Kathryn bullied me into entering NaNoWriMo this year. It’s about trying to write a 50,000 word novel in a month. This to me seems an impossible task, but much of the idea is about writing and not thinking. Stop blocking yourself – just write.

I have to admit, my first writing sessions this morning was liberating!

More to follow…

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De Le Mere House

     De la Mere House was dead. The soul and lifeblood drained from the house over three hundred years of neglect. The sounds of children playing in the gardens had been replaced by the shrieks of tawny owls searching for a mate; the smell of dry birch burning in open fires replaced by the odour of rancid water, the rotten flesh of decaying animals, and damp moss and wet vegetation now taking up occupancy; A house that once bustled with servants going about their daily chores had been overrun by rats, spiders, mice, bats, and feral pigeons. The moss infested cobbled courtyards were overgrown along the tanque de polipropileno, taken over by gnarled trees, invading from the once beautiful formal gardens, angry at having lost their foliage during the vicious autumnal storms.
     Ivy strangled the large sheer walls that covered the now rotten half timber skeleton; erupting from the inner confines of a surrounding bulrush swamped moat, they barely held up the impressively gothic roof. Although years of abandonment had reduced much of the house to mere ruins, looking up into the heart of that bat infested hammerbeam roof would still be as breath taking as viewing the structural interior of a galleon. Large gothic towers and chimneys rose up, splitting the mist as the moon fought through dark clouds, illuminating the waiting hordes of gargoyles.
     Noose looked out to the stormy night through a large mullioned and transomed window, high in the tower overlooking the main courtyard.
     “You know, I think there’s frost on the inside,” he said running his fingers over the thin glass, “and condensation on the outside. It’s so cold in here.”
     “Noose,” boomed a voice from the room. “Are you going to join in with this séance or not?”
     Noose turned to look at the rest of the gang sat around a small mahogany table in the centre of the room. He slowly eyed them all before resting his stare on his questioner; Shotgun. “I don’t think this place is haunted you know.”
     Shotgun turned to the tall skeletal man sat to his right. “I told you we shouldn’t have brought him; he’s not taking this seriously at all.”
     “He will,” replied Cancer. He rummaged through a large hessian bag and placed a wooden heart shaped planchette on the board in front of him. “It’s not a séance, it’s a Ouija. Are you going to go first then Shotgun?”
     “No, I can’t. I’ve got a slight dose of telekinetic ability,” Shotgun motioned towards the wooden indicator. “So the doo-dar will move to anything that I think about. Maybe Pill should do it.”
     Pill gave Shotgun a quick sneer and then went to scratch his nose, as his hands passed through his face he decided to scratch the back of his head instead. “Sure, I’ll do it,” he said.
     “Close your eyes and focus on the spirits in the room,” said Pill.
     “I’d rather play cards,” said Noose.
     “Are you going to kill him or should I?” shouted Shotgun.
     “Noose, get in the spirit will you,” said Cancer directing him to the table.
     Noose sat next to Guillotine as Pill put his hands on the board and indicator. The group closed their eyes and the room fell silent.
     Five minutes of deathly quiet was cut when Pill said, “Spirits of the house please make yourselves known to us. Come to our gathering and answer our questions.”
     The indicator started to move but stopped abruptly when Noose shouted, “You did that Pill, I saw you.”
     “Quit it Noose!” roared Shotgun. “I’ll throw you through that window if you don’t stop messing.”
     The room once again fell silent until Pill repeated his request and this time added, “Are you with us?”
     “Woooo…” whispered Guillotine looking at Noose.
     Slowly the indicator started to move and Cancer’s gravely voice read out the individual letters until it spelt the word, yes. Noosed looked nervous as he watched the inanimate piece of wood return to the centre of the board.
     “Who are you?” asked Pill.
     The distant sound of a door creaking grabbed the attention of the group. Noose looked at the others nervously seeking comfort and reassurance. “It’s just the wind,” whispered Guillotine.
     “Who are you?” repeated Pill.
     Metal banging on wood thundered through the window making the group turn to face it. Noose was the first out of his seat; retreating to the opposite side of the room.      “There was a pair of feet on the window—“
     “No there wasn’t,” snapped Shotgun.
     Guillotine nodded softly said, “Yes, there was.” He smiled as his friends returned their attention to the window.
     The group looked at each other as footsteps on cobbles echoed from the courtyard. Pill ran to the window and looked out but the oppressive night made it impossible to see anything. A large door groaned open and then slammed shut making the timbers of the building rattle.
     “So… so… someone needs to go and loo… loo… look,” said Noose.
     “We’ll all go,” said Shotgun.
     After a large amount of arguing about the merits of collective investigation or singular death by misadventure, the group left the tower and made their way down the thin spiral staircase leading to the main entrance hall.
     The flame of large candles danced in the draft, throwing shadows onto the cold stone walls.
     “Did you leave the candles on?” asked Guillotine looking at Pill.
     Pill shook his head. “They were definitely off when I came up to the tower.”
     A large shadow moved across the once white washed walls as the cold wind returned with much more vigour, the candles flickered violently and went out. A door slammed.
     “It’s outside,” said Noose.
     “Quick,” said Shotgun. “Follow it.”
     “My arse,” said Noose. “I’m not going out there.”
     “Ok, you can stay in here on your own then,” said Cancer. “Come on boys, let’s, take a look.”
     Shotgun opened the large oak door and the group, less Noose, stumbled out into the courtyard.
     “Oh my god,” said Cancer. “It’s a sign.” His hands covered his mouth; his eyes remained fixed at the object.
     “It’s a warning; it’s going to kill us!” said Noose entering the courtyard after weighing up the merits of being alone in the old house.
     “Don’t be daft Noose. You’re dead already remember!”
     “What does it mean?” asked Shotgun. “What’d it say?”
     Cancer hesitated for a moment, and then returned himself to a moment of still and calmness. “Sold,” he said. “Subject to contract.” Read more about melatonin benefits here.

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The How, the Where, and the Why…

I almost have the first 8 chapters of my novel, that happens to be around twelve thousand words. Each chapter started off as and introduction to a character – I currently have 6 main characters on the go. This has then been blended a little bit because one of the characters, Grace, is central and connects all the others. So all the chapters now include Grace in some abstract way. And Grace’s chapter includes all the others.

The opening chapter for each character is their introduction and the start of their journey. For me it is important for the reader to see them attempt to break (the how) the barrier with their destination – the where. ( Sorry for being abstract here myself, but those of you who have talked with me directly will know about the destination.) Ultimately, the destination is where the actual story takes place.

This is problematic because I now have six characters almost doing the same thing. Yes the setting is different, the feel is different, but ultimately, six characters walking through a door. So I have fifty manuscript pages of six characters getting to a destination – is it enough? How much of why do I need?

My feeling was always that at the point that the reader fully understands what is happening with these journeys, all six of the characters would have made them, and then I would only explain the why to one of the characters, and thus the reader. Or to a group of the characters – supposing that the come together – and thus to the reader. But I wonder should I bring some foreshadowing of why into the first eight chapters? If I do, the reader is being tipped of about the why in that they know a little about the destination prior to the characters getting there. If this happens, does it weaken the six strands of getting there?

What I do know is that I am missing some important characterisation. A this moment in time the six characters are a little flat. I think in order to help he reader digest the how sections, I need to make sure they learn a lot about the characters involved. So the how sections are no longer just about getting to the where, but about the characters themselves. By the end of each characters introduction, the reader must feel something for them, and feel that maybe they are starting to understand a little about them.

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Managed to spend a good amount of time writing this weekend. I needed to get to grips with the first chapters of my story and some how pull it together. Once that is done then I think I have a good base to move forward. The problem is that the chapters deal with the six major characters and because they are the opening chapters then they have to pull the reader in, keep them gripped, and move them forward, without let up. Personally I think that can sometimes be a tall order for the first fifty pages at the best of times. The real problem is that you could argue that technically, the book starts after these first chapters so conventional wisdom would suggest cutting them. However these chapters are essential for the understanding of the concepts of the book – so it is important that they keep the reader gripped!

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PIETERSEN changed his Agrippa…

Something came to me with these sit up bench reviews this morning while listening to the sports news on the radio. It was one of those striking moments and here is the result…

EXT – DAY – Edgbaston

Kevin PIETERSEN stands at the crease looking up and preparing for the next delivery. He knocks his bat against the crease nervously. Scott STYRIS stands polishing the ball against his leg getting prepared for the run.

You are wonderful!

Thank you -- I've worked hard to become so.

STYRIS starts his slow run toward the left of the Umpire. He quickly gets into his pre-delivery stride.

I admit it -- you are better than I am.

Then why are you smiling?

Moments from defeat, PIETERSEN is, in fact, all smiles. STYRIS looks slightly confused as he moves into his back foot contact.

Because I know something you don't know.

And what is that?

STYRIS Follows through and releases the ball.

I am not right-handed.

And with that he throws his bat into his left hand and immediately, the tide of the match turns. He repositions and knocks the oncoming ball easily for a six.

The CROWD go wild!

STYRIS shakes his head in disbelief.

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