They say that familiarity breeds contempt. That might be a little harsh, but humans are famous for their ability to see what they expect to see, and when you observe the same thing every day, you stop noticing the little differences.
An acquaintance of mine started a job in a new organisation. A few days after they started, the police started an investigation into a serious incident that had taken place, unnoticed, on the day they started work. They interviewed my friend, who warned them that they were new to the role. The police were delighted; whilst their colleagues struggled to remember anything out of the ordinary, or even exactly which day the event took place, my friend recalled every detail. It was all new and exciting to them and so they remembered even small things. We never did work out if they saw anything useful to the investigation, but the police were very grateful to them.
With that in mind, today's writing exercise is a practise in description.
Take a notebook and travel somewhere new. Perhaps a coffee shop you've never visited before, or a new part of town? Once there take notes. Copious notes. Describe the layout of the area and the decorations. Are there people there? Try and use all your senses: sight, hearing, touch and smell (don't lick anything unless it's socially appropriate or safe to do so). Then delve deeper. How does the place make you feel?
Now, return home and write about a character visiting this place. Place yourself in their shoes. If it is an existing character you already know, how would it make them feel. What would they notice? A parent in a coffee shop might automatically clock where the toilets are and if there is a good selection of juices and snacks suitable for small children. A police officer might notice the two shifty-looking characters in the corner, or feel exasperation toward the woman so absorbed in her mobile phone she's oblivious to her purse poking out of her handbag.
How did you find the exercise? Did you notice things you might not otherwise? As always feel free to comment here or on social media.
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.


Until next time,
Paul.

Today's #TuesdayTip is another writing exercise/writers' block buster.
They say that there are always two sides to a story. If you really want to describe a scene in a book - or just fancy a fun activity - it can help if you understand what happened from all sides. Then you can pick and choose which narrative to present to the reader.

For today's activity, we are going to write an interview with a secondary character.
First choose a scene that you know well. It could be written or from a drama. You are now going to interview a witness who saw the scene, but wasn't directly involved.

For example, imagine the end of Star Wars Episode IV: The Empire Strikes Back. In this scene, Darth Vader has pushed Luke Skywalker out onto a catwalk. He is trying to persuade Luke to join him on the dark side. Whilst doing so, he cuts of Luke's hand with a lightsaber. He also makes one of the most memorable declarations in movie history. "Luke, I am your father."
We are supposed to see the scene through the eyes of one of the two main protagonists, Luke or perhaps Vader. Instead, what about a third party? A storm trooper standing just out of shot, watching transfixed. What do you think they would say if they were interviewed afterwards? Could they feel so intimidated by Vader that they decide to keep it short and sweet? Maybe they have sympathy for Luke? Would they keep that stunning revelation to themselves? What if, instead of a formal interview, they were being grilled by a fellow storm trooper back at the barracks? What emotions would they be feeling?

Sticking with the Star Wars theme, there are many who believe that the original trilogy is less about the life of the Skywalker family, rather a recounting of the adventures of a certain plucky little astromech droid. Why not tell a scene from R2D2's point of view?

How did you find the exercise? Did your story go in an unexpected direction? Did your character have a different interpretation to that of viewers of the film? As always feel free to comment here or on social media.

If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.


Until next time,
Paul.

We live in an age where we are surrounded by stories. Not just in books, or films, radio or TV, but in the media and the news as well. Browse the BBC News Website for example and you will find a plethora of stories reported as news articles.
Today's Block Buster/writing exercise involves taking a news story and writing a fictional piece based upon it.
The activity is quite straightforward - access your favourite news website (or open a newspaper) and hunt for a short story. The shorter the better. For an extra challenge, try and choose a topic you are unfamiliar with.
Read through the story and make a note of some of the key facts, then tell a fictional account of the event. Perhaps you could decide to be a witness to what has taken place? Or maybe a key character within the story? Don't worry about factual accuracy, it's fictional and for your own enjoyment.

​How did you find the exercise? Did your story go in an unexpected direction? How liberal were you with the interpretation of the facts? As always feel free to comment here or on social media.
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.


Until next time,
Paul.

Today's #Tuesday Tip is a fun writers' block/practise exercise to get you started writing for the day.
A great opening line is essential to hook your readers. It needs to grab their attention and have them asking 'what happens next'. There are tremendous examples throughout history. This website compiled by the publisher Penguin lists some terrific opening lines that have stood the test of time).

I happen to be a big fan of Douglas Adams' opening to The Restaurant at the End of the Universe.

"The story so far: in the beginning, the universe was created. This has made a lot of people very angry and been widely regarded as a bad move."


For this activity, either take a book off the shelf or search the internet for lists of opening lines.

Copy the first line (or two if needs be). Now close the book and write a short piece starting with that line. The object of this exercise is not to retell the author's original story, rather to run with that opener and see what you can come up with instead.

For a real challenge, pick a book completely at random, or search the internet, and force yourself to use that opening. If that seems too daunting, feel free to flick through a few different books until you find one that sets your imagination on fire.


How did you find the activity? As always feel free to comment here or on social media.


If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.


Until next time,
Paul.

About fifteen years ago, I was asked to be a best man (he repaid the favour last year). One of the most important duties, after not losing the rings, is to deliver the best man's speech after the wedding breakfast. For weeks, I slaved over my address, before finally finishing what I hoped was a suitably touching, amusing and not-too-impolite tribute to my closest friend and his beautiful wife-to-be.
A little under a week before the wedding, I returned home from work, where I had been using my personal laptop (I was just starting and had yet to be assigned my own work laptop). I went to turn it on … and nothing happened. Dead as a doornail! There was no hope of getting it repaired anytime soon, and I would need a new one anyway, so I forked out for a replacement. I successfully removed the hard drive, placed it in an external USB caddy and plugged it into the new machine to find that to my relief, there was nothing wrong with it. Except for one tiny problem. It was encrypted and I had no way of unlocking the files. It's still in a box somewhere, encrypted and useless; I really need to securely dispose of it.
Mercifully I didn't lose too much work, as I'd backed everything up onto CD-ROMs and DVDs (remember those?) but my best man's speech was gone.


The moral of the story? BACK UP YOUR WORK.
Of course I'm not alone. The late, great, Jilly Cooper famously left her only paper copy of the manuscript for 'Riders' on a bus in 1970. She didn't finish rewriting it until 1984.
These days, there is no excuse, given that most writers use a computer. Back in the 1980s floppy discs were the way to go. These were superseded in the 1990s by CD-Roms and USB memory sticks. If you had the resources, an external hard-drive could be used to keep a second copy of all your files.
These were fine, but not much use if your house burned down and both your computer and your backup were destroyed. As internet connectivity became more popular, some writers hit upon the idea of emailing a copy of their work in progress to themselves at the end of each working day. Assuming your email provider didn't disappear overnight, it would be safely sitting on Microsoft, or Yahoo or LycosMail's servers when you resumed work the following day.


But the problem is that's a faff. And you can still lose a day's work if your computer crashes before you've sent your daily backup.
Now, with the ubiquity of online cloud storage which can be set to record incremental backups every couple of minutes, in theory you shouldn't lose a single word.
Hah! That's fine until you realise that you set it up wrong, or your tech giant of choice suffers a major data breach. 


These days, reliance upon one method for backup is not recommended.
What you should aim for is both a physical backup - e.g. an external hard drive or USB memory stick which can protect you if your computer's hard drive should fail - and a remote, off-site backup in case your house catches fire. You could email it to yourself, but these days, cheap or free cloud storage systems are far more convenient.
I'm no computer expert, but I mix and match a couple of systems. I have an external hard drive that backs up my laptop's hard drive completely and also saves all changes to files as I go along. In theory, not only does this protect my valuable data, it also contains everything necessary to completely restore my laptop and its software and settings, should it die an unexpected death.
My off-site back up is two different cloud storage systems.
Now before we go any further, I have no idea if this is a sensible set-up, and take no responsibility if it doesn't work for you, but I've been happily using it for years.
The way it works, is to place one cloud storage system inside another.
I have a Microsoft OneDrive account that gives me 1,000Gb of space. I also have a Google Drive account which gives me 100Gb of space.
The folder that Google Drive syncs to is inside the folder that OneDrive syncs to. Anything that is really important, such as my writing or paperwork etc, is saved into a folder in the Google Drive.
Less important stuff is saved directly into OneDrive.
Everything in the Google Drive is therefore saved to both Google and Microsoft. I routinely access these files on other devices, such as my phone, tablet and an elderly mini-laptop, and the files are accessible whether I log onto Google Drive or OneDrive.
The only caveat, is to be patient when closing down your computer - give both the Google and Microsoft apps time to complete syncing.
You will also need to have at least one device that has both Google Drive and OneDrive running, and to use that device regularly, that way the files inside Google Drive will be synced to both cloud services.


As for the best man's speech - it was lost forever. Unable to rewrite it from scratch, I was able to remember the key points and jokes, and so wrote myself a bullet-pointed list of prompts, stayed off the booze just-in-case, and delivered it off-the-cuff. I'm told it was far more natural and relaxed than if I had read out a pre-prepared speech word-for-word, and I even ad-libbed.
Another bonus was that the one joke I forgot turned out to be the only joke that would have actually caused offence (entirely innocently; I had no idea it touched upon a slightly sore point with the groom's mother going back to childhood - I told the groom the joke later and his response was 'thank God you didn't say that'.)


Do you have any tales of woe, when it comes to losing work? Do you have any tips about how to back-up data safely?
As always, feel free to comment here or on social media.
Until next time, keep you, your family and your data safe.
Paul

Last week's activity (Tip#116) involved taking a piece of writing and trimming it to make it more pacey.
Today's activity is the exact opposite. The object of this exercise is to enrich a piece of writing with increased description. However, there can be danger here. Too much description and you run the risk of being accused of padding the text to increase the word count. It can also frustrate readers and ruin your pacing, not to mention look amateurish.


Again, choose a starter image.
I've recommended the use of a random picture generator before.
https://writingexercises.co.uk/random-image-generator.php is a good one, or you can just use Google Images.


Write a paragraph to describe what you see.
Then take that paragraph and double its length. How will you do this? Use more colourful descriptions? Add additional metaphors? Or will you add in another aspect of the picture that isn't included in the original description?
Once you've done this, then go back with a fresh eye and see if you can trim the piece - this is vital, to avoid your final prose becoming flabby and embarrassingly florid. The aim is not to simply delete what you've just added (that would be a pointless activity), rather to cut the fat and make it more pacey.
How much of the new text will you keep? Will you ditch some of the original paragraph?
Can you tighten sentences by using more efficient language? Are there tautologies (sentences that are written in a redundant fashion - eg he ran faster, covering the distance more rapidly - well obviously, that is literally the definition and purpose of running faster!)? What about punctuation? Commas and semicolons can eliminate the need for joining words. See if you can decrease the length to between 50% and 75% - that's a tall order, so don't worry if you don't quite manage it.


Ideally, you are looking for a balance between tightly written prose and rich description.


Do you have any suggestions on ways to increase the descriptive power of a piece without sacrificing pacing?
As always, feel free to comment her or on social media.
Best wishes,
Paul

Today's writing activity/block busting activity involves increasing the pace of a scene.
One of the easiest ways to make a scene more punchy and pacey is to simply reduce the word count. This takes practise, and if you really want to trim the fat,  it usually takes several passes.
There is a (perhaps apocryphal) story that Ernest Hemingway entered a competition in a newspaper to tell a story in six words or fewer.
His winning entry was thus:
For sale: baby shoes,  never worn.
Whatever the truth regarding the tale's origins, it demonstrates how a story can still punch you in the gut without any unnecessary words.

A nice way to develop this skill is to rewrite the same scene repeatedly, with progressively fewer words.
I've recommended the use of a random picture generator before.
https://writingexercises.co.uk/random-image-generator.php is a good one, or you can just use Google Images.


First select an appropriate image. It could be a place, object or person. See what grabs your attention.
Using the image as a prompt, describe what is happening in the scene; include feelsing and emotions, if there are people. Pay attention to sights, sounds and smells. A couple of paragraphs is enough.

When you are happy with what you have written, take that scene and trim it down to fewer than 100 words. What are you going to cut out? What are you going to keep?

Now take it and cut it to fifty words. By now you have to make some hard choices. Decide what absolutely has to stay. Do you need to rewrite sentences to lose words? Can you get rid of 'invisible' words like 'and' and 'the'? Can you use punctuation, such as commas or semicolons to tighten the prose?

Can you trim it to thirty words and retain the essence of the original?

Of course, the word counts suggested here are only guidelines, and if your initial description is significantly shorter or longer than 100 words, adjust the subsequent targets accordingly. The main thing is that by the time you've gone through it three or four times, your original piece is a half or a third of its original length.
If you want to practise this some more, Google 'Flash Fiction'. These are challenges to write a story with a very strict word count. They are great exercises.

Next week, we will do the opposite of this activity. Stay tuned!
Do you have any tips for increasing the pace of a piece of writing?
Feel free to share here or on social media.
Until next time,
Paul

If you fancy a good argument on social media, go to a book group on Facebook and
ask what people think about "the annoying trend for psychological thrillers to be written in the first person".
Actually, please don't.
It's the literary equivalent of walking into a strange bar, climbing on the table and raising a glass to toast Margaret Thatcher/Boris Johnson/ Tony Blair/Winston Churchill/Gordon Brown/Pitt the Younger, "the best Prime Minister this country's ever had."
It doesn't take long for the metaphorical bar stools to start being thrown and the poor moderators have to close the comments section and spend the next two days comforting frightened patrons.
I'll save my views on the various merits of different styles for a proper blog post, but choosing whether to tell your story in 1st, 2nd or 3rd person is an important decision. And more importantly, is rather good fun as a writing activity.

The exercise is simple. Write the same scene three times, each time using a different "voice". The exercise can be used as a warm-up to get your creative juices flowing, or can be used to test ideas out for your own project. Some big name authors have chosen to switch voices for a new book to try telling the story in a different way. Some authors also switch perspectives throughout the same book, perhaps telling flashbacks in 1st person and the main narrative in 3rd.

A reminder of the three basic points of view:
First Person: The narrator is a character in the book. The prose is written in the style of "I did this...", "I felt this...", "I thought this...".
It's probably the second most popular style used (depending on the genre).
Third Person: The narrator is not part of the action. It is more akin to reportage - the narrator is a bystander telling you what's happening. This is sometimes described as "omnipotent" - in other words, the narrator can choose to describe what's happening to more than one character (hence the omnipotence) or can follow one character throughout. They have access to the character(s)' inner monologues and feelings if the author wishes, and the writer can choose how dispassionate the narrator is.
Scenes are described using "he did this...", "Jake felt that...", "Karen though that...".
This is probably the most widely used voice by writers, because of its flexibility.
Second Person: I've left this to last, as this is the most rarely used style, in part because it can be tricky to pull off for extended periods of time.
For this voice, you are instructing the reader what to feel, as if they are part of the story. It's usually told in the present tense, "You are doing this...", "You feel this...", "You think...".

Here is a brief example of the same passage told in all three voices.
1st person:
I stood on the platform, waiting for the train. It's arrival was heralded by the humming and clicking of the rails, getting steadily louder as it approached. The woman beside me clapped her hands over her ears as the driver applied the brakes, the metal on metal an unbearable screech.
3rd person:
Warren stood on the platform, waiting for the train. The humming and clicking of the rails heralded its arrival, getting steadily louder until the driver applied the brakes. The woman next to him clapped her hands over her ears, unable to bear the screech of metal on metal.
2nd person:
You stand on the platform, waiting for your train. In the distance, you hear the humming and clicking of the rails as it approaches, the noise getting louder and louder. The driver applies the brakes and the woman beside you claps her hands over ears to block out the unbearable screech of metal on metal.

The exercise, therefore, is to tell the same short story or narrate the same scene three times, using a different point of view each time.
Remember the rules:

• Set yourself a time limit.
• Write without stopping, editing or overthinking.
• Write whatever comes to mind and don't worry if it doesn't make sense.
• It doesn't matter if it has nothing to do with the scene that you are stuck on.

Do you have any ideas for busting writer's block? If so, share them below or on social media.
Until next time, happy writing.
Paul

This activity is a staple of creative writing classes, and can be really good fun.
The aim is to rewrite a scene that you know well, or a story that you are familiar with from the point of view of a different character.
If you never intend for anyone else to read this, then choose whatever you want. If you are going to be sharing what you've written with an audience, it works best if you choose a well-known story or scene; that way they can enjoy the subversion of the familiar tale.
The stories that we are most familiar have usually been defined in terms of who the protagonist is and we tend to see it from their perspective. Take the traditional tale of Little Red Riding Hood. Usually, we see the story either through Red Riding Hood's eyes, or if it is told by an omnipotent narrator, from the position that she is the hero of the tale.

• But what about telling the story from the perspective of the big (allegedly) bad wolf?
• What is the shark thinking in Jaws as it relentlessly pursues the three men on the boat that insist on attacking it?
• What does ET actually think of Elliot?
• And how does poor old Darth Vader feel when his beloved son rejects his attempts to reconnect after he was stolen from him at birth, and he's forced to cut off Luke's hand to defend himself? 

The point of this exercise is to practise placing ourselves in unfamiliar shoes. By forcing ourself to see something from the other's side, we can bring all of our characters to life, not just the hero. You might never use anything that you write here in your project, but knowing why your villain is doing what they are doing can help you describe their actions more realistically.
Remember the rules:

• Set yourself a time limit.
• Write without stopping, editing or overthinking.
• Write whatever comes to mind and don't worry if it doesn't make sense.
• It doesn't matter if it has nothing to do with the scene that you are stuck on.

Do you have any ideas for busting writer's block? If so, share them below or on social media.
Until next time, happy writing.
Paul