Ben's Not Writing

Occasional blog of Ben Walker, occasional writer. Constantly distracted by books, the internet, movies, videogames, cooking...

Despite all this, I've written one body horror book - MELT - which you can buy online if you like (Amazon, B&N, iTunes).

Inspiration for novel #3
Inspiration for novel #3

Inspiration for novel #3

(Source: thatssovintage)

Inspiration for novel #3

(Source: horroroftruant)

lionheart191 asked: When you finish a story, whether it be a novel or a short story, how do you decide what stays in the story and what doesn't? I find it hard when I start the editing process, because there will be times in certain moods where I really like something, and in others where I just want to eradicate it from existence.

joehillsthrills:

I look askance at big blocks of prose. Those are places where attention wanders and the reader’s excitement begins to cool. I don’t care how good a sentence might be… we’ve got to keep moving. Hemingway said kill your darlings, but I try not to have darlings at all, and kill at will.

This is probably not terribly helpful. But I guess try and find one sentence in every paragraph that says the thing the reader needs to know to get to the next paragraph. Then see about deleting everything else. Maybe you can’t delete everything else. But you’d be shocked at how much can go.

There were a lot of sentences in Max Berry’s LEXICON that gave me an electric shock of pleasure. One was just: “A thin dog scratched in the dirt.” That was enough to show me a whole dusty, sandy, barren landscape of trailers, cars on cinder blocks, empty sidewalks, loneliness. One little sentence that carried a whole widescreen picture.

Try and find that thin dog, and skip everything else.

Happy Easter!

“You need a great talent to know what you shouldn’t write.”

—   Ismail Kadaré  (via theparisreview)
goregirlsdungeon:

STAGEFRIGHT (1987) directed by Michele Soavi

goregirlsdungeon:

STAGEFRIGHT (1987) directed by Michele Soavi

(Source: kentstatecult)

Now I have two hats.

theparisreview:

Writing advice from James Merrill: “You hardly ever need to state your feelings. The point is to feel and keep the eyes open. Then what you feel is expressed, is mimed back at you by the scene. A room, a landscape.”

theparisreview:

Writing advice from James Merrill: “You hardly ever need to state your feelings. The point is to feel and keep the eyes open. Then what you feel is expressed, is mimed back at you by the scene. A room, a landscape.

Help! My excitement level is stuck on UNREASONABLY HIGH.