Tuesday, 25 August 2015

Pull Your Underpants on Over your Trousers and Fly!


Writing about character is something that new and established writers alike are always thinking about and returning to.

This week, I'm guest blogging at the Open College of the Arts, looking at how to write your characters so that they live on the page for the reader.
Courtesy of the Open College of the Arts.

In this monthly series of blogposts on Writing Skills (both the course and the subject) we’ve been concentrating on various aspects of Part One, making the most of early strategies such as employing speedwriting, using notebooks, compiling a commonplace book and learning how to ‘zone in’ when describing.  It’s time to move onto Part Two of Writing Skills, which is all about character.
 click here to read the full blogpost

Nina Milton is a novelist and short story writer who is also a tutor, assessor and course writer with the Open College of the Arts, who offer a full honours degree course for writers. You can do this degree, or any of the courses, from your home, and be guaranteed that your tutor will be a working artist.
 click here to find out more about the OCA

Monday, 17 August 2015

7 ways to Beat the Block


WAYS TO BEAT WRITER'S BLOCK

It’s a dreaded disease; a malaise that creeps up behind writers and strikes them down. Some develop it as a chronic condition – they stutter in their writing, give it up, start again, stop again. This goes on for years, until their files are full of half-finished stuff they’ll never show a soul.

Others get a Malarial form – weeks, months, sweating it out beneath a gauzy net, drinking nothing but tonic water and suffering terrible hallucinations, where the laptop gets up and does a mocking little dance, singing ‘Can’t Write? Won’t Write? What a dunce you are!

But the most serious form of Writer’s Block is the sudden fatality, when someone has been writing well, really getting on with something quite meaty, when, out of the blue they find they’re incubating a sudden need to read and re-read what they already have, changing nothing more than the odd phrase. After this incubation period, the disease viscously attacks the writing mind. The word count drops dangerously, the eyes swell up and the         fingers shake whenever the sufferer is near any form of writing machine…even a ball point pen.

In worse case scenarios, the sufferer is often known barely ever lift a pen again.

But, wait up! A cure has been developed, and is now readily available, in seven easy to access therapeutic stages.

Even better, it costs next to nothing in drug treatments and no radical surgery is necessary – well, not until you get to stage seven, at least.  



ONE: REPLACEMENT THERAPY
Put away the laptop and get out a good book. Even better, spend a delicious afternoon browsing a second hand book shop or a musty-scented local library. Come home with a tall pile of books. Make sure all of them have tempted you to start reading before you chose – don’t chose a single worthy tome. Once home, switch off the TV and open your first choice. Read until you cannot bear it any longer; read until you just have to write.
Can Write!
Keep a notepad and pen nearby, but out of sight, just in case the urge takes you suddenly.


TWO: AVERSION THERAPY
Check out my Open College of the Arts
Post about this subject
Aversion therapy was used to try to scare a person away from bad habits by submitting them to an onslaught of that thing and making them hate it. Writer’s aversion therapy works in the complete opposite way; by forcing yourself to write with freedom, you will learn to love it! Free-writing  has been used for decades as a way of liberating the stuck writing mind. When free-writing, you start and do not stop until ‘time’ is up (either a phone alarm or a pre-chosen number of words or pages). The reason you write freely is because with free-writingyou can discard the stuff you don’t want to keep, so it doesn’t matter what you write.
Can Write!
Once you start writing, you do not stop, correct your work or cross things through. If you run out of things to say, you must keep on writing by choosing a repetitive phrase such as ‘what shall I write, what shall I write’ – surprisingly it won’t be long before you start again!
Can Write! (Check my post for the Open College of the Arts for further information)
Choose a topic that interests you and use it as your title e.g. ‘Meteor Showers’…‘Knitting the Left Sleeve’. Get going with action or imagery.…I’m lying on a sun lounger, but there’s no sun. Only a clear, black sky above, filled with stars…I’m casting on for the wrist ribbing. I’m using soft yarn, in an electric blue…Use memory, thought processes and associations to keep writing. If the topic changes or disappears, don’t worry. When memory runs out, make it up.

THREE: GET SOME COUNSELING
NaNoWriMo
Get someone to tell you what to write. I’m going to do that now, but you will need a constant supply of being told for this therapy. If you’ve got the beans, pay someone to tell you what to write – register for a writing course or workshop. If you don’t have the readies, use the competition circuit to get you writing, choosing competitions that give explicit instructions....write a story for children of 7+...or want a themed story...Write a story set in Acton Stanley...
The secret here is to not try to write to win the comp – that’s the sure way to exacerbate the symptoms you’re trying to eliminate. In other words, hoping to win will make you dry up. Trying to fulfill the brief will give you the narrow window that will fill you with ideas and confidence. 
There is an ultimate form of this therapy. It does strike terror at the heart of all writers, but it can work in extreme circumstances. It is called NANOWRIMO. It makes you write a novel in a month. Yep, extreme. But very effective for total writer’s block condition.
Can Write!
To get you going straight away, start with this:
Do you recall your 5th, 10th or 15th birthday? Chose the one that tugs most emotionally at you and start to recount the facts, describing what you remember. Then start guessing at the bits you don’t remember. Then start flying away, making up anything that either could have happened, or actually would never have happened.

FOUR: CPR: CREATIVE PENSHIP RESUSCITATION
If you’ve started something that has now entirely dried up, you may be facing ‘the fear’ that often comes mid-piece. This could be any form of writing – you could be half way through a short story, a novel, a biography, or even a poem. Not being able to make it to the end starts out as frustrating, but very soon your core temperature starts to rise and you’re in a fever of fear; the fear of not ever being able to complete a project.
Can Write!
Leaving gaps can crash-start writing that has got stuck by allowing you to move through places where you’ve ground to a halt. Mark the place you stopped in the work with a couple of notes in the text, such as Trevor should come in here, carrying a severed arm. (But let’s be fair, that’s NOT the scene you’re going to get trouble with!) 

Now move on. Writing in note form until you can create the next full piece of narrative writing is perfectly fine. Writing something that should occur further on in this piece is also okay – even better, it’s achievable! Tell yourself these things, affirm them as you sit down to write. Using free-writing will really help with leaving gaps, so always start with this technique.

FIVE: GROUP THERAPY
Join a writing group. 
Can Write! The easy (almost the lazy) way is to join an online group that wishes to share and critique their work. For starters, try http://www.critiquecircle.com/Default.asp
 http://www.writerscafe.orghttp://www.booksie.com/  or https://www.authonomy.com/. The harder way is to face the people you’re going to read to. Writers’ groups vary tremendously, and it can be fun just tasting and trying the ones in your area to find out where you fit in best. Your local library will have some details, but also check online. Don’t forget that writer’s groups are also about having fun, meeting like-minded people and talking about the craft, as well as just getting an audience for your stuff. You might not be asked to read out very much, and that might suit you well if you still feel a but ‘blocked’, even after moving through the first four therapies. If you can’t tolerate the idea of a group or online presence, try finding a writing buddy. One other writer, who will share work, failure, stories, chat, sorrow and getting unblocked with you. (See my post about writing buddies)

SIX: GET AN IDEAS TRANSFUSION

Although the secret of good fiction (and non-fiction) is great narrative arc and wonderful characters, there is no writing them without a plot or outline. When your ideas are anaemic and low in platelets, you need a transfusion. Get this once a week, or at least once a month if just don’t have the time). Chose from the following, and mix and match them to vary the routine.

Can Write! 
  1. Go for a walk alone (or with your dog)
  2. Visit a local art gallery or exhibition
  3. Browse the shops (okay, book shops, of course, but branch out, try pet stores, craft fayres, ToysRUs)
  4. Sit in a park, cafe or sporting event and people watch
  5. Go for a scenic drive; use the train, bus or get in the back of the car
  6. Watch a film with a great plot and amazing characters
  7. Go to the theatre, comedy club or even the opera.

SEVEN: TRY A SEX CHANGE
Okay, you’ve got this far, tried all other six therapies, and you still can’t write. You need to lock yourself away. Preferably in a place where three meals are delivered on a tray to your bedside. Because you need radical surgery. Once in this glorious seclusion, get out what you have already written, and read it. Love it. It’s great. Once you’ve read everything, or everything that’s current if there’s a lot, make some notes. Think about the writer that is you and ask yourself if trying something new would help rejuvenate you as a writer.
Can Write!
  1. Change the sex of a major character. Or, if you’ve only written as your own gender, try writing in the voice of the opposite sex. Use free-writing to get this going, so you can’t stop to think about it too much.
  2. Change the POV. Do you always write in the 1st person? Or never write it in? Try swapping round. If you fancy the challenge, try writing in the 2nd person singular, or even 2nd person plural. Have a stab at the omniscient. Always start with free-writing, bearing in mind no one need ever read it, and you can throw it away if you wish.
  3. Change the genre or form. If you never write poems, try one now. If you always write romance, move your love into a sci fi setting. To aid this free-writing, compile a list of genres and forms that you would like to try – include some you are fearful of trying. Move through them using free-writing.
  4. Change the style. Having read through your work, have you noticed your style? Would you like to attempt a rejuvenation? Have a go with your free-writing technique. Did you notice that it’s lacking dialogue, or full of long descriptions? Try the exact opposite and see how it goes. Did the writing lack emotion, or lack imagery? Again, have a go at the alternatives. Do you always write by hand? Start with a Word Doc instead. Always write by keyboard? Your next free-writer should be by hand.

Remember, you’re not alone. Other authors have been sick at heart, too. 
Stephen King threw his first published novel in the rubbish bin (luckily his wife fished it out). John Braine wrote his first novel, Room at the Top while in hospital. When J K Rowling wrote the first Harry Potter, she was depressed, penniless and divorced with a small child. Louise May Alcott wrote letters home when she was a nurse in WW1, which led to Little Women.
But that’s a lot to live up to, so start with step one and two and don’t think ahead too much. Read loads, and only use the free-writing technique until you’re up and running. Free-writing in this way will leave you with a portfolio of small pieces that you can go back to time and again.

Okay, the Kitchen Table Writers Doctor is discharging you as fit to write. Now it’s up to you!   

Monday, 3 August 2015

For the Love of Crime Fiction


I'm featured on my publisher's Blogsite this week with my post about crime fiction; those who love it, and those who might sneer! 


 

FOR THE LOVE OF CRIME

When I tell people I write crime fiction, the one thing I’m not hoping to hear is, “Oh, I neverread crime fiction.”

Not because I want them to buy my books, but because I simply don’t believe them. Of course they read crime fiction. They just don’t know it. No way would I admit what I’m actually thinking, which is, “that’s a whole heap of baloney, pal – the literary equivalent of the excrement of the male cow.”…Read my complete blogpost

Sunday, 26 July 2015

See Me, Feel Me, Touch Me…Zoned-in Descriptive Writing at WeareOCA.com

See me, feel me, touch me…sings Roger Daltrey of the Who, in the hit musical Tommy. The story is of a blind, deaf and dumb boy who becomes a master pinball player and the reluctant object of a religious cult. Maybe not the best plotted screenplay; maybe not the most wonderful lyrics, either, but the message that Daltrey belts out is a useful one for writers …
• My latest blog • on weareOCA.com blogsite for the  • I am looking at  ‘zoned in detail


go to   . to read the full post 

Could you zone in to describe this?























Share and Enjoy

Tuesday, 14 July 2015

The Third Shaman Mystery


Coming soon in print and Kindle -
The 3rd Shaman Mystery, featuring Sabbie Dare. 
Pre-order to be sure of the best price and quickest delivery. Pre-order Beneath the Tor from Amazon




Beneath the Tor £9.75
Eligible for FREE UK Delivery and

Beneath the Tor is set in Glastonbury, one of the most mystic places in England. It's midsummer eve, and Alys has danced the entire night away on the summit of Glastonbury Tor. As the solstice sun rises, she drops onto the grass. 



“I saw her spirit rise. It’s already gone.”


Sabbie Dare is again in the middle of a mystery with

a murder to solve, but this time, all the people closest to 

her are suspects, and one of them is in deadly danger. 

Pre-order Beneath the Tor from Amazon



I am a druid; a pagan path which takes me close to the earth and into the deep recesses of my mind.  Shamanic techniques help me in my life - in fact they changed my life - although, unlike Sabbie, I’ve never set up a therapeutic practice. I now write crime fiction, published by Midnight Ink. 
Some years ago, Sabbbie Dare walked directly into my mind, fully formed and announced; I'm a young therapist, a shaman, and sometimes I do get very strange people walking into my therapy room...” 
I grew up in the West of England, and love the vast moors of the Somerset Levels. Their beauty takes away my breath, but they have a wildness that is equally sombre, mysterious and threatening.  I set my Shaman Mysteries in this unique place, and love to immerse the stories in the landscape and traditions. 
In Beneath the Tor, Sabbie spends the summer solstice in Glastonbury, where she learnt her shamanic practice. She's become experienced in therapeutic shamanism – helping people through contact with the spirit world – and she’s there to run a workshop for other shamans. 
After Alys Hollingbury, beautiful, rich and newly-wed, dies on the summit of the mystic Tor, her grieving husband Brice receives sinister and anonymous emails, which seem to link to a series of brutal attacks. As Sabbie heads closer to the truth about Alys’ shocking death, a deranged killer is also heading towards a showdown with a final victim. Sabbie knows she will not stop until she has all the answers…even though it is possible her closest shamanic friends might be involved. 

Beneath the Tor  will be released in the US in December 2015 and will be out in the UK in the new year, but you can buy the first two in the series now at; Nina Milton's Amazon Page 



This well-written story
 is incredible knowledgeable, suspenseful,
 and a truly cool adventure
 into the world that lies ‘beyond';

Suspense Magazine  



















Sabbie Dare is the most compelling
protagonist and Milton’s tale is riveting. 
The visceral suspense Milton creates is
commendable, not to mention terrifying.
I like pairing her work with Elly Griffiths’s
 atmospheric English mysteries.
Library Journal





Tuesday, 7 July 2015

Kazuo Ishiguro: “Are they going to say this is fantasy?” Stellar Authors


The Buried Giant
Living in Wales, I’ve become obsessively fond of the ancient Welsh myths set out in The Mabinogion. Through the centuries since those stories were first written down, their wonderfully enigmatic themes have been borrowed time and again to help create other imaginative works.

When I first began to read The Buried Giant, by my favourite author, Kazuo Ishiguro, I was fiercely reminded of the story in Part Three of The Mabinogion. Two heros, returning  to their women from a  long and bloody war, find the landscape of their homeland altered. 

One of Alan Lee's illustrations from the Lady
Charlotte Guest translation of the Mabinogion
suddenly there was a clap of thunder and, with such a great clap of thunder, a fall of mist so that no-one could see anyone else. After the mist,  everywhere was filled with bright light, And when they looked where before they would have once seen flocks and herds and dwellings, they could see nothing at all: neither house, nor animal, nor smoke, nor fire, nor man, nor dwelling…not-one left except the four of them…

These four central characters wander this enchanted version of Britain until two of them are tempted into an enchanted castle and find themselves struck dumb and unable to move when they touch a golden blow beside a fountain. 

One of the major themes and motifs of The Buried Giant is a mysterious mist, and I wondered immediately if Ishiguro had been influenced by ‘the mab’. He wouldn’t have been alone; it is likely that E. E. Nesbit was. In her book The Enchanted Castle, she creates a castle with living statues. Half a century later, in The Lion the Witch and the Wardrobe, Jadis, the White Witch, fills her castle with statues of Narnians she has turned to stone. Was C.S. Lewis influenced by Nesbit, or The Mabinogion itself?

Using myth to present ideas to today’s readers is not an uncommon one; we are all bound up, whether we know it or not, by the stories that define us, the archetypes that form our understanding of how the world works. With this already in my mind, I couldn’t help wonder if Ishiguro likewise had been likewise influenced. Just as in ‘the mab’, a deep theme of The Buried Giant is symbolized by a mist which has covered Britain and is making the inhabitants forgetful. The people are under an enchantment…and the book itself seems enchanted, for this spellbinding story is an allegory set out as a quest…a quest for a dragon, for family, and for memory itself. 

Several decades after the death of King Arthur, the original Britons are sharing their land with Saxons who are threatening to take over. An elderly British couple, Axl and Beatrice, set off to find their son, journeying through a landscape infested by ogres and pixies, and a dragon, Querig, who, it is said, is polluting the country with its breath, causing the mist which has resulted in an epidemic of amnesia. Axl and Beatrice want their memories back, but are fearful. Little glimpses into the past suggest things were different when they were young.

Axl and Beatrice encounter two warriors, a Saxon called Master Wistan, and the aged Sir Gawain, who both declare they are on a quest to slay Querig. They also take up with a young boy who has been inflicted with a strange bite. 

Kazuo Ishiguro
Their travel leads them into haphazard and troublesome misadventures, each revealing the human condition and the mysteries of life. One of my favourite moments in the book happens when Axle and Beatrice are sheltering from the rain. They watch an old woman slaughter rabbits to torture the sensitivities of a boatman. The old woman tells them she knows the man; he promised to ferry her and her husband to an island where they would both live. The boatman deceived her, saying he could only manage one passenger at a time. He carried her husband to the island, but never returned for her. 

Hearing this story, Beatrice becomes anxious that she might be separated from Axl. Again, I was reminded of The Mabinogion, and of the early Irish myths, in which islands, especially islands surrounded by mist, usually represent the otherworld, or the next world. This ‘story in a story’ affected me on a deep, almost subconscious level, and I became as desperate as Beatrice that she should not be left behind.

As I read deeply into the book, I could see it set up as many questions as it was answering. Are the supernatural creatures real, or just in the minds of the characters? What is it that Axl and Beatrice have forgotten? Who was Axl when he was young? Why does Beatrice not always trust him? Are the two warriors being truthful about their quests? What will happen if the dragon is slain? And, most importantly…what or who is the Buried Giant?

Ishiguro deftly exposes human nature with its weaknesses and strengths through his lyrical and emotive prose. His format is that of allegory, rather than the straightforward historical or fantasy novel, for as the messages are slowly revealed, and the characters face the effects of memory loss and the challenges of their journeys, I found myself examining this in the light of today’s world. The characters show pride, deception, lack of trust, disloyalty and disrespect. They constantly face danger, abandomnent, loss, illness and death, but also find awakening love, compassion and courage.

People have found this book mysterious, provocative and uncomfortably. It is unlike other modern novels, but I think Ishiguro means for it to be unique. He means for us to be challenged – to stop and puzzle the story out. The fact that all his other books are equally distinctive is one of the major reasons I love his work; he is without comparison, in my opinion.

The Buried Giant echoes the strange dream logic of the Mabinogion, where the tales are tangled and broken and yet weave a passionate magic; I recently spent an entire weekend at a symposium on ‘the mab’.  It would not have surprised me to learn that Ishiguro might use Welsh myths in this way, as he loves to take difficult themes and try to make some sense of them. In this book, the early confusions finally resolve into significance, but like myths themselves some extremely profound speculations cannot ever be perfectly clear. 

All Ishiguro’s books have a certain ‘dream logic’ where things are never really as they appear and core emotions, such as guilt, regret and fear of death lie just under the surface. Check out my review of one of his previous novels, The Unconsoled (1995 Faber & Faber) KTWs reading club

Gawain and the Green Knight
So was this book influenced by ‘the mab’? His answer is revealed in an interview with Guernica magazine, where Ishiguro discloses that he was, in fact drawn to the 14th Century Authurian legend, Sir Gawain and the Green Knight – and even then, the major impact was that of setting – something I love to use myself. An entire novel can grow out of its setting, if a writer becomes immersed in it. 

In the Guernica article, Ishiguro says…What really sparked my imagination as far as The Buried Giant was concerned was [a] tiny little description of the country [Sir Gawain] was crossing. It sounds like such a weird place. Britain in those days was really rough. There weren’t any inns or anything like that where he could stay, so he had to sleep on rocks in the pouring rain—I don’t know why he had to sleep on rocks, he could have slept under a tree, but that’s what it says—and there are a couple of lines that say that he was chased by wolves and wild boar and panting ogres…I thought, “This is a rather interesting landscape.”

The very first and oldest tales of King Arthur are in The Mabinogion, first set down in the twelfth century and written in Middle Welsh. I would love to know if Ishiguro, among many of our great literary writers, has dipped into this fascinating text.

Kazuo Ishiguro