Welcome to the Night Land

When even the fans of a particular book have been known to describe sections of it as “virtually unreadable”, there is, at the very least, something worth talking about. And someone  really does need to remember William Hope Hodgson’s The Night Land, a rather obscure book first published in 1912 by one of the early masters of the genre now most often referred to as weird fiction (also the “dying earth” subgenre, if genre classification is your thing).

What happens in it? Well, a young man in the 17th century falls in love with a young woman, but she dies. The grieving fellow then falls asleep one night and wakes in the body of a far-future incarnation of himself. This incarnation lives inside a gigantic pyramid (called the Last Redoubt) with the remnants of the known human population. Outside, the sun has gone dark, monstrous living forms  called Watchers creep ever closer to the Redoubt, and strange beings scuttle across a landscape lit only by volcanic fissures. Future Narrator hears a telepathic call for help from none other than the future incarnation of his lost love, and, like any good protagonist, he sets off across the nightmare-riddled terrain to find her.

Yes, there are sections that are more or less unreadable, but I’m encouraging you to well, read it. For one, you can honestly tell your friends that it’s like nothing else you’ve ever read. For another, I think there are some legit writing lessons to be gained here, although if you try to copy the style you have probably learned the wrong ones. One that we can appreciate is that what isn’t seen or described in detail can be a lot more unsettling than what is. Take, for instance, the House of Silence, one of the many sinister places our narrator glimpses from the top of the Last Redoubt before setting off on his journey. Lights burn inside it and always have. No sound escapes it, and no one that enters ever leaves. The reader never learns what the House of Silence is or what’s inside it, and doesn’t need to. Its pall has been cast across the entire narrative, and no amount of explanation in the world could imbue it with more dread than it already has. (Obviously, this is a a really important  lesson that anyone attempting to write on the edges of the horror genre should know, and WHH is not the only one to learn it from, but I think we can mostly agree that the early writers did suspense better).

One day I’ll re-read it, but I’m not quite that bedridden at the moment. According to the Wikipedia entry, an author named John Stoddard has essentially re-written the novel as The Night Land, a Story Retold,  in a more palatable style.   I have not yet read it, but I already want to give this man a cookie because someone needed to do it.  Hodgson himself also wrote The House on the Borderland, which some readers might find a bit more accessible, but which never personally resonated with me as much as The Night Land did.

Oh, and there’s a website. Complete with fanfic, naturally.

Writing Lesson From How I Met Your Mother: So Many Ways to Tell a Story

Below, I discuss spoilers for Season 3, Episode 7 of How I Met Your Mother (I mean, it aired back in 2007,  but I’m sometimes really  late to the TV party myself so I’m trying to be courteous. Seriously. I watched my first and so far only episode of Gilmore Girls three weeks ago).

As popular and well-known as How I Met Your Mother was, and for all the flaws it did have, I still don’t actually think it gets enough credit for some of the clever narrative techniques it employed. One of my favorite episodes is “Dowisetrepla”, and what makes it memorable isn’t what the episode is about. To paraphrase Roger Ebert, it’s how it’s about. All that happens is that my favorite fictional couple, Lily (Alyson Hannigan) and Marshal (Jason Segel) buy an apartment, despite the fact that Lily is neck-deep in credit card debt and hasn’t been able to bring herself to tell her husband. He finds out. They fight. Then they make up.

Now, here’s the thing. We never actually see the fight. What we see instead is three of their friends stopping  by their apartment and concluding, ominously, that a fight happened. A water bottle with the label peeled off? Lily peels the labels off things when she feels guilty about something. An empty quart of ice cream? Marshall eats when he’s mad! The calendar on the wall is crooked because someone slammed the door! By using this technique, the writers actually accomplish several things. For one, they avoid boring the audience with things the audience already knows. We know why Lily and Marshall are fighting. We know, or can safely assume, that Marshall is shocked and angry and that Lily is guilty. We don’t actually need to waste five minutes of screen time hearing them verbalize these feelings (and perhaps becoming less likeable in the process), when we could be watching the impromptu film noir parody instead. Secondly, it gives the other three members of the main cast something to do in a story line that mainly hinges on Lily and Marshall’s actions, and do it in a very funny way that still conveys the main plot points. We know exactly what we need to know about the argument without seeing any of it.

I still haven’t discussed what “Dowisetrepla” means, and I’m not going to here. If you don’t know, you’ll have to watch it and find out. If you just plain don’t care, that’s fine too, and probably healthier.

My point here? There are a lot of ways to tell a story or script a scene. If a blow-by-blow account of events in your story just isn’t doing it for you, you might want to explore an less conventional approach. Narrate the same scene from a different character’s point of view, or summarize what happened by showing the impact (“In the end, she got the house, I got the car.”)  You can even skip to the next part of your story and include the missing scene as part of a character’s flashback at a point when it has new relevance (Mad Men has also made at least one good use of this technique). Step outside the stubborn scene or plot point, figure what really needs to be said, and try new ways of saying it.

Best of luck with that!

Come Share in My Sudden and Likely Short-Lived Enthusiasm

So, I have this yen to do some kind of serialized online novel. As in, I put up a new chapter every week or so and anyone who follows this thing screams encouragement for me to continue.

I have a few ideas, but I’m still at the really, really early stage where I’m about 98% enthusiasm and 2% structure (if only that were all that was required).  So this thing could be any genre, or several genres, and go on for as long as I feel necessary.

Of course, this could all be a temporary madness on my part. Alternatively, it could be an exercise in forced creativity. After all, nothing motivates productivity like deadlines and an enthusiastic audience (or at least an imagined version of the same).

I should note here that any future projects I undertake will not be a sequel to The Foreigner, or anything related to The Foreigner. I have never seriously wanted to do a multi-book series, for several reasons. Prime among them is I don’t want to be locked into a very long project past the point where I myself tire of it. Plus, I have read too many series, some of them written by fantastic authors, that simply start to collapse under their own weight after Book 4 or 5*, and you can almost feel the writer’s enthusiasm waning. And I I really don’t see a reason that I would be any different under the same circumstances. Plus, in the case of The Foreigner, does anyone really want to see me do more horrible things to Adeline Rook? By the end of book, I sort of got the feeling she could use a  break and perhaps a nice long bubble bath. If anything I write in the future has a connection with my first novel, it will be a blink-and-you-miss-it reference that will have no bearing on the reader’s understanding or enjoyment of the story (hmm…..)

So what I’m talking about here is leaping into some new story and seeing if it holds anything that interests me. And I’m excited about it. I just have to see if I can make the excitement (and a plot) last.

Suggestions welcome, but no promises!

*Here, I’m not really talking about one-shot novels set in the same universe with the same characters (i.e a lot of mystery and detective fiction), but books in series with an overarching plot that demands an endgame.


A Few Favorite Writing Books

I’m going to be open about the fact that I’ll be sharing a lot of recs, random trivia, and assorted oddities here. I really don’t feel compelled to talk much about my personal life, not because I’m guarding any deep, dark secrets but because doing so simply does not interest me, and probably would not interest that many people reading this, either. Right now, I want to keep the focus on the writing life, and there’s only so much to say about my writing life at any given point. So…have some books.

Robert’s Rules of Writing: 101 unconventional lessons every writer needs to know by Robert Masello

First of all, there are actually 102 lessons. The last one is “break the rules.”  Masello’s guide is witty, refreshing, and often hilarious. It’s unashamedly self-contradictory (Rule 30: “Pile it on!” Rule 31: “Reduce clutter.” It’s great to be told that in some circumstances it is totally fine to tell rather than show. It’s also great to be to be told to “Stop reading” while deep in a writing project, or at least to stop reading things that are too similar to what you’re writing. Most of all, it’s incredibly fun to read. Apparently, Masello has written several thrillers, too, which I have not yet read, which you can see on his author page.

Plot Perfect: How to Build Unforgettable Stories Scene by Scene by Paula Munier

A fantastic read with lots of great examples to support its points. (You may want to read The Maltese Falcon before this book to avoid spoilers, if you have any interest in reading it at all. The author really likes The Maltese Falcon). There are some great tips here for starting or structuring a novel, from building a complex character through their contradictions to plotting a novel based on its pivotal points.  I’m particularly fond of the index card trick for plotting discussed on page 94, and even if you don’t find some of the techniques here especially useful, the book will at least help make you more aware of the sort of story you’re trying to tell.

Steal This Plot: A Writer’s Guide to Story Structure and Plagiarism (Classic Wisdom on Writing) by William and June Noble

Yes, please. Actually, I think I’ll steal two or three and then throw them in a blender together. And then maybe add a shot or two of tequila, but I’m getting ahead of myself.

I often find that books and articles discussing the “29 basic plot templates” leave me cold, and not because I particularly disagree. Almost all stories do tend to be about one of those 29 things (revenge, transformation, the riddle, etc.), but I do not think that stories are or should be only about one of 29 things. In fact, as I sit here writing this I can readily invent one in which there is an underdog main character involved in a bitter rivalry with another character, but then the rivals have to team up to rescue a third character. In the process, they develop some sort of love, romantic or otherwise, for one another. Except it’s a forbidden love. One of the two (probably the original underdog) goes through a process of maturation, while the other heads down the road of wretched excess. Meanwhile, what about the character in need of rescue, whom we have sadly neglected up to this point? Would it be too much to suggest she is trying to escape while this horse hockey plays itself out? And nothing about what I just wrote sounds terribly original or unusual, so you see my point.

But the approach that William and June Noble take here is fantastic. Instead of attempting to reduce plots to one of 29 templates, they celebrate the diversity that any one of these basic ideas can render. They draw on numerous literary examples (really, this book could do the job of several Cliff Notes books), and provide some great inspiration regarding just how much can be done with a single plot as a starting point.

So go ahead. Steal a plot. Just, you know, add some stuff.

Your First Bestseller: How to Self-Publish a Successful Book on Amazon by Mike Fishbein

I found this at the exact moment I needed it. While not as entertaining of a read as some of the others on this list, it is incredibly useful for anyone trying to self-publish. Fishbein has written an easy to follow guide that covers just about everything the would-be author needs to know, from book covers to marketing to the actual process of self-publishing. Since the whole process can be very intimidating, I find it very reassuring to have this concise, straightforward booklet at my side.

MASTER LISTS FOR WRITERS: Thesauruses, Plots, Character Traits, Names, and More  by Bryn Donovan

This one doubles as a prompt collection if one is desperate—I can go through the lists and choose one from column A, one from Column B, a few from Column C and it’s enough for the root of a story. All of the lists are long and highly specific (Ways to describe eyes! 100 interesting settings for scenes! Motives for murder!). The only problem is that you may find yourself spending more time reading through the lists than on the actual writing. Enjoy, but don’t say I didn’t warn you!

On Writing: A Memoir Of The Craft by Stephen King

Most people are familiar with this one, but it’s worth recommending again here. I’ve actually only read a handful of Stephen King novels, and while I don’t dislike the author, none of his work has stuck with me enough for me to really consider myself a fan (note to self: I still really must read The Stand at some point). But this memoir is pure gold for any aspiring writer. His “finding the fossil” analogy for developing a story is as good as any I have come across to describe the writing process. I say this as someone who has chased a lot of false fossils in the past months. Enough to construct an entire false fossil Diplodocus, to be honest.

Please feel free to share your own favorites. And yes, I know I should have read Bird by Bird by now. I just haven’t yet.











Hello, and welcome! My name is L.R. Gordan, and I am a recently self-published novelist.  You can check out my first novel, The Foreigner, on Amazon. I plan on using this site to reach out to readers, as well as to connect with, learn from, and encourage other writers. I will also be sharing a lot of whatever I happen to find interesting at any given moment (I’m on an ancient Egyptian kick at the moment).  I’ll be recommending books, podcasts, shows, and articles as I see necessary. I am especially interested in things that I find helpful in the writing process, although I have discovered that any writing tip will only work for some people, some of the time.

The two true rules when it comes to writing ? Many others have said it better, but here you go: 1. Keep writing 2. Write the book you want to read and worry about all the other stuff later (and there’s a lot of other stuff. But seriously, worry about it later). Also, please use Times New Roman font. I’ll like you better.

My goal is to post updates at least 2-3 times a month. Feel free to leave me questions or suggestions in the comments. I am really looking forward to connecting with readers and writers alike.