Please Don’t Write What You Know

All kinds of theories you get told in writing workshops, ‘Write what you know’ and that sort of thing, which I don’t believe at all. One of the great joys in writing is to try and explore what you don’t know. That’s exciting to me. – Kiran Desai

Write What You Know.

What does that mean, in practice? The trouble with a lot of writing what you know is that no one wants to read it. Because readers see through fiction-which-is-fact, sniff out wish-fulfilment and close their ears to lecturing. If they want any of those things, they can switch on the TV.

Fiction isn’t life. Otherwise, why bother? Toss aside Fifty Shades of Grey, grab the restraints, drag him away from the PlayStation and get creative. Just don’t write about it afterwards.

Here are seven ways WWYK can backfire:


But It’s All True!

Just because an experience happened, doesn’t make it a good story. When you’re telling a story, you’re giving a reader an experience. Relating yours, no matter how well you dress it up, is always going to be second-hand. Take the reader on their own journeys; use their own experiences to breathe colour and intelligibility; allow them the privilege of relating to the narrative first hand. Maybe reignite old memories or establish new ideals. Give them something new.

Same goes for character. One author used real people twice in her work. Both times beta-readers picked them out of the line-up at first glance. They stick out like Bob Hoskins in Roger Rabbit. They aren’t part of that world, they have no place there and the author’s crude attempts to disguise personal feelings towards those individuals are as obvious as a teenage blush. There’s nothing wrong with using the odd trait, mannerism or look from someone you know to add realism to a character, but make sure each person you create has a life and history of their own.

Even if a story is true, it must be believable as a story. Reality often makes the worst fiction. Add those details which bring the piece to fictional life. Omit those which don’t. – Janet Skeslien Charles

Dear Diary

JJ Marsh: “Someone I know spent a long time writing up an incredible round-the-world adventure. I’d heard so many of these stories; in the pub, in the park, around dinner tables. The storyteller possessed drama, humour, vocal range and facial dexterity. Those verbally recounted stories were always applauded. The book? I couldn’t finish. The equivalent of several thousand holiday slides.”

Contrast such a disappointment with Susan Jane Gilman’s Undress Me in the Temple of Heaven. Not only a distinctive voice, but more than one level of alienation and an increasingly tense plot involves the reader in an adventure. Yes, it’s a true story, but one hell of a way to tell it. Memoirs such as Dave Pelzer’s A Child Called It or Just A Boy by Richard McCann break the mould because the story they tell compels a reader through compassion. It should be fiction but it’s not, that’s how the reader copes with such gritty realism.


And if You Look To Your Left ...

Lecturing, something most writers have fallen foul of many times, can make a reader’s toes curl in embarrassment. Much like a bound foot. Foot binding was very popular in 10th century China because men found it to be highly attractive, and therefore became Chinese women's way of being beautiful and to show that they were worthy of a husband. The foot binding process begins with a young girl (4-7 years old) soaking her feet in warm water or animal blood with herbs. (Thank you, Wikipedia).

This is nothing more than another adage – Show, Not Tell. Don’t inform the reader, allow them to glimpse the details, catch a peep behind a screen, hear the muffled cry of a young voice expressing old pain.

Look at writers such as Eowyn Ivey (Alaska) or Monique Roffey (Trinidad) and absorb how they select and employ geographical detail like seasoning to enrich and attract, without drowning the reader in reportage. Read Salman Rushdie or Louis de Bernières as a lesson in how historical segues act as mortar to the story bricks, whilst rendering the two part of the whole.

If you need to be an expert in a given field – maybe a pathologist in crime fiction or WWII fighter pilot in a historical romance – make sure it’s the characters who sound like they’re living the life. Not the author trawling the internet.

One tip – our own Gillian Hamer took an Open University Forensics’ Course. In her novel where a pathologist takes the lead role, she must sound like she knows her DNA from her CAP – and sound like she means it. If the language and the words become second nature to the writer, rather than something quickly cut and pasted from a website, it adds so much more depth and gravitas to the characters. And the readers will appreciate the effort without even knowing what went into it. Making something incredibly difficult look incredibly easy is vital.

Me, But Better

Another pitfall is the writer who uses fiction as wish-fulfilment. This story’s hero/heroine is IRRESISTIBLY sexy, tall/petite, witty/winsome, glamorous/gifted, muscular/feisty, handy with a Colt 45/cauliflower coulis, genetically/genitally enhanced, an arrogant bad boy/a sassy sex kitten, a horse-whispering human marshmallow in leather trousers/a free spirit who sits naked in a peacock chair while her lover paints the sunset.

This kind of fantasy belongs in teenage notebooks or in locked jewellery boxes, encoded and set to spontaneously combust if any other eyes but the author’s should happen upon them. Unless you're E.L. James.

Just as your average teenager tries on a variety of identities to see which suits, a writer should experiment, move away from oneself and stretch beyond what is comfortable.

I became interested in writing different points of view. And I think I came from a student background and cultural generation which was very nervous about writing outside one’s own experience; gender, sexuality, race, ethnicity and cultural space. I think The Slap is my attempt to resist that. Not to say those considerations aren’t important, but if I can’t write as a woman, a black person, an old man or a teenage girl, what the hell am I doing writing at all? – Christos Tsiolkas

Isn’t It Exotic, Don’t You Think?

At a workshop for non-Fiction Writers in Zurich in 2011, Andrew Crofts (The Ghost Writer) listened to various accounts of the expat experience and finally, with a deep sigh, told it like it is.
“Yes, but the only people who will be interested are other expats. Write a blog instead.”
This astute writer knows her audience and shows how it should be done.

Who are you talking to? Other versions of you? Or do you want to address a wider audience with a story anyone can access? Why will anyone else care about what you care about – and how can you make that happen?

Empathy is a key ingredient. The old adage of getting the reader onside from Chapter One is a rule to ignore at your peril. Whatever genre you chose, make sure that the characters and world you create encompass the reader, so that every emotion is heightened and explored. Hate is fine, sympathy is better. Anger is necessary, passion is perfect.

Write for a wide audience, so that people of all backgrounds and persuasions can live and involve themselves in your world. Fiction is not the place for walking on narrow ground.

Dull as dishwater

Another problem many writers face when they stick to safe territory and write what they know is that unless they are widely read or have imaginative scope beyond a normal person’s wildest dreams … life can be pretty crap. And often pretty dull.

Most of us in our daily life relive on repeat a pretty good take on Dolly Parton’s 9 to 5. It’s normal and banal and just life. We don’t make eye contact with a tall, dark handsome stranger on the bus and experience a life-changing frisson of electricity. We rarely see an armed robbery during our lunch hour while picking up an egg and cress roll from Greggs. No one is going to want to read about an eight-hour shift at a call centre, when the highlight of the day was a visit by the window cleaner.

There are, of course, elements of our life we can take with us on our journey into fiction. Emotions. Experience. Knowledge. Conversations. History. We have a melting pot of resource information bubbling away in our brains. But to make all of those ingredients come together in a perfect recipe, we need to transport the reader away from the normality of everyday life.

Even if we’re only transporting them on the Tube from Holborn to Greenwich. Even if we’re not planning on whisking them away to the Maldives or Great Barrier Reef. It’s still the job of the writer to create a believable world to relate their story, that although the reader can pick out bits they recognise, fits the story you have created – not the one you live on a daily basis.

From all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive. – Ernest Hemingway

Location, Location, Location

Many of you will know that location is a strong theme in Triskele books. And while it’s clearly not practical for every author to visit the place they set their novels (our JD Smith may find difficulties visiting the lands of Palmyra circa 1st Century AD) a strong setting can really carry a story – and again it needs to be something that although the reader may recognise in passing, does not linger too long on the M25.

Some writers, take for example, Stef Penney and her wonderful The Tenderness of Wolves, admit they have never set foot on the land they so wonderfully describe. But they spend years researching the layout, the towns, the traditions and languages. This is a gift coupled with hard work.

Many writers prefer to visit the location to feel the atmosphere of a setting, and there is nothing more satisfying than to be told in a review that your description of a place has prompted the reader to pay their first visit.


But let's not forget that there are times when writing what you know is the most important thing you can do - for yourself, and for others. Jade Amoli-Jackson is a humbling example.



It’s a big world out there. So, whichever way you do it, take a chance. 

Break the rules. Open up and let the reader in.



by JJ Marsh

My Top Ten Crime Writing Tips

 By Gillian Hamer

Gillian Hamer has published three cross-genre thriller novels via Triskele Books – The Charter, Closure and Complicit. She is now working on the third book in her Gold Detective series after the successful release of Crimson Shore and False Lights. She's a founder member of Triskele Books and an avid reader of crime novels. 

Here, Gillian imparts advice and tips she has accumulated over more than a decade writing in her favoured genre - for any writers who may be considering trying their luck in the murky world of crime and thrillers.

Knowing your market.

Read widely and varied - by that I'd suggest as many authors as possible, not necessarily as many books. If you’ve read one book by Rankin or McDermid, then move on. Find what else is out there. That means reading the classics but also being aware of current market trends too. For example, I had a meeting with an editor of a major publisher who liked my writing but thought I needed to make my style darker. ‘Read Tess Gerritsen, she said, try Kathy Reichs (both authors I’d never previously read) - those are the writers who are selling now.’ Sample everything out there and see what style suits your writing.

Location.

Not something you may expect in the top ten of my tips on the genre – but I’m a firm believer that getting the setting right and creating a backdrop that stops the reader in their tracks is as important as a strong lead character. Written well, location can become a character in its own right. And I’m not alone in my view. Think of Dick Francis who based all his books around horse racing or Colin Dexter’s use of Oxford as a fabulous backdrop or Ian Rankin’s view of Edinburgh. Try to think of somewhere original. Research or visit the area. Make the reader connect with the place if they know it – or close the book wanting to visit. Having a solid foundation for your crime novel will improve your chances of success.

Conflict, conflict, conflict.

Plot and getting it right are crucial in crime writing, central to that is the subject of conflict. Without conflict there is no crime, in fact without conflict there is no drama in any genre. Always take care to make sure your plot has enough tension and conflict to keep the reader hooked, but also enough breathing spaces to keep the story real. Getting the level of drama in the right place, at the right time, is another consideration when trying to create a plot with tension, twists and turns. You want to amaze the reader, not frustrate them.

Killer Opening.

It is more vital in crime fiction than any other genre to grab the reader's attention during the first page, first paragraph or even the first line. Readers expect shock and awe in the first chapter and they don't want to be disappointed. So, make sure you kick off the book in the means you want to continue.

Killer Ending.

It is also vital to ensure that the reader stays with you for the journey and comes to the end, not only entertained but satisfied with the summary and conclusion. If you're writing a crime series, the best way to ensure your reader reaches for the next book is to ensure you get the end of the previous one right on all counts.

Killer characters.

While plots are crucial to the novel, they can be easily forgettable, and by the nature of crime fiction can often feel very similar. Characters, on the other hand, never leave us: Poirot, Marple, Lecter, Rebus. Characterisation is crucial in crime writing – whether that’s the goodie or the baddie. There are a wealth of new UK writers who have this nailed. Ann Cleeves with Vera for example. A character who shouldn’t work, who we shouldn’t like, and is the antithesis of everything we expect – and yet Cleeves is steadily building mass market popularity. A lesson in how to be different and competent at the same time.

Research your genre.

There's a lot of emphasis on research when writing crime. Whether it be police procedure, medical terminology or historical resources - it's vital you get it right. Credibility can be a huge stumbling block. And whilst, most of us won't know how it feels to be a pathologist or a murderer, being as accurate as possible is vital in keeping the reader's attention. If you want a forensic scientist to excel in their field, for example, and baffle your reader, make sure you study the subject yourself, not simply rely on the Wikipedia. Maybe do a forensic science course as I did. Make sure you sound as much of an expert as your characters. If you don’t get it right, your readers will – and you’ll be caught out.

Pace and Style.

Getting the pace and writing style right is another crucial element. Crime thrillers need to be tightly written, no flowery language to muddy the waters, and as a general rule you can look to reduce your first draft by at least 10%. Be ruthless in your edits. If a scene doesn't move the story on, then cut it, keep the style taut and the pace tight.

Aim for Perfection.

Today, if you have any hope of getting your work noticed, published, acknowledged – it has to be Great (with a capital G!). And that is what you have to aim for no matter how many drafts it takes. Soak up advice, good or bad, and don’t disregard a single opinion until you’ve considered it carefully. Of course, it doesn’t mean every single person who comments on your work is right – but make sure they’re definitely wrong before ignoring any advice.

Practise Makes Perfect.

You learn by experience. The more you write, the better you become. Every chapter, every draft, every novel … you will improve. Think about building your skills, engaging with fellow writers, researching the industry as well as the genre, or maybe getting expert editorial advice. All those things will increase your maturity as a writer and get you one step nearer to establishing your goal. Remember, writing can be a lonely place, but you’re not alone.

And on that note, I’ve asked a few up-and-coming crime writers what their one top crime writing tip would be.

Scene Building … JJ Marsh.

I hate violence. Which is tricky to avoid as a crime writer.
So with a violent scene, I try it both ways.
I write it twice - from victim and perpetrator perspective. Sometimes, even from the POV of an observer.

When I read the whole thing back, my instinct tells me which voice should relate the incident.
It all comes down to the effect I want to have on the reader.

JJ Marsh, author of the Beatrice Stubbs series. 

www.beatrice-stubbs.com

POV … Frances di Plino

When writing your antagonist’s parts of the book, you have to inhabit his or her head to the extent that you understand why they act as they do.

Frances di Plino – author of Bad Moon Rising, Someday Never Comes, Call It Pretending and Looking for a Reason

http://www.francesdiplino.com/

Action … Chris Curran

When you're writing a fight scene or a physical struggle, always act it out.

Chris Curran – author of After the Darkness and Her Turn To Cry.

https://chriscurranauthor.com/

Background … Sheila Bugler

Read as much crime fiction as you possibly can. Understand the different sorts of crime fiction and where your work fits within the genre. Laura Wilson's regular crime round-up in Saturday's Guardian newspaper is a great way of discovering new crime fiction writers.

Sheila Bugler, author of Hunting Shadows, The Waiting Game and All Things Nice
http://sheilabugler.co.uk/

For more ideas and tips on writing crime and thrillers, check out this post on The Writer's Workshop

A Year in the Life of an Indie Author ...

By Gillian Hamer

When Triskele Books celebrates its first official birthday in June, I shall take a moment or two (probably over a glass of fizzy stuff) to consider the rollercoaster journey I’ve been on since the inception of this mad idea over posh tea and equally posh cakes in a scarily posh hotel in Park Lane, London two Christmases ago.

Since then, everyone involved with Triskele has come one hell of a long way, and experienced the delight, or the imminent delight, of getting their books published. The feel of holding your novel in your hand for the first time is something that probably never leaves you. It makes up for all the traumas of … ISBNS, formatting, editing, paper colour, web design and marketing … combined.

There have been numerous highs – and yes, a few lows. But independent publishing has been a rewarding and worthwhile experience for me and I do not regret one single moment.

I thought it may make interesting reading to find out if other authors agree. And discover what we have actually learned over those first critical twelve months, starting with Triskele members … but also opening up the question to members of ALLiA (the Alliance of Independent Authors) and getting their thoughts also.

The first batch are below, more to follow …

------------------------------

JJ MARSH (TRISKELE)

Quality. Good writing will find its audience. Marketing sleight-of-hand works, to a point. But no matter how slick your promotion is, people can tell the difference between snake oil and story. Good books find good readers who tell other readers ...

Flexibility. 'Published' previously meant set-in-stone, unalterable, liable to date, and every mistake an eternal albatross. Not so now. E-books can be updated, corrected and tweaked to reflect the Zeitgeist.

The author is in control.

www.jjmarsh.wordpress.com

LIZA PERRAT (TRISKELE)

Last year at this time I knew nothing about indie publishing, a big fat zero. I came onboard the SS Triskele rather later in the journey than Jill and Gilly; only three months before our launch. So, I had to learn everything in a tearing hurry. The result was a vague idea about all aspects of self-publishing, but a lot of confusion remained.

A year on, I have had more time to learn about it. I'm still far from an expert, but I have learned SO much about all the aspects of the process in one short year, and feel far more confident than I did a year ago.
www.lizaperrat.com

JANE DIXON-SMITH (TRISKELE)

I know how important it is to work together as a team.

www.jdsmith-design.com

ALLiA Members :

CATHERINE BROPHY

It’s not as easy as it looks …BUT… After a zillion publishers said “We love your writing but…” I was thinking of taking up knitting - socks perhaps, for Antarctic explorers. But we’re short of Antarctic explorers in Ireland. Then I read about AlliA, joined up, went to a meeting and Wheeeee, I can publish myself. Suddenly I had a huge surge of creative energy.
The learning curve is incredibly steep. I’ve spent hours trying to figure out Internetty things. At times I felt like curling up in a virtual corner and weeping… Still do. BUT… Next time will be a lot faster.

It is easy to get overwhelmed … BUT… After one of my internet meltdowns I remembered my father’s advice. “The way the monkey fought the bees on the Naas road…one by one” I focused on the next step and ignored everything else. Now most of those bees are back in the hive.
When you know for sure that you’re going to be published a wealth of ideas leap into your head.
When you know for sure that you’re going to be published you discover that you can write a lot faster than you thought you could.
Would I do it again? Absolutely.

http://www.catherinebrophy.ie

JOANNE PHILLIPS

That it's both surprisingly easy and incredibly hard, and that this constant contradiction is something you just have to get used to! I'm not sure how useful that is to someone starting out, though; it's kind of like a mum telling her teenage daughter there are plenty more fish in the sea - there are some things you just have to find out for yourself. 

What I know now is that there is no excuse for not diving right in - and I wonder why any decent author would bother hanging around waiting to be 'discovered' by an agent or publisher when there is a whole world of readers out there just waiting for you. 

But - and it's a big but - the work is overwhelmingly multi-faceted. You become everything all at once: writer, editor, marketer, promotions manager, cover designer, blurb writer, distribution manager, IT professional, webmaster, PR consultant, project manager - plus you have to actually get on and write the next book. 

Many indie authors have jobs, and families, and lives (!) as well. I wouldn't change a thing about the last twelve months, but I do wish there were a few more hours in the day. The biggest contradiction of all: Indie publishing puts out some of the most amazing reads around, but still we have to fight to be taken seriously.

www.joannephillips.co.uk