’s The Hobbit, for instance, which is the classic hero journey.

Plot and narrative, in short, all swing around the needs of the characters. Something writers have to bear uppermost in their minds when plotting out their novel.

Copyright © Matthew Wright 2014

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Writing inspirations – sombre gravestones in a sudden sun

Today’s writing inspiration – for NaNoWriMo entrants and for writers of all persuasions – is a photo I took of headstones at Dovedale cemetery, near Nelson, New Zealand.

Headstones at Dovedale, 2013.

Headstones at Dovedale, 2013.

It was a patchy day. By the time I took this photo the light was fading – but it carried an electric glow that I tried to capture. There was a mood to it. Inspiring? I hope so.

Copyright © Matthew Wright 2014

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Finding the balance between writing well and writing weird

Here’s a thought for you as you prepare for NaNoWriMo or that novel you’ve always wanted to write. Archaeologists recently discovered a wind instrument, a bone flute, on which it was possible to play the Star Spangled Banner. The holes in the instrument had been spaced in a way that matched a modern scale.

Wright_Typewriter01Sounds ho-hum, but this instrument was 30,000 years old. It had been fabricated at the height of the last Ice Age, which means that the musical intervals that sounded pleasing to its makers were the same as the intervals that sound pleasing to us.

The same, it seems, is also true of stories. Humans are story-tellers. Three-act stories seem to be part of every culture around the world, cultures that are rich and diverse within themselves, but which all build their story-telling around the same basic structure.

We write in three-act structure, in short, not because it’s dull and conventional, but because it works. Like our sense of tone, we seem to be hard-wired for stories that have a beginning, middle and end. Sure, there have been efforts to change that from time to time – avant garde thought experiments – but they have never quite grabbed and captured in the way that the classic form does.

That’s an important point when constructing a novel – and especially when building one that has to be knocked through in thirty days, like NaNoWriMo. Although that doesn’t mean being boring. The trick is being different enough to be interesting – without dislodging the essential structure that readers identify with, expect and which – as I say – appears to be a fundamental part of human nature.

More soon – check back for regular posts on writing structure, writing technique – and writing inspiration, coming up through October and into November.

Copyright © Matthew Wright 2014

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Solving the biggest NaNoWriMo challenge

The biggest challenge in the 50,000 word/30 day NaNoWriMo challenge – or, indeed, for any writing defined by word count – isn’t actually meeting that target. Yes, you do need to meet it – but that isn’t the real issue.

Wright_Typewriter2The real challenge is making the structure of what you write work to the 50,000 words – meaning proper balance between beginning, middle and end. That’s harder than it sounds. Any writing must have proper structure and pace for it to carry the reader on the essential emotional journey that lies at the heart of the art.

The exact proportions will vary depending on the purpose and intent of the writing, however as a rule of thumb for a novel plot you might think about 20 percent introductory, 50-60 percent expository and 20-30 percent ending. There are a few principles:

  1. Don’t use the beginning as an information dump. That’s not what it’s for. Beginnings are there to unfold the characters to the reader – to reveal what the character needs (as opposed to what they want). Call it Act 1.
  2. Keep the expository tight. Does a scene advance the character’s journey down their character arc? No? Cut it. Think of the whole as Act 2.
  3. The pace has to rise and fall in a series of rising waves until…
  4. The ending – which is the final point where the events leading the main character down their arc come together in a final challenge. This is the third and final act in the story.

From the viewpoint of writing, the purpose of the “50,000 word” length – and of keeping tally of the words – isn’t to hit a daily target of 1667. It’s to allow you to put approximate scale to the three acts and their components. If you’re running outside that scale, there’s likely to be something structurally awry.

Why is this important? Because if you get the structure right, everything else follows. After NaNoWriMo, you’ll have a good basis to build your novel.

Copyright © Matthew Wright 2014

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