Becoming A Fiction Writer
One girl, one dream … and a whole lot of procrastination
April 21, 2010 by amanda

Internet research tools that make fiction writing more factual (and easier)

There’s nothing worse than reading a novel and coming across a factual error.

I’ll always remember reading a book-I-won’t-name where the narrator explained about where my hometown, Perth, was situated, and what you would reach if you travelled in each direction, as the crow flies. For some reason, the narrator had us hitting the west coast of Africa instead of the east, and it bugged me so much – I re-read the section three times to be sure I had understood correctly – that it tainted my opinion of the whole book.

Now, when I’m writing novels, I’m (so far) setting them in factual places, and places that I know reasonably well but not like my hometown. It’s really important to me that I get the details right, because I don’t want a reader to have the experience I’ve just described above. Of course, I have no doubt that something will be wrong – and I don’t want to become obsessive about it, either, and sometimes you want to use a bit of poetic licence so the place fits the story, anyway … but my point is, with the wonderful world of the internet, these days it’s much easier to get things right anyway. Tools I use all the time while I’m writing include:

Google Maps: My character’s going to drive from Poprad to Kosice, how long should it take? Just ask for directions in Google Maps and I can check that my estimation of a couple of hours is just right. Another character is driving down to Croatia for a summer holiday and needs an overnight spot to stay about half way. Pop into Google Maps and I can pick a reasonably-sized town for them, no worries.

Wikipedia and Wikitravel: So I figure out where the character is going to spend the night, but how do I give the town some local flavour? Hit the web. I also use these sites constantly to double check facts that I think I know, like historical incidents, population figures, famous people, etc.

Google Earth: To be honest, I don’t need an excuse to play around with Google Earth, but to supplement my own experience, memory and photographs, Google Earth is a great way to check the landscape, or go down to Google Street level to see some individual buildings. Love it.

Flickr: My visual imagination is not always perfect, and if I want to describe something accurately and beautifully it sure helps if I can see it “in person”. The great collection of photographs on Flickr pretty much always have something to help me write a good description. I’m pretty sure the photographers who put their photos there didn’t have my purpose in mind when they hit “upload”, but I’m still grateful to them.

Over to you: What internet sites can you simply not do without while you’re writing? I’m hoping to get some good tips! Let me know in the comments.

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April 7, 2010 by amanda

Prolific writers: What’s the secret to writing dozens of novels?

Back in January, I read an obituary for American crime fiction writer Robert Parker. The headline labelled him a “prolific author” so I was immediately intrigued, even though I have to admit I’d never heard of him (is he famous out there in genre land? Sorry, I’m a bit ignorant sometimes!). The article says he was among the top ten best-selling authors in the world, so obviously I really am showing my ignorance by not knowing him.

Prolific equaled 65 books in 37 years, something I can’t help but admire, because even if his books aren’t quite my thing, they still got published and that’s no mean feat.  How did he write so much? His routine was simple:

Parker wrote five pages a day, five days a week, 50 weeks a year.

I love that he gave himself a two-week holiday every year! And he had two days off from writing every week, too. Five pages sounds like a very manageable amount, but I do know first hand the effort required to do that day in, day out, even when you don’t feel like it, or are tired, or have so much other stuff happening in your life.

It all got me wondering about how many books I might be able to write in my lifetime. It’s hard to even figure out how long one takes, because I tend to write in strange sporadic bursts, usually when I set myself a really firm target like a contest entry date or something. But I’ve tried to project forward and imagine that I’m a published writer with a publisher expecting the next book by the end of the year. Would I only write what’s contracted or could I do more than that? I certainly don’t think I’m a slow writer, but of course there’s the matter of quality too. It’s all a bit unknown to me still.

I don’t think I’ll publish 65 novels in my lifetime. I’d be really pleased with perhaps a dozen. Heck, right now I’d be really, really pleased with just one, who am I kidding?! But I take my hat off to those prolific writers out there who are obviously really good at sitting down and actually writing. It’s really nowhere near as easy at it looks.

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April 3, 2010 by amanda

The average wage for fiction writers … it can’t be very high

I’m always curious about what kind of things people are searching for when they land on the Becoming A Fiction Writer blog, and luckily Google helps me out well there by providing detailed stats on exactly that. As you’d expect, the vast majority of people are searching on phrases like “being a novel writer” or “how to become a fiction writer”, and I hope they find something of use here.

But somewhat surprisingly, I think, is the fact that I’ve just noticed quite a few readers arrive here by searching for phrases like “average wage for fiction writers“. This is a topic I haven’t talked about until now (so I guess those web surfers might have been disappointed), but it’s interesting that obviously a lot of people are thinking about this.

I wonder if there is really a single fiction writer out there who does it for the money. I’m guessing the answer is no. Of course, if you are successful enough to be able to make a living out of writing fiction, then that’s fantastic, but these people are few and far between, right?

In fact, I’m guessing if you actually calculated the average income from fiction writing across all of the people across the world who write fiction, this figure would be pretty close to zero. A few J. K. Rowlings and Stephen Kings are probably not enough to get fiction writers above a minimum wage in any currency.

As for me, I would love it if one day my fiction writing provided a part-time income. My freelance writing already does, and I find that already really satisfying – but if I could swap that over and get paid to write novels I’d do it in a flash. But I actually wouldn’t want to make enough for it to be considered a full-time income. My theory is that, at least for me, working full-time as a fiction writer just wouldn’t work. I’d be lacking the interaction and stimulation I need to keep having good ideas for writing. I also know I tend to go a bit mad if I stay home alone in front of my computer for too many days at a time. Give me a part-time job with people around me, and the freedom to write novels the rest of the time, and get paid for them (I’m not expecting millions, just enough to get by okay), and I’ll be really happy.

What about you? Do any of my fellow writers out there have specific financial goals for their fiction writing? Is it important to you? Let me know in the comments.

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March 15, 2010 by amanda

100 websites for writers – and I like lots of ‘em

I’m not sure why it is that online college websites are obsessed with making lists of resources for writers – last year a similar site put together a list of Top 100 Creative Writing blogs and featured Becoming A Fiction Writer on it – but I’m glad they do it, because these lists are actually full of useful and interesting sites.

Recently someone from the Online Degree site emailed me to let me know about their list of 100 Online Resources That Will Make You A Better Writer. I don’t usually plug stuff just because it lands in my in-box, but this is another pretty good list of sites that are useful to writers. Whether reading any of these things will actually make you a better writer is not something I’m 100% convinced of – I’m sure the best way to become a better writer is to simply write a lot – but you could definitely learn a thing or two, and spend a few hours surfing.

The list includes information for freelance writers, publishers’ sites, info on agents, stuff for screenwriters if you’re so inclined (I’m not, I wonder if I ever will be?), fiction sites, blogs and online community links. Basically, it’s a smorgasbord of cool writing sites, including quite a few that I already haunt regularly. Check it out if you have a spare hour or two – but please don’t use it to procrastinate when you should be writing, or I’ll feel guilty.

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February 25, 2010 by amanda

I finished an Irvine Welsh book, but the dialogue still bugs me

There are great writers, and then there are great writers who use annoying local dialect in their dialogue which makes it really annoying to read. If you’re a loyal reader with a good memory you’ll know that a while ago I abandoned Irvine Welsh novels because of his (as perceived by me) overuse of Scottish dialect that was difficult to understand. (He’s the guy who wrote Trainspotting, among others, if you’re not sure.)

So, here’s the thing: Irvine Welsh, who I do think is a great writer apart from this flaw, is coming to the Perth Writers Festival in 2010. This was the impetus I needed to read another novel from him, so I picked his newest one, Crime. The good news is that I finished it, and loved it – it’s a pretty dark story about paedophiles but totally page-turning. It’s also set in Florida, rather than Scotland, with only a couple of major Scottish characters, so that meant that the dialogue I’m scared of was a lot rarer than in some of his other novels.

But just the same, I was occasionally quite bogged down trying to figure out what those Scottish characters were actually saying. Example: “I was gaunny take her … Tess came down wi it in there” is relatively simple to “translate”, but still slows down my reading; “An awfay sweet wee lassie, and she’s been nae bother at aw” starts to stretch things for me. Like I said, these kind of phrases are few and far between in Crime, but it reminds me why so many writing teachers suggest – implore! – that you should avoid writing in strong dialect. A few words here and there – “Aye” for yes doesn’t bother me in Welsh’s work – should be enough to remind us that these people sound a bit different.

What do you think? Would you be annoyed if an Australian character in a story I wrote went around saying, “Struth mate, watcha reckon we get the barbie goin’?” all the time? Does strong dialect in novels bother you? Let me know in the comments.

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February 17, 2010 by amanda

Writing in the pool and finding another “Shower Thinker”


You might remember how my mother solved my “shower thinking” problem by finding me some waterproof notebooks which I can use to jot down ideas that come to me while I am in the shower. Well, there are now two more things I have to tell you today about waterproof notebooks. Who would’ve thought it was such an important topic?

First off, I’ve discovered yet another great use for waterproof notebooks for fiction writers. Or for any writers, I guess. Thanks to some lovely pregnancy-related dramas (pelvis problems and leg swelling, if you must know) I currently need to spend a fair bit of time in our swimming pool, but I’m not allowed to swim, in fact I just have to stand there in the middle (this photo’s an old one!).

This is not always too exciting, as you’d imagine, and I’d wondered what else I could do while I’m in the pool. And suddenly it hit me: waterproof notebook! Just recently in the pool I wrote several pages of notes for the planning stages of my new novella (more details on that soon). It makes my stay in the pool a lot more interesting and I love that I’m also getting something productive done at the same time. I highly recommend it to anyone – I really have a theory that being in water helps make you more creative, so try hopping into a pool or the ocean with your waterproof notebook next time you need some inspiration!

Second, I came across someone else who’d had the same idea as me, but unlike me, is making money out of it. Whereas my mother sourced my waterproof notebooks from a forestry supply shop, there is actually a company that is marketing their AquaNotes waterproof notebooks as being perfect for “shower thinkers”, just like myself. Smart work.

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February 11, 2010 by amanda

Kazuo Ishiguro says I’m about to enter my peak as a novelist

Listening to an interview with one of my favourite authors, Kazuo Ishiguro, recently, I heard him say something fantastic:

What I want to emphasise is that for novelists … I think that your peak is likely to be somewhere in your mid 30s to your mid 40s. A few years after footballers!

But then the pressure came on …

You have to really go for it when you’re in your 30s, and you have to ignore older people who patronise you as though you’re some kind of little chick that’s about to hatch. Historically, that’s when you’re most likely to do your best work, so go for it.

He went on to give plenty of examples of famous novelists who really had published their best novels in their mid 30s.

So, there’s good news there: I’m about to enter my mid 30s, so I figure this is a positive sign for my future novel writing potential. Of course it would help if Ishiguro could share his theory with all the publishers likely to look at my work, then I could really milk it. But the bad news seems to be that it’s getting close to crunch time. If I’m going to make it, I have to really get on with it and make it soon!

It’s nice to daydream about a future where I really am a published novelist (I mean, I actually do believe it will happen one day – I just don’t know when). However, being a novelist is one thing that I’ve always thought is much less age-dependent than pretty much every other occupation. I mean, sports stars and film stars mostly start young; sports stars generally finish young, too. But plenty of novelists don’t start until they retire from their “real job” and they still do well.

Okay, to summarise my thoughts: I would love to be a published novelist in my 30s, but I don’t think this will be my peak. Perhaps if I’d studied writing at university and had really spent my 20s practicing my craft, it would be possible, but I still think I have far too much to learn. But is what Ishiguro says, in general, true? I don’t know, but I’d like to turn that question over to you, readers:

What’s the peak age for a novelist? Let me know your opinion in the comments section.

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January 29, 2010 by amanda

Writing Antarctic literature – Now that’s got to come from experience

You know I love travelling, but one continent I suspect I may never get to is Antarctica. It fascinates me, of course, but those cold temperatures are not as high on my list as many other places, and since I just finished a great novel set in Antarctica, I am doing a fairly good job of imagining it for myself anyway. That’s thanks to Robyn Mundy who wrote The Nature of Ice, and reminded me of another great novel about a modern Antarctic experience from one of all-time favourite writers, Nikki Gemmell, who wrote Shiver.

If you’re even just the slightest bit curious about what a stint in Antarctica would be like, I’d highly recommend these two novels – one told from the point of view of a photographer, and the other from a journalist, so they’re not your typical science-based Antarctic non-fiction. In fact, both books are beautifully written, particularly from the point of view of explaining both the landscape and the reality of everyday life in a continent that most of us know little about.

“Writing what you know”, Antarctic style

No doubt you’ve heard that writing teacher’s adage, “write what you know”, and although I would edit that to be “write what you know, or can reasonably accurately find out about”, I do concede that I will not be writing any stories set in Antarctica in the near future. What I’m trying to say is that these Antarctic novels really brought home to me how effective it is to write about your own experiences – both Mundy and Gemmell have had their own experiences in the deep, deep south – and especially so when your experiences are somewhat unique.

I guess that’s where a lot of my ideas for novels come from, too. While I haven’t had the amazing chance to hang out in Antarctica, I have been able to live and work in countries as diverse as Japan, Slovakia and Germany (not to mention my homeland of Oz), meeting lots of different local people and learning heaps about the cultures. The reviews for the draft of my first novel, Kanako’s Foreigner, often mentioned an appreciation of the details of Japanese culture, so I guess I was doing something right.

Some of the ideas I have for future novels – I could give up the day job now and write full time for a hundred years just to get them all written – are starting to verge away from what I know towards the “what I could find out about”. It’ll be interesting for me in the future to figure out how much I can do that, and how well I can pull it off. I know it annoys me if I’m reading a novel and there’s an obvious error of fact, or at least it’s obvious to me because I have some special experience. Something to ponder.

Over to you: What’s your take on “write what you know”? What do writers do who don’t have such a breadth of experience to draw on? Let me know what you think in the comments.

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January 18, 2010 by amanda

Flashback to my thoughts on why I write

I’ve always had the urge to write, at least as long as I can remember. I used to have a spiral-bound notebook, covered with magazine pictures of cats, that I would take around with me on the weekends. In particular, I remember riding my bicycle along the side of our house, down to the street and around, all with this notebook in the basket on the front. Every time an idea struck me – which was pretty often – I’d put on the brakes, lean forward and pull the notebook out, and write the idea in my notebook.

Back in 2001, when I was involved with some early writing websites, I wrote a piece about why I write. It’s a bit gooey and sentimental in parts, but the highlights are still absolutely true today:

Why do I write? I write because it’s better than not writing. Simple, really, but perhaps it deserves some further explanation.

So, try to imagine not writing. No creative outlet (unless you’re one of those most irritating people who have multiple talents and can paint or dance or sing if they choose not to write). No true freedom of expression, where you really can say what you want. No chance to put all those different words together in any way you choose, to create the most incredible multitude of emotions, understandings and debates.

Writing is being alive. In fact for me, it’s incredibly hard to really explain why I write because it is something I have always done and always wanted to do. It was not a conscious decision like “I want to play the clarinet” (something I tried but didn’t have as much success with as writing). Instead, it is much more like, “Breathing is a sensible thing to do to stay alive.” I guess I’m saying, writing is breathing.

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December 14, 2009 by amanda

Stella Rimington’s spy stories inspire me (but not to be a spy)

Perth Writers Festival Rimington

In my continuing effort to read outside my preferred genres – and also because Stella Rimington was a special guest at last year’s Perth Writers Festival, and I really liked her (and she appeared outdoors in the sunken garden, pictured above) – I’ve just finished reading her first novel At Risk. Rimington was the first female head of MI5 (the British Secret Service, basically) and after she retired she turned to writing spy novels – which are especially interesting because you know she writes from the voice of experience. It’s a real page-turner, yet it doesn’t feel scrappily-written or trashy, as those typical buy-at-the-airport spy stories have always seemed to me.

Now, to the relevance of a spy novel to what I’m writing: I have a new theory that every good novel needs to be a bit of a spy story. Perhaps not a spy story, but a mystery. In other words, a really important part of a modern novel, even a very literary one, should be that there is information that not everybody knows. It’s something I’ve been working on with my latest novel outline (more thoughts on that in another post).

I guess what I’m saying is that I’m trying to pay more attention to getting the plot right in my novels. And in particular, leaving parts of the plot open or unknown to some or all of the characters, and sometimes to the reader, and so on. This is something I think I’m not very good at. Not all literary fiction does this, of course, but certainly the novels I end up enjoying the most do. Everybody loves a good surprise.

The big problem I have with getting the plot right is that it seems to involve knowing the plot in advance. I’m not so good at writing in this way; sometimes spontaneous works a lot better for me, but the main difficulty I have is that whenever I try to plan a novel, I get half way through the planning stage and really don’t know exactly how things are going to happen next. Of course, I have a good idea of the broad arc of the story, but often not enough of the details to be able to plot in twists or turns or information revelations, because these seem to arise out of exactly what the characters do, something I can’t predict more than a few chapters ahead.

Any other writers out there have some good tips for me on getting my plots right in advance? I really want to capture readers the way I get captured by other novels; sure, you can capture them simply with interesting characters and a story where they want to know the ending, but I really like the idea of spreading out the information across the plotline. Will I ever be able to plot my novels completely in advance? (Allowing, of course, for brainwaves and alternative inspirations during the writing process). I’d love to hear your thoughts in the comments.

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