writing – Jill French

Book Review: ‘Small Things Like These’ by Claire Keegan

Read time: < 1 min

Claire Keegan sets Small Things Like These in 1985 where Bill Furlong, a loving husband and caring father, with five daughters, delivers fuel in County Wexford, Ireland. One of his customers is a convent on the outskirts of New Ross. One day, he notices that there is a poor girl seemingly living in the coal store there. She has no shoes and is asking for her baby but appears to be uncared for and in a terrible state. It becomes clear that the activities of the convent are an open secret, and it is what became known as a Magdalene Laundry.

There But For The Grace …

The approximately 30,000 unfortunate young women who were sent to these establishments were those who became pregnant out of wedlock and, due to this, were ostracised. Indeed, Bill’s own mother could have suffered this fate had she not been taken in by a wealthy and caring woman in the area back when he came into the world. The recollection of this gives Bill a deep appreciation of the knife-edge that can divide a good life and a miserable one.

The Dilemma

In 1985, Bill and his wife are not well-off and struggle to provide for their family as Bill ponders the plight of the girl he saw in the coal cellar at the convent. As the novella progresses, will Bill get on with his life or somehow make room in it to help the girl who his community would regard as ‘of low character’ and ‘common’?

Bill is a delightful and relatable character, very well-drawn, relatable and with compelling compassion. This book is a joy to read, and I found the characters stayed with me long after my first reading.

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Book Review: ‘Foster’ by Claire Keegan

Read time: 2 mins

This is a wholehearted recommendation. I enjoy novellas, they are quick to read compared to a novel, but have the scope to be more involving than a short story. Having finished a novella, I often think about the characters for a long time, mulling over the story and careful wordcraft of the author. One excellent example is Foster by Wicklow author, Claire Keegan.

Point of view

This short book packs real emotional impact and is delicately wrought. Set in rural Wexford, Ireland, in 1981, the story plays out over the school summer holidays when the 9-year-old child of a poor family is cared for by a distantly related child-less couple. Keegan has chosen to write the story in the continuous present tense and in a first-person omniscient narrative voice. This choice gives access to the child’s perspective and inner world, but without full access to the thoughts and feelings of all the characters.

The story is about love and loss within the family setting, and how tenderness and kindness can restore hope in the neglected. In literary criticism it would be classified as a bildungsroman novella, as it is a coming-of-age story and focusses on the psychological and moral growth of a child.

Fine lines

There are many beautiful lines in the story, including early on ‘I was a new creature who had climbed out of the dark, who had found her own voice, her own way.’

And wonderful description like ‘The light was warm and honey-coloured and it spilled itself like syrup over everything.’

The novella has been a great success since its publication in 2009, when it won the Davy Byrnes Short Story Award.

In a 2010 interview Keegan said, ‘It’s essentially about trusting in the reader’s intelligence rather than labouring a point. To work on the level of suggestion is what I aim for in all my writing.’

In my opinion she has achieved this most admirably and this highly evocative and heart-warming story is best read slowly as there is much left unsaid giving a depth best appreciated with mulling and consideration.

If you prefer to watch the story, it is a film The Quiet Girl, directed by Colm Bairéad, shot in 2020. It was the first-ever film in the Irish language to be short listed for an Oscar and became the highest-grossing Irish-language film.

Beginning, Middle and End

Read time: 4 mins

Stories have been an integral part of human culture for centuries. From ancient myths to modern-day novels, stories have entertained, educated and inspired people across time and place. A key element of a good story is its structure, which typically includes a beginning, a middle and an end. I would argue that, for a compelling narrative, stories need a balance with their beginning, middle and end and within each section change needs to occur.

Beginning

The beginning of a story sets the stage for what is to come. It introduces the main characters, establishes the setting and provides the reader with a sense of the story’s tone and mood. In many ways, the beginning of a story is like a first impression: it sets the reader’s expectations for what is to come. You may like to consider including a prologue.

The beginning gives you the proposal for the story you are going to read. Without a beginning a story has no context.

he first line of a novel is espcially important to spark interest and intrigue so the reader is engaged. If the beginning is slow, confusing or uninteresting, the reader may lose interest and stop reading. To avoid this, writers often employ various techniques to hook the reader in from the very beginning. This might include starting with a dramatic event, a vivid description or an intriguing question. For example, the opening sentence of Jane Eyre by Charlotte Bronte: ‘There was no possibility of taking a walk that day.’ This seemingly mundane sentence immediately raises questions in the reader’s mind: Why couldn’t they take a walk? What’s going to happen instead? By the end of the first paragraph, the reader is fully invested in the story and eager to find out what happens next.

Another fine first line is in Ray Bradbury’s Fahrenheit 451, where he writes: ‘It was a pleasure to burn.’ This line prompts many questions!

Middle

The middle of a story is where the action happens. This is where the characters face challenges and obstacles, where the plot thickens and where the tension builds. The middle – the heart of the story is where the reader should become more emotionally invested in the characters and the outcome of the story. This is where the arguement of the story plays out. Here the writer has the most opportunity to show their storytelling skills, using vivid language, suspenseful pacing and well-thought out plot twists to keep the reader involved.

Care needs to be taken in the middle section to avoid getting bogged down in too much detail or losing sight of the main plot. To avoid this, writers often plan using outlines or storyboards to keep the plot on track and to make sure each scene serves a purpose.

Bestselling author, James Scott Bell, has written a book on the unusual approach of writing a novel by starting with the middle of the story and, having studied the structure of stories in movies and books, he writes:

What I found was that this midpoint … is the moment that tells us what the novel or movie is really all about.

You see, the character is going to have to face a death of some kind in the story. There are three kinds of death and one or more will confront the character, in bold relief, right smack dab in the middle of your novel.
James Scott Bell Write Your Novel From The Middle: A New Approach for Plotters, Pantsers and Everyone in Between (Bell on Writing), 2014

The middle section of the story can be made more engaging by including tests or challenges for characters and heightening conflict.

End

The end of a story is where everything comes together and where a conclusion is given. Here the main plot is resolved, loose ends are tied in and the reader should get a sense of closure. The ending is often the most memorable part of a story and is what the reader will be left with long after they’ve finished reading.

To write a satisfying ending can be challenging. It’s important to strike the right balance between resolution and ambiguity, between closure and open-endedness. A good ending should leave the reader feeling satisfied, although not necessarily comfortable. The end should seem true to the story and the characters, rather than forced or contrived.

One technique that many writers use to create a satisfying ending is a twist. This is where the reader’s expectations are subverted in some way, and the ending takes an unexpected turn. For example, in the short story The Lottery by Shirley Jackson, the reader expects a pleasant town event, but the twist ending reveals a dark and disturbing ritual. This type of ending can be very effective, but it should be used sparingly and only when it serves the story.

In conclusion, the structure of a story with a beginning, middle and end is a time-tested approach for creating a compelling narrative. The beginning sets the stage, the middle builds the tension, and the end provides closure and resolution. However, there are many options for a successful story and this structure is by no means a rigid formula. Some writers will play with the order of events or experiment with non-linear narratives. Others may use different techniques, such as multiple perspectives or stream-of-consciousness narration, to tell their stories. Some authors choose to round off their story ending with an epilogue. The key is to find the structure that best serves the story and to use it to create a narrative that is engaging, meaningful and memorable.

Ultimately, a good story is about more than just its structure. It’s about the characters, the setting, the themes and the emotions it evokes in the reader. From a basic structure with a beginning, middle and end, writers can create a solid foundation on which to build a great story. The beginning hooks the reader in, the middle keeps them engaged and the end leaves them satisfied. With these elements in place, a writer can craft a story that resonates with readers and can have them seeking out more of the author’s stories.

Illustration courtesy of sketchrobin.com

For more about the joy of stories, click here.

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Book Review: ‘The Map of Leaves’ by Yarrow Townsend

Read time: 2 mins

At the front of the YA title, A Map of Leaves by Yarrow Townsend (published by Chicken House) is a delightful map, with places like Roaring Weir and Dead Elm Strand. The inclusion of a map often promises an adventurous journey, and that is the case here.

Plants matter

We soon meet twelve-year-old Orla Carson, and her horse Captain, but already we are launched into a world where the interconnectedness of humans and nature, especially plants, is clear. Orla was introduced to the magic of the plant world by her mother, who passed on a profound understanding of the properties, uses and unique qualities of the plants in their garden and beyond. Orla lives alone now and magically; plants speak to her. She is using different plants to treat Captain’s hoof.

Avoiding spoilers here. Changes lead to Orla’s way of life being threatened, and with fierce independence and bravery she sets out to discover what disease is damaging the plants. The problem has also led to people getting sick and dying, so the stakes are high.

Adventurous journey

On her travels Orla meets Idris and Ariana, who work to help her overcome some of the difficulties, at times despite Orla’s impatience and drive to correct the wrong impression many have of her mother, who also tried to counter the threat to the plants and villagers. The map is brought into good use as the journey takes Orla far up river and into areas she does not remember ever having been before. On the journey she gets to know Haulers, who she was rightly suspicious of, and she works against the interests of the Warden. She finds more about her mother’s efforts to find solutions.

Plant knowledge

A well-paced and exciting tale, this book is a joy. Inventively told in chapters which each begin with a description of a plant that has significance within the chapter. The language choice is fresh with well-observed descriptions of plants within their settings, including gardens, fields, dark forests, fast-flowing rivers and underwater. To give you a flavour, here is a quote:

‘Some had leaves that curled and twisted against the glass. Others draped strings of red berries like jewels from hidden vines. Flowers like angels’ trumpets gathered high in the rafters, while creeping roots ran down like claws into the earth.’

— Yarrow Townsend, The Map of Leaves

The themes are of friendship and courage, with a strong appreciation of the importance of valuing and nurturing the environment. The story also shows how different characters can work for a common good, even when their goals do not completely align.

A page-turner of a tale with well-crafted characters and beautiful illustrations. It is hard to believe this is Yarrow Townsend’s debut, certainly an author to follow, whether the next book has a map at the front or not.

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Should My Book Have An Epilogue?

Read time: 3 mins

An epilogue – the final section of a story – brings closure and ties in loose ends. It can be an essential part of a narrative, helping to connect different elements of a story and give the reader some sense of resolution. But is an epilogue needed? There are pros and cons of including an epilogue in your story, and you’ll need to consider whether it’s right for your story.

Pros of an epilogue

Closure: An epilogue can provide closure, and resolution to a tale. This can be especially important in a longer story, where the reader has invested more time following the narrative and its characters.
Future insight: An epilogue can give the reader a glimpse into the future, showing what happens to the characters after the main events have taken place. As well as closure, this can provide a deeper understanding of the characters and their experiences.
Aesthetic appeal: An epilogue can be a beautiful and moving way to end a story. It can provide a sense of nostalgia and evoke emotions, helping the story and its characters be remembered long into the future.

Cons of an epilogue

Unnecessary information: Wrongly applied an epilogue may introduce information that seems unnecessary or irrelevant to the main story. This can reduce the impact of the narrative and detract from the reader’s experience.
Predictable: An epilogue can be predictable and formulaic, which gives a stereotypical ending to a story. This could be disappointing for readers who expect a more original and creative conclusion.
Detachment from the main story: An epilogue can sometimes feel detached from the main story, as if it is separate and unrelated. This can be distracting and detract from the overall flow and cohesiveness of the narrative. It could appear to be a clumsy trail for a follow-on story to come.

Good examples

Here are some examples of stories with well-crafted epilogues and what they add to the book:

Pride and Prejudice by Jane Austen – here the epilogue provides a glimpse into the future of Elizabeth and Mr Darcy, showing how the author sees their relationship would develop.

To Kill a Mockingbird by Harper Lee – this epilogue gives a view of where Scout, the narrator, gets to beyond the story, this adds interest and serves as a strong conclusion.

The Handmaiden’s Tale by Margaret Atwood – includes a commentary from the far future within an epilogue which discloses the nature of the medium used in of the rest of the book. This ending brings details of enormous impact about the protagonist (no spoilers, but a great example if you are considering a high-impact closing section to your story).

The Lord of the Rings by J.R.R. Tolkien – this epilogue unites different elements of the story and gives the reader an idea of what the characters go on to do after their main adventure.

The Great Gatsby by F Scott Fitzgerald – here the epilogue again shows the future of the characters and allows the readers to gain a deeper understanding of the story’s themes, including wealth, love and decadence.

Conclusion

Whether you include an epilogue in your story depends on your narrative. It can provide closure, more information on the characters and evoke emotions in the reader, but it can also be unnecessary, predictable and detached from the main story – lots to consider. Whatever you decide about using an epilogue, a well-balanced story will have a beginning, a middle and an end.

Illustration courtesy of sketchrobin.com

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The Joy of Stories

Read time: 2 mins

Stories have been a part of human culture for as long as we can remember. From ancient cave paintings to modern-day novels, storytelling has how we have preserved and passed on our cultural traditions, beliefs, and values between one another and from one generation to the next. But why do we find so much joy in stories? The answer lies in the power of imagination and empathy.

The power of imagination and empathy

Imagination is a crucial feature of the human experience. It allows us to escape a mundane reality and enter into new worlds filled with endless possibilities. When we read a good book, our minds become completely absorbed in the story. We visualize the characters, their surroundings, and the events that unfold, allowing us to experience the story in a way that feels real to us. This form of escapism is enjoyable and may also be therapeutic. It allows us to take a break from the stresses of our daily life and experience emotions and situations that we may never encounter in our own lives.

Increased compassion

Stories also have the power to evoke empathy. When we read or hear a story, we become emotionally invested in the characters and their experiences. We may laugh, cry or become angry along with them, allowing us to better understand and relate to the emotions they are feeling. This form of emotional connection helps us develop a deeper understanding and appreciation of the complexities of human experience, and can even lead to increased compassion and understanding for others.

Another aspect of the joy of stories is their ability to provide comfort and solace. Many of us have memories of being read to as children, or of losing ourselves in a good book during difficult times. The familiarity of a well-loved story can bring us comfort and a sense of security. The themes of hope, perseverance and triumph over adversity that are often found in stories can provide inspiration and encouragement, reminding us that no matter how difficult life may seem, there is always the possibility of a hopeful outcome.

Encouraging critical thinking

Stories also can challenge us, pushing us to think critically and expand our perspectives. They can introduce us to new ideas and experiences and challenge our preconceived notions about the world. For example, a story set in a different time or culture can help us better understand and appreciate the experiences of others, and can broaden our understanding of what it means to be human.

In conclusion, the joy of stories lies in their ability to transport us to new worlds, evoke empathy, provide comfort, and challenge us to think more critically. Whether we are reading a book, hearing an audiobook or listening to a friend’s tale, stories have the power to captivate and inspire us – they bring us closer together as human beings. So next time you find yourself lost in a good book, whether as a reader or as a writer, you’re sharing the joy of stories and the power they have to enrich our lives.

Illustration courtesy of sketchrobin.com

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Book Review: ‘A Saint in Swindon’ by Alice Jolly

Read time: 2 mins

How A Saint in Swindon by Alice Jolly, published by Fairlight Books, was written was most unusual and it is an unusual novella. It came from a writing exercise in which the author and the Swindon Artswords Reading Group met, before the book was written, and the book group contributed ideas and suggestions for the story. In this way, the readers became the commissioners of new literature, and the details are set out in the book’s foreword and afterword.

Dystopian

A dystopian tale set in 2035, where there remains a human need for stories and a strange man, Jack MacKafka, comes to checks into a B&B run by Janey and Phil. Ensconced in his room, he reads. He asks for meals in his room and later for books to be fetched from the library, specific books. As his stay extends, he becomes a local celebrity and others are influences to increase their own reading with an unusual fervour and urgency.

The times are changed by advances with climate change and by an anarchical breakdown of current norms. There are people camping in the street of the B&B speculating on the reader’s book choices. The list of twenty-nine books requested by Jack included classics and great works such as The Great Gatsby, Pride and Prejudice, 1984, Cider with Rosie and Heart of Darkness.

Gentle humour

Some towns people took the event very seriously, particularly Carmen. And, to avoid spoilers, a crime is committed. Written with gentle humour and observing everyday-folk reacting to unusual events leads us to consider reading choices characters make and whether patterns can be determined within the choices.

Read the lines

Having stirred a great deal of intrigue, the stranger eventually leaves, having prompted many more questions than he has answered. Janey and her friends now have more books they’d like to read, and Janey reflects that, “We were so busy reading between the lines that we forgot to read the lines themselves.” An intriguing ending leaves the suggestion that we cannot live on facts alone and need something beyond the everyday. Near the end, the question hangs, ‘… how can you build the future if you do not dream?’

An interesting example of experimental writing and its reach, this short read won’t be everyone’s cup of tea, but most will find it unusual. For me, an intriguing creative collaboration that could have gone in a myriad of different ways.

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Book Review: ‘Big Magic’ by Elizabeth Gilbert

Read time: 3 mins

Introduction

In Big Magic Creative Living Beyond Fear (2015) Bloomsbury, Elizabeth Gilbert details what creative living involves and encourages courage, enchantment, persistence and trust in its pursuit.

Courage

Gilbert starts, Big Magic, by describing a great poet who wrote poetry with a life-long commitment to searching for grace and transcendence, but he never much cared about being known. Within the advice he gave to aspiring writers, Gilbert points to, what she considers, the central question on which creative living hinges – ‘Do you have the courage to bring forth the treasures that are hidden within you?’ In the first part of Big Magic, that creative living is described as ‘…living a life that is driven more strongly by curiosity than by fear’ and the need for courage is made clear. Fears are identified, and they are seen as being bound with creativity, needing to be accepted within the creative process but not permitted to take control of it.

Enchantment

The second part of the book considers enchantment and how ideas present themselves, with a discussion of making yourself available to ideas. It is necessary is to show up, day after day, and do your work. Sometimes inspiration will be difficult to find, and at other times it may come easily. We are urged to ‘let it come and go’. Gilbert describes great mystery in the process of collaborating with the forces of inspiration.

Keeping good physical health is acknowledged as being good for your art. There is no necessity to suffer, as the stereotypical Tormented Artist or a martyr might suffer, but instead, to dedicate yourself to your path. This will lead to ‘… a charmed, interesting, passionate existence’.

The feeling of needing permission is described, with suggestions of how to overcome it. Gilbert recommends striving not for originality so much but for authenticity. To do what you want, trumping the motive of helping others. This point is highlighted with the delightful quote from ‘… Katherine Whitehorn: “You can recognize the people who live for others by the haunted look on the faces of the others.”’ On racking up student loans to study within art schools, Gilbert warns people to be careful with themselves and to ‘… push yourself deeper into the world, to explore more bravely. Or go more deeply and bravely inward.’

Persistence

The importance of persistence is examined, and the recommendation is a sensible approach, keeping pressure for financial success off the creation of art, to reduce feeling the need for continuous inspiration. This approach is a good way to avoid quitting entirely. Being wary of perfectionism is stated as ‘Done is better than good.’

Trust

Trust is the subject of the penultimate section, and approaching work from a place of ‘stubborn gladness’ (rather than from suffering) is what Gilbert favours. Taking a persona of a martyr is unhelpful, but trying instead to be like the trickster, is suggested, seeing life as interesting: ‘… the trickster trusts the universe.’

When it comes to passion versus curiosity, Gilbert is somewhat against passion. Rather than follow your passion, she prefers, follow your curiosity. ‘Curiosity is the truth and the way of creative living … Passion can seem intimidatingly out of reach at times … But curiosity is a milder, quieter, more welcoming, and more democratic entity. The stakes of curiosity are also far lower than the stakes of passion.’

I’d like to think this review has piqued your curiosity to find a copy and read it, as it has inspiration, compassion and signposts to creative living.

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How Not to Procrastinate When Writing

Read time: 2 mins

OK, here goes – I write posts for my website, but what is in this post applies across all other forms of writing too.

10 am: I am writing the blog post. It is about time-wasting. I have started this post in my head so often that I have become an expert, an addict even, of procrastination.

10:05 am: Look up the definition in not just one dictionary, but three (in case, perhaps they differ).

So what is it?

Cambridge Dictionary online defines it as ‘the act of delaying something that must be done, often because it is unpleasant or boring’.

Being a lifelong practitioner, I’d say what really is at the root of the delaying is fear – fear of failure. If you do get it written, then it can be criticised, and you can be seen to have got it wrong.

Avoiding distraction

10:15 am to 11:20 am: Check for famous folk who’ve said anything about the subject, collect their quotes and select the best. (Why did that take so long?)

Many people have written about procrastination. Probably most people have suffered from the problem. No resist! – I shall not spend the next three hours looking up more things to confirm this.

If I let myself, I shall fall into the disappointingly familiar place of making notes on what I shall write one day. I do have to acknowledge that this would be replacing the doing of the writing.

Reading is another activity I often resort to instead of doing the writing. I often exceed my budget for buying books and often traipse off to the library, either in the real world or online, in search of yet one more authority on the subject.

How to stop procrastinating

Some things which do, I think, help to bring the shining searchlight beam of focus necessary to overcome procrastination.

Be clear that the standard is not to write anything perfect (write roughly for your first draft – it can be edited later).
Tightly reduce any media you engage with until you have done the writing.
Turn off the likely distractors (phone, internet).
Only allow yourself to make a limited couple of extra notes.
Plan how long you think it should take and only give yourself that time plus five minutes.
Plan to reward yourself when you complete the writing by the deadline. (Perhaps plan something you know you’d like, perhaps a cup of coffee, a turn at the crazily addicting computer game you have on your phone or a check of your email accounts).

In the company of Dickens?

It seems that many renowned writers can relate to the problem of time-wasting, as Charles Dickens (writer of fifteen novels) mentions in David Copperfield: ‘My advice is, never do tomorrow what you can do today. Procrastination is the thief of time, collar him.’

How do you collar him and keep on track when you are writing? And what is your go-to reward when the writing is done? Do get in touch.

Illustration courtesy of sketchrobin.com

For How to Write Speech in a Story click here.

Words and a Phrase Editing Is Very Likely to Cut

Read time: 2 mins

Beyond the very first draft of a manuscript (where a writer is getting down the ideas in as flowing a manner as possible) there are certain words which are almost always be better substituted out. When these are swapped for a more precise, descriptive and interesting terms, the writing quality improves. Here I point out half a dozen of the ripest for replacement.

Suddenly

This must go because it is standing in for words which will give the reader a context for what is about to be described, whether that be events or feelings. It is not necessary because if something happens suddenly, telling us this will be slowing the pace down at just the time the action is happening, and the pace has sped up.

Nice

This term is okay in a first draft with the excuse that the writer is in their flow and will replace it later. By the second draft, this term should usually be replaced by a more descriptive term, as it is vague to the point of almost meaningless. Substitute with a more precise term which will make the writing more interesting, more rhythmical and more enjoyable to read.

Obviously

Anything which is really obvious does not need mentioning, and if it is mentioned, it does not need signposting. If the term is left in, it can seem like unnecessary telling, which no reader is likely to appreciate. Any sentence which is obvious can be removed to improve the writing, making it more relevant and more punchy.

Actually

There are so many words to choose from to convey what the writer wants the reader to know, and including ‘actually’ is often irrelevant. It rather belittles the rest of the sentence. In editing, actually, is a term, I regularly cull.

Thought to herself

Thought alone says it, there is no need to add the to himself/their self etc. How do you think ‘to anyone else’? No, it is just thought.

Inevitably

Well, sometimes this word has something to add, but more often than not it is best left out. It often points out the obvious, and as such, gets smoothed out in a second draft, best removed.

Trim this lot, and editors will prefer to see your more interesting, fresher word choice. The revised draft will be livelier and tighter. Readers will find your writing more engaging – what’s not to like?

Illustration courtesy of sketchrobin.com

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