Libraries – we need them.

Support your local community library.

Read to see

In many parts of the UK cash-strapped local authorities have to make drastic cuts in services to save money. My own local library, Kinver, since the beginning of this year (2017) is staffed entirely by volunteers. We owe a debt of gratitude to them – by their efforts we continue to have a library that provides such an essential service to young and old (and those in-between!) and serves as a community hub.

To support the library, I have agreed to give a free session in the form of a talk/workshop on ‘Writing and Publishing your Book’. This may be followed by support sessions for those who want to pursue writing their book. Here’s my press release.

Writing and Publishing know-how for budding authors”

What do you want to write?

  • Memoir 
  • Novel
  • Short stories anthology
  • Poetry collection
  • Children’s story

Local Kinver crime and thriller writer, Tom Bryson, will explain how would-be authors can write and publish their own books at minimal cost. His talk at Kinver Community Library is on Thursday, 9th March at 7.30 pm.

He says, ‘Ever thought of writing your personal or family memoir – not an autobiography but a ‘slices of life’ story? Sometimes we leave it too late to ask our parents, grandparents about their lives and times. All too soon we’ve lost them and then regret missed opportunities to have known so much more. So how about writing your book for posterity – for your family and descendants. Without getting too pretentious, this could be your much-treasured legacy.

‘Or what about that novel you’ve had at the back of your mind for years – perhaps there’s a draft gathering dust in a drawer somewhere. Why not dig it out, rewrite it in the best way you can, find a good editor and see your book in print and as an e-book.

‘Perhaps you have an idea for a children’s book, or a collection of short stories or poems you want to produce in an anthology. All are possible.

‘Won’t all this cost a fortune? Not necessarily, given the advent of digital technology and print-on-demand publishing. The days are gone when you needed to buy a shedful of books to get an economic print run and then traipse the shops and streets to sell them. If you’re prepared to take the learning curve and get to grips with word processing and formatting for internet uploads, you can do it. (Or perhaps there’s a fourteen year old you can collar to help!). If you must incur costs, then a good editor is the most important investment to make.’

Local Kinver author Tom Bryson, who writes crime and thriller novels, will reveal all at the recently launched Kinver Community Library on Thursday, 9th March, 7.30pm, tickets from the library, £2. (All proceeds go the the Community library)

So – dream your dream – come along and hear what Tom has to say.

cropped-collage-website.jpg

Website https://tombrysonwriter.wordpress.com

Books available from amazon here (print and e-book) and author (email tombryson1@yahoo.com  Tel. 01384 872204)


 

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‘It pays to put a roof on your house…’

PURPLE OR ELEPHANT?

I’m writing my  next DCI Matt Proctor crime novel, (a series) and I’d like to share my approach to “PLANNING A NOVEL”.

How do you put your novel together? Please let me know.

I’ll set out my approach in separate blogs – this is the THIRD. There are SEVEN in all.  

(A recap – if you read my first two posts on 1. CORE, 2.OUTLINE, skip down to 3. PLOT/STRUCTURE– if you missed the earlier posts see archives).

From the outset let me say I’m more a ‘planner’ than a ‘pantser’- but please, you ‘pantsers’ out there, don’t tune out – we can all learn from each other. (I wonder if there really are out-and-out ‘pantsers’ or ‘planners’ – or are most of us somewhere in between on a spectrum?).

PLANNERS                            IN-BETWEENERS                                              PANTSERS

I may be a planner but one who leaves space for the story to breathe, to bend and flex, change direction at times. Yet the CORE story line remains.

PLAN because I think it makes me write my book faster and better. I’ll tell you why later.

SO…PLANNING A NOVEL

I need to know my story plot(s) in detail, understand the motivations, secrets and fears of my main characters before I can progress to writing my first draft. From my outline, I develop scenes and flesh out characters. The process is very much iterative, synergistic. I hop from one to another; adding to my character profiles, summarising a scene in a brief heading, modifying and reordering the outline chronology using a ‘scene order’ grid, to get a visual overview of the book.

The tabs across the top – like file labels – show the seven components, Core, Outline,Scenes, Characters, etc. Clicking the ‘Scene’ tab opens a list of the scenes down the right hand side. In the grid, the different colours show main plot, sub-plots, viewpoint character for any one scene. Clicking a scene on the right opens that scene’s pages – your writing.

Clicking the character tab lists all the characters down the right hand side. Clicking on a character name opens your detailed profile of that character.

(By the way this is a pic of an Acer notebook 10.1″ screen – not an Imax image!)

LUMIA - kINVER, JANE, MY DESK 2014 077

A great tool for doing this is Microsoft OneNote (as above). Some swear by Scrivener, Ywriter; another good tool is Hiveword. There are others. I think writers need to experiment to find out what suits them best. Two factors influencing my choice are a) the ability to write the book content within the planning tool, and b) to work offline sometimes – I may be on holiday and want an hour or so of ‘writing therapy’ but might not want to go on-line, or have available on-line access.

By giving me an overview and instant access to the components of my story on a single screen, I get control of the project and so I find the process of drilling down into the detail of my story easier, more efficient and fulfilling. Certainly much less frustrating than switching from one screen to another, hunting down folders and files, hopping back and forth from page to page on websites and between different websites.   ARRRGH…

  • In planning my novel I use seven COMPONENTS.  They are not written in a strict chronology – that’s important. They have synergy, they feed off each other. Maybe it’s like bringing up a family – you don’t focus all your energy on one child and when that job’s done, move on to the next. Oh, no, – you don’t bring kids up like that. You juggle, you compromise, negotiate, discipline, encourage, motivate, and so on. You spread your attention, your focus, your love. (OK, OK, we didn’t have seven children but you get the picture!). Now – please let me show you in specific terms how all this works (and for me it definitely does) in practice

TOM BRYSON’S SEVEN COMPONENTS OF ‘PLANNING A NOVEL’

  • CORE – Who is the Main Character, what’s their goal, problem, obstacles, what are the stakes for failure? In 50 words; yes, I keep this to 50 words. Concentrates the mind!
  • OUTLINE – Two pages max. Written in present tense, with a start, middle and end. Split into key scenes with short headings. Leave room for the story to evolve.
  • PLOT/STRUCTURE – Spine of the story, the heart of the MC’s journey. Sub-plots add complexity and richness. The main plot (and sub-plots) summaries need only be a sentence or two.
  • SCENES – Scenes are the building blocks of the novel. These are where the action is. As you write scenes you are writing your book.
  • CHARACTERS – Absolutely critical. The reader must care about these people.
  • SETTINGS – Give ‘colour’, atmosphere, they complement characterisation, add credibility and context whether real or fictional places.
  • SYNOPSIS – Comes at the end because a synopsis is a ‘selling’ tool; your book summary. You write a synopsis when you’ve finished your book. (I include it as part of planning because you’ll need it for submissions).

In this third blog in the series, I’ll focus on my third COMPONENT in PLANNING A NOVEL, namely the PLOT/STRUCTURE of my story. 

 3 (of 7). PLOT/STRUCTURE – your ARCHITECTURE.

Plot and structure are very much inter-related. In fact as I’ve repeated already several times ALL seven components feed off each other and should not be seen in isolation or as chronological. What kicks off a novel might be a core idea, a character, a place, a scene, a line of dialogue – a memory. As the story grows so the components can be fleshed out. When the actual writing starts is an individual matter – some pitch in and write from that first kick-starter, others hold back until as much preparation as possible is completed. Sooo…when I talk about plot/structure, remember this component influences and is influenced by all others (except perhaps the synopsis which I’ll talk about at the end). However, I urge that as the writing flows do return and fill out the component parts. Doing so, in my view, makes for better and more efficient writing.

So – is plot/structure one and the same? I think not – but I have integrated them into a single component because I feel they are more than cousins, more even than siblings – I see them as twins, and joined at the hip!  Plotting is about cause and effect, action and reaction, if this – then that. Structure is the ordering of these. Think architecture, your building plan; how do you sequence the events in your plot to create a coherent, well-paced and satisfying story. Let’s take an example.

In my novel ‘In it for the Money’  my core idea is:cropped-cover-money-fuzzy-6.jpg

‘DCI Matt Proctor fights to break an  international ‘match-fixing’ gambling syndicate and becomes their kill target when he gets too close. Serbian Mafia boss Petrovic hunts him – yet real power lies in sports boardrooms, directors’ boxes and wheeler-dealer agents. Matt Proctor is a marked man.’

For plotting purpose I use this core as my main plot. Remember?  Who is the Main Character, what’s their goal, problem, obstacles, what are the stakes for failure?

Sub-plots add richness and layering to the story – they amplify and contextualise the main plot. Put simply, sub-plots add to the main plot to  make for a better, more satisfying read overall.

Here are three sub-plots for ‘in it for the Money’:

  • DCI Matt Proctor’s ongoing relationship issues with police colleague DI Azzra Mukherjee,
  • Proctor’s internal tussle between loyalty to an old friend and sense of guilt/betrayal versus upholding the law,
  • Ali (Azzra’s brother) getting involved with jihadists.

The ordering of scenes gives the structure of the novel.

Make sure the end scenes work as well as the openers – putting a roof on your house keeps out the rain! Check that the main character’s wants, objectives have been answered –  might not always get what was wanted. Loose ends tied up.

A useful way of getting an overview of your story plot/structure is to use a ‘grid’ in which each scene heading is entered. A table or spreadsheet will enable scenes to be shuffled around to get the balance in rising  tension, pace, action, reflection, etc. If you prefer low tech to high tech, post-it notes or cards can be used instead.

Colours and/or ‘tags’ within the grid can help identify viewpoints and plot/sub-plot scenes. Here’s an extract from my current novel’s grid – about 70 boxes in all, one for each scene. (Numbers unique to each scene – shows how much shuffling goes on!)

/19 Celia spies on Adele, C tells G, argue, leaves Adele w/G. /19a MP visits Handsworth sees Daz, Red Den at racist rally. /55 Bahar challenges Omoto – Red Den hears

/15 Gabriel seduces Adele

5 *Attempt to kill Adele 53 Adele put in witness protection 6  V2 – MP called to gruesome canal murder 2-MONICA 7 MP/Az get close – mirror young couple 9 Azzra and MP row _ Azzra pours water over MP 10 *MP made SIO -sceptical about motives

Coming up NEXT. What’s the future gig? THE BIGGIE!

COMPONENT NUMBER 4

4 (OF 7) SCENES

© tombryson2015

Writing Birmingham cop DCI Matt Proctor crime novels

Let’s Talk Murder…

Broad Street, the Bullring, Victoria Square, Spaghetti Junction, the Clent Hills – people who know Birmingham and the Black Country tell me they like to read my fictional stories set in real places – locations they have personally stood in, drove through, where they have ‘stopped and stared’.

What about characters, plots and sub-plots, timelines, structure, conflict and all the other components of novel-writing? How are they worked into a novel?

Scenes are the building blocks of a novel? Is it ‘wise’ to use real places?  Real people???

Come and chat with me whether you are mainly a writer, a reader or both.

WHEN: 19th May 2015, 5.45-7.00pm (Free event)

WHERE: The Library of Birmingham, Centenary Square, Birmingham.

Click link below for more information:

Off the Page with Tom Bryson – Library of Birmingham

PLANNING A NOVEL – STEP 2 – OUTLINE

PURPLE OR ELEPHANT?

I’m writing my  next DCI Matt Proctor crime novel,(a series) and I’d like to share my approach to “PLANNING A NOVEL”.

How do you put your novel together? Please let me know.

I’ll set out my approach in separate blogs – this is the SECOND. There are SEVEN in all.  (If you missed the first see previous posts).

From the outset let me say I’m more a ‘planner’ than a ‘pantser’- but please, you ‘pantsers’ out there, don’t tune out – we can all learn from each other. (I wonder if there really are out-and-out ‘pantsers’ or ‘planners’ – or are most of us somewhere in between on a spectrum?).

PLANNERS                  IN-BETWEENERS                  PANTSERS


I may be a planner but one who leaves space for the story to breathe, to bend and flex, change direction at times. Yet the CORE story line remains.

I PLAN because I think it makes me write my book faster and better. I’ll tell you why later.

SO…PLANNING A NOVEL

(A recap – if you read my first post on CORE skip down to OUTLINE – if you missed the first post see previous posts).

I need to know my story plot(s) in detail, understand the motivations, secrets and fears of my main characters before I can progress to writing my first draft. From my outline, I develop scenes and flesh out characters. The process is very much iterative, synergistic. I hop from one to another; adding to my character profiles, summarising a scene in a brief heading, modifying and reordering the outline chronology using a ‘scene order’ grid, to get a visual overview of the book.

LUMIA - kINVER, JANE, MY DESK 2014 077

‘SCENE’ TAB OPEN – SCENE ‘HEADS’ ON RIGHT – MAIN PLOT/SUB-PLOTS COLOUR CODED

(By the way this is a pic of an Acer notebook 10.1″ screen – not an Imax image!)

A great tool for doing this is Microsoft OneNote. Some swear by Scrivener, Ywriter; another good tool is Hiveword. There are others. I think writers need to experiment to find out what suits them best. Two factors influencing my choice are a) the ability to write the book content within the planning tool, and b) to work offline sometimes – I may be on holiday and want an hour or so of ‘writing therapy’ but might not want to go on-line, or have available on-line access.

By giving me an overview and instant access to the components of my story on a single screen, I get control of the project and so I find the process of drilling down into the ‘core’ of my story easier, more efficient and fulfilling. Certainly much less frustrating than switching from one screen to another, hunting down folders and files, hopping back and forth from page to page on websites and between different websites.   ARRRGH…

LUMIA - kINVER, JANE, MY DESK 2014 076

CHARACTER TAB OPEN – SELECT CHARACTER ON RIGHT – DETAILS LEFT

  • In planning my novel I use seven COMPONENTS.  They are not written in a strict chronology – that’s important. They have synergy, they feed off each other. Maybe it’s like bringing up a family – you don’t focus all your energy on one child and when that job’s done, move on to the next. Oh, no, – you don’t bring kids up like that. You juggle, you compromise, negotiate, discipline, encourage, motivate, and so on. You spread your attention, your focus, your love. (OK, OK, we didn’t have seven children but you get the picture!). Now – please let me show you in specific terms how all this works (and for me it definitely does) in practice

TOM BRYSON’S SEVEN COMPONENTS OF ‘PLANNING A NOVEL’

  1. CORE – Who is the Main Character, what’s their goal, problem, obstacles, what are the stakes for failure? In 50 words; yes, I keep this to 50 words. Concentrates the mind!
  2. OUTLINE – Two pages max. Written in present tense, with a start, middle and end. Split into key scenes with short headings. Leave room for the story to evolve.
  3. MAIN PLOT – Spine of the story, the heart of the MC’s journey. Sub-plots add complexity and richness. The main plot (and sub-plots) summaries need only be a sentence or two.
  4. SCENES – Scenes are the building blocks of the novel. These are where the action is. As you write scenes you are writing your book.
  5. CHARACTERS – Absolutely critical. The reader must care about these people.
  6. SETTINGS – Give ‘colour’, atmosphere, they complement characterisation, add credibility and context whether real or fictional places.
  7. SYNOPSIS – Comes at the end because a synopsis is a ‘selling’ tool; your book summary. You write a synopsis when you’ve finished your book. (I include it as part of planning because you’ll need it for submissions).

In this second blog in the series, I’ll focus on my second COMPONENT in PLANNING A NOVEL, namely the OUTLINE of my story. 

 2 (of 7). OUTLINE – your roadmap.

OUTLINE

I keep my outline to two pages, single spaced. Write your outline as if you were telling someone about your story.

Using present tense gives a sense of immediacy – places your story in the ‘here-and-now’. Keep referring back to your CORE to make sure you stay on track with the main storyline.

In crime novels/thrillers your story will feature a main character, antagonist(s), an ally(ies), possibly a love interest.

Remember what I said earlier about the iterative nature of my approach to novel planning –  as you write your outline, dip in and out of your character profiles, throw  in snatches of dialogue if that helps, focus on the key scenes. Hang on, you say – I didn’t mention character profiles before. Well, yes I did if you look at my seven components. I said the components aren’t written in a chronological sequence – no, it’s done in a messy, flitting back and forth manner. That is the way the creative mind works, relax those synapses.

I set up my seven components in separate sections, files, folders – whatever – at the outset and as I work on each, I’m switching between them continually. However, it is important to be clear what component is your primary goal at any one session. Don’t be a butterfly, more a bee gathering pollen but always aware where the hive is.

Next, break your outline into discrete scenes. No need to rewrite your outline here, just find the natural scenes in your outline, put in a paragraph break, then tag the paragraphs with a ‘to-do’ symbol. Now you are building up a scenes outline that you use as the basis for writing the fundamental building blocks of your novel – scenes.

Here’s the OUTLINE of my novel SARCOPHAGUS. (I’m only showing a short piece to give you the general idea – also I don’t want a spoiler – after all you may like to buy the book and read it!)

WEE TIP – CHARACTERS IN CAPS – WHY? FUTURE BLOG.

“SARCOPHAGUS is a political thriller set in Ukraine.

Ex-British army bomb disposal sapper GREG STEVENS (40 – born in Ukraine) gets a call from the past. His former army unit commander HAROLD BREWSTER, now UK defence minister wants to call in a favour; in Northern Ireland he saved Greg’s life. Now he wants to use Greg as a credible front to investigate a Ukrainian oligarch, BOGDAN KATCHENKO.  Katchenko is suspected of laundering EU/UK grants to fund fake diamonds production.

Brewster approaches Greg because he has a hold over him; also Greg’s industrial expertise gives him credibility. Weird thing is – Brewster wants Greg to give Katchenko the ‘all-clear’ – ‘UK security interests’. Greg, now CEO of Newton International is put under even more pressure from his chairman SIR OLIVER NEWTON who wants Greg to do Brewster’s bidding.  ‘Big defence contracts at stake’.

Greg resolves to do the spying job – not to repay his debt to Brewster; but to find the truth.

Greg’s father ANATOLY is dying and wants to see his Ukraine homeland a last time and be reconciled with his estranged brother PYOTR. Greg takes Anatoly and his daughter ELLEN to Kiev. He feels guilty about refusing Ellen anything; having been responsible for the death of her mother – his wife KAREN, in a car accident.

In Kiev, Greg meets NATASHA, a doctor related to Pyotr and they become lovers.

Greg crosses swords with Katchenko, a Mafiosi figure who runs the EU money scam (with Brewster as co-criminal).  He befriends TARAS PRAKHOV who is Katchenko’s chief scientist but who wants out of Ukraine. Greg offers to help and gets information on a memory stick about the fake diamond operation run by Katchenko.

He is mugged and his room searched by Ukrainian police, Katchenko makes his enmity of Greg clear.

Greg meets up with US journalist SEAN O’NEILL whom he knew from his Belfast army days. They team up – O’Neill is undercover US Homeland Security also trailing Katchenko, but investigating dirty nuke bomb making…”

Coming up NEXT. What’s the future gig?

COMPONENT NUMBER 3

3 (OF 7) MAIN PLOT

© tombryson2015

Starting my next cop novel…how I plan a novel

New Year – new novel.

I’m planning my next DCI Matt Proctor crime novel, number three in the series and I’d like to share my approach to “PLANNING A NOVEL”.

How do you put your novel together? Please let me know.

I’ll set out my approach in separate blogs – this is the FIRST. There are SEVEN in all. 

From the outset let me say say I’m more a ‘planner’ than a ‘pantser’- but please, you ‘pantsers’ out there, don’t tune out now – we can all learn from each other. (I wonder if there really are out and out ‘pantsers’ or ‘planners’ – or are most of us somewhere in between on a spectrum?)


PLANNERS                  IN-BETWEENERS               PANTSERS


I may be a planner but one who leaves space for the story to breathe, to bend and flex, change direction at times. Yet the CORE story line remains.

PLANNING A NOVEL

I need to know my story plot(s) in detail, understand the motivations, secrets and fears of my main characters before I can progress to writing my first draft. From my outline, I develop scenes and flesh out characters. The process is very much iterative, synergistic. I hop from one to another; adding to my character profiles, summarising a scene in a brief heading, modifying and reordering the outline chronology using a ‘scene order’ grid, to get a visual overview of the book.

LUMIA - kINVER, JANE, MY DESK 2014 077

‘SCENE’ TAB OPEN – SCENE ‘HEADS’ ON RIGHT – MAIN PLOT/SUB-PLOTS COLOUR CODED

A great tool for doing this is Microsoft OneNote. Some swear by Scrivener, Ywriter; another good tool is Hiveword. There are others. I think writers need to experiment to find out what suits them best. Two factors influencing my choice are a), the ability to write the book content within the planning tool, and b), to work offline sometimes – I may be on holiday and want a hour or so of ‘writing therapy’ but might not want to go on-line, or have available on-line access.

By giving me an overview and instant access to the components of my story on a single screen, I get control of the project and so I find the process of drilling down into the ‘core’ of my story easier, more efficient and fulfilling. Certainly much less frustrating than switching from one screen to another, hunting down folders and files, hopping back and forth from page to page on websites and between different websites.   ARRRGH…

LUMIA - kINVER, JANE, MY DESK 2014 076

CHARACTER TAB OPEN – SELECT CHARACTER ON RIGHT – DETAILS LEFT

  • In planning my novel I use seven COMPONENTS.  They are not written in a strict chronology – that’s important. They have synergy, they feed off each other. Maybe it’s like bringing up a family – you don’t focus all your energy on one child and when that job’s done, move on to the next. Oh, no, – you don’t bring kids up like that. You juggle, you compromise, negotiate, discipline, encourage, motivate, and so on. You spread your attention, your focus, your love. (OK, OK, we didn’t have seven children but you get the picture!). Now – please let me show you in specific terms how all this works (and for me it definitely does) in practice.

THE SEVEN COMPONENTS OF ‘PLANNING A NOVEL’

  1. CORE – Who is the Main Character, what’s their goal, problem, obstacles, what are the stakes for failure? In 50 words; yes, I keep this to 50 words. Concentrates the mind!
  2. OUTLINE – Two pages max. Written in present tense, with a start, middle and end. Split into key scenes with short headings. Leave room for the story to evolve.
  3. MAIN PLOT – Spine of the story, the heart of the MC’s journey. Sub-plots add complexity and richness. The main plot (and sub-plots) summaries need only be a sentence or two.
  4. SCENES – Scenes are the building blocks of the novel. These are where the action is. As you write scenes you are writing your book.
  5. CHARACTERS – Absolutely critical. The reader must care about these people.
  6. SETTINGS – Give ‘colour’, atmosphere, they complement characterisation, add credibility and context whether real or fictional places.
  7. SYNOPSIS – Comes at the end because a synopsis is a ‘selling’ tool; your book summary. You write a synopsis when you’ve finished your book. (I include it as part of planning because you’ll need it for submissions).

COMPONENTS

in this first blog in the series, I’ll focus on my starting COMPONENT in PLANNING A NOVEL, namely the CORE of my story. 

 1 (of 7). CORE – a basic idea.

  • CORE – Who is the Main Character, what’s their goal, problem, obstacles, what are the stakes for failure? In 50 words; yes, I keep this to 50 words. Concentrates the mind!

Q.  What is in that CORE as a novel writing idea?

A.  Main Character with a Goal, facing tough Opponents, hitting Insurmountable Obstacles, and under threat, using their Sole Abilities to win through.

Here’s the CORE of my novel IN IT FOR THE MONEY.

‘DCI Matt Proctor fights to break an  international ‘match-fixing’ gambling syndicate and becomes their kill target when he gets too close. Serbian Mafia boss Petrovic hunts him – yet real power lies in sports boardrooms, directors’ boxes and wheeler-dealer agents. Matt Proctor is a marked man.’

Think of an apple, a pear. The core is where that fruit started. In that core are seeds. And in the core of your novel are the seeds that will grow your novel. Define that core in no more than 50 words – keep those words in front of you – and then let the seeds grow.

Coming up NEXT. What’s the future gig?

COMPONENT NUMBER 2

2 (OF 7) OUTLINE