Writing

Six ways for a writer to handle the Covid pandemic

October 26, 2020 by Mo Fanning Leave a Comment

I can’t be the only writer unsure how (or if) to deal with an unpredictable global pandemic. COVID-19 didn’t exist when I started work on my upcoming novel – and given a whole chunk of the action hangs off events at a seaside cafe, I could have done without it hitting. I don’t mean to demean people who lost loved ones or suffered through lockdown, just for now, this is all about me.

There’s a sound argument that books are where the reader goes to escape. The world is ugly, so why drag misery to the table? I thought the same a few months ago. Now, I watch films, drama, and comedy on TV, and flinch as characters get too close or hug greetings. The rational me knows this isn’t an issue, but I feel like I need to make my story resonate more and mirror the time in which it’s set. And that time is ‘tomorrow’ – the immediate tomorrow, not the sci-fi future.

After scrolling many a blog and social media site, it seems there are six ways for writers to handle Coronavirus.

Ignore it

Pretend COVID never happened. Write the story you always aimed to write as if nothing in the world changed. Tell your story in a parallel universe. Most books reaching the shops were written long before the pandemic hit, so they make limited or no reference. They work. Why wouldn’t yours?

Predict how it might be

Soap operas have come back to UK TV screens. They’re filmed months in advance and handed the onerous job of having to appear current. The writers make their best guess at how things might be. And given our government’s hobby of confusing the Holy Bajesus out of everyone, that’s no straightforward task. Assuming your book comes out in six months, might there be a vaccine, might it be on ration, might more be dead, might there be an even bigger lockdown, or could everything go away … like Trump insists?

Sunny uplands

If you are as crazy as a coot and Trump’s predictions resonate, you could set your book in a time when the characters are ‘back to normal’ with the odd snippet of dialogue talking of how hard COVID life used to be. Things might be better. Lessons learnt by everybody. It might be a gentler world. I’m a natural cynic, so this isn’t the path I ever plan on taking. It sounds too much like science fiction.

Dark and desperate

I’m more prone to take this (total opposite) approach and force my characters to grapple with a post-COVID world where air is in limited supply and everybody lives in bubbles. There’s a place for this – and many TV commissioning editors are crying out for this kind of trite nonsense, but what if we move out of the shade in six months? It’s going to date your story – like that entire chapter I set in an Internet cafe in The Armchair Bride. That’s egg on my face.

Change your time

Most of us tell our stories in the here and now. With the here and now being just a tad weird, maybe we should change the timeline. If jumping into the future isn’t safe, why not skip back a year and set it in the recent past? To be fair, this is the safest bet. Although … if you gravitate towards present tense, a ‘find and replace’ exercise won’t change every ‘is’ into a ‘was’.

Write in the now

Perhaps the most straightforward way to write our stories is to react as if it’s unfolding now. Keep the references to lockdown light and universal. Stay out of places you know will be closed – don’t write scenes in nightclubs. Your characters can still meet in pubs or coffee shops by all means, but sit them at a table, not jostling for service at a bar. Romantic fiction suffers most here – how would two strangers overcome social distancing?

Whatever you choose, I wish you writing wonder.

Writer’s block – yet another writer with yet another tip

July 29, 2020 by Mo Fanning Leave a Comment

Writer’s block is painful. Everyone gets a form of it at some point, and most writers have ways of dealing with it. A frequent fix is to ‘just write anything’ until the feeling of being blocked passes.

I recently stumbled upon a new tip for dealing with writer’s block, and it’s working like magic; not just to free up a brain jam, but also as a way to build an effective and engaging narrative dripping with that magic ingredient, conflict.

Write the last line first.

I’ll give that a moment to sink in.

When you start a new story or chapter or scene, write the final line of dialogue before you get going (or when the block sets in). This means you spend the rest of your writing time working towards that outcome, shaping actions and words around creating this natural outcome.

The last line should either tie everything up in a nice bow or deliver a cliff-hanging incentive to read on.

‘And that’s why we should never have done it’ was the example handed down in a recent script-writing workshop. We set off writing dialogue, not knowing our characters, but knowing where we needed to end up. Keeping the outcome in our heads and having it so clearly defined influenced so much of what came before. Lo and behold, the writer’s block lifts.

Choosing something that would make the reader want to turn the page when creating your final line chapter ends helps give your narrative force. Think how you might write a scene or chapter in your work in progress that ends on any of the following:

‘What now?’ she said. ‘How the hell do we make this right?’
‘This is all your fault. I never want to see you again.’
‘She’s going to hit the roof when she sees it.’

TEASER: Rebuilding Alexandra Small

June 12, 2020 by Mo Fanning Leave a Comment

With (hopefully final) edits well underway on what will become my next romantic comedy novel – Rebuilding Alexandra Small – I thought I might tease you with an extract from one of the earlier chapters. No spoilers (beyond those on the dust jacket), just a conversation with a stranger that sets Alexandra on the path to something better.

Through rusting seafront railings, I gaze down at the grey pitch roof of the Beachcomber Cafe. In its tiny backyard, a petrol generator rattles and sooty chimneys belch evil fumes.

‘Are you OK, love?’ says a woman whose dog has been sniffing at my pumps. Big brown eyes gaze up from a pointy white face.

I tell her I’m fine. Except I’m not, and my voice wobbles.

‘If those are tears over a lad, wipe them dry,’ she says. ‘None of them are worth it.’

She nods over at a bench, and we sit.

‘My best mate works down there,’ I say. ‘I’m trying to decide whether to tell her what’s happened … and she can convince me everything will be OK.’

The woman weighs my words. ‘It’s been my experience that OK is exhausting.’

I glance sideways. ‘Have you considered joining the Samaritans?’

She chuckles to herself. ‘I was someone’s wife for thirty-seven years. I spent the last eighteen months looking after a man who should have passed two years earlier. When he went, my sister took me in and made me better. She called me a shadow. I lay down in her spare bedroom and didn’t get out of that bed on my own for another two weeks. I had to learn how to do everything again for myself, I’d invested so long looking after him.’

She hesitates a minute.

‘They had to prompt me to shut the bathroom door when I used the loo. I’d become used to leaving it open in case he fell and cried my name. I’d forgotten how to sleep. All I did was doze with one ear tuned to his voice. Everyone sent cards telling me how sorry they felt about him dying. Nobody thought to ask if I minded.’

I look into bright blue eyes shaped by sadness, and my heart falls silent.

‘I was glad his suffering ended.’ Her voice becomes a whisper. ‘Not because I wished him dead. I didn’t. I just realised he didn’t want to be the husband he’d turned into, so subservient, watching me waste away.’

She wipes the back of one hand across her eyes, and her dog peers up, as if sensing tears.

‘I had been telling myself that when he died, I’d be better. I’d make myself well again. He’d be out of pain, and life would go on. Until we meet again. If that’s what transpires. I never know. I’m not a Christian or anything, but I don’t count out the afterlife.’

‘My marriage is over,’ I say.

Out loud it sounds dramatic. Diva like. Dumb.

‘There’s some who would say it’s best you learn what sort of man you’ve married now rather than later. Do you have children?’

I shake my head.

‘Then you’ve had a fortuitous escape, even if it doesn’t sound like it.’ A stiff hand finds mine. ‘When my Donald left me, that was my fresh start. This is yours.’

‘What if I don’t want a fresh start?’

‘Life decides for you.’ She chuckles to herself. ‘We don’t get any say. What counts now is what you do next. Replay the mistakes or make new ones?’

Coming soon

After losing her job, husband and home in the space of three hours, Allie takes stock. Does she want what she had or is it time to rebuild her life?

Rebuilding Alexandra Small tells the story of what happens when a have-it-all life crumbles, and a new one starts.

It’s available later this year.

Would you like to read all my books for free, before they even come out? All I ask for in return is that you post an honest review when each book launches on Amazon.

To be on my ‘street team’, please email mo@mofanning.com

Five lockdown whinges

May 15, 2020 by Mo Fanning 1 Comment

Lockdown: You know how everyone has up-days and down-days? And during this pandemic, they’re only too ready to tell you all about it? Today is my depression down-day. And yes, you’ve most likely read the same self-indulgent nonsense from a hundred other people, but it’s my party and I’ll cry if I want to.

These are my five reasons not to be cheerful. I share them hoping that by getting them off my chest, depression will lift. And if you recognise how yourself in these words, you’ll feel better too.

What’s the point in writing a book?

Since lockdown, every vaguely sentient being has decided it’s time they found that one book that supposedly lives inside us all. WTF! There’s already enough competition. If every actor, comic, singer or lead guitarist now thinks this is their moment to shine, what chance is there for a mid-table writer with a feisty new RomCom in the works?

Is my book historical fiction?

I’ve been working on ‘Rebuilding Alexandra Small’ for the best part of a year. I’m editing a story written pre-lockdown. People hang out together. they kiss. Love happens. At one point there’s a very messy three-way bedroom scene (not what you’re thinking). Do I tweak scenes to imply contact? What will the new normal (TM) look like? If I started over, would I write a very different story? Most of what I know is the comedy of interaction. Am I past my sell-by date?

Even without distractions, I’m not writing

I can no longer blame my sluggish pace on lunch invitations or meeting mates for coffee. Or shopping. I’m on furlough from my proper job, and that means eight weeks of time to write. I figured If I got up early, sat down at nine and worked through, I’d soon complete ‘Rebuilding Alexandra Small’. Instead, I’ve picked a perfectly good plot to pieces, and spent days staring at the same piece of dialogue. That’s when I’m not hoovering, baking bread, polishing mirrors, washing windows, ironing, sitting down for a cup of tea, watching a box set or reading the news … or Facebook … or Twitter. Long story short, even with zero distractions, targets whoosh past.

What if I lose my proper job?

I can’t be alone in letting this fear fill my every waking minute. How can anyone write when they might end up having nothing left to do but write?

When all of this started, we told ourselves lockdown might last two to three months. Now we’re looking at the rest of this year. Maybe longer. And how many companies can afford to pay their staff until then?

As any writer will tell you, books don’t buy you much in the way of a life. Unless you’re already rich and famous … and then they absolutely do.

People annoy me – even more now we can’t mix

Thursday at 8pm should be a time for communal joy. The first time our nation clapped for carers, I was moved. Genuinely. My cold dark heart thawed. By week eight, the magic is gone. There’s an element of: if you don’t clap, you hate nurses and deserve to die. The ageing homo who lives above, blasts Vera Lynn from his beat box while the students two doors down take a break from what sounds like a constant state of virtual pub quiz. And when I see politicians who only three months earlier were busy selling off ‘our NHS’ clap their money-grabbing hands, my head hammers.

Having shared my five-item list, a weight has lifted. Maybe tomorrow, I’ll knuckle back down and tidy the words back into pages and into chapters and then a book.

Be kind.

That’s really all we have.

Writing: it’s my job to point things out

February 10, 2020 by Mo Fanning Leave a Comment

A frequently quoted ‘rule’ for writing is to write something every day. No matter if it’s good. No matter if it’s bad. Set yourself a window – anything from ten minutes to every waking moment – and sit in front of a screen or an empty piece of paper and write. The idea being if you do this each day, a habit forms and something good will come. As advice goes, it sits up there with ‘sometimes, even a blind squirrel finds a nut’.

Writing isn’t a natural thing for us as a species. For most of evolution, nobody wrote anything – fair enough there’s the odd cave drawing that historians insist are early attempts at storytelling. On that basis, bus-seat sharpie-penned pledges of Kazza luvs Jez carry equal value.

Writing for many years was the preserve of the elite. Even now, it remains a strange way to communicate.

When I stand on a stage and tell jokes, I see faces. The feedback is instant and I sense when an audience needs me to clarify or drop planned patter and jump to another topic. When I write a story, my words vanish into a void. Short of the occasional Amazon review, I don’t know who reads my books or how much they understand of the worlds I create.

Writing short set-ups

I try to find something interesting and point it out. I’ll ask you to look at someone or something and understand the flaws and persuade you that what I see is of interest. When learning the language of stand-up comedy, I picked up on how the shortest set-up works best. If a comic needs to explain the premise, chances are it’s unfamiliar.

It’s not the job of a writer or comedian to ram information into the brains of an audience.

The worst writing (and comedy) happens when those in charge abandon ‘joint attention‘ in favour of trying to sell their audience into an idea or world. It’s incredibly hard to do surreal comedy or writing and do it well.

Some of the worst writing advice is to create words for yourself and never consider the audience. For me, the audience comes first. I am part of the audience, but I’m also aware when what I find funny might be too personal. I’m not here to impress with clever plot twists or elaborate language and don’t care what you think about me. I’m not in the book. When I’m on stage telling jokes, you see a version of me.

What I aim to do is point out what’s there … if you look in the right places.

This is how we function as humans. Side-by-side we scan those around us, our landscape, the absurdity and improbability.

It’s my job to point things out.