The recalcitrant scene

On and off for the past year or so, I've been wrestling with a difficult scene. It was one that initially caused me writer's block, but then I told myself to get over it -- that if I couldn't write that scene there were plenty more I could write. So I did those instead. But I kept coming back to this one.

At first, I thought it was that I didn't know what my character would do. That surprised me, because it's a character I know well. Eventually, I wrote the scene, but I wasn't happy with it. It didn't feel right, and I couldn't figure out why.

Then one day, in the shower, I had an epiphany. (And this is where I grumble about droughts that necessitate four minute showers, because I used to do some of my best thinking in the shower. These days epiphanies are fewer because I'm under the water a lot less.) The reason the scene wasn't working was that I had my character doing what the plot needed him to do, not what he would really do. I had forced his hand. In my head, where he ended up was where I'd envisaged him ending up right from the start. And the truth is -- he didn't want to go there. That's why I had so much trouble in the first place. It wasn't that I didn't know what he would do -- I did know, but it wasn't what I (or rather the plot) needed him to do.

Okay, easy enough. Scrap the second half of the scene and rewrite it. The more I looked at the scene, though, the more I liked what I had done, the emotional journey he'd gone on, the reasoning he'd used. So I put the scene aside again. I reread it. And reread it.

Then I thought that maybe I could just cut and paste some of the old scene and rewrite a new bit in the middle. I did this and now suspect I've ended up with a mishmash of what the scene had been and what it should be, but I have something I can work on now and refine. I'm excited. I love the refining process. I love writing! I'm going back to it right now.

Travels in the land of my imagination: the forests and mountains

I live in the city, but I'm not writing about city or suburban life -- I'm writing about a land that's been partially terraformed by humans and is essentially a medieval-type landscape and society. My characters are riding around on horseback, through forests, on beaches; they live in castles and in underground homes. In my imagination, I dwell in these places while I'm writing, but it helps to remind me of what that means by researching, by visiting places that are as close to the ones in my novel as I can find.

Perhaps one of the most famous writers maxims is to "write what you know". To me that doesn't mean I have to write about suburban life, but that I must try to capture emotional truths. I know what it is to be frightened, to feel horror and loathing and joy and love and embarrassment. Frustration is often a parrot on my shoulder. I know these things, and I try to give them to my characters: I try to write my characters from the inside out.

Visiting forests, walking through the leaf-litter and hearing the soft pad underfoot (not so much the crackle of leaves because of the dampness), feeling the cool air lace fingers through my hair, smelling the dankness, experiencing the quiet, the sense of being alone in the world, in a world that could be medieval helps me to know my setting too, to bring it to life (I hope) for my readers.

We've just come back from a family holiday in Tasmania, where I got to inhabit quite different forests to the Victorian ones I'm more used to. Below are a few of my holiday shots, all of which could be part of my novel. They remind me of what it was like to be there, what it's like for my characters, and help me enter that place in my imagination where I do know what it's like to be a soldier or a king or any other thing I want my characters to be.

Freycinet National Park

Looking across to Freycinet

near Strahan

Dove Lake & Cradle Mountain

Enchanted Walk, Cradle Mountain National Park

En route to Cradle Mountain

En route to Cradle Mountain

Casting my novel/Computer games

One thing I've sometimes talked about with my writing group friends is who we'd cast if we were in a position of casting the screenplays of our novels. For me, it's particularly important because I'm not visual. I don't carry an image in my head of what my characters look like; I carry the ideas of them, and so it is really important to see the embodiment of these ideas.

I know I've had this discussion with several groups of friends, and we get excited when we see an actor who fills the part. I first saw Arinka, the protagonist of my novel, when I was going to a poetry reading at Montsalvat. I don't know who he was -- he wasn't an actor -- he was just someone in the crowd, someone whose looks stopped me in my tracks because I thought: that's him. That's Arinka. 

Well, okay, obviously it wasn't him. But it was the right look. The right hair colour, the right eyes, the right shaped face, the build, a certain way of moving. 

In my one storyline, I have three characters I've always wanted to cast: Arinka, his sidekick, Millyon, and the thorn in his side, Lieselle.

Arinka has been through a series of actors since I first saw that unknown young man. First was Keanu Reeves, but then I spent too long writing and rewriting and he became too old. Then, for a while I thought about James Franco, more as he appeared in Tristan and Isolde than in Spiderman. But he was a bit too sulky in the film, and a bit too well built. Then I thought about Ben Barnes (Prince Caspian), but he was too good looking. Finally, I've settled on Tom Ward ("Silent witness"), and he's just got the best voice...

Millyon has been easier: Rupert Penry-Jones ("Spooks" and Persuasion), though he should have hazel eyes, not blue. No-one is ever quite perfect for their roles -- and how funny that I'm assembling a cast of BBC actors.

Lieselle. Hmm? Who? Jennifer Connelly is too old, but is the right sort of look.

Then the other day, I was watching You Tube videos of various songs my daughter wants to sing, including clips of "Don't cry for me Argentina", when I noticed a Karen Carpenter version. As most versions were sopranos, and she has a rich, dark voice, I thought it might be an interesting contrast. How strange then to find myself watching an anime film clip from a computer game called Final Fantasy VIII. How much stranger to find Lieselle there -- as the character of Rinoa. And, even, in a way Arinka in Rinoa's lover Squall. Well, Squall has the wrong eye colour and is too good looking, but the build's right -- the comparison to her is right. And funnily a photo of a real person, modelling a Squall outfit could be Arinka. I'll have to get the game! (Though it's disturbing that in this game is a dance sequence that could come out of my second book. Still, there's still a rewrite of that one coming up...)

Actually, buying the game could be disastrous. I do remember my addiction to The Sims, and how I made it much worse by buying an expansion pack (Living Large) that allowed me to build castles. Then I modelled my sims on my characters, and that was the worst thing, as all I wanted to do was play with them all day, and playing is not writing. 

I've had students who've told me they can't write because they're busy playing World of Warcraft. For days on end. Or friends who distract themselves with Solitaire. I do still play computer games, but more the Solitaire-type that aren't too addictive. I'll play them when I'm blocked, a game or two, no more, and then return to the white page. While I'm playing, I'm thinking. What I won't do is spend hours playing, days. Such distractions do not help me as a writer.

In the meantime, I now have printouts of my newest cast members -- something to look at, to inspire me -- and they will inspire me much more successfully than any computer game ever will. Computer games are stalling tactics, nothing more.

Where do writers get their ideas?

This does seem to be the question that gets asked more often than any other at writers' conferences and conventions, and the one that the guest writers always roll their eyes at. Ideas are around us -- they mark boundaries limited only by our imaginations.

Last weekend I was away, staying in a small country town. Now, as it happens, a friend of mine used to live in this town and told me that the people in it were rather strange. This weekend I saw evidence for myself. We decided to have fish and chips on the Friday night, and walked down to the local fish and chip shop, which had signs up to say it was under new management. On the door was a sign that said they had closed that day (and presumably forever) because of small-minded people who'd spread rumours, and then thanked those who had "given them a go". Ah, the old management, I thought. Only there was a second sign that said something like: "Watch out ya dogs, youll get your own", and it was signed by one of the "new management" people.

Right. Nice.

The next day I was going into the supermarket when I heard the following conversation:

Woman: "He says I'm a really nasty person."

Man: "You know what you should do? You should abuse him. In public. In front of everyone."

Now, normally, I wouldn't think too much about such a conversation. A wife having had an argument with her husband and confiding in her brother? A woman who's just dumped a boyfriend? (And already that's the writer at work -- speculating on what the story is, what the motivations are.) But in light of the previous day's discovery, this conversation took on more gravitas. Nice town, that. And not just in a sarcastic sense, but in the sense that this will feed my fiction. My stories are set in a fantastical setting, and there are no fish and chip shops per se, but that doesn't mean I won't use this event, change it, shape it to fit the story I'm writing. Here are some pictures of the nearby environs: a waterfall, and scenery on a bushwalk we did on a day that was too hot for walking. Lovely translucent leaves on trees. And all of that is grist for the story crucible too. Such detail can enrich our settings.




And don't forget to look for character moments -- the time your friend looked like she was sucking a lemon when you told her some good news. And why, exactly, did she look like that? Ask yourself -- constantly ask yourself about why people act the way they do. Why did your mother hang up on you the other day? Why did your girlfriend stand you up?

Some years ago I was in a class run by a reasonably well-known writer, and I happened to mention that a friend of mine lived in a front flat, and in the flat behind lived two ex-prison guards, and that these ex-guards were so worried about being recognised that they jumped in their car and drove down their driveway to collect their letters from their letterbox. They wouldn't get out of the car for this, but would lean out, and then reverse back up the driveway and go inside. The teacher said straightaway, "Oh, that's fantastic. I'm going to use that in my next novel." I was a bit miffed, because I thought it was my story, but of course you can't copyright ideas, and I had shared it with her. I don't know whether or not she used it, and I wouldn't feel right about doing this without asking whether the other person intended to use the idea, but legally she did nothing wrong. You can't copyright ideas, and in any case I could always modify it and use it in a different way if I wanted to. But of course my characters don't have cars or letterboxes either.

There's more in the annoying moments of life. Today, at work, I was trying to chase down some forms I needed, and got the ring around -- literally. First, the switchboard sent me somewhere with a press-button menu, and when I selected the most suitable option, I got the switchboard again; then they directed me somewhere else that still wasn't right, and when these new people said they'd put me through to the right department, they put me through to myself. Only I got the answering machine, of course, because I was already using the phone. Moments like that, trimmed back or expanded, can provide comic relief in an otherwise too-serious story. Think about what your story needs, and what you can use to flesh it out. Look for interesting snippets in newspapers -- quite often the Odd Spot can spark ideas, as can strange (and even mundane) article titles.

Keep notes. Use a voice recorder if you don't like to scribble. Keep a dream journal -- something I keep meaning to try except that I hardly ever remember my dreams.

One thing that many writers do is conflate disparate ideas -- it's a great way to come up with something original; after all, we've all heard the chestnut that there's no such thing as a new story. But pulling together two or three ideas and weaving something new out of them can be immensely rewarding and exciting. So don't despair that you don't have any ideas -- they're all around you. You just need to learn to look for them!

Changes late in the draft

I love the shower as a thinking place, but of course these days with drought and water restrictions, standing under the warm water to think is a luxury I can't really afford. However, this morning, I had a little extra time because I'd been scrubbing out the mould that had begun sprouting in the grouting (dreaded internal rhyme!) and was washing off the bleach, and thinking about my novel. Most times when I'm doing menial tasks, or just sitting about daydreaming, this is where my mind wanders. I call it working on my novel. If I daydreaming, my family call it slacking. We have to agree to disagree on that one.

Today, I had an idea for a character change for one of my major characters. Trouble is I'm late in a draft, so do I go with it? In truth, it probably doesn't make much difference to how her character acts because it's something that she keeps secret, but it does make a difference to her internal landscape, most particularly in matters like self-esteem. A major pro is that it's an issue I haven't seen dealt with in a fantasy book before, but the con is that it's an issue usually dealt with in YA, not adult books. Should that matter? Probably not. Will I implement the change? I'm not sure.

When I have an idea for a radical change, I usually like to sit on it a few days, mull over it, turn it over more in my head. Change is what keeps a redraft refreshing, keeps me interested as a writer. Change usually sees a deepening of the characterisation, and that's always a good thing.

Walking out the novel

Today, I was out walking my dogs on the dog beach. My son had come along and had found a piece of pipe and was busy constructing a sandwall with the pipe embedded to stop flooding of the imaginary city he was going to build. He was in fantasy land and so was I. While he did that, I walked along the beach for a while, turning over my characters in my mind. I became one character, and had an imaginary conversation with another, which resulted in me going home and belting out a scene, though it wasn't for the novel I'm currently writing and probably won't make it into the final cut because it's too inconsequential. I'm rather loving the idea of one day having my website with links to the chapters that have been culled, rather like the deleted scenes on a DVD. I love the deleted scenes.

I also love walking along and being with my characters, being inside their heads, being them. Doesn't mean I pick up a sword and slash away -- rather I'm thinking about their personal lives, the stuff of subplots, the romance elements (yes, I do have a romantic thread, though it isn't so apparent in the first book). All of this helps me enrich the characters -- helps me believe in them as people, living in my created world.

So, it was interesting to read my friend's blog (Forge and Brew) and find she was blogging about the exact same thing, though in a different way. And then to read a comment that Snail had posted about what she's thinking about during staff meetings. And also that when our past student came to talk to my students about her novel, she talked about holding conversations with people when you're really thinking about your characters. Quite funny really, if you then consider a conversation between two writers. Who knows what they're thinking? (Unless they're talking writing, of course -- in which case they're fully focused.)

Spiderman

Spoiler alert!

Today, the kids and I have been off to see Spiderman 3. Now, I'll fess up straightaway and say I'm a big fan of this incarnation of Spidey. I love the fact that Tobey Maguire has portrayed him as such a vulnerable superhero, that the character is so well rounded and shaded.

As I was watching, I was thinking about plot, because this movie, more than the others seems a tangled web of subplots, rather than one main plot with several subplots. I had been going to say tangled mess, but I guess with this movie web is better! Let's see -- there's:
(i) Peter and MJ
(ii) Peter and Harry
(iii) Peter and his inner demons
(iv) Spiderman and the Sandman
(v) Peter and his uncle's killer
(vi) Spiderman and the black alien thing, which turns him into the black-suited Spidey
(vii) Peter and another photographer

Some of these are related: (iv) and (v); (vi) and (vii); (iii) and (vi) -- oh, and (i) and (ii) tie into a number of them in all sorts of ways. I'd be hard-pressed to say which is the main plot, but it didn't really matter -- it worked for me. Just like Silence of the lambs, which is a really interesting study in plot because the subplot (Lector and Starling) is more gripping than and takes over from the main plot (Starling trying to catch the kidnapper/murderer before he murders again).

I must say I always watch James Franco with interest, because he's one of a number of actors I could imagine playing the main character in my novel. And Tobey Maguire was superb playing different versions of his character. And I'm not talking about the action scenes.

There are funny mistakes in every film. I think of the stormtrooper banging his head in Star wars. In this film, it's more of a continuity error. I'll just say watch the frypan that Harry and MJ are cooking in. Not that I can talk -- one of my major characters once changed from hazel-eyed to blue, and I hadn't noticed because I'm not visual but conceptual in the way I imagine things. I picked it up when reading through it, thankfully, but I always wonder if I could do that, then what else might I have missed.

Anyway, I'd recommend this movie. The action is mind-boggling, though at times so fast I couldn't actually track it with my eyes, but aside from the action, it's a superb character study. Can't wait till it comes out on DVD.