On Finding Your Literary Voice…

speaker

 

 

 

 

 

 

 

In reading literary reviews, or writing reviews in general, one note that commonly comes up how the author has found his or her voice. ‘This writer has found his voice…’ ‘She’s established her own voice…’ ‘His unique voice comes through loud and clear in his writing’. The problem with this note, for prospective writers in particular, is that it can be a bit vague – what does that mean? How can someone find their literary ‘voice’? Your ‘voice’ is your distinctive presence, your way of communicating a story, and in that sense, there’s not really any way a person can say ‘here’s how you find your voice’, because it’s unique, it’s who you are – and not only that, it’s who your characters are, the authentic voices of your story. It’s the voice of the piece needs to be reflective of the story and true to the reality of the world that you’ve created.

While I can’t tell you how you can find your voice as a writer, what I can tell you are some of the things writers’ often do that are counter to finding their voice. We’re all trying to ‘be writers’, all trying to do what writers do, as opposed to what we, normal-folk, do, and inevitably, that leads to us adopting some practices which go totally against the mission of finding one’s own unique voice. Here’s a few things to avoid, or think about, as you go about your writing work.

Not every detail has to be painstakingly poetic

This is probably the most common mistake people make, they’ll try to create epic, poetic descriptions of even the most mundane and irrelevant details of the scene in order to conform to what they believe is a literary approach. It’s one of the easiest traps to fall into – you get self-conscious about your writing, you think you need to make everything more stylised, more beautiful, and you end up wasting paragraphs on details that serve no purpose to the wider piece. The greatest stories have a flow to them, an effortless beauty, a sense that every word, every description, is rested right there, in it’s correct place. That sense comes from knowing the story, from having every detail relate back to the core of the piece. Everything you describe, every element, should all be adding to the wider themes and ideas of the world of the story.

For instance, I read a piece recently where a writer had spent sentences describing the details of the way a room was set out. The story had nothing to do with room detail, and the characters didn’t have any psychological predispositions to noting down such elements. The description was purely there because the writer felt like they needed to include complex description. Now, if the character did have a leaning towards being caught up in intimate details – if, for instance, the character was having a life moment and such details reflected a wider sense of his/her own position at that time, those details would be relevant, but painting literary embellishments without direct story purpose is often jarring and representative of your own lack of confidence in your writing. Every detail you note should have a reason for being there. If it doesn’t, cut it out, it’s just weighing down your prose.

Trust what you know

A big part of establishing your own literary identity is trusting what you know. Your voice is exactly that – your voice. You have to know what you’re trying to achieve with your work. You know how people talk, you know what interactions feel genuine. You also know, in your own experience, what makes people do the things they do, what life events lead to people being how they are. Your experiences on this front are totally unique – you’ll have seen and heard of people doing things for different reasons, and you know those sequences as truths, as things that have happened. Those understandings are what you need to reflect in your work – if something happens, if someone does something, it’s not just a random event. What made that person do that thing? What compelled them to act in the way they did? You know what would most likely lead to a person being in the state of mind they’re in, and that is the truth that you need to reflect and tap into in your descriptions. That’s not to say you need to go into every detail of their life, but you need to know your characters, who they are, what they do, what their motivations are. If you know that detail, you can ensure their perspective is reflected in every action – how they react is how they would respond in real life. And that’s based on what you know – that’s where your own authenticity comes from, not from movies or books or what you think other people might think. You have to trust your own knowledge and understanding and ensure that that honesty is reflected in your work. If something happens that doesn’t feel true to you, it’ll likely feel totally fake to another reader.

Your only obligation is to the honesty of the story

This particularly relates to the voice of your work – the way the characters speak, the way the story is presented, these details need to reflect what’s best for your story. You know the characters, how they talk, how they act. The way it’s communicated, in your words, should reflect the voice of the piece. If you want it to be slow and dreamy, read other writers’ who’ve written in that way and study what they’ve done that works. Use thematic images in your writing area and music to inspire your thoughts and get the words flowing through your head. But above all, ensure that the voice you use for your work is true to the story you want to present. If it’s first person, get in the head of your character and describe the world as he/she would see it. If it’s third person, understand the flow you’re going for, how distant or intimate you need to be, and ensure that perspective is maintained – but always be true to the feel of the story, the characters, the drive. How do you want the reader to feel when reading it? What elements will keep them glued to your words as they flow through the piece? Don’t write in the voice that you think a ‘real writer’ might go for, write in the voice of the story, of the characters. Write as if they’re telling the story themselves, how they would describe it. You have to inhabit the story, be part of it, see things from the interior of the book. Once you get in there, in between the words, you’ll start to see your own voice shine through and move from being influenced by other works to being contained within your own piece.

As I’ve discussed before, there’s no sure fire way to be a successful writer – if there was, everyone would do it. It’s a lot of introspection, a lot of observation and a lot of daydreaming, allowing yourself to get caught up in your imagination. Finding your voice is difficult – it’s something that gets thrown about like it’s a goal to aspire to. But more often than not, you find your voice by not specifically looking for it. Be honest to your work, to the world’s you’re creating, to the characters you’re building, and through that honesty and focus, your voice and style will develop all on it’s own.

 

Music That Fuels Imagination…

DJ Shadow 1

Music has always played a big part in my writing. Not so much as I’m writing, as I like to be fully enclosed within the words (sometimes strangled by them), but when I’m thinking, when the story is percolating inside my head, it’s good to have a background theme. I used to live in Kinglake, which is about 40 minutes drive away from anything – a rural town stranded on top of a mountain. The distance meant you had a lot of time alone with your thoughts, travelling from one place to the next. I worked in the city, which is about a 3 hour round trip, and the best thing about it was having that time and space to open your mind, to allow your creative thoughts to drift and evolve. I found music often played a big part in this, certain songs or albums would wriggle into my consciousness and form a soundtrack for my expanding imagination.

While it’s different for everyone, I thought I’d share a couple of my favourite idea accompaniments. If you’ve not heard these or haven’t given them a re-listen in a while, maybe this will motivate you to load them up and let your mind wander through the tracks.

Pieces in a Modern Style

 

‘Pieces in a Modern Style’ – William Orbit

It takes some people a moment to get their head around this one – William Orbit is an electronic music producer, and he took some of his favourite classical pieces and re-worked them using digital sounds. And some of them, I can get totally lost in – most notably ‘Ogive Number 1’, (track 3). Each track inspires it’s own visual idea in my mind, and it’s a great album to just press play on and go about your thoughts. Try listening to it as you drive through the city at night, or along the freeway at dusk.

 

 

 

Burial Untrue

‘Untrue’ – Burial

I find all of Burial’s music to be incredibly vibrant, in a visual sense. The titles of his tracks alone inspire certain narrative ideas (‘In McDonald’s’, ‘Homeless’, ‘Night Bus’). There’s a sorrow and detachment in Burial’s music, which is reflected in the man himself (in the few interviews he’s done). But in that too, there’s beauty, something that entices you to take a better look at the world around you, to take in the various elements. It’s the detail that he seems to bring out, the heart of a moment, encapsulated in musical form. Again, best for listening to at night – though I do most of my writing at night, so there may be a reason for that motif.

 

 

 

DJ Shadow 2

‘Endtroducing…..’ – DJ Shadow

That’s not a spelling error, the album is called ‘Endtroducing…..’, the diamond in the catalogue of sample genius DJ Shadow. Very few artists come as close to creating a perfect album as Shadow did with this one, and it’s been both a blessing and a curse for his career – he obviously garnered huge amounts of fame and acclaim for it, but everything he’s done since has inevitably been compared to it, and also, inevitably, fallen short. For his part, Shadow has always said he’s produced music he loves, and he’s stood behind every album, regardless of critical sentiment – and some of them do have moments of greatness (his follow-up, ‘The Private Press’, is amazing). But ‘Endtroducing…..’ is such a high benchmark, it’d be near impossible for anyone to live up to. There’re so many great moments on this album, songs that inspire such amazing feeling and nostalgia. It really is on another level, something everyone should experience in a dark room with no other stimuli to distract them. Just listen and feel the emotional depth of the work (Shadow has said he was in despair while making the record, and you can feel those edges of emotion breaching through the beats).

 

Godspeed

‘Lift Yr. Skinny Fists Like Antennas to Heaven!’ – Godspeed You Black Emperor

Really, you can listen to any GYBE album and be transported to another time and place, but there’s something about this album which transcended their other work. It’s by far their best known album, and it definitely does have an extra element that stands out, something that elevates it. Essentially, GYBE create soundtracks – they’ve contributed to several actual movie soundtracks, but even without the movie backing, their music is narrative driven, just, most of the time, without the actual narrative. Some people find it hard to get into, I find it best to just play on low volume to start with and just let it build with your thoughts.

 

There’s a heap of other albums, tracks and sections that have inspired my work, but these are the ones that stood out the most, and ones I think others might also get something out of. If you’re ever struggling with a section or idea, maybe sit down with one of these and see if they take you out of your day-to-day for a moment, expand your imagination and sense of place.

Do you have any albums or tracks that inspire you? I’d love to know, always keen to try out new music and ideas as I write.

Author Interview: James Phelan

P-Han

In my time at writing and literary events, I’ve had opportunity to meet a lot of authors. Most of them are pretty quiet, all of them have been pretty nice, normal people, but a couple have become genuine close friends. It’s great to have a few writer friends, some people who know what it’s like to commit yourself to such a solitary act. It’s also great to have them to bounce ideas off, talk about your frustrations or concerns, just share with folk who’ve gone through a lot of the same things.

One of those people, for me, is James Phelan. I met James at the Newcastle Writers Fesitval in 2006 and we hit it off straight away. What’s always been really interesting for me is James writes in a completely different style to what I do. James’ novels are action/thrillers, and I’ve never been able to get into them. But hearing such a difference perspective on writing and the writing/publishing process has always fascinated me. James is the guy I go to when I need to ramble about writing and the challenges I’m having, the guy I seek out if I don’t know how this or that works in the industry. He’s also a close friend whose always been willing to listen to my ramblings.

I asked James to answer a few questions on writing and his writing process:

When did you decide to pursue a career as a writer?

I was 15 when I knew I wanted to be a novelist but I thought you had to be an old dude to do it. So, I figured I’d give it a try when I retired from a “real job”. I studied architecture and worked for a couple of firms, and by 20 I knew that I had to give writing a serious try. I wrote my first novel by 21, got a job at a newspaper, did an MA and PhD in Lit, and had my first novel published published at 25.

What’s the most challenging aspect of being a full-time writer?

Deciding what to do next. I’ve written series for adults, young adults, and kids, and each has its pros and cons. The adult stuff has complete freedom, YA slightly less so, and the kids stuff has a whole bunch of things that the publishers tell me I can’t do or say on the page. The YA and kids stuff involves way more PR, on average a day per week, and while that’s great in terms of meeting enthusiastic readers, it sucks time away from writing. Publishing books for adults is more about Crystal, Maybachs, diamonds on your timepiece, jet planes… you know the rest. Publishing books for kids sells about 10x more.

What’s the key to ongoing success?

Working hard. It’s easy for a writer to procrastinate, and there’s creative merit in that, sure. I write every day, starting early in the cafe nearby. Depending on which stage of writing I’m at, I’ll be sitting with my notebook or laptop or print out. Every day. That’s the writing side. The business side – you need good agents (and an accountant) who you trust will give you good advice when you need it, look over your contracts, and support you through the process.

Best tip for keeping ideas flowing and avoiding/beating writers’ block?

It’s my belief that if you write every day you’ll keep things moving along. That, and knowing your ending. Whether I’m writing a short story or a 40,000 word novel for kids or 90,000 for adults, I always know how I want my ending to play out. Not so much beat for beat, but in my ending I need to know the feeling that I want to create in the reader, be it comedic, dramatic, tragic etc. Usually by the time I write the ending, it will play out different to how I envisaged, but that value will stay always the same, and by knowing where I was going I managed to get there. I’ve been a full-time novelist since 2007, and it’s all about working hard.

Best tip for writers starting out?

Don’t ever sign a 13 book deal. Only recently have I finished all my contracts, and the freedom is incredible. So, enjoy your freedom, while it lasts. Write what you want to write. Make it shine through revisions, then decide what you’re going to do with it. I still think that agents are worth their commission, so get one of those. How? By getting published. How do you get published? By having an agent, or already being published. I know, right? Oh, and don’t forget to read as much as you can and as broadly as you can. Good luck.

[Note: Not everyone's as luck to be offered a 13 book deal, and I'm sure most would jump at the chance, but as noted by James, it can be double-edged]

James Phelan’s latest adult thriller is ‘The Spy‘, and the first books of his YA series ‘The Last Thirteen‘ are also available now. He’s also on Twitter.

Also, this punch really hurt him.

Moments before tears were shed

My First Boy

TJ and me

I used to have a dog named TJ. I named him after a basketball player who I liked – small, but full of attitude. But TJ wasn’t really full of attitude. On the day we picked him up, he was the quiet one, the runt, sitting at the back while the other pups clamoured for our attention. Then, after the others had calmed down and got distracted by other things, TJ made his way over and pushed his nose under my wife’s hand. He was a gentle pup, was attached to us from day one.

It broke my heart when we went to work and left him. He’d be sitting in the yard staring out through the wooden gate, watching me leave, then when I got home, he’d be in the exact same spot, staring out. I don’t know if he ever moved while I was gone. We had to get him a friend, another dog to keep him company. We got Chester about four months in.

He always pulled too hard on the lead, was too enthusiastic when we went on walks. He loved going in the car too, even the long trips from Canberra to Melbourne. But really, he just loved being with us. Always. He’d sleep in our bed whenever we’d let him.

He got sick. He developed a big belly which we put down to him just getting fat, then his fur dried out. There was something wrong. He was diagnosed with a condition that couldn’t be cured when was seven human years old. He didn’t want to walk anymore. Then he didn’t want to eat.

I used to have a dog named TJ. He died early this morning.

He was a good dog. I’ll miss him a lot.

 

Rest in peace, my boy.

The Best Films of 2014 (So Far…)

I’ve been catching up on some films recently, and got into a stretch of great ones that I wanted to share. So rather than write individual posts for each, with us now at the midway point of the year, it’s a good time to go over the best films I’ve seen, thus far, in 2014. Some of them I’ve already written about, so I’ll try not to repeat myself, but here’s my top five from the last 6 months:

Enemy

There’s so much I could say about this film, so much I’d love to go on about, but it’s one of those ones you’re best not knowing anything about going in. Directed by Denis Villeneuve (whose previous film ‘Prisoners’ was on my ‘Best of 2013’ list), Enemy is a lesson in film-making. Everything about it is precisely placed and planned, everything is deliberate. All I can say about Enemy is the film you’re watching is not the film you think it is. It’ll make sense in the end. Probably.

Under the Skin

Another one I’d love to go on about for pages and pages. Directed by Jonathan Glazer (Sexy Beast), Under the Skin starts off with a woman (Scarlett Johansson) driving around Scotland in a large, white van, looking for directions. But then she’s looking for something else, a phone, a different road. Then you realise, she’s not looking for directions at all, she’s trying to lure each man she speaks to into the van. From there, she seduces them, then takes them to abandoned buildings. What happens next, in terms of the way it’s shot, the set design, the music, is mesmerising, and so great, and the story leads on from there. Under the Skin is based on a novel by Michel Faber – though it’s a loose adaptation, major sequences and plotlines are altered from the book. It’s a great example of restraint, of allowing the plot to develop on its own, combined with some amazing visual elements. A great, great film, one I’ll no doubt be watching over and over.

X-Men: Days of Future Past

I already geeked out over X-Men: Days of Future Past in a previous post, so I won’t go on about it again. For me, this is the ultimate superhero film – of all the ones that have come before it, X-Men: Days of Future Past has the strongest combination of amazing visual effects, solid story and deep characters (in superhero film terms, at least). People will praise Chris Nolan’s Batman films or Joss Whedon’s Avengers as the best superhero films, and to some degree, it depends on which comics you grew up with. For me, X-Men: Days of Future Past is the best – it sticks to the real roots of the comics, it brings characters to life you never thought possible and it all just looks so great, no expense is spared on the detail.

Blue Ruin

I came across this film recently, one I hadn’t heard a heap about. Blue Ruin is the story of a broken man who returns to his home town to enact revenge, and the consequences of his actions then spiral further and further out of control. Blue Ruin pulled me in pretty quick and I had to know how it all ended. It’s well acted (by relative unknowns) and plotted and, most importantly, it moves. The story pushes ahead at such a pace, remaining compelling and engaging throughout – it’s a good lesson in plot development and raising the stakes to sustain engagement. It’s an intriguing, violent film, but one that’s well worth seeing.

About Time

This one sort of crept up on me. We watched About Time, essentially, because I thought my wife would like it – she’s into romantic films, The Notebook being her favourite, and this has McAdams in it and it’s by the guy who made Love Actually – it has all the makings of a film she’d love. But I actually really liked it. It’s got depth and heart, a reflective element to it, which is normally non-existent in romantic dramas which play out the obvious notes. About Time is about a guy who can travel back in time. Not anywhere he wants though, only back to places he’s been and experiences he’s lived – like, if he embarrassed himself the first time he spoke to a girl, he can go back and change it. That sounds really amazing, right, and slightly difficult for a film (how do you create tension in a scene when the audience knows he can just re-do it?), but it actually moves in a direction I didn’t expect and ends up being an interesting reflection on life and how we approach it. About Time isn’t going to go down as an artistic masterpiece, but it raises really interesting questions, and it’s definitely worth checking out.

So there they are, my top films of 2014 (so far). In terms of writing, all of these films have great written elements, great plot development points that are worth taking note of. I really loved that most of them went places I didn’t expect, opening my thinking to other angles in my own plot development efforts. It’s like when you read a great book and it opens up all these possibilities in your mind and then you get that electricity, that momentum that compels you to just get writing. All these films had elements of that for me, all triggered ideas and tangents, new perspectives and elements I could consider. Each one got me thinking – especially the first two on this list – and anything that gives your creative mind a kick is worth taking a couple hours out of your day for. If you’re looking for inspiration, seeking out a great film is always a worthy avenue to try.

 

 

Film Review: Enemy

Enemy_Poster.jpg.CROP.promovar-mediumlarge

I have to restrain myself in talking about Dennis Villeneuve’s ‘Enemy’ because… it’s quite possibly my favourite film of all time. That’s a big call to make, and as soon as you do make it, people will scrutinize the film in a different way and instinctively try to tear it down, moreso than they would if you’d just said ‘yeah. It’s good’. Not that I don’t think the film holds up, but I hesitate only because I want everyone to see this film and experience it for all it is. Enemy is so well made, so well done and so amazing – it’s something that you need to let yourself be absorbed into.

Every element of Enemy has been planned to the nth degree. Every scene, background to foreground, is deliberate, all the pieces fit perfectly into where they should be. What might seem like nothing is actually carefully positioned to achieve best effect and the cinematography perfectly captures the feel of the film. The performances are great, and the way the story builds and shifts drags you further and further into the rabbit-hole-type story. Some have criticised the film’s heavy handed use of metaphor, but I think it’s exactly what it needs, at exactly the right times, in order to let you know there’s more happening than what you see. I can’t talk about the story, but I will say that it expands a whole different way of viewing it, outside of the film itself.

Enemy is exactly what I look for in a film. It’s storyline is intriguing, the film construction is thorough and it has an extra layer to it that forces the viewer to think about its meaning and subtext. It’s more than the sum of its parts, and while it won’t work for everyone, it was definitely one of my favourite viewing experiences of all time. Writers, in particular, can learn a lot from the story’s clever construction.

See it.

 

How Would You Write if the End Result Didn’t Matter?

Basketball

It’s amazing how much state of mind plays in success. I’ve been playing basketball since I was fifteen, still play a couple of times a week (I’m now 34) and I was talking with a team-mate recently, saying how we play so much better in training than we do in our actual games. Why would that be? The reason is because we approach them differently – in training, we’re playing with mates, guys we’ve played with and against for years and we’re comfortable around. If we win a training match, great, if not, no one cares, so we’re much more likely to take shots we’d think twice about in a real game, much more relaxed, and this, generally, means we play better. Because we’re not over-thinking the importance of making the play or how to beat this or that defender. In training, we’re relying more on instinct, and we’ve been doing it for such a long time that our instincts are pretty good.

The difference between practice and game is totally in our own heads. The opponents we play against aren’t better than the guys we train with, but in our heads, we put more emphasis on it, we get more caught up in doing the right things and not making mistakes. We stress, and that stress makes us tighter, makes us think that little bit too much about the process rather than just allowing ourselves to do it, and we make more mistakes because we get caught up in the detail. We make the situation more difficult for ourselves because of our own self-doubt and mentality. There’s no actual difference in the physical process.

I’ve heard sports stars say this over the years when talking about the difference between the highest levels and the lesser ranks. They always say the psychology is what you have to master, the approach. For a long time I didn’t understand it, but in recent years I’ve come to realise what they mean. There’s a famous quote from Henry Ford which goes: ‘Whether you think you can, or you think you can’t – you’re right’. That pretty much sums it up – if you go out on the court and you think you’re going to get beat or you’re going to play bad, you’re probably going to. If you take to the floor and you’re getting caught up in who your opposition is and stressing over what might happen, you’re starting off on the back foot. You need to be able to change you’re thinking on it, relax yourself, even enjoy playing the game. You need to think ‘how would I play in practice?’, ‘How would I feel right now if the opposition were all guys I know?’ You need to think: ‘How would I play if the end result didn’t matter?’ If you can change your mindset, you can allow your instincts to take over – that’s what the big name sports stars are able to do. Despite the crowds and the money and the expectation lumped on their backs – the best players are able to block it all out and play just like they did on the schoolyard, just like they would any other time. In doing this, they allow themselves to maximise their natural instincts and abilities.

So why the long sports analogy on a writing blog? Well, the next tangent I thought of is how this also relates to my writing. As writers, we often put too much pressure on ourselves, always thinking this isn’t good enough, or we get caught thinking ourselves round in circles trying to work out the best way to explain certain elements or details. Just as in sports, we’d often do better to trust our instincts and rely on the skills and knowledge we’ve developed – you know you can write, you know you can do this, so why are you being held up? Why can’t you get it out the way you want? Just like Michael Jordan, with thousands of fans screaming on all sides, would rise up and take the shot, same as he’s done for years and years, you can write, free of what others might think, clear of expectation and self-doubt.

Some people talk about the benefits of free-writing, where you just get the story down as fast as you can – no editing, no re-reading, just go. I’ve heard several authors praise this process, saying it frees them up and allows them to get down sentences they’d never have come up with if they analysed and agonised. However you go about it, the important thing you need to focus on is writing what you want to write. You’ve read lots, you’ve written a heap, you know, instinctively, what it is you want to do. So just do it, trust in yourself and block out any other influences in your mind – write like you’re just doing a story for your friends, no one else. Write like no one will ever see it, if that helps.

Success or failure depends so much on our mental approach. The thing to remember is, everyone is human. Everyone makes mistakes, everyone mis-steps – no one knows everything. You are just as good as anyone else, you can achieve whatever you want. Definitely, you need to work for it, you need to work at it and build your skills, but if you’ve done the preparation, if you’ve done the research and you know what it is you’re trying to achieve, then the only thing holding you back is you.

How would you write if the end result didn’t matter? If no one cared, if no one was going to judge you or your work? At some point, it will matter, you’ll need to edit and refine – but at the first stage, it can help to alleviate the self-doubt and blocks if you write as freely as possible. Don’t think about where it might go next, don’t think about publishing or competitions. Write instinctively, like you’d have done when you were a kid. Relieve the pressure and expectation and might just open yourself up enough to produce your best work.

 

Colour/Character Association

Colours

An aspect that you need to keep in mind when writing is what you want your readers to feel as they read each section. Fiction writing is, essentially, trying to re-create the emotion you feel for the scene within the body of the reader, and in that, you need to always be aware of how you’re communicating the details. Importantly, what you need to be careful of is what words you use. Sometimes an out of place word can ruin a perfectly good set up – you wouldn’t have the word ‘chook’ in the middle of a scene of romantic resonance, for example. Careful word placement, and even word themes, can help build scene depth, and characters individually.

Here’s something that’s worth trying – assign each character in your story with a colour, based on their personality and traits, what you know of them. Once you have the colours down, write down words you associate with those colours – make a word cloud of 10-20 words that you’d link to it. For example, red might be associated with fire, stop, heat, fast. Once you have your words down, as you write, try to use those words in your descriptions of those specific characters and their actions. What this does is it builds a theme around that specific person – you associate those words with that colour for a reason, and readers will to. With red, anytime those references come up, people will have an association with them, and thus, the character, which creates more of a theme or personality type for each. This can help develop a distinctive persona, making them identifiable in more than just physical attribution. Those words form part of who the person is, and this can help develop depth and definition in a character’s being.

This won’t work for all writers, some may even find it restrictive to their process, but it’s worth trying, even with just a short piece, just to help build more presence around each participant in the story. Even try it in real life – think of someone you know and what colour you would attribute to them. What words do you link to that colour? Do they relate to the person? Normally, you’ll find they do, and this adds to the emotional linkage between character and reader.

It’s worth trying out, just to see what comes of it – even if it’s not for you, it might help open your mind to another way of thinking and improving character depth.


 

A tribute to Rik Mayall

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I was genuinely saddened to hear of Rik Mayall’s passing. Normally when you hear news of a celebrity death, someone you never really knew in person, you’re reminded of the things they did, and there’s a general sadness or loss that’s associated with that, sadness that we’ve lost this person and their performances. But most of the time, for me, it’s not an emotional connection, it’s connection with what I knew of them. With Rik Mayall, I felt actual, human loss. It was very much like someone I’d known was gone. In a way, Mayall was someone I grew up with.

Like most people around my age, I grew up watching ‘The Young Ones’ and ‘Bottom’. I remember when we discovered ‘Bottom’, airing late at night on ABC. It was the most amazing thing – us barely teenage boys couldn’t believe what we were seeing. I watched it on a black and white TV, about as big as a microwave, and I’d have to fiddle round with the rabbit ears to get good reception (there was always be a point where it’d come through perfect, then as soon as you let go of the aerial, it’d go fuzzy – I think I actually watched a couple of episodes with metal in hand, angled just so). The Young Ones was truly ahead of it’s time, some of the jokes in that show pre-date the random moments that The Simpsons later became renowned for, and they’re still brilliant to this day (‘Travel Scrabble, Death?), but it took me a while to truly appreciate that show, which is why I probably gravitated to ‘Bottom’ more. I remember one of my birthdays, when a friend of mine gave me the ‘Bottom Live’ DVD. They swore. They made mistakes. They cracked themselves up. It was fantastic.

Rik Mayall was one of those rare talents that stole your attention in every scene he was in. I can’t remember any appearance of Mayall where any other actor got a look in. He dominated the screen, took over, and you just wanted to know what his character would do next. He made everything else seem less interesting, his characters always larger than life.

I didn’t really expect to hear of him passing. It’d been a while since I’d seen him do anything, but just knowing he was around was comforting. Knowing that he might show up again in some random film or TV show. Seeing him was like seeing your favourite toy from when you were a kid – that excitement came back, that feeling. There he was. And now he’s gone.

Rik Mayall was creative, intelligent, stupid, hilarious, an over-actor, an annoying twat, a cunning villain, an inspiring hero, a unique genius, and above all, a man who reminded us that you can’t take life too seriously.

When he was in the frame, he made everything else seem less interesting. Without him in the world, everything kind of is.

 

New fiction: ‘Memory’

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Been a good week for getting my fiction out there – Tincture Journal have published one my short fiction pieces in their latest edition. The piece is called ‘Memory’ and is one I’m particularly proud of. You can get a copy for $8 here – get one and you’ll not only get some cool, new fiction to read, but you’ll also be supporting the Australian literary community.