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Time

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How does one manage the passage of time in a novel?

In our lives, time can pass extremely slowly, or seem to escape us in a blur of action.  For me, and perhaps for many of us, time can seem to pass with excruciating slowness when I am in physical or mental pain.  Conversely, time seems to literally fly away, when I am engaged in a pleasing pastime.

By contrast, for the reader, the passage of time is more linear: time seems to pass at the rate at which s/he reads.  It can therefore be quite important to give the reader a more variable sense of time.  If time in the novel moves at the same rate as the reader’s eye scans the page, the reader will begin to sense that something is wrong.  This is true even if time in the novel passes at a constant multiple of the reader’s real time: for example of one minute of the reader’s real time is always equal to an hour of time in the novel.

So how can one achieve the sense of the variable passage of time?  In one case, it seems to me that the writer must recognise and write for situations where real time for the reader is the same as time in the story.  One can do this by using short sentences, and by mentioning only the essential sense of what is happening.  For example, see the passage below from Efraim’s Eye where, over a period of seconds, the terrorist is spotted, and his plot is foiled:

 

“My God!” Naomi exclaimed, “There’s Efraim!”

“Where?”

“He’s on top of the glass enclosure, and he’s doing something up there!”

There was, indeed, a man in jeans and a green T-shirt on the enclosure, but he was bent over, arranging something.

“Are you sure it’s him?”

“Yes, it’s him!  I’m sure!”

Paul thrust the remains of his hot dog at Naomi and began to run toward the van.  He noticed two men sitting in the front seat, but he ignored them, and leapt up onto the bonnet.  With another leap, he was on the roof of the van.  Swinging to his left, he saw the green T-shirt man, bent over and preoccupied with what he was arranging, less than ten feet away.  There was a gap of about five feet between the van and the enclosure, which was about two feet higher.  Paul gathered himself and sprang.  He landed awkwardly and fell forward against the man.  The man turned to see who or what had struck him, and tried to recover his balance at the same time.  Desperately, Paul got his feet under him and pushed.  This sudden momentum was transferred to the green T-shirt man, who lost his balance, and, arms flailing in the air, toppled over the edge of the enclosure opposite the van.  There was a loud howl of pain as he struck one of the stone bollards.

Immediately, Paul turned his attention to the shaped charges which had been arranged neatly – each crescent charge seemed to be embracing a cable.

“Detonate!” screamed the green T-shirt man.

Paul scanned the array and spotted the links which closed the charges into a non-recoiling string.

There was another high pitched scream: “Detonate!”

Paul uncoupled the links, holding one end down with his bandaged left hand while his right hand manipulated the clasp.  With his right hand, he began to pull one end of the string.  The charges were heavy.

“Where is the button?”  Was the shouted question from the van.

Paul dragged the first four charges over the edge of the enclosure.

“On     my       seat!” came the agonised reply.

Paul kicked at two remaining charges which were still on the enclosure.  With a rattle, they were dragged over the edge by the gravitational pull of the first four.

“No!  No!”  A desperate scream from below.  Paul began to turn away.  He was struck by a tremendous shock wave.  He hurtled forward, struck the edge of the van roof, and landed, arms outstretched, on the pavement.  There was nothingness.

 

The other situation in which time in the novel can approach real time for the reader is when characters are interacting in an emotional (rather than physical) way.  I think it’s important for the reader to get a sense of what the character is feeling, simultaneously with what s/he is saying.  (There could be conflicts between the words and the feelings.)  Where this kind of conflict, or hidden agenda is present, I like to intersperse what the character says – in plain text – with what s/he is thinking – in italics.

In other cases, there could be a gap of a year or more in the story, and nothing of significant interest occurs during the gap.  Rather than give a recitation of what happened during that period, it is sufficient to begin a paragraph with: “Four years later . . . .”

The other aspect of managing the passage of time is the trade off between setting the scene, and extending the apparent passage of time.  Sometimes it can be essential to describe the situation or the setting in some detail, but in doing so, we lengthen the reader’s perception of the passage of time, and risk losing his/her attention.  I probably have a tendency to set the scene fairly clearly, in the interest of conveying to the reader a sense that ‘this is real’.  When I do that, I try to be careful about using interesting language and phrases.

 

 

Review: Midnight Rumba

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Eduardo Santiago’s novel, Midnight Rumba, was runner-up in the New England Book Festival’s 2013 General Fiction category.  I decided to buy a copy and read it, because it is set in the 1950’s Cuba (Mr Santiago’s native country), and my wife and I were going to Cuba for a ten day holiday.

The principal characters are Estelita, the daughter and only child of Esteban, a charming, itinerant musician, who is part of a minor, travelling circus; Aspirrina, an inept dancer who becomes a sort of surrogate mother to Estelita; Juan Carlos, an orphan boy who makes good in the gaudy world of Havana casinos; and Lasky, the American who runs the casino where Estelita and Juan Carlos work.  There are other characters, as well: various circus performers, Delfino, a homosexual from a wealthy family. Maria, also from a rich family but now the mother superior in a convent, and Delfino’s two lovers.

The plot is that  Esteban slides into helpless, violent alcoholism.  Aspirrina and Estelita escape to Havana, where Estelita becomes lead dancer in a casino and has a part in a minor Mexican movie.  In spite of the hedonistic world around her, Estelita retains her purity until she falls in love with Juan Carlos.  From the time she leaves her father in the hospital, Estelita is determined to retrieve her father from the hospital and make a home for him.  As the novel unfolds, Fidel Castro and his rebels close in on Havana.  Some of the characters side with the rebels, others try to remain loyal to Batista, the dictator.  At the end, Estelita reconnects with her now sober father and becomes a minor, provincial dancer.

The book does an excellent job in depicting Cuba at that time: the wild indulgence, the crazy glamour, and also the desperate poverty.  The brutality of the Batista regime (and of the rebels) is also clear.

The novel started off as an 800 page manuscript; as published, it is 414 pages.  At times the story-telling gets bogged down in detail, so that it could well have benefitted from another 100 pages of editing.  Eduardo Santiago’s writing style is clear, friendly, and innovative, but occasionally, one has the feeling that he is hurrying to tell the story, and then the language becomes too ordinary.

I enjoyed reading the book, particularly as I was in Cuba at the time.  For me, it fleshed out the history of the beautiful (but now crumbling) infrastructure of Havana.  I could better understand the people, as well.  But after I finished reading Midnight Rumba, I felt the absence of a message – particularly from a native Cuban now living in the States.  Perhaps it was just intended to be – without commentary – a very good historical story.

The Plot

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I was thinking, the other day, about the process of developing a plot for a novel.   When I looked up the subject up on the Internet, I found all sorts of rules which struck me as simplistic.  These rules covered such things as structuring a novel like a three act play, with a beginning, a middle and an end.  The plot should have lots of action to keep the reader interested, and it should have a central character with whom the reader relates, and who has difficulty achieving his/her objectives. Also, it was pointed out that the tension should steadily increase.

All my novels started with an idea, rather than a plot.  Four of my five published novels started with a central character in mind, and in each case he starts out quite well toward his objective, but, at some point, disaster strikes.  He is able, by the end of the novel to recover from the disaster – more or less.  In the fifth novel, Sin and Contrition, there are six central characters who react in different ways to different human temptations. I, as the author, interview each of them as they reach advanced years, and ask them about how they have lived their lives.

There is the classical structure of a plot involving a central character: she/he:

  1. Is challenged
  2. Refuses the challenge
  3. Accepts the challenge
  4. Goes through the adventure
  5. Fails to meet the challenge
  6. Succeeds!

I have never actually written down a plot.  Rather the details of the plot tend to develop as the writing progresses.  Usually, I’ll write an outline of each chapter before beginning it, but I don’t stick religiously to the outline.  What happens for me is that the characters, themselves, tend to steer both the plot and the action which takes place in each chapter.  Not infrequently, when I wake up early in the morning, I’ll have a new idea about the evolution of the plot and its supporting action.  So, for me, developing a plot is an organic process.

More recently, I have begun to pay considerable attention to the ‘message’ or the point of the story.  For me, a ‘message’ is an idea: philosophical, spiritual, or social.  It shouldn’t be obvious; it may be controversial, but at least it should engage the reader at a different level than the story itself. The message tends to affect the action in the plot, and the characters themselves.

Some of my ‘rules’ about a plot are:

  • It has to be credible.  I’ve never tried to write science fiction or fantasy, but even in those genres, it seems to me that if the author steps outside the bounds of what the reader can believe, the reader is lost.  Credibility is a multi-dimensional measure: it applies to characters, to the setting and to the action.
  • Action is important, but it doesn’t have to be non-stop or physical action, only.  Action can involve emotional, intellectual or spiritual tension, as well.  In fact, physical action without an emotional response, may strike the reader as dry.
  • Characters need to have balance.  Good guys have to have defects and bad girls should have redeeming features.  We can relate to people’s redeeming features or to their defects.  All good or all bad characters do not exist in the real world.
  • Elapsed time is another vital dimension.  If events unfold too quickly they lose credibility; too slowly, and the reader may lose interest.  There are various devices one can use to slow down the pace of events: scene setting, inserting a new action that is minor but relevant, inserting a flash back, etc.

In looking over the rules on the Internet, there is one item worth adding: “Every scene and every chapter must keep the protagonist off-balance – things may get better for him/her, or worse, but they need to be constantly changing.”  (This from The Writer’s Workshop.)  This is a good point.  The reader is living vicariously through each page; if nothing’s changing, why read on?

What Makes a Good Novel?

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In her blog, Words in the Kitchen Sink, Jane Heiress asks: What makes a good novel?

She got quite a few responses, some of which I have selectively included in quotation marks under the below categories.

Is it character development?  “This one is crucial. I tend to love characters that have similar personalities, ideals, or experiences as I do myself or someone I love. I don’t care nearly as much about plot or setting as I do about being able to love at least one character. Really, almost every other one of my preferences can be ignored, if an author can create a strong connection between me and a character. Maybe I’m narrow-minded, but I think most best-sellers find a trait or feeling that almost everyone can personally connect with.  Along the same lines, how does an author make me love a flawed character? One way is by giving him or her flaws that I have myself. I have many quirks that other people may see as “flaws,” but I consider ‘personality traits.’ Even when a character is truly flawed, I’ll give them more mercy if I can empathize with them.”

Memorable archetypes?  “I’m not too strong on archetypes, so I won’t comment on that one. I think the best fantasy novels use the archetypes in new ways, like what Tolkien did by making a hobbit a hero, or what Robin McKinley does with her awkward, misfit female warriors.”  Personally, I try to avoid archetypes.
Neat and logical plot?  I’m not sure a plot, to be successful, has just got to be neat and logical.  Slightly messy and somewhat illogical could make it captivating.  The plot is very important: it is the device which conveys the story and its meaning.  To my mind a plot should be believable, it should be original and it should be interesting.
Unpackaged realism?  “I think that realism has a place in a good novel, but to write a novel with the sole aim to expose reality is actually a very bad idea. If you want reality, you read the newspaper–though I guess it’s all about difference in taste, because journalists in general just can’t write, so if you want realism written in a coherent, logical, and truly unbiased way, you’re kind of up a creek. Anyway, the whole reason we read is so that we can feel like we’re not alone without actually surrendering our own sense of individuality (I stole that from C.S. Lewis). So there has to be enough of reality in a novel to help us feel that the characters might have the same sort of feeling we do when faced with tragic or happy life events.”
Societal issues?   “Societal issues are important if not too heavy-handed.  Harriet Beecher Stowe wrote Uncle Tom’s Cabin as an expose on slavery in the South, and it was very effective, but have you read that book?  I would hardly call it good, except as an expose on slavery, and if you want that, you could read the Narrative of the Life of Frederick Douglass, or other first-hand accounts of former slaves.  Much more powerful.”
Moral lessons?  “Moral lessons don’t belong in a good novel.  They can be part of a novel, but if that’s the focus, I put the novel down and read the scriptures.”  I agree except that I think that ethical dilemmas have a place in a novel.  Ethical issues are more uncertain than moral issues, and are more subject to interpretation of the situation.  They therefore tend to involve the heart and mind of the reader.
Richness of setting?  “Richness of setting is very important.  Novels with a strong sense of place and circumstance are usually good.  Even though sometimes reading through the descriptions can be tedious.”  I’m not convinced that a setting has to be ‘rich’ to add importance.  In my opinion, it is more important for a setting to be both credible and interesting.
Quality of prose?  “Quality of prose is essential.  I mean, really, the only reason anyone reads The Great Gatsby is because the words are sparkly and fluid and they practically float off the page.  Jane Austen has beautiful sentences; Charles Dickens plays games with grammar as part of his subplots; Chaim Potok paints murals with words, so reading one of his novels is almost like going to an art gallery; Geoge Eliot uses such quality of phrasing that you can’t help loving the words she chooses to describe something.
Suspense?  Dramatic intensity? “Suspense is important, but I get bored if there’s too much of it.  I don’t guess ahead, and if you pack in the action and tension too heavily, I disengage and go on to something that unfolds more gradually.  I’m going to combine this one with dramatic intensity and use a movie as an example.  I don’t like action flicks because sometimes they go too fast and too much happens at once.  It’s not that I’m too dumb to follow it, but the high-speed car chases and stuff are not the substance of a story for me, so if there’s too much of that, I’m finished. There’s also a book out now, by James Patterson, a new series for teens, that is non-stop action.  Kids like it, but I thought it was second-rate, just because there wasn’t any good character development and his sentence structure was severely lacking in quality.  Robin McKinley sometimes goes the other way and tries to turn her high-speed moments of tension into epic poems.  It doesn’t work either.  J.K. Rowling’s action scenes work very well, mostly because they’re short.”
Comedy?  No one commented on this. I think that if one is writing a serious novel, rather than a comedy, comedy can have a place: either as a device to relieve tension for the reader, or to shed light on a character.  If suspense goes on too long, as the comment above suggests, the reader can lose interest.  Or, if a character says or does something funny, one sees a new dimension of him or her.
Emotional response?  “As for emotional response, if you can’t get emotionally involved with a book, it isn’t worth reading.”  Agreed!
Expanding intellectual horizons?  “When you’re trying to expand someone’s intellectual horizons, that’s tricky.  Any book worth reading will not do that on purpose, because no-one likes to feel dumb, or to feel like they’re being taught something.  A book that expands your intellectual horizons will do it in a painless way–too many new ideas too fast will not make a lasting impression.  The important thing is that a book will set itself up on familiar turf, then take your ideas to the next level.”

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Imagination

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There is an article in the books section of Last Saturday’s Daily Telegraph which caught my attention.  It is written by Hanif Kureishi, who is a novelist and a teacher of writing.  He makes the basic point that to be a ‘good writer’ one should not concentrate on a study of such things as plot, perspective and dialogue; rather, one should give the imagination free rein.  He goes on to make the following specific points:

“The imagination rarely behaves well. It can be ignored and censored, but never entirely willed away.  Such a willing away would be a mistake because, unlike fantasy, which is inert and unchanging – in fantasy we tend to see the same things repeatedly – the imagination represents hope, rebirth and a new way of being.  If fantasy is a return of the familiar, you might say that an inspiration is a suddenly uncovered part of the self, something newly seen or understood.  Emerson, who tells us in ‘Compensation’ that ‘growth comes by shocks’, writes in another essay, ‘The best moments of life are those delicious awakenings of the higher powers.’

“One of my students said he read books in order to have ‘more ideas about life’. You’d have to say that the imagination is an essential faculty, and that it can be developed and followed.  It is as necessary as love, because without it we are trapped in the bleak polarities of either/or, in a North Korea of the mind, dead and empty, with not much to look at.  Without imagination we cannot reconceive what we know, or see far enough. The imagination, while struggling with inhibition, represents more thought and possibility; it is myriad, complex, liquid, wild and erotic.

“The imagination is not only an instrument of art.  We cannot delegate speculation to artists.  Or rather: whether we like it or not, we are all condemned to be artists. We are the creators and artists of our own lives, of the future and of the past – of whether, for instance, we view the past as a corpse, a resource or something else.  We are artists in the way we see, interpret and construct the world.  We are daily artists of play, conversation, walks, food, friendship, sex and love.  Every kiss, every piece of work or meal, every exchanged word and every heard thing – there are better ways of listening – has some art in it, or none.

“To survive successfully in the world requires great capability.  To be bold and original is difficult labour; it can seem impossible, because we have histories and characters that become fixed identities.  We are made before we know it; we are held back by who we are made into.  Not only that, we are inhabited by destructive, chattering devils who want less than the best for us. . . .  There is nothing as dangerous as safety, keeping us from reinvention and re-creation.  Imaginative work can seem destructive, and might annihilate that which we are most attached to.

“Naturally, if we can do this, we pay for our pleasures in guilt.  However, in the end, misery and despair are more expensive, and make us ill.  Let madness be our guide, not our destination.

“Aspiring writer who wish to be taught plot, structure and narrative are not mistaken, but following the rules produces only obedience and mediocrity.  Great writing and great ideas are strange: their sorcery and magic are more like dreaming with intent than they are like descriptions of the world.  Daily art makes and remakes the world, giving it meaning and substance. . . . The imagination creates reality rather than imitates it.  There is no interesting consensus about the way the world is.  In the end, there is nothing more out there but what we make of it, and whether we make more or less of it is a daily question about how we want to live and who we want to be.”

I think this is a brilliant essay about the role of imagination in writing and in life.  For more about identity, how it is formed and shapes our lives, I refer the reader to Sable Shadow and The Presence.

Review: The Shadow of the Crescent Moon

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The Shadow of the Crescent Moon is the first novel by Fatima Bhutto, who is the granddaughter of Zulfikar Ali Bhutto, the former President and Prime Minister of Pakistan, whose sister was Benazir Bhutto.  Fatima Bhutto graduated from Columbia University in 2004.  She lives in Karachi, and is a freelance writer.  Interestingly, her website does not mention this book.  Instead, it mentions three other books.  Judging by one article on her website, she seems to be a political radical.

The Shadow of the Crescent Moon is an interesting novel, relatively brief and quite intense.  It is set in the tribal region of northwest Pakistan and involves three brothers who are preparing to celebrate Eid, the Muslim feast at the end of Ramadan.  The oldest son has decided to leave his childhood sweetheart and go into business away from his home town of Mir Ali.  The middle son has become a doctor in Mir Ali and the youngest has joined his brother’s sweetheart as an insurgent.  In the novel, Mir Ali is the focal point for the armed struggle between Pakistan’s army and local people who crave their own freedom.

Fatima Bhutto does a very good job describing the culture, the issues, the people and the setting.  One gets the sense of a long-running, life-and-death struggle in the northwest of Pakistan.  It is clear that the author’s sentiments are with the insurgents.

I found the novel frustrating in the sense that it lacks focus.  There is an insurgent plot to kill a minister, and the story seems to be headed to a climax there, but the novel ends in uncertainty.  Was he killed?  Who killed him?  Or if not, why not?  There is some uncertainty as to who the insurgents are.  Some are Taliban; some are ordinary people.  What is the relationship between them?  The Pakistani government is clearly an evil influence, but in a book like this which is somewhat polemical, it would be a redeeming feature to hint more broadly at what the government should do differently (other than bringing in local conscripts).  There are also some religious issues: notably Sunnis vs. Shiites, but there are problems for Christians and Hindus, as well.  How do these issues fit into the over-arching themes of justice and freedom?

Ms. Bhutto’s writing in quite engaging.  Occasionally, there is a too long sentence which requires a second reading to gain understanding.  And, like all ‘young, modern authors’ she likes to use unconventional words rather than the conventional.  Mostly, this works well, but there is the occasional grating which disturbs the flow.  The characterisation of the two older brothers, the female sweetheart and the Pakistani colonel are all clear and intriguing.  The character of the youngest brother – the insurgent – is somewhat opaque.  We can understand why the two older brothers do what they do, but what – apart from his father’s lectures – motivates this brother to be an insurgent?

An interesting book and a particularly interesting author. I’m sure we’ll hear more from her!

Review: Stoner

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Stoner, a novel by John Williams, was copyrighted by the author in 1965, and was first published in the UK in 1973.  As the copy I have was published by Vintage in the UK, I can’t tell when the novel was first published, but a safe bet would be in the mid-60’s in the US.

John Williams was born in Clarksville, Texas in 1922.  During the Second World War, he served in the US Air Force in China, Burma and India.  His first novel, Nothing but the Night, was published in 1948, and his second, Butcher’s Crossing, was published in 1960.  His last novel, Augustus, was published in 1972.  Williams received a Ph.D from the University of Missouri and he taught literature and the craft of writing for thirty years at the University of Denver.  He died in 1994 in Fayetteville, Arkansas.

It would be fair to say that Williams is not a well-known author, but Stoner has recently attracted significant favourable reviews.  For example, Julian Barnes of the Guardian says, “It is one of those purely sad and sadly pure novels that deserves to be rediscovered.”

Tom Hanks writes in Time Magazine: “It is simply a novel about a guy who goes to college and becomes a teacher.  But it is one of the most fascinating things that you’ve ever come across.”

The New York Times says: “Few stories this sad could be so secretly triumphant, or so exhilarating.  Williams brings to Stoner’s fate a quality of attention, a rare empathy that shows us why this unassuming life was worth living.”

I think I read that an employee of a major book seller (was it Waterstones?) rediscovered the novel, and praised it to the point where it became the chain’s book of the year.  I decided I had to get a copy.

Having now read it, I can tell you that I agree with the above reviews.  Moreover the writing is beautiful and captivating.  It is clear, clever and without unnecessary embellishment.  It is a novel that makes one reflect on life in general and one’s own life.

Those of you who have read my reviews will know that I tend to be critical of particular developments that occur without reason.  As someone who was educated in the sciences, I believe that for every effect there is a cause, and I’m not content unless a major effect has a cause that is identified (or at least hinted at); I become sceptical, and I begin to question the author’s attention.

There are three effects in Stoner which for me are presented without cause.  First, Stoner becomes an instructor in literature at a major university.  He is an only child, without self-awareness, or any particular ambition, without childhood friends, growing up on a farm, who goes to university to study agricultural science.  He’s likeable enough, but he does not interact much with others.  In fact, when his literature professor asks him a question in class, he is unable to summon the resources to answer.  We are, in effect, asked to believe that he became a teacher because the same professor told him that that was his destiny.  Based on what?  Most university instructors I have known are outspoken extroverts.  Once Stoner becomes an instructor, I can accept that, over time, he develops the skills to become quite a good instructor.

The second point has to do with Stoner’s wife Edith, whom he takes in marriage based on a fleeting attraction.  This turns out to be a disastrous mistake.  Edith has unpredictable swings in mood and behaviour which are not hinted at when Stoner first meets her.  She seems like a shy girl, but she becomes a nemesis, a witch.  He behaviour is so erratic and so irrational that I found myself doubting her as a character.  Could not Williams not have hinted at a psychological defect or at a strategy which Edith was following.  As a result, I lost interest in trying to understand the relationship between Stoner and his wife.  For me, she was just a “problem”.

The third point has to do with the relationship between Stoner and Katherine Driscoll, a young instructor with whom he has an affair.  I can understand how they could fall in love, but what I don’t understand is how their physical relationship could (apparently) begin so smoothly.  Stoner had no sexual experience before he met his wife, and with her it was disastrous.  Katherine has little experience, and it wasn’t very pleasing.  How could these two sexual misfits behave like practiced lovers immediately?  Give them time, author!

The above tend to be my personal reservations, and they don’t motivate me not to recommend Stoner.  It is a rare and captivating novel.

Review: Blue Is the Warmest Color

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My wife and I saw Blue Is the Warmest Color last Friday night.  You may have read that this is the movie with the extended, explicit lesbian love scenes (it carries an 18 rating in the UK).

As I reflected on the film later, it occurs to me that the task of a director, together with those of the actors, are analogous to that of a writer.  In both cases, the artists are striving to tell a story in a way that has unique and special meaning for the audience.  In this respect, Blue is extraordinarily successful: the directing and the acting have an extremely strong effect on the audience.  One cannot help but feel, and sympathise completely with the characters.  The story, itself, provides a firm foundation; it is based on a novel by Julie Maroh: a fifteen-year-old girl of modest circumstances falls in love with an older, middle class, intellectual artist.  But it is the fiery passions of the two characters that make the picture really memorable.  It is the direction of Abdellatif Kechiche, and the acting of Adèle Exarchopoulos (as Adèle, the student) and Léa Seydoux (as Emma, the artist) which give the film its memorable power.  Whatever else you may have heard about this film, in my opinion it is worth seeing just to marvel at the acting and the direction.  (I think it is shameful that after the film won the Palme d’Or at the Cannes Film Festival there was a rather public falling out amongst the actresses and the director.)

This is not to say that the film does not have its flaws.  It’s running time is three hours and seven minutes, and while it is largely successful in carrying its emotional energy that long, I think it would have been more effective had it been edited more rigorously.  At the same time, I felt that a little more attention should have been given to the loneliness which Adèle feels later in the relationship.  She cheats on Emma with a male colleague, and says that she was lonely.  It’s believable, but we were given no evidence of it.  While the average viewer will understand, almost at the outset, that this is a relationship which has no basis in shared values, experiences or goals, it is this lack of shared identity which makes the failure of the relationship so tragic.  The emphasis in the film is on the dramatic break-up.  But it is not the break-up, itself which is the tragedy; it is the causes of the break-up that are tragic.

So, what about the explicit sex scenes?  One of the scenes lasts seven minutes.  Some reviewers have commented that the sex scenes should have been shorter.  In my opinion, the scenes are not erotic.  (While the actresses are fully nude, there were no female genitalia visible.)  There were two absolutely gorgeous female bodies, and the passionate lust was almost palpable!  I read that the author, Julie Maroh, said that the scenes would strike a lesbian audience as ‘ridiculous’.  Maybe so, but for me, they made the point that these women are deeply in love.

If you have a chance, I think that Blue Is the Warmest Color is a film worth seeing.

Judges’ Commentary: The Iranian Scorpion

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I submitted The Iranian Scorpion to the Writer’s Digest Self-Published Book Awards.  It did not win an award; there were 2,800 books submitted.  But, I did receive the judges rating which is as follows:

On a scale of 1 to 5, where 1 is “needs improvement” to 5 “outstanding”:

Structure & Organisation: 3

Grammar: 3

Product Quality & Cover Design: 3

Plot: 3

Character Development: 3

The judges commentary is:

While this is an interesting package overall, there is room for improvement.  The cover image itself is striking.  The typography is strong and the contrast is good.  The layout works well as does the color palette.  The title on the spine would be easier to read, as would the author’s name, if the map were screened back more (this is also true of the cover).  The back cover copy is well-written and intriguing, as jacket copy should be.  The author bio on the back cover is well-written, as well.  Paper quality is good, especially on the interior.  The interior design is practical and appealing, and the text is very easy to read.

The Story:

This novel has a lot to recommend it.  The writing is good; the voice is strong.  The Middle Eastern setting is fascinating, as is the drug trade milieu in which the story takes place.  Most important, the author has a great story to tell and he tells it in a way that gives the story the ring of authenticity.  The hero is likable, as is the heroine.  The supporting cast is colorful and well-drawn.  The plot is fast-moving.  That said, the author slips in an out of point of view.  He also tend to write in elemental chunks: Here’s a chunk that’s mostly all description, followed by a chunk that’s all narrative/backstory; then a chunk that’s all dialogue/action, etc.  When the author masters the art of writing fully imagined scenes that balance character, dialogue, action, narrative, inner monologue and setting – all the elements woven together seamlessly – he’ll be a writer to watch.  A final note: Using different font to indicate a foreign language does not work and it is very distracting to the reader.

My response:

I would have appreciated some differentiation in the numerical scores.  Everything as a three doesn’t tell me where the strengths and weaknesses are.  I take the point about writing in chunks.  I acknowledge that I have done that in the past, and the point about weaving all the elements together is a good one.  I’m working on it!  I’m not so clear about what is meant by ‘slips in an out of point of view’.  There is the narrator’s point of view (which, in the case of this novel, I’ve tried to keep neutral and factual) and a character’s point of view (which may be biased and subjective.)  Does it mean that there is ambiguity about the point of view?  In which case, I’ve got to watch out not to let that happen, because it would be confusing to the reader.  I think I may present differing points of view of two (or more characters) in a single passage.  I do this to better define the characters, and the issues between them.  I see nothing wrong with this as long as it is clear who owns a particular point of view.  I still have a bias in favour of using a different font for different languages – particularly where the language expresses a very different culture.  I don’t think I would use a different font for French or German, but somehow it seems right to distinguish a Middle Eastern language (like Pashto of Farsi with all its cultural baggage) from English.  I have to admit, though that more readers prefer a uniform font.

Writing Skills

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This is a post which I put on the Blogging Authors’ website a couple of weeks ago:

Having read plenty of good and bad literature, written five novels, observing myself as a writer, and thinking about the craft of writing, I have formed some opinions about the skills that good writers have.  Not all the skills below are mine; some are still aspirational.  But, I’ve progressed (somewhat painfully at times) from being a story-teller to an award-winning author.

First of all, a writer has to enjoy writing.  Writing is a lonely, unsociable business – perhaps best suited to introverts, and it isn’t always fun, but one has a special feeling of creative accomplishment when a passage seems just right.  Though, of course, one can feel pretty frustrated when one can’t seem to get it right.  On balance, one should enjoy the work.

Perhaps it goes without saying, but one has to have a good command of the language in which one is writing: grammar, vocabulary, syntax, spelling.  I think that, by definition, good writing is good literature which makes the most effective use of language.

I know that there are some writers who don’t bother to plan a novel: they have the whole thing in their heads at the start.  That wouldn’t work for me.  I have to create a time line, define the characters, their personalities, strengths and vulnerabilities, their interactions.  If there is a message I’d like the reader to take away, I have to plan how I’m going to let him or her find it.  Then there are settings and events; some of them should be surprising to keep the reader’s attention.  And the whole package has to be completely believable to the reader, even if the synopsis sounds a little far-fetched.

A fertile imagination is essential to a writer of fiction, and it comes into play at every stage of the writing.  The plan, the characters, the principal events should all be imaginative.  The descriptions of particular events and characters’ actions should be slightly unexpected.  It is the unexpected which keeps the reader’s interest.  A novel where every turn of events is predictable is boring.  But at the same time, the unexpected must be credible: if it’s not, the reader loses interest.  I use a technique I call ‘leap-frogging’ to build up to what would otherwise be an incredible event.  For example, in my latest novel, there a catastrophic fire in which several hundred people are killed.  But before that catastrophe, there is a related fire in which only four people are killed, and before that, there are major concerns about safety violations.

The writer has to have real empathy with his characters – even the evil characters.  As one writes, one has to feel what his/her character is feeling.  Not just imagining the feeling, but actually feeling it.  If one actually feels it, one can describe it more accurately.  I remember that recently, my wife came home from work, and found me sitting at my PC with tears running down my cheeks.  “What’s the matter?” she asked.

“Henry’s son was just killed,” I explained.

Finally, I think the author needs to think about leaving the reader with multiple levels of messages.  If one thinks about examples from great literature, it is seldom just about human nature; there may also be sociological, philosophical, and religious messages, as well.  One has to plan the development of those messages so that the reader gradually picks them up.  Gradual assimilation is far more effective than being told at the end, “And the moral of this story is . . .”