The World and Adventures of Master Detective Nicely Strongoak and Writer Terry Newman. The #1 USA Kindle Epic Fantasy ***** Bestseller "Detective Strongoak and the Case of the Dead Elf" now joined by his New Adventure: "The King of Elfland's Little Sister".
In the days before streaming, MP3s and such like – when proper music came in vinyl that they called ‘long players’, there was something called ‘Difficult Second Album Syndrome’.
An album was another name for a LP (long player), being a number of audio recordings issued as a collection, which after vinyl’s heyday was then also used for both tape cassettes and CD collections – gosh, it’s like a history lesson!
And the ‘difficult second album’ was what they called the follow-up LP a band or singer had to bring out pretty quickly after the initial success of their debut. Usually with the record label pushing them hard! The problem referenced the fact that recording artistes had, apparently, often used up all their best ideas on that impressive first record.
Now, novels having been around a lot longer than LPs (did any classical music composers have ‘that difficult second symphony syndrome’?) you would think more would have been written about ‘Second Novel Syndrome’. Of course it must exist, after all Margaret Mitchell never managed another book after ‘Gone with the Wind’. J D Salinger rather dried up after ‘Catcher in the Rye’. Maybe it’s more success related than the actual writing?
What then can be done to get over this problem? And did I ever suffer from ‘Difficult Second Novel Syndrome’ when writing ‘The King of Elfland’s Little Sister’ (KELS)? This being the second adventure of the ‘#1 Kindle Bestselling’ Master Detective Nicely Strongoak. (Not exactly ‘Gone With The Wind’ or ‘Catcher in the Rye’ fame I know!)
The answer is no. And not because I’d already published ‘The Resolution Show’ with David Alter in between, because chronologically that was actually written a lot later.
The explanation, and the way to get round ‘Difficult Second Novel Syndrome’, is to start the second novel before you finish the first! Well, that’s what I did with KELS.
What’s this all about then? Simply put, when writing Nicely’s first adventure ‘Detective Strongoak and the Case of the Dead Elf’ I found that there was a lot of material being generated that just didn’t fit in that first book. It was either connected to events, or characters, which just didn’t belong in ‘A Dead Elf’. They were too good to waste though and I put them elsewhere (in my fester box) and gradually KELS began to take shape there.
Bottom line, I had half of this book finished before I had completed Nicely’s first adventure. This meant I had none of that ‘blank page’ problem when it came to writing KELS for real. There were a lot of other problems of course, but not to do with the actual writing.
And, guess what?
While I was getting the rest of KELS together the elements of Book 3 of Nicely’s adventures were taking shape. Now, on ‘The King of Elfland’s Little Sister’ publication day, I am delighted to announce that the first draft of Book 3 is also complete. It’s called …
Sorry, you’ll have to wait for that treat, but in putting that book together the basis for Book 4 began to take shape as well. But that, as they say, is another story.
The Paleoanthropological Relationships That Exist in the Hominini Lines of Middle-earth like Fairylands
The current resurgence of interest in the more recent history of worlds like Middle-earth, (often classified as Fairylands) in books such as ‘Detective Strongoak and the Case of the Dead Elf’, has come at a time when academic research into the field has also never been more fertile. Perhaps the productive area of investigation has been in the understanding of the Paleoanthropological relationships that exist in the Hominini lines of ‘Fairyland’ and how they relate to what is known about our own (Homo sapiens) developmental history. This article will give a necessarily brief review of thinking in the field and highlight some of the more interesting ramifications especially as they relate to Widergard.
No Fairies in Fairyland
The name of Fairyland is of course a misnomer and harks back to a period when our limited level of understanding of the Realm lead to several suspect classifications of the Hominini species present, including the rather nebulous class referred to as ‘fairies’ – a rag-bag group which could include elves, ‘pixies’ and even gnomes. It is interesting that although current revisions have excluded this division, the name ‘Fairyland’ still remains a useful reminder that there does exist a large body of study of the realm that predates the admittedly revelational works of modern authors. Whether it’s called Fairyland, or indeed other names, places such as Widergard continue to fascinate.
The family tree of the Hominini of Fairyland is given in Figure 1. Although some parts of the relationships are perhaps more controversial and speculative than others, particularly in the dating of the divergence of the dwarf/elf branch from that of gnomes, goblins and men, in general it provides a useful framework for further discussion.
Those of you who have been paying attention will know that ‘Detective Strongoak and the Case of the Dead Elf’ was a #1 Kindle Bestseller in the Epic Fantasy genre. It has sold some 5300 ‘units’, which is pretty good for a book published initially as an ebook with a Print On Demand paperback only coming out some months later.
It’s also had some 120 Amazon reviews with an average of something like 4.3 Stars!
Thanks for that everyone!
Sadly the road to publishing continuity can be a bumpy one. Suffice to say, the next Nicely novel has been completed – as has number 3!
I am hoping that they will be with you ASAP.
In the meantime there is a co-written SF comedy coming your way soon with fantastic cover art and an accompanying – Ok, can’t tell you that!
Hopefully some of you have had a chance to see and listen to some of my work on the feature film ‘Chasing Robert Barker’, which is available on Video On Demand services like itunes and Amazon.
Plus I have started work on a game story for a fantastically talented writer/artist/game maker. That’s going to be a more long-term project, but it’s just phenomenal – already!
Happy Hogswatch – the problem with Fantasy Holidays.
Fantasy holidays, by which I don’t mean a month in the Seychelles, but a holiday set in a fantasyland, can be quite trick. Actually I had a month in the Seychelles once and it was a lovely place, but I could never get over the fact that they had ‘Bus Stop’s written on the road. Not randomly, at actual bus stops, but it made the Seychelles just slightly like a tropical Croydon.
Holidays in fantasylands then, as I realised recently, are difficult to set up. Except for Hogswatch of course. Hogswatch, and the scary Santa that is the Hogfather, are fantastically realised by Sir Terry because they are actually what the story is about (mostly). If, as a writer, you just want to slip a holiday into your story – along the way as it were – then it’s harder. The reason is that holidays are events with long histories that are steeped in a society or culture’s history. Christmas didn’t happen overnight after all, and neither did Hanukkah or Diwali.
As a writer you need to embed your holidays in your world’s culture. You are generally OK handling a ‘mid-summer’ or even a ‘mid-winter’ festival, but New Years can be tricky. I’m, still rather in favour with a new year starting on the first day of spring myself. Such seasonal events are relatively straightforward although they can appear a bit ‘weak’ and unimaginative. Other events need careful thinking about because they might bring up the dreaded subject of religion and religion in your fantasy books is something you may not want to get into.
In Narnia, famously, it was always winter but never Christmas. But as the Witch’s hold is weakened along comes Father Christmas, but shouldn’t he actually be Father Aslanmas?
You might not want to go there. Just think how ‘Game of Thrones’ would have suffered with a tagline of ‘Christmas is Coming.’ Not the same is it?
– No, no, I don’t know. You said it. How do I know?
Goodfellas written by Nicholas Pileggi & Martin Scorsese
So, how do you know if you are funny?
Write a joke and tell it down the pub and people will laugh (or not). Stand in front of an audience and tell it and you’ll know pretty quickly if it, and you, were any good. Write a joke for the radio and you might get feedback in days, for television it’ll probably be months.
Write a funny book and hopefully you’ll get some indication of how well you have done before the decade is out.
And that’s setting out to be deliberately funny, what if you are writing a book, say a fantasy, and want to include humour in it? How do you measure success then? Why not make it even harder, and make it a detective fantasy comedy, for example?
Is this simply doomed to be an exercise in multiple stool missing?
I’ve lectured on comedy (somebody has to – maybe?) and author Elwin White’s line, “Explaining a joke is like dissecting a frog. You understand it better but the frog dies in the process” always springs to mind. But then again I’ve also taught dissection and found humour there as well. In fact one of my best jokes ever involved the human connective tissue component fibrillin and how it… well, you had to be there, believe me.
I could be cynical and say that most things sell better nowadays when they have some comedy in them. Not ‘erotic romance’ obviously – start laughing at that and everything falls down (see what he did there?). I could possibly add that comedy is pretty cool at the moment and comedy nerds, even comedy nerds playing in the fantasy sand pit, are no longer first in the stocks being pummelled with the rotten fruit. I could even take a deep breath and explain that maybe it’s interesting to throw some light on the tropes we all love, and play around with them in a manner that could almost be called ‘intertextual’ – but I probably won’t.
So is it even possible to explain anything about the comedy writing process?
Well, when I did the aforementioned lecturing I used to occasionally do my party trick and give the students a newspaper, let them pick any page and story, and I’d write a comedy sketch about it for them. Nobody ever argued about my capability, I could produce a bona-fide comedy sketch on any subject. Of course, I got the occasional, ‘it’s not that funny, is it?’ This might well have been true, but it was always a sketch, with a set up, a pay off and jokes along the way. That bit can be taught.
For the next stage, as I went on to explain, raising it up to the level of the great comedy sketches … well remember Malcolm Gladwell calculated that it only takes ten thousand hours of practice to achieve mastery in any field. That’s about a year, working 24 hours day of course. Either that or be Tommy Cooper, born with genuine funny bones … and still undoubtedly put in the thousands of hours as well.
The first question to ask yourself about writing genre comedy is this, actually it’s the second question after ‘can my bank account afford for me to do this?’ and this second question is this: ‘what sort of funny’ are we writing here?
Let us make a distinction. A proper comedy, I would argue, really shouldn’t be obliged to do anything else other than make you laugh. That is the object of a comedy, be it a film, TV show or a book. Such pure comedy is rare. In film we’re more likely to be talking about a romantic comedy, or a teen comedy, or an Adam Sandler comedy. Such qualifications really move the pointer on the funny scale from ‘comedy’ to ‘humour’, nothing wrong with that of course, it just means that the writer has other intentions for their work as well. They probably want to move your emotions, relate to your peer group or just twitch your lips a bit. Which brings us to satire. Satire does not actually have to be funny. It can actually be quite cruel, as its intention is to prick pomposity and bring down governments. That’s its job. Fortunately funny is usually not off the table as well.
In many cases the author is exploring another subject alongside getting a chuckle and doing it – hopefully – by injecting humour as well. And this is the case with genre comedy, it should be firmly rooted in the genre and thus be aware of genre conventions. If you want to write straight comedy then do that, it’s both easier and harder at the same time; very much like the electron wave/particle duality.
Now: my top ten rules for writing genre comedy in novel form.
(1) You have to know, and love, your genre.
I love and read fantasy and science fiction books. I love and read detective books. Nothing is going to spoil my enjoyment of them. Discovering a new author and a new world is a thing of wonder. Remember that love.
(2) Never ever laugh at your reader.
You are not writing to have fun at their expense. They are the same as you are; they’re better even, as they don’t feel the need to show off like you obviously do. It’s a sharing thing, laughing at ourselves and not really meaning it (as was said about me once, far too perceptively).
(3) Do not neglect your story.
You owe it to your reader to give them a story as well as laughs. It’s having fun with the genre, but detective fiction requires a crime and somebody to sort it all out.
(4) Real characters are the funniest.
If you invent a character simply for a single gag then it’ll probably show – so at least make it a good one! Readers will still prefer to find fully rounded people making idiots of themselves, even if they have pointy ears, a chronic UV fear or are dead.
(5) If you’re not laughing, then how can you expect your readers to?
I laugh at my own jokes. One of the best feelings in the world is when a line comes to you as you are writing, so you experience the pay off as it appears on the page; fully formed and gorgeous. It is not a sign of excessive self-abusive.
(6) Jokes are not evil.
It does not always have to be about amazing insights and clever juxtapositions of events and characters. A good joke or a clever line helps as well, mind you they are probably a lot harder to come up with. Jokes are hard, new jokes even harder still.
(7) When in doubt go back to your sources.
There is so much great stuff out there, read it and become soaked in it. Absorb it through your pores if possible. Then construct something that works on its own terms and integrate all your influences.
(8) Find your hero.
Your audience want to empathise with your main character, sympathise with them, or even antipathise (maybe not be a real word, should be) with them. Make your hero somebody they want to spend time with, but they do not have to be a protagonist. By that I mean they do not have to be changed by events (much). Leave that for the films.
(9) Stay true to your intentions.
Do not slip into parody or pastiche, unless that’s your real intention – in which case you could actually be stepping out of your intended genre. They are rather different beasts, equally pertinent in their own way, but can be rather ephemeral and best explored within the pages of the marvellous Mad Magazine or even in sketch comedy. Is ‘Bored of the Rings’ an actual fantasy novel?
(10) Have some fun.
Fun is good. Fun is infectious. Your reader will be able to tell if you are having fun writing and it will encourage them to have some as well.
You also have to bear in mind that we are living in a world where many literary types still look down on much ‘genre fiction’. Bless their shrivelled souls and callused imaginations. There are sadly also some genre enthusiasts who worry about the purity of their favourite form and worry about comedy creeping in. If you have they urge to write genre comedy, ignore them all, and the rest of us will be having a titter, chuckle, giggle and guffaw along with you.
I will leave you with the words of the fabulous actor Bill Nighy, a face for genre comedy if they ever made one:
“I don’t do plays without jokes anymore. I’ve retired from those plays. I think it’s bad manners to invite people to sit in the dark for two and a half-hours and not tell them a joke.”
And remember it only takes 10,000 hours – so get cracking!