Showing posts with label Writers. Show all posts
Showing posts with label Writers. Show all posts

15 June 2019

Story: Substance, Structure, Style and the Principles of Screenwriting, by Robert McKee #AuthorToolboxBlogHop


Available on Amazon UK and Amazon US

Story is for any writer who ever wanted to understand and develop their craft.  Robert McKee's book is one of those wonderful discoveries that you can open randomly at any page and learn something about writing. McKee's main point is that all notions of paradigms and 'foolproof' story models for commercial success are meaningless.  Instead of looking for shortcuts we need to be faithful to our principles.

I have no aspiration to become a screenplay writer but, like many of us, I once had a go at writing a play for radio. I am glad I did, as it helped me appreciate how much easier the whole experience could have been if I'd followed the principles set out in Story.

I was particularly intrigued by the explanation of the genre and subgenre system used by commercially successful screenwriters.  McKee points out that genres don't inhibit creativity – they inspire it and anyone who ever tells a story is really doing so within the principles, structure and style of a genre - even those who rebel against genres!

His chapter on characterization and character development is also very thought provoking for any story writer. Characterization is described as the sum of all the observable qualities that make the character unique – but true 'character' is what waits behind this mask to surprise us.

McKee argues that true character is revealed through the choices made under pressure – and the greater the pressure, the deeper the revelation. The memorable characters of film and literature are all of course rooted in this simple but easily overlooked principle.  I like the idea that, having analysed the clear and obvious choice for a character, we then ask what would be the opposite to that and why they would act in that way?

Story has hundreds of examples from movies of every genre (the list at the back takes 33 pages).  I've never really thought about it before but he points out that how odd it is to sit in a darkened room full of strangers and give our undivided attention to a story for two hours without a break.  I wonder if I will ever watch any of them again without thinking about the screenwriting.

I also found myself wondering how many of these movies have influenced the way I think about story writing – and I definitely have renewed respect for screenplay writers.  Next time you go to see a movie, make a point of knowing who actually wrote the story.  You will find someone who was prepared to write every day, line by line, page by page –with the courage to risk rejection and failure in the quest for stories told with real meaning.

Tony Riches
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About the Author

Robert McKee developed his ideas on creative writing when he was a professor at the University of Southern California. His seminars have contributed to the work of 36 Academy Award winners, 164 Emmy Award winners, 19 Writers Guild of America Award winners and 16 Directors Guild of America Award winners. Find out more at www.storylogue.com and follow Robert on Twitter at @McKeeStory


Do you have recommendations on books for writers you would like to share? Please feel free to comment below


The #AuthorToolboxBlogHop is a monthly event on the topic of resources and learning for authors. Feel free to hop around to the various blogs and see what you learn! The rules and sign-up form are below the list of hop participants. All authors at all stages of their careers are welcome to join in. 

1 November 2017

Guest Post by Dave Chesson ~ A writer’s education is never finished


Like any creative discipline, writing requires the ongoing accumulation of skill and technique coupled with an exposure to inspiring events and people.

Ever since writing became a skill accessible to non-elites, the handing down of writing knowledge and practice has been held in high regard by society.

The history of education in the United Kingdom shows that writing knowledge was a scarce commodity, taught to the lucky few through the tiny number of early universities and later by the grammar schools introduced by Edward VI.

Nowadays, writing education is abundant. The range of options when it comes to learning about writing is truly astonishing. In today’s article, I will share with you three of my favorite ways to learn about writing along with some thoughts on each.

Writing Classes

The range of writing classes on offer in the modern era is truly astonishing. No matter your level of ability as a writer, your previous experience, or the area of writing you wish to focus on, there is almost certainly a class suited to your needs.

Some of the types of classes you may wish to consider include -

      Evening classes taught in person, such as those held at universities or adult colleges
      Intensive classes, sometimes residential, held for a focused period of time
      One on one tuition with a writing tutor
      Online classes, either taught in the form of live sessions or pre-recorded courses
      One off workshops or taster sessions
      Formal qualifications, such as diplomas or degrees resulting in a recognized qualification

The benefits of a writing class as a source of ongoing education are many. Sometimes, if left to our own devices, we find excuses and reasons not to write. By committing to a class, and often paying money to do so, it becomes a lot easier to justify spending time working on and improving our writing.

Writing classes also offer a social dimension which isn’t always present in other forms of writing education. For some people, the enjoyment of learning and practicing alongside a group of likeminded souls is far more enjoyable than a solitary writing practice.

If you’re the kind of writer who enjoys a structured approach to learning, and the company of others, a writing class might be the perfect solution to your ongoing educational needs.

Podcasts For Writers

While many people never consider making podcasts one of their primary forms of ongoing education, those who do often become devotees to the format.

There are many advantages to using podcasts as a way of increasing your writing knowledge. Podcasts allow you to -

    Learn about writing no matter where you are. A mundane commute becomes an educational masterclass with the right podcast.
    Hear directly from writers you admire and wish to emulate. Having a writer share their ideas and experiences directly in your ear is often the next best thing to listening to them in person.
    Be entertained as well as educated. The best podcasts not only offer information but do so in a way which is enjoyable, just like the best teachers.

A good reason to use podcasts as a way of learning about writing is that, unlike many other forms of education, podcasts are ongoing and regularly updated. Whereas you might read a book about writing once or twice, podcasts allow you to refresh your writing education each and every week.

Many people find the small, focused lessons learned from podcasts over a long period of time to be a better way to learn than more comprehensive and in-depth blocks of information absorbed over a shorter period.

The best writing podcast you can choose is one which focuses on information directly relevant to your own writing that you also enjoy listening to. If you find your writing education to be both useful and enjoyable you are more likely to stick with it, thus reaping rewards in the long run.

Books About Writing

For some people, there is nothing better than a book as a way to learn. Books offer a number of advantages over both podcasts and writing classes.

      Books are almost always cheaper than writing classes
      Books often contain an incredible depth of information
      A book can be pursued at the learner’s own pace, unlike a writing class
      Books require no commitment or travel and are therefore great options for busy writers with hectic calendars

There are a number of books which are considered all time classic resources for writers and those interested in the craft of writing. In no particular order, three books I feel to be particularly valuable are -

1)  Eats, Shoots & Leaves by Lynne Truss.  This is probably the most technical book of the three but also one of the most enjoyable. Widely regarded as one of the best books about punctuation on the market, Eats, Shoots & Leaves teaches an essential but mundane aspect of the English language in an engaging and enjoyable way. Eats, Shoots & Leaves is a prime example of education being more effective when it is also entertaining.
2)   On Writing by Stephen King. Stephen King is widely regarded as one of the best popular storytellers of the modern era. On Writing explores King’s own journey as a writer, which is inspiring in and of itself, as well as the process by which he writes and edits his work.
3)   The War of Art by Stephen Pressfield. In The War of Art, Pressfield delves deep into the creative process and the frustrations and struggles we all face as writers. Focusing not on the technical craft of writing, but instead on the inner drive needed to create, this book covers a valuable but often overlooked part of the writing process.

When you find the right book to assist you on your journey as a writer, it becomes almost like an old friend that you can turn to for advice and reassurance when you need it most.

Ongoing Education For Writers Recap

Long gone are the days where education was a scarce resource available to the privileged few. Nowadays, we are spoiled for choice when it comes to the variety of ways to gain a deeper understanding of the writing craft.

Be sure to enjoy your ongoing education as a writer, and please feel free to share any other sources of writing education you’ve found personally helpful in the comments.

Dave Chesson

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About the Author

Dave Chesson is a master Jedi at book marketing and the author of Kindlepreneur.  To succeed in today’s competitive kindle business, you need to be part  writer and part marketer.  His website on self-publishing is devoted to  helping you with the latter. Find out more at Kindlepreneur.com and find Dave on Facebook and Twitter @DaveChesson.

2 December 2014

Writing: A pleasurable way to pass the time ~ or a compulsive disorder? Special guest post by Anne O'Brien

In a new series of special guest posts, I have invited some of my favourite authors to let us have a look 'behind the scenes', at how and where they like to write. The first is by Anne O'Brien, who inspired my fascination with the fifteenth Century: 

For me writing has become a necessity.  A compulsion.  If I take a break from writing for even a few days (when real life kicks in) I suffer withdrawal symptoms, and worry about what my characters might be doing without me.  Are they surviving if I let them off the leash?  Have they changed tack without my being aware?  Even if I take a deliberate break, my mind is evaluating new characters, new possibilities, and re-evaluating old ones.  Considering new relationships.  Would he really say that to her, when treason is sitting heavily on their shoulders?.  What a splendid source of people and events and situations medieval history has become for me.

Writing for me is also a solitary thing, something done behind a closed door and not shared with anyone until the completed script is dispatched to my editor.  I make my own decisions about characters and scenes, those included and those omitted to make the most impact on the reader.  I never talk over my plans.  I worry over the various strands on my own, until I am satisfied with the outcome.   I prefer it that way.  When my editor reads it, then we talk and negotiate and work out a happy compromise to achieve the best end result for her, for me, and of course for the women of history about whom I write.



I have an office where I work, a small room with a desk and a PC because for me that is the most comfortable way to work.  I have a laptop but tend to use that only when travelling.  In my office I can be surrounded by reference books and all the paraphernalia I find essential to put together a good story.   I have two window with glorious views of oak trees on one side and a cider apple orchard on the other, with frequent buzzards circling overhead.  I have to exert great self control not to lose myself in the scenery too often.  The Welsh Marches are quite beautiful.


(The pics are of my office - but after a thorough spring-clean between books.  I rarely see it so tidy.  It is not so at the moment.  I don't think I dare take a pic as it is now.  If I tidy up when I am writing, I lose my references.)

I am definitely a morning writer, starting early - by 8.30 am - after I've cleared any urgent admin.  Then I write through until lunch.  I don't count words because first draft writing covers more ground than when I start editing and refining; here I work much more slowly.  So I simply write for the time I have set myself.  But even when my day's writing is over, the characters tend to live with me and keep me entertained - or anxious.  I often find a need to make notes of what they might be saying, or directions of plot I had not previously thought of.

So how do I write?  Over the years I have changed my approach to writing but the beginning is always the same because it is historical fiction. 

1. An historical timeline is essential: to plot the known facts, dates and the general order of events.  This is where the the main body of research takes place, so I can know exactly who is doing what and when.  This has to be the bedrock of historical fiction, otherwise it becomes merely fiction.

2. Next comes some characterisation, or as much as I can discover from the sources, both primary and secondary.  Some characters are well documented.  Some barely at all.  But I need some idea of how my characters will react and inter-react in any given situation.  My characters must be true to the traits they exhibited in real life.

3. Then there is the true start to the writing of the novel - for me it is the highlighting of the scenes that are absolutely crucial to the telling of the story.  I often write them first, even if it's only a rough draft and completely out of context.  Just so that I have them in place and I can see the drama unfolding.

4.  I might write the end of the novel at this stage - although this can change as I write second and third drafts.

5. By this time my characters are very familiar to me, and their motivations fairly clear.  This is the point at which I start at the beginning and write a full draft through to the end, linking all the mains scenes.  By the time this is complete, I have something that feels like a complete novel, even if no one else would think so.

6.  Then - the most enjoyable part of all - I begin to add layers, polishing and refining the plot, adding connecting links, thinking what it is that I need my characters to say through mood and action.  This is where the historical detail begins to influence the scenes - the costume, music, details on where and how they are living.  Characters in novels do not sit still and talk.  This is where the book begins to come to life.

7.  Altogether I write four drafts followed by a quick read through to test for pace and relevance.  Where the pace drops, or the interest, that is where there is a need for some cruel editing out of what I have written, even if it is one of my favourite scenes.  Sometimes the characters do not really shine through until the fourth draft.  I need to be patient and believe that it will happen.

The whole process takes me about a year. The most exciting part, for me, of writing historical fiction? When I discover a crucial piece of evidence that directs the actions of my main protagonists. When I finally realise what it is that makes him or her tick, even if they lived six hundred years ago.  Suddenly everything fits together and it is immensely satisfying. And the end result, released in November, 2014
'The King's Sister', a story of love and treachery and betrayal at the Courts of Richard II and Henry IV.

Anne O'Brien
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About the Author


Anne O'Brien was born in the West Riding of Yorkshire. After gaining a B.A. Honours degree in History at Manchester University and a Masters degree in education at Hull, she lived in the East Riding as a teacher of history. Always a prolific reader, she enjoyed historical fiction and was encouraged to try her hand at writing. Success in short story competitions spurred her on. Leaving teaching, she wrote her first historical romance, a Regency, which was published in 2005. To date nine historical romances and a novella, ranging from medieval, through the Civil War and Restoration and back to Regency, have been published internationally. Anne now lives with her husband in an eighteenth century timber-framed cottage in the depths of the Welsh Marches in Herefordshire, on the borders between England and Wales. Since living there she has become hooked on medieval history. Virgin Widow, published in 2010 was Anne's first novel based on the life of an historical character, Anne Neville, wife of Richard Duke of Gloucester. Her second novel tracks the early life of Eleanor of Aquitaine, through marriage, crusades and divorce, not to mention scandal, as Devil's Consort (In the USA published as Queen Defiant.)  Other novels depict the scandalous life of Alice Perrers, mistress of King Edward III, who broke all the rules as The King's Concubine, followed by Katherine de Valois as The Forbidden Queen.  Find out more at Anne's website www.anneobrienbooks.com and find her on Facebook and Twitter @anne_obrien.

19 October 2014

Guest Post by Carrie Aulenbacher, author of The Early Bird Café


For years, Jim and Eve have shared breakfast every morning at the Early Bird Café. Their constant friendship, however, is thrown into chaos when Jim begins writing his second novel.

Available on Amazon US and Amazon UK

As I walk around in this old café, it is not only the setting of my book, The Early Bird Café, but it is a haunt for me.  The worn linoleum floor squeaks familiarly under my feet, the mismatched salt and pepper sets among the tables fit just right in my hand.  Even the dated cash register makes me want to keep coming back here when I need some relief from the daily grind.  Such is the inner world that I visit as the setting of my debut novel.

People ask me how I wrote such a story.  They say they never knew I had all of this inside of me.  To me, it is not something that I created, but something that I’ve discovered inside of me over the years.  I feel more like an explorer at times when I write.  I am not bringing anything new to life, in my mind; I’m simply uncovering an inner world and reporting back to my readers with my findings.  I’ve trod these streets on snowy, dreary days, my hands thrust deep in my pockets to thwart the cold.  I’ve donned sunglasses to sneak a peek on hot afternoons, watching around the corners as my characters have gone on living out their lives.  I’ve listened to a hundred conversations between Jim and Eve while sitting in the very next booth, never writing anything down; just listening.

I find that, the more I immerse myself in their world and get to know them, the better I am able to document what they’re doing, what they’re saying and what they’re not saying.  So, I hate to disappoint those who insist that storyboards and outlines are the best way to go.  I’ve never used any.  There is no storyboard to map out one’s own life, and I find that such an approach doesn’t work for my characters in their own lives either.  I just let the chips fall where they may and I see how things unfold for them.

That’s why I feel that Jim’s journal entries are such a good fit for the format of my novel.  His entry at the end of every chapter is a sneak peek inside his mind much like my trips to the café are my sneak peek inside their world.  To get inside his head is just as important for the reader as those times I would watch him prowl these streets clad in his leather jacket like a sexy yet forlorn rock star.  As intimate as The Early Bird Café is, it is Jim’s journal that shows us just how much he hides from his best friend, Eve.

These hints at further mystery make me keep coming back here.  As we discover just how private Jim keeps his innermost thoughts from his very best friend, how much could he be hiding from me, his author?  I ponder this as I occupy the corner table and watch him cross the floor before me.  Easing into the booth, he opens that journal laconically while Cassie pours him a perfect cup of coffee.  He shirks the leather jacket from his broad shoulders, revealing a tight shirt that leaves nothing to the imagination.  This author can see his mind working out something.  Running his hand over an unshaved jaw, the pen begins a sentence in the journal in front of him but hesitates, then stops. 

I watch his eyes glaze over as he stares out the window.  He chews his lip absentmindedly.  Dropping the pen for his cup of coffee, he runs a hand through his luscious brown curls, oblivious to me.  This is why I became a writer.  Because there are characters like this living in the inner world in my head that I don’t fully know - yet I just can’t resist.  I have to know.  What makes a guy like Jim tick?  Why is he the man that he is?  And who can save him?

Eve comes in the door, and one can almost sense his aura change.  It is clear there is something mysterious about her that he is trying to unlock with his own writing.  She’s got something that makes his eyes dance and his smile broaden.  I feel a smug satisfaction at realizing that, for all the secrets he still hides, there is yet another who holds an ultimate secret from him.

As the author of this unique love story, I can’t wait to come back and watch it all unfold.

Carrie Aulenbacher
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About the Author 

Carrie Aulenbacher was born and raised in Erie, PA, and currently works at one of the largest locally owned logistics companies in the tri-state area where she has enjoyed varied roles duties as an Administrative Assistant / Tax Clerk / Social Media Coordinator for the past 15 years. Although The Early Bird Cafe is her first publication, Carrie has had a lifelong love of writing.  On her website www.carrieaulenbacher.com you’ll find some freebies of short stories and poems she has written over the years.  In her spare time, Carrie is a full-time mommy who loves collecting old books, exploring her nearby woods, growing tons in her flower gardens and treasure hunting in the local antique shops. You can find Carrie on Facebook and follow her on Twitter @Aully1 

6 August 2014

George Orwell's Writing Habits

Eric Arthur Blair, best known by his pen name George Orwell, was an English novelist who wrote two of the most famous novels of the 20th century, Animal Farm and Nineteen Eighty-Four. Educated at Eton, he joined the Indian Imperial Police in Burma, then resigned in 1927 to become a full time writer. In 1928, he moved to Paris where lack of writing success forced him to take menial hotel work, which he described in his first book, Down and Out in Paris and London'. (He chose the name George Orwell shortly before its publication, taking his surname from the River Orwell in East Anglia). His powerful dystopian novel Nineteen Eighty-Four has sold millions of copies worldwide and its terms such as "Big Brother", "doublethink" and "newspeak" became part of everyday language.


In 1946 David Astor, editor of the Observer newspaper, lent Orwell a Scottish farmhouse on the remote island of Jura, where Orwell lived when writing Nineteen-Eighty-Four. Struggling with ill-health, he used a battered  Remington Home Portable typewriter, often revising and retyping entire chapters .  He worked in bed, on what he called "the grisly job" of typing the manuscript on his "decrepit typewriter", kept going by chain-smoking ‘roll-up’ cigarettes, endless mugs of black coffee and strong tea, with only a foul-smelling paraffin heater to keep out the Scottish chill.

In one of his essays entitled ‘Why I write’ he famously said, "Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven by some demon whom one can neither resist or understand. For all one knows that demon is the same instinct that makes a baby squall for attention."

As well as his novels, Orwell’s famous six rules for writing, taken from “Politics and the English Language” have inspired writers ever since:
  1. Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
  2. Never use a long word where a short one will do.
  3. If it is possible to cut a word out, always cut it out.
  4. Never use the passive where you can use the active.
  5. Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.
  6. Break any of these rules sooner than say anything outright barbarous.


Other posts about the habits of famous writers:



6 July 2014

Dean Koontz’s Writing Habits

Dean Koontz is listed by Forbes as one of America’s best-selling authors, with reported annual sales of over $24 million. Koontz has had fourteen titles on the New York Times bestseller list, with his work at the top of the list four times

It wasn’t easy for him though, as he says, ‘I sold the first short story I wrote. Then I received over seventy-five rejections before making another sale. My first four novels were never published. Later, after I’d been selling genre fiction routinely, I wrote a mainstream novel and editors sent me enthusiastic letters about it but turned it down because they felt it was too disturbing and avant-garde to be commercial.’

Undaunted, Koontz decided that writing novels was the only work he wanted to do and put in sixty-hour weeks at his typewriter, developing his well proven novel format.  When he finished his first New York Times best-seller, Whispers, his wife pointed out that for every page in the final manuscript, he’d used thirty-two pages of typing paper,  laboriously re-typing eight hundred pages of text over and over before he was satisfied.

IBM Displaywriter
An obsessive re-writer, Koontz decided to invest in one of the expensive new word processors, the IBM Displaywriter, storing his work on massive eight inch floppy disks and printing out the pages on a daisywheel printer. He still worked for ten hours at a time but was now able to revise his work on screen, rather than waste time re-typing.

He was pleased if he managed half a dozen finished pages a day, and said, ‘The secret is doing it day after day, committing to it and avoiding distractions. A month goes by and, as a slow drip of water can fill a huge cauldron in a month, so you discover that you have seventy-five polished pages.’


Other posts about the habits of famous writers:

2 June 2014

J. R. R. Tolkien’s Writing Habits

J. R. R. Tolkien in 1968
(BBC Archive)
John Ronald Reuel Tolkien, English writer, poet  and Professor of English Language and Literature at Oxford, is best known as the author of The Hobbit and The Lord of the Rings.

It is hard to be certain of the exact figures, due to the proliferation of ebook versions, but The Lord of the Rings is the biggest-selling single genre novel of all time and possibly the best-selling single novel of all time.

Surviving the horrors of the Somme as a second lieutenant in the Lancashire Fusiliers , when his battalion was almost completely wiped out, Tolkien began writing to help his recovery from trench fever. His first work, The Book of Lost Tales, was a collection of short stories, where he developed the ideas for his later work, with the subtitle ‘The History of Middle Earth’.

One hot summer day he was bored marking endless examination papers and found that one candidate had left an entire page of an answer-book blank. On this page, Tolkien wrote “In a hole in the ground there lived a Hobbit“. (See interview below.) It took Tolkien seven years to turn that sentence into The Hobbit and he struggled to get the manuscript finished because of his teaching commitments at Oxford College.

Writing habits

Tolkien once said his typical response on reading a medieval work was not to make a critical study of it, but instead to write a modern work in the same tradition. A prolific letter-writer, Tolkien suffered from severe rheumatism and would apologise for not handwriting his correspondence. “I usually type,” he wrote in one letter, “since my ‘hand’ tends to start fair and rapidly fall into picturesque inscrutability.”

Tolkien's favourite typewriter was an expensive American Hammond Varitype, made in 1927.  Insead of conventional typebars, it had a replaceable C-shaped curved rubber type-plate (which anticipated the IBM "golf ball" by fifty years). Tolkien could therefore change the typewriter "font" which included italics, which he used a great deal, as well as the small font he called ‘midget type’.  The Hammond Varitype was the most advanced ‘word processor’ of its day and produced such fine work that they were used as "cold typesetting" devices, to prepare camera-ready copy for printing.

Later in life, Tolkien found the Hammond too heavy and turned to more portable typewriters. Despite the pain it caused, he often wrote detailed notes about Middle Earth in longhand with a pen, before switching to his typewriter. He typed the entire manuscript of The Lord of the Rings twice in his favourite writing space - on his bed in an attic. In a letter written in 1964, he wrote to a friend: “I like typewriters; and my dream is of suddenly finding myself rich enough to have an electric typewriter built to my specifications, to type the Fëanorian script.”

The manuscripts, typescripts and proofs for The Hobbit survive in the Memorial Library Archives at Marquette University in Milwaukee, Wisconsin and give a useful insight into Tolkien’s writing methods.  The collection includes a working draft of the first twelve pages, typed on Tolkien's Hammond typewriter. The rest of the pages are handwritten and numbered consecutively from 13 to 167, and Tolkien changes the type of paper and uses a different pen near the beginning of Chapter 5.

The next stage of development is a full typescript done on the Hammond typewriter, with the songs typed in italics and the only changes being to the names of characters. (Interestingly, to modern writers with the benefit of word processing, there is also a second full typescript, which seems to have been abandoned due to the significant number of typographical mistakes). 

Tolkien later recalled, “I wrote the first chapter first, then forgot about it, then I wrote another part. I myself can still see the gaps. There is a very big gap after they reach the eyrie of the Eagles. After that I really didn't know how to go on. I just spun a yarn out of any elements in my head. I don't remember organizing the thing at all."

Always modest about his work, Tolkien wrote in a letter about The Lord of the Rings in July 1947, “I certainly hope to leave behind me the whole thing revised and in final form, for the world to throw into the waste-paper basket.  All books come there in the end, in this world, anyway.”  He was surprised by the success of his first book and also of the others, and felt his best-selling success was a complete accident.


Other posts about the habits of famous writers:


12 May 2014

Tips For A Long Term Writing Career And Writing Historical Fiction

Colin Falconer
Colin Falconer is the international bestselling author of over 40 books translated into 23 languages, drawn from many periods of history.

Starting in advertising as a copywriter because his early manuscripts didn't get published, Colin moved into scriptwriting for TV and other freelance work for magazines. After one article helped him get an agent, he started writing novels.

Does writing get easier after 40 books? Colin talks about his experiences to New York Times and USA Today bestselling author Joanna Penn:


See Colin's website for more information about his books at http://colinfalconer.org/  and follow him on Twitter @colin_falconer.  Joanna Penn's website is http://www.thecreativepenn.com/ and Joanna is on Twitter @thecreativepenn

7 May 2014

A Tribute to Leslie Thomas, British Author, 1931 - 2014


One of my favourite authors, Leslie Thomas, best known for his novel The Virgin Soldiers, died today aged 83.  

Leslie Thomas's father was drowned when his ship was torpedoed in 1943. His mother died soon afterwards from cancer, so Leslie and his younger brother, Roy found themselves in a Dr. Barnardo's Home in Newport, south Wales, an experience memorably described many years later in his first autobiography This Time Next Week.

Leslie had a successful career as a Fleet Street reporter before he began writing novels. In 2004 he was awarded an OBE for services to literature. His first novel, The VirginSoldiers, was inspired by Leslie Thomas' national service in Malaya and describes the exploits of British soldiers based in the Far East. He went on to write a further thirty successful novels, as well as travel books and his second biography In My Wildest Dreams, published in 1984. During his lifetime his international books sales were more than fourteen million.


I will remember Leslie Thomas for his great sense of humour and talent for weaving the details of his life into some of my all-time favourite novels. 

2 May 2014

Daphne du Maurier’s Writing Habits

Daphne du Maurier working at her
Underwood typewriter, 1944
I was watching the BBC’s much maligned (for ‘incoherent mumbling’) dramatization of Daphne du Maurier’s  Jamaica Inn recently when I realised I knew very little about the author. I have enjoyed lunch at Jamaica Inn on Bodmin Moor and even kayaked ‘Frenchman’s Creek’ on the Helford River, so it was interesting to learn about how Daphne approached her writing.
  
Daphne du Maurier  was born in London in May 1907 and was still writing at her death in 1989. Educated by private tutors in Paris, she published her first short stories at the age of twenty-one. Her publisher encouraged her to write a novel, which became The Loving Spirit in 1931. She was made a fellow of the Royal Society of Literature in 1952 and became a Dame of the British Empire in 1969. In 1977 she won the Mystery Writers of America Grand Master Award. As well as Jamaica Inn, Hitchcock directed film versions of The Birds and Rebecca.  Film versions were also made of many of her other books, including Frenchman's Creek, Hungry Hill, and My Cousin Rachel, which starred Richard Burton and Olivia de Havilland.

Often dismissed (to her intense annoyance) as a ‘romance’ author, her work is finally receiving critical attention and her entire output was reprinted in 2003. The Daphne du Maurier Festival of Arts and Literature has been held at Fowey, Cornwall, every year since 1997 and forms part of the Fowey Festival from 10th to 17th May 2014.

Writing Habits


Her initial ideas were jotted down in pencil in small blue exercise books before being extensively re-drafted at one of her many typewriters. Her family decided to place the archive at The University of Exeter in 2001, where the ‘Rebecca Notebook’  was re-discovered. Facing a plagiarism challenge from writer Edwina MacDonald, who claimed the Hitchcock film of Rebecca relied heavily on her own work, Blind Windows, Daphne Du Maurier successfully defended her work by producing the notebook as evidence.
 
Interestingly, her notes entitled ‘The rough start of Rebecca’ have a different opening line ‘I do not think we will ever live in England again - that much is certain,’ instead of the now famous line ‘Last night I dreamt I went to Manderley again ...’. The typed copy of the Rebecca manuscript also reveals her approach to re-drafting, with many spelling mistakes and Du Maurier's own numerous corrections.

In an interview Daphne du Maurier once mentioned that her favourite writing place was a gardener's hut, where, she said, ‘I'd sit for hours on end, chain-smoking, chewing mints and tapping away at my typewriter.’ She also describes writing Rebecca ‘sitting on the window seat of the living room, typewriter propped up on the table before me.’

Like many writers, she needed a set routine before she could enjoy the peace of mind she needed to write. Servants helped to take care of the ‘disorder’ of family life, although in the war years she had to do much more herself and said, of her daughter. ‘I chuck her a doll to play with and rush to the privacy of a room alone and hammer upon my typewriter at Frenchman’s Creek, my new book, and I am lucky if I get a page written.’

Much of her early work seems to have been typed on an American Oliver Model 11, manufactured in Chicago, Illinois. The Oliver was notable as the first effective ‘visible print’ typewriter, with text clearly visible to the typist as it was entered. Her Oliver 11 is displayed in the museum at the Jamaica Inn - and in 1996 starred with her on a British postage stamp.

Her later work was done on her Underwood Standard Portable Typewriter, which was later replaced by a top of the range Olivetti. Fox’s Glacier Mints were her favourite ‘writing sweets’, usually kept in a small dish next to her typewriter. 

Writing Style


Daphne du Maurier once famously said, 'I can't say I really like people, perhaps that's why I always preferred to create my own.'  Over the course of twenty-nine novels and dozens of short stories she was more interested in the balance of power between men and women, particularly in marriage, rather than romantic love stories.

Never fixed in one genre or writing style, her work ranged from Rebecca (which has been called the first major Gothic romance of the 20th century), to biographies, historical fiction and horror stories, plays, short stories, science fiction, family histories and a mystery. Having been described as ‘the favourite novelist of put-upon wives around the world’ the re-discovery of a her short story ‘The Doll’  shows how diverse her legacy is, as it tells the story of a young man who discovers the girl he loves (called Rebecca) won’t accept his advances because she has a life-size mechanical male doll. It was written in the 1920's and published in 1937 in a compilation of rejected stories called The Editor Regrets. The Doll was re-published by Virago in 2011. I think Daphne would have been very pleased.


Other posts about the habits of famous writers:


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