Writing inspirations – Gandalf and friend in Wellington airport

Today’s writing inspiration – for NaNoWriMo entrants and for writers of all persuasions – is a photo I took last week in Wellington airport.

Gandalf and friend...

Gandalf and friend…

This sculpture, by Weta Workshop, is enormous. Effectively life size. And, though we all know Tolkien’s story, I think there’s a good deal there to inspire original tales of our own, if we step back and let our imaginations drift.

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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My problem, as a bloke, with Top Gear, number plates and laddish silliness

I can’t see what the fuss is over Top Gear’s provocative Porsche number plate – you know, the one that got Jeremy Clarkson and the rest hustled out of Argentina before the wrath of a mob.

Aha - Clarkson's book on display in Whitcoulls, Wellington. My book directly behind his...

Aha – Clarkson’s book on display in Whitcoulls, Wellington. My book directly behind his (and in front of Julia Gillard’s).

Allegedly it was an off-colour reference to the British victory in the Falklands War of 1982. Personally I figure Clarkson’s protestations of innocence are correct. I mean, apart from anything else, wringing the meaning out of those letters demanded a fair amount of subtle thinking, and Top Gear isn’t exactly subtle. It’s a show about ‘Brit lads’ being ‘laddish’ with lad’s toys on a big budget with the help of a slick production team, some very fast sports cars and a good deal of British public school potty humour. This is the show, after all, who claim their engineering workshop is in Penistone. And who did have an intended ‘substitute’ plate for the Porsche reading ‘Be11end’.

Surprisingly, Top Gear didn’t make a point of visiting Urenui when the show came here. Depending how you translate it, the name is Te Reo Maori for ‘Great Courage’ or ‘Big Penis’. Instead Clarkson damaged one Toyota Corolla on a narrow bridge and drove another up Ninety Mile Beach. Not uber-fast, either. Once, the beach was the racing track where Norman ‘Wizard’ Smith went for 300 mph in an aero-engined streamliner in 1931, just in case anybody thought the Land Speed Record was exclusive to people named Campbell (Smith missed). But today it’s legally a public road, with a speed limit. (OK, so Clarkson’s Corolla wasn’t thrashed, it just got salt and sand sprayed through engine and running gear. I hope I never end up owning that one.)

You laugh at the British silliness. You think, ‘gee, I wish I had the chance to drive that’, that you could drive like The Stig, and that you too could play conkers with caravans. Or turn a Robin Reliant into a space shuttle. But to me, these days, Top Gear seems rather tired. Formula. There are, I suspect, limits as to how long a band of middle-aged men can cavort through our Sunday evening TV being big-budget yobbos.

Still, I can’t complain. My latest book ended up stacked, cover out, behind Clarkson’s the other day – and one can but hope that the reflected fame was, well, reflected in the sales…

Copyright © Matthew Wright 2014

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