I know a fair amount of writers. By that I don’t necessarily mean that these people write books, but they write. They’re a mix of journalists, passionate writers, bloggers, novelists and editors. It doesn’t really matter what the objective is. They’re writers. It’s as simple as that.
One of the most common problems I’ve found among said writers is a vice that to some degree many of us have buried down somewhere. It’s the fear of having our work exposed, critiqued, ridiculed or torn down by an outside party. It’s the vulnerability we face by putting our writing out there and having its fate rest in the hands of its beholders. It’s the fear of what you do and love to do leaving the safety of your mind. It’s the fear of judgement day.
Continue reading “Don’t Hide Your Work From The World”
Profanity is an interesting topic to me because of people’s vastly different reactions to it both in real life and literature. Some people cringe and can’t take swear words at all, others aren’t bothered by them in the slightest and some people consider them only to be effective when used in a good context. You even get those who feel profanity is a crutch for the inarticulate.
I don’t quite fall on any particular side in this debate because I’m totally an advocate for freedom in writing and creating art with as little rules as possible. But I do like to entertain all sides of the discussion.
My desire to talk about the topic arose recently when out of interest I checked the ‘fuck’ count in my upcoming book, The Black Glass Killer, and discovered that the word appeared a whopping 150 times in the novel so far, and that number can go up or down during the editing process.
Continue reading “The Use Of Profanity In Writing”
In the world we live in today one of the greatest dangers facing artistic expression and creative freedom is often declared to be the oversensitivity of the audience, especially on the internet. Controversial material, whether through humour or graphic or television or writing, is constantly under threat of scrutiny often not for the actual quality of the art, but for whether it should be allowed to exist. In other words, whether it’s acceptable. This is a problem that all artists must face, and it’s especially important in a time where censorship is an always looming danger yet the volume of material is at an all time high and barriers to entry at a lovable low.
Continue reading “Dealing With Audience Oversensitivity As An Artist”
I’ve always had a deep love for rhyming. Ask anyone I’m close to and they’d confirm that when I’m in the mood I can go off on rhyming tangents that last minutes, often packed with silliness. When I was really small I used to write poems or little limericks for my parents on their birthdays. As I grew older I privately tried my hand at song writing and eventually poetry, some of which featured in one of my first — and currently shelved — books, Darklight, which is a supernatural story I plan on revisiting some day. It’s tricky to explain in words, which is funny to say as an actual writer, but there’s a creative purity, or unique flow, to poetry that truly can help unlock any closed gates in your mind when searching for some consistency in your art.
Continue reading “How Poetry Can Improve Creative Flow”
In life we know that letting go is one of the most difficult things you can do. As it is in reality, so too is that truth relevant in fiction. We become attached to other people or objects, whether real or not. We become invested in characters and stories we’ve followed for a long time. Sometimes that emotional investment clouds our perceptions, and other times it results in us not wanting a certain world to close or story to end, even when a conclusion is perhaps a necessity, or the overall quality of what we’re enjoying has certainly taken a nose dive. We are ultimately beings of intimate emotion and tangible feelings, striving for connection. But is there a point where this need for attachment becomes too much in the creative process? Is there a point where it begins to harm your narrative, and becomes a weakness? Or is it a writer’s strength in bringing their characters to life?
Continue reading “Is Attachment To Your Characters A Weakness?”
Writing, or any art for that matter, is an extremely personal thing, and by extension every creator has their own methods to their madness. Some people, like my brother for instance, require silence in order to write. Others enjoy the tranquillity of some nice scenery. There are those who perhaps need to talk to themselves as they perform their art. Often these methods can mix and match depending on the person and their mood, since there’s no right way to do it. I mean, some people study using mind maps and pretty pictures, and I for one can’t get on with that. There’s another method I personally use to inspire my writing when the piece in progress needs a little extra kick, and it’s to do with the power music has to inspire art.
Continue reading “The Power Music Has To Inspire Your Writing”
As people the sad truth is that our recollection of things is often wholly inaccurate. Whether it’s because of our subjective natures, or because we attach emotional elements or sentimental value to good memories or because we like to see the past better than it was, the present worse than it is, and the future less resolved than it will be, there’s some truth in the claim that we don’t really have great memories. But that’s a vast topic better served in educational articles and studies, because what I want to talk about is more narrowed down to your enjoyment and appreciation of things, whether it is art, video games, a good book or movie or even just something of sentimental value to you. In particular, how to avoid those rose-tinted biases you build up over time about things you experienced in your past, and how it can limit your enjoyment of things in the present or effectively just be inaccurate, and as a result be a rather damaging thing if you discover that the reality is pretty different.
Continue reading “Avoiding The Rose-Tinted Bias Of Your Memory”