Philippa East

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]

I had a problem like this in my last effort, and it cost me more sweat than anything else in that story. It was all the harder because it was a husband beating up his wife. I really didn’t want to go there and tried everything to skate round it, but the plot demanded that I meet it head-on. In the end I did almost exactly what Jonathan suggests: I…[Read more]

Some great ideas in there, thanks Jonathan

I imagine details such as the number of times someone is hit – or even the exact manner – would be gratuitous; I don’t think anyone would keep track and I think it could actually lessen the realism as well as being rather unpleasant to read and write imo. But I do wonder if there is a chance to show character, eg sympathy for the victim by showing…[Read more]

“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]

My question would be why do you not want to write the scene in more detail? Is it a matter of taste? (ie you’re not keen on doing it) Or is it more in keeping with the rest of the book that way?

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!

I think you’ve just answered your own question. 😀 Good luck with developing it.

Kate, I think I am may have let my decision to keep the violence short stop the scene from developing in other ways so I’ve been working on that but I can see, nevertheless, that the violence has been threatened for a long time and I’ve ramped up the tension and fear leading up to it and maybe that is why it seems a let down.

I’m with you and Sandra on not going graphic. Ramping up the PD and inferring what’s going on rather than full on graphic is definitely my preferred route. BUT, don’t ignore feedback either. What percentage of your Beta readers had this reaction? Could you ask the ones who didn’t mention this how they felt. It may be you’re being too short and…[Read more]

I’d agree with you Jane, ‘less is more’ works for violent scenes much as it does for sex scenes, though I suppose you’d have to work harder so as to bring something fresh for the readers’ mind to work on.
Those long, graphic scenes can be effective, up to a point but can tun as many off as they do on, so go with your gut feeling.

Congratulations! I’m so excited for you, that’s such great news. *lifts glass of wine*

Coming in late as I’ve been plunged in post-York wip modifications.
Mandy, you were brilliant, funny, natural, endearing, strong and gracious. Like many, I’ve followed your journey, but to hear it all, from the beginning to now, was just wonderful.
Seeing so many of you at York really charged my batteries. There were definitely less cloudies this…[Read more]

Thanks, all. And I hope some of you will try your hand at October’s.