20th April 2024 – Crime Writer Charlie Garratt

This workshop will look at beginnings  (e.g. getting ideas, normal world and inciting incident) and building characters. This will include some exercises, and a Q&A at the end.

With Crime Writer Charlie Garratt 

https://charliegarratt.com/

About Charlie: 
Charlie Garratt is local-based author of a series of crime novels featuring Inspector James Given, set in the late 1930s and early 1940s. His love of crime novels goes way back to childhood and adolescence. Whether it be the Famous Five’s criminal investigations, science fiction detectives on distant worlds, or Wilkie Collins’ immortal The Moonstone.

When…
This 60-minute-long workshop will be held during Wrekin Writers’ February meeting, which starts at 10am on Saturday 20th April 2024.
Charlie’s workshop will begin at 11am and aim to finish by 12pm.

Where…
Wrekin Writers usual venue the downstairs room at the rear of the Wellington Community Art Gallery, 8-10 Duke Street, Wellington, TF1 1BJ

Workshop – 16th March 2024 – Into the Otherworld – fairy and folk magic tales

Fairy and Folk tales are full of magic and make believe, but they are certainly not just for children! These tales explore fundamental patterns of storytelling and uncover important truths. In this writing workshop Kate Innes will provide you with lots of visual images to get your narrative started, and a framework to build exciting adventures for your characters, leading to a satisfying, and possibly surprising, ending!

Kate Innes worked as an archaeologist, teacher and museum educator before moving to Shropshire and writing full time. Her highly acclaimedArrowsmith Trilogy of medieval novels is set in the Welsh Marches and includes some of the area’s most iconic historic sites. Kate’s first poetry collection, Flocks of Words, was shortlisted for the Rubery Book Award in 2018, as was her first children’s book, Greencoats, an historical fantasy set in WW2. She was the winner of the Imagined Worlds Poetry Prize 2018 and the WPF Festival in a Book Prize in 2023.

www.kateinneswriter.com

@kateinnes2

When…
This 60-minute-long workshop will be held during Wrekin Writers’ March meeting, which starts at 10am on Saturday 16th March 2024.
Nick’s workshop will begin at 11am and aim to finish by 12pm.

Where…
Wrekin Writers usual venue the downstairs room at the rear of the Wellington Community Art Gallery, 8-10 Duke Street, Wellington, TF1 1BJ

Workshop Saturday 17th February 2024 – Nick Pearson

Poetry – Under The Skin

Let the poetic muse capture your imagination and then run it free in this taster workshop led by this year’s Wellington Poet in Residence, Nick Pearson.

Come along to …
…learn about the poetic devices of rhyme, rhythm, meter, syntax, structure and so much more to support your poetry writing
…develop the skills and confidence for those of you who “can’t write poetry for toffee” to take your first sticky steps and put pen to paper
…relax in the reflections of a selection of poems chosen specially by Nick for Wrekin Writers

When…
This 90-minute-long workshop will be held during Wrekin Writers’ February meeting, which starts at 10am on Saturday 17th February 2024.
Nick’s workshop will begin at 11am and aim to finish by 12.30pm.

Where…
Wrekin Writers usual venue the downstairs room at the rear of the Wellington Community Art Gallery, 8-10 Duke Street, Wellington, TF1 1BJ

The Common Thread of Being Human

By Chris Owen

In a recent WW blog, I made mention of the positive and sometimes negative influences on most writers that have shaped their careers.

I must confess to the same personal influences that have affected my writing experiences.

And also the strange effects writing about a cataclysmic event had upon me which was directly family-related.

I had assumed that being engaged in research about the events of The Great War (as WW1 was dubbed) would be somehow cathartic in some ways in my own personal search for answers as to why my maternal grandfather took his own life in 1963 when I was just 13 years of age.

Scant family records available gave no clue as to his age at the time of his death (approx 70+).

Although there must be formal documentation i.e. – death certificate etc., available somewhere.

Being a rather naive teenager, I had hoped that, in the fullness of time, my own parents would fill in the missing information. However, no such enlightening details were forthcoming from any relative directly affected.

As late as the nineteen-sixties suicide, whatever the underlying motive, was regarded by society at large as shameful and criminal; prompting families to hide such events from public scrutiny rather than probe the reasons for it.

My mother’s family members were never very close, particularly the siblings comprising four daughters, of which she was the youngest.

Grandad Jack was a WW1 wounded infantryman who was invalided out towards the end of the conflict.

All I was told and observed from self-apparent physical wounds was that he was injured in a WW1 battle necessitating amputation of his left leg above the knee.

I knew him as a cantankerous old devil with a heart of gold. A bit rough around the edges but nevertheless a caring soul.

During the war which irrevocably changed him, due to the crudity of surgical procedures and postoperative convalescence, resulting in incurable residual nerve damage, he was left with recurrent pain. This was the root cause, I would surmise, of his long-term mood swings mixed with bouts of depression which eventually claimed his life; as latterly confirmed by my mother. She should know having lived with him for the first twenty or so years of her life in the family home in Birmingham. This could be why it was at times very difficult and challenging for the whole family and could explain my own experiences of my mother during a complex relationship arising from her own troubled past.

These days we take for granted the advances in prosthetics and the modern application of pain management drugs, as evidenced by Paralympian successes. Such disabilities as those borne by my grandfather, are now of much lesser hindrance to the sufferer thanks to modern medicine.

So, imagine the lack of personal health aids back then, circa 1918, when all that was available to the tens of thousands of war invalids were wooden crutches or cumbersome prosthetic limbs, usually made of wood. My grandfather suffered terribly from chafing as the scarred flesh, although padded with a surgical bandage, rubbed against the ill-fitting prosthetic he was issued with causing him to abandon it. This forced him to rely that much more heavily on his army-issue crutch, which severely restricted his mobility.

For a young man in his twenties, this must have weighed heavily on his mind. The only self-administered pain-relief medications, legally prescribed, were addictive morphine-based drugs. That was always assuming you could afford to purchase a steady supply.

The army pension rate was pitifully small back then causing many pensioners to become very bitter and forcing my grandfather to wear his prosthetic in order to go out and seek work to support himself and later his family.

In the absence of a publicly accessed National Health Service (latterly instituted in 1948) where most treatments are free at the point of delivery, the average disabled veteran, from a working-class background, had to pay up or else suffer in silence as my grandfather did.

Obviously, our family was not alone in these shared circumstances where l.5 million veterans were left disabled. Their families suffered alongside the veteran just as much if not more when the emotional fall-out was taken into account.

The Great War claimed over 830K dead in the UK mainland alone and a total of 1.3 million overall when you add in commonwealth countries fighting under the Union flag.

No one to my knowledge has ever collated the post-war deaths from residual long-term causes i.e.-  gas attacks, compound wound infections, or additional mental health impairment such as my grandfather’s, which could not be treated at the time yet still resulted in subsequent and inevitable war-related deaths many years after the end of the war.

Antibiotics, i.e. penicillin,  for medical use were not discovered till 1928 and only synthesized for mass application ten years later, just in time for the advent of WW2; where their widespread application saved countless lives.

The other strange irony is that the biggest pandemic ever to strike the planet, prior to COVID, during 1920 wiped out more people than WW1 itself. It was dubbed: the ‘Spanish Flu’, after the influenza-like initial symptoms, taking in excess of 50 million lives worldwide although there is not the slightest evidence that it was first contracted in Spain. The only initial evidence was that Spanish or Latin types were more susceptible in the early days of collated figures leading clinicians to erroneously conclude that ethnicity played a part in the disease’s spread and contraction.

This strange new virus struck simultaneously across the globe suggesting a common means of mass transmission.

The prolific spread was probably caused by close contact among WW1 fighting soldiers suggesting the original organism mutated from Trench flu and other sundry infections.

These organisms may then have combined into a lethal cocktail of infections due to the appalling living conditions trench warfare imposed on every infantryman at the battlefront.

Unlike the Bubonic Plague, the nearest pandemic to it, which is still with us today in some areas of the world, this new infection disappeared as mysteriously as it arrived.

The second strange effect WW1 had on me was that upon discovering and reading about the sufferings of deceased war veterans and their families, it invariably produced involuntary tears on my part.

My wife proved an invaluable research assistant but she could only read so many accounts of wartime family bereavements before needing to take a well-earned break.

From an emotional standpoint, we both found it very wearing.

Such awful statistics would wear on any thoughtful and caring human being.

As a historian, my conclusions as to the origins of warfare, lead only to more questions than answers.

The first one is, how can we, as a sentient species, be the architects of wars that cause such wasteful suffering? *

The second is, from across the commonly shared thread of being human, how do we still, even today,  justify it as a valid part of existence?

I fear it will remain an insoluble mystery, not only to myself but to the generations that will follow.

* Just to give some context – the following are wasteful war statistics:-

[Known unto god] – Inscriptions carved on anonymous war graves in countless garden cemeteries tended by CWGC (Commonwealth War Graves Commission) across Europe and the world.

Thiepval Memorial and Cemetery, France, records 72,000 WW1 dead listed as missing with no known grave.

P. S. Don’t worry about Grandpa –

I will continue my search for more information about my Grandfather’s life and demise

Private Jack May (1890 – 3(?) – 1963) – R.I.P.

Spoonerisms and the Power of Puns

by Chris Owen

A pun is defined as a play on words causing the fracturing of any language for comic effect. 

The broadness of expression afforded by English belies its mongrel origins giving leeway to the form being either verbal or written. The great vowel shift of the 1300s afforded a universal comprehension via standardisation of a language previously narrowed by the dominance of Norman French text forms prevalent since the conquest of 1066, thus broadening its comedic possibilities.

The first great English author Geoffrey Chaucer employed the convention of puns in his grand opus the Canterbury Tales which embraces jokes, humour, and puns

The very reverend William Archibald Spooner (1844 – 1930) and Oxford don whilst not suffering from a physical infirmity did have a whole malady named after him caused by a slip of the tongue which medics ascribe to the brain forming words faster than the tongue can articulate

This inadvertent  gift of altering a phrase or expression when parts of words are inadvertently  transposed produces comic results

Spooner’s most famous remark was when he invited parishioners to join him for a religious meeting. His verbal announcement came out as:

‘There will be a meeting hauled (halled) in the hell below’

 (instead of: There will be a meeting held in the hall below)

Being a fellow sufferer I have over the years come out with a few choice ones myself

See if you can decipher them for yourself:

Loaf Bites, 

Perry chick 

Bribary Look

Hyperdemic Nerdle

Child Mold

Realous Jage

Feek & Weeble

A well boiled icicle

Fighting a liar 

A Malapropism is another grammatical syntax malady often used for comical effect based on ignorance, being named after Mrs Malaprop, who was a character in Sheridan’s: The Rivals (1775) using the transposition of words

Her blooper was the inappropriate use of adjectives to describe someone or something else.

The fictional Mrs. Malaprop in Sheridan’s play The Rivals utters many malapropisms. In Act 3 Scene III, she declares to Captain Absolute, “Sure, if I reprehend any thing in this world it is the use of my oracular tongue, and a nice derangement of epitaphs.” This nonsensical utterance might, for example, be corrected to, “If I apprehend anything in this world, it is the use of my vernacular tongue, and a nice arrangement of epithets,”—although these are not the only words that can be substituted to produce an appropriately expressed thought in this context, and commentators have proposed other possible replacements that work just as well.

In Shakespeare’s Much Ado about Nothing, Constable  Dogberry tells Governor Leonato,  “On our watch, we have comprehended two auspicious characters,” instead of apprehended two suspicious characters. Previously ascribed as ‘Dogberryisms’ prior to the advent of the term Spoonerisms.

The most famous exponent of word puns in the modern era using the mediums of radio, TV, and live performances was the Danish comedian Victor Borg, who often altered the meaning of words for comic effect.

His most famous relevant sketch was where he used the device of adding plus one to a numeral to expressions for the audible effects.

Such as in ‘Darling you are looking so two-derful tonight (meaning wonderful).

I have just joined the Royal Air Fiveses ( meaning Forces).

The Goon Show, first broadcast on BBC radio in the early nineteen fifties, was packed with comical puns thanks to the genius of Spike Milligan’s writing. 

He often referred to himself as: ‘Spine Millington, that well-known typing error.’

As an innovator, his pioneering style of comedy affected his mental health due to the pressure of work. Having to produce an original half-hour script every week, for a twelve-week run as well as act in the show as a lead character took its toll.

This was in a time when most comic performers would learn a script and barely change it for as long as a year regardless of the number of live or recorded performances they undertook.

The modern broadcast mediums required the immediacy of fresh comedy every broadcast to satisfy the appetite of a national audience tuning in every week.

An example of Goon humour would be of one character discovering another inside a grand piano.

Who, when asked what he was doing there, replied : “I’m Haydn”(hiding) referring to the composer who wrote many piano pieces, thereby rendering a double punchline.

The world of puns marches on and will probably be with us as long as the English language is with us –   unless texting destroys all written forms.

Coded Writings

By Chris Owen

Simple ciphers using letter or word substitution were the mainstay of sixteenth-century UK communications – i.e. handwritten letters.

In the absence of a national daily postal service, most people were reliant on friends, relatives, or paid servants to transport letters across the country or even abroad under wax seal. This was the sender’s only means of security as the uniquely designed hot wax seal not only secured the folded paperwork but assured the recipient that it had not been intercepted and read.

Of course, no system is perfect as even today messages can be tampered with surreptitiously.

In the sixteenth century, there was already an established industry of code-breakers working full-time on suspect correspondence. Most codes conformed to established norms where the recipient was given a codeword or key-code letter which was needed to decipher the message.

There was even a thriving sideline in invisible writing methods where the likes of lemon juice or other mediums were used instead of ink. When the note was received containing some conventional text, heat from a candle was applied to the reverse side of the paper to reveal the hidden added message.

This was a time when if your religion or politics did not conform to religious or royal decree, here was the written evidence in letter form that could see you executed as a heretic or traitor.

It was therefore necessary to communicate secretly and securely with other members of your religion or faction, mostly through encoded letters.

Mary Queen of Scots, cousin to Elizabeth 1, who was living under house arrest was betrayed by a servant when she wrote a secret missive plotting to bring down the protestant queen and replace her as monarch of a newly-converted catholic United Kingdom. In the letter, she called upon her followers to rise up when instructed in order to put her plans into operation.

Her only contact with the outside world was a victualer who delivered wine supplies to her household on a weekly basis. She thought he was a loyal servant having successfully corresponded several times through him using messages wrapped inside a wine barrel stopper. All visitors and their goods were routinely searched in or out, so this method was deemed to be foolproof. He was in fact a paid agent of Elizabeth’s spymaster Francis Walsingham who specialised in operating a network of spies in England and abroad.

Mary’s treasonous actions led to her execution in 1587 at Fotheringhay Castle after spending fourteen years in Sheffield Castle in confinement

In the fifteenth century Leonardo Da Vinci, besides being an artistic genius, was fascinated by science, technology, and anatomy. Alongside detailed drawings, he wrote copious notes using mirror- writing which made the script appear backwards on the paper. To the casual observer, the text was gibberish. He did this deliberately to foil ‘The Inquisition’, an extreme catholic order, condoned by the papacy, which punished anyone involved in science or the arts deemed to be non-conformist to religious doctrine. This practice put all those considered as freethinkers, particularly those who were connected with culture, in the firing line. Da Vinci was certainly a part of this growing movement, fuelled by his own ravenously curious mind.

Anyone condemned by decree or papal edict was judged as a heretic and was usually burnt at the stake.

Galileo Galilei languished for years under house arrest for daring to suggest that the earth was not the centre of the solar system but the sun, even when his observations of the heavens made this proposition self-evident.

During WW2 the American army employed Navajo ‘windtalkers’ who were native american servicemen to encode messages in their tribal language making them indecipherable to the Japanese code-breakers.

Elsewhere in this conflict, the nerve centre of British code-breaking was based at Bletchley, Hertfordshire, where an army of decoders spent long hours trying to unravel secret German communications. Their enemy was a fiendish new machine dubbed enigma which changed its code daily and was eventually cracked by Alan Turing, a maths genius, working with the world’s first computer called Colossus.

Indian Sanskrit sacred writings were consistently changed or encoded to reflect the doctrines of the day. But it is interesting to note that in one tale taken from the Mahabharata, written for scholars, one of the antiheroes voiced the words: ‘I am become death, the destroyer of worlds.’

This was used to describe the super weapons deployed in a war of the heavens waged by the Hindhu gods against themselves.

This line was quoted by the nuclear physicist and atom bomb developer Robert Oppenheimer in the nineteen-forties. He was based in the USA, working on the Manhattan Project, a codename for the development of the world’s first atomic weapon. When he saw the results of the two nuclear bombings of Japan at Hiroshima and Nagasaki in 1945 he was appalled and contrasted the power of the weapon he had helped to develop to this statement written thousands of years before the nuclear age that he was regretfully complicit in bringing about.

This atomic age also spawned the cold war which saw a rise in espionage with all its world of gadgetry used for spying on one’s neighbours.

It was a time when agents left secret messages hidden in all manner of places and a whole industry was created to keep watch not just on our enemies but also on our fellow citizens

We are now living in an age where world peace seems distant and the threat of ascendancy is greater than ever before

So what will this digital age spawn in the way of encoded communications?

 – Only time will tell.

Futurism & Futurology

by Chris Owen.

As a struggling Sci-Fi writer, I can appreciate one young man’s particular difficulties at the end of the 19th century. He was trying to express his stories through a new medium, one which was being redefined every twenty years or so trying to keep up with advancements of the age, and had few proponents.

The earliest being a poet, playwright, and novelist called Jules Verne (1828 -1905) who published several ground-breaking novels commencing with Journey to the centre of the Earth – 1864, Twenty Thousand Leagues Under the Sea – 1870, and Around the World in Eighty days – 1872.

These novels challenged existing science to live up to the age of wonder which had commenced with the industrial revolution. Born of this steam age was the locomotive engine called a train which promised so much as a mode of super-fast transport. Its development created modern society along with the curse of facilitating heavier loads which allowed armaments and armies to move in greater numbers when fighting wars.

Captain Nemo, the hero of twenty thousand leagues, was depicted as a troubled genius inventor who held a grudge against all humanity and swore his incredible inventions would never fall into the hands of ruthless politicians or militarians who would exploit their benefits for darker purposes.

Our struggling writer was Herbert George Wells (1866 -1946) who was looking to create a story, which would not only astound Victorian readers but set them thinking.

Invasion was a real threat at that time as several countries had been overrun by their neighbours and other empire-seeking countries were looking to expand their territories and influence worldwide, namely Germany and Japan.

At this point his scientific mind took over, leading him to consider the possibilities of a technologically superior race seeking to dominate not just a country but an entire planet.

To paraphrase his opening lines slowly he drew his plans using a modest start to his description of an invasion location – that being the woods near to his own backyard

The reason he gave for the invaders to wish to conquer Earth was that their homeworld was a dying, polluted planet. For this he chose Mars; in his book The War of the Worlds – (1897), a planet which had recently been closely studied by astronomers who speculated that it could have once held life judging from surface markings which suggested due to misinterpretation, that it had an inter-connected artificially created canal system.

In the book, the Martians’ only strategy was to seek to conquer and destroy humanity, much like many of their earthly counterparts who were busily doing the same.

Wells was also one of the world’s leading Futurologists, speculating on the scientific and technological trends that may or may not advance humankind.

He was preaching peaceful change and development in order for society to amend its ways.

Unfortunately for him, he lived long enough to see his worst prophecies come true with the advent of the atomic age.

Back in 1818, another prolific writer and futurist archetype published a novel of substantial importance. Mary Wollstonecraft Shelley, wife of the poet Percy Bysshe Shelley wrote her seminal novel: ‘Frankenstein’ more or less as a dare.

Lord Byron’s acolytes, which included the Shelley’s and others, shared the rented, Villa Diodati, near

Cologny, Switzerland.

Byron challenged the group on one dark and stormy night to create the most frightening gothic ghost story. He decided he would judge which was the best and award a suitable prize – Mary won hands down.

In its day the novel was seen as a dark supernatural tale about the vengeful mistakes uncontrolled technological and scientific advancement can wreak on a vulnerable society

Nowadays it is revered as a masterpiece of the Sci-Fi horror genre but my take on it is that it was written as a poignant story of unrequited love. In the story, all the monster desired was to experience love instead of universal hatred and rejection because he was different. His flawed visage, reviled by all the people he encountered, somehow mirrored the state of current society which purported to promulgate the universal creed of brotherly love but invariably wrought indiscriminate destruction on itself.

This was self-evident judging by the recently fought Continental war between the leading nations including Britain and the Dictator of France, Napoleon Bonaparte, which had culminated in his defeat at the battle of Waterloo in 1815.

In the book’s tragic climax, the monster exacts revenge on his heartless creator, Victor Frankenstein, who had abandoned him.

The subtitle of the book was:’ The Modern Prometheus’ – which was a reference to Greek Mythology. The eponymous god stole fire from the heavens to give to mankind, thus wreaking havoc, and was punished for his crime by Zeus. The subtext being, there will always be consequences when

Technological advancement is unbridled.

When the cinema came along the famous pioneer filmmakers the Lumiere brothers made a silent film about a trip to the moon based on a loose adaptation of another Verne novel:

‘From the Earth to the Moon’ was published in 1865. This was a humorous sci-fi tale based in the USA, at the Baltimore Gun Club. where a group of members instigate a wager to fly to the moon.

The method of travel depicted in the book was a cannon shot that propelled a hollow shell containing a capsule manned by humans.

In his novel, ‘The Shape of Things to Come’ published in 1933 Wells depicted another version of this same method of propulsion to be used by humankind to reach the stars

His dystopian tale told of numerous lengthy 20th-century world wars leading to the eventual harmony of humankind and their peaceful endeavours to conquer space culminating in the moon trip in 2106.

Wells’ forecast of global conflict commencing in the nineteen-thirties was alarmingly accurate but thankfully not the duration, which he wrote would last until the end of the 21st century.

Another writer, Arthur C. Clarke, was billed as a futurist but who fell into the two camps with his range of novels encompassing futurism & futurology.

His 1962 factual book Profiles of the Future – proposed that artificial satellites would be invented and launched into a low geo-stationery orbit about the Earth for use as communication relays and location finders (GPS). His prophecy came true as a precursor, with the launch of Sputnik 1 in 1958 by the USSR (Russia) seeking to establish a communications network for the sole use of themselves and their allies.

The West would have to wait till 1962 with the launch of Telstar in the USA by NASA, which was the first purpose-built telecommunications satellite. Unfortunately, it could only relay TV images in black and white across the Atlantic but this was the first spectacular leap in transglobal communications

Who knows what the next leap in communications will be – but the fervent hope amongst Futurists and futurologists alike must be that if we humans explore the cosmos and we can contact extraterrestrial life, we will talk to them in one voice united in harmony.

Watch this space!!

Anonymous

(A fatal attraction.)

By Chris Owen

This seemingly innocuous, gentle-sounding word has transpired to have ominous connotations. The sad truth is that even our greatest writer in the English Language, submitted his earliest works for printing under the pseudonym: Anonymous.

The London Printers Guild ledger for 1593 lists: ‘Venus & Adonis’, his first known work, printed under this dubious attribute.

By his use of this nom de plume the suspicion that he was not the real author of this epic poem, nor indeed his complete canon of works, has forever haunted the credibility of Shakespeare’s legacy.

In the 1500’s the practice of entering ‘no name’ under a limited print run of a pamphlet (single sheet)  meant the author could avoid any adverse social fall-out. He could also negate the cost of printing in greater volume or even reputational damage if the work was considered inferior, which could also attract legal consequences.

The charge of misrepresentation, for falsely assuming the mantle of an educated man carried severe penalties. This was an age where for commoners to be caught wearing precious furs or jewellery or even the wrong colours associated with the upper classes could mean mandatory punishment, possibly death. For commoners, such as Shakespeare, being part of an acting company sponsored by a member of the aristocracy, evaded these consequences.

Fortunately, the poem was a hit with Elizabethan audiences and the rest is history.

Skipping forward three centuries we still had the problem of an author’s attribution especially for women – even with the emergence of another important English author, Jane Austen.

Her first novel – Sense and Sensibility – was first  published in 1811

Austen decided to sign her work with ‘By a Lady. ‘ Unlike other writers of her time, she did not take on a male pseudonym. Women were not afforded the same privileges as men so female authors were discouraged, if not socially ostracised.

From 1836 – 1837 a publication in serialised form was in circulation, which was meant to be a satire of English Life and pursuits. This was later to become the basis for ‘The Pickwick Papers’ published in book form in 1837 with the authorship originally attributed to a certain – ‘Boz’.

(A pseudonym of Charles Dickens.)

Thirty years after Austen’s publications, it was still no better for women.

The next great literary advance came in the shape of three sisters living in Howarth at the village parsonage of their father, in the West Riding of Yorkshire.

The Bronte sisters’ works were all first published attributing the authorship to male authors with the surname – Bell. Anne Bronte’s (writing as Acton) first novel: Agnes Grey was published in 1847 – reaching an initially indifferent audience.

Charlotte fared no better with her novel Jayne Eyre – published in 1847 under the pseudonym Currer Bell. The other sister Emily was also to be feted with her own masterpiece – ‘Wuthering Heights’ again published in 1847 using her alias Ellis Bell.

It was decided that the male pseudonyms they adopted were more socially acceptable.

It would appear nothing had changed in the publishing world since Austen’s time

Latterly, in the 19th century, another female writer using a male pseudonym made literary waves with her novels,  published under the name George Eliot  (The alias of Mary Ann Evans).

Adam Bede – 1859

Mill on the Floss – 1860

Silas Marner – 1861

After the publication of Silas Marner, her novels became increasingly political, a cause which she pursued until her death in 1880.

Even today, other great authors have found the need to publish under pseudonyms:

Stephen King –  alias Richard Bachman.

(A fictional character created for his novel: Rage published in 1977.)

The official reason was that it was adopted by the author to handle his volume of written works.

J.K. Rowling  – alias  Robert Galbraith, writing as a crime novelist – the Cormoran Strike series.

Said to be used because of her love of the name and her admiration for Robert. F. Kennedy.

So, be careful of the use of the word  – Anonymous.

In these days of identity cloning, it could lead to a complete character takeover, complete with a full charisma bypass, leading to a successful career in politics.

Emotional Sounds and Visions

(And their effects on us all)

By Chris Owen

In a recent WW blog, I mentioned how certain associated sounds (I dubbed it Timbre) can evoke certain feelings in us all that linger in the mind.

I did restrict my comments to music but as the feeling is so universal, I had to acknowledge that other sounds can also awaken long-dead feelings as well as memories.

To extemporise succinctly is difficult, nigh impossible, given the depth and range of feeling involved

As an example, in the case of music, if a certain refrain is played in a major key its effects on an audience can be markedly different from those of the same passage played in a minor key.

Same musical passage – differing reactions.

Major keys are associated with upbeat emotions whereas minor keys can have a more plaintive effect on the listener.

Neuroscientists would explain it as a change in the frequency output of alpha rhythms received or produced in the brain, especially those synchronized to the same wave patterns, called sympathetic vibrations.

Sound frequencies can also be used to interfere with certain materials in some cases altering their structure. It has been discovered that the phrase ‘sick building’ can be applied to rooms of a certain dimension where sound, even at low volume, broadcast at the lower registers, can physically affect most occupiers who stay in them for even relatively short periods.

The Cinema industry, particularly Hollywood productions, has long used live sound effects – i.e. Music and noises pioneered in music halls – such as swanee whistles or slapsticks designed to hit fellow performers and make a noise, developed from the comedy dell’arte of Italy originating in the fourteen hundreds

For decades, particularly during the silent cinema era, soundtracks were added by live musicians – usually piano or organ players employed by the cinema-theatre owners, to alter the mood of audiences during showings.

Lively skits during action sequences or slow poignant ballads during love scenes. The trouble was when talkies arrived, the overuse of so-called mood music became cliched.

Even the term slapstick, as mentioned previously, was applied to fast-paced silent comedies where the participants were thrown into ludicrously spectacular or dangerous situations that were invariably resolved by equally fantastical and implausible means.

When different genres of film-making first arrived cliches often involved repeated sounds to evoke instant recognition of the genre.

Clip-clopping horse hooves or rhythmically beating Indian war drums – denoted a western

Weird electronic noises denoted Sci-Fi films; the use of which persisted even into the nineteen-sixties.

Industrial process noises (dubbed gollopata-gollopata machine) were a favourite.

Usually applied to the soundtrack of comedies, never drama, unless it was used as the effects soundtrack to a horror-type film.

It seems our emotional senses can be triggered by various stimuli, not necessarily by sounds alone but visual clues as well.

All of the senses come into play when memories are involved, often triggered by the following:

Sense of smell, perfume fragrances, plants and flowers, sounds of nature, hooting owls, buzzing bees, bird-calls.

Hearing evocative noises, e.g. steam trains or the feel of various textiles or substances.

The BBC programme The Repair Shop, has for several years, plumbed into a mine of memories and feelings expressed by grateful clients whose treasured possessions have been restored to life. This has become compelling viewing and spawned many imitators.

The medium of film has now turned full circle and is wide open heralding a return to soundtracks filled with evocative noises – rather than dull boring dialogue

My challenge is this: – think of your favourite set-piece scenes in movies.

Did it depend on dialogue or sound/visual effects or the absence of either?

Visuals alone or linked sound effects can often convey more than words as in the following examples: –

(There are so many – you can probably come up with your own alternative list.)

2001 a space Odyssey – the murder of the Jupiter mission’s crew by the ship’s computer.

Also, the First encounter of the aliens’ stargate.

The Third Man –  Harry Lime’s attempted escape and final demise in the sewers of Vienna.

Shane – The departure of the eponymous hero at the film’s conclusion.

On the Waterfront.

As a battered Marlon Brando makes his long walk of honour amongst fellow dock-workers

The Godfather

When Brando meets his end by collapsing with a coronary playing the evil mobster

Don Corleone.

The Good the Bad & the Ugly – The final shoot-out at the climax is set in a graveyard.

As the cliche says: a picture is worth ten thousand words.

Emotional Sounds & Visions take their toll on our senses.

The Common Thread of being human

by Chris Owen

In a recent WW blog, I made mention of the positive and sometimes negative influences on most writers that have shaped their careers.

I must confess to the same personal influences which have affected my writing experiences.

And also the strange effects writing about a cataclysmic event had upon me which was directly family related.

I had assumed that being engaged in research about the events of The Great War (as WW1 was dubbed) would be somehow cathartic in some ways in my own personal search for answers as to why my maternal grandfather took his own life in 1963 when I was just 13 years of age.

Scant family records available gave no clue as to his age at the time of his death (approx 70+).

Although there must be formal documentation i.e. – death certificate etc., available somewhere.

Being a rather naive teenager I had hoped that in the fullness of time, my own parents would fill in the missing information. However, no such enlightening details were forthcoming from any relative directly affected.

As late as the nineteen-sixties suicide, whatever the underlying motive, was regarded by society at large as shameful and criminal; prompting families to hide such events from public scrutiny rather than probe the reasons for it.

My mother’s family members were never very close, particularly the siblings comprising four daughters, of which she was the youngest.

Grandad Jack was a WW1 wounded infantryman invalided out towards the end of the conflict.

All I was told and observed from self-apparent physical wounds was that he was injured in a WW1 battle necessitating amputation of his left leg above the knee.

I knew him as a cantankerous old devil with a heart of gold. A bit rough around the edges but nevertheless a caring soul.

During the war which irrevocably changed him, due to the crudity of surgical procedures and postoperative convalescence, resulting in incurable residual nerve damage, he was left with recurrent pain. This was the root cause, I would surmise, of his long-term mood swings mixed with bouts of depression which eventually claimed his life; as latterly confirmed by my mother. She should know having lived with him for the first twenty or so years of her life in the family home in Birmingham. This could be why it was at times very difficult and challenging for the whole family and could explain my own experiences of mother during a complex relationship arising from her own troubled past..

These days we take for granted the advances in prosthetics and the modern application of pain management drugs, as evidenced by Paralympian successes. Such disabilities as those borne by my grandfather, are now of much lesser hindrance to the sufferer.

So, imagine the lack of personal health aids back then, circa 1918, when all that was available to the tens of thousands of war invalids were wooden crutches or cumbersome prosthetic limbs, usually made of wood. My grandfather suffered terribly from chafing as the scarred flesh, although padded with a surgical bandage, rubbed against the ill-fitting prosthetic he was issued with causing him to abandon it. This forced him to rely that much more heavily on his army-issue crutch, which severely restricted his mobility.

For a young man in his twenties, this must have weighed heavily on his mind. The only self-administered pain-relief medications, legally prescribed, were addictive morphine-based drugs. That was always assuming you could afford to purchase a steady supply.

The army pension rate was pitifully small back then causing many pensioners to become very bitter and forcing my grandfather to wear his prosthetic in order to go out and seek work to support himself and later his family.

In the absence of a publicly accessed National Health Service (latterly instituted in 1948) where most treatments are free at the point of delivery, the average disabled veteran, from a working-class background, had to suffer in silence as my grandfather did.

Obviously, our family was not alone in these shared circumstances where l.5 million veterans were left disabled. Their families suffered alongside the veteran just as much if not more when the emotional fall-out was taken into account

The Great War claimed over 830K dead in the UK mainland alone and a total of 1.3 million overall when you add in commonwealth countries fighting under the Union flag.

No one to my knowledge has ever collated the post-war deaths from residual long-term causes i.e.-  gas attacks, compound wound infections, or additional mental health impairment such as my grandfather’s, which could not be treated at the time yet still resulted in subsequent and inevitable war-related deaths many years after the end of the war.

Antibiotics, i.e. penicillin,  for medical use were not discovered till 1928 and only synthesized for mass application ten years later, just in time for the advent of WW2; where their widespread application saved countless lives.

The other strange irony is that the biggest pandemic ever to strike the planet, prior to COVID, wiped out more people than WW1 itself. It was dubbed: ‘Spanish Flu’, after the influenza-like initial symptoms, taking in excess of 50 million lives worldwide although there is not the slightest evidence that it was first contracted in Spain. The only initial evidence was that Spanish or Latin types were more susceptible in the early days of collated figures leading clinicians to erroneously conclude that ethnicity played a part in the disease’s spread and contraction.

This strange new virus struck simultaneously across the globe suggesting a common means of mass transmission.

The prolific spread was probably caused by close contact among WW1 fighting soldiers suggesting the original organism mutated from Trench flu and other sundry infections.

These organisms may then have combined into a lethal cocktail of infections due to the appalling living conditions trench warfare imposed on every infantryman at the battlefront.

Unlike Bubonic Plague, the nearest pandemic to it, which is still with us today in some areas of the world, this new infection disappeared as mysteriously as it arrived.

The second strange effect WW1 had on me was that upon discovering and reading about the sufferings of deceased war veterans and their families, it invariably produced involuntary tears on my part.

My wife proved an invaluable research assistant but she could only read so many accounts of wartime family bereavements before needing to take a well-earned break.

From an emotional standpoint, we both found it very wearing.

Such awful statistics would wear on any thoughtful and caring human being

As a historian, my conclusions as to the origins of warfare, lead only to more questions than answers.

The first one is, how can we, as a sentient species, be the architects of wars that cause such wasteful suffering? *

The second is, from across the commonly shared thread of being human, how do we still, even today,  justify it as a valid part of existence??

I fear it will remain an insoluble mystery not only to myself but to the generations that follow.

* Just to give some context – the following are wasteful war statistics:-

[Known unto god] – Inscriptions carved on anonymous war graves in countless garden cemeteries tended by CWGC (Commonwealth War Graves Commission) across Europe and the world

Thiepval Memorial and Cemetery, France, records 72,000 WW1 dead listed as missing with no known grave.

P. S. Don’t worry about Grandpa –

I will continue my search for more information about my Grandfather’s life and demise

Private Jack May (1890 – 3(?) – 1963) – R.I.P.

To be A.I. or not to be A.I.?  – That is the question.

by Chris Owen

Picture the scene at Independent Book Publishers Ltd (a division of UK Faceless Inc.) They are in crisis as a new best-seller must be written to stem the tide of losses brought about by uppity authors demanding payment for work done.

Fred Scupper, Commissioning editor, instructs his latest acquisition: the A514 Word Processor (which answers rather woodenly to the name Miss A.I. Dowling).

‘Now Miss Dowling, all I want you to do is write me a novel in excess of 70k words with its hero – a young boy with magical powers; a dark wizard, a school full of wizarding pals And, here’s the twist, it must include a happy ending.’

‘Oaky Mr Scupper. I’ll do it Ash soon Ash I can, you son of a Beech.’

‘Leaf out the acid comments Dowling. I’ll do the sarcasm.’

A nightmare scenario?

This could well be the future happening today.

All across the entertainment industry, publishers and commissioners of streamed media are embracing A.I. (Artificial Intelligence)  technology. This is generated media such as CGI (Computer Generated Imagery) already well established in animation as well as feature film and TV.

They are poised to start commissioning work produced via  A. I. utilising in-house self-generated sources.

If this happens as predicted given the current massive strike of writers in the USA partly motivated by this very real threat, circumstances could propel this scenario into actuality.

If that happens, where will the next Shakespeare or Marlowe come from?

Could a piece of hardware, that is essentially controlled by written coded software, really give us meaningful insights into the human psyche?

Most of our prose geniuses led troubled short-lived existences which infused their writing:

As per the following examples:-

Shakespeare – dead at age 52

Dickens – died of a stroke – aged 58

Ernest Hemingway – suicide at 61

F. Scott Fitzgerald – died of alcoholism at 44

Sylvia Plath – suicide at 30

Dylan Thomas – died of alcoholism aged 39

These iconic examples tell us our profession is sometimes born out of personal anguish and populated by figures and circumstances from our lives. Not always good influences but nevertheless real concrete emotions, or the lack of them, which fuel our hunger for story-telling.

Not artificially produced synthesised thesaurus manure manufactured by machines.

Soulless pieces produced to fill a monetary gap driven by the profit motive alone.

Definitely not inspired works of art that will live forever in future generations of readers’ hearts and minds.

Perhaps, in a way, we have become Cassandran in outlook and predictors of our own doom.

The ‘Terminator Syndrome’ is part of the universal psyche now, almost a wish fulfilment of unbridled technological development leading to the enslavement of the human race.

We all know the fate of the HAL9000 computer in the film: ‘ 2001 A space odyssey’

To be perfect in a world where there is imperfection is a curse in itself.

The most compelling original drama is where there is discord amongst dysfunctional human beings and the outcome is not predictable or tied up in neat bows.

Not spoon-fed in neat doses of half-hour TV episodes comprising 24 series lengths with adverts neatly inserted at ten-minute intervals.

A dramaturge once told me the nutshell definition of Shakespearian drama:

Love, Taxes and Death.

These are uniquely human experiences no machine could begin to fathom let alone describe through fictional drama

If the human race survives that long, will we still be reading Shakespeare and Dickens a thousand years from now – or works by A.I. Dowling?

I leave you to decide.

Strange But True?

By Chris Owen

The application of Logic to any given premise or situation involves the reasoned determination of the facts by simple deduction.

However, because by its very nature, it is inflexible, logic can be manipulated to convey a blatant untruth leading to a glaring misconception.

As in the following example:-

Whenever Simon Whaley wears blue trousers it will rain the following Saturday.

A bald statement of logic which is neither provable nor refutable.

The psychology of the first law of logic – cause and effect.

Logic has a way of stealing up on you when you least expect it

This is particularly true when crime authors use the fallibility of logic to direct suspicion onto a suspect as in the further following example:-

Because a jealous husband is found at the murder scene covered in blood, the imputation, if there are no direct independent witness statements, is that he killed his partner in a fit of jealous rage.

Police detectives tend to think in straight lines so the laws of deduction dictate that the premise of innocence until proven guilty by the facts may be initially subverted to construct a prima facie (first glance) case.

This would seem to afford the ardent crime writer endless permutations to construct plots conveying miscarriages of justice from the outset or keep the reader in suspense until the culprit is finally unmasked. Which is another unwritten rule of crime fiction that there should be a resolution. Although some authors dispute this and delight in leaving readers in suspense and free to deduce their own solution.

In Scotland, they have a law, unique in their legal system, which affords the Judiciary to proclaim the case as: ‘Not Proven’.

This would seem to offer an alternative to a not guilty verdict due to lack of evidence and a passage to freedom for would-be assassins but only highlights the weakness in some cases of the Prosecution’s case thus affording the Judge the opportunity to officially record this point in judicial terms.

On the continent, they follow the Inquisitorial system of law where it is presumed that the indicted accused is Guilty till proven innocent.  The task of the defence counsel is therefore to prove innocence beyond reasonable doubt.

In the UK and other democracies, we follow Adversarial law where the accused is presumed innocent and the crown has to prove guilt beyond reasonable doubt. In capital crime trials we have an empanelled jury of twelve good citizens and true to weigh the evidence under the direction of a judge who advises them in matters of legal precedence pertinent to the case, called Jurisprudence

Under Inquisitorial law,  they employ a panel of judges in capital crime trials, usually a quorum of three, to deliberate on guilt or provable innocence after the completion of submissions by the Prosecuting Authorities (usually the police represented by a trial advocate) and the Defendant’s own independent Counsel.

In the case of Mr Whaley, the proposer has also introduced a note of mystery or otherworldliness into the statement. This would suggest certain powers to demonstrate foreknowledge of events which, because of the rules of logic, are seemingly indisputable.

There are more mysteries, as Shakespeare said,’ than are dreamt of’ which have no apparent explanation. One such is the esoteric tome: ‘The Centuries’ published in 1555 as ‘The prophities’ written by Michel de Nostradame (usually Latinised to become Nostradamus) a sixteenth-century French doctor and philosopher. Why he wrote them we shall never know but they appear on the page in the form of blank verse comprising quatrains which seem to anticipate certain major historical events. They are never specific or historically precise but leave the reader to seemingly make the verses more or less fit significant circumstances.

The closest inference to modern history being the rise of the Nazis when he mentions a tyrant residing in Europe called: ‘Hister’

Which is frighteningly close to the name Hitler.

Strange but True

Happy mystery solving – And keep writing –  or we’ll never know who dunnit!

Writing is a Puzzle

by Chris Owen

To increase your writing skills in both word power and thought process analysis leading to better plot resolution –
Why not try Crossword Puzzling?

Speaking as a Septuagenarian (look it up – I had to) I find that the cryptic type is the best form as it challenges the ever-aging brain.

Our fiendish crossword compilers are crafty in the extreme, as sometimes I have looked at clues and fried my brain in an effort to crack their coded messages. I have been known to spend hours all but standing on my head whilst teeth-gnashing, getting nowhere only to put the puzzle down in disgust. I will often then return to it the next day and solve the troublesome clue within seconds. This demonstrates the wonderful flexibility of that organic computer located between our ears. A Fountain of knowledge that epitomises all that humankind has created.

Crossword puzzling can sometimes be traitorously risky. I use this modified adverb as a colourful illustration of how and in this case why, not to compile certain crossword clues.

On one of the days leading up to the Normandy landings in June 1944 there appeared in the pages of The Daily Telegraph a crossword puzzle that featured solutions that listed all five of the code-names ascribed to the proposed landing beaches: Sword, Juno, Omaha, Gold, Utah. What was the likelihood of that? – Very remote, according to the Secret Service which initially took a dim view suspecting sabotage via an intelligence information leak.
This crucial situation led to a near-panic among the military leadership busily preparing thousands of soldiers on board ships and air transport for imminent departure. They were to comprise the D-Day invasion force bound for the assault upon the European mainland.

The resulting furore almost cost the compiler their life and liberty until it was discovered that it was a certain Leonard Dawe, Headmaster of the Strand School. He was identified as a regular crossword contributor who was unlikely to be in the pay of the Abwehr, (German military intelligence)

Staying on the theme of war, Alan Turing was tasked along with the code-breaking management hierarchy at Bletchley Park to recruit immense numbers of people required for the mammoth task of decoding the volume of German military messages. One of the ‘off the wall’ desired qualities included in the subsequent newspaper recruitment advert was: ‘must have a keen interest in crossword puzzle solving’.
This was deliberately designed to appeal to the vital original thinking element which made up the skillsets of the would-be code crackers. Turing reasoned that above all else this ability to think outside the box would inspire the connective leaps of intuition required which helped break the German enigma code machine.
Because of its constant daily change of keycode through mechanical means involving literally millions of combinations, this problem severely hampered the work of the decoders.

Then in one simple but enlightening moment, one of the female decoders looked at a specific message and applied basic logic to begin the process of decoding.

Whatever code is employed every message must contain the same opening and closing phrase or word pattern.
This, she reasoned must be something akin to ‘dear sir’ or in this case, ‘general or colonel’
and the closing word or phrase at the end of every message must be a signatory deferential term of respect. The logical one being: ‘Heil Hitler.’
From this discovery was born the code-cracking applied template enabling the bigger leaps to be made which resulted in the solving of a supposedly insoluble code. Thus the unique qualities of cryptic puzzles demonstrate their value in navigating the minefield of reasoned thought.

There is a standard universally used code for cracking cryptic clues in the form of an easily recognised shorthand.
Compilers use certain keywords or terms such as:-

Artist = RA (Royal Academy)
Doctor = MO (Medical Orderly)
Graduate or master = MA or BA
Notes= Basickeynotes: ABCDEFG
Lawyer or lawman = DA (District Attorney) American States abbreviations = NY( New York) University = U
Novice = L
Points = N S E W
Male = M
Female = F
Clothing Sizes = S M L
Vessel / ship = SS
Unknown = X Y
Ancient city = Ur
Volunteer(s) = TA (Territorial Army) Engineers = RE (Royal Engineers)

The most prolific stock mechanism used by compilers is the anagram which populates so many crosswords in order to fox our deductive powers as in the following example:

Raw point after rats returning (4, 4) = Star Wars

The clue also utilises directions or instructions to aid deduction in this case the term ‘returning’ means the words must read backwards for the solution.

‘We hear’ is another phrase used to indicate that the solution is a word that sounds like another with a different meaning

The panoply of clue forms used is down to the compiler’s blending skills but the more intricate the clue the more boring it is to me. I find the days of frustrating mental word wrangling could be better spent tending the garden or washing up.

Give me straightforward clues every time such as the following:-

Leave Virginia with large caribou (7 letters).

‘Leave’ is the object word describing a synonym,
whereas the state named is an abbreviation Virginia = VA

Large caribou = Moose
Hence the mystery word is VA + Moose = Vamoose (Leave)

Other description techniques involve the use of the first letter of words in the clue prefaced by the phrase ‘first of’.

There you have the basic skill set to compile your own crossword grid usually 13 x 15 square size

The reasoning of worded clues can also spur the imagination on to formulate titles or premises for stories.

Good hunting, because writing is a puzzle – and may the code be with you.

The Writer’s Toolbox

by Chris Owen

I would like to start by paying due deference to one of our esteemed members who specialises in training the writing talent of the present and future, namely Simon Whaley.

Over many years, he has written several books on the subject of practical advice and guidance for writers at all stages of their career, still widely available in print.
—————————————————————————————————–
For those wanting to begin composition in any language a workman-like approach will pay dividends. The analogy of a tradesman’s box of tools is valid when applied to the task of literally fashioning something out of nothing, as in the case of creative writing.

Your main workbench is the English language which has its own unique peculiarities born out of myriad historical sources obliging us to be mindful of spellings and the compound use of a good spell check program when word-processing. It is therefore feasible to set oneself a general compendium of rules and how to apply them, tailored to your own needs and requirements. Although uniquely tailored it is possible to formulate a universally common set of personal writing tools

Tool Number 1 : Vocabulary – increasing your word-power ‘I always endeavour to learn one new word every day.’

Sound advice thought to be attributed to Winston Churchill (1874 – 1965) He was a prolific writer producing various publications including:
A History of the English Speaking Peoples’ – in 4 volumes. In his lifetime, he wrote 40 books in 60 volumes.

So by the deliberate intention of proactively increasing our word-power we have completed step one in our task to become better writers.

Tool Number 2: Reading – become an avid reader which will also increase your word-power

Read self-help books to find the path for you and guide you through the literary minefields to come. These will be your only roadmaps and rulebooks.

By discovering the use of applied vocabulary, we can better understand the context and usage of words in the hands of both good and bad writers

Stephen King, author of over 65 published titles, makes a regular habit of reading other writer’s newly published books

Tool Number 3: – Plot versus character-driven Story-telling

The constant goal of narrative storytelling is to enthrall the reader so that page-turning leads them to discover the outcome or resolution of the story roadmap. How we, as writers, get there is up for debate, as the desire to satisfy a reader’s curiosity depends to some extent on the rules of the genre.

Those written to satisfy specific categories demand a certain rigidity in format. Taut thrillers or mystery writing that require straight lines with logical steps to draw the reader in and maintain curiosity tend to be plot driven. Novels that entail an exploration of character and motivation tend to be less heavily plotted with the accent on insights and revelations of the human condition taking precedence over storytelling.

If one reads the novel: ‘Ulysses’ concerning a day in the life of Leopold Bloom written by Irish author James Joyce, we discover a ground-breaking technique called ‘stream of consciousness’ where the inner first person dialogue becomes a rambling idiosyncratic narrative throughout. The reader is as much a participant in events as is the chief protagonist where events fail to reach a discernible climax. It is considered stylistically as a masterpiece of neo-realism and a forerunner of surrealism and the later existential works by Jean Paul Satre

Tool Number 4: Technique: – the yellow brick road to success

There are no rules about storytelling or novel-writing. So when an author wishes to express their unique take on the world or life in general, the rulebook can be tossed aside in some cases by the use of character’s statements or actions. Introspection and back story affords a better in-depth character study when compared to other mediums. Every minutiae of detail can be explored through the medium of novel writing.

The long hard road to success can be spent formulating a writer’s unique voice which, if lucky, comes at the start of their career. If not, each project is a slog until the voice arrives. This may be in the form of the tone of the novel or piece and deciding the narrative viewpoint e.g.:
first person, third, etc., voice,

Tool Number 5: Research – Develop an approach to fact-finding as part of the job

Speaking as a non-fiction, historical reference book author, I can recommend taking the time to study one’s subject in depth and utilising all available reference sources. Depending on the subject under research, the pertinent facts uncovered may well spark additional plot possibilities. Supplementary background facts add to credibility and authenticity especially to works of fiction set in specific time periods.

Tool Number 6: Self- Belief – The single most important tool in your box

Accepting Rejection as a necessary everyday part of the writing function is vital.
There is nothing so potentially soul crushing as having one’s work rejected by another professional person. This can take the form of an agent or publisher who frequently uses the excuse of inundation to dismiss the value of reading the submitted manuscript of an author’s work.

This practice is highlighted by the famous, or should it be infamous, story of an agent on a slow day taking the trouble to sift through what is called the ‘slush pile’ MS and discovering Alexander McCall Smith’s work about a black African Lady Detective and the rest is publishing history.
The constructive positives to come out of rejection are beneficial if one asks the right questions of oneself and the potential target market. This will certainly lead to a better finished product, and an improved form of submission approach next time.

Another famous example of submission marathons is that of J.K. Rowling of Harry Potter notoriety who suffered rejection after rejection but did not give up. It took over 27 submissions to various publishers (who must be still weeping all the way back from the bank at the revenue loss) before achieving wizarding success.

Leo Tolstoy’s epic War and Peace took six years to write, beginning in 1863, and was only published in its complete form as a two-volume novel in 1869. Even for an established author as he was, that is an incredible measure of belief in the subject matter above and beyond the call of endurance.

The work is now recognised as a world standard novel but would have tested the patience of most professional writers then and now.

The footnote is best exemplified by our return to an author of immeasurable literary stature writing in the English language and who was voted by the public in 2002 as the greatest Briton of the past millennium.

Sir Winston Churchill allegedly once wrote:
‘Success is not final. Failure is not fatal. It is the courage to continue that counts.’

Sir Winston Churchill

So Keep writing – (but beware, writing chooses you – not the other way round)

The Power of Quotations

by Chris Owen

‘Reports of my death have been greatly exaggerated’

This example is an often used quotation attributed to many others from Churchill to Roosevelt but was in fact manufactured to order by Mark Twain (Samuel Clemens).

It was part of an apocryphal tale that Twain promoted for a long while. When a reporter wrote a story speculating about his death, the author replied to him, stating that he was alive and well. This prompted the reporter to seek out the author personally and when challenged, Clemens replied with the now legendary phrase. He definitely began a trend, albeit unintentionally, of manufacturing quotes to tease his readers and thereby rekindle flagging interest in his work.

The quotation can be a powerful tool to establish your characters quickly and assertively in the reader’s mind. An ascribed quotation is the seed of character, for the author invariably wants to make a point or a succinct observation based on experience.

Although misquotations are rife, those quotes famously attributed to noted figures are fast becoming an industry in themselves, leading to whole works dedicated to famous people’s remarks.

Being profuse and varied, they are often listed under typical headings such the following:-

POLITICAL

The famous politician Lady Nancy Astor, after their now legendary spats, publicly rebuked Winston Churchill with the following churlish remarks:

‘Sir, If I was married to you I would put poison in your tea.’ Which prompted this response from the great man: ‘Madam if you were my wife, I would drink it.’

Another was –

‘Winston, you are a drunk!’
His rebuttal belies his famously acidic wit
‘Madam, you are ugly. But in the morning I shall be sober.’

HISTORICAL

Admiral Lord Horatio Nelson
2nd April 1801, at the Battle of Copenhagen whilst using a telescope he put his blind eye to the eyepiece and pointing it at the enemy’s ships reportedly remarked:-

‘I see no ships.’

George Washington (First President of the USA)
(Commenting on one of the many disputes with the British Empire as the US battled to free itself from colonial rule)

‘If freedom of speech is taken away, then we may be led dumb and silent to the slaughter’ Some quotes have transpired to be prophetic as in the following:-

Martin Luther King Jr. (Civil rights activist & preacher)
‘And I’ve looked over. And I’ve seen the promised land. I may not get there with you.’

(An edited extract part of his ‘I see the Promised Land’ Speech, given on April 3rd 1968)

(Truly prophetic as he was brutally assassinated on April 4th 1968)

Abraham Lincoln (16th President of USA)

‘You can fool some of the people all of the time and all of the people some of the time. But you cannot fool all of the people all of the time.’

Another victim of assassination on 14th April, 1865.

(Shot by John Wilkes Booth, actor and disaffected Southerner, in Ford’s Theatre, Washington DC. On the cusp of the union (Northern States) victory in the American Civil War.)

MILITARY

‘There is nothing stirs the blood so much as the sight of a marching military band. And that is the trouble with the world.’

(I must put myself in the frame for authorship of this one – unless you know differently??) SCIENTIFIC

“Two possibilities exist: either we are alone in the Universe or we are not. Both are equally terrifying.” — Arthur C. Clarke

‘Any sufficiently advanced technology is indistinguishable from magic.’

COMICAL

Groucho Marx:(Comedian, Film Star and noted wit)

‘I refuse to join any club that would have me as a member.’

‘Television is very good for my education – every time it’s turned on I go into another room and read a book.’

These threads of succinct dialogue pull together the three-dimensional aspect of characters. Whether they are real or fiction, they give us a potted insight into their character traits

Underestimate their power at your peril.


Through Adversity to the Stars

by Chris Owen

“Per ardua ad astra” is a Latin phrase that means “through adversity to the stars.” It is the motto of the Royal Air Force.

For the Science Fiction author, the arduous task of creating new worlds defines perhaps the hardest branch of creative writing. Not only does he or she have to create plausible characters, they have to create a whole universe, sometimes a new ethos, from scratch.

When this inexorable formula works, landmark fiction is produced that pulls humanity through another rabbit hole into a different universe. Examples abound, such as H.G. Wells’ ground-breaking melodrama The War of the Worlds, which flabbergasted its Victorian audience more used to horse & carriage-paced technological thinking. This story was later adapted for American radio by Orson Welles and broadcast in 1938, much to the consternation of a supposedly more sophisticated national audience. They were convinced enough to believe that Earth was actually being invaded by Martians. Suddenly, our cultural awareness was tilted towards the heavens and their potential for allowing expansion of our literary horizons.abound,

This was never more evident when the genius of Arthur C.Clarke was acknowledged by the attraction of another genius from another medium – the cinema. Stanley Kubrick, the great auteur director, collaborated with Clarke on the movie 2001: a Space Odyssey in 1965, which was based on his short story called The Sentinel, and a new storytelling medium emerged. One could argue that modern life is the accumulation of scientific civilisation – i.e. technology. So whatever the genre we write in, it includes Sci-Fi elements because our world functions this way and has now come to define our modern society.

Policemen no longer rush to phone boxes to summon assistance or trawl through endless manual records to track or identify criminals or suspects. iPhones and computer databases afford fingertip interrogation 24/7 on tap. Lovers no longer communicate through secret handwritten letters but by zoom or email or text speech. Technology has fundamentally changed our society and how it works. This is reflected in our literary arts.

Clarke’s third law states that:
‘Any sufficiently advanced technology is indistinguishable from magic.’

This would certainly apply to someone from even as recently as the nineteen-fifties or sixties. They would be totally baffled by an Alexa device; being unable to explain its function.

Even a smartphone that can become a wireless telephone as well as a live-link television or a computer communicating instantly across the globe – and all contained in one device, would indeed be viewed as magic by these denizens of the relatively recent past.

Clarke also added: “The Russian rocket scientist Tsiolkovsky famously stated, Earth is the cradle of humanity, but one cannot remain in the cradle forever.”

All original writing, whatever genre, is based upon our experiences on a spinning ball in space equipped with a favourable eco-system enabling humans and all life to exist and thrive. This will change when we explore the cosmos. So, it would seem we are meant to venture forth into the unknown along with our literature, which will be shaped accordingly.

Shakespeare, our greatest author writing in the English language, proved that he was indeed a writer ‘ for all time’ when he added the following line to his tragedy Hamlet:
‘There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.’

(Our titular hero delivers the line to his friend, who witnessed the ghost of his murdered father.)

One could speculate that this line was intended to broaden a character’s existential view of the world. However, I would argue, given Shakespeare’s subtle wit and towering intellect, that it was to be interpreted by audiences not just as a bald statement but as an open-ended comment on the development of mankind. Perhaps it flew over the heads of theatregoers in his time, but the deeper meaning, with all its inferences, has not been lost on succeeding generations, which, I am sure, was the bard’s ultimate intention.

I began with a famous Latin phrase and truly believe that we should all embrace our new creative writing mantle. I write these words in the aspirational hope of encouraging fellow writers to search for their literary goals and follow wherever they may take them; even upwards to the stars.

To paraphrase our Star Trek hero Mr. Spock: ‘Live long and prosper – and keep writing.’

We are Mere Vessels

by Christopher Owen

Timbre  – is that unforgettable resonance that stays with you long after a story you have just read. Not unlike when listening to music, you realise that a certain musician has provided a soundtrack to your life over the years. Usually, they are expressing simple, straightforward emotions.

So simple that, as in the case of story-telling, the words stay in the memory and seep into our souls forever.

Ernest Hemingway’s work is infused with this mysterious, magical way with words. They were often simple, used in short sentences. Such as ‘He came to the river, and he saw it was there.’ (Excerpt from: Big Two-hearted River)

This revelation is never forced upon us. It quietly seduces us sometimes in the wee small hours when the doorway into our hearts is left unguarded. Much like endorphins released into the brain, we seek the same pleasing high over and over, which is only satisfied with repeated doses.

I believe we are mere vessels to be filled with knowledge of the meaning of life in the context of the human condition. Literature should act as a torch to be shone into the dark corners of the psyche.

Hemingway wrote: ‘Prose is architecture not window-dressing.’

The greatest wordsmith of the English language ‘for all time’ as Ben Jonson styled him, was undoubtedly William Shakespeare. When we strip back the contemporary idiosyncrasies of language used in his writings, we find the text is laden with truisms that belie a great intellect.

For example:

‘To thine own self be true.’

‘The fault lies not in our stars but in ourselves’

‘We are the stuff that dreams are made on and our little lives are rounded with a sleep’

‘All the world’s a stage and all the men and women merely players’

This curious fact has puzzled fans for years struggling to explain the author’s comprehensive knowledge.There is no record of the accredited bard ever completing elementary education or even attending a University in England. This would have fuelled his encyclopedic knowledge of Science, classical history, the arts, or politics, as featured in the text of the plays.

This has given rise to the theory that the real author was a nobleman, writing under a pseudonym. In this case, the prime contender was the Earl of Oxford Edward de Vere, a contemporary who frequented London and could have known Shakespeare personally.

If he was connected or at least a possible sponsor providing financial support, the Earl certainly knew the right contacts at court to get the plays produced – backed by royalty.

The theory of his involvement falls down when we learn that De Vere died in 1604 and the records show Shakespeare was still writing and producing as a sharer (partner) in the London Globe Playhouse up to 1612 and died in 1616.

In 1623 the first folio was produced listing all the complete works to hand written by Shakespeare.If there was another candidate for the authorship I am sure all those participating playhouse colleagues who paid for the printing out of their own pockets, including the playwright and his friend Ben Jonson, would have acknowledged an alternative source if they were aware of the fact.

No others are mentioned or even alluded to in the preface text, as an alternative to the ‘Swan of Avon,’ as Jonson referred to William Shakespeare.

So, keep writing from the heart, before A.I. takes over.

Who knows, compared to this terrifying prospect, you could be the next Shakespeare.

What a Surprise!

By Christopher Owen

The lexicon of culture began with a series of marks found by archaeologists on a cave wall. Thirty-two distinctly unique language glyphs appear in cave drawings dating back 65,000 years. This was the basis of an alphabet of mass communication that enabled writers to speak to an audience comprising other tribe members.

This remarkable date is some 20,000 years before previous scientific evidence suggested the appearance of homo sapiens – i.e. modern humans. This shocking deduction, bearing in mind only one species is shown in the fossil record, indicates they were therefore not made by humans but – Neanderthals.


Paint, e.g.ochre, cannot be dated, so deposits of diluted stone in water dripping over the etchings were carbon-dated, revealing traces dating back to this period. Recent research reveals that 2% of our modern DNA is of Neanderthal origin. They were us, not backward cave dwellers; It’s as simple as that.
So, it could be argued that the beginnings of a written language could date from that time.


This pre-dates previous deductions that abstract conceptual thought was first evidenced by the early civilisations: such as the Sumarians and the Chinese who produced early forms of maps, paintings, and scroll-form books circa 10000 BC. Banknotes and coinage were first produced in China in the 7th century AD. This revolutionary concept was embodied in the abstract notion of a bearer offering payment for goods instead of barter, which would be honoured by an absent payee bank willing to reimbuse the face value. Through this method, modern commerce began, which ultimately enabled civilisation to become global and with it the spread of culture in the form of the printed word—books.
Our writing craft is therefore far older than we thought.


Most academics would argue that the general circulation of printed books was first developed with the Gutenburg press in Germany in the 16th century AD, utilising a printing press with a revolutionary moveable typeface, thus enabling mass production.


However, the most beautiful examples of books are those laboriously created by hand in the scriptoriums of European monasteries circa 7th century AD. They were produced by dedicated monks of each particular holy order, for consumption by the educated few only and expressly for the purpose of assisting the clergy in the spread of religion by depicting the veneration of god through words and pictures.


Recorded myths and legends for general consumption do not appear in print until the 11th century when the first versions of the classic tales of heroes begin with the story of Beowulf a Celtic warrior. His deeds, told in the form of elegiac poems, were of vanquishing witches and fairytale creatures for grateful kings before setting off on epic voyages.


In the present, we writers, particularly fiction novelists, are the new merchant venturers of the age voyaging onto the sea of literary unknowns with few rules, no star to guide us and no paddles to save us all.


Good Sailing and good fortune!

Our Fundamental Right to Write

By Christoper Owen

First order of business, may I offer felicitations to fellow writers in this first month of a new age. The Carolinian age. God save the King!

How we will all fair is a matter for the gods in this increasingly perilous 21st century world. Speaking personally, I’m sure we all presumed pre-pandemic, that it was destined to be a settled age where most united nations ventured boldly forth into the cosmos together to pursue myriad voyages of discovery. Alas, we are all plunged back into a dark and uncertain future.

Where everyman’s word, whether written or spoken, will be weighed and tested against many an autocratic country’s own particular version of the truth and if found wanting, severely punished.

As we awake to our new age, we find nothing has changed. The world is still plagued by exactly the same ills that greeted the previous newly-crowned monarch of the Carolinian age.

War, famine, pandemic disease, corruption, despotism.

This ‘brave new world’ is an age where, in some countries around the globe, the promulgation of free speech or the written word is curtailed and personal freedoms violently suppressed, regardless of the authors’ age or gender.

In a more gentlemanly age, a woman’s sensitivities and rights were revered.

However, as an example Jane Austen, now regarded as a world literary figure, in her time was not in law allowed to vote, buy property in her own right or deny the wishes of any male relative.

As writers, we all deal in the written word and should therefore cherish our own particular freedoms in an increasingly shrinking world.

As Thomas Payne the great reformer and philosopher once said: ‘I may not agree with what you say but I will fight to the death for your right to say it.’

There in a nutshell are the core ideals of freedom of thought and self-expression as contained in that little word with a big premise labelled: Democracy.

Perhaps we should not lift the lid on our own unenlightened colonial past least we discover some unpleasant truths about our own behaviour towards our fellow man.

Yet, if freedom of expression is such a simple basic right, why do so many despotic governments refuse to permit it?

Daily Diary Date with self

By Christopher Owen

Sorry can’t stop for too long – am off to join captain Krebble on the Starship Explorer parked at the Solar system’s edge. Our mission is to free the slaves on Lunark 4. Then it’s off to join Ahab on the whaling vessel Pequod for reading and research – and that’s just in one day!

Tomorrow is another busy day travelling to darkest Dorset to help Inspector Diamond to solve another baffling case.

Name another job where you can be deep in a cobalt mine on Pluto one day and inside the mind of a killer the next.

The only limit is your own imagination (and how fast you can get the words down on paper).

Don’t tell me it’s too difficult or it can’t be done because navigating mental roadblocks is part and parcel of the job. The only enemy is time and your own reluctance to overcome difficulties with stamina, fortitude and sheer doggedness. 

Remember,the only person who can write the outcome of a story written by you, is you.

Yes, creative writing is a solitary occupation, always will be. 

No-one can do it for you and the only true measure of success is when your writing somehow reveals an aspect of the human condition that others react to.

(Assuming you can get it out there to a waiting world or can afford self-publishing.)

Always remember, persistence pays.

The following authors are remembered only for the one successful novel of their whole careers.

  • Margaret Mitchell = ‘Gone with the Wind’
  • J.D. Salinger = ‘Catcher in the Rye’
  • Harper Lee = ‘To Kill a Mockingbird’

We all fight this battle with the self every day.

Call it writing if you like but to me it’s a way of life.

Another day at the rock face and the only way is up.

Entering Competitions – A Word to the Wise

by Christopher Owen

Writing innovative original fiction to order is at once achievable and at the same time impossible.

There must be lots of pet theories out there about the formula for winning writing competitions.

The simple truth is that there is no such thing.

What will attract the judges’ eye and how they should be able to glean from your submission that which is obvious to you, may not be so for them or the average reader.

And also what is uniquely discernible as well as what is noteworthy. 

Any personal style lies somewhere between these two extremes.

I have also learned that when you submit early, well before the deadline of a competition, the initial enthusiasm that carried your story over the theoretical winning line six months earlier, when you read it again later, can wane dramatically. 

There is some merit in the advice to write a piece and then lock it away for re-reading in some weeks or even months time. This simple practice can often reveal errors prior to submission.

This happened to me recently when I looked at a story I had entered and decided it was unreadable due to its format. The myriad faults were obvious and glaring.

However, the plotline was still viable and should have grabbed the reader from the first line but failed spectacularly to do so.

I discovered there was too much exposition (narrative description) and not enough textual hooks to pull the reader in.The key to this dilemma is the steadfast and uncompromising application of dialogue. 

Exposition should mostly come from a character’s lips as they tell the story for you.

Mark Twain once said: ‘Don’t tell the reader the old lady screamed – bring her on and let her scream.’

For me, it was a lesson learned the hard way. I had decided from the concept stage that because it was set in an earlier time period that I had to reconstruct that world for the reader in the minutest detail. 

Everything from then on became reportage laced with a plethora of adjectives – which is not storytelling. Stephen King has famously parodied the original saying with his observational truism that: ‘The road to hell is paved with adjectives.’

I overlooked the reader’s own imagination for interpretive geographical detail when my original intention should have been to get them to immediately focus on the self-evident dire predicament of the main protagonists from the beginning.

This is a vital component of the storytelling process that the reader couldn’t  possibly second guess without my help and would have given the piece much more poignancy, pace and dynamic thrust.

Will I ever learn from my mistakes? – I sincerely hope so.

Chris

Writing for Broadcast Media

by Chris Owen

I was reading in the Shropshire Star (issue: 5th Sept) of all places, a piece written by David Banner of their news desk with the shock headline: ‘Monty Python wouldn’t get aired today’

The world-famous entrepreneur and auteur 80-year-old John Cleese, a man of not inconsiderable experience of writing, producing and acting in TV all around the globe, was being interviewed about writing for TV. He was espousing about original broadcast comedy writing in general and said that: ‘those Executives currently in charge, (even in 2020) basically did not have a clue.’ He was of the opinion that they should hand over creative control to artists (i.e. writers) instead of making bad decisions based on what ‘marketing people’ said viewers wanted to see aired on radio or TV.

When asked if he thought his classic Monty Python Show would be commissioned today he replied:

‘No, I don’t think it would.’

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Tomorrow Can Wait

Tomorrow Can Wait

By Chris Owen

Being isolated at home for any length of time can be a trial but with a full programme and a steady repeatable daily schedule the time passes well for any productive writer.

If you believe in your own talents and want to push on with the next project without worrying about agents and publishers’ commissions then go for it. There will be many alternatives for publishing your book or whatever when finished and if not the magazine article market is still out there hungry for online contributors even during the lock-down.

Take regular breaks from using IT media. Work 2 hours max per session. Then stop, relax take a stroll in the garden or your special space.

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Promise of Tomorrow by Jan Johnstone

Jan Johnstone, writing as Jan Davies, has self-published her novel, Promise of Tomorrow, and its available via Amazon in both digital and paperback format.

‘Promise of Tomorrow’ is the story of five generations of the Greenwood family who lived in and around Shropshire’s Coalbrookdale area, birthplace of the Industrial Revolution, during the construction of the world’s first iron bridge. Beginning in 1759, each generation relates the story of their lives and their efforts to better themselves, whilst other family members, friends and enemies, also add their recollections to the ongoing Greenwood saga.Can this family succeed in bettering themselves against all odds, despite the hardships they encounter at every turn? This is a story of class inequality, hardship and love as the Greenwood family battles to achieve their dream of the ‘Promise of Tomorrow’.

Ebook £1.99, Paperback £7.99

Click here for more information

What Makes a Writer?

What makes a Writer ?

by Chris Owen

Process: Drawing Breath

(to stop and look back as if from a high hill to evaluate your work

and decide the way forward)

I would like first to apologise for my non-attendance at last meeting due to circumstances beyond

my control (the spirit was willing but the flesh is weak)

I read something the other day that I would like to share with you all.

Apart from a generally held concept, writers, especially yours truly, can be prone to the following:

‘We cling to the past like a frayed security blanket, haunted by crushing failures rather than approaching each new day as a fresh opportunity to learn, grow and behave differently.’

A simple epithet that is one of those universal truths we choose to reject or ignore until the logic of it becomes overwhelmingly self-evident.

Writing, by definition is about moving forward, into the unknown, where anything can happen.

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Inevitable Explorations

Inevitable Explorations

(The great adventure continues)

by

Chris Owen

Arthur C Clarke once famously stated these two propositions clarify the ultimate destiny of the human race:

‘Only two possibilities exist:

Either we are alone in the universe or we are not.

Either way the prospects are terrifying.’

‘We stand now at the turning point between two eras. Behind us is a past to which we can never return. The coming of the rocket brought to an end a million years of isolation. The childhood of our race was over and history as we know it began.’

(Exploration of Space (1952)

Taking these two great epithets to heart, the task of the human race now (the now part meaning with gathering urgency) is to take on the mantle of explorers and to search for our destiny in the only place that would produce another planet should we need it – the universe. The cosmic wheel of destiny is turning as inevitably as the firmament and we must not be left behind in the dust. Even our cradle earth is still a dangerous place that could easily tip into chaos and become instead our tomb as a species.

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It’s a Business AND a Craft

Wthe-business-of-writing-vol-1-front-cover-lo-resriting. It takes skill, dedication, determination and lots of ideas to become a writer. It also takes a little business sense too. For getting published is all about meeting a market’s needs, whether that need is from a magazine editor looking to please readers and editors, or a publisher, looking to boost profits and keep the accountants happy. Writing, these days, is a business, even if something you do at the end of a long day at work, once the kids are in bed.

Some of these business aspects are dealt with in my new book, The Business of Writing, which is a collection of my articles, first published in Writing Magazine.

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‘X’ The Unknown (The Writing Theory)

I must begin with an apology.

I espoused my ‘X’  theory to colleagues at the last meeting without fully formulating my argument.

I also did not explain with enough clarity and detail the reasoning behind my assumptions.

However, if we start at the beginning again here is my theory of a writers reason d’etre in two parts:

 

Part 1 – First Person Singular

If a mouse sat up and barked would that make him a dog?

If a cat spoke in Mandarin would that make him Chinese?

I would argue creative writing cannot be taught; merely nurtured, encouraged, trained and honed if the talent, knack, gift of story-telling, call it what you will, is innate to the student.

That may sound controversial; even dismissive and elitist but it is not said in malice. It is merely a statement of empirical fact, made by someone with his nose pressed against the literary pane, fighting desperately to get in.

There are a thousand hacks masquerading as journalists in Fleet Street, as we speak. These are paid professionals all, who write all day, every day, for a living. Busily filling up newspaper columns till the cows come home. They produce prodigious reams of prose that’s printed as gospel every day and avidly consumed by their readers.

If all it takes is the ability to string one word to another and use a key-board – why isn’t every single one of them a best-selling author?

Few have that devine spark; that ‘X’ factor that drives writers along to capture and record a thought or feeling with enough emotional drive and creative talent to win the readers attention first and their hearts second.

That’s called building a readership, a fan-base, a career; and it takes time and dedication.

 

Part 2 – Present Indicative

If ‘X’ is the unknown, that indefinable unique factor within the author, then we should first take mental stock (especially when we feel doubt-ridden or literally stuck for words).

Be honest with yourself and ask these questions:

Who else but you can tell the story in the first place? (If you don’t write it – who will?)

Who else can best inform the reader that there is a story to tell, if not you?

Your unique perspective, which is different to mine or anyone else’s on the planet, qualifies you to write the story. This is true regardless of whether you are writing fact or fiction.

In the highest sense you owe it to your readers (present and future) to tell the story to the best of your ability and as soon as you are ready, without waiting for devine inspiration.

What if Shakespeare had put off writing Hamlet on a Monday; caught the plague on the Tuesday; and was dead by the Friday (that’s how quickly it took people to die)

Would the world be better off culturally? – of course not.

Bubonic plague was rampantly endemic to Britain during most of his lifetime and besides killing al lot of people, particularly in large cities, it frequently shut down many theatres for twelve months at a time; cutting off people’s incomes.

Remember, Shakespeare didn’t think of himself as a genius, just a struggling writer, the same as all of us.

I admit that all of the above is a blatant application of moral-boosting rhetoric for which I make no excuses.

Nevertheless it is also cold, hard, undeniable fact.

If you have ever sat staring at a blank page not knowing what to say or how to say it, take heart.

You are not alone.

© Chris Owen

 

Persistent, Continuous, Repetitive Graft

Persistent, Continuous, Repetitive Graft

(And other lies we tell ourselves)

A good colleague and esteemed member of our little writing community has recently admitted albeit, in a blog, that his daily writing habits aren’t always consistent.

That’s a big admission; very brave and very honest – but ultimately human.

This level of personal integrity sets him above the norm and makes him the true professional he is. He could have insisted in well worn tones to the rest of the world that he rose at six-thirty every day in Thackarian style, showered in cold water then sat writing for four hours before breakfast and then wrote for another four hours before venturing out into the world every 24:7 + 365. He didn’t. 

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Adapting Shakespeare

Buggering About with the Bard

Write a play to be performed in association with the Royal Shakespeare Company? Too good an opportunity to miss.

Both my wife Suki and I like The Taming of the Shrew and have fond memories of Richard Burton and Elizabeth Taylor yelling at each other in the 1967 film. But it does present issues for modern audiences: It’s about a man turning a woman from a bitter termagant into a loving and obedient wife by bullying her. There are twenty-one characters of whom only three are women. Shakespeare’s language can be difficult to get used to, and he refers to literature and events familiar to the Elizabethan audience, which we probably now have to look up. The play we know is book-ended by scenes concerning Christopher Sly which many people, including me, have difficulty with, because they seem unrelated to the main story.

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Chris Owen’s Twenty Shakespeare Questions

As part of April’s meeting, Chris Owen did a talk about playwriting and rounded off with a quiz on the greatest playwright of all time: Shakespeare. For those who missed it, here are the questions (along with the answers).

 

1) What was thought to be Shakespeare’s Breakthrough Play and the publishing year ?

A) Henry V1 Part 1 (1590 – 91) 2 x G of V (1589 – 91)

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A Celebration of Shakespeare – Happy Birth/Death Day – 23rd April 1564 and 1616

The Theatre of Shakespeare – Everyman or Elitist?

The actor playwright Ben Jonson, a contemporary of the bard, famously declared in his dedication that Shakespeare ‘was not just for his own age – but for all time.’

This unequivocal affirmation of the universal appeal of Shakespeare beggars belief to the sluggardly schoolboy making his way to school nowadays. Indeed this attitude evokes what we all similarly experienced when trapped in the state education system. Continue reading

Writing West Midlands Comes to Shrewsbury!

I don’t know what it is at the moment but I have the urge to go out, meet other writers and learn from other writers and so I have been looking out for opportunities to do this. One of these opportunities was the Writing West Midlands networking event, which I had heard about on the Wrekin Writers’ Facebook Page, which I attended in Shrewsbury on Saturday.

I think my interest was sparked because writing can be a lonely occupation and as the event was actually in Shropshire and not Birmingham I felt it would be a good idea to attend it. The more of these events we as writers support the more likely these events, and others, are to be held locally.

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My First School Author Visit

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I recently attended the Franche Primary school in Kidderminster for my first Author visit. I had been approached by one of the teachers who wanted to buy several copies of my latest children’s book ‘Every White Horse’ and so I was thrilled when they invited me to go and join their weekly enrichment class.

The pupils aged 7-8 had worked on my book for several weeks before the visit and put in a lot of hard work to prepare.

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Something New

I recently had the opportunity to attend three events at the Oswestry LitFest. Armed with the tickets I had won, courtesy of the Shropshire Star, and the company of fellow Wrekin Writer Angeline Wheeler off we went. We weren’t entirely sure of directions but we just left caution to the wind and like a couple of explorers we headed for Oswestry and hoped for the best.

I have been to literary festivals before, the Hay being the big one, but although I had thought about going to Oswestry, I hadn’t yet had the chance, so it was a completely new thing for me. I also did not know any of the speakers we there to see. I didn’t know what the authors had written, the kind of clients the literary agent was after or who the editor edited for. Did my lack of knowledge matter? Not one bit.

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Etymology : Words of Meaning?

“In the beginning there was the word. And the word was good”

So the 1611 AD King James bible states.

However, the word is definitely not set in stone. The English language is not the constant and unchanging yardstick we thought it was. Along with most other languages in use in the twenty-first century, it is evolving. As a result, it is the least reliable medium of communication – which ironically is supposed to be its only function. Continue reading

Words: Servants Or Masters?

Rudyard Kipling wrote – ‘I keep six honest serving-men

(They taught me all I knew);

Their names are What and Why and When

And How and Where and Who.’

 

When he wrote these words his intention was to alert the reader to the possibilities of words and where they could take us as writers.

Words are the golden keys to unlock meaning within any text or story. Yet they are, after all, only signposts to interpret understanding – but they can also become jailers imprisoning us in the mesh of ideas we were trying to unravel for ourselves and our readers.

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