Monthly Archives: May 2017

Author Interview: Lynne Blackwell

Welcome to Lynne Blackwell to my blog.

Lynne writes crime fiction/domestic noir. After a stint in the Special Constabulary, Lynne began her nurse training, working mainly in acute general and psychiatric hospitals before co-ordinating day-care for people with dementia. Lynne has a BA (Hons) in Social Policy from Sheffield Hallam University, where she studied Psychology, Sociology, Politics and Criminology. She is a winner of the 2015 Northern Crime competition, contributor to the Northern Crime One anthology and writes regular blogs about the road to publication, which aims to encourage new writers to learn from her mistakes and heed all warnings. 

What are you currently working on?
I’m writing a novel that began as a pitch to my ex agent, Lizzy Kremer, six years ago. It is about a girl who runs away from home after she’s made a serious accusation against another family member; an accusation that was based on nothing more than a series of vague memories from her childhood. 

What has inspired your most recent novel/writing?
An interest in infantile amnesia.

How much do you think fiction intertwines with real life?
All fiction intertwines with real life – minus the lengthy conversations, long drawn out pauses and anything else that can slow down the pace. Whatever the genre, fiction has to be rooted in reality. 

Could you give five tips on how to tackle either characterisation or plotting or dialogue or descriptive passages?
CHARACTERISATION: I tend to write in first person, so I spend a lot of time working on the prologue and the first three chapters until I’ve created the perfect protagonist’s voice for that particular project.

DIALOGUE: Always read dialogue out loud and in the manner of each character to authenticate the voice.

PLOTTING: Delete everything that is superfluous to denouement and slows down the pace.

DESCRIPTIONS: My novels are contemporary, brutally realistic and usually written in first person, so I have to rein in the temptation to write reams of descriptive passages. I do, however, find ways to get around this. For example: I adapted my story in ‘Northern Crime One’ from my second novel (Ghost Towns, 2013) by changing the female narrator from the mother of the victim into a psychic who is haunted by the visions of a drowned girl. This enabled me to examine the dead victim’s Point Of View in a surreal way. My first novel (Into the Snicket, 2009) is about a woman who is an alcoholic and suffers domestic abuse. She is far too stressed to describe anything in great detail, and usually too drunk to notice much at all. However, the fact that she keeps drifting off into drunken stupors gave me an opportunity to describe what she may (or may not) have witnessed in a series of flashbacks as more memories were retrieved.

PLOTTING: A crime editor once advised me to never submit a crime novel without a prologue. Before I start writing a new project, I go in search of an atmospheric ‘crime scene’ for the next prologue. 

How would you describe your writing process?
I don’t meticulously plan my crime novels/stories unless I’m writing a police procedural. Once I’ve got a crime scene in my mind, I’ll have a think about the murder, murderer, victim/s and protagonist before writing a prologue and the first three chapters. I’ll go over this work many times until I’m happy with the Point Of View. Then I’ll jot down a stem outline to use as a guide. I write the basic draft chronologically, often working into the night to keep up momentum. I don’t write fastidiously at this stage; some chapters might be nothing more than a series of notes and diagrams. Once I’ve produced a 40-60,000 word basic draft, I assess what research needs to be done: sociological, psychology, forensic etc. I’ll write several more drafts until I know the characters inside and out, then I’ll work on the dialogue. I wrote ten drafts for my first novel. 

What helps you to write/what gets in the way?
I can only write in a quiet environment – at home and preferably alone. When I’m on a roll I’ll work through the night until the dawn chorus.  

What kind of research do you do and how do you go about it?
My Google history is varied, gruesome and rather fascinating! I have made many contacts over the years, so if something is too complex to use a search engine or I can’t rely on information in a book, I’ll ask a professional for their expert advice.  

Could you say something of your publishing journey and your experience?
After my first novel was rejected by a few editors I was left without an agent. I picked myself up and submitted it to a couple of other agents before taking on board the crime publisher’s advice to increase the pace. I changed the prologue, removed two out of three narrators and kept the strongest voice. Then I put it to one side and began work on the rest of my portfolio; making all my novels similar in style to ‘Into the Snicket’ by fitting them into a domestic noir/crime genre before the likes of ‘The Girl on the Train.’ 

I continued to write blogs about the trials of being an unpublished author and entered a couple of competitions: the second being a short story competition in association with New Writing North and Moth Publishing. As a winner, my story was published in the anthology, ‘Northern Crime One’, which gave me the opportunity to work with an editor and read at book events. It was reassuring to attend these events with the support of NWN/Moth Publishing, and in the company of the other contributors.

The question you wished I’d asked you.
What keeps you motivated? – I love to give myself a challenge at the start of every project. Three out of my four crime novels are written in first person, but the protagonists are not the murderer, murder victim or investigator. For this reason, it has been a challenge coming up with different ways to maintain the pace that is required for crime without ending up with a contrived plot.

How can readers find you and learn more about your writing?
‘Northern Crime One’ is published by Moth Publishing on Paperback and Ebook https://sites.google.com/site/lynneblackwellwriter

Blog: The Trials of an Unpublished Author –  https://sites.google.com/site/lynneblackwellwriter/blogs

Twitter: @lynnemblackwell

Thank you Lynne!

(Date of interview: 21st January 2017)

 

 

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7 Prompts for Writers #6: plot

OK, by now you are writing regularly and exploring voice and characterisation (see previous 7 Prompts for Writers posts). At some point, if you are writing prose, (though there is some argument narrative applies equally to poetry – see next post in the series), you need to come up with a story-line.

Perhaps you have started with the story and have had to find the characters to tell it. In which case, I hope the preceding posts in this series will have helped. Perhaps, in exploring voice and characterisation, the story has begun to tell itself. There is an alchemy in creative writing which is impossible to dictate, whereby once the elements are in the crucible, the precious narrative begins to shape itself.

However, it is also possible for a writer to be looking for a story. There are obvious places to look: ourselves, our family history, the stories of the places we live or visit, our friends, museums (the smaller and quirkier the better!), newspapers…. The list is endless and I am sure you can find your own additions. As a writer, always be alert to stories, take your writing journal everywhere, so you can jot down ideas, odd facts, questions, all of which are the starting points for stories.

From the ancient Greeks onwards (and no doubt before) there has been much written and pontificated on the basic plots of literature (and life – for the two, are, I believe, intertwined). Personally, I feel most plots can be boiled down to a quest. Skimmed back to the skeleton, most stories start with a question to which the protagonist attempts to find an answer. The protagonist goes on a journey (frequently an internal journey, they become changed by the quest), overcomes barriers/conflict (three times is a good figure to bear in mind here) and comes to a resolution.

I have written elsewhere about structuring a crime novel: https://goo.gl/tVjZJC and much of what I suggested there can apply to a novel of any genre.

I tend to write quite organically, so plan less than other writers. There are no hard and fast rules about how much planning a writer should do, I think it is down to the individual. But, in my opinion, there will come a moment, when a plan/structure will be required. I like to do it on sheets of A3, with columns going across: (1) point of view; (2) what happens?; (3) what does the reader learn?; (4) what do I need to do in terms of re-writing?

When structuring, it’s worth thinking in chunks:

  • 0-15,000 words initial question.
  • 15,000 words point of conflict/tension.
  • 30,000 words conflict/tension, possibly a new path.
  • 45,000 words realisation.
  • 60,000 words resolution.

Always bear in mind: how is my protagonist being changed by this? Where is the conflict/tension?

Where have your story ideas come from? How and at what point in the writing do you plan? The best tip you’ve been given about plotting?