Stranger Than Fiction?

At this time it feels like reality has overtaken anything fiction can credibly produce. A killer virus; world economies on the brink of a collapse not seen in anyone’s lifetime; liberal governments becoming authoritarian, while autocratic rulers seize their perfect opportunity for increasingly draconian measures. Could any speculative writer have seriously considered this scenario?

Well maybe I’m watching too much news that can seem to revel in the drama, if not totally ignoring the positives such as how communities have rallied round.

While out for my permitted hour’s exercise, there was something post-apocalyptic about the town. Bonfire smoke clouded the otherwise clear air. (Bonfires are more common these days.) A strange quietness and calm had descended. A serenity even, away from the town square, in the bright sun. Life slowed down.

Maybe the world needs to be broken apart before it can be reconstructed, goes one line of thinking; force change to save the planet.

But now, like surely many fiction writers, I face a dilemma. Do I try to keep on my original track – as patchy as it is – if only to be consistent? Or be influenced by such an important moment in history?

 

Links to my published fiction: The Captured (US) The Captured (UK)

Time Over (UK) Time Over (US)

Worlds Beyond Time (intro)

To Carry On

It’s usually a personal crisis that overwhelms the creative ability; world events hardly ever. But now we humans are facing devastation from a surprisingly effective enemy, borne of a pathogen far less harmful to its original and entirely innocent host species (most likely a bat). And now fear, suspicion and paranoia are themselves spreading like a virus. You only need to see reports from continental Europe to believe we’ve already arrived at the dystopian future envisioned by many an SF writer. Thus the drama of reality can make writing fiction feel redundant.

But I try to carry on.

Being a writer means writing even when you don’t feel like it, those days when the muse just isn’t there. Days when it really feels like hard work. But I admit it, I’m faltering; struggling to find inspiration; can’t get into the fiction writing mode.

Inspiration was no problem with my first novel. If anything I felt overwhelmed by ideas, tried to pack so many into the narrative it read like three stories juxtaposed. A bit of a mess, admittedly. The second was more disciplined but still convoluted. And beyond I saw the need to narrow down the focus, with fewer POVs.

Now on my fifth I did the ultimate reduction to a first person perspective. Unless you’ve had some incredible interesting life to draw from, there is no challenge comparable in creative writing. It takes a whole new level of self-discipline. And I’ve certainly been struggling with that. I’m sure it helps to plan the structure of your novel; I started with a scene from the end but no idea how I will get there.

I read and listen with despair those writer/novelists who say they start at a certain time each morning, write for 5, 6 hours or set themselves a goal of 1500 words. I will, as long as I live, never be like those writers. They are people I admire as an amateur cyclist would a tour champion.

Links to my published fiction: The Captured (US) The Captured (UK)

Time Over (UK) Time Over (US)

Worlds Beyond Time (intro)

In hope of an epiphany

The greatest fear of most creative writers is not commercial failure, it is failure to find the next big idea. I mean, you can fail just as I have, and even accept a project will never be a success. What keeps me going (writing) is the belief some epiphany or revelation is just round the corner – that sudden insight. Yes, it’s gotta be about… It’s the breakthrough that will get my name in lights. What I’m talking about is faith in my own creative ability, however irrational that may be.

Right now I am working on a novel about a man who suspects the world will end very soon, and is given the chance to stop it. Well that may not be the most original of ideas, I’ll grant you, so I need some unique twist on it. After all, it’s said there are only seven truly original stories.

Some may well call such faith in my creativity deluded if not over-confident, but it’s not anything like certainty. It is hope. And how many times I have concluded there will never be another novel, I’d rather not recount. Even this current one I will not feel like it can ever be finished until I get past the milestone of 50,000 words (which I’m so tantalizingly close to passing).

How difficult it must be for those whose livelihood depends on the next big idea, those who set themselves targets – yearly, monthly, daily. The pressure I can hardly imagine, which must take a special kind of self-discipline!

I’ve never planned my novels in advance; never written an outline. To me that would take some special talent I can barely comprehend. There have been times when it seemed there was no way forward; classic writer’s bock. A bit like depression, when you struggle to envisage things ever resolving – life being okay.

But even in the darkest hour there is always the prospect of light.

 

Links to my published fiction: The Captured (US) The Captured (UK)

Time Over (UK) Time Over (US)

Worlds Beyond Time (intro)

 

 

 

http://www.adriankyte.com/

 

The Three Novel Problem

Four words writers fear most from a potential reader: So what’s it about?

If someone were to ask me to summarize a novel, one I have been spending the last 3+ years committed to, I’d like to think I wouldn’t disappoint them. Surely not if I had my synopsis written down, all agent-submission prepared. And yet, responding to a question about themes, or deeper meanings, well, I’d be struggling. The same would apply with my last two novels. But at least I would be in good company, for that is what acclaimed novelist Cixin Liu (The Three-Body Problem) was tasked to do by a reporter; questions about his fiction sourced from a Chinese mid-grade school text book. He got them all wrong. In his defence he responded: “I don’t begin with some conceit in mind. I’m just trying to tell a good story.” As a multi-million selling author his work, of course, has been well analysed.

Since, it’s fair to say, my work hasn’t been I can produce most any answer and sound convincing. So my sympathy goes out to Cixin Liu. Much of creative writing operates on a subconscious level. For me, it’s about progressing the story, making it interesting and entertaining. And just good. Maybe some big issue of the day influences my protagonist’s actions and dialogue or even the story arc. But to suppose there is some profound plan behind the plot, or intentional allegory, is to ascribe a level of awareness beyond anything I’ve managed to attain.

My problem now has been unearthing the central themes and deeper meanings of my novel to pitch in a submission. I could say it’s about the nature of time, of memory; sentience; lost love; obsession; displacement; isolation; loneliness; the dangers of technology, of power; the need to find a greater purpose; sacrifice. I’d be tempted to say: it’s about all the things that matter in contemporary life transposed into a future universe. For all that would achieve.

Links to my published fiction: The Captured (US) The Captured (UK)

Time Over (UK) Time Over (US)

http://www.adriankyte.com/

Writer’s block – me?

Writer’s block is not something I used to believe in. If you were stuck, I thought, it was simply due to a lack of effort; a block can always be navigated around.

Now at the quarter way point into my latest novel I am struggling to write more than eight hundred words in a week. It seemed the best cure is to seek inspiration, find a book that resonates with what I am hoping to write. So I turned to a classic: Flowers for Algernon. It was not that I wanted to write a similar book (my protagonist is brain boosted from an early age to fulfill a top secret project). But in reading this SF masterwork I was in awe at some of the writing – the depiction of a man who goes from ‘retard’ (yes it’s an old book with outdated terms) to ubergenius, and the interweaving of a tragic love story.

So how can I even hope to compete with such a science fiction classic, I wondered to myself. Well, for a start there is no point in writing something comparable that can only end up as a pastiche. I have to find my own voice, the one that distinguishes my style of writing.

And yet. I see the standard. I see the level of the bar and feel my limbs go weak at the thought of trying to vault it. This is the problem of when – as a writer – you encounter another writer who you know has set an example, one you imagine could be used by the literary agent that rejects your latest.

So somehow I have to not fixate on writing a classic. There’s maybe some analogy in sport, or academia; observing the star talent and thinking: why should I even bother to compete? But no one can know the effort, or the time, the greatest put in to become just that.

Then, be positive? Of course, but it’s always a challenge!

Links to my published fiction:  The Captured (US)  The Captured (UK)

Time Over (UK)     Time Over (US)

http://www.adriankyte.com/

Rejection and Beyond

One good thing about rejection: it focuses the mind. Makes you realise how much getting published matters.

After three years of writing, rewriting, and rethinking, I submitted my novel to an agent. And then soon regretted it, but none so much as now. Yet another revision was needed. The synopsis was, frankly, badly written. I’d made the mistake of setting myself a deadline (to send it off just before my holiday). Deadlines are dangerous!

It was not that the agent left a critique – they rarely give feedback, but said he had to completely love a book to take it on. Not a high bar to clear? Well of course it always is. Confronted with hundreds of submissions a month I’d be rejecting all too readily, probably much of what ends up being traditionally published to great success. Even if all was in my chosen SF genre.

My rejection happened after more than 3 months since submitting it. Really, by then I’d reconciled myself to the fact that it would not be accepted. Then I saw the email had appeared, and I must admit to being afraid to read it for a while; a prepare-yourself-to-be-stung moment. But after so much time, to receive a short rejection borders on insulting. Maybe it got left in a must reject folder with a time-code, and he thought leaving it this late would lessen the blow. No it doesn’t! Ten weeks has previously been the longest wait, and they said they had been giving it careful consideration.

But it’s never a bad thing to have to go back to a previous (apparently) finished work after a few months, even in a state of despondency. You see it with completely fresh and certainly more critical eyes; whereas before, you’re still emotionally caught up in that grand literary project. Hardly surprising after over 3 years of it.

Still, I learned not set myself a deadline for the next submission. Just keep on with the next grand project.

Links to my published fiction:  The Captured (US)  The Captured (UK)

Time Over (UK)     Time Over (US)

http://www.adriankyte.com/

The Function of Fiction

…is to make my life better.

At least I look for a novel to make me feel better. But maybe of late my demands have become unreasonable. Should its purpose be to solve my problems, to find answers to unresolved (if not unresolvable) issues?

A good story is no longer enough. Now it’s difficult to find a book to fill that void; reading the blurb, the first few pages, or even the reviews may only give a clue in my search. Just as well, then, I’m not a literary agent!

So my own work should be aiming for such an exemplary standard, right? The only problem is, if you use your novel for laying out a psychological fix it can come across as indulgent. It shouldn’t be therapy. But that’s how it can feel. There’s only the hope that others will relate to the protagonist’s issues. Of course sometimes that happens – and you’re on to a winner! Some of my most inspired writing has come from a dark place.

I’ve never been sure if fiction should always have a function beyond entertainment. If its enjoyable then that’s a lot; humorous or just fun – it’s a big achievement by the author!

Yet I can’t seem to pin down the ultimate value of fiction. In a novel you can be in another person’s shoes – they don’t have to be the hero or even relatable – and understand their thoughts and feelings in a way that’s usually only hinted at in movies. A novel gives you knowledge interwoven in the narrative rather than merely dry facts; though so much of mainstream [so-called] Science Fiction has steered away from the scientific, of late. Well maybe that’s fine if it’s entertaining, if it makes you feel better.

Since I am writing the kind of books I like to read it’s impossible to be sure if I am writing for anyone other than myself.

Links to my fiction:  The Captured (US)  The Captured (UK)

Time Over (UK)     Time Over (US)