book writing

Ian generously moderated the CSFG novel critique group this year, offering invaluable advice to each participant. Here’s what he had to say about the experience and his writing.

Q: You began running the CSFG Novel Critique Group this year. As you have your own novel in development, how are you applying this experience to your work?

I think the big lessons I’ve taken from this year’s crit circle are (1) the importance of giving the novel good structural bones and (2) the importance of fully developing characters, including their motivations, pressure points, relationships and mannerisms.

While plotting hasn’t been a weakness of any of this year’s manuscripts in terms of plot holes or internal inconsistency, the need for plots to build tension and offer some surprises has been a recurrent theme.

Going hand-in-hand with this is the need for major characters to be both active and instrumental in confronting the problems of the plot, and for a sufficient level of sadism towards one’s characters – you have to hurt them because you love them.

Q: Your critiques suggest your core strength as a writer comes from your intuitive understanding of character. How does this affect the way you offer feedback, particularly in regard to conceptual-based (ideas/plot driven) stories?

Funny you should say that. I like to think that in my short stories I generally create distinctive characters who drive the story, although I wouldn’t go so far as to call it my core strength.

In my first novel, I’ve found that I’ve struggled a bit to sustain that distinctiveness and roundedness across a larger cast of characters and staying with them for so much longer.

I’ve also tended to let my created world, in wanting it to be a character itself, overwhelm the human characters at times.

So I think, rather, that my focus on characters in critiques reflects the focus of my own struggles, rather than my strengths.

Q:Your credentials as a short story writer are well-established after winning the Writers of the Future Contest. What are/were your greatest challenges in writing a novel compared with a short story, and what would you do differently next time?

Sustaining the story for so much longer and over a broader canvas. Next time I’ll write – am writing – a shorter, simpler novel.

Q: Character is story, but story needs structure. How do you approach the structural needs of a novel-length story?

Haphazardly, at the first attempt, and with a rising sense of panic.

I’ve got a lot of value out of the structural stuff we’ve done in the CSFG novel writing group this year, for both long and short form stories – particularly understanding structural archetypes and having planning tools to map character wants/needs/actions/suffering to the story’s plot.

I think a couple of other factors are really important too: (1) knowing how much you can chew before you bite, and (2) having confidence in what you know about your story.

I didn’t do either of these first time through.

Q: Do you intend to run the novel critique group next year, and do you intend to submit your own novel? If so, what would you be looking to get out of it?

I think I’ll run it if I have a novel ready to submit for it – or at least am far enough progressed that I can finish the manuscript to a deadline next year.

If I put in a novel, then I’ll be hoping for some signposts to a better second draft.

I think the novel critiquing group is a really valuable part of what CSFG offers to its members so I think keeping that going is an end in itself. I was happy to support that this year without putting up a novel of my own.

That said, if I don’t have a novel ready next year, I’ll pass the baton and focus on my own writing.

Q: If you could give any advice to an aspiring novelist, what would it be?

I’d offer one piece of advice that I did follow and one that I failed to.

The first is: learn the art of storytelling by writing short stories first. Ray Bradbury said this, and I thoroughly agree.

I think short stories give a writer enormous scope to experiment with and learn how to handle different characters, worlds, plots and styles.

Stephen Dedman once said to me that you can learn 12 times as much if you write 12 short stories in a year as if you write one novel, and I think he’s right.

I think that even if a writer’s first novel is a success and easy to write, the next one or the one after that may not be.

If you’ve given yourself the best possible grounding in short stories first, you’ll have more tools available to write yourself out of trouble. (And also, you can use short stories as world-building and character-building tools for a novel idea, while at the same time creating a marketable product that will hopefully give you some sort of record of publication to mention to publishers once the novel is written.)

The second thing, that I failed to abide by, is: don’t underestimate how big a leap it is from short stories to novels.

While you’ll learn a lot from short stories, there’s still more to learn in taking the step up to writing novels. Learning what it is before you leap in can save a lot of heartache.

Ian McHugh is a 2006 graduate of the Clarion West writers’ workshop. His first success as a speculative fiction writer was winning the short story contest at the 2004 Australian national SF convention. Since then he has sold stories to professional and semi-pro magazines, webzines and anthologies in Australia and internationally. His stories have won grand prize in the Writers of the Future contest, been shortlisted four times at Australia’s Aurealis Awards (winning Best Fantasy Short Story in 2010) and appeared in the Locus annual Recommended Reading List. Links to most of Ian’s past publications can be found (free) on his website. His first short story collection, tentatively titled Angel Dust, will be published by Ticonderoga Publications in 2014.

Check out the Difinitive Rules of Magic which were ‘created’ at the Novel Writing Group in which Ian plays a huge part, or read some interviews from of the other Novel Critique Group members.