Tagged: Fiction writing

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.

 

Where to Get Published in Australia

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There’s nothing better than having something you’ve written published. There’s no better feeling than to walk into a bookshop and see your words printed on the pages of a book or magazine. It’s surreal, you remember where you wrote them, how you started with that blank computer screen. And now your words are here, for everyone to see. It’s extremely gratifying to have your work out there – whatever comes next, be it criticism or praise, you’ve already reached a level of personal success.

On that note, I thought it would be worth noting a few places fiction writers can get their work published in Australia. I’ve had the opportunity to work with most of these publications at some stage, and have enjoyed being involved, and I highly encourage all writers to have a look at what they publish and submit your own work.

Voiceworks

Voiceworks is produced by Victorian not-for-profit group Express Media and only publishes work by writers under the age of 25. It’s aim is to encourage new voices and provide publishing opportunities – not just for contributors, but for magazine staff also. Express Media has played a part in the development of many published authors and Voiceworks is a respected, quality publication. Writers under 25 should check out their submissions page and send something through – it could be a stepping stone to the next big break (I did a mentorship with Christos Tsiolkas via Express Media, which directly lead to the publication of my novel).

Tincture Journal

Tincture is a quarterly literary journal which is always on the lookout for new poetry and fiction. I’ve worked with the guys a couple of times and have thoroughly enjoyed the experience – they are knowledgeable, approachable and intelligent. They’ve also published some really great stuff and deserve more exposure – if you haven’t checked them out, go to their website and buy a copy – they’re priced between $5 and $8 and you can download and read them straight away (their Winter 2014 issue is also coming out very soon and features a new piece by me).

The Suburban Review

While still establishing itself somewhat, The Suburban Review is a quality publication. The artwork alone is worth checking out, but the content they’ve published so far has been high quality. Each publication is based on a theme, so you need to check out the submissions page to know what they’re after, but the guys are doing some great work and are gaining recognition for their quality and presentation. A group you want to be involved with.

Stilts

And speaking of groups you want to get involved with, Stilts are a literary collective based in Melbourne. They produce an amazing looking themed journal, but they also have regular events, columns and themed writing opportunities to get involved with. I’ve had two pieces published as part of the Stilts Monthlies series, which is a micro-fiction series based around a theme, and my experience working with the guys has been excellent, I highly recommend you check out their website and subscribe to their social media channels to stay up to date with what’s happening. Amongst these guys and The Suburban Review team are the literary leaders of tomorrow, worth getting to know them, and getting them to know you.

The Canary Press

Canary Press is probably the best looking literary journal going around. The guys have a distinct flavour, their own way of seeing things, and that’s also reflected in their content selection, but they’ve definitely made a splash on the local literary scene, and it’s worth checking out their submission guidelines and getting involved if you can. They accept pieces through Submittable, which means it can all be done online – easy, no fuss, why wouldn’t you give them a read and see if your work fits?

The Lifted Brow

The guys from The Lifted Brow have established a pretty good profile in the local literary scene, underlined by them creating a whole issue, from scratch, during the ten days of the Melbourne Writers’ Festival last year. Like Canary Press, they go for a definitive style of work, so you need to grab a previous copy to know how, or if, your work fits, but worth checking out, and a great opportunity if you can get a piece accepted.

Sleepers

The annual ‘Sleepers Almanac’ is one of the most prestigious publications for new writers in Australia. I love what Louise and Zoe do, and I’d get involved with anything of theirs I could – they are both strong supporters of new writers and genuinely love to find new, great stuff. Given the Almanac’s status, it is hard to get in, but their distribution is great and it’ll put your work in front of some of the most influential literary identities in Australia, so worth the effort. I strongly encourage everyone to support Sleepers, not only for your own publishing opportunity, but to help them continue their work in finding and nurturing great local talent.

This is by no means a complete list of the literary opportunities available – there’s also Meanjin, Overland, Best Australian Short Stories – there’s a heap of places you can submit to. It always worth checking out what they publish – if it’s a guest editor, look them up and see what they write or what they’ve edited before to get an understanding of which of your pieces will be a good fit – and always follow the submission guidelines and ensure your work is error-free. It’s important that all writers get involved in their local literary communities and groups – obviously the main aim is to get your work out there, but above and beyond that, you’re contributing to your local literary scene and helping build that local culture. The more we can build it, the more writers will be willing to get involved and the more young writers will want to take up pens and put down their own stories. As a writer, you can play a significant part in the growth of your own local community by getting involved. And the connections you can make, the readers you can reach, these can all have long term benefits for your own writing career.

 

A conversation I’ve had with myself, more than once…

‘Okay, time to do another blog post’

‘What’re you gonna’ write about?’

‘Well it’s about writing, I’ll write another post about writing, try and share what I know.’

‘And what is it that you know? Why do you think anyone would want to read what you have to say?’

‘Well, I’ve written a book.’

‘One book. Years ago.’

‘Alright, take it easy – that’s still more than most people.’

‘Most people could care less about your book.’

‘Well, they don’t have to care about the book, it’s sharing my experiences in writing, I think I’ve done enough that some people might get something from it.’

‘Really?’

‘Yeah.’

‘Would you read it?’

‘Would I read my blog?’

‘Yeah, would you read your blog.’

‘Well, yeah, but obviously it’s very tailored to me, like, it’s everything I like – have you looked at that ‘Influences’ section, so much great stuff…’

‘Okay, yeah, it’s about you, and you’re pretty ego-centric, makes sense you’d love reading about yourself. But shouldn’t you be working on your second novel?’

‘Yes. I should.’

‘So why waste time with a blog when you could be doing that?’

‘That novel scares me.’

‘What?’

‘It scares me. I’ve failed at getting it out so many times – I’m scared I’ll fail again. It’s like that really pretty girl you want to ask out but you’re too scared you’ll get rejected.’

‘Right. So you’re giving up then?’

‘No, absolutely not, it’ll get there. But it does scare me.’

‘Maybe you need to do something else for a bit, get your mind of it, free your thinking a little so you can get it out.’

‘Like, write something else?’

‘Yeah.’

‘What, like a blog?’

‘Exactly.’

 

 

The Power of the Mind (and How to Use it to Your Advantage)

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It’s amazing how much your mental state can influence every element of your being. People can convince themselves of almost anything, can think themselves into having heart attacks – their thoughts manifesting themselves in physical form. I’ve seen people held totally captive by their own thoughts, crippled with fear and anxiety and absolutely unable to see things any other way. Their minds have been made up, and once that happens, it can be a very hard thing to change.

I read an article about something similar recently, about how our minds can be tricked into seeing one thing or another in an optical illusion – but once our mind is made up on what we see, it’s almost impossible to change it back and see it another way. It highlights how easy it is for our brains to get locked onto one path and how hard it can be for people to break from that and change their perspective. We always see the worst of ourselves, we always see weaknesses and flaws and imperfections that might be totally oblivious to anyone else. Skin care company Dove ran an advertising campaign based around this very notion, that what we see is not how we’re seen by others. This is never more clearly evident than seeing someone in the midst of depression. The way they see life, the hopelessness they feel, it’s an all encompassing thing. They can’t see out of that tunnel they’re in, can’t see anything there for them to cling to. No matter how you try to tell them otherwise, their minds are locked. It’s scary to see, a heartbreaking thing to witness, and I feel for anyone whose ever been afflicted by such all encompassing sadness.

This is something that affects many writers. We can easily get locked into the idea that we’re no good, that our writing will never be good enough. We’ll read work by other authors and just feel so small, so distant from that level of quality that it can seem like all hope is lost. But what you’re seeing in your work is not necessarily what everyone else reads. Just like an optical illusion, there’s another side that you’re tricking yourself out of, another way of seeing it that you just can’t get your head around. But if you try, if you push yourself, there might be a way. If your brain is strong enough to totally convince you of one thing, why can’t it be trained to also convince you of the opposite?

This is a great challenge for anyone, to convince your brain to look at things from another perspective. Very few people are able to see things from other vantage points, but that’s something we, as fiction writers, do all the time. We see stories from the perspective of other characters, you just need to do that in real life, with your own work, from time to time. Definitely, you need to be objective – writing is a solitary pursuit and most of the time you’re your number one critic, so you need to keep that edge, you can’t go too easy on yourself. But just ask yourself ‘why not?’ Why can’t you do this? Make your brain see it differently and think ‘why can’t I write great literature?’ If you can convince yourself that you can, it makes it easier to commit yourself to the necessary work you’ll need to do to make it happen.

Writing takes self-motivation, you need a level of positivity and belief to push yourself. But you also need to get your work out there, you need to take the feedback you get – some of it won’t be good, but you need to push through and take in the benefits of negative feedback also. It’s not to say you should convince yourself that you’re always right, it’s that you need to take it easy on yourself, don’t see things from the negative point of view all the time, take on any notes and feedback and keep pushing on. Because why can’t you do it? Why not you?

The human brain is a powerful thing, if you can keep it from getting locked into any one way of thinking, you can remain open to all possibilities. And in that state, anything can happen, even things you’ve convinced yourself will only ever be in dream.

 

The Evolution of Publishing and Why Writers Should be Active on Social Media

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Here’s a important fact: The publishing industry is changing. What started with Amazon selling books at increasingly lower prices has now extended with e-books – Kindle sales in 2013 were up 26% on the previous year, eBook sales, which accounted for 0.1% of total book sales in 2006, now make up more than 20%. The change in consumer behaviour has lead to the demise of many booksellers, and I’m sure everyone’s felt that glint of sadness at seeing your local bookshop gutted , the words ‘Closing Down’ plastered across the front window. The industry’s making less money than it once was, and the difficult thing for writers is, less money in the industry means less money to put into projects, making it even harder to get your book published by any of the major players.

You can see a similar impact in the film industry – the squeeze on revenue leads to more producers looking to safer bets. In the 90s, there were more arthouse films, more opportunities for up-and-coming film makers. But as tickets sales have declined – whether due to advances in home theatre or the rise in movie piracy – those investing in films have become cautious. That’s why you see so many sequels and big budget remakes being made – they’re safe bets, they know there’s an audience for them. It doesn’t matter if you think Transformers is total crap, it makes the studios alot of money. We’re seeing this happening in publishing also – while there are still great, exciting and fresh new works being produced, the reduction in retail outlets has seen more emphasis on commercial thrillers and romance books, safe bets that make the publishers money. This atmosphere makes it increasingly difficult for unknown writers to cut through and get the majors to take a risk on your work. On one hand, it’s a sad thought, it was hard enough to get attention before, but there is another aspect in the shift in media consumption that can help, a way authors can help themselves, make themselves more enticing and even build an audience all on their own. Social media has changed the way people communicate, changed the approach to marketing and publication. While opportunities in traditional publishing are getting tougher to come by, the opportunity to build your own brand is greater than ever.

Utilising social media is a must for would be authors – here’s a few notes on the why and how of social for writers.

* You need to get yourself a blog. Obviously I’ve got an inclination towards WordPress, but there are a heap of options out there, and a heap of ways to leverage a blog to build your own audience. Writing is what you do, so you should be sharing it, and a blog is a quick, simple way to build awareness of your work and establish a digital showcase for all your projects.

* Join online writers’ communities. As social media facilitates greater connection throughout the world, it also allows every individual to have a voice. As a writer, this means you have more opportunity than ever to get involved in writers’ groups and communities and build a following that’s interested in what you have to say and what you produce. At the very least, being involved in the various social media communities will give you free education on writing and what’s happening in the industry. The amount of insight and info available is staggering, if you know the right places to look.

* All writers should sign up to Google+. Google+ has a heap of highly active communities, particularly for writers. The learning curve can be steep – G+ is different to other social networks – but the platform’s biggest strength is it’s communities. That’s where you can make connections and find like-minded people to learn from and share ideas with. Being on Google+ also allows you to sign up for Google Authorship, which has it’s own benefits for writers of all types.

* Twitter is an amazingly powerful tool. I know a lot of people are not sold on Twitter, not convinced that you can make much of an impact with 140 characters, but Twitter is the best tool for making connections and sharing your content. Use Twitter’s search function to find other authors and writer-types and follow them, as well as literary publications and organisations that hold writing competitions. Use applications like Hashtagify to locate relevant hashtags which you can use to find active literary conversations, as well as using them to gain exposure for your posts (the tags #writing and #amwriting are very popular and will help others locate your content). Find out what sources publishing industry folk are reading and see if you can get content published on the blogs they’re looking at to raise your profile (there’s an application called Twiangulate which can help you locate the main sources that specific users are looking at).  Find Twitter chats on writing and take part if you can (great list of Twitter chats here). Twitter is also great for sharing your content – every time you publish a new blog post or announce that you’ve had something published, post it to Twitter, use relevant hashtags, and track any shares of your content with a management tool like HootSuite. From here, you can thank people for sharing your stuff, start conversations, and make connections that will help build your profile and establish your position. Writing the content is only one part of the equation – you need to actively promote and engage with your audience to build your presence.

* Share content on Tumblr, Pinterest and Facebook. Some people have a heavy reliance on Facebook, but I generally only use it for personal purposes these days, so my view on it may differ from yours, but you should always share your blog posts and updates on all these channels. Tumblr provides an opportunity to reach a new audience, with effective and engaging presentation options to use. Pinterest, while it is a visual-based platform, also gives you a way to reach a whole new group of people. Post interesting images and link them back to your blog, pin new blog posts with relevant hashtags (most of the major networks facilitate hashtag use, except LinkedIn). There are unique audiences on each platform, it’s in your interests to maximise opportunities by sharing to more networks, but research what’s working and where to find your target audience on each. All social platforms have different best preactises, best to learn and utilise these as you go.

* Investigate other platforms. Medium is a publishing platform which is focussed on writing over all else – the design is simple, the process is easy, the visual focus is the words. The groups for fiction work are very specific and there’s a lot of writing discussion being had, so long as you can find the right categories for your work. Definitely worth checking out.

These are just a few notes on the possible options for authors, and the ways in which writers can build their brand through social media. Taking these steps can open doors you never thought possible, and at worst, it can’t hurt to build a following. If you can establish a group of engaged followers who’ll share and amplify your message, it can only assist in building your status as a writer. Some people don’t think they have the time, some feel the learning curve is too steep, but as more people conduct an increasing amount of their daily interactions online, having a presence on social media is only going to become more important. Social gives everyone the opportunity to establish their skills and expertise, ways for writers, in particular, to showcase their talents and marketability. It’s worth investing the time to raise your profile and build connections – those actions could help you find new avenues to publishing success – and as the publishing industry evolves, you might just find yourself at the forefront of the next literary frontier.

 

Every Decision Stems from Somewhere

 

One of the main reasons I write is because I’m fascinated by people. The things people do, decisions people make every day – I love to look into them and try to understand, try to see why this or that person would do things they way they did. People you pass in the street, people on the train, they’ve lived an entire life with a completely different perspective to yours. I’m always intrigued by what shapes a person’s life, what things they’ve lived.

This is what drove me to write my first novel – I’d heard stories about the increasing amount of people drugging and raping girls in nightclubs and I couldn’t understand it, couldn’t imagine why someone would ever do that. From that, I tried to imagine a scenario where such horrific crimes could come about and how a person could get involved. To me, everything in life can be explained. Everything that happens, everything a person does is the result of the path their life’s taken. You might read a story about some guy who killed three people and that’s pretty much all you’re ever going to know about the case – the murder and maybe the basic motivations and lead-up events. But if you could know more, if you could see his entire personal history, you’d see things that happened, things that lead to this person making a decision to do something unfathomable to you. It doesn’t mean such acts can be justified, but knowing the full story helps understand why things happen the way they do. That’s what I love, trying to understand, trying to see things through another person’s eyes and rationalise their decisions. It’s fascinating to find those connections, the bread crumbs that lead to a person doing what they do.

This, I think, is a crucial element in developing character depth. People don’t just wake up one day and decide to steal a car or pick a fight with a neighbour or tell somebody they love them out of the blue. The things that have happened in their lives have formed them – their actions, good or bad, are a result of their experiences. I read a quote once that was something like ‘the human brain is perfect when we’re born – it’s what we put in that changes it’. On top of that, of course, there are natural tendencies and abilities that will also play a part in the process, but I do believe that is correct – who you are is a result of your inputs. In terms of character development, it’s important that you know these motivations and know how and why your characters would respond to each situation. It’s also where, I believe, the idea that characters sometimes write themselves stems from. They don’t, and they never will, but the more you know them, the better you understand each character’s history – what’s been put into their brain – the more you’ll know how they’d respond to each twist and situation. You need to have an understanding of where each character comes from, what’s happened to them in their lives, and what’s lead them to where they are. From there, you’ll better understand what they’d do next.

It’s actually an interesting exercise – next time you read a newspaper story, try to think of what each person’s motivations were that lead to them making the decisions they have. What might have happened, why might a person do what they’ve done in this instance? This type of thinking helps open your mind to possibilities and will better enable you to creatively elaborate on character motivations and choices. Don’t just read the headline, try to think of the why, what could have made this person see things the way they have, make them decide to take this course of action.

Everyone has a book in them, so the saying goes, but we’ll only ever hear a fraction of a percentage of those stories, because not everyone will have the opportunity to communicate them. With that in mind, isn’t it fascinating to think of all the stories that haven’t been told? Doesn’t it make you think there’s so much opportunity in the world, so much we don’t know? Trying to understand these questions is part of being a writer – an inquisitive mind, and need to know more than what you can see on the surface. You need to do all you can to embrace and build on this, let you mind ask questions, go with them, try to understand all you can. Not only is this the critical to being a better writer, more understanding is key to being a better person in general. If we could all take the time to see things from each other’s perspective, the world would be a much more understanding place.

 

 

Iggy Azalea and the Importance of Cultural Participation

 

Have you heard of Iggy Azalea? She’s a statuesque rapper who’s album recently debuted at number three on the US Billboard charts. She’s also Australian, though she’s not as well known here as she is in the US. Azalea (who’s real name is Amethyst Kelly) made her name in America after moving there to pursue her rap dreams at age 16. Azalea grew up in Mullumbimby in New South Wales but saw that her opportunities were limited in her home town, and home country as a whole. She decided that if she was ever going to make it, she’d need to head overseas – and the story of her success flows from there.

Azalea caught my attention recently when I read her story about leaving Australia. I could see what she was saying, could sympathise with the situation she faced. Here she was, obsessed with Tupac and desperate to be a female rap superstar, but living in a country town where others didn’t take her seriously and her opportunities for exposure were limited. While Azalea was referring to the music industry, the same can be said about writing to some degree, in that our creative culture, particularly our creative diversity, is not overly strong. In my conversations with international writers, and in the brief times I’ve spent in foreign cities, I’ve definitely felt that there’s a much bigger emphasis on creative arts and culture in other nations. Not everywhere, but in some places there is a distinct artistic undercurrent, a feel to it, and those creative communities are strong, visible and well supported. The sad reality of not having such a strong culture is that many writers end up in isolation, unsure if there’s an audience for their work or how to find it. What’s more, writers’ groups are often hard to locate and some writers are hesitant to join if they feel they’ve done nothing, like they won’t fit in.

This is not the fault of any person or group, I realise many arts organisations work very hard (and have done so for a long time) to create communities and provide writers with opportunities to join like-minded folk, but definitely my experience of larger cultural centres like London, New York, Seattle, even Vancouver, is that there’s a much bigger creative pulse, or at least, a more present one. Things like spoken word poetry have a real sense of purpose in these cities, a real pride of place, and while we do have similar communities in Melbourne, they’re much smaller, more underground – you have to be more active in seeking them out.

So what do we do about it? What can we do to foster a better literary culture and highlight opportunities for writers of all genres and styles? The answer is we all have to get involved. Joining a writers’ group is not just for your own benefit, it’s for the benefit of the wider writing community. Attending book launches, readings, spoken word events, joining discussions at your local writers’ centre – just being present and supporting these projects helps build that literary community and enhances recognition, making them easier to find. By taking part, you’re not only participating in something you’re interested in, you’re also endorsing that community, building it, helping create a wider network. This promotes more opportunities for writers to connect, which then leads to more niche writers finding others who feel the same. The rise of social media helps in this respect, as it enables people to find communities outside their geographic limitations, but it’s also important that we establish these groups locally, that we build support and acceptance for the various forms of written expression in order to create our own networks and our own localised culture.

We also need to recognise the passion and dedication that goes into all forms of writing. I’ve got little interest in the work of Matthew Reilly, but I respect the man greatly. I could go and hear him speak and get a heap out of it, regardless of whether I’ve read a line of his work. All writers have made a commitment, an effort that’s above and beyond what they have to do. We’re all in it together – we need to support each other in order to create a stronger literary eco-system, a stronger community that gives voice to more writers who might not have the confidence to ever release their efforts from their notebooks. Maybe we have writers who, like Iggy Azalea, are very talented at what they do, but they feel like there’s no chance for them – there’s no chance a female rapper could achieve significant success in Australia. That was a really sad sentiment for me to hear, and most teenagers in the same boat won’t have the tenacity to move to another nation to chase it. They’ll just give up. We have to do whatever we can to stop that, to embolden more voices and give them the confidence to chase their creative dreams, whatever they may be.

Writing events are about more than people trying to sell their books and in-crowd meet-ups. It’s about community, being part of something bigger. You have to go along to events and get involved wherever you can. Talk to people, tweet about it, tell others where you are and what you’re doing, introduce yourself – and I know it can be hard sometimes to go and get involved (my default position in such situations is ‘wall flower’) but it’s what you need to do, not only so we get to hear your voice as a writer, but so other writers, young writers especially, see what you’re doing and know they can get involved too. Writers are welcoming types, we all want to know more about the world and the people in it. We need to ensure that that openness remains part of our culture so we can encourage a stronger literary bonds and continue to see great writing emerge. So our stories remain as diverse as our society and an accurate reflection of our full creative capacity.

 

Best Australian Blogs 2014 – WINNER

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twenty six has taken out the ‘Words and Writing’ category in the Australian Writers’ Centre Best Australian Blogs 2014 Competition. Massive news, seriously humbled, overwhelmed, excited. Really great – it was a solid list of nominees in the category and I would’ve been happy to lose out to any of them. Glad the judges saw merit in my work, and also, want to take the opportunity to thank the subscribers and others who’ve read my posts – writing is always pretty solitary, and you never know for sure if you’re getting it right. Recognition like this is always a massive boost – thanks so much, all.

What Writers Can Learn from The Streets

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At one stage, I was a really big fan of The Streets. For those unfamiliar, ‘The Streets’ was the stage name of British cockney rapper Mike Skinner. Skinner became known on the back of his excellent debut album ‘Original Pirate Material’ and the single ‘Weak Become Heroes’.

There was nothing technically amazing about The Streets’ music – the beats are somewhat generic, the almost spoken word vocal delivery is not immediately stand-out. What Skinner was able to do better than most was capture a moment in time. Every song on Original Pirate Material had a feel to it, a vivid sense of time and place. You could smell the rain soaked concrete, feel the breeze pushing past along the London streets. Skinner was more storyteller than rapper, and no one could tell a story in quite the same way.

He reinforced this with his second, and by far most popular, album, ‘A Grand Don’t Come for Free’. If you’ve not heard this album, I highly recommend you go check it out, particularly if you’re a writer. A Grand Don’t Come for Free is a concept album – Skinner documents his entire relationship with his ex-girlfriend from start to finish, stretching from track to track. We share the elation and excitement of the beginning, the complacent beauty of normality, then the sadness of the eventual end. Every element is so familiar, so real, and each track carries an emotional depth and resonance, made all the better by Skinner’s knack for capturing the moment. There’s a section in one track, when his girlfriend is breaking up with him, that just hurts so much:

I can change and I can grow or we could adjust
The wicked thing about us is we always have trust
We can even have an open relationship, if you must
I look at her she stares almost straight back at me
But her eyes glaze over like she’s lookin’ straight through me
Then her eyes must have closed for what seems an eternity
When they open up she’s lookin’ down at her feet

There’s the desperation – we can have an open relationship if that will keep you with me – then the realisation that it’s all over, told in Skinner’s unique, simple style. A Grand Don’t Come for Free is more akin to reading a novel than listening to an album, it needs to be experienced from beginning to end to fully appreciate it’s excellence.

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Things changed by the third album. While his clear strength was in telling stories to which we could all relate, the success of A Grand Don’t Come for Free meant his life totally changed. He’d become a full fledged celebrity, regularly appearing in tabloids and gossip mags, holding hands with this or that pop starlet, hanging out at VIP events. His success ultimately turned his strength into weakness – he was still writing about his life like always, we could just no longer relate. The album ‘The Hardest Way to Make an Easy Living’ had some classic Streets moments, but it wasn’t the same. The title track had Skinner lamenting the many downsides of fame, like the costs of making music videos and complications of putting on stage shows. These were real things, real issues that he was experiencing, but it was pretty hard for listeners to align with the view that his career, which had granted him massive amounts of cash and seen him invited to perform all over the world – all while doing what he loved – that the downsides to that lifestyle could be all that bad. Another track looks at the difficulties of picking up famous women – again, something he’d experienced, but the difference between his reality and the listener’s created a gap, a distance from the material. It once again highlighted that The Streets’s appeal was more in story than in music, and Skinner experienced a significant drop-off in fan support as a result.

He was never able to fully recover after that – Skinner released two more albums under The Streets’ moniker, ‘Everything is Borrowed’ (on which, Skinner pledged not to reference modern life on any of the tracks, a response to criticism of the previous album) and ‘Computers and Blues’. As with The Hardest Way to Make and Easy Living, there are some great moments on both of these albums (and Skinner’s musical ability increases markedly through each), but he’d lost that edge, that storytelling dynamic that made his work so great. A mixture of life changes and criticism seemed to pretty much kill off The Streets as a project, which Skinner acknowledged by retiring the name after his fifth full-length release.

The story of The Streets highlights one of the inherent dangers of fame – the more successful you are, the higher the risk you can lose touch with your audience. But above that, Skinner’s story highlights one very important element for writers that can often be overlooked. The strength of The Streets was that it told Skinner’s story, from his perspective. And that was perfect, it was real, something with which we could all relate. The rise of Mike Skinner highlights the fact that you don’t need explosions or car chases to gain an audience. Your experience, your viewpoint on life, no one has that but you – that unique insight is interesting. A story doesn’t have to be exciting or amazing to be resonant. A key strength of storytelling is honesty, capturing the feeling of the moment in an honest and real way. In Skinner’s case, those common life experiences were far more resonant than the fast-paced world of being a rock star – that’s not to say his experiences with fame were any less honest, but his story was so much stronger when we could be part of it, when we could all relate and share in the familiarity of those moments.

People relate to what they know and understand, they need a way into the narrative. Even if your story is sci-fi or fantasy, we still need to be able to connect with the stakes, understand the emotion of each scene. The development of flesh and bone characters is critical, and those characters are borne from your knowledge of real people, real situations. Writing is about exposing yourself, sharing what you’ve felt in similar circumstance, creating the experience of being there, in the moment. You need real relationships with your characters, real emotions, those are the details that fuel the connections in the reader’s mind – the more readers can relate, the more they’ll be drawn in. Keeping it real, keeping it familiar, capturing experiences based on your unique perspective, this is how you develop fully rounded characters. This is how you share not just words with your readers, but experiences and create real life within the confines of the fictional page.

 

Three Killers of Great Writing

 

There are three things in life that always seem to be the source of conflict and misery, three things that I see happening on a daily basis that irk me and cause much shaking of the head. These are things that I can’t sympathise with or reconcile, and, coincidentally, these three can also be the killers of great writing.

The three things that always carry with them the potential for issue and angst are laziness, ignorance and selfishness. Here’s how they relate in a writing context:

Laziness is pretty self-explanatory, you have to get yourself moving, you have to do the work to see the results. You can’t expect to sit down at your PC, write a few thousand words, then send it off and let the publisher bidding war to begin – this happens to no one. As noted in a previous post, writing is work, and you have to do it everyday. You have to read, you have to learn how to communicate your story, it takes time to get it right. If you’re truly committed and the story is something you have to get out, you’ll always find the time. You’ll make the time. That’s not to say the cause of incomplete work is always laziness, I realise people have a lot going on in their lives, but laziness is indeed a killer for writers. If you’re lazy, you won’t start the work. If you’re lazy, you won’t finish. If you’re lazy, you won’t do the required research and editing and re-writing. Laziness is not an option for writers, you just have to get it done. No one’s going to make you sit down and write, you’re the one who has to push yourself. Without the effort, you can’t achieve the result.

Ignorance is something we all see everyday, people ignorant of their impact on others, ignorant of how their actions affect other people. Ignorance is a killer in writing because you have to be aware. You have to understand what works and doesn’t work in your writing, you have to take on board feedback and asses your work to ensure it aligns with your goals. I’ve seen a heap of writers who’ll get feedback, totally ignore it, then hand their work to someone else, hoping they’ll get a result more to their liking from them. You can’t flat out ignore feedback. Maybe someone tells you something you don’t agree with, maybe someone criticises you unfairly – my general rule is that anytime something is raised I’ll re-read it. If it communicates what I wanted it to, then it’s fine. But if more than one person highlights the same issue, then it needs to be re-worked. If you want to improve as a writer, you have to listen to the feedback, you have to hear what people are saying. Your aim is to create something undeniable, something so great that even your biggest critics will have to concede that it’s well done. To do that, you have to listen, you have to read, and you have to know what works.

Selfishness in a writing context is getting too caught up in your own world. Writing is solitary, self-involved for the most part,  and sometimes we can get so tied up in it that it’s all we want to talk about and all we want others to talk about in our presence. Sometimes it leads to you dominating conversation in order to keep it tied to what you need, pushing people for feedback on your work. The risk of being selfish is you can get stuck on other people’s opinions, you can procrastinate, waiting for feedback, and you can turn helpful readers away by pushing too hard for commentary. And the essential point here is, you need to know your work. You definitely need readers, you need that feedback from as many sources as you can get, but you need to know what you’re trying to achieve first. Once you’ve written, re-read, edited, re-written – once you’ve done all you can to ensure your story is as close as you’re able to achieve by yourself to what you want to communicate, then you can seek readers – but always understand, having anyone read your work is something you should be grateful for. They are taking time out of their day for you, for your story. Even the worst feedback is worth hearing, worth taking in – maybe it gives you nothing, but maybe it makes you re-read a section and you find a way to improve the way it’s written. All your readers are valuable, and you need to be careful not to push them away or argue with their perspective. Let them read it in their own time, let them say what they want to say – some will have alot of comments, some nothing at all, and that’s fine, so long as you know what it is you’re trying to achieve. Their opinions serve as a guide, a reminder, a new perspective on your work. You need to let them read and think it over, then come back to you when they’re ready – hopefully, your story is so compelling that they can’t help but respond, but not everyone will see it that way. Don’t be selfish, don’t get caught up in the need for response. You are your chief motivator.

The one other thing that always stands out in day to day life is people being unkind. This doesn’t have a writing application, as such, but something worth noting in your regular interactions. Don’t be unkind, don’t be mean for the sake of it. Every evil action in the world is caused by some level of unkindness, moments in people’s lives that could have been avoided. There’s no need to be unkind, everyone’s got their reasons for doing what they do. There’s no reason to contribute to negativity any further.