Light and shade help to create atmosphere. It doesn’t have to be deep gloom or blinding sunlight, just a degree of contrast.
To see what I’m getting at, have a look at the 3 pictures in the slider below, showing roughly the same view of a snowy landscape, but in different kinds of light. I reckon the changes of light and shade move the viewer from misery (or at least gloom), through hope, to something much more positive.
According to Fowler’s Modern English Usage, “between you and I” is to be condemned. Anyone who writes that abomination is living in “a grammarless cavern”.
What we should write,of course, is “between you and me”.
How to tell?
Without going into the grammar technicalities†, ask yourself whether you’d write or say “between I and you”. You wouldn’t. You’d say “between me and you”. Normally, we put ourselves second but that doesn’t change the rule on whether to use “I” or not.
It’s “between me and you”, so it’s also “between you and me”. Continue reading →
At Sophie’s prompting, I’ve recently been reading a new (to me) crime writer, Barbara Cleverly (a writer who only just missed the cut for 12 days of Christmas). Cleverly’s first 4 books are set in India in the 1920s, after the horrors of the First World War (which haunts many of her characters) but while the British Empire still rules.
What stayed with me, apart from her genius for plotting, was the atmosphere she created for her pre-independence India — an underlying feeling of unease, even menace.
Cleverly’s British Raj is like a thin and very fragile glass lid on a huge cauldron of broth. Readers can see through the lid to the liquid below. Not quite boiling yet, but with the occasional large bubble forcing its way through the shimmering and (apparently) serene surface. As readers, we sense that it wouldn’t take very much to crack through that flimsy lid from below. Continue reading →
Empathy with characters:
what is it and who has it?
Empathy? Roughly, it’s feeling what another person is feeling, from their point of view. Even if that other person is fictional.
So readers may identify with the heroine in a romance, or with the spy in a thriller, or with the detective in a crime story.
Writing Regency romances, my aim was always that my [mostly female] readers would identify with my heroine and fall in love with my hero.
But readers don’t all react in the same way to our characters and our plots. And I’m beginning to wonder if age is one important factor in that. Continue reading →
I’m intrigued by subtext and, in particular, the space between the words in a novel.
Yet perhaps the most perfect example of this is not in a novel at all, but in a movie. It’s the little miracle that is Roman Holiday, starring a luminous Audrey Hepburn as a stifled princess. Gorgeous Gregory Peck plays against type as a distinctly dodgy expat newspaperman. They don’t have a Happy Ever After ending, either. Yet its perfect, mostly because of that extra layer of meaning.
Why Subtext in Roman Holiday is Interesting for Novelists
It is with great sadness that we mark the passing of our very dear friend, Annie Ashurst,
who, as Sara Craven, was a worldwide bestseller and beloved by thousands of fans.
Annie will be much missed by her many friends in the RNA and elsewhere, for her wit,
her brilliant mind (she won Mastermind) and for the kindness and support she offered to so many. She was also, of course, a terrific writer from whom we all learned.
RIP dear Annie
Writing for a reader is how I finished my very first book. That probably sounds strange, after my heartfelt blog about writing for one’s own inner reader. But the truth is that, although I’d been writing all my life, the very first book I finished was written for a particular reader.
Less? Or fewer? This Pedantique-Ryter post is dedicated to that Disgusted of Chelsea (no names, no pack drill) who had this exchange on Twitter recently, after shopping in Marks & Spencer:
Disgusted of Chelsea:
My faith in @marksandspencer is shattered, I tell you, shattered. Their ad at checkout:
“Less worries. More sandcastles.” AAAARGGH. M&S
Is there anything we can do to help? DoC
Very kind but am in shock. Civilisation tottering.
Ideally change wording to “fewer worries” or “less worry”?
Probably not cost effective? M&S We’re sorry you don’t feel we’ve got our ad right.
We’ll share your comments with the team. Thanks DoC It’s like a needle under a nail to me.
Team could try Fowler’s Dictionary of Modern English Usage?
Civilisation tottering? Well, maybe DoC’s irony went a bit far there, but Pedantique-Ryter admits to feeling the needle under the nail, too. Fewer? Less? Are they interchangeable? If not, how and when should they be used?
Read on to find out the Pedantique-Ryter answer. Continue reading →
Language is a writer’s basic toolkit. Writers — novelists, playwrights, poets, lyricists, and all the rest — use words to trigger emotional responses or to paint pictures in the minds of their readers and listeners.
How can we fail to see layers of meaning in creations like these?
the wine-dark sea (Homer, Ancient Greece)
sleep that knits up the ravelled sleave of care (Shakespeare: Macbeth, 1606)
nursing her wrath to keep it warm (Robert Burns: Tam O’Shanter, 1790)
moonless night in the small town, starless and bible-black (Dylan Thomas: Under Milk Wood, 1954)