Here are a links to a couple of reviews of ‘The Shoot’:
By Gianna Bruno. (This was a preview, to be picky!)
By Seriously Reviewed, who gave the book a very pleasing seventeen out of twenty!
Here are a links to a couple of reviews of ‘The Shoot’:
By Gianna Bruno. (This was a preview, to be picky!)
By Seriously Reviewed, who gave the book a very pleasing seventeen out of twenty!
No, this isn’t a piece about my wife who is five foot zero and wonderful!
I’ve always enjoyed writing and reading novels, with the opportunities for sub-plots and characterisation that their length allows. I’m not so keen on short stories, but I do appreciate the skill in writing something short and sharp that sticks in the reader’s mind.
I’ve always thought of novellas as a compromise between shorts and novels, and like a lot of compromises they often bring out the weaknesses of both rather than the strengths of either. But I’m beginning to come around to the idea of novellas. So, what’s changed my mind?
Well, having ‘The Shoot’ published has helped, although as this started off as a part of ‘The Wood’ that got separated I still tend to think of it in the context of being part of Wood than a stand-alone piece.
It’s being part of the Eternal Press family, though, that has really got me reading. EP published a lot of novellas, and of course I’ve had the chance to taste several pretty good ones. Seeing some of the techniques used by other writers has been more helpful than reading any number of ‘how to’ guides, and I’ve learned that it is possible to get everything in a novella that you see in a novel; it just has to be done differently.
While anyone wanting to see how to do a novella well could probably pick up an EP release at random, two of their books show off aspects of the shorter form perfectly.
Gianna Bruno’s ‘Hot Chocolate Kiss’ is a masterpiece of characterisation. Keela Branford is a great character anyway: likeable, and both ordinary and extraordinary at the same time. I was really impressed with the way Gianna managed to achieve such a well-rounded heroine in only ten thousand words – many full length novels struggle to deepen a character this well.
‘Frenzy’ is the other EP release I’ll recommend. This is a gritty story about eight men who find themselves stranded on a lifeboat in shark-infested seas. Carole Johnstone has put together a cast of complex characters and the story is about the people themselves as much as their predicament. Carole weaves both strands together seamlessly in only 28,000 words, but doesn’t leave any loose ends – all this without making the work seem rushed.
So, after reading other Eternal Press authors, I’ve changed my mind about novellas, and maybe I’ll have another one published one day.
I read somewhere, once, that as technology moves us forward, it becomes more and more difficult to write horror set in the modern day.
The introduction of the internet, mobile telephones and the like does tend to complicate things, as I’ve found out in a couple of recent works. It’s certainly harder to get a character on their own, out of communications with the rest of humanity, when all they have to do is pick up a mobile telephone.
And what about that top secret installation, miles from anywhere, where horrific experiments have been going on for years? Or the clearing in the remote forest, where carnivorous beasts previously unknown to nature, live? Google Earth will have spotted the installation, or the remote caves, within seconds!
Thus, the modern horror writer faces dilemmas that wouldn’t have been thought about, perhaps even ten years ago. Andraste’s Blade was published in 2005, and even that recently I don’t think it raised any eyebrows that most of my main (modern day) characters didn’t carry telephones.
So, what to do? Well, an obvious answer is to set a story in the past. As anyone who knows my work will know, a lot of my writing is based around Celtic myth and set around the time of the legends. No difficulty there, then (except the problem of getting the period right).
A second answer is to set the story somewhere remote. Again, that’s something I tend to do anyway. In remote places, telephone reception is often non-existent, so the problem of communication is lessened. However, as communication networks improve, I’d expect even this to become a difficulty over the next few years. It doesn’t take away the problem of aerial photography, though, but that isn’t something I’ve had to address up to now.
So, what about modern urban horror? What’s to stop our hero or heroine simply ‘phoning for help? We have to stop them doing that, don’t we? We need out characters out there facing the horror on their own, so we have to get rid of that mobile. Having them lose it, and then maybe looking for it, can add an interesting plot twist and a couple of challenging chapters. Or it can be a pain. I’ve read one novel (and I can’t remember which one) where trying to find the lost telephone was integral to the story.
So, whatever plot the writer comes up with, modern communications technology needs to be written into it.
Not that I’ve been away, but I haven’t posted for a while. So, here’s an update on what I’m doing.
I had a potentially catastrophic PC crash a few weeks ago, caused by a power surge immediately before a power cut. Fortunately I back up regularly, so I didn’t lose much data, although it’s been an ongoing job to get my desktop and links and the like as I used to have them.. However, I did need to buy a new hard drive (upgrade!). I also took the opportunity to switch to Windows 7.
Writing-wise it’s been a bit quiet. ‘The Well,’ a novella about a young woman who wakes up in a…well, is with a publisher who expressed an interest after seeing an outline and a sample chapter.
‘The Doe and the Dragon’, a historical fantasy set around early Welsh legends, will be sent out to publishers soon. Anyone who knows me well will know that for my history/archaeology degree I concentrated on post-Roman Wales which has always been one of my passions (along with Aldershot Town Football Club and horror fiction). I’ve always wanted to write something based on the period, but wanted to wait until I could think of a plot that was both original and did the period justice, and I like to think I’ve managed it here. I also tried to avoid Arthurian clichés, and again I hope I succeeded. The main difficulty was that I don’t know the fantasy genre too well. I couldn’t resist putting some horror elements in, but it is primarily a fantasy work and I hope I didn’t get any important fantasy elements wrong.

