Over January I’ve been tidying my study and realised I have a LOT of books on writing. Some I’ve read (or skimmed), many I haven’t. I’ve done a Masters and PhD in creative writing as well as attending numerous classes and workshops over the years. But my preference outside of this training has been to find my writing style rather than reading what other writers say they do. Still, there’s always something to be learned when a writer talks about their process. So this year I’ve decided to work my way through these books and share the key nuggets of wisdom through reviews.

Sometimes the Magic Works

Advice on being a writer

Whilst Brooks trots out the old ‘write what you know’ adage, he also encourages you to ‘write what you observe’, advice I have also heard from John Marsden. Marsden pointed out that what you think you see and what’s actually there are two different things. For writers, paying attention is important for bringing your book to life in a way that feels real. But, as Brooks says, some of your ‘deep background’, the really detailed world building that makes it come to life, should never appear in the book.

Brooks explores ways writing allows you to think deeply. He talks about the puzzle-solving aspects of it, and how stepping from the real world into the world of imagination allows you to gain new perspective. By chronicling the human condition, he says, we can find answers to current problems in what might be. This is particularly relevant in the difficult times we face.

Characterisation

Some of the most useful advice about the mechanics of writing relate to characterisation. The key take out points are:

• Characters are revealed through their words and actions, not what you as the writer say about them. They need to behave rationally and consistently – or, if they don’t, there needs to be a reason why.
• Every character must have a reason for being in the story and their characteristics must be relevant to the story too.
• A character needs to keep moving (physically, psychologically, or emotionally) in order to grow. Growth leads to change and transformation; they discover truths about themselves or others, or come to terms with some aspect of their lives. Without change nothing is happening.
• The strength of your protagonist is measured by the threat of the antagonist (whether person, monster, weather, mountain, disease…). This threat might be immediate or there might be potential consequences. Facing these shows the courage, resolve and strength of your main character.

This quote from the book resonated so much. In writing the Tales of Tarya series I loved my characters and my world so much I wanted to stay with them. As I neared the end of the series I found myself writing more and more slowly.

Advice on being an author

As a recently published author I found the real gold was in the discussion of how to survive. Most books focus on ‘how to write a book’ or ‘how to get published’. But once you are published you begin a rollercoaster ride that requires real resilience. Brooks identifies important qualities that help: determination (be patient and committed), instinct (trust you know which way to go) and passion (be fearless). He encourages writers to be grateful for the chance to create magical worlds.

I loved Brooks’ idea that the point of book signings is to create a link between readers and books – and not necessarily YOUR books. He encourages authors to use these opportunities to make readers so enthusiastic about books they can’t wait to buy more. The key, he suggests, is to make a connection rather than a sale. Remain cheerful, so people remember a good experience, be thankful that organisers/publishers have taken a chance on you, and be anxious to chat, and ready to answer questions.

Inspiring last words…

Finally, I love the idea Brooks put forward that writing creates a writer’s identity. If, as he suggests, you come to be the sum of your words, then the more fantastical stories I create, the more I will evolve into a magical being!

Clare Rhoden is an academic and author with an abiding interest in how stories shape our world. Her animal-centred dystopian novels explore the future we might end up with if our fascination with technology continues. At the same time it delves into the question of outsiders and refugees. With fascinating world building and an array of unusual characters, the two books (so far) in the series offer “a thought-provoking read reminiscent of George Orwell’s 1984… about what it truly means to be human” (~ Elizabeth Foster, author, Esme’s Wish, Goodreads). For more information on Clare click here to go to her website.

Which writer or writers opened your eyes to the magic of storytelling and why?

Thanks for having me, Rachel! I have to confess that I had a pretty traditional diet of books as a child, and that I’m forever grateful to my mother who was a bibliophile and started me reading at the age of three. The first book I stayed up all night to finish (with a torch under the blankets) was ‘Black Beauty’ by Anna Sewell. I think I was about eight years old. I couldn’t put it down. In fact, I’ve rarely been able to put down any book since!

Why do you think people need stories in their lives?

Stories have been around as long as people have been able to speak. Stories are essential to our humanity. I think stories help us to make sense of our lives, especially stories which include characters or situations we can relate to. We can also admire the courage and persistence of the protagonist, and aim to employ some of those qualities in our own lives.

Stories with magic in them offer us the potential to break out of our usual thinking patterns and look at the world with fresh eyes. We can step out of the everyday and blink away our limitations. Even the most simple of stories will do this for us.

What is your greatest magical power as a writer?

I don’t usually think of myself as being very magical, and have spent far too long trying to prioritise my practical self. I would have to say that my imagination is my strongest magical ability, because it appears to be a power completely separate from my ordinary rational thinking. Therefore it must be magic! The incantation that brings this power into play starts like this: “Imagine what would happen if …”

Which mythic archetype or magical character most resonates with you and why?

I kind of like werewolf stories – now that’s something I don’t tell everyone! My favourite magical character is the shape-shifter, especially one who can fully enter the animal world (shape-shifters who can assume other human bodies are really scary). I think that shifting into another body is the epitome of seeing through another’s eyes, and that’s the key to empathy.

What themes or ideas do you find keep arising in your writing?

The interaction between humans and animals is a common theme in my writing, and most of my stories feature animals as characters or as important members of the community. I don’t think I’ve ever written anything that doesn’t have at least one mention of a furry critter (who may just be a enchanted cat, or a lost unicorn, or an everyday wise old dog).

The whole notion of what love is, in its many guises, is also something I find myself exploring quite often. So another question I ask myself is, “what would love do?”. Then I let imagination get in there and play with the storyline. I find that my ‘difficult’ characters tend towards selfishness, while others show quite a lot of compassion. Mind you, it can be fun writing those self-absorbed folk. I have an idea for a story in which a wicked wizard is so absorbed in magically perfecting his face in the mirror that he forgets to breathe and falls down dead, much to the delight of his long-suffering cat. Maybe I’ll call it ‘Wizard-face Yoga Pose’…

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If you love dystopian fantasy, book one, The Pale, and book two, Broad Plain Darkening are available now from Odyssey Books and the usual online outlets. The Stars in the Night, Clare’s WWI family saga, is also available for pre-order now.