Another year...

Let me wish all my readers a happy new year. I hope 2012 brings you all you would wish for. I even hope it brings all you wish for other people. I'm guessing that's mainly good things...

Me? Well, I've been busy planning. Ask me what I should be doing on, for example, October 17th at 20:30. Go on, ask!

I'm glad you asked. I should be about 70% through writing a query letter and crafting a synopsis for a novel entitled "Innocent Error".

You see, this is the year I get rid of the backlog.

A less anal person might look at some items in their backlog and delete them. Chalk it up to experience and move on. Fragments (oh, yes, I have many fragments) might, rarely, be slated for completion. More likely, they will be ditched. That first book they wrote will garner a fond smile before being burned. It served its purpose as a training exercise. Now it can be forgotten. This sensible, efficient writer will be focused on the future. They are going to produce one novel and twelve short stories this year, all of which will be rewritten, edited, sent out to beta readers, tweaked, honed and given a final polish before being submitted. All of them. A work, once started, will be completed and sent off.

I salute this efficient, unsentimental, effective writer. I wish them well.

I'm not doing that. Oh, no. I'm going through the entire backlog: rewriting, editing, gaining critiques, honing, polishing...

All of them.

I will start 2013 with no backlog. All my works to date will be out there, fighting for attention and sales. That's five novels, four screenplays and three anthologies of short stories. I can just about finish them all, go through the entire production process, submit them to carefully chosen agents - having regard for location, genre, other clientele and general suitability - and maintain a database of submissions. I should submit the last novel on December 30th, just short of midnight. I can look at the database on 31st December 2012 with a degree of smugness.

A sceptical reader might think - oh, poor dear. He's got writer's block. No new ideas, can't face the blank page anymore.

Not at all. I have plots for two more novels, two screenplays and ideas for about 130 other works stored away. I like to say they're maturing nicely. If past experience is anything to go by (and let's face it, at my age, past experience is frequently all I have to go by) I will generate another twenty or thirty good ideas this year.

Talking of past experience, all my hard-earned knowledge of plans and schedules tells me this plan will last perhaps one week before something happens to throw everything off track. Timetables will go awry, word counts will be hopelessly lacking, I'll have to face change of job, bereavement, moving house and the complete demise of Western society as we know it. Ah well, no change there.

Which is why I've restricted my New Year's resolutions to these three:

• I will submit two different novels to agents this year
• I will submit two different screenplays to agents this year
• I will self-publish one anthology of linked short stories

I like the ambiguity. About fifty percent of theoretical maximum output, and I don't specify which novels, screenplays and anthology. Because I know in one year's time, I'll be writing:
  
"I will start 2014 with no backlog. All my works to date will be out there..."

Until the next time - enjoy!

Back after NaNoWriMo

Hi all, I'm back! After the unmitigated hell that was the National Novel Writing Month.

OK, I did the requisite 50,000 words and a bit more, so I was proclaimed a winner. However, the book isn't finished, and I actually wanted to do 100,000 words, so I only feel partially successful.

Back in July, I wrote 100K in a month, but I was on holiday from one job and one course then. It's not so easy to chisel out three or four hours a day when many of those days are twelve hour work days as well. Even forgoing wimpish things like food and sleep, it's not easy.

So although I made the 50K with a couple of days to spare, I'd already given up on the idea of 100K.

It was also difficult at times to find the motivation to do anything after a day's work and/or a teacher training course. Doing stuff before going to work might be considered an option: until you've heard my wife complain about being woken early, that is.

I still have about 10,000 words to go to finish the book, and in general I'm happy about the structure, shape, content, language, tone and pace. When done, I'm going to set it to one side and start producing second drafts from the three other completed books I have stacked up.

But that's editing, not writing. So I've developed the ideas for several short stories to keep my hand in while I'd doing the editing and patching and cutting and moving and rewriting and adding and subtracting...

And I'll have slightly more time for this blog as well. The next post will be about editing.

Ideas - where do they come from?

OK, after a slightly longer than expected absence, due to family stuff, I'm back with the next installment. By the way, I do apologise most humbly for the delay.

Ideas and where do they come from?

I suppose that's the one question that we all face if ever we mention that we write.

"Where do you get your ideas from?"

So where do they come from?

A few concrete examples. My first film script (it's available if anyone wants to buy it for the going rate - hint, hint) was about eco-terrorism masking corporate greed, and it came about from reading an article on dams in Idaho and the potato farming that had been made possible by these dams. This was an article in National Geographic, and I was reading it in the dentist's waiting room. The rest of the plot was elaborated in thirty minutes of semi-inebriated conversation with a script-writing friend of mine, Dr. Roger Cottrell, a few days later. Just a few concrete (no pun intended) facts and then the 'what if' moment.

My third novel (no, it's not finished yet, just the first draft) was loosely based on the premise - 'what if man-made global warming is a reality? What if Governments and corporations were aware what they were doing? What if they were doing it deliberately? Who would benefit? What if the beneficiaries weren't human?'

Add a few facts and figures, and a degree of inventiveness and you have the idea from which the plot develops.

My second film script was based on an article in one of the broadsheet newspapers, commenting on the increasing divide between urban and rural communities. I thought 'what if you take this to its logical conclusion?'

You would have totally separated communities living entirely dissimilar lives, with the chattering urbanites being blissfully unaware of their complete dependence on the rural society. Throw in a few other semi-related facts and stir. Voila! You have a plot.

You can see from the examples I've given, that my ideas come from events or facts in the real world, twisted by my warped imagination into some sort of demonised offspring. Add in a few other facts, similarly distorted, and you have an idea.

The 'what if?' bit is crucial. Take Event A, as reported by e.g. the BBC. What if it were totally false? What would be the consequences? OK, what if someone stood to gain from a widespread belief in this event? How would they organise it? Who would notice what they were doing? Who would try to stop them? Then stick the story thirty years in the future when - unrelated fact - all cars apart from emergency services were electric, state owned and driven by computer. Add in an elevated concern for health and safety, risk avoidance and litigation, exaggerated to extreme levels. (I know, that bit is already true, but bear with me.) What sort of society would we have? What would be the likely outcomes? And you have the basis for a story.

So, today's homework: choose your own event of interest, extrapolate thirty (or fifty or a hundred) years, add in two unrelated facts of your choice, and then (this is the fun bit) open a bottle of your favourite tipple, sit back, kick off the shoes, loosen the tie, ignore the dog and just ... speculate.

When it comes to facts, related or otherwise, I'm lucky. I have the sort of memory that stores immense quantities of information. OK, 95% of it is completely useless, but the remaining 5% - oh yes.

Paydirt!

I've read other writers who say their ideas come from watching people in the street, or a chance conversation overheard on a bus or ...

Fine, whatever works for them. I store up observations and snippets of conversation to give authenticity to dialogue or description, but my ideas are always generated by events or facts.

Or at least, by articles that claim to relate events and facts. I don't actually believe much I read in newspapers or hear on TV, but if it's interesting, the authenticity quotient doesn't matter.

Finally, I would like to quote an answer that Stephen King gave when asked, on a chat show, where his ideas came from. He said the usual things we always say, but was then asked, 'But why do you always write horror and darkness?'

To which he replied, 'What makes you think I have a choice?'

Tomorrow I'm going to start a series of articles on plot structure - typical Aristotelian plot structure that is. A technique that has worked well for story tellers for the last 10,000 years.

Enjoy!