Greetings, Harold

My written exams are over. My Chemistry practical exam is complete. My Biology practical (ISA) is tomorrow and the written part of the practical element on January the 29th. However, my ISA preparations are going well, so I still have time to blog today. Most of the prep is in lesson time anyway.

Tomorrow I am going to start on The Magician's Tattoo properly again. In the latter part of 2012 I essentially deleted everything and started again. Three chapters have been written so far, and I hope to get chapter four completed this month and at least one chapter a month.

Image from maxfarquar.com

A few days into 2013, I started thinking about my characters. One thing that I couldn't get passed was Kwaad's name. As the novel isn't very long at the moment anyone who has read it won't notice the issue with his name, but I do. After all, I have done world building for the novel and so I'd hope I'd spot discrepancies within the world I created.

Every magician in the The Magician's Tattoo has a normal name. There is a little bit of comedy in the opening chapter when it is revealed the eccentric 'magic man' in the purple dressing gown is called Brian. However, despite this comedy, normal names are common in the magical world. They have different cultures to normal people (which will be developed later in the novel) but not so drastic that names are different. The normal people and magician populations developed along side each other. The only major difference is that magician's are magic and so have developed a religion (or religions on the world wide scale) based on how they get magic. But because they developed together their naming conventions aren't going to be too different.

The Magician's Tattoo, Chapter 1 - Purple

A purple light flashed past Nathan’s car. He slowed his descent of the slope leading to the seventh floor of the multi-storey car park. Another light whizzed by causing him to slow further. Typical teenagers and their laser pointers.

He looked around for the mirrors the lasers would be reflected off but found none.

Continuing down to what he assumed was the sixth floor, he was surprised at the amount of new graffiti. Guns and curse words were normal, but rabbits were certainly different. He chuckled to himself as a third light zoomed past. Whoever was shining the lasers probably went to the college he taught at and likely had a detention with him in the past.

A fourth light stopped in front of the car. Worrying for his, and the student’s safety, he stopped the car.

Ten purple lights circled the car - each glistening in puddles of rain water accumulated over the last few hours of near horizontal rain. A solo saxophone played a smooth jazz tune from somewhere unidentifiable, the lights pulsated to the swing rhythm.

He instantly recognised the song as Deluge. A student had recently performed this in a college recital. Nathan remembered the student’s face when he learnt a music professor from Cambridge had been listening and was able to award a scholarship. But, he knew it couldn’t be that student as they were on holiday.

Then it stopped. The lights vanished and the saxophone finished on a final big note. Silence.

He got out of the car and clapped the performer.

“I liked what you did with the ending.”

There was no response. They were probably worried he was going to tell them off for the lasers.

He got back in the car and looked at his watch, 7:05 p.m.. He had promised his girlfriend, Claire he’d be home in time for dinner. She wouldn’t be suspicious if he was late but that night he wanted her to say yes. He continued down the slope and laughed when he saw that all the floors had had their numbers changed to 8.

Something hit the car roof with a loud bang. Nathan lost control and swerved violently He tried to slam on the brakes, but missed hitting the accelerator. He managed to successfully bring his foot to the brake as the edge of the car park quickly approached. The car crashed through the barrier and stuck out over the ledge.

Embrace the Cliché

Last month I spoke about being unique in your writing and how to not be a copycat. In the second part of this series of articles, I am going to cover the embracement of clichés.

The other week, I was looking through my twitter-feed and came across a tweet from Amanda Wilcox that proves I am not alone in embracing clichés:

“The art of story writing seems to be simply re-writing clichés in your own words.”

I don’t know if I can attribute it directly to Amanda, or if someone else said it first, but story writing certainly seems that way.

I touched upon genre property last month, but not all genre property is cliché. Magical schools are not yet cliché and still have much uncovered ground. However, vampires are probably now cliché, what with Dracula, Twilight, The Vampire Diaries, and The Secret Circle to name but a few.

That isn’t to say that vampire stories should be avoided. If approached sensibly and with the right mind set any cliché can be turned into something new and exciting.

Before we go any further, perhaps an exploration into the definition of a cliché is needed. According to the Collins dictionary it is:

“An idea or phrase which is no longer effective because it has been used so much.”

This definition states that it can’t be used effectively any more. However, that doesn’t explain why some clichés are effective even after they have become ‘overused’. Perhaps I am being too broad with my own definition of:

“Something that has been used so much that it becomes predictable.”

Even with my definition, you probably would think it best to avoid any cliché where possible. Nevertheless, I am a firm believer that we shouldn’t waste clichés and should whole-heartedly embrace them with open arms. After all if you don’t try, you’ll never know, and knowledge is power. Remember that with great power comes great responsibility and that to use clichés is a privilege, not a right.

OK, so I went a little overboard with my clichés there, maybe to serve as an example of what not to do with them.

Continuous Rewriting

Every person has a favourite aspect when writing. For me it is the development of an interesting plot and strong characters. Most of this happens during the first draft, at least for me anyway. So how do you maintain enjoyment in writing once your favourite bit is done and you’re left with the grammar and the dreaded rewrite?

Well, there are, as always, many ways to do this, but this article will focus on one:  Continuous Rewriting.

As the name suggests, this is where you rewrite your piece continually throughout the writing process. I don’t promise that it will always involve your favourite aspect of writing, but that isn’t what the method is for. The intention is through continuous rewriting you never have to go too long without being able to go back to your favourite aspect of writing.

I know I’m famous for plugging my work in these articles, but in this case I have to. Yesterday I completed a five-day tidy up on my novel. In the past this would have consisted of me going through sorting out the commas and referring to the reviews I have received. But this time it was different. I did more than just correct my mistakes, I added bits in. I did a proper rewrite of the chapters. Normally rewrites happen after the first draft is complete, but I know that once I complete the first draft I am going to be reluctant to go through and rewrite it.

The beauty of continuous rewriting is that consistency errors are a thing of the past. You write something in chapter five and you can go back and hint at it in chapter three. Or perhaps you add something in chapter one and you develop it in chapter four. Had you been forcing yourself to plod onwards with a plot you knew you were going to change then your rewrite would be a long and arduous process. Now your first draft will be the plot you want and the write will mainly be making what you have written clearer and more engaging.

Perhaps it shouldn’t be called a first draft anymore; after all a first draft is often said to be the basic shape and outline of your story. With continuous rewriting your ‘first draft’ will be a filled out, full story that’s a bit rough around the edges. You could view the traditional first draft as a photo of a squiggly circle and a continuously rewritten first draft as a fuzzy photo of a complete statue – complete, just not very clear.

OK, some people may still not get what I’m saying, I don’t know, so I’ll use a real life example:

I was writing the start of chapter five of The Magician’s Tattoo when I realised that gagging and tying one of the main characters to a chair was not the best way to go about things. I could’ve continued and worked my way out of the mess by having him escape, but why bother? So I re-wrote the start of the chapter to a new, less awkward of containment. This gave me an additional issue; I had to get the character to identify where he was and who had taken him there. I put some initials on one of the walls that he would recognise but then yet another issue occurred. It was important that the reader knew what those initials were, so I went back to chapter three and added them in there.

Whilst over at chapter three I noticed a few consistency errors so I read through the chapter and corrected them. Half way through the chapter I realised I was no longer correcting anything and I had actually added two-hundred words to the story introducing two new plot elements and a twist. At this point I thought that it would be fun for the reader if they could pick up on a few of these things in the first two chapters without realising their significance.

Guess what? I went to chapter one and added a few bits in and started correcting the consistency errors my chapter three edit had made. Then I rewrote a whole page’s worth of story, adding depth to the characters. It was this point I realised what I was doing. I was rewriting my novel before I’d even reached the end.

After five days’ worth of work I had edited, rewritten and improved the first four chapters, added depth to the plot and filled in that shell of a story I originally had. Now, I’m on chapter five and am constantly editing and rewriting on the fly.

The best bit about this method is that the rewriting consists of both editing my work and developing the plot creatively. Another fantastic thing is that it works perfectly with my organic plotting method outlined in a previous article. I don’t have a plan in written form when I write as it prevents me working creatively, so being able to go back and add bits on the fly is really useful.

My guess is that most people do this method to some extent, but only when you realise that you are doing it can you maximise its full potential. Say goodbye to long rewrites and hello to fun writing all the to the very end.

Hope this helps,

Matt B

The Magician's Tattoo Update, and Vocab

Hi,

As some of you will know, I am writing a fantasy novel. Until recently this had been on hold for various reasons and hadn't been worked on properly for about a year. Now, I am just getting back into writing it and have decided before continuing chapter 5 it might be worthwhile just thinking about where I am actually going with the story.

Just because I haven't written much for it in a while doesn't mean I don't think about it. Characters are forming in my mind and I am thinking about moving what was going to be the ending to the middle and making the story a bit longer.

And, to prove I am keeping up with learning new words here is a paragraph with a sample of new words:

This paragraph is being written holus-bolus with no fore thinking, hence the fact the spurious quality compared to my normal writing. I do plan that learning new words will fructify for my writing, whose vocabulary is currently verging on entering an inane. What is nice about writing, and specifically writing on WDC are the random douceurs I get for doing different activities. I, like many people, know of troglodytes who have no regard for quality writing, but my ripostes are normally enough to stop it happening again as I often use periphrasis in them.
I was in Skyrim admiring the many sastrugi, but then I took an  arrow to the knee!

In normal lingo this reads:


This paragraph is being written all-at-once with no fore thinking, hence the fact the non-genuine quality compared to my normal writing. I do plan that learning new words will benefit for my writing, whose vocabulary is currently verging on entering an empty void. What is nice about writing, and specifically writing on WDC are the random pleasant gifts I get for doing different activities. I, like many people, know of recluses, who probably dwell in caves, who have no regard for quality writing, but my quick responses are normally enough to stop it happening again as I often use a longer phrasing in place of a possible shorter phrasein them.
I was in Skyrim admiring the many wave like ridges of hard snow, but then I took an  arrow to the knee!

Thanks
Matt B

The Magician's Tattoo - Snippet from chapter 4

Hi,

I know my previous snippet was from chapter 1, but I thought I'd give you a section where the comedy is so ouvert it's almost childish! In the word of Miranda's mum from Miranda "Such fun, such fun!"

The Magician's Tattoo - Old Version

Hi,

I know alot of my readers are from WDC and know me from the CSFS. This post, however is for those who don't know me from the CSFS. Below is the opening section from my novella in progress, 'The Magician's Tattoo'.