Is Blogging Worth the Time and Effort?

blogging

I have just received a second ‘Sunshine Award’ for my blog. Thank you to fminuzzi and to KirkyKoo for the earlier award. Both are much appreciated. It made me think about the naysayers who tell you that blogging is not worth the time and effort, especially if you write fiction. The argument goes that if you write non-fiction it is important to write about your topic and to build a following but that if you are writing fiction you are wasting your time, especially if you decide to write about the craft of writing itself.

Well, I beg to differ.

Firstly, I don’t just blog to build a following, to increase my social media platform, or to sell books or to raise my profile as a writer. These are words you’ll hear media savvy writers using but I’m not keen on them.

And here’s the thing…I blog because I love to write.

I love to write short stories, I love writing novels (despite the frustrations and the hours involved in creating carefully crafted sentences) and I really enjoy writing blog posts. My blog is an outlet for the hundreds of ideas that are sparked as I speak to people, or read other posts, or hear something that I want to comment on in more than just a thread.

Here’s the other thing (never use the word, ‘thing.’ It’s as good as using, ‘like,’ ‘just,’ or ‘somewhat.’ Don’t use those words)…

I blog because I like to connect with people, to link to articles and to provoke discussion.

I really appreciate the comments and feedback. Some of the suggestions from blog readers have been really helpful to me. I enjoy the engagement with you, my blog readers, and I appreciate the range of ideas. It is important to me that you are enjoying the posts and finding a nugget of useful new information.

Of all the social media sites (and there are many, too many to keep up with to any great extent) blogging is my favourite for it’s sheer freedom and for the more personal interaction with people. Anyone else with me on this?

Here’s the other thing… blogging gives you a blank canvas that (don’t use the word ‘that’ either) is shorter than a novel but long enough to express an idea succinctly, adding images, links and graphics if you wish.

I enjoy posts with images, videos, book trailers, statistics and links to other useful posts, either on the same blog or elsewhere on the web. Blogging is a great way to raise the profile of other bloggers, to share interviews or book reviews, to encourage others and to share useful information. I have purchased several books recently, purely because they have been mentioned on the blogs of people who I like and trust.

I read blogs written by book reviewers, publishing houses, photographers, travellers, self-published authors, marketing experts (despite their use of terms such as ‘platform,’ or ‘sales’). There is a huge range of topics. Some are highly specific, others are more general, but if you took blogging away from me there would be a dimension missing.

There are those who would argue that blogging takes up valuable writing time. Really? What do you do when you are not writing? Watch TV? Read? Go out? Well, I have an evening of writing ahead of me just because I am on a roll and because I have the time, but I wanted to write this post FIRST to say that blogging IS absolutely worth the time and effort. It is worth it because (and I run the risk of beginning to sound like a l’Oreal advert here) I enjoy the writing and because I learn so much from others.

Please, don’t let anyone stop you blogging if you enjoy it.  

Here is a list of brilliant blogs which I read regularly. They are by no means exhaustive, I do read many more, and blogs are about sharing so here you are:

Authors:

Mystery Writing is Murder

Marianne Wheelaghan

Tom Gething

Aliventures

Anne R. Allen’s Blog

Rebecca Bradley

Short story authors and links to journals/competitions:

Paul McVeigh

Tania Hershman

Book bloggers and author interviews:

Pam Reader

A Little Blog of Books and Other Stuff

Therapy Through Tolstoy

Strange Alliances

Literary agents:

Books and Such

Carly Watters

Industry news and general interest:

Brain Pickings

Writer Unboxed

Jane Friedman

Do drop by and let me know if you blog and what your gain from blogging, or add to the list of good blogs to share.

And have a lovely weekend.

How You Can Use Your Reading Experience to Shape Your Writing

I was asked to write a guest blog post on Marianne Wheelaghan’s writing blog which is full of useful writing tips. She teaches creative writing classes at www.writingclasses.co.uk and is the author of two books. I would recommend reading some of her articles and getting to know her on twitter and on the blog.  My post is on How You Can Use Your Reading Experience to Shape Your Writing. It is a subject which I think is important for writers. Many people struggle with time to read but if you are a writer is is a necessary part of building your craft and learning skills and techniques. Do leave a comment on the post and I hope you find it useful.

An interview with author Peggy Riley

Amity & Sorrow HBK dark.indd

In the wake of a suspicious fire, Amaranth gathers her children and flees from the cult where her children were born and raised. Now she is on the run with no one but her barely-teenage daughters, Amity and Sorrow, neither of whom have ever seen the outside world, to help her. After four days of driving without sleep, Amaranth crashes the car, leaving the family stranded at a gas station, unsure of what to do next. Rescue comes in the unlikely form of a downtrodden farmer, a man who offers sanctuary when the women need it most.

I am currently reading this and I highly recommend Peggy’s novel for it’s rich language and high tension. It is an intriguing story which is beautifully written, never missing a single detail.

Your book, Amity and Sorrow, will be released on 28 March. How does it feel to let your first story go out into the world and what are your hopes for the reader?

I’ve been lucky in that Tinder Press has been sending galleys out for quite a while now, and Little, Brown offered 100 copies of the book on Goodreads.  So, I’ve had plenty of feedback from readers, but I suppose they are the kinds of readers who are used to reading and feeding back.  It feels exciting – and scary – to think of the book sitting in shops, spine to spine with all the other books.  I would be very pleased if people saw it, picked it up and thought – hmm, that sounds good – and then took a chance on it.

 Can you tell us about your planning stages of writing and how you put the ideas into a clear succession? 

I don’t know if there is a clear succession!  I start with place first, where the story will take place.  Then I look at the arc of the book, to get a sense of “how long” the story will be, over how many days or months or years.  Then I see what characters emerge from the place and the story and I spend a lot of time writing from their points of view to find out which ones I will follow most closely.  You have to have the right character for the job!  Chapters come from the characters’ choices, of what they need to accomplish to get them to the end of the story – which often turns out not to be the end of the story that will work for the character.  I try to keep it all as open as possible, to see what comes.  And then I rewrite, over and over.  I’m a big rewriter.

You have said that, ‘There is only one way to write a book – your way.’ Can you tell us how your writing process differs from the books of advice that writers keep stacked away on their shelves? 

I mean that advice is great, but it doesn’t do the writing.  All these writing books – and I have a shelf of them, too – are great reminders of the complexity of the process, of how many balls we’re keeping in the air at different stages in the writing.  They remind us that writing is a craft, that there are specific tools for specific jobs.  They offer comfort at dark moments.  But, ultimately, it’s just you and your own blank page.  The choices you make, the impulses of your imagination, the itches your writing wants to scratch – that we have to find and discover for ourselves and to find our own methods, rather than making someone else’s try to fit.

Your writing covers themes of religion. Do you have any religious or spiritual influences which have fed into your writing? 

I was not raised to be religious and I’m still not.  But I am a spiritual querent, a seeker.  I’m interested in how and why we believe, and my writing often goes in that direction.  I’m interested in great believers and handmade faiths, in our impulse to change the world and build new Edens.  I’m interested in how our own humanness gets in the way of our higher ideals.

You were a writer-in-residence at a young offender prison. It must have been an interesting time for you as a writer, can you tell us a little about your experiences with this and what you learned? What were the challenges and the high points?

It was the very best job and I am grateful to have had the support of the Arts Council, Writers in Prison, and the Prison Service over four years.  Prisons are hard, grim places, but every morning, stepping through the main gate, I just got this overwhelming wash of love and compassion.  I can’t explain it – that isn’t the kind of person I am.  I just felt overwhelmed by the enormity of the task inside, for the offenders and for the officers, to find new ways of working together and to change.  The purpose of prison now is to rehabilitate and to cut down reoffending.  I learned a few tactics for working with challenging behavior and within the strict structure of a big system like a prison.  I learned that a lot of people don’t want to write or to read, that you can only offer what you do and see who responds.  I learned to carry a sound system up and down the stairs on old Victorian wings, so that I could work with the men in their own environment on days when they were in lock down.

I was let into their lives, their hearts and minds.  I was able to assist their attempts to communicate and to be honest with themselves.  I witnessed the birth of a lot of very tender, very heartfelt poetry and lyrics, and learning that they could communicate in that way was very empowering for the men – and for me.  Mostly, I learned how human we all are, how very fragile, how very hurt we are.  Any one of us could make a series of disastrous and dangerous mistakes and end up in prison.

You are also a playwright. How do you find that writing scripts differs from writing novels and short stories

I received some great training as a playwright and I probably still plan all my writing as a playwright, whether I’m writing drama or not. The forms have quite a lot in common, actually.  There isn’t much “telling” in a play and relationships are revealed through dialogue and conflict, as we seek to do in fiction.  All characters have their own stories, their own sense of themselves, so that at any moment any character could rush downstage and say, “Everyone here is a liar.  Listen to me.”

There are some drawbacks to fiction.  Fiction narrows story through point of view, usually conveying story through a character’s eyes or mind.  Fiction isn’t as democratic as a play.  You can choose, as an audient, where to look on stage, no matter what the director lights.  As a reader, you can only look where the writer lets you.  You can’t look inside the book or behind the book unless the writer lets you.

A novel affords a writer (and reader) the luxury of time and possibility.  A novel can go anywhere at any moment, whereas drama is often limited by its own physical environment, its rules and expectations, its budgetary constraints in terms of how many characters you can have, how many locations.  Of course, there are always exceptions.  Epic plays and theatre marathons seek to create the immersion that readers experience, but these often feel “narrated”; it is much harder to slip under the skin of a character you watch rather than read.  And as novels are longer, they have the space and time to allow stories and characters to go deeper, to allow their changes to occur more subtly.

By and large, plays run under two hours with an interval.  A play is usually 85 – 120 pages.  When I wrote my first draft of Amity & Sorrow, I didn’t know if I had 300 pages in me.  I’d never had the luxury of so much paper, so many words.  Lastly, it’s very hard to put a bed onstage; being flat, it’s hard for an audience, and I seem to like writing scenes in bedrooms.  (You can stand the bed up on its end, of course, and staple the pillows down, but gimmicks are rather distracting for an audience.  They might spend all their time worrying about the pillows or looking for the wires and miss a character’s crisis.  Gimmicks are fun, though.)

 What have you taken away with you from your days as a festival producer and as a bookseller?

As a producer, I often included talks and readings in my programming.  I am aware that people want to connect with writers and with the books they love.  Writing and reading are solitary activities and festivals allow us to interact communally and spontaneously.  As a bookseller, I arranged many signings and readings in my family’s shop.  I’ve seen huge queues and great excitement for visiting writers.  I’ve stood in an empty shop with a stack of books and a disappointed writer, when no one came.  Being a bookseller reminds me how many books there are in the world and how many writers, hoping to be read.  And I’ll never forget the thrill of finding the perfect book to hand sell, being able to pop it into a customer’s hand and say, “You’ll love this.  Trust me.”  But woe betide you if they don’t – they’ll never trust you again.

 What do you enjoy most outside your writing time? 

Taking a chair and a bottle of wine down to the beach with husband to watch the sun go down.  I also quite like pulling weeds.

 And, lastly, you are currently working on editing your next novel, can you tells us about the book? 

Of course!  It’s set in the women’s internment camp on the Isle of Man during WW2.  I was commissioned to write a play there about eight years ago now, and the story stayed with me.  The play I wrote was site-specific and promenade, moving through the village with a series of scenes before real locations.  As a novel, I’m focusing on fewer characters and the story has become deeper and richer, much, much darker.

What do you enjoy reading and why?

I have my old favourites, of course, and I love to find new writers.  I’m looking to get lost in a book, same as everyone.  I find it hard to read while I’m writing, so I’m hoping to have a bit sprint of reading in the summer, once my own book is done.

Peggy Hi Res Color-6Peggy Riley is a writer and playwright. She won a Highly Commended prize in the 2011 Bridport Prize and was published in their anthology. Her short fiction has been broadcast on BBC Radio and published in Mslexia Magazine and as an app on Ether Books. Her plays have been commissioned and produced off-West End, regionally, and on tour. She has been a festival producer, a bookseller, and writer-in-residence at a young offender prison. Peggy also runs workshops for writers and readings with authors. Originally from LA, Peggy now lives in Kent.

 

The Best Characters Are Broken

Broken Glass

‘The best characters are broken.’

I came across this quote yesterday and it has stayed with me. I started to think about why this is the case and how the reader identifies with broken characters. The quote was a little nugget in a much longer article by writer Faith Hunter. She writes in the fantasy/thriller genre but this concept travels across all genres of fiction and, I should add, non-fiction.

Why? 

Psychologists suggest there is a part in many of us that is broken and often hidden from the world, a part of us which we are afraid to reveal for fear of other people’s reactions. As children we have no qualms about crying or screaming if something is wrong, or throwing ourselves onto the floor and lying prostrate with fists pounding the carpet. Anyone seen this? Yes, well. Somewhere along the line, though, we are told to temper our responses with phrases like –  ‘don’t cry,’ ‘try to behave,’ ‘big girls/boys don’t shout.’

While this helps to create a society which is relatively restrained (most of the time), it also teaches us to suppress our fears or pain. It tells us that emotions should be dealt with quietly and privately, and not in public. It pushes us into corners where we have to wrestle and fight against feelings of fear, inadequacy, rejection, pain and even phobias. It’s not unlike snake charming gone awry. These are just a few of the murky areas of our lives which we have been taught to just sit on and ignore, in the hope that they will just vanish.

Why do readers need this in a story?

Why do we read books at all? For a vast majority it is a means of escape, a way of entering into an imaginary world where the rules have changed and events are happening to other people, events which stir up emotions in the reader and trigger memories of their own fears. We need to feel that we are not alone and books can provide an intense range of emotions in the reader. The level of which is down to the craftsmanship of the writer.

In a good novel we are taken on a journey with a roller coaster of emotions which vary in intensity throughout the pages. The journey can be frightening and it can be comforting, it call tell us that our fears are universal, it can navigate us through the choppy waters of disbelief, it can heal the deeper parts of our soul and can remind us that all of humanity lives with these bundles of hidden thoughts, and all in the safety and privacy of a collection of words, neatly bound in a cover without us having to leave the house or to communicate these fears.

How can we find the ideas?

As writers we have fears which need to be exploited to form a convincing plot, fears which will leave the reader turning page after page. Some of these fears begin in childhood, others might be more recent, but they are there and they need to be dug up, excavated and displayed in the pages of your books. Readers connect with writers who artfully pull at these strings – strings of challenge, of hopelessness, of a fear of change. Whatever the issues with your key characters, you need to delve into the murky waters surrounding an event and pull out the rawness of the emotions.

If there is no tension or emotion in your story it won’t fly.

Open up the corridors of your inner world and pull out all that lurks in the darkness. You will help your readers to relate to the characters and bring a believable plot to life.

Step Away From The Vehicle

Step away from the vehicle – and put your novel in a drawer

step away

This is the final piece of advice I wanted to share with you from Zadie Smith in this series on writing wisdom.

When you finish your novel put it in a drawer for as long as possible. A year or more is ideal, says Smith, but even three months will do. Step away from the vehicle. The secret to editing your work lies in the fact that you must become a reader instead of a writer. Smith says that there have been many times where she has sat backstage with a line of novelists at a literary festival, all with red pens in hand, frantically editing their published novels so that they might go onstage and read from them. Unfortunately the perfect state of mind to edit your own novel is apparently two years after it is published! And ten minutes before you go onstage at a literary festival. At that moment every redundant phrase, each pointless metaphor, all the pieces of deadwood are distressingly obvious to you as a writer.

Several years previously, when the proofs arrived, you looked at the same page and couldn’t see a comma out of place. And by the way, that’s true of the professional editors, too; after they have read a manuscript multiple times, they stop being able to see it. You need a certain head on your shoulders to edit a novel, and it’s not the head of a writer in the thick of it, nor the head of a professional editor who’s read it in 12 different versions. It’s the head of a smart stranger who picks it off a bookshelf and begins to read. You need to get into the head of that smart stranger and forget you ever wrote that book.

Personally, I left my novel for three months and began a Masters in Theology. Needless to say, the theology fell by the wayside once I picked up the book again, cut out a whole family, added two chapters, released it into the hands of my editors and completed the edits once they had finished their job. You don’t need to change course or take up something new, but at least begin some other writing and let it rest.

Here are some of my previous articles which you mind find helpful for editing your work:

https://fcmalby.wordpress.com/2012/10/10/3-things-to-remember-when-editing-your-book/

https://fcmalby.wordpress.com/2012/10/16/editing-and-ove-ruse-of-words-make-each-word-count/

https://fcmalby.wordpress.com/2012/11/09/one-of-the-most-effective-ways-of-editing-your-work/

 

Some interesting articles on leaving a gap between finishing your book and editing your work:

http://www.wiseinkblog.com/planning/at-first-draft-the-6-minimal-steps-to-revising-your-manuscript-before-submission/

http://www.writersdigest.com/qp7-migration-books/wgf-revision_excerpt

http://www.write4kids.com/feature4.html

http://theliteraryhub.blogspot.co.at/2011/10/top-10-tips-for-revising-your.html

http://www.scriptmag.com/features/rewriting-is-writing (this advice is for screenwriting but it applies equally to novels.)