Writer Identity Crisis

When you are on the hunt for a literary agent, you can’t help but contemplate the future. This may or may not involve limo rides with famous authors, chocolate fountains in your kitchen, a mansion with a secret bookcase door that leads to your writing lair, a butler with an Irish accent, book signings every month, fan mail every day and of course having your books turned into a TV series. Okay, this may be more daydreaming than contemplating, but I’m a writer, so I’m a dreamer.

The thing is, when you are thinking about your writing career, you think about the kind of books that are to come and how they will brand you as an author. Personally, I already have several ideas for stories and have started on about five of them. But when you’re very serious about having a writing career, as opposed to just writing for fun, you see your stories in a different light. In the spotlight. You have to thoroughly analyse them as if they are a piece of evidence in a murder case and you’re the lead detective. Especially when you’re a perfectionist, this can be tricky. But I suppose most people, when serious about writing, think about what kind of writer they want to be and what kind of works they want to be associated with throughout their career. And it’s good to think about this. Still, I couldn’t help but feel a bit gloomy about this for the last few days. It wasn’t until a chat with one of my Twitter buddies, that I realised it wasn’t just me, other writers go through this too. So, yay, I’m normal! And yes, it takes a stranger to confirm this for me.

So now comes the (less hard, but still) hard part. Brainstorming on the kind of stories I want to write. My Twitter buddy gave me simple, but good advice. Advice that is pretty much given to any person early in their lives (at least, if they have loving parents), which is: BE YOURSELF. My first story is definitely me, even my ninja readers told me so. But I knew it too and I'll know it again. It doesn’t necessarily mean that you have to write what you know, you can go out of your comfort zone. As long as your story contains elements that are very YOU. The ‘you’ can lie in the narration or any other occurring element. Which is easier said than done, I know. As I’m writing this, I’m already contemplating pulling my hair out and hurling my laptop out of the window like it’s a diseased rat. No, I’d never do that to my laptop, he’d never let me forget it.

I suppose the main thing that scares me is the not knowing. Not knowing what kind of author I’ll be. How well I’ll do. And I suppose once you have an agent and a support team around you, it gets (a bit) easier. I shouldn’t be impatient. I want my dream to begin, but I can’t rush it. I have to trust that the raindrops will fall around me. In any case I’ll keep trying, I’ll keep writing. Being scared is okay, as long as you don’t let it stop you from trying.

One story at a time.

Setting & Description

During my MA I had the choice of picking a course about description and setting and learning how to describe the perilous world inhabited by the characters currently in my head. Unfortunately they didn’t have a teacher for that…so it got cancelled. Since description is the only thing I find challenging in writing, I felt like curling up in the foetal position and cry until my face hurt. Instead, I just picked another course and ranted about it to fellow classmates. We even made voodoo dolls.

In any case, I thought it would help me (and possibly you) to do a blog post about this subject. So I’ll take you down to my writing lair and show you the jar labelled SETTING and see if we can figure out the correct dosage for the writing cauldron.

Setting is important, because it helps to paint the picture of the world you dip your reader in. You learn in which time and place the story takes place and it can sometimes even serve as a metaphor for the theme. When describing places, I like using my characters’ senses, so that the reader can ‘experience’ it the same way as the characters. You can list for yourself what the character will feel, hear, see, smell and taste and then use that in a paragraph. A character doesn’t necessarily need to use all five senses, you don’t have to overdo it and throw all kinds of sensory information at the reader. He’ll probably get dizzy. Because, even though setting is important, too much description can be a drag. Less is more. Back in the day it was okay to write several paragraphs that described the beauty of a raindrop on a leaf, but these days writing is much more fast-paced.

The devil is in the details. Or in this case, good description is in the details. Do you see a car? Or a black BMW? Do you see a dog? Or do you see German Shepherd? And keep in mind, show don’t tell. Is someone scared? Or are their eyes widened? Is a house in bad shape? Or is the paint chipped and the porch swing broken? Also choose specific verbs. Did it fall on the floor or scatter across it? Did he walk or saunter? Description of characters can add to the setting and both descriptions of places and characters can add to the mood of a story.

A sneaky way to insert description is when your characters are doing something. They spill something on their jeans or flower print dress. Or they grab something with their slender fingers.

They can also discuss their setting and for instance mention the décor of a room or the way someone looks. Of course there has to be a reason for them to mention this. Also describe what your characters would observe. If they don’t know much about architecture, they won’t be able to mention the correct terms when describing a building. And if they’re upset, they won’t notice how beautiful the soaps in their hotel room are, for instance.

I guess, again, the most important thing is less is more and show, don’t tell. If the idea of describing setting makes you lose your hair from stress at the mere thought, like with me, don’t worry about it too much during the first draft. Afterwards you can read up on tips and see what you find missing in your descriptions. For now, just write. Now!

Characterisation

Let’s talk characterisation! Characterisation is one of the elements that makes up the wonderful world of fiction. In the cauldron labelled FICTION, you put (alongside characterisation) plot, theme, setting and style. Everybody handles their dosage in different ways. I usually put a dash of theme and setting and am heavier on the amount of characterisation, style and plot. Characterisation, though, is one of my favourite ‘ingredients’ to handle. 

To me, a story can still have a plot that is lacking, but when the characters are so real I can reach the page and touch them, it makes for a gripping and good story. Sometimes that fits the story, to have the plot in the background. And sometimes it’s the other way around.

I like figuring things out, especially people. That is why I like mystery plots and deep characters. I guess as a writer, I have a preference for figuring out people instead of an actual mystery. I’m not the only one who thinks this, because 

FUN FACT: around the fifteenth century, Aristotle advocated the plot-driven narrative, but in the nineteenth century that changed and the character-driven narrative was promoted, mainly due to the advanced knowledge of psychology.

In any case, let me give you a little info on the types of characters.

-Protagonist: the main character.

-Antagonist: adversary of main character.

-Point-of-view character: the character that observes (tells) the story. Doesn’t necessarily have to be the main character. (Like in the Sherlock Holmes stories, where Watson tells the story the way he observes it to be.)

-Minor character: supports main character.

-Foil character: makes the characteristics of main character stand out. Usually has opposite characteristics of main character.

-Impact character: drives the main character forward. Forces the action much like an antagonist. In conflict with main character and uses that to help him/her, or not. Can be friend or enemy.

There is also explicit/direct characterisation, which is when the author actually tells the reader what a character is like through description by narrator/character.

Implicit/indirect characterisation is my favourite kind because that is when the reader finds out for himself what a character is like through the actions/thoughts/speech/interactions of a character. Since I’m a big fan of show, don’t tell, this is (in my eyes) the best way of describing a character. Also, as a reader I find this is the best way of getting to know a character. But again, I like figuring people out.

For me, I’ve never had much trouble putting down three-dimensional people on paper. And when I had, it was because I was linking the wrong person to the wrong story. Or the right person to the wrong story? You know what I mean.

There’s either the idea of a story which I then link with an appropriate character, or it’s the other way around. However, when I find my characters a little flat, it helps to inflate them with a secret (relating to other characters or the plot, or just themselves) that only I know. Something you might never mention or hint at in the story, but that still helps you show depth. I also like one quirky thing about my characters, especially with regard to fears. For instance, a deep-rooted fear of tennis balls.

There are writers who like to work with long lists that explore their tastes, dislikes, what shoes they wear, etc. I don’t like to think of details like that, unless they are actually mentioned in the story. I have an overall view of the character. The way you feel you know someone well, even though you don’t know many facts about them or know them that long. And based on that I know how they react to situations and characters.

There are two golden rules to remember: show, don’t tell and less is more. Hinting at things and being subtle is the best thing to do. You know how they say that a picture is worth a thousand words. It’s something like that. One small gesture, a look or one sentence can usually say a lot about that person, just like with real people. The benefit of fake people is that you can be smart, sneaky and creative with how you introduce more about them. Also, they don't talk back.  

I suppose for everyone it is different and I’m curious to learn how other writers handle characterisation. So, grab a chair and some biscuits while I put the kettle on. ^_^

Theme

To discover a theme in an existing book is challenging enough, but to find one for your own story, well, that’s like extinguishing a fire with a handkerchief. The theme expresses a universal message and I’ve been taught that a theme is very important. You need to know what you want to say with your story, even if a book isn’t literary fiction, or maybe especially then.

There is a difference between the subject of a book and the theme. A subject is what it’s about, while a theme is about what you want to say with your story. A subject can be: loneliness. A theme can be: loneliness is just a state of mind. You then use your story to prove your theme. That is why a theme is a good thing to have, it keeps you on track and reminds you of why you are writing your story.
That is easier with literary fiction, because that usually deals with universal dilemmas, but what if you want to write a different genre, what if you just want to write something light and fun? What if the story just dropped in your lap without a yellow post-it that tells you the theme? 

With me, usually the story comes without a clear idea of its theme and I never used to think about it. Until I learned that the theme is really important, it’s the soul of the story. And even if a story is written because it’s cool or fun, doesn’t mean it doesn’t have a theme. Every story has a theme, but it doesn’t always explore it or say something about it. And that’s the difference between a fun book and a good book.

So now, when a fun story comes to me—as they so often do—I write down what the characters are struggling with and make that into a subject and then into a statement about that subject. And then I make sure I prove that statement with my story. It sounds easier than it is. Especially since most of the time, but especially with the first draft, I just want to get the story written. I follow the scent in my brain that leads me to the ending. Where my reward is cheese. Hmm, cheese. But at the end of that maze I want to be able to look back and see that I’ve written something with substance. When I wrote a lot of poetry during my teen years, I always had a message in my poems, so why not with my stories? I have plenty to say and I would love to be able to reach out to people and make them think and debate. After all, isn’t that one of the wonders of books?

With theme also comes symbolism, because symbolism is a great way of hinting at your theme. For instance, if your theme relates to freedom, you could use birds to represent freedom. Also, buildings can represent strength. Darkness can represent evil. Flames/fire can represent anger, etc. Symbolism is fun, because it’s like you’re winking at the reader. And who doesn’t like being winked at? Well, unless it’s a creepy wink, but that’s not the case here. So feel free to wink at your reader all you want and throw some symbolism in your story cauldron, along with the theme. ;) 

Ninja Readers

Ah, the sweet sound of applause in your head. The euphoric feeling that settles around you like a warm, comfortable blanket. The proud grin that you can’t seem to shake, even when you walk your dog and pick up his doodoo. No, nothing can stop you from feeling on top of the world when you’ve typed THE END at the end of your story. It felt like a very long labour and you’re both sad and elated. Sad that your precious baby has to face the harsh world on its own and elated that you’ve managed to drag a whole story out of your head and onto your laptop screen.

And so you call all arms, even though you have all your arms, and request some ninja readers (beta-readers, but my term sounds cooler) to read your final version and comment. With flushed cheeks and trembling fingers you send out your story and hope for the best. Before, you thought the hard part was over, but this is the hard part. It's FREAKING scary. I always realised it would be scary, but I never thought I’d compare it to jumping out of a plane with no parachute. And I’m afraid of heights.

Still, I’ve been diligent, worked hard and have been well prepared for this battle. An MA in Creative Writing has taught me how to deal with criticism. As well as, you know, write creatively. But that was in the safety of a loving classroom as opposed to the jungle out there. Writing is art and art is personal. The rules change, you change them, or someone else. Someone will love your work, someone will hate it. We’re all different and that’s okay. All I know is that this book wouldn’t have been there if it wasn’t for me and that means nobody could have written it but me. Somehow, that’s comforting. It helps that so far I’ve heard good things from my ninja readers (and only one person talked to me like I was a four-year-old). No fundamental mistakes, only a few differences of opinions, but that’s why you need to sort out for yourself if what someone tells you is their opinion or a structural error on your part. I guess I just have to go for it and have a little faith in myself. A literary agent was already interested in the idea and that’s a good start, now I just have to use my fear to push me forward, instead of hold me back, even if it’s right over the edge of the cliff, without knowing how deep it is and if there is a giant bouncing house at the bottom. Just in case, I’m taking my shoes off. 

Outline VS No Outline

I’ve read that Charles Dickens never knew what would happen as he wrote. Have you ever seen how big his books are? And everything connects with each other. I think that’s amazing and it proves you don’t need to outline every single thought that contributes to the plot. However, I also believe that it depends on the writer, because there are writers who have the story in their heads from beginning to end and make it work too.

I’m definitely a wing-it-person myself, I try to outline as much as I can, but it doesn’t seem to work for me. It’s like the story is already there, all I need to do is write. So that’s what I do. I just write. It starts with a basic idea, then the characters (sometimes the other way around) and then the words just flow onto the paper. Alright, it’s not always that easy, but for a first draft I just tell myself to keep going, writing for the sake of writing. Then I can always edit later on. Plus, by forcing yourself to write you usually come up with great ideas. At least, that’s the case with me. Of course I do take a little break sometimes to assess different plot turns and see which will work best, but once I know which direction I want to head in I’m good to go. And when I find that I have no idea which way to go, that’s where I just write the first thing that comes to mind and usually that sparks great ideas later on. Pressure can be a good thing, I’ve learned. If you’re stuck it’s also a good idea to write the ending, or a future scene so that you know what you’re writing towards.

The pros of outlining are that you know exactly what to write and why you’re writing it. If you do it well, then you basically already have the roadmap of your story and all you have to do is follow it to the end. Then comes the editing and you can see how well you’ve done. The advantage of this is that you’ve already decided where you’re going and figured out what works and what doesn’t. You’re focused and have a clear vision of your final destination. Now all you have to do is drive there, which goes much faster if you know where you’re going.
The cons of outlining are that there is no room for creativity, you’ve already thought about which scene goes where and after hard work you’ve come up with the perfect full circle, but what if you discover something along the way? Oh, what is that? Another character just popped up? No, that can’t happen because it’s not planned. But it can happen, because in the imagination anything can happen. Writing is a creative endeavour and no matter how perfectly planned the story is, you still never know until you actually write. You might also get tunnel vision and at some point lose track of the big picture because you’re so focussed on what your outline told you to write that it might take you a while to notice that it’s not working. I’ve heard stories of writers that had an outline and started writing, but then realised something wasn’t working and they weren’t sure what. It could be something in the plot that looked good on paper but just isn’t right, or it could be the lack of soul. Sometimes, because you don’t have a clear goal, you go places that you wouldn’t have discovered otherwise. Something that doesn’t necessarily contribute to what you had in mind, but does in fact benefit the soul of the story in some way.

The pros of no outline are therefore that you have more freedom. You’ve packed your bags and are ready for the road trip of a lifetime. You know roughly in which direction you go, but anything is still possible. Predicting what lies ahead can’t always be done and sometimes you need to react on something along the way, something that’s unpredictable. Let’s just stick to the driving metaphor and say that there’s a road block, then you need to find a way around it at that moment and who knows where that might lead to? And that can be a good thing. You have room for creativity and you find that your original idea may lead you to a completely new and better idea.

The cons of no outline are that you can get lost along the way. Without a clear destination you might end up driving in circles. If you don’t at least know what you’re trying to say and what you’re writing for, it’s hard to determine what should be written in the first place. A book needs some structure in order to make sense, so it’s good to have some things planned, even if it’s just one scene at the end and one in the middle.

What works for me is the middle ground. Somewhere between plotting like a villain and winging it like a politician that was just caught cheating. However, it is up to the writer. Everybody has their own system and what works for me, won’t work for them and vice versa. So which are you? Plotter? Winger? Or plonger? 

Memoirs of an Imaginary Friend: Review

Books are like people, you see the cover, you read the first page and instantly you know whether or not you’ll like the book. That’s what I had with Memoirs of an Imaginary Friend (I liked it, that is) and it has now become one of my favourite books.

Stories that provoke the imagination are always a plus in my book. Pun intended. And I also like characters with problems that aren’t easily solved. In this case that is Max, the eight-year-old boy with a form of autism. This is also the reason why he has had an imaginary friend longer than most kids, because he still needs him. Budo, the imaginary friend, is mostly afraid of disappearing and the theme of the book, in my eyes, is therefore existence. Everybody (or at least most people) are afraid of dying/disappearing and in this case that theme is handled in a very original and interesting way.

The characters have as much depth as a giant volcano, those are deep right? Even the minor characters are portrayed realistically and well. The story flows nicely and everything that happens contributes to the story, AKA no boring parts. I felt like this book was a fun, intriguing, suspenseful and creative adventure involving an imaginary friend as he tries to save his friend from an interesting antagonist. It is also really cool to encounter the different types of imaginary friends and even though, surprisingly, I never had any imaginary friends as a kid, I want one now. And yes, even grown-ups can have imaginary friends, the author said so. So please excuse me, my talking (and snarky) unicorn wants to play with me now. I am Morgan and I approve this message…I mean, book! J

PS: Follow the author on Twitter: @MatthewDicks

Writer's Block

Writer’s block, dum-dum-dum-dum.

They say writer’s block doesn’t really exist because it’s only in your head and that may be true, but that’s also where the stories come from, so that still makes it tricky to produce the brilliant, mind-blowing (cough) stuff you usually write. Stress, however, can also affect parts of the brain that are needed to write. And in my case too, when learning to write, you’re not taught how to explore and work out any ideas you might have. You just get graded for your story at the end. This can make you focus more on the importance of the end result instead of how to get there.

Well, as you can guess I’ve been smacked in the face with this little ‘affliction’. And it’s a frustrating feeling. It felt like I was on a remote island watching my characters sailing away on a boat. And they hadn't even left snacks. My little block probably had something to do with the fact that life stuff got in the way of my vigorous writing that I usually do on a daily anti-social basis. Nothing is as unproductive as getting out of touch with your own story.

So I did what seems to be the most logical thing to do, I started rereading the first few chapters and for some reason it all seemed crappy and sucky. So then the next thing I did was brainstorming on a new awesomer (that’s right, I said awesomer) plot that would make it far better than my original plan. This process pretty much felt like my brain had been invaded by a tornado, whirling around all my ideas. And when finally an idea managed to fall on my head, it somehow seemed less good when I said it out loud to someone. But to be fair, the best way to judge a story is to actually read it. Especially in my case since I know (from my teachers) that I have a good writing style despite any seemingly uninteresting plots. In any case, I felt more lost with each day and so I started rereading again and then I realised it wasn’t actually crappy at all. So now I’m making notes and seeing what works and what needs to be adjusted while my characters are pouring me cups of tea in the writing cave every now and then.

My point is that for me putting it away and then reading it with fresh eyes really helped. I also need to remind myself there is no rush, even if I do want to get this story written so badly and start my adventure as an author. You do it right, or you don’t do it at all. That’s going to be my motto from now on. That and: stay calm and drink hot chocolate.

So that is what worked for me, but there are also other strategies that might come in handy if your plot bunnies are refusing to come to you.

-          Talking about it with other people. Either a writing group or friends.

-          Free writing. It’s exactly what you think it is, just take a pen (or laptop) and start writing whatever comes to mind. Let it flow, as they say, and go with it.

-          List making. Make a plan or strategy as to what your process of writing should be and analyse what your plan has been so far. Ask a lot of questions.
You can also make a list of what you want to write and then figure out how you want to go about it. (You can see my post on plotting.)

-          Rereading. Delve into your story so far and read it like a reader would. What would you like to see changed? Where do you want to go?

-          Encouragement. Get your personal cheerleader or be your own. You can do it!

J Write now! 

Shadow of a Doubt

In one swift motion Yumi Yoshida turned around. There was nothing to see, the car park was empty except for her Yamaha motorcycle and one dark Mercedes. She heard the sound of a howling dog again. It sounded like it came from the adjoining park. Well, technically it wasn’t a park, it was just trees and grass stretched out as far as the eye could see. Nothing but total darkness surrounded the car park and the pub she was heading towards.

            Yumi turned back and kept her eyes on the pub. She had been here before to check out the place, but she hadn’t yet been inside. The ice cold wind caused her to shiver and she quickened her pace. She could hear the rapid tapping sound of her high heels on the pavement that was still wet from the rain earlier that evening. She brushed her hair out of her face and checked her watch. It was exactly midnight. A few lampposts poorly lit up the car park. From a distance it would seem like the pub and car park were floating in darkness, like a miniscule planet floating in space.

            Walking in an empty car park towards a pub that was situated on a hill in the middle of nowhere at midnight may have sparked fear in any woman in her late twenties but not in Yumi Yoshida. She was the kind of woman who could handle herself. She had moved to London from Kyoto when she was ten and ever since she turned eighteen she had been moving around the country doing what she did best.

            She reached the back of the establishment and stepped into a red telephone box that was placed at the left corner. There was an old, wet newspaper on the floor with a distorted picture of some child, and the phone was hanging off the hook. It smelled like urine and coffee. Yumi picked the phone up by the cord and took out a handkerchief to clean the phone before putting it to her ear.

            A brief moment later she stepped out of the telephone box and walked to the front of the building. She stopped to look inside. It was a small pub with bad lighting. The radio was playing popmusic in the background. Behind the bar stood a middle aged bartender cleaning a couple of beerglasses, she couldn’t see his face. In the reflection of the window, she saw her long, dark hair frame her face. Her long fringe covered her eyebrows and beneath the dark strands she could see her lightblue contacts. She only ever put them in when she had to work.

She stepped inside and smelled fish, chips and grease. She walked straight on to the only other person sitting in the pub. His back was turned towards her. “Is this seat taken?” she asked and sat down without awaiting a reply.

“Go ahead,” said the man and pushed his glasses back. It was a man in his thirties with short, sandy hair and hazelnut eyes. He wore a gray suit with a deep-purple shirt and violet tie. “You must be…”

“I am, Mr. Stone,” Yumi interrupted.

“So, what should I call you?”

“Call me Yami.”

“Is that your real name?” he asked.

“Almost, but the meaning is more accurate.”

“What does it mean?”

“I’ll tell you later. First things first.”

The man nodded and touched his glasses again. “Well, I’m married.”

“They always are. I assumed that’s why you contacted me.”

He looked down at his coffee and moved in his chair. He then loosened his tie before he spoke again, somewhat softer than before. “Her name is Heather and here’s her picture.” From his breast pocket he took a picture and slid it to her side of the table. Yumi picked it up and saw it was a picture of them together, holding each other and smiling, happy and unaware. They seemed so at ease, so at home with each other no matter where they would be. How could it have come to this? There is no such thing as true, unconditional love, except maybe with babies and dogs. She couldn’t help but wonder if it meant that the smarter you are, the less you become capable of loving.

Yumi snorted. The man looked up. “I got it,” she said and wanted to slide the picture back but the man said: “No, keep it. I don’t need it anymore.” He then finished his coffee and they sat in silence for a moment. Yumi was observing him and couldn’t help but think he didn’t seem like the type of man who was capable of doing any harm. Usually she could tell for sure, and if she couldn’t she had time to shadow someone, but in this case everything had gone so fast. It seemed understandable considering the case.

“Do you have many…clients?” he suddenly asked, breaking the silence and interrupting her in her thoughts.

“I have enough,” was her reply.

“Don’t you ever find it difficult? I mean, because you’re a woman…well, I mean…”

“No, I don’t. I’m good at what I do, which means people are willing to pay for something I can give them. It’s that simple.”

“Is it really that easy?”

She couldn’t believe his nerve and just tapped her fingers on the table. It didn’t make a sound though, because she was still wearing her gloves. 

She could see him thinking. He had a frown on his face and was unconsiously tapping his indexfinger on his watch. “Life really is all about money, isn’t it?” His voice sounded gentle. Yumi remained silent. He got up to go to the lavatory and excused himself.

Yumi leaned back and let out a sigh. She still had the picture in her hand and looked at it again. She was actually thankful for the life she had, at least she had the chance to do something meaningful.

After a couple of minutes she saw Mr. Stone coming out of the lavatory and got up. She gestured towards the exit and dropped a twenty pound note at the bar. Then she walked towards the door with Mr. Stone on her heels.

Together they walked past the building back to the car park. Yumi closed her eyes when the cold wind struck against her face. She had kept on her leather jacket and gloves inside, which made the drop in temperature very welcome. “You said both was fine, but I brought cash with me. I figured that would be harder to trace,” Mr. Stone suddenly explained.

“It is,” Yumi said coldly.

He unlocked the car with his key fob as they nearly reached it. Yumi looked around and noticed it was still as deserted as when she had arrived. The car was right beneath a lamppost and when Mr. Stone opened a briefcase in the trunk she could clearly see all the money in it. “Half up front and after, right?”

“Yes, Mr. Stone. That’s correct.”

“Considering what you’re about to do, you can call me…”

“No,” Yumi interrupted. “I don’t want to know any first names. It’s easier that way.” 

“But then…you know my wife’s name.” The light of the lamppost reflected in his glasses.

“That’s not a problem in this case,” Yumi answered and walked slowly to his other side.

“You know, you still haven’t told me what your name means.”

“Darkness.”

He opened his mouth to say something but closed it again. 

 “Why do you want to do this to your wife?”

He grimaced. Not in an evil way, but more like he was disguising his discomfort. He put his hand in his jacket and Yumi automatically reached for her gun. He took out a picture and handed it to her. It was the picture of a little boy. He had brown hair and freckles and his broad smile showed he was missing two front teeth.

“That’s my son. He was from my first marriage.”

“Was?”

“Yes, he died a few months ago. My wife has always treated him very poorly, without me knowing. I was always at work and even though I noticed he was mostly quiet, I thought it was because he missed his mother. But then I found his diary and even though his death was technically an accident, I can’t help but feel she’s responsible. I can’t even look at her anymore and I don’t remember the last time I said more than a sentence to her.”

“So you never abused her daughter?”

“What? What are you talking about? We don’t even have children together.”

“I see. Well, that’s what she told me.”

He looked down and fumbled his watch.

            “I’m saying she found out what you were going to do and she wanted to beat you to it.”

            Even though it was cold outside, little drops of sweat began to form on his forehead. He was mumbling incoherently.

            Yumi closed the trunk. “Don’t worry, I don’t take money from a dead man.”

            She saw him tremble. “If you’re going to kill me, just do…”

            “No.”

            Everything happened fast from that moment on. She’d taken her knife and cut the palm of his hand. Following her instructions he had held his hand over the front seat of his car. He had put his tie around his hand to stop the blood from spilling on the ground. He left his car keys in the ignition and only took the briefcase. It didn’t matter if his wife thought she’d taken the money. Now, he had a chance to start over.

            Yumi walked back to the telephone box and dialed the number she had dialed before. “It is done,” Yumi coldly stated.

“I’m transferring the other half now,” the woman said.

“Alright, Mrs. Stone, goodbye.”

Yumi took a deep breath before stepping out in the cold wind. Her black hair moved fiercely in front of her face, almost dancing. She ripped up the picture of the happy couple and the wind blew away the pieces into the darkness.

Welcome to England

Today I can sigh with relief and bask myself in the glory that is internet. In case anyone thinks this is an overreaction…try living without internet for over a week while you’ve just moved to another country. Not fun. At all.

It turns out though, that living next to a pub has its advantages, other than the obvious.

It has free wi-fi and if I sit on the right spot on the stairs, the internet fairy manages to sprinkle some of her internet dust my way. It’s quite uncomfortable to sit on the stairs and skype with your parents, because we all know those conversations aren’t over in just a few minutes. But it’s worth it. Especially since they can’t stalk me through my phone. Apparently I need a British simcard first. Luckily I’ve already made friends and I’m getting help in that department. So simcard is on the way. I’m getting closer to the blisfull state of being reachable everywhere.

Now for the subject of my classes. Writing. Ah yes, getting to write throughout the year instead of listening to boring lectures about stuff you forget after an hour, a day if you’re lucky. THE dream for any writer. My first class is on Monday at 1 PM and I have it every other week (that’s right, I have a lot of spare time on my hands). It’s called the Creative Writing Project. It means you get to work on your personal pet project for twelve weeks, working with fellow students who critique your work (gently) and a teacher who guides you along the way in individual tutorials. Can you say awesome? Because I can and I’m saying it right now.

I’ve had people who read my stuff and commented on it, but not writers and not people whom you won’t feel guilty about asking to read your stuff because you’re afraid it will just take up their time and they do it to be nice. This time I know everyone wants to read it and you know you want to read other people’s stuff. Because writing is just as important to you as it is to everyone else. At least, I hope so.

There was also a free writing exercise which existed of the teacher writing down five subjects and us writing about each of them, spending about three minutes tops on each subject. I must say that it does make the creative juices flow. 

Fiction 1 is my other class and it is as cool as it sounds. It’s on Wednesdays at 11 PM. And yes, these are my only classes in the week. It makes sense though, writing isn’t done through lectures, it’s done by doing it. Hmm, how profound.

Skipping ahead to two days in the future…

Just had Fiction 1 today, which is now my favourite class :) It started out with the basic information and stuff we need to know but we also did a writing exercise that involved plotting. Basically you get a sheet with things like: Write a question that interests you. Now write something you think is funny. What special skill do you have? Make up a title of a novel, just off the top of your head. Where would it be set?

Then you move on to the characters. You have space for four characters and you write down something you are or have been behind each character. I’m guessing because you should always write what you know, so you’re characters must be something you can relate to and understand. Then you write an emotion with each character that you’ve recently felt. Then you write an exciting or interesting event, followed by a boring event. Lastly you write down an animal, object or plant that you find interesting. Then you tie all these elements together to write a coherent plot. The challenge is that you make sure everything is in there. Also, it’s FUN! So try it.

Next to writing 500 words every week we also have to write about the books we read and keep a rough notebook where we jot down interesting things we see in detail. Catching every detail is the most important thing. Also, it needs to be factual observation only. I usually have a little bit of trouble with describing in detail, also because I’m afraid it destracts from the real story and I just want to focus on that. So I’m glad we get to do this, because it’s the details that make up the realness of the world.

That’s it for now and I will leave you with one final tip that I really loved: start every story with a question.