Dame Diana Rigg (20 Jul 1938 – 10 Sep 2020)

It’s very rare for me to publish 2 posts in 2 days, and possibly unprecedented to publish 3 in less than a week. However, I couldn’t let this pass, for a number of reasons. Arguably, Dame Diana Rigg has had little to do with philosophy but quite a lot to do with culture and, of course, storytelling, which is a topic close to my heart.

In one of the many tributes that came out, there is an embedded video (c/- BBC Archives, 1997), where she talks about acting in a way that most of us don’t perceive it. She says, in effect, that an audience comes to a theatre (or a cinema) because they want to ‘believe’, and an actor has to give them (or honour) that ‘belief’. (I use the word, honour, she didn’t.)

This is not dissimilar to the ‘suspension of disbelief’ that writers attempt to draw from their readers. I’ve watched quite a few of Diana Rigg’s interviews, given over the decades, and I’m always struck by her obvious intelligence, not to mention her wit and goodwill.

 

I confess to being somewhat smitten by her character, Emma Peel, as a teenager. It was from watching her that I learned one falls for the character and not the actor playing her. Seeing her in another role, I was at first surprised, then logically reconciled, that she could readily play someone else less appealing.

 

Emma Peel was a role before its time in which the female could have the same hero status as her male partner. She explained, in one of the interviews I saw, that the role had originally been written for a man and they didn’t have time to rewrite it. So it occurred by accident. Originally, it was Honor Blackman, as Cathy Gale (who also passed away this year). But it was Diana Rigg as Emma Peel who seemed to be the perfect foil for Steed (Patrick Macnee). No one else filled those shoes with quite the same charm.

 

It was a quirky show, as only the British seem to be able to pull off: Steed in his vintage Bentley and Mrs Peel in her Lotus Elan, which I desired almost as much as her character.

 

The show time-travelled without a tardis, combining elements of fantasy and sci-fi that influenced my own writing. I suspect there is a bit of Emma Peel in Elvene, though I’ve never really analysed it.

Secrets to good writing

I wrote this, because it came up on Quora as a question, What makes good writing?

I should say up front that there are a lot of much better writers than me, most of whom write for television, in various countries, but Europe, UK, America, Australia and New Zealand are the ones I’m most familiar with.

 

I should also point out that you can be ‘good’ at something without being ‘known’, so to speak. Not all ‘good’ cricketers play for Australia and not all ‘good’ footballers play in the national league. I have a friend who has won awards in theatre, yet she’s never made any money out of it; it’s strictly amateur theatre. She was even invited (as part of a group) to partake in a ‘theatre festival’ in Monaco a couple of years ago. Luckily, the group qualified for a government grant so they could participate.

 

Within this context, I call myself a good writer, based partly on feedback and partly on comparing myself to other writers I’ve read. I’ve written about this before, but I’ll keep it simple; almost dot points.

 

Firstly, good writing always tells the story from some character’s point of view (POV) and it doesn’t have to be the same character throughout the story. In fact, you can change POV even within the same scene or within dialogue, but it’s less confusing if you stay in one.

 

You take the reader inside a character’s mind, so they subconsciously become an actor. It’s why the reader is constantly putting themselves in the character’s situation and reacting accordingly.

 

Which brings me to the second point about identifying good writing. It can make the reader cry or laugh or feel angry or scared – in fact, feel any human emotion.

 

Thirdly, good writing makes the reader want to keep returning to the story. There are 2 ways you can do this. The most obvious and easiest way is to create suspense – put someone in jeopardy – which is why crime fiction is so popular.

 

The second way is to make the reader invest in the character(s)’ destiny. They like the characters so much that they keep returning to their journey. This is harder to do, but ultimately more satisfying. Sometimes, you can incorporate both into the same story.

A story should flow, and there is one way that virtually guarantees this. When I attended a screenwriting course (some decades ago), I was told that a scene should either provide information about the story or information about a character or move the story forward. In practice, I found that if I did the last one, the other 2 took care of themselves.

Another ‘trick’ from screenwriting is to write in ‘real time’ with minimal description, which effectively allows the story to unfold like a movie inside the reader’s head.

 

A story is like a journey, and a journey needs a map. A map is a sequence of plot points that are filled in with scenes that become the story.

None of the above are contentious, but my next point is. I contend that good writing is transparent or invisible. By this I mean that readers, by and large, don’t notice good writing, they only notice bad writing. If you watch a movie, the writing is completely invisible. No one consciously comments on good screenwriting; they always comment on the good acting or the good filmmaking, neither of which would exist without a good script.

 

How is this analogous to prose writing? The story takes place in the reader’s imagination, not on the page. Therefore, the writing should be easy-to-read and it should flow, following a subliminal rhythm; and most importantly, the reader should never be thrown out of the story. Writing that says, ‘look at me, see how clever I am’, is the antithesis of this. I concede, not everyone agrees.

 

I’ve said before that if we didn’t dream, stories wouldn’t work. Dream language is the language of stories, and they can both affect us the same way. I remember when I was a kid, movies could affect me just as dramatically as dreams. When reading a story, we inhabit its world in our imagination, conjuring up imagery without conscious effort.

 

 

Example:

 

The world got closer until it eventually took up almost all their vision. Their craft seemed to level out as if it was skimming the surface, but at an ultra-high altitude. As they got lower the dark overhead was replaced by a cobalt-blue and then they passed through clouds and they could see they were travelling across an ocean with waves tipped by froth, and then eventually they approached a shoreline and they seemed to slow down as a long beach stretched like a ribbon from horizon to horizon. Beyond the beach there were hills and mountains, which they accelerated over until they came to flat grassy plains, and in the distance they saw some dots on the ground, which became a village of people and horses and huts that poked into the air like upside down cones.

Not losing the plot, and even how to find it

As I’ve pointed out in previous posts, the most difficult part of writing for me is plotting. The characters come relatively easy, though there is always the danger that they can be too much alike. I’ve noticed from my own reading that some authors produce a limited range of characters, not unlike some actors. Whether I fall into that category is for others to judge. 

But my characters do vary in age and gender and include AI entities (like androids). Ideally, a character reveals more of themselves as the story unfolds and even changes or grows. One should not do this deliberately – it’s best to just let it happen – try not to interfere is the intention if not always the result.

I’ve also pointed out previously that whether to outline or not is a personal preference, and sometimes a contentious one. As I keep saying, you need to find what works for you, and for me it took trial and error.

In my last post on this topic, I compared plotting to planning a project, because that is what I did professionally. On a project you have milestones that become ‘goals’ and there is invariably a suite of often diverse activities required to come together at the right time. In effect, making sure everything aligns was what my job was all about.

When it comes to plotting, we have ‘plot points’, which are analogous to milestones but not really the same thing. And this is relevant to whether one ‘outlines’ or not. A very good example is given in the movie, Their Finest (excellent movie), which is a film within a film and has a screenwriter as the protagonist. The writers have a board where they pin up the plot points and then join them up with scenes, which is what they write.

On the other hand, a lot of highly successful writers will tell you that they never outline at all, and there is a good reason for that. Spontaneity is what all artists strive for – it’s the very essence of creativity. I’ve remarked myself, that the best motivation to write a specific scene is the same as the reader’s: to find out what happens next. As a writer, you know that if you are surprised then so will your readers be.

Logically, if you don’t have an outline, you axiomatically don’t know what happens next, and the spontaneity that you strive for, is all but guaranteed. So what do I do? I do something in between. I learned early on that I need a plot point to aim at, and whether I know what lies beyond that plot point is not essential.

I found a method that works for me, and any writer needs to find a method that works for them. I keep a notebook, where I’ll ‘sketch’ what-ifs, which I’ll often do when I don’t know what the next plot point is. But once I’ve found it, and I always recognise it when I see it, I know I can go back to my story-in-progress. But that particular plot point should be far enough in the future that I can extemporise, and other plot points will occur spontaneously in the interim.

Backstory is often an important part of plot development. J.K. Rowling created a very complex backstory that was only revealed in the last 2 books of her Harry Potter series. George Lucas created such an extensive backstory for Star Wars, he was able to make 3 prequels out of it.

So, whether you outline or not may be dependent on how much you already know about your characters before you start.

An android of the seminal android storyteller

I just read a very interesting true story about an android built in the early 2000s based on the renowned sci-fi author, Philip K Dick, both in personality and physical appearance. It was displayed in public at a few prominent events where it interacted with the public in 2005, then was lost on a flight between Dallas and Las Vegas in 2006, and has never been seen since. The book is called Lost In Transit; The Strange Story of the Philip K Dick Android by David F Duffy.

You have to read the back cover to know it’s non-fiction published by Melbourne University Press in 2011, so surprisingly a local publication. I bought it from my local bookstore at a 30% discount price as they were closing down for good. They were planning to close by Good Friday but the COVID-19 pandemic forced them to close a good 2 weeks earlier and I acquired it at the 11^th hour, looking for anything I might find interesting.

To quote the back cover:

David F Duffy was a postdoctoral fellow at the University of Memphis at the time the android was being developed... David completed a psychology degree with honours at the University of Newcastle [Australia] and a PhD in psychology at Macquarie University, before his fellowship at the University of Memphis, Tennessee. He returned to Australia in 2007 and lives in Canberra with his wife and son.

The book is written chronologically and is based on extensive interviews with the team of scientists involved, as well as Duffy’s own personal interaction with the android. He had an insider’s perspective as a cognitive psychologist who had access to members of the team while the project was active. Like everyone else involved, he is a bit of a sci-fi nerd with a particular affinity and knowledge of the works of Philip K Dick.

My specific interest is in the technical development of the android and how its creators attempted to simulate human intelligence. As a cognitive psychologist, with professionally respected access to the team, Duffy is well placed to provide some esoteric knowledge to an interested bystander like myself.

There were effectively 2 people responsible (or 2 team leaders), David Hanson and Andrew Olney, who were brought together by Professor Art Greasser, head of the Institute of Intelligent Systems, a research lab in the psychology building at the University of Memphis (hence the connection with the author). 

Hanson is actually an artist, and his specialty was building ‘heads’ with humanlike features and humanlike abilities to express facial emotions. His heads included mini-motors that pulled on a ‘skin’, which could mimic a range of facial movements, including talking.

Olney developed the ‘brains’ of the android that actually resided on a laptop and was connected by wires going into the back of the android’s head. Hanson’s objective was to make an android head that was so humanlike that people would interact with it on an emotional and intellectual level. For him, the goal was to achieve ‘empathy’. He had made at least 2 heads before the Philip K Dick project.

Even though the project got the ‘blessing’ of Dick’s daughters, Laura and Isa, and access to an inordinate amount of material, including transcripts of extensive interviews, they had mixed feelings about the end result, and, tellingly, they were ‘relieved’ when the head disappeared. It suggests that it’s not the way they wanted him to be remembered.

In a chapter called Life Inside a Laptop, Duffy gives a potted history of AI, specifically in relation to the Turing test, which challenges someone to distinguish an AI from a human. He also explains the 3 levels of processing that were used to create the android’s ‘brain’. The first level was what Olney called ‘canned’ answers, which were pre-recorded answers to obvious questions and interactions, like ‘Hi’, ‘What’s your name?’, ‘What are you?’ and so on. Another level was ‘Latent Semantic Analysis’ (LSA), which was originally developed in a lab in Colorado, with close ties to Graesser’s lab in Memphis, and was the basis of Grasser’s pet project, ‘AutoTutor’ with Olney as its ‘chief programmer’. AutoTutor was an AI designed to answer technical questions as a ‘tutor’ for students in subjects like physics.

To create the Philip K Dick database, Olney downloaded all of Dick’s opus, plus a vast collection of transcribed interviews from later in his life. The Author conjectures that ‘There is probably more dialogue in print of interviews with Philip K Dick than any other person, alive or dead.’

The third layer ‘broke the input (the interlocutor’s side of the dialogue) into sections and looked for fragments in the dialogue database that seemed relevant’ (to paraphrase Duffy). Duffy gives a cursory explanation of how LSA works – a mathematical matrix using vector algebra – that’s probably a little too esoteric for the content of this post.

In practice, this search and synthesise approach could create a self-referencing loop, where the android would endlessly riff on a subject, going off on tangents, that sounded cogent but never stopped. To overcome this, Olney developed a ‘kill switch’ that removed the ‘buffer’ he could see building up on his laptop. At one display at ComicCon (July 2005) as part of the promotion for A Scanner Darkly (a rotoscope movie by Richard Linklater, starring Keanu Reeves), Hanson had to present the android without Olney, and he couldn’t get the kill switch to work, so Hanson stopped the audio with the mouth still working and asked for the next question. The android simply continued with its monolithic monologue which had no relevance to any question at all. I think it was its last public appearance before it was lost. Dick’s daughters, Laura and Isa, were in the audience and they were not impressed.

It’s a very informative and insightful book, presented like a documentary without video, capturing a very quirky, unique and intellectually curious project. There is a lot of discussion about whether we can produce an AI that can truly mimic human intelligence. For me, the pertinent word in that phrase is ‘mimic’, because I believe that’s the best we can do, as opposed to having an AI that actually ‘thinks’ like a human. 

In many parts of the book, Duffy compares what Graesser’s team is trying to do with LSA with how we learn language as children, where we create a memory store of words, phrases and stock responses, based on our interaction with others and the world at large. It’s a personal prejudice of mine, but I think that words and phrases have a ‘meaning’ to us that an AI can never capture.

I’ve contended before that language for humans is like ‘software’ in that it is ‘downloaded’ from generation to generation. I believe that this is unique to the human species and it goes further than communication, which is its obvious genesis. It’s what we literally think in. The human brain can connect and manipulate concepts in all sorts of contexts that go far beyond the simple need to tell someone what they want them to do in a given situation, or ask what they did with their time the day before or last year or whenever. We can relate concepts that have a spiritual connection or are mathematical or are stories. In other words, we can converse in topics that relate not just to physical objects, but are products of pure imagination.

Any android follows a set of algorithms that are designed to respond to human generated dialogue, but, despite appearances, the android has no idea what it’s talking about. Some of the sample dialogue that Duffy presented in his book, drifted into gibberish as far as I could tell, and that didn’t surprise me.

I’ve explored the idea of a very advanced AI in my own fiction, where ‘he’ became a prominent character in the narrative. But he (yes, I gave him a gender) was often restrained by rules. He can converse on virtually any topic because he has a Google-like database and he makes logical sense of someone’s vocalisations. If they are not logical, he’s quick to point it out. I play cognitive games with him and his main interlocutor because they have a symbiotic relationship. They spend so much time together that they develop a psychological interdependence that’s central to the narrative. It’s fiction, but even in my fiction I see a subtle difference: he thinks and talks so well, he almost passes for human, but he is a piece of software that can make logical deductions based on inputs and past experiences. Of course, we do that as well, and we do it so well it separates us from other species. But we also have empathy, not only with other humans, but other species. Even in my fiction, the AI doesn’t display empathy, though he’s been programmed to be ‘loyal’.

Duffy also talks about the ‘uncanny valley’, which I’ve discussed before. Apparently, Hanson believed it was a ‘myth’ and that there was no scientific data to support it. Duffy appears to agree. But according to a New Scientist article I read in Jan 2013 (by Joe Kloc, a New York correspondent), MRI studies tell another story. Neuroscientists believe the symptom is real and is caused by a cognitive dissonance between 3 types of empathy: cognitive, motor and emotional. Apparently, it’s emotional empathy that breaks the spell of suspended disbelief.

Hanson claims that he never saw evidence of the ‘uncanny valley’ with any of his androids. On YouTube you can watch a celebrity android called Sophie and I didn’t see any evidence of the phenomenon with her either. But I think the reason is that none of these androids appear human enough to evoke the response. The uncanny valley is a sense of unease and disassociation we would feel because it’s unnatural; similar to seeing a ghost - a human in all respects except actually being flesh and blood. 

I expect, as androids, like the Philip K Dick simulation and Sophie, become more commonplace, the sense of ‘unnaturalness’ would dissipate - a natural consequence of habituation. Androids in movies don’t have this effect, but then a story is a medium of suspended disbelief already.

Logic, analysis and creativity

I’ve talked before about the apparent divide between arts and humanities, and science and technology. Someone once called me a polymath, but I don’t think I’m expert enough in any field to qualify. However, I will admit that, for most of my life, I’ve had a foot in both camps, to use a well-worn metaphor. At the risk of being self-indulgent, I’m going to discuss this dichotomy in reference to my own experiences.

I’ve worked in the engineering/construction industry most of my adult life, yet I have no technical expertise there either. Mostly, I worked as a planning and cost control engineer, which is a niche activity that I found I was good at. It also meant I got to work with accountants and lawyers as well as engineers of all disciplines, along with architects. 

The reason I bring this up is because planning is all about logic – in fact, that’s really all it is. At its most basic, it’s a series of steps, some of which are sequential and some in parallel. I started doing this before computers did a lot of the work for you. But even with computers, you have to provide the logic; so if you can’t do that, you can’t do professional planning. I make that distinction because it was literally my profession.

In my leisure time, I write stories and that also requires a certain amount of planning, and I’ve found there are similarities, especially when you have multiple plot lines that interweave throughout the story. For me, plotting is the hardest part of storytelling; it’s a sequential process of solving puzzles. And science is also about solving puzzles, all of which are beyond my abilities, yet I love to try and understand them, especially the ones that defy our intuitive sense of logic. But science is on a different level to both my professional activities and my storytelling. I dabble at the fringes, taking ideas from people much cleverer than me and creating a philosophical pastiche.

Someone on Quora (a student) commented once that studying physics exercised his analytical skills, which he then adapted to other areas of his life. It occurred to me that I have an analytical mind and that is why I took an interest in physics rather than the other way round. Certainly, my work required an analytical approach and I believe I also take an analytical approach to philosophy. In fact, I’ve argued previously that analysis is what separates philosophy from dogma. Anyway, I don’t think it’s unusual for us, as individuals, to take a skill set from one activity and apply it to another apparently unrelated one.

I wrote a post once about the 3 essential writing skills, being character development, evoking emotion and creating narrative tension. The key to all of these is character and, if one was to distil out the most essential skill of all, it would be to write believable dialogue, as if it was spontaneous, meaning unpremeditated, yet not boring or irrelevant to the story. I’m not at all sure it can be taught. Someone once said (Don Burrows) that jazz can’t be taught, because it’s improvisation by its very nature, and I’d argue the same applies to writing dialogue. I’ve always felt that writing fiction has more in common with musical composition than writing non-fiction. In both cases they can come unbidden into one’s mind, sometimes when one is asleep, and they’re both essentially emotive mediums. 

But science too has its moments of creativity, indeed sheer genius; being a combination of sometimes arduous analysis and inspired intuition.

Secret heroes

A writer can get attached to characters, and it tends to sneak up on one (speaking for myself) meaning they are not necessarily the characters you expect to affect you.

 

All writers, who get past the ego phase, will tell you the characters feel like they exist separately to them. By the ego phase, I mean you’ve learned how to keep yourself out of the story, though you may suffer lapses – the best fiction is definitely not about you.

 

People will tell you that you use your own experience on which to base characters and events, and otherwise will base characters on people you know. I expect some writers might do that and I’ve even seen advice, if writing a screenplay, to imagine an actor you’ve seen playing the role. If I find myself doing that then I know I’ve lost the plot, literally rather than figuratively. 

 

I borrow names from people I’ve known, but the characters don’t resemble them at all, except in ethnicity. For example, if I have an Indian character, I will use an Indian name of someone I knew. We know that a name is not unique, so we know more than one John, for example, and we also know they have nothing in common.

 

I worked with someone once, who had a very unusual name, Essayas Alfa, and I used both his names in the same story. Neither character was anything like the guy I knew, except the character called Essayas was African and so was my co-worker, but one was a sociopath and the other was a really nice bloke. A lot of names I make up, including all the Kiri names, and even Elvene. I was surprised to learn it was a real name; at least, I got the gender right.

 

The first female character I ever created, when I was learning my craft, was based on someone I knew, though they had little in common, except their age. It was like I was using her as an actor for the role. I’ve never done that since. A lot of my main characters are female, which is a bit of a gamble, I admit. Creating Elvene was liberating and I’ve never looked back.

 

If you have dreams occupied by strangers, then characters in fiction are no different. One can’t explain it if you haven’t experienced it. So how can you get attached to a character who is a figment of your mind? Well, not necessarily in the way you think – it’s not an infatuation. I can’t imagine falling in love with a character I created, though I can imagine falling in love with an actor playing that character, because she’s no longer mine (assuming the character is female).

 

And I’ve got attached to male characters as well. These are the characters who have surprised me. They’ve risen above themselves, achieved something that I never expected them to. They weren’t meant to be the hero of the story, yet they excel themselves, often by making a sacrifice. They go outside their comfort zone, as we like to say, and become courageous, not by overcoming an adversary but by overcoming a fear. And then I feel like I owe them, as illogical as that sounds, because of what I put them through. They are my secret hero of the story. 

The confessions of a self-styled traveller in the world of ideas

Every now and then, on very rare occasions, you have a memory or a feeling that was so long ago that it feels almost foreign, like it was experienced by someone else. And, possibly it was, as I’m no longer the same person, either physically or in personality.

This particular memory was when I was a teenager and I was aflame with an idealism. It came to me, just today, while I was walking alongside a creek bed, so I’m not sure I can get it back now. It was when I believed I could pursue a career in science, and, in particular, physics. It was completely at odds with every other aspect of my life. At that time, I had very poor social skills and zero self-esteem. Looking back, it seems arrogant, but when you’re young you’re entitled to dream beyond your horizons, otherwise you don’t try.

This blog effectively demonstrates both the extent of my knowledge and the limits of my knowledge, in the half century since. I’ve been most fortunate to work with some very clever people. In fact, I’ve spent my whole working life with people cleverer than me, so I have no delusions.

I consider myself lucky to have lived a mediocre life. What do I mean by mediocre? Well, I’ve never been homeless, and I’ve never gone hungry and I’ve never been unable to pay my bills. I’m not one to take all that for granted; I think there is a good deal of luck involved in avoiding all of those pitfalls. Likewise, I believe I’m lucky not to be famous; I wouldn’t want my life under a microscope, whereby the smallest infraction of society’s rules could have me blamed and shamed on the world stage.

I’ve said previously that the people we admire most are those who seem to be able to live without a facade. I’m not one of those. My facade is that I’m clever: ever since my early childhood, I liked to spruik my knowledge in an effort to impress people, especially adults, and largely succeeded. I haven’t stopped, and this blog is arguably an extension of that impetus. But I will admit to a curiosity which was manifest from a very young age (pre high school), and that’s what keeps me engaged in the world of ideas. The internet has been most efficacious in this endeavour, though I’m also an avid reader of books and magazines, in the sciences, in particular.

But I also have a secret life in the world of fiction. And fiction is the best place to have a secret life. ELVENE is no secret, but it was written almost 2 decades ago. It was unusual in that it was ‘popular’. By popular, I don’t mean it was read by a multitude (it unequivocally wasn’t), but it was universally liked, like a ‘popular’ song. It had a dichotomous world: indigenous and futuristic. This was years before James Cameron’s Avatar, and a completely different storyline. I received accolades like, ‘I enjoyed every page’ and ‘I didn’t want it to end’ and ‘it practically played out like a movie in my head’.

ELVENE was an aberration – a one-off – but I don’t mind, seriously. My fiction has become increasingly dystopian. The advantage of sci-fi (I call mine, science-fantasy) is that you can create what-if worlds. In fact, an Australian literary scholar, Peter Nicholls, created The Encyclopedia of Science Fiction, and a TV doco was made of him called The What If Man.

Anyway, you can imagine isolated worlds, which evolve their own culture and government, not unlike what our world was like before sea and air travel compressed it. So one can imagine something akin to frontier territories where democracy is replaced by autocracy that can either be beneficiary or oppressive or something in between. So I have an autocracy, where the dictator limits travel both on and off his world. Where clones are exploited to become sex workers and people who live there become accustomed to this culture. In other words, it’s not that different to cultures in our past (and some might say, present). The dictator is less Adolf Hitler and more Donald Trump, though that wasn’t deliberate. Like all my characters, he takes on a life of his own and evolves in ways I don’t always anticipate. He’s not evil per se, but he knows how to manipulate people and he demands absolute loyalty, which is yet to be tested.

The thing is that you go where the story and the characters take you, and sometimes they take you into dark territory. But in the dark you look for light. “There’s a crack in everything; that’s how the light gets in” (Leonard Cohen). I confess I like moral dilemmas and I feel, I’ve not only created a cognitive dissonance for one of my characters, but, possibly, for myself as a writer. (Graham Greene was the master of the moral dilemma, but he’s in another class.)

Last year I saw a play put on by my good friend, Elizabeth Bradley, The Woman in the Window, for Canberra REP. It includes a dystopian future that features sex workers as an integral part of the society. It was a surprise to see someone else addressing a similar scenario. The writer was Kiwi, Alma De Groen, and she juxtaposed history (the dissident poet, Anna Akhmatova in Stalin’s Russia) with a dystopian future Australia.

I take a risk by having female protagonists prominent in all my fiction. It’s a risk because there is a lot of controversy about so-called ‘culture appropriation’. I increase that risk by portraying relationships from my female protagonists’ perspectives. However, there is always a sense that they all exist independently of me, which one can only appreciate if you willingly enter a secret world of fiction.

When real life overtakes fiction

I occasionally write science fiction; a genre I chose out of fundamental laziness. I knew I could write in that medium without having to do any research to speak of. I liked the idea of creating the entire edifice - world, story and characters - from my imagination with no constraints except the bounds of logic.

There are many subgenres of sci-fi: extraterrestrial exploration, alien encounters, time travel, robots & cyborgs, inter-galactic warfare, genetically engineered life-forms; but most SF stories, including mine, are a combination of some of these. Most sci-fi can be divided into 2 broad categories – space opera and speculative fiction, sometimes called hardcore SF. Space operas, exemplified by the Star Wars franchise, Star Trek and Dr Who, generally take more liberties with the science part of science fiction.

I would call my own fictional adventures science-fantasy, in the mould of Frank Herbert’s Dune series or Ursula K Le Guin’s fiction; though it has to be said, I don’t compete with them on any level.

I make no attempt to predict the future, even though the medium seems to demand it. Science fiction is a landscape that I use to explore ideas in the guise of a character-oriented story. I discovered, truly by accident, that I write stories about relationships. Not just relationships between lovers, but between mother and daughter, daughter and father(s), protagonist and nemesis, protagonist and machine.

One of the problems with writing science fiction is that the technology available today seems to overtake what one imagines. In my fiction no one uses a mobile phone. I can see a future where people can just talk to someone in the ether, because they can connect in their home or in their car, without a device per se. People can connect via a holographic form of Skype, which means they can have a meeting with someone in another location. We are already doing this, of course, and variations on this theme have been used in Star Wars and other space operas. But most of the interactions I describe are very old fashioned face-to-face, because that's still the best way to tell a story.

If you watch (or read) crime fiction you’ll generally find it’s very suspenseful with violence not too far away. But if you analyze it, you’ll find it’s a long series of conversations, with occasional action and most of the violence occurring off-screen (or off-the-page). In other words, it’s more about personal interactions than you realise, and that’s what generally attracts you, probably without you even knowing it.

This is a longwinded introduction to explain why I am really no better qualified to predict future societies than anyone else. I subscribe to New Scientist and The New Yorker, both of which give insights into the future by examining the present. In particular, I recently read an article in The New Yorker (Dec, 17, 2018) by David Owen about facial-recognition, called Here’s Looking At You, that is already being used by police forces in America to target arrests without any transparency. Mozilla (in a podcast last year) described how a man had been misidentified twice, was arrested and subsequently lost his job and his career. I also read in last week’s New Scientist (15 Dec. 2018) how databases are being developed to know everything about a person, even what TV shows they watch and their internet use. It’s well known that in China there is a credit-point system that determines what buildings you can access and what jobs you can apply for. China has the most surveillance cameras anywhere in the world, and they intend to combine them with the latest facial recognition software.

Yuval Harari, in Homo Deus, talks about how algorithms are going to take over our lives, but I think he missed the mark. We are slowly becoming more Orwellian with social media already determining election results. In the same issue of New Scientist, journalist, Chelsea Whyte, asks: Is it time to unfriend the social network? with specific reference to Facebook’s recently exposed track-record. According to her: “Facebook’s motto was once ‘move fast and break things.’ Now everything is broken.” Quoting from the same article:

Now, the UK parliament has published internal Facebook emails that expose the mindset inside the company. They reveal discussions among staff over whether to collect users’ phone call logs and SMS texts through its Android app. “This is a pretty high-risk thing to do from a PR perspective but it appears that the growth team will charge ahead and do it.” (So said Product Manager Michael LeBeau in an email from 2015)

Even without Edward Snowden’s whistle-blowing expose, we know that governments the world over are collecting our data because the technological ability to do that is now available. We are approaching a period in our so-called civilised development where we all have an on-line life (if you are reading this) and it can be accessed by governments and corporations alike. I’ve long known that anyone can learn everything they need to know about me from my computer, and increasingly they don’t even need the computer.

In one of my fictional stories, I created a dystopian world where everyone had a ‘chip’ that allowed all conversations to be recorded so there was literally no privacy. We are fast approaching that scenario in some totalitarian societies. In Communist China under Mao, and Communist Soviet Union under Stalin, people found the circle of people they could trust got smaller and smaller. Now with AI capabilities and internet-wide databases, privacy is becoming illusory. With constant surveillance, all subversion can be tracked and subsequently prosecuted. Someone once said that only societies that are open to new ideas progress. If you live in a society where new ideas are censored then you will get stagnation.

In my latest fiction I’ve created another autocratic world, where everyone is tracked because everywhere they go they interact with very realistic androids who act as servants, butlers and concierges, but, in reality, keep track of what everyone’s doing. The only ‘futuristic’ aspect of this are the androids and the fact that I’ve set it on some alien world. (My worlds aren’t terra-formed; people live in bubbles that create a human-friendly environment.)

After reading these very recent articles in New Scientist and TNY, I’ve concluded that our world is closer to the one I’ve created in my imagination than I thought.


Addendum 1: This is a podcast about so-called Surveillance Capitalism, from Mozilla. Obviously, I use Google and I'm also on FaceBook, but I don't use Twitter. Am I part of the problem or part of the solution? The truth is I don't know. I try to make people think and share ideas. I have political leanings, obviously, but they're transparent. Foremost, I believe, that if you can't put your name to something you shouldn't post it.

48hr Flash Fiction Challenge - 2018

 I entered this last year. It's actually called the Sci-Fi London Challenge, and the rules are pretty simple. They give you a title and a piece of dialogue plus an optional clue and you have to write a story in 2,000 words or less (I did it in 1,947). It opens 11am Sat and closes 1pm Mon (hence 48hr flash fiction). That's London time, so in reality it's from 8pm Sat to 10pm Mon Australian Eastern time, but it can easily be written in a day if you've got the bit between your teeth, otherwise you'll probably never do it. What I mean is either something comes to you or it doesn't, and if it doesn't then you're probably wasting your time.

Title: Where the grass still grows
Mandatory dialogue: Did you deliberately set out to make as much mess as possible?
Optional cue: New psychotropic drug creates telepathy/telekinesis

Getting the dialogue in was not a problem, but the title is a bit obscure. I allude to it in a very obtuse sort of way. Don't let a bad title get in the way of a good story, is what I told myself. The optional cue gave me some ideas but I went off in a completely different direction, as I tend to do.

Like last year's entry, this is not true sci-fi, more like Twilight Zone, which is appropriate given when and where I set the story. Personally, I think it's better than my last year's entry, but it's for others to judge.

Now some may think this a bit autobiographical because I grew up in a country town in this era and I was a science nerd in high school. Also we did have an eccentric science teacher who was really good with all kids, the bright ones and the ones who struggled. There was never any after school lab experiments but he did run extra classes for the lower level kids, not the high achievers. I still think that was rather remarkable. He failed me in chemistry in my final year to get my head out of my arse and it worked. But my fictional characters are all pure fiction. In my mind, they don't resemble anyone I know in real life. Characters come into my head like melodies and lyrics come into the heads of songwriters. That's my secret. Now you know.

Short stories need a twist in the tale, and this is no exception, except I didn't know what it was until I got there. In other words, I didn't know how it was going to end, and then it surprised me.

The formatting gets messed up, especially for dialogue, but I make the best of a bad situation. The submission manuscript is double-line spaced and it has proper formatting, with paragraph indentation, like you'd find in a novel. Below is my entry.



Davey lived alone with his mum, Irene to her friends; he had no memory of his father and he had no siblings. His mother never remarried. The favourite topic amongst his school friends was who was best: Elvis or the Beatles?

His best friend at school was Kevin; they were in Form 10. He secretly liked Penny, a girl in the year behind him, and on the rare occasions he had spoken to her, she was nice, but deliberately ignored him when her friends were around, so he avoided her.

 His favourite class was science. The teacher, Mr Robotham, always wore a white lab coat that was stained by experiments gone awry or possibly not; no one asked. He was thin and hawk nosed but was friendly and helpful, both to kids who were bright and kids who struggled.

Mr Robotham liked Davey, who was always asking extra-curricula questions, and he even lent him books, providing he told no one else. Mr Robotham sometimes allowed Davey to stay back after school and perform experiments, which he did most weeks, usually Wednesdays when everyone else was playing sport, and occasionally Kevin would join him.

On this occasion, Davey had assembled a massive apparatus, of tubes, beakers, flasks with stoppers and spaghetti-like hoses joining everything together. When he believed he had everything in order, he put one of the flasks, full of a yellowy liquid, on top of a Bunsen burner and started heating it up.
 Kevin looked a bit worried, ‘Do you know what you’re doing?’
‘Of course I do.’
‘So what are you making?’
He looked at Kevin with a wicked grin, ‘Let’s find out.’

Kevin watched the liquid boil and stepped back, while Davey put on a pair of safety glasses and watched to see if the liquid went up the tube as he hoped. Mr Robotham always made them wear safety glasses, no matter what they were doing in the lab, so it became second-nature.
Bang! The stopper in the flask went straight up and hit the ceiling and Davey found himself covered in the liquid.
‘Shit’, Kevin said.
Davey looked at his friend, whose eyes seemed to want to depart their sockets, and then down at his clothes covered in yellow goo. ‘Mum’s not going to be happy.’
Kevin couldn’t believe him. ‘Your Mum? Shit, what about Mr Robotham.’
‘I reckon he won’t be too happy either.’
As if to confirm his second-worst fears, Robotham came running into the lab. He must have heard the noise, Davey thought.
Robotham looked at Davey and put his hands on his shoulders, half-kneeling, ‘Are you alright?’
‘I’m fine. Sorry,’ he said in a small voice; he really wasn’t sure how Mr Robotham was going to react.
Robotham looked around at the aftermath, ‘Did you deliberately set out to make as much mess as possible?’
Davey looked up to him, ‘I’ll clean it up, Sir.’
But Mr Robotham surprised him, ‘No, you go home. Your mother is going to be so angry with me.’
Davey didn’t understand, ‘Why?’
‘Just go home,’ he looked at Kevin, who had been trying his best invisibility impersonation, ‘Both of you, before I change my mind.’

When he got home, his mother was so angry she didn’t say anything at first. But when she found her voice he surprised her, ‘My God, wait till I see Mr Robotham.’
‘It wasn’t his fault.’
‘Wasn’t it now? You go and run a bath. These clothes may be ruined for good.’
They ate their tea in silence and he wasn’t allowed to watch TV, so he went to bed in his room at the back of the house, next to hers. He found it hard to go to sleep.

At some point he woke up and found himself hovering above his bed; his sleeping form, on its back, below him. He could actually see himself breathing, yet he didn’t find it disconcerting; he found he was perfectly calm and he wondered if he had died.

Stranger still, he found he could move simply by will and he could travel through the wall into his mother’s room. He thought, I must be dreaming, so he wondered, in his scientifically minded way, if there was some way he could test that. He lowered himself towards the floor and looked at his mother’s alarm clock; the illuminated hands showed it was 20 past midnight. He thought of trying to wake his mother, but realised it would only scare her, so he went back through the wall to his own body and got very close to his face. He could see everything, all his pimples and the downy moustache that he hadn’t shaved when he’d had his bath. He could see his shoes on the floor, his cupboard; it didn’t feel like a dream, but he didn’t know what to do. Would he be able to return to his body? The idea of entering it by conscious will somehow seemed the wrong thing to do. He felt like he had a ghostly astral body, though he couldn’t see it, so he touched his own hand with the sense of his astral hand. His body shivered and his breathing stuttered and he realised that it was completely the wrong thing to do.

For the first time, he actually felt scared. What if I can’t return? He went back to his mother’s room and noticed that the clock now said 27 past so it seemed to confirm for him that it wasn’t a dream.
He wondered how far he could travel, so he literally went through the roof of his house and looked up to the stars above and down to the tree near their back fence. His mother had a vegetable garden and even some chooks in a yard, and he could see the back veranda and the backyard where the grass still grew. He entered the chook yard and some of them on their roosts seemed to wake as if they knew he was there but otherwise remained inert.

 The stars were especially bright and he noticed that he could see everything in shades but more delineated than he would normally. He noticed that he didn’t feel the cold or the air on his astral body and it occurred to him, that since he could go through walls he must be existing in another dimension. He would normally be able to smell the dew on the grass but he couldn’t. He realised that his only sense was sight for some reason. He couldn’t even hear anything. Again, his scientific mind came to his aid. He thought, I can interact with radiation but not with matter. He knew from his science classes that matter and light interacted but were quite different. One was made of atoms and the other was made of waves. Perhaps that’s what he was now: some astral waveform.
He travelled around above the town like he was some sort of night bird or a superhero. Some superhero, he thought, I can’t even touch anything.

He couldn’t resist the urge to visit the house of his friend, Kevin. He wondered if this ghostly manifestation was a consequence of his botched experiment and if so, did it affect Kevin? He entered Kevin’s house and observed all the appurtenances that he was familiar with: the kitchen table and chairs, the canisters on the shelf, the old white stove, matching fridge and stainless steel sink under the window with floral themed curtains.
It felt wrong to enter Kevin’s parents’ bedroom, but he had little compunction about visiting his friend’s. And there he was fast asleep, with his mouth open and Davey thought he was probably snoring only he couldn’t hear it.

He felt confident that Kevin wasn’t suffering the same disembodied state that he was, and rose back through the roof to survey the town. He now felt the urge to visit Penny’s house, even though it seemed wrong. On the other hand, he wanted her to be his friend and he told himself that she wouldn’t mind. He asked himself, Would I be able to tell her about it later? And he decided he could.
When he entered her bedroom she was sleeping on her side and he felt she looked so peaceful; he was glad he couldn’t wake her even if he wanted to. But it still felt awkward so he didn’t stay. Because it was a country town there was little movement and virtually no traffic until he saw the baker and the milkman getting ready to work. He knew then that dawn wouldn’t be that far off and he decided he needed to go home.

In the morning he had to watch with increasing anxiety as his mother tried to wake him and then become distraught. She called an ambulance and he followed his body to the hospital where he was attached to various machines and doctors and nurses came and examined him. All the while his mother went through moods of stoic patience, angry berating of medical staff and occasionally going to a toilet cubicle where she could cry without anyone seeing her.

Davey, in his extra-dimensional state, didn’t know what to do but wished he could just return to his body and bring everything back to normal. Later in the day his friend Kevin turned up and so did Mr Robotham, but his mother gave him a verbal barrage that Davey could only imagine the content, although he did lip-read some choice words that she usually only reserved for newsreaders on the TV. Robotham thought it best to leave, though he was obviously very upset. Davey wished he could tell them both that it wasn’t their fault. He felt unbelievably guilty for all the anguish he had caused, even though he had no idea how he had done it and wished, beyond everything else, he could restore the balance.

Very late in the day, probably after school, he was surprised to see Penny arrive and he was even more surprised to see her cry. She said something to him which he couldn’t make out, but he was deeply moved. She left some flowers behind, with a card. On it, he read: Dear Davey, Please get well. You are a special friend. All my love, Penny.

Davey followed her out of the hospital and wished above everything else he could communicate with her. When he came up behind her, she seemed to turn her head as if she knew he was there, but kept walking, and he didn’t follow.

His mother stayed and refused to go home. The nurses brought her food in the evening, and when she laid down on seats in the waiting area, one of them put a blanket over her. Davey felt so sad and he went into the room where his body was, all hooked up to the machines, and decided it best to stay with it.

In the morning, Davey woke up to find himself in a hospital bed. Nurses and doctors came running when the machines told them he was awake and his mother came in, her face covered in tears.
He looked at his mother, ‘What’s wrong?’
She came up to the bed and hugged him and sobbed like there was no tomorrow. When she released him she said, ‘Oh Davey, you had us all so worried. We didn’t know what happened to you.’
Davey couldn’t remember anything from when he went to bed in his own house, which was, unbeknownst to him, two nights ago.
Back at school everyone treated him differently. He never did extra-curricular lab experiments again. And Penny suddenly became his newest best friend.

Ursula K Le Guin - 21 October 1929 to 22 January 2018

I need to say something about Ursula Le Guin, as she was an inspiration to a generation of writers of fantasy and science fiction, including nonentities like yours truly and celebrated award-winning masters of their art like Neil Gaiman, who presented her with a Life Time Achievement Award at the 2014 American National Book Awards.

Ursula Le Guin was something of an oddity in that she was a famously successful author in the fantasy and sci-fi genre when it was dominated by male authors, well before J.K. Rowling came on the scene.

Left Hand of Darkness and The Dispossessed are possibly her best known works along with the Earthsea quartet, which is my personal favourite.

Below is the speech by Neil Gaiman, who describes her influence on his own writing, and Ursula's 'thank you' speech, where she laments the state of publishing and its corrosive effect on artistic freedom, as she sees it.

It is fair to say that she had an influence on my own writing, and perhaps I am lucky to have avoided the corporate publishing machine, if they have the influence over one's creative work as she infers.

I like this quote attributed to her:
It is good to have an end to journey towards; but it is the journey that matters in the end.

Advice for new writers

I wrote this so long ago, I can't remember when; but it was when I was bold enough to believe that I could teach creative writing in a course. I eventually did teach a writing course, many years later, along slightly different lines to what I propose here. Having said that, I believe everything I say here is still relevant. Anyone who has read Elvene will know that I practice what I preach.

I should point out that I've changed my 'method', for want of a better term, since I wrote this, in that I usually write one draft, but I do 'sketches' on the side. That is the method that I developed through trial and error, and that is the method I used for Elvene. As I keep repeating, every writer has to find their own method that works for them.

Having taught a course, albeit briefly, I know that the exercises one gives out are more important instruction than anything I might say. As in all activities, doing provides the best learning.

I originally called this 'Notes on Writing'.


Writing

Anyone can write - if you can talk you can write. You only need a subject and the desire to communicate knowledge about it. It is exactly what I am doing now.

But writing a narrative is another issue altogether. You have to create characters, plots, human relationships, and then glue them all together in such a way that they appear real. Sounds impossible doesn't it? Well it almost is. But if you have the desire and the creative source to feed that desire, then you can.

You have to have a subject and something to say; and no one can provide that but you. But the skills and the tools and the techniques can be learnt. They can be improved upon and mastered, not unlike learning a musical instrument, the only difference being that the music has to come from you.

So what is the difference between writing and creative writing? Creative writing is a broad term that covers many forms, including plays, screenplays, short stories and poems. To avoid any miscomprehension I will narrow the focus - what I am talking about is simply narrative, I call it narrative fiction.

Fundamentally, writing narrative, as opposed to writing any other form of text, is that it's art, and in that sense it has more in common with music, painting, film-making and any other form of creative expression, than it has with simple communication.

Communication is directly associated with language, ideas and to a large extent, logic. They all arise from the left side of the brain. Artistic expression, in any form, arises from the right side. Creative writing, in all its forms, not just narrative, is quite simply writing with the right side of the brain. That then, is the whole purpose of this course: to teach you to write with the right side of your brain. And quite frankly, at my very best, that is all I can teach you. What you do with that skill, once you've acquired it, is really up to your own imagination.

Writing as Art - Narrative Prose.

I have my own definition of art. Art is the transference of an emotion, experience or abstract idea 'felt' by one person: the artist; to another: the recipient. The recipient can be anyone, but for the transference to work, there has to be a sense of identity in the work - something the recipient, in the case of writing, the reader - can relate to.

That's it in a nutshell. Sounds simple, but in truth, requires a lot of work to be successful. It is the combination of a lot of factors, including talent, conviction, practice and sheer perseverance.

Counterpoint

While on the subject of writing as art, I wish to express a very personal point of view. I don't believe in the process of writing as compiling an assortment of dissociated ideas, topics and scenes; experimenting with them by applying various tools and techniques; and by so doing, creating an original story.

I believe instead, that you should have an idea and possibly a character, together with a very tentative plot before you even put pen to paper. Otherwise what you write may be a creative work, and it no doubt will in the final analysis, say something. But I fail to see the merit, or even the pleasure, of creating a work with no original goal in mind.

The exercises I put to you, I admit, will not have a goal in terms of creating a finished narrative. They are quite simply just what they claim to be - exercises. But I hope they will teach you skills and techniques, and help you develop 'tools' that you can put into practice in achieving your own literary goals. That is the fundamental purpose of this course.

Plot & Character

To start a novel, or any story for that matter, you need three essential ingredients. You need to create a world, at least one character, and a plot of some sort, even if it's only in concept form.
The world simply means time and place - a setting. But I don't mean setting in a theatrical sense that can change from scene to scene, but in a more universal sense, like a map that encompasses the whole story. And I'm not just talking about physical parameters, but also demography, society, civilisation and everything that involves the central character.

The main character is generally the whole purpose of the story but this should be rendered unselfconsciously. He (or she) is usually, but not always, the vehicle for your transference, but you should never think about this on a conscious level - it should quite simply happen - evolve, if you like, with the story itself.

Plot and character are inseparable in the same way that matter and gravity are inseparable. One creates the other, which then affects everything else. They are mutually inclusive, and if you think about it, this is equally true of life.

The plot is best thought of as the vehicle for the characters development. The plot in fiction is life's equivalent to fate. As a writer, you are God. You create the world, and you create the challenges, disasters and pitfalls. The characters' growth, then, is dependent on their response to the situations you create. That is why the best novels are imitations of life, at least on a psychological level.

From the perspective I've given above, you can see that the pinnacle of this trinity is the Character. Both the World and the Plot are only significant in that they interact with the character, and to some extent, create the character. This, also, is true of life.

Counterpoint

It should be pointed out that there are basically two different types of novels: in one, the emphasis is on plot, and in the other, the emphasis is on character. All writers create their own balance between these two aspects which can be thought of as vertical and horizontal. The vertical aspect is the character, and the horizontal aspect is the plot. Popular novels put the emphasis on plot or horizontal aspect. This keeps the story ticking over and maintains the reader's interest. They are entertainment novels, not thought-provoking, and are not meant to be. They are escapism, and I read them the same as everyone else for the same reasons. They are not necessarily of lesser value, and if they are well written, can become classics within their own field. The best examples which spring immediately to mind, are John Le Carré's George Smiley novels.

In conclusion, a story can be thought of as a journey, and the best stories contain an external journey and an internal journey, which are essentially associated with the plot and the character. The external journey, as in life, provides the forces for the internal journey.

Developing Character

I rarely describe my characters - I let the reader create their own picture. When you create a character, you are not making a physical model, you are creating a person who has emotions, motivations, temperament, fears, loves and distractions - someone just like you.

You should unfold a character to the reader as real people unfold to you. Remember your first impressions of someone, and then as you get to know them how they reveal more of themselves by what they think, what they do, and how they respond to certain situations. This is how you reveal a character to your audience – he or she develops in the unfolding of the story - that is why character and plot are so interrelated.

When you first create a character, you, yourself, might know very little about him (or her), so you give them some freedom - observe as the reader would: see how they respond to things, what friendships, loves or insecurities they develop. If you can detach yourself in this way from your creation, you'll find he or she becomes more and more like a real person.

So don't try and create a fully rounded character straight off. Sure, you have some preconceptions of him or her, as you have of anyone you first meet. But put them in the story, then let them reveal themselves.

Counterpoint

We use source material for characters even though we don't know it. In this respect writing is very similar to acting, and I'm surprised that more people don't see the connection. Both writers and actors create characters, and they both use the same material: either themselves or people they know. Even when you use someone you know, you are not putting that person into your story, you are using them as a model, the same as you use your own experiences as a model for your creation.

Dialogue

Dialogue is obviously very closely related to character. I personally find it hard to write convincing dialogue until I know my characters fairly well.

Dialogue serves two purposes: it informs the reader of something pertinent to the story, and it reveals something about the character. It is also, most obviously, the main source of interaction between characters, and if you give it that perspective - as an interaction between two or more characters - you'll find that's the easiest way to write it.

Don't use dialogue to preach to your readers - as a mouthpiece for your own opinions. Dialogue must have relevance to the characters and the story otherwise it's simply boring. Sometimes a character can say something profound, and it can work very well, but it only works when it's said in context with the moment and it's not contrived.

Mix dialogue and prose, that way you create a picture, a tableau that is believable. A test for good dialogue is to leave out the characters' identities - not identify who's talking - and see if it stands up.

Exposition

Exposition is probably the easiest form of prose to write and ostensibly the most boring to read. Exposition is the most common form of non-fiction prose, and it's not all boring - take this text for example. But the question needs to be raised: is there a place for exposition in fiction?
In simple terms, exposition is explanation, as opposed to the more common forms of narrative: action, description, introspection and dialogue. I use the word introspection for 'characters' thoughts'.

There is a very relevant adage to writing fiction, 'Show, don't tell', and I would have to endorse that as a principle, but there are other factors to be taken into account as well. The most important principle, I believe, is making every word count. Sometimes, just sometimes, for the sake of efficiency and effectiveness, it is easier to tell than to show, and sometimes it is more relevant. There are certain rules in writing exposition that make it more acceptable and readable. My own personal rule is that exposition should always be written from a specific character's point of view - that way it doesn't intrude into the story as an external element. This makes the distinction between exposition and introspection very fine, if not indistinguishable. Exposition which is not a character's thought, must, by definition, be written in narrator's voice. If the narrator isn't identified with a specific character, then he is omniscient. This too, is a form of acceptable prose and is not breaking any rules.

The other rule I personally endorse, is that exposition, where possible should do more than explain - it should provoke and stimulate. It needs to be there for a reason, unless of course you are simply trying to save words. But you as a writer have to make that decision. If showing is more boring than telling, then tell.

Counterpoint

When you first start writing, you'll most likely do a lot of writing in exposition without even realising it. This will even come out in the exercises I give you. Exposition is in broad terms, writing with the left side of the brain, and with practice, will disappear as a dominating factor in your writing. But don't fight it at first, because it can help you to get the bedrock of your story onto paper. When you undertake revision, you'll find that as a style it will jar you, thus forcing you to rewrite in different narrative forms. This will also force you to delete whole scenes and write completely new ones - this is all part of the process, and is what makes writing so painstaking as well as rewarding.

Introspection

Introspection, or 'Characters' thoughts', should not be mistaken as unspoken dialogue, and could probably be more accurately described as insight. In that respect it has a special function which is pretty well self-explanatory. It allows the reader to get inside the character's head, and that is what makes narrative fiction unique, not only in art, but in all forms of story-telling. Certainly, you can have soliloquies in plays and films, but they are the exception rather than the rule, and it is not their natural mode, whereas in narrative fiction it is the natural mode, and that's the difference.

Streams of Conscious novels are almost entirely written in this narrative form, but that is not an element of writing I wish to pursue, not because of any prejudice I have, but because of my lack of experience in that arena.

So introspection (my own term) is to give the reader specific insight into a character's thoughts, motives and feelings. There is nothing much else one can say about it, except not to rely on it too heavily, and use it for selective characters in selective situations. In other words use basic common sense.

Description

There is really only one rule about description - it should be relevant. Description can be the most boring form of prose, even more boring than exposition, it's the part of a narrative that people will skip over in order to get on with the story. So how do we avoid that?

One way is to simply avoid it as much as possible, prune it to a minimum; but there are less severe measures. Remember you are working with the reader's imagination, so you use all their senses. Let them feel, touch and taste things. Atmosphere - evoke emotions and sensations - create ambience.

Just for a moment, compare the sensations of a book to the sensations from a film. In a film everything is portrayed in absolute detail, but how much of that detail actually gets through. Now think back to the novel - is it necessary to describe every scene in absolute detail: the detail conveyed in a film? No. So use cues, not just visual cues, but any that come to hand. The advantage of relating a story from a specific character's point of view is that you pass their sensations directly onto your reader - that is the whole secret of narrative prose.

I have a personal rule that description has to be absolutely relevant to the story; even then I try to weld it into the narrative so that the reader passes through it without perceiving a conscious interface. Remember that the reader will always paint a different picture in their mind to yours; so let them. Your description should be like props on a stage rather than elaborate full-house scenery.

Do not be afraid to use imagery or metaphor, but keep it original and relevant. Remember imagery and metaphor should come unbidden, like composer's notes, otherwise it reads like dough that has failed to rise.

Counterpoint

You should never be conscious of writing description, or any other form of prose. When you can move from dialogue to introspection to exposition to description to action without conscious thought, but just as the narrative demands it, then you've mastered the art of writing narrative fiction. Your prose should flow without discontinuity, just like a horse changes gait over difficult terrain. This even comes down to lengths of sentences and paragraphs. It needs to be done by feel and intuition, but the tools only come with practice.

Action

Outside of dialogue, action is probably the most challenging form of narrative to write. It is in a technical sense, a special case of description, but there are fundamental differences.

The key to writing action, even a complicated scene like a battlefield, is to portray it from only one character's point of view, after all only a limited number of things can happen to one person at one time. The other essential point is to remember that action is always linear. It is, in analysis, a sequence of events within a specific time frame. And that is the fundamental difference between action and description - it has the added dimension of time. So you must use that dimension to best effect.

There are different types of action - the most obvious is adrenalin pumping, but often it is not dramatic at all, and sometimes it may not even involve a character.

Counterpoint

Many of the issues raised in writing description apply equally well to action. The best way to evoke an emotional response to action is to get inside the character's head - transfer their emotions and feelings to the reader's imagination.

Always use the reader's imagination - that is the essential connection - your imagination to theirs. If you are always conscious of that, you'll stop writing bad prose.

Point of View

A lot is said about point of view, but the only relevant point to remember is whether the point of view is inside the story or outside the story. Most writers like to keep the point of view inside the story which means it is always being related from the point of view of one of the characters. This is true whether the point of view is first person or third person intimate. Another point of view is third person omniscient, which means that the narrator is the story's equivalent to God.

First person usually, but not always, tells the whole narrative from a single character's point of view, whereas third person intimate changes point of view from one character to another according to circumstances. Third person intimate has obvious advantages, in that the narrator has more freedom, and can also give more insight into more characters through 'introspection'. For this reason it is the most common form of narration.

Style

Style is not something you create deliberately - it is a natural result of writing with the right side of your brain. If you deliberately try and write in a style or emulate a style, you will probably fail - it is something that evolves in the course of your work.

It can be best perceived by comparing it to musical styles - I don't mean jazz, rock, classical, but different styles within those boundaries. Consider the different musical forms that different musicians/composers can get from a common instrument. Have you ever noticed that musicians have a 'signature', that you can immediately recognise. Electric guitarists are probably the best example, but also pianists, and even classical composers - compare Beethoven to Bach for example.

Likewise, writers develop their own 'voice' - a narrative voice as distinct from their language voice - and that is their style. That does not mean to say that writers don't change their style according to different types of stories they may write, but generally writers are consistent in their style if they remain consistent to their genre.

Counterpoint

Style has a lot to do with your own preferences in story-telling. Most writers have a preferable point of view, and most rely heavily on two or three modes of narrative, rather than all five. But there are many elements of writing that affect style, and analysing them, while it may prove interesting, is not necessarily helpful to you as a writer.

Your own style will be affected by your reading preferences, but it is more of a subconscious activity than a conscious one. If you concentrate on the content of your work and its transference to the reader, then style will take care of itself.

Some personal notes on writing a novel

Writing a novel is often described by writers as going into a tunnel - it is a very apt metaphor. It suggests a one way journey, and it conjures up the loneliness and self-reliance imposed, as well as the perseverance and sheer concentration required to complete the journey.

But, from my experience, I would use a slightly different metaphor - I see it as a road, self-made, on a very large map. The road gives a subtly different emphasis. When you travel a road you are focusing on a distant goal or goals, milestones that seen at a distance are simply points to be aimed at, while the real work and concentration takes place close at hand where details are closely observed and the construction takes place painstakingly slow and progressive.

The two points are important - you need something in the distance to focus on, otherwise you're construction may be impeccable, but it is also aimless and meandering. More obviously, the real work is done at your current point in the story, where words and sentences are laid down like bricks and mortar, creating an edifice that can only be seen in your mind's eye.

When you get closer to the end of your road, you'll find yourself looking back more often than forward, because the perspective at the end of the novel includes everything that has gone before. Also when you're near the end, most of the work has been done - you're not left with a lot of freedom to create any additional impact, unpredictable endings notwithstanding.

Of course I'm talking about the first draft, which means that you'll go back over your road many times, patching holes, repaving whole sections, and sometimes creating detours and/or shortcuts. But the first draft is the bedrock of your story - it may be badly written, and in most cases it is, but you should not change the course of your story in consequent drafts. You may make subtle shifts in emphasis, flesh out one or more characters because you now know them better, but otherwise the first draft dictates both the course and the focus of your story. Anything less than that means starting another journey.

The map is what you start with - it dictates the physical and abstract parameters of your story. It is probably not clearly defined when you start, nevertheless it must exist in your mind if not on paper.

Another point is to treat the story like life - if something has happened that is pivotal to the story or to one of the characters, don't regress and change it because it makes 'life' easier. If you really do feel you've made a wrong turn, then stop, and don't start again until you are sure you are going in the right direction. Sure, there are times when you feel like you are fumbling around in the dark trying to make some connection that seems elusive, but often a break is what's required. If you persevere, and if you believe in yourself, then the connection is always found again, and it is like turning on a light. In fact writing a novel is not unlike realising a vision, and the vision starts off as the map, only becoming concrete as you make the journey - the same journey your readers will follow.

Counterpoint

The above comments are my own personal experience of writing a novel. It is important to point out that there are probably as many different ways to write a book as there are writers. For example, Georges Simenon (creator of Maigret), apparently never took a break from a work-in-progress. If Simenon was forced to take a break he simply threw the work away and started something completely new. As the most prolific French writer of the last century, he did that all of three times, or so I'm led to believe.

But most writers do see their work as a solitary occupation. To discuss your works-in-progress is to dissipate your creative energy, and it contaminates your work - receiving feedback too early can interfere with your own personal vision. Most importantly, writing alone assures that you are not inhibited to express yourself. As a rule never show your work until you are ready for a second opinion - you need to be confident that the work can take feedback without losing its fundamental integrity.

Writing plays and screenplays is a different matter. I've had no experience with plays, but they are often work-shopped in a group environment that is completely contradictory to the solitary occupation of a novelist. Stage and cinema requires interaction with a whole team of players and technicians, whereas writing a novel is one of the most introverted and solitary forms of art that one can attempt.