Bella

I’d love to read the whole thing, Richard, if you’re ever looking for someone else to look at it.

I had to read this a few times, Richard, to get beyond the awfulness of it. You were right to post it with a warning.
It’s a very strong piece of writing and – this is meant as a compliment – I’m glad I had a go at my own scene before reading it, because I would have found it difficult to write in my own voice afterwards! Yes, I see how you’ve…[Read more]

It was so lovely to catch up with you @giselle 😊😊 Thank you for cheering me on. Hope the edits are going well xx

Well, clarifying the problem is always a good start! Yes, I can see better now what’s making it tricky. I guess the same principles still apply: focus on your onlooker’s reactions to what they are witnessing, rather that (just) the action itself. Maybe think about the onlooker experiencing the violence as a series of sounds, movements, colours,…[Read more]

Sorry, a ghost of an idea. I might have a couple of questions for you about subsequent trauma causing people to relive earlier trauma.

I can imagine how difficult that must have been to write, Richard, and I would love to read it.

The close POV is definitely a solution. However in my trickiest scene the POV is neither victim nor perpetrator but a sort of onlooker who cannot act. However this discussion has been really useful because I have, at least, realised this is why it is…[Read more]

Two bits of advice ‘freed’ me up wrt location, because I usually start with somewhere I know then make adjustments as necessary. Reading a disclaimer along the lines of “geographical liberties have been taken” I much appreciated.
Also, Eimear McBride said when she wrote of Camden, she did it from a 5 year old memory of the place and never…[Read more]

BTW I think your book DOES sound very original! Setting, the manananggal etc…. My point was that it is best to ‘show’ this through your blurb and chapters, rather state this claim directly.

Hi Alan,

I really enjoyed “Ice” although it is a very strange book. Worth reading to the end though, if you can.

Yes, my understanding is that Anna Kavan struggled with various problems, including depression and addictions.

It’s probably a bit of an old and obscure novel to use as a comp title, but hope it will lead to other relevant books

It sounds like a really difficult issue, Janeshuff. However well done on you for listening to your reader feedback.

I think as others have suggested, a close psychic distance is your answer. The character’s subjective thoughts, feelings, and reactions can never be gratuitous. These will also advance your plot, by contributing to your character’s…[Read more]

Thanks guys. That’s really helpful.

I’m leaning more towards going with a fictional place, although based on a real location to help me be consistent with geographical details. For me, I think it’s becoming clear that there is a particular kind of place I envisage as the setting for this particular story.

Trying to shoehorn my story into a…[Read more]

Some great ideas in there, thanks Jonathan

“if it doesn’t advance the plot or reveal something about character, don’t prolong it.” – excellent advice! Thanks Jane.

Jonathan, I don’t want to write more detail of exactly where and how many times they hit her and how much it hurts (or doesn’t) mainly because I don’t think it advances the scene and would therefore be gratuitous. I’ve tried, now, to write enough for the reader to understand that it was horrifying, callous and caused life-threatening damage (which…[Read more]

For severe violence done well I’d look at Malcolm Mackay, Ray Banks, Stuart Neville’s ‘The Twelve’. Benjamin Myers ‘Turning Blue’ had me commenting ‘Stomach-churning details precisely told’, or Sarah Hilary. Denise Mina might be good, but I cannot remember which is the most violent.

Thriller/Psychological thriller, Anna. If you have any suggestions of books where you think the violence is done well, I’d be interested!