Elwood Flynn, author of Pulp Western Hot Lead, insists that he doesn’t know where the brutal violence in his books comes from and that he’s a perfectly nice person really.
WE DISCUSS:
Launching a new series with multiple formats including a gift box set
How he once wrote a book in a day
And how being a fan of Westerns can be politically challenging…
Michael S Jackson, author of the epic Ringlander fantasy series, reveals how he lets the first draft storytelling flow in order to leave himself material that he can use in edits and rewrites. He also shares details of his new Kickstarter campaign!
WE DISCUSS
The balance between story, magic and worldbuilding
The importance of cover art and creating beautiful books
And the important of the Rubik’s Cube to his state of mind…
Michael S Jackson, author of the Ringlander fantasy series will be discussing high fantasy, creating beautiful editions of his books, selling direct, Kickstarters, writing sequels and much more!
Join me and Jeremy Szal, who was born in the outback of Australia and raised by wild dingos (it says here!). He is the author of the Common trilogy, a dark space opera, and was a guest of honour at the 81st Worldcon in China. We’ll be discussing writing epic science fiction, forging a career as a writer in an uncertain world and much more!
Join in the conversation live on TUESDAY 17TH FEBRUARY, 8PM GMT
The Creative Differences livestream is back, back, back! Join me and the brilliant Ellis Blackwood for what promises to be a lively chat in which we not only discuss his super Samuel Pepys mysteries, but also a secret Youtube video that we recorded when we were young and needed the money…
Sorry folks, but the next livestream is now on Monday 3rd November, 8pm GMT. My apologies for any inconvenience!
Pernille Hughes is the author of TEN YEARS, PROBABLY THE BEST KISS IN THE WORLD and PUNCH-DRUNK LOVE; novels brimming with warmth, wit and unforgettable characters. And now she’s back with her new novel A COPENHAGEN SNOWMANCE, which is here to herald in Christmas. Yes, I said the C-word! What of it?? Join the conversation LIVE on Monday 3rd November at 8PM GMT for what promises to be another cracking episode of the podcast that dares to shop early for Christmas.
Pernille Hughes is the author of TEN YEARS, PROBABLY THE BEST KISS IN THE WORLD and PUNCH-DRUNK LOVE; novels brimming with warmth, wit and unforgettable characters. And now she’s back with her new novel A COPENHAGEN SNOWMANCE, which is here to herald in Christmas. Yes, I said the C-word! What of it?? Join the conversation LIVE on Thursday 9th October at 8PM BST for what promises to be another cracking episode of the podcast that dares to shop early for Christmas.
GD Wright is the author of the bestselling AFTER THE STORM and INTO THE FIRE, and he’s genuinely one of the nicest guys in the business with an extraordinary tale to tell: he was a copper, then due to health issues had to retire aged 30, and if you know Gary at all you’ll know that he’s had a few challenges this year… but he’s come through and was an amazing guest on the livestream. He talks frankly his strange route to publication, creating a writing habit, how his work was optioned when he was self-published and much, much more…
MARK: What small thing has made a big difference to your creative process?
NICOLA: I think planning the middle, really. Because I used to plan the end and then, you know, your characters do their decisions, and then it would be like, hey, guess what? This 90,000 word novel is 130,000 words. And now I’m like; if I know the middle, it is much easier to stay on track. I think that’s probably the biggest change for me. I think in terms of, yeah, stopping me from going absolutely bananas. But also like a piece of information like… we talk about the German market: I was in a, a workshop with Imogen Cooper, and she said that if you translate a book into German, it adds almost a third onto the length of the book. When you consider translation costs, and paper costs, and ink costs and all the rest of it, it was like, whoa. Because up to that point I was like, it’s not that big a deal to cut some words, but actually, you realise in terms of making it appealing… So those two things together really focus me on not overwriting, not just enjoying myself forever and meandering off down wherever, and just keep me focused.
MARK: So yeah, yeah, I see that’s a very good point. The German editions of my books are quite chunky, but I just thought it was because they were a slightly smaller format. But that makes complete sense now. And when you when you talk about planning the middle… because for many people this is one of the most difficult parts, because the opening is all fun and games, the middle act is where you need to escalate and things have lots of consequences and sooner or later you have to tie these things up. How are you planning that middle?
NICOLA: So it’s that big shift. What’s the big change that is going to happen? That gear change. So when I’ve decided like what’s the big turning point, where everything sort of goes up a gear, once I know what that is, then it keeps me on track. And it means that my characters are never… You know, it’s like keeping the target in sight so they can’t veer off too much. You know, if you do what the characters want you to do, you will end up so far away from where you need to be. And editing for word count is probably one of the most painful versions of editing. When you’re trying to shave off 40,000 words and you’re going, ‘I can’t possibly!’ but you have to. Learning the hard way is also a very big motivator.
MARK: What small thing has made a big difference to your creative process?
NADINE: What I do now… Before I just used to write my first draft — and it sounds like a big thing, but it’s not, it’s a small thing — I write the first draft, and then after that, then do the rewrite, brief re-structure, whatever. That’s the second draft. But now I don’t. I write up to act two, and then once I finish act two in the first draft, that’s when I start doing the rewrite. Because now I’m doing the rewrite, I have a clearer idea of how… I’ve fixed everything now, so I know exactly how that last third is going to finish. And I started doing that. I think with… I think I did it with The Kill List, and I think it was just a timing issue I had. Like, a personal time finishing, I thought, I’m not going to get this done if I wait to finish it. I thought, let me just start rewriting it now. When I did that, I thought, this is a better way for me to work. So that’s what I do now.
MARK: And when you get to that two thirds point, you just plough on and get straight through to the end.
NADINE: Yeah, because I’m not thinking… When I’m writing that first draft, I’m already thinking, well, I already know I need to change this now. I need to change this character, put it in a different location, or I’m just going to get rid of that subplot. I just know these things aren’t going to work. And by the time I’ve done the second draft, I’ve already done that. And then I said, that last third is… I can’t say seamless, but it’s a lot smoother. I’m not fixing things.
MARK: Yeah, it’s so weird because I’ve just done that myself actually. You know, I’m talking about trilogies being hard. I got about I was 80,000 words on this, and the ending is there, and I’m kind of thinking, hmmm… And then I’m writing, I thought, ‘Oh, that’s what this is about!’ So I’ve realised, actually, what it’s about. So I’ve had to go back and sort of, you know, make changes. And now the ending just feels so much… Not, like you say, not easier, but I know where I’m going now. I know I’m going to do it. Yeah.
NADINE: You have a much clearer… There’s no debris in your path. That’s the best way.
MARK: Yeah, yeah, yeah, yeah, yeah. It’s a lot less cluttered, isn’t it?
Mark Stay Writes 