TUTORING

Foreword:-

Writing can be such an arduous task; there are so many reasons to give up before you even start. Unfortunately, the myriad of "what ifs" and "buts" often fight their way to the forefront of your mind and manipulate you in to thinking that there is no point in even trying.

However let me ask you this. How many times have you read a book, watched a movie or TV show and thought you could do that? That you could have come up with that idea, or even worse, already had a very similar idea? How many times have you watched or read something and thought it was 'alright' but you could have done better had you the expertise to execute it?

Well, what makes you different from them? Circumstance can be galvanised in your favour as long as you are willing to embrace your potential. I know that sounds super cliché and forcefully inspirational, but it's absolutely true. There is only one reason others are creating work whilst you are not:

They decided to start.

Whether you have a modicum of an idea or a finished text that you're unhappy with, I will sit with you, analyse its structure, bolster the strong points and strengthen any weaknesses.

There are infinite stories and worlds for a writer to explore; the characters are just waiting for their adventure to begin.

Middle-Earth was but a world untold, 'til a wise Wizard knocked on a Halfling's door.

What I offer:

Story Crafting:-

As the previous paragraph brushes over, I am fully aware many people have wonderful and incredible ideas. All of your favourite pieces of work will have started the exact same way: someone having the seed of an idea planted in their head. Some will write it down and instantly begin to grow it. Others will forget about it until later in the week/month/year when it pops back in to their mind and they manage to add something else on to it. Either way, the seed exists and always will, it is just a case of nurturing it.

If you have an idea floating about that you want to bring to fruition or have already attempted to start it but resigned in frustration, I can help. If you need someone to offer ideas and narrative direction which can help get a plot from A to B or guidance on character ark/growth, then contact me. Sometimes all it takes is a gentle nudge from another perspective, other times it takes a more practical approach. I can offer both and will not give up until we have the literary locomotive chugging along.

It is very common that you have an idea you will feel comfortable with, but something doesn't feel quite right. I find that is usually because you are so used to a commercial industry that it is difficult to encourage your own idea's individuality. You have had a formula drummed in to you that you don't even realise you are conforming to it. Sometimes a bittersweet ending is much more impactful (and realistic) than a happy ending. Sometimes, it's much better when the protagonist doesn't get what they want, or when you understand the antagonists reasoning even if you don't agree with their murder/crime/misdeed.

It's a wonderful talent to successfully lead the readers down a specific channel - allowing them to conjure their own idea of what will happen - only to abruptly flip it. George R. R. Martin is a fantastic example of using this method. One of the reasons his series is so incredibly successful is because it's realistic (within the world). The heroes don't always win.

That is simply messing with convention and it's such an incredible depth to explore. Taking the clear opposites out of a story and replacing them with debatable grey areas will often give you the satisfaction you didn't quite have before - but for the love of your writing, don't do it for the sake of it!

I can help you challenge the norms or write side-by-side with them as long as you are happy with your work.

Unsticking the stuck:-

Perhaps you are comfortable with your idea and your writing style. That is absolutely wonderful, but that doesn't mean you are not allowed to hit walls. It is possible you have written many pieces with a flow and zest you enjoy only to find this time you have written yourself in to a wall.

Well, luckily for others, I have done this enough times so that the process of unsticking the stuck has become a natural ability of mine.

Perhaps you have mentioned a very important 'X' earlier in your story that is essential to the plot, but you have found it clashes drastically with the story. You can't change the story because you're happy with it but equally you can't change the 'X' because it is important.

Often, unless you are ridiculously organised you will find you have crossed crucial narrative wires that realistically repel each other causing the narrative to collapse. It is so easy to just give up and try again next year, but you don't have to take the easy way out. You can fix it.

It can be tedious, but present the issue to me; allow me to fiddle with this and tinker with that until the story can retain its flow and 'X' can continue to be as important without a negative impact. Until the wires can co-exist in harmony.

After all, there is only so much a Deus-Ex Machina can achieve. We don't need "A man with a gun" to enter every story in order to unstick the stuck, we just need a different approach.

Dialogue and General Script:-

Often understated in works of fiction, but dialogue and the general text within itself can be the difference between an audience's sympathy and suspension of disbelief to their giving up.

That is why so many classics (Frankenstein, Dracula, Robinson Crusoe and even Shakespeare's oeuvre) are given up on. The writing isn't contemporary - it isn't an easy read. It can be an incredible story, but if the reader isn't enjoying the flow, they are not going to finish it. I fear that is why so many people opt for the "I'll wait until the movie is out". It's the easy way to get the story. Why not make the writing itself accessible so they don't have to watch the movie?

Many writers show off with their extensive vocabulary and in doing so sacrifice a character's humanity. There's nothing that will turn an audience or demographic off more than a writer (often inadvertently) inflating their ego via their character. It is a trap we fall in to easily; we love words, we adore their power and function.

Consider the example below:

"My sincerest condolences. How unreservedly abhorrent. Should you need assistance with this predicament...."

"Mate, I'm so sorry. Honestly, if there's anything I can do, just, y'know... yeah."

The two pretty much mean the same thing, but whereas the first has more colourful words (though, still common) the second says a lot more. It has power and a humane angle. It shows the character speaking feels strongly about whoever they are talking to; it shows sincerity; it shows they care whilst even allowing the reader to understand they don't exactly know how to approach the situation yet will still offer their help.

The same goes for general script. Uncommon words are wonderful, I'm sad enough to get a little buzz when I stumble upon a word I don't know...

However, adding an overly verbose flourish to every article of dialogue we grant to a character (or multiple) is oft a diaphanous guise in which the initial intention of the creative is reversed. Thus, their natural talent to effortlessly employ an air of loquaciousness often gleans a diverging impression, causing a juxtaposition in which the aforementioned individual tends to steer themselves in to perdition.

Or, rather: Using words that aren't absolutely necessary can often alienate your reader/audience.

Let me help you find the balance - it is genuinely of utmost importance.

Editing/Proofreading/Condensing:-

If you want to become a writer, you will have to understand that no matter what level your talent is at you will spend a lot more time re-reading your work than writing it. You will edit, proofread and more than likely be required to condense it. Not always in that order and often more than once!

In the past I have deleted a draft of over fourteen chapters (which totalled 101,463 words) because I was fully unhappy with the work. That wasn't necessary, but I was unable to face re-reading everything and having to weigh each word, each sentence, paragraph, page, etc...

Fortunately, I have had more than enough practice now. I can either sit with you and help you discern what can be cut, what can be changed and what can be improved upon. This could be as drastic a case of somehow managing to condense an entire chapter in to a paragraph; it's difficult, but possible. Keep in mind, Neil Gaiman's hit novel American Gods was initially published with a large chunk cut out. It was reintroduced when it gained traction with audience so we won't delete your hard work, but help it evolve in to what it needs to be until we have progressed to a level where it can be what you want it to be.

Plot Pace & Exposition:-

A can get to B in a sentence, a paragraph or within the journey of three chapters. The biggest problem is that sometimes it can be much too quick, or much too slow. Allow me to advise you in what should be hurried, what is unnecessary and of course, what can be expanded.

The reason I have married pace with exposition is because I find that can be just as useful a tool to speed up a story than the plot itself. A slight tangent employed every so often in which a character is absolutely methodical will give a reader much more of an understanding as to why they break down when their routine is broken. Exposition can do what plot cannot. Master it!

If you have ever read George R. R. Martin's 'A Song of Ice and Fire' you will understand what I mean. When Deanerys' story ark progresses through the first book, Martin continually mentions that she enjoys her bath scalding hot, so much so that her servants cannot touch it. That says more about her character in a much more clever way than a spoon-feeding plot ever could.

Same as the House Stark's banner showing the wolf; a family pack that is gruff, hardy and above all values loyalty.

Exposition is more than setting a story - it is imperative to giving it flavour.

General Improvements:-

I can help improve your structure. A mix of short, medium and lengthy sentences creates a harmony that just feels satisfying to a reader. Orchestrate them just right and it can be what makes your work so "easy to read."

Punctuation grammar not great? Not only can I advise you in where your punctuation and grammar needs improving, but I can also show you how to manipulate it in order to purposefully make a reader think a certain way.

There is so much an ellipsis can say. Alternatively, there is so much a lack of punctuation can mean. Not only does it help the flow of a story, but it indicates the mood and conduct of characters. A lack of commas and full-stops shows a blithering idiot or anxious disposition. Short, staccato sentences indicates a snappy character or someone who has had enough. Don't even get me started on the power of well place italicised word.

"Punctuation... Use it, for God's sake..."

We can bend literary rules to our will - you just have to understand that your writing is yours to master. If you're not a fan of overly descriptive work; don't attempt to imitate it. We can discover your natural flow. Allow me to help you achieve your control over it.

How It Works:-

I can offer hourly sessions in person, over Skype, or if those methods aren't favourable, I can have a document sent over, work on it (preferably using Microsoft Word and Track Changes) and send it back to you. Either way, I would like to have the text/idea you wish to work on in advance so I can plan my approach.

I want as many people to create their own work as possible and feel comfortable in doing so... How else will I get to enjoy fresh stories?

There is a flat rate of £30 per hourly session, however this is negotiable for students and depending on the workload you present to me . I am well aware of the struggle with money and would prefer someone to develop their skills without the barrier of finance.

If interested, please click here or just head over to the contact tab on the menu situated on the left and we will discuss the next steps.

I can offer workshops for classes (primary, secondary, college/sixth form and university level) but price would depend on class size.

Keep in mind, I am also available by commission to write for you. However, it is much cheaper and prudent in the long run for tutoring sessions. Y'know, teach a man to fish and all that...

I look forward to working with you.

Bradders :)