Showing posts with label fiction writing. Show all posts
Showing posts with label fiction writing. Show all posts

Sunday, 1 December 2013

NaNoWriMo - The Handyman Day 30

Potter survived with a little
mad look in 'is eyes
It is done. November is over. In the last 30 days my hair has grown unreasonably long, as did the hair on my face - at unreasonably strange angles too. Some of the summer lustre has disappeared from my skin - now paler. And I do believe there might be a bag or two more under my eyes. Maybe that's just from the count of my years and not just 30 days in November.

NaNoWriMo has at times felt a little like trying to run on ice. It has been impossibly, dangerously fast (god it feels good writing adverbs and adjectives) and at others, like I was getting nowhere.

Above all I entered the month hoping to learn a little more about the kind of writing process that works for me. As ever these things often end up revealing the obvious. I discovered writing isn't about hitting a daily count or monthly targets. It is about giving yourself time to write every day, even if that time is then spent researching the obscure and arcane. It is about finding some way of progressing the story each day even if it's in building the detail of the world and not the word for word. I learned writing is about being imaginatively fearless, believing in what it takes for you as an individual to write the best story and not worrying about others or hitting those targets. I learned I can write upwards of 2k in a day with a full section of the story plotted in my head. That it sometimes takes me two or three days of no words and lots of pondering to get to that point. It is more efficient for me to take these days of no words rather than writing 6k of words because I need something on the page to hit a target, only to later find the story doesn't need those words. Or worse being blind enough to justify keeping them simply because I wrote them.

It feels like I have tried everything this last year in learning the best method for my writing, with the irony being that I've come full circle to the process I started with while writing Chasing Innocence. I do know that the initial translation of mental imagery to the page is the part I struggle the hardest with.

For the baying millions waiting to hear my final count for NaNoWriMo of November 2013 of the common era - it is 23,433 - the most words I've ever been aware of writing in a single calendar month.

I will be continuing with The Handyman now to completion and will be posting progress through this blog, if only revealing the word count infrequently.

< NaNoWriMo - The Handyman Day 27 - The Handyman Day ?? >

Wednesday, 27 November 2013

NaNoWriMo - The Handyman Day 27

Fifteen beats of the sheet
Before I started writing the actual story of The Handyman, I spent about a month mapping out the fifteen or so key markers I'd need to hit during the story. This process also maps the core plot complexities. Not what happens but why it happens, the character motivations and backstories. The beat sheet for The Handyman totalled some 25k of words before a single word of fiction narrative was written.

In creating the beat sheet for the Handyman I didn't want a standard revenge structure where Daniel went straight out to kill Angela's murderers. Earlier this year I read Helen Zahavi's brilliant 'Dirty Weekend' and loved how she transitioned her heroine from timid victim to effective vigilante. Daniel has never been timid but his fear of losing the memory of his wife keeps revenge in check. When he sees video footage of Angela's murder, he hears one of the killers laugh. The seed for his journey is sown.

The story then to the mid-point is all about him tracking down the murderers. In my beat sheet they are described as The Driver, The Mercenary and The Psychopath. It is Daniel's interactions with the Driver that will lead him to the Mercenary and indirectly to the Psychopath. I intended for the Driver to be part of the murder squad because he has been radicalised. He isn't the guy who laughs or pulls the trigger. Just the driver. For all his hard believing the deaths have an effect.

That's pretty much what I laid out in October. Two days ago I reached the point in writing the Handyman, where Daniel tracks down the Driver, and therefore the moment life has to be breathed into the Driver.

It is very important to me that each of the Driver, Mercenary and Psychopath are living and breathing characters in their own right. Their actions are undertaken with the same kind of convictions and justifications Daniel uses for his goals. So how do you create a living and breathing radicalised twenty-eight year old male with two children and a wife?

The answer is of course - not easily. I definitely didn't want to make him the 2D bad guy terrorist. I wanted to create someone we understand and therefore empathise with as Daniel relentlessly closes in. A similar understanding of character to Simon the child kidnapper in Chasing Innocence.

The last two days then have been about researching the different facets of radicalisation, which is a well documented trait in human societies. Radicals have existed in every culture, religion and ideology through time. They are a result of an individuals belief that the institutions and structures defining law and society are de-legitimatised and need to be replaced. There are usually multiple facets, society, cultural and often family, that have to fail in the person's eyes. Even then most people do not possess the capability to radicalise and then only a small percentage that do, would actually turn to violence.

My driver's first name is Aslan. He has grown up in a largely orthodox family. A strict father who believes the old ways are best, who also views the ruling structures of society to be de-legitimised but change must be achieved politically. Aslan had an older sister he was very close to, who was beaten and died as a consequence while at University - never solved and thought to be racially motivated. The family discovered she was leading two lives, a western life at University and a compliant orthodox life in-front of the family. She had a secret western boyfriend who Aslan believes murdered her. It is Aslan's belief the structures of society covered up the murder. That she didn't matter. Society failed her and so did his father, who's pedantic attempts to introduce orthodoxy politically are as flawed as the ruling society itself. He is frustrated by his communities inward focus at observing doctrine while not doing more to force change in a society that demonises his culture. Azlan believes the deaths of Angela and Molly are part of the vital process for deconstructing the existing infrastructure. Except he is also haunted by the laugh in the car as Angela was killed.

That's the premise. Now I have to put Daniel and Aslan in the same space on the page and see what happens.


Saturday, 23 November 2013

NaNoWriMo - The Handyman - Day 23

Now what the hell am I going to write this blog post about? It is day 23 of NaNoWriMo by 93 minutes. I'm in Birmingham sat in a friend's study. I've had about three Desperado's too many and I have just watched Sucker Punch - which was nothing like the movie I thought it would be. In fact I think it was rather excellent, save for the fact it tried to be too clever by holding onto the secret of reality far too long. Which wasn't even the Sucker Punch reveal. Zack Snyder is an incredibly original visionary but he isn't at this stage the genius story teller he aspires to be. Watchman spoiled him. Classics are not so easily conjured.

Anyway, a few days back I was thinking I'd soon hit 20k or at least be close, then when I look at the posts that was nine days ago - aarrggghh.

It is day 23 as previously mentioned. I have just breached 20k. This is disappointing on two levels. First it means my average word count per day has been less than 1000 words through November. The second is I'm so horribly far behind on NaNoWriMo it makes me shudder to think.

This has been a wonderful exercise though. I know writers who have already tipped 50k this month. I find that inconceivable. While I am writing to a carefully plotted structure the line by line for me is entirely from the characters perspective. What are they thinking in the moment to moment? Creating a scene and having the characters play the scene to the benefit of the story is tough work. I write short scenes, in the main. It takes a while for me to reset between scenes. To properly stage them in my mind.

Of course at 20k I have just finished the hardest part of the book - act one - the bit where we introduce characters and give them substance, set-up all the key markers that will play and evolve through the story to it's conclusion.

The hope is I am now playing these established characters in the story. I have so many hopes and aspirations for how this will play out, that trying to hit a word count feels entirely wrong. Sitting down and trying to creatively tell a sizeable chunk of the story each day does feel good. I will have mentioned it before. The key lesson for me has been to make sure I sit down every day and commit to writing for a few hours. No matter what.

Off to bed now with the hope I will have chance to write for an hour or so in the morning without being too anti-sociable. Am off to a Memorabilia Comic-Con type event at the NEC tomorrow afternoon.

With seven days left and the 25th as my next realistic writing day my hope is to hit 30k before the end of the month.

We will see.

< The Handyman Day 19 - The Handyman Day 27 >

Tuesday, 19 November 2013

NaNoWriMo - The Handyman Day 19

Wave hello
One of the toughest parts of starting a book, is getting the characters on the page. I'll often see them in my mind but finding the words to convey them as real can take some time.

Invariably there is a magical moment during the process, usually about the time we get into the mix of the main story, when the characters make themselves known. They become real and the words to describe them come a lot easier.

It is a moment I seldom see coming. In Chasing Innocence it didn't happen for Sarah until late - when she was fighting Simon. For Mahrie it was her return after burying her husband, and her reaction to the police waiting outside her house.

When the characters do start waving from the page. It is one of the great feelings.

Of course you may read the following excerpt and wonder what the hell I'm going on about. It might be difficult to know without the context of what happens before. This was the moment for me when Daniel Harper started waving. It will now be about honouring his story that drives me to the end.

Daniel does a last check, makes sure the keys are secure in his rucksack, the change of clothes, clips his shoes into the pedals and freewheels onto the road, merges into the traffic. 
The bike is gleaming, oiled, there are no gears. There are no brakes, the bike's momentum is controlled by the continual rotation of the crank - it stops and the bike stops. The handlebars are seven inches across, left hand to the right, designed so he can filter through traffic, between cars, taxis and buses. He’s spent the morning giving it the once over. He wants to see if he’s ready to work. 
At the station he pulls on his cap because he doesn’t want trouble. The train has to pass through Slough. London is the multi-cultural hub of Europe. He’s nervous. Not the fear of physical confrontation but of being reminded of other people and their anger. There’s a telescopic batten taped to the inside of his bicep, just in case. 
The worry is for nothing. He climbs on the train, lifts in his bike and they rattle and roll into Slough where people pour off and on, the doors close. On into Paddington. He doesn’t think anyone paid him any attention. He has been trained to notice these things. 
The underground could take him to Wimbledon but he needs to get back into the flow. This is where his days were spent, couriering envelopes and packages, criss-crossing through the alleys and roads of the ancient city. Tuned into cabbies and bus drivers, pedestrians with a death wish. Upwards of one hundred daily miles on a seat narrower than his wrist. Decent money and flexible. It could be unpleasant, the weather, the nutters, never worse than sitting in an office. 
It’s nine miles to Wimbledon, it takes him forty minutes. He’s an hour early for his appointment. Sits in the park to cool down. Knows the child voices and the mothers aren’t Molly and Angela, has to stop himself hoping. Watches them with his body heavy with loss, a malevolence wants to twist inside. For those who robbed him. A tension he lets flow to the cool autumn. He thinks of Angela and the love she had for life. 
When he’s ready Daniel takes his lock from the rucksack, the sort you’d get for a high-end motorbike. A long chain of thick links encased in a kevlar sheath. He removes the bike wheels, takes them with him. Only the frame is shackled to the bike rack. He changes in the public toilet, the cloying bleach and piss. He sprays deodorant. He knows Wimbledon well, he used to see Doctor Mistry at the Neurological hospital, after he came out of the army. Daniel likes to be respectful. Would never wear his cycling gear to see a Doctor. When he leaves the toilet he’s wearing his wedding suit trousers and a shirt. Polished black shoes. The wheels in one hand in a special carrier, rucksack on his back.

Monday, 18 November 2013

NaNoWriMo - The Handyman Day 18

Keeping the study warm
while Potter feverishly
creates pearls of fiction...
And then there were 18 days of November almost gone. Life has kicked in the last few days and I have not written a single word of fiction since the 14th #gulp

I knew I was going to struggle Fri for the same reasons I mentioned in the last post - I was trying to find an innovative way to introduce the video found footage. Sitting down on Friday I thrashed through the details, working through potential scenarios. I didn't want the found video to just arrive through Daniel's letterbox or be nailed to a wall or something - although I seriously considered these as solutions. I wanted some interesting angle, and how I vexed myself.

1.6k of debating words later, which is how I resolve plot issues, by writing down the debate in my head, I had some great additional ideas for the story but nothing original for the found footage.

Then the weekend kicked in and projects I was working on with other people took precedence. Chasing Innocence is getting a fresh proof and copy edit to try and get the last few rough edges out of the text. I'm starting a business and needed to get business card designs ready for the printers.

Saturday I finally came up with the found footage solution by thinking outside of the problem and looking at which characters could solve it for me. I came up with an excellent idea - hoorah to that. Now It's Monday and business needs took over again. So it's 16:00 and not a NaNoWriMo word has been scribed since Thursday night. I need to get back into the mindset, to get going. 20k of The Handyman beckons. I'm currently at 15,500 words. Wildy behind schedule but the set-up and introductions of act one are almost over. I'm about to move into the fun and games of act two. It'll be easier, words will be plentiful, I keep telling myself.

I'll let you know how it goes.

Friday, 15 November 2013

NaNoWriMo - The Handyman 14

It happens like this just about every day, at least those days I'm supposed to be writing a blog. I'm just about to pack up and go to bed, when it suddenly occurs to me I haven't written the damn NaNoWriMo blog.

I then spend about ten seconds deciding whether to give it a miss or not, the outcome of which will largely be determined by whether I bunked off the night before. In fact last night I didn't give the blog a single thought. So here we are, sitting here at 00:23hrs on the 15th November, trying to be insightful.

Today was one of those writing days, NaNoWriMo or otherwise, when the needs of the character changed the needs of the story. In my extensive plotting of The Handyman, I had cleverly created a moment halfway through act one that would serve as a catalyst for the rest of the book. It was a moment when Daniel looks through the pictures of his dead wife's camera having dreamed of her asking him 'What do you see?' I go through this whole section as he hunts through the pictures as if we are looking through found footage. He sees her life and world through her eyes. One largely unknown to him. It is a lovely moment and frustrating for him because he cannot see anything that might lead to her murder.

I wrote the scene today. I like it a lot and it works real well. This moment pays off later in the story. It immediately leads onto a scene with actual found footage of her murder, taken by the murderers. In looking through the footage he hear's one of them laugh and his revenge gene kicks in. He is now on board for the main story.

It all sounds cool, and reads pretty well in a story outline. The trouble is in writing the two back to back found footage scenes you get found footage overload. The two scenes show different mediums of camera and video, have largely different content but have very similar narratives. They are essentially the same scene played out twice in a row. Readers will disengage.

The solution so far is to move Daniel doing the camera review to a much earlier stage during the setup in the first half of act one. And then think of some imaginative way of revealing the video found footage, which I haven't quite come up with yet.

Hopefully next time we meet in the middle of the night, which should be Saturday(ish) at the latest, I will have. See you there.

<NaNoWriMo - The Handyman 12 - NaNoWriMo - The Handyman 18

Wednesday, 13 November 2013

NaNoWriMo - The Handyman Day 12

It's amazing how the days get away from you. One minute I'm mostly doing a blog a day, or every other day, the next it suddenly occurs to me I've not done one for three days. Not even thought about it at all.

So it's the twelfth day of November. If I was keeping track of the NaNoWriMo thing I should have 19k of words under my belt. I actually have 12k. Which is so far off the pace it is almost totally unrecoverable in terms of hitting the 50k word count at the end of the month.

The realisation of this month for me has been understanding it's unlikely I'll ever be able to write 50k in thirty days. I can work all day sometimes and have little in actual additional word-count to show for it. Here is an example of why:

Sunday, I spent four hours editing two chapters I'd worked on the day before. You might ask why I was editing and not writing, it is after all NaNoWriMo. The simple answer is everything I write is character centric, if I haven't got their perspective accurate in chapter five, it's not going to feel right in chapter six, seven etc. If I don't take care of the characters viewpoint and world perspective in chapter five, I'll end up increasingly uncertain and go off course. Which will later take a disproportionate amount of time to fix. I might as well get it fixed when I realise it needs fixing and keep subsequent chapters on message and building from a sure platform.

So Sunday, I'm editing these two chapters. One heralds the catalyst for what will be the reveal at the end of the story and therefore needed to say certain things in a certain way. I'd got it written but it was too obvious in leading Daniel to the catalyst. I needed to be roundabout in the reveal and blend the conversation so the reader realises the catalyst a line or two before Daniel does. The other was a conversation between Daniel and another man about their motivations for the upcoming story. The Handyman is a revenge thriller. I'd written the scene but didn't have a valid reason for him being reluctant to embark on the revenge element. I had to make sure he had valid reasons for rejecting the cause but give the reader a clear understanding he will of course eventually get going.

It took a lot of work and I eventually laid it out not as a reluctance to embark on the story but a reluctance to leave the memory of his wife and their life together behind. A very tricky thing to pull off. Four hours of hard work with a total twenty-two words added to the project's overall count.

The next NaNoWriMo word-count update will be Friday 15th, where I should be hitting 24k but will be grateful to be near 20k.

< NaNoWriMo - The Handyman 9 - NaNoWriMo - The Handyman 14 >

Monday, 7 October 2013

Deconstructing Story - First Blood

From the age of twelve I had the headline poster on my bedroom wall, of Sylvester Stallone from First Blood, the ribbon of menacing bullets diagonal across his chest, the bandana, Rambo holding the M60. I have no idea why the image was so important because I only watched First Blood when I was sixteen. The movie still resonates with me thirty years later.

In trying to understand why First Blood has been such an iconic movie, I thought I'd break it down to fifteen core beats. The kind of beats any story needs if it will parse as entertainment in a viewers mind.

One - Introduction to Rambo

The movie begins by showing us Rambo, John J, walking down a grass verged track to a riverside settlement, accompanied by Jerry Goldsmith's laconic signature soundtrack. We discover Rambo is looking for the only surviving member of his squad from Vietnam, whom he quickly discovers died from cancer soon after returning from Vietnam. Now Rambo is completely alone and has nothing to lose. He heads back to the road and towards a small town called Hope.

Two - Characters (5 - 11 minutes) 

At five minutes we meet Sheriff Teasle, the much liked guardian of Hope. He spots Rambo and offers to give him a lift through town. Rambo wants to stop and eat but Teasle doesn't want guys like Rambo in his town. At eight minutes he drops Rambo off outside town. Rambo stops and deliberates and then starts walking back. He is arrested and his hunting knife confiscated.

At the police station we are quickly introduced to all the characters who play a significant part in the first half of the movie.

Three - Theme (@ 5 minutes)

During the arrest of Rambo, Teasle states that wearing his military jacket and the american flag 'like that' is what got him arrested. Throughout the movie to its closing scenes the repeating theme is how America has mistreated the soldiers who fought the Vietnam war.

Four - Catalyst (@ 13 minutes) 

Although Rambo's arrest sets up everything that will happen, it is his reluctance to be fingerprinted and his first meeting with the dark hearted Deputy Galt, that sets the violence in motion. We see how brutal Galt can be and also from flashbacks, just how unstable Rambo is.

Five - Preparing for the Adventure (13 - 16 minutes)

From the moment Rambo arrives at the station to the moment he escapes on sixteen minutes, there is no attempt by any party to avoid the adventure ahead. Rambo is treated brutally with relish, which results in horrifying flashbacks as the officers try to shave him. Rambo has deliberately put himself in this situation. He takes out half the personal in the station as he escapes.

Six - The adventure begins ( @16 minutes)

The escape as we move into act two sets-up the deepening conflict between Teasle and Rambo. Teasle relentlessly follows cross country in a squad car as Rambo flees on a motorbike. We get a sense that something has been gnawing at Teasle for some time and his determination to follow Rambo embodies his need for a violent resolution. No reason is stated in the movie but we see it in every gesture of Brian Dennehy's superb performance. As Teasle later says, 'I wanted to kill that kid so bad I could taste it.'

Likewise with Rambo, we get a sense that now he's on the run he is alive again and free. Above all he is doing something he is good at. This is a fight both men were looking for and now they have it.

Seven - No sub-plots

The whole story is focused around the hunt for Rambo and then his return attack on the town of Hope. There are no sub-plots or other layers. Colonel Trautman arrives on the scene at the mid-point but serves only to pad out the Rambo back story and add weight to his threat.

Eight - Fun in the Forest (16 - 40 minutes)

We enter the first of two big sections in act two. This one will lead us to the mid-point of the movie. The resourcefulness and ability of Teasle is demonstrated in his ability to command and focus resources. He above all is the one with any ability to capture Rambo, with the inability of his men demonstrated by their 'deer hunting' approach to the search and spoiling the scent of the hunting dogs. Rambo further demonstrates his skills by salvaging survival equipment from a scrap yard.

At twenty-five minutes the stakes are raised considerably when Rambo is forced to climb down a sheer cliff to escape. Deputy Galt starts shooting at Rambo from a helicopter, which forces Rambo to jump, using a tree to break his fall. He sustains an arm injury. Not content with wounding Rambo, Galt moves in for the kill. As a last desperate act Rambo throws a rock at the helicopter windscreen which unbalances Galt who falls to his death onto the rocks below.

Teasle sees Galt's dead body from the top of the cliff and Rambo offers a truce. Instead he is fired upon and we learn Teasle and Galt have been lifelong friends. At the same time Teasle discovers Rambo was an elite and medalled soldier. Both men now have more of a fight than they might have been looking for. Teasle's murderous desire and Rambo's need to survive have reached primal levels.

Teasle rallies his officers and they go with the hunting dogs to track down Rambo. Once more we get a sense Teasle alone is the one with any ability to do this, with the hunting dogs and then each of the officers systematically and cleverly taken out by Rambo, leaving the forest full of screams as Teasle's men call for help.

Nine - Mid-Point (@ 41 minutes)

Rambo confronts Teasle as the last man standing, telling him not to push it, that he could easily have killed them all. He lets Teasle go. Although this seems like a victory for Rambo his situation is immediately made worse when Teasle escalates the hunt, bringing in the state police and national guard. The hunt is turned into a national media event with Rambo demonised.

Ten - Soldiers close in (43 - 68 Minutes)

The second big chunk of story, taking us to the end of act two, starts with a slow down in pace. The narrative briefly summarises how we have got to this stage with a performance focused around the embattled but vengeful Teasle, who blames Galt's death firmly on Rambo. We are introduced to Colonel Sam Trautman, the soldier who trained Rambo, who implores Teasle to let Rambo go, so they can later catch him after the situation is defused. Ignoring this advice Teasle uses Colonel Trautman to initiate radio contact with Rambo. In one of the best moments in the movie, that both humanises Rambo and makes him more of a threat, Trautman tries to talk Rambo into turning himself in. In a repeat of the mistreatment of Vietnam soldiers theme, Rambo who is hiding in a mineshaft, refuses to run any more. 'There are no friendly civilians', he says, stating they pushed first, not him. The radio conversation has given a fix on Rambo's location.

At fifty-three minutes and the following morning, the national guard closes in on Rambo. He easily gives them the slip but is discovered by a young boy hunting with his dad. In a moment that reveals Rambo's true character he refuses to kill the boy whose screaming brings the soldiers back on Rambo's trail. He returns to the mineshaft and the national guard wait outside. At fifty-eight minutes the national guard, scared by Rambo's devastating return fire, rocket launch the mine. The mine is blown up and Rambo is believed dead. Although Colonel Trautman thinks Rambo might have survived he endures Teasle's rant about the easy victory. A rant Teasle later apologises for, which opens up some vital empathy for the sheriff as we head towards the finale.

Rambo has in-fact survived but endures his darkest moment escaping the mine at sixty-four minutes as the tunnel increasingly narrows and he is attacked by rats. Teasle and Trautman briefly share a drink and we get real context from Trautman for the kind of killer Rambo was in Vietnam - a war of attrition that foreshadows the hell Rambo is about to bring to the town of Hope.

Eleven - Rambo Lost (@ 58 minutes)

There are two key moments in the previous section that are important beats in the story. The first is the national guard rocket launching the mineshaft with Rambo inside. Although we do not believe Rambo can be dead the weight of Rambo's story then falls on the shoulders of Colonel Trautman. Having talked up his soldier's abilities it seems all is lost when Rambo is so easily killed by part-time soldiers. This moment directly contrasts the mid-point, where Rambo's victory of Teasle was short lived. This moment in the mineshaft is a short lived victory for Teasle, because Rambo is actually alive and will soon be back.

Twelve - Darkest Moment (@ 64 minutes)

The second key moment during the back-end of act two, comes at sixty-four minutes when Rambo reaches his lowest point in the movie. In the mineshaft with the tunnel narrowing, he is attacked by rats, a very memorable scene full of terror for Rambo, in turn demonstrating his humanity.

Thirteen - Into Act Three (@ 68 minutes)

After the rat attack it can only get better for Rambo and quickly does, when he finds a way out. He climbs a ladder and discovers he's amid the retreating troops who believe he's dead. And so we ease into Act Three and the violent finale.

Fourteen - Attack on Hope (69 - 88 minutes)

Rambo immediately steals a van with an M60 machine gun in the back. He races back to Hope, taking out a squad car full of pistol totting policemen and breaks through a roadblock to a victorious upsurge in the Jerry Goldsmith music score.

At seventy-four minutes he sets a petrol station in Hope on fire which quickly results in Teasle evacuating the streets. Teasle climbs onto the station roof with a rifle and waits for Rambo to show his face. Rambo doesn't, he systematically takes apart the town, and everything Teasle is responsible for. Finally he creates a diversion and spots Teasle on the roof.

At eighty-four minutes Rambo runs through Teasle's line of sight to draw him out and then unloads the M60 into Teasle, who is badly wounded but survives. Rambo is now ready to take on the rest of the police and National Guard positioned outside the police station.

At eighty-five minutes Colonel Trautman appears and tries talking Rambo down. In a very moving scene that pays off on the mistreatment of soldiers theme and the horrifying experiences of war that still haunt Rambo, he is reduced to a sobbing wreck and the battle is over.

Fifteen - The End (@ 89 minutes)

Rambo leaves the station and goes into custody with Colonel Trautman. He has shared his nightmare and in contrast to the beginning he is no longer alone. Teasle is lifted into an ambulance. The movie closes freeze framed on Rambo with Trautman at his side. Dan Hill sings his hit song 'It's a Long Road' in accompaniment.

Summary

First Blood is a story that appeals for its primal nature, of the hunter and hunted, a fight to the death. The enduring nature of the story is underpinned by the age old motif of the soldier who fights for his people, who is then caste out by the people, fearful for what he became in saving them. The film leaves us pondering contrasting moral viewpoints: Teasle believes men like Rambo are only ever trouble and everything that happens, especially Galt's death, prove him right; set against Rambo's belief he has been victimised once too often. Brian Dennehy's performance as Teasle, without any reference to his past, tells us exactly the man he is and what he stands for. Likewise Stallone is understated but likeable as the traumatised ex-soldier with blood and terror on his hands. We feel empathy, not just for Rambo - the errant son, but also for Teasle - the strict father figure, that lasts beyond the closing credits of the film.

Box Office

Made for $15,000,000, First Blood was released October 1982, going on to make a world-wide gross at the cinema of $125,000,000 It went on to be a big video and DVD hit, spawning the hugely successful and very different, partly James Cameron penned Rambo II.

Trivia

First Blood was originally set to star Paul Newman as Sheriff Teasle and then later Steve McQueen as Rambo. In David Morrell's original book of the same name, Rambo is shot dead at the end by Colonel Trautman. This was the original ending of the film too, but when it was test screened the audience almost rioted and they filmed an alternative ending, with Rambo surviving.


Sunday, 9 June 2013

Hunting Demons: Finding Momentum not 10K

It is funny how we come to things. Trying to write ten thousand (10k) words in a day was a consequence of needing to kick myself out of a ponderous editing compulsion. A single day word count goal that would prove beyond me, as it happens. But I had guessed that from the outset, having calculated it would take me over eight hours of non-stop typing at twenty words per minute, with no pondering, or breaks or anything to achieve it.

But I wanted to see what I could achieve in a day of flat out writing. Especially as I needed to get my arse in gear with a deadline looming.

Before starting on the day I planned the medium term goals of the characters and the story. And then I began. I wrote in three sessions of three hours. Managing on average 1.2k words per session. Totalling just under 4k for the whole day. I stopped just before 9PM having written myself to a standstill. An expected fail you might think, but a funny thing happened during the day.

A novel is a strange beast. It is nothing like any other writing medium. It is focused on the moment to moment and at the same time it is a dauntingly huge canvas of interlinked threads, most of which are layered deep into the moment and only realised as we move between these moments. A lot of the links won't even be neatly tied off when the first draft is finished.

And in the four years since finishing the first draft of Chasing Innocence, I'd forgotten about those interlinking threads. As I built momentum through the 10k day they started to form, wildly branching out the more I wrote. It was incredibly thrilling realising the shift from ponderous editing to full on novel writing. This is what I got most from the day, that once my characters feel real and I know where I'm going, it is momentum that will fill the canvas and build the core elements of the book I'm trying to write.

Here are a few other observations I made during the day:

I thought in trying to write a lot in one day I might overwrite - the actual output if anything was lean. It will be built on, with additional colour edited into the core story. It will change by percentages, getting swapped about, added to, moved or dropped. I do think those percentages are considerably less than I might have expected.

Dialogue was fully realised within the needs of the story as it currently stands. There were some nuances, emotion and character inflections built around the dialogue but only those that helped the characters speak as I progressed. Once more additional colour and drama will be layered, again in lesser percentages than I expected.

By writing with momentum I was far more creative in how I told the story than I would be in ponderous mode. I think this is important for me at least in my thriller mission statement.

If I realised I needed to change previous content as I wrote, I only went back if it helped build the story. If it was just an edit I made a note and continued.

I have to see the physical environment in my mind to tell the story, so if I can't I have to stop and mentally build it. This I had to do twice during the day. Better planning would have overcome this. I knew I was going to be in these environments but realised while writing I needed more geographic detail.

Huge fun.

Shout out to Melissa Foster for providing the inspiration to attempt a 10k day.

Saturday, 8 June 2013

Hunting Demons: Writing 10k in a Day

Taking the imagery that exists in my mind and producing prose that plays that imagery in other peoples minds, is a complex multi-layered process. The first layer is the hardest for me, which is the actual process of writing the first draft. Anyone who thinks an author sits hunched over a keyboard, massaging the keys with conductor like flourishes while producing sparkling jewels of literary treasure, has quite clearly never tried writing fiction.

The production of my first novel took three years, largely because I made so many mistakes and learned a lot of lessons.

For book two I'm on a tighter schedule. I need to have finished the first draft before the end of September (2013), preferably earlier. With a publish date scheduled for February 2014.

I'm currently behind schedule. This is in part due to my usual slow start while finding characters and voice, but it's also a product of my propensity towards over editing. While writing I will habitually comb back through the last few paragraphs and smooth them out. There is nothing about writing I enjoy more than editing, but with a whole book to write, these edits are a luxury I don't have. Especially when so much will change once the first draft is completed and 20% of those excessively edited paragraphs will be discarded, as I tend to over write in draft one too.

I have a number of writer friends who have studied the art of productive writing. One in particular will manage to produce ten thousand (10k) words, usually on about one writing day a week, 2-3k on normal days. 10k is often the total output of a good week for me.

My 10k specialist friend says preparation is key for the 10k day, with bullet points to hand for where the story will head, the themes and character goals. Then go for it.

Which is what I will be doing Saturday 8 June, my first 10k in a day attempt. I will Tweet occasional updates #amwriting10ktoday on my progress and blogging my considered thoughts after.

If anyone else has any productivity tips, I'm all ears.