Ehren Kruger has no business calling himself a writer

As I'm sure you can imagine, the art of storytelling is something that's, well, really really bloody important to me. I'd assumed it was important to everyone who makes a living through writing fiction, because when you're writing fiction, telling a convincing story is frankly everything. It's one of the main bleedin' points of the entire exercise.

So, imagine my surprise when I read that the writer for Transformers: Age of Extinction believes that it's just not that important...

Manic Depressives In Space

There's been a little bit of a theme in a couple of my books so far (namely the first in the Cynos Union saga, Messiah's Shard, and book 3, The Abominable Moon), of people not being quite who they say they are, or rather, not being totally honest with how they feel. In fact, it was a major plot point in both books; to see how, you'll just have to read them, but suffice to say, the basic point is that everyone, absolutely everyone, hides who they really are from the world. I keep using that trope, so now it's time to look at why.

I've mentioned before that a big part of why I write what I write is the fact that it's cathartic. Writing helps me to deal with my own personal demons, and in a way, understand myself better. Oh, and settle in, because this post will be a long'n (and also, possibly, maybe, a little bit uncomfortable to read, but keep going to the end, 'cos I promise it's not all doom and gloom)...

So THAT'S the difference between a 'character' and a 'person'...

Warning: this post talks about Transformers. Again. Because I like Transformers. Deal with it. 

There's been a massive furore in the world of Transformers over the past few months, even bigger than when Beast Wars happened, or when Bayformers happened (but then, Bayformers is awful, so...). That furore is over the whole issue of female Transformers, with the shorthand I've seen used in various places being "the Windblade issue".

Now, to forestall the argument that I'm only against Windblade because I'm sexist (the standard, instinctive reaction even to people making valid, well-thought out criticisms), I'm going to preface this little stream of consciousness by saying that I'm 100% in favour of having female characters in the Transformers mythos. There are already a whole shedload of women out there who love Transformers, and having female Cybertronians also has the rather desirable benefit of making the story universe within IDW's Transformers comics that much more diverse and wonderful.

It's just a shame that Windblade herself, the poster-girl for this absolutely necessary movement, is dire...

I wonder how hard it would be to write a sci-fi novel for the whole family...

I'm rather proud of the Cynos Union series, but then, I suppose I should be, because it's my baby. 'Tis the first ever book series I've published, after all, and like they always say, you never forget your first. It took me a long time to be able to say it (crippling self-esteem issues are always fun), but I'm proud of what I've achieved with the Cynos Union, and pre-emptively proud of what I'll achieve with it next.

However, while the Cynos Union series is many things, what it's categorically not is "suitable for younger readers".

There's entirely too much effin' and blindin' for that (which was bound to happen since the main characters are mostly salt of the earth Yorkshire sorts), not to mention the odd evisceration, and it's for that reason that each and every Cynos Union book comes with a disclaimer in the front-matter, saying that it's for mature readers only. But what if I went for a book that didn't need that disclaimer?

Basically... writing a young adult/teen fiction novel that the whole family can enjoy: how hard can it be?

Here's a thought - do compelling characters HAVE to be human?

Right then, here's an interesting thought. I was pootling about the other day, doing lots of ever so important and useful things (er, okay, I was on Facebook), and I happened to see that someone had left me a new review for The Non-Random Dog. It was a five star review, so I was pretty damn chuffed, but the really nice part was what the reviewer actually wrote about the book. Specifically, the part that made me really happy was where they said about the characters being the key thing in the book.

I was really rather happy to see that highlighted, 'cos that's kind of the point of what I'm doing. Y'see, the thing is, I loved sci-fi all my life, and while I love big technology and stars blowing up as much as the next nerd, the thing that's always hooked me in is the characters. From Deckard, to Ripley, to Optimus Prime, to Han Solo, to Lt. Cmdr. Susan Ivanova, to... well, you get the point. But here's a question for you guys and gals out there: do compelling characters absolutely have to be human?

"What? You have souls in your books? But you're an atheist! TRAITOR!"

So, I was pootling about online a few days ago, and ended up chatting to someone who'd read Messiah's Shard, the first book in the Cynos Union series. It turned out to be an interesting conversation, not least because I think said person was a bit annoyed with me. Y'see, that person was a little bit baffled why I decided to make souls a thing that explicitly exist in my story universe, when I don't even marginally believe in them in the real world. They expressed that bafflement by calling me a traitor to the cause.

Naturally, this confused me somewhat, 'cos I didn't realise I even had a cause. Well... other than spinning the odd whimsy here and there, and trying to get people to read my books, of course, but being a writer, that's kinda my job description. Oh, and the word 'apologist' might have happened, as well...

Verisimilitude (or, Building a convincing universe on the cheap)

Verisimilitude. That's a big word, ain't it? According to The Almighty Google, the exact meaning is 'the appearance of being true or real' (as in 'Piers Morgan tries for human, but lacks verisimilitude'), and when people talk about realism in books, or movies, or whatever, what they usually mean is verisimilitude. Take Jimmy McGovern's work, for instance; people often talk about his gritty realism, where 'gritty' basically means 'all life is misery and pain', but that has verisimilitude 'cos, in many ways, life is misery and pain.

But how do you achieve that same effect in science fiction, where you may very well be writing about people who aren't human? They might even be sentient five-limbed vampire squids, and when one has no frame of reference for what a sentient five-limbed vampire squid is like in the real world (because none of them return my calls, or even send me a postcard), how does one give them 'the appearance of being true or real'? Well, this is where the 'science' and the 'fiction' get down and dirty with each other...

The joys of storing an entire universe in my brain...

Ye gods, it's been a busy week, and no mistake! Not only did I have to tot up all the downloads from the freebie sale (and a massive, massive thank you to everyone who took part, and supported the Cynos Union), but I've only gone and published a new book (yep, The Abominable Moon is available to buy now), I've worked with the web designer to get the official site updated, and I've had random inspiration sleeting through my brain. Oh, and the cat was wanting some fuss (on his timescale, naturally, since he's a cat).

Anyway, that bit about random inspiration got me thinking about the mechanics of writing a big ol' saga like the Cynos Union. It's a bit of an odd sensation, storing an entire universe in my brain, but I tell you what; it's kinda fun, too...

By embracing the dark side, we conquer the dark side

Ain't it always the first thing mentors and other authors say, whenever they're talking to fledgling writers? It's the same bit of advice that gets trotted out, and it goes like this: "Write what you know."

The thing is, though, that it's absolutely true. That's a large part of the reason why my first book, Messiah's Shard, starts off in a small village just up the road from Sheffield (plus, of course, I couldn't resist the idea of a big, epic science fiction novel being set just up the road from me; there's something ever so slightly awesome about that). The fictional village from which our hero hails, Brakenthorpe, is even based on a village where I spent a big chunk of time when I was a teen (school friends lived there, y'see), and another big chunk after I turned 18, although when we went on the swings after we'd ostensibly hit adulthood, we were considerably less sober.

The point is that anyone who lives in that real world village would find the fictional little hamlet of Brakenthorpe to be hauntingly familiar, because, well, write what you know. It doesn't end there, though...

Creativity - the bane of society, apparently

I'll be honest, I wibbled back and forth about writing this post, for a very simple reason: how does it actually apply to the whole business of being a writer? Does it fit the theme of this blog to actually talk about it?

Then, though, I had a realisation. By even asking myself that, was I not playing into the very phenomenon that the original source story was talking about? By avoiding writing this, was I not actually being averse to a bit of the ol' creativity myself?