Welcome to the world of Loony Literature!

ONCE UPON A TIME THERE WAS A DESERTED VILLAGE…

ALONG CAME SOME VERY NICE PEOPLE

WHO BUILT A LABORATORY TO WORK IN AND THEN THEY CREATED SOME MONSTERS TO HELP THEM.

WHAT SHALL WE DO NOW?” ASKED ONE OF THE MONSTERS.

“LET’S ACT OUT

FRANKENSTEIN’S REVENGE – A PLAY FULL OF SHIFTY MANOEUVRES AND TIME TRAVEL

“I WILL BE THE MONSTER IN THE PLAY” SAID ONE OF THE MONSTERS.

Frankenstein’s Revenge – a play full of shifty manoeuvres and time travel.

SO THEY ACTED OUT THE PLAY

  THEN THEY TALKED ABOUT FRANKENSTEIN, THE NOVEL

THIS WAS WHAT HAD INSPIRED THE PLAY.

THEN WILL BLYTON – THE ALTERNATIVE DETECTIVE TURNED UP.  HE STARTED TO TELL THEM ABOUT

THE STINKING SHADOW.

Amazon.com: Will Blyton and The Stinking Shadow (Will Blyton – The Alternative Detective) eBook: Michelle Barber: Kindle Store

THE TWO WISE HEADS OF THE LABORATORY LISTENED CAREFULLY.  THEY DECIDED THAT LOONY LITERATURE SHOULD:

  • TALK ABOUT LITERARY CRITICISM THE LOONY LITERATURE WAY.
  • ENCOURAGE CHILDREN, TEENAGERS AND ADULTS TO BOTH READ AND WRITE CREATIVELY USING THE LOONY LITERATURE METHODS
  • GENERALLY INSPIRE PEOPLE TO BE CREATIVE IN A FUN, OUTRAGEOUS LOONY LITERATURE MANNER.

WITH EVERYTHING NICELY SORTED, THE LOONY LITERATURE FOLK, MONSTERS AND WISE HEADS, SAT DOWN TO SOME NICE TEA.

Will Blyton and The Stinking Shadow was written specifically to make reading more fun for boys aged 8 to 12.    Try the first chapter for free and let your son laugh at Will Blyton being insulted by the boy trapped in the stone.   If your son wants to know more about Will Blyton, you can go to Will Blyton – The Alternative Detective

If you want to help your child and teenager have more fun with reading and creative writing but you don’t  have time to think about it, look around the site.  We are always adding new articles,  so it’s a good idea to subscribe to the site  for free, simply click the FOLLOW button.

Teenagers – one of us is an ex teenager who often has her teenage son as her muse.  The other part of Loony Literature is, well – a teenager.  So in a nutshell, you inspire us, so please keep visiting.

FOR THE FUTURE:

For the grown ups – We will be looking at Victorian detectives, questioning whether some well known and not so well known heroes are lovers or pure villains and exploring the supernatural.

“MULGRAVE CASTLE” – a chilling tale introducing the Victorian, physic detective, Harriet Twine.

For the children – We will be looking at wonderful ways to get your children interested in classic literature e.g. Shakespeare and Dickens.

Shakespeare’s Bottom – A fun way to make your child an expert at “Midsummer Night’s Dream”

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TV Show

TV Show.

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Writing Realities

Here at Loony Literature we want to help writers as much as we can so I’ve been reading books on writing and looking for ways to smooth the path which are useful and not too expensive.  The first of this series looks at Jane Wenham-Jones’ “Wannabe a Writer?” and “Wannabe a Writer We’ve Heard Of?”

Reading these two books is like being with a warm, entertaining friend who gives your spirit a good hoisting.  These are not the usual books which will teach you how to write character or setting, these are books which will open your eyes to the reality of being a writer and teach you how to cope with it.

I’ve had my own experiences of rejections and know how soul destroying it is; I also know that until it actually happens to a would be writer, they really do not know what it feels like.  So whether you’ve just had your first rejection or are on the point of using them as wallpaper, Jane’s books will give you a mental massage and help you to cope .  She is brutally honest about the shedload of rejections she received and the way it made her feel.  Did she falter?  Did she hell – undaunted Jane kept on going.  I don’t want you to get the impression that she is an over confident person who gets up everyone’s noses – she isn’t.  She is also honest about having to knock a glass of wine back before she battled on.  This is what is so uplifting about Jane’s books on writing – she is incredibly human. DSC_3119-Edit-2[1]Have you ever been at a literary festival or in a bookshop and suddenly felt as if you want to bite everybody’s head off because of that rising green bile taking over your body?  Well, it’s okay.  You’re not the only one.  Jane talks about jealousy quite openly.  She wisely points out that it doesn’t go away; we continue to feel it as there is nearly always someone else higher up the ladder.

About five years ago, I was at a Crime Festival listening to two extremely well known crime writers slagging off the Harry Potter books.  They said that writers wrote this type of book because they couldn’t work out a plot; they simply waved a wand to get out of scrapes.  There were more comments and belittling of the books and it became obvious that the green imp was at work.  Both of those writers are extremely high up on the Crime Writing ladder so I think Jane is right about this aspect of human nature.

It is fairly unusual to find a physical section in books about writing, I don’t mean Jane starts sprouting off about her sex life, she points out things which can go untoward with the body like writer’s bottom, writer’s stomach, neck, wrist and shoulder problems.  This might seem a little off the wall to some but I know from past experience that when we are in dire pain from bad posture when typing – you can’t write a single word.

I don’t know if this is something peculiar to me but quite a few writing books have pages and pages of the writer’s own works in them to demonstrate what they are talking about; after so much, this really hacks me off.  I understand that it helps if they are trying to demonstrate how to create a setting but some really do not know when to stop.  Jane’s books are full of quotations from other writers and so there is more of a balanced approach; it’s a bit like being at a very noisy party.

Finally, I would just like to add that “Wannabe A Writer We’ve Heard Of?” is the honest reality about once you’ve been published.  The game is not over once the ball is in the net – or in writing talk – your book is published.  Publishing a book these days is similar to throwing a needle in a haystack; unless folk know it’s there and exactly where to find it – well use your imagination.  Jane talks frankly about promoting both your work and yourself.  Reading her book could save a lot of time, effort and money as she’s been there and has experienced wasting full days and travelling miles for nothing. 

Jane being a 'media tart'

Jane being a ‘media tart’

I found this book especially useful as I have a book which needs lots of editing and is giving me grief.  A plot for another book was starting to come through and I thought I would start on that.  However, in “Wannabe A Writer We’ve Heard Of”, Jane talks about a book’s USP (unique selling point).  When I read about that and how I could use it to further promote the book which is virtually written, I realised that the book I am working on has got a great USP and I could do lots around it to promote it.  As you can imagine, I’ve decided to carry on with that.  So for the very small price of “Wannabe A Writer We’ve Heard Of” on Kindle, I have had a decision made for me and it has saved me time and energy.

To find out more about Jane and her books, follow these links:

Jane Wenham-Jones: Author

Wannabe a Writer? (Secrets to Success): Amazon.co.uk: Katie Fforde, Jane Wenham-Jones: Books

Wannabe A Writer We’ve Heard Of? Secrets to Success: Amazon.co.uk: Jane Wenham-Jones: Books

If you’re not interested in writing at all and are here by mistake, maybe you might like Jane’s latest book instead about controlling your body size or as Jane likes to call it:

100 Ways to Fight the Flab – The Wannabe Guide to a Better Bottom eBook: Jane Wenham-Jones: Amazon.co.uk: Kindle Store

If you have any writing books which you would like to recommend, please feel free to share your experiences here with us.

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Happiness… from the New Edition of “Charmeine” FREE TOMORROW 4/19

The lovely Emily Guido is giving away free copies of her wonderful “Charmeine” on Smashwords tomorrow – April 19th. Click on her blog to get the code. Congratulations on your wonderful success, Emily.

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loonyliterature:

Here’s another of Nisha Moodley’s great posts on Literature. This time it is on Wilkie Collins – time to cuddle up with “The Woman in White!”

Originally posted on ArtiPeeps:

 

Classic Friday

Welcome to Classic Friday with Nisha Moodley, your monthly journey into Classic authors and their Literature!

Nisha MoodleyNisha is a South African writer, blogger, amateur historian, mystery-chaser and former ghost-hunter who, with a completed collection of short-stories under her belt, is currently working on her first full-length novel.

http://nmwritersbloq.wordpress.com

I hope you enjoy this ‘Classic Friday’ entry and I’ll be back on  Friday 22nd March for some more…

_______________________

Wilkie Collins

Wilkie Collins

WILKIE COLLINS

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Fans of Agatha Christie, Edgar Allan Poe and Arthur Conan Doyle might be surprised to hear that as celebrated as these authors are, a lesser known writer has the distinction of being called the Father of English detective fiction. That man’s name was Wilkie Collins who, at one stage, was one of the highest paid writers in England. He is also well-known for having been a close friend of Charles Dickens and for leading…

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Textual or Sexual?

English: Portrait of Virginia Woolf

English: Portrait of Virginia Woolf (Photo credit: Wikipedia)

One of my great interests in reading matter is how desire is handled.  After the huge sales of “Fifty Shades of Grey”, I had begun to wonder if readers needed their sex spelled out more nowadays, if so, does that mean that many readers are missing out on playful texts as titillating as Orlando by Virginia Woolf?  In this written piece, I hope to persuade readers to interact with text such as “Orlando” for a deeper and potentially more sexually satisfying read.

I have taken chapter 3 from Orlando (Great Classic Library, 1994) to demonstrate that often it is not what is said that conjures up fantasy but what is not said.  Also, I use the constant ‘she’ but this refers to both sexes, it is simply to keep the text tidy.

Cover of "Orlando"

Orlando by Virginia Woolf with the talented Tilda Swinton on the cover. She played Orlando in the film.

If we can imagine a courtship between reader and text, then it becomes obvious that the text (Orlando) is using details to entice the reader as love object.  Whilst the reader is consumed with the desire to see and know the text, it encourages fevered requests for knowledge by constant teasing.  It attempts to keep the reader interested by manipulative and provocative tantalisation which never allows the desire for textual knowledge to be fulfilled.  Subsequently the reader continues to endeavour to explore and undress the body of the text.  In other words, the text uses a playful strategy which depicts an innocence by using understated sexuality to allure and provoke the reader into the commitment of interpretation.  The signals are there, the reader merely needs to be seduced.

The text displays constant symptoms of needing the reader to become its love object.  Consequently, in order to overcome this, it must attain to interest its love object; therefore it is only by seducing the reader into the position of desiring to know the text that it can attempt to fulfill the desire for unattainable completion.  To initiate interest, the text suggests that it will become love slave to  the reader’s fantasies but only if the reader will respond by opening her psychic space.

 

“There was a hole in the manuscript big enough to put your finger through …. but it has been necessary to speculate, to surmise and even to use the imagination.” (page 54)

 

The language cleverly entices the reader to visualize that which is being suggested.  The beckoning finger attempts to coax the reader into penetrating the written sign and being seduced into allowing her repressed fantasy to filter through.  It invites the reader into its existence with a manipulative proposition which offers a text lacking in language, subtly suggesting that the reader fills in the gap for herself.  Subsequently, the text is pertaining to reach unity with the reader by a language of denial being impregnated by the reader completing the gaps.  However, the fantasy must remain fragmented as the text’s constant denial of knowledge defies fixed interpretation.

As the suggestive finger tempts the reader, so the text uses thresholds to tease and control the reader’s access.  Windows are used to allow a connived amount of voyeurism.

 

“The windows of the Embassy brilliantly illuminated.  Again details are lacking.” (page 57)

 

Windows are used to set a scene to draw the reader in.  They are used as a controlled promise of an insight into the text.  The text manipulates a sense of deviant excitement as the reader anticipates the fantasy of voyeur as illicit views through the windows suggest that the reader should not be in attendance, that she will be witness to a scene which is too prurient to be written about.  However, the text denies the details the reader is hoping for; in essence, the text leaves spaces for the reader to mould it into whatever is fantasised about.

As opened windows are used to lure the reader into the ranks of hopeful voyeur, so the closing of doors is a carefully operated device which causes the reader’s mind to engage itself in a frenzied thought process which hungers for knowledge of the text.

 

“The Ambassador was seen to go to his room, still wearing the insignia of his rank, and shut the door.  Some say he locked it, which was against his custom.” (page 59)

 

The narrative content of the text draws the reader in by locking her out.  The concept of the text as love slave is being played as the reader is only provided with alleged details.  The text essentially offers the reader the chance to create her own fantasy within the text.  In other words, the text is again using denial of details as a promise of adaption in order to satisfy the reader’s fantasy.

English: Entrance to Freuds consulting room

English: Entrance to Freuds consulting room (Photo credit: Wikipedia)

In a never ending craving to complete the cycle of lack and desire the text successfully employs the device of ellipsis to create more gaps to encourage the reader to allow her repressed fantasies to surface.  The use of ellipsis suggests events which are too shocking to mention.

 

“Wondrous… utterly beyond description… gold plates…candelabras…negroes in plush breeches…” (page 58) ( please note that I do not agree with racist labels and I am not suggesting that Virginia was racist either; I am merely quoting the text)

 

The language which is used paints a decadence to indicate indulgence; to add ellipsis creates a subjacent meaning for the reader which arouses the most dormant of fantasies.  Fundamentally, the text works the reader’s mind.  The lack of language in the text encourages the reader to search the decadent language which is present for signs which indicate what the reader is hoping to locate.  As ellipsis in the text intimates a joining of language and absent language, the marriage must result in a lack desire interchange which can never be fulfilled as both are always acting as chameleons in search of each other.

The text uses Orlando as bait for the reader’s desires.  The sexual titillation concerning Orlando’s body is ambivalent.  The denial of details can be interpreted as writing which is vaguely aware of sexuality but unaware of how to work it; similarly it can be interpreted as the love object who attempts to lure the reader by a provocative indication of sexuality.  The interpretation will be open to the reader’s own exploration of the text but it is ultimately a stimulation used to attempt satiation of the reader’s psychic erotic space.

 

“Going indoors again, withdrew to his bath.  An hour later, properly scented, curled and anointed.” (page 54)

 

The reader is denied access to the bathroom in order to fantasise about Orlando having his body prepared for the events of the day.  The connotations of the above quotations are erotic by denial of detail.  It is probable that nudity and genital washing is involved, but it is purposely ambiguous as to whether he is vainly paying homage to his body himself or whether another is used to cleanse and cream the crevices of the protagonist’s person.  The innuendo is perverse as the use of the two sentences allows the reader to act as voyeur (which can be regarded as a perverse act in itself) to the most personal erotic bathroom fantasies desired.

If the text entices the reader with suggestions of being voyeur to Orlando’s personal moments, then to have Orlando in position of ultimately any fantasy is the pinnacle of invitations for the reader.

 

“And still Orlando slept.  Morning and evening they watched him.” (page 60)

 

The text deigns to give details as to Orlando’s long sleep but using sleep is an indication of death which can be an interpretation of orgasm.  According to Sigmund Freud in “The Interpretation of Dreams” sleep also is a signal for repressed fantasies being released in the form of dream.  Therefore the written sign becomes cohesive with the code of sexuality which encourages the reader to embark upon a scenario of being the mistress of Orlando’s body.  In actuality, the text as love slave is seducing the reader into being the love object by stimulating the fantasy of control for Orlando’s sleeping body.

Finally, as Orlando undergoes metamorphosis from man to woman:

 

“THE SOUND OF TRUMPETS died away and Orlando stood stark naked.  No human being, since the world began has ever looked more ravishing.  His form combined in one the strength of a man and a woman’s grace.” (page 62)

 

The reader is denied details of Orlando’s perfect form except the fact that he/she is ravishing.  This implies that the text is again using Orlando to capture the reader as love object.  In other words, Orlando is there to be moulded and created into the reader’s version of that which would be desirable, a Frankenstein’s monster made in the form of beauty to the eye of the reader.  The denial of details are cleverly used to incorporate whatever the reader desires in the way of physical features.  Therefore, as details of Orlando are lacking, the reader will write the body of Orlando herself to portray her own fantasy of loveliness.  Subsequently, by continual denial of detail to the reader, the text ensures in a controlled and intelligent manner that the reader commits an interest to it by being whatever she desires.

In conclusion, with a text as fluid as Orlando, we can write our own sexual fantasies, in essence, this means that the text can be read as a sexual fantasy or simply as a fine story; fundamentally, it adapts to what its love object – you the reader wants – can this be said about text like “Fifty Shades of Grey?”

 

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loonyliterature:

This is one of Will’s interviews. I am quite tickled with this interview with Gary Russell as he played Dick in the 1978 television version of the Famous Five – truly scrumptious!

Originally posted on The Consulting Detective:

Gary_Russell_promo

To celebrate the 50th anniversary of Doctor Who, I shall be conducting several interviews throughout the year with members of the Doctor Who team past and present. The second in the series is with Doctor Who writer, script editor, producer and all ground good egg, Gary Russell.

 

Hello Gary. You have written several different excellent Doctor Who books for different Doctors. Do you think your approach to writing them differs with each Doctor or is there one set formula that only needs tweaking from book to book?

I think you would be doing a massive disservice to the actors and production teams if you believed each one was that easily interchangeable. So no, each Doctor and each companion has be treated as indivduals. Similarly there are tropes and cliches for each Doctor’s era that I reckon should be stuck to. Yes, obviously the Doctor is the same person…

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loonyliterature:

Here is one of Will’s interviews with writer, Paul Cornell who interestingly enough gets lots of good ideas from Tesco! To find out more, read on.

Originally posted on The Consulting Detective:

398px-Paul_cornell
Hello Paul. Thank you for agreeing to talk to us. Your most recent book, London Falling, has been very successful with readers and critics alike.  Can you tell us a bit about it?
It’s a modern urban fantasy about a team of undercover Metropolitan Police officers who accidentally gain the ability to see the magic and monsters of London, and decide to use actual police tactics against them.
You have written for both Marvel and DC comics. Is there much difference between the two comic book giants? Do you approach the writing of DC in a more gritty manner than that of Marvel?
No, they’re pretty much the same in terms of content.  The two organisations have different quirks and shapes to them, different cultures you might say, but one writes the same way for both.
Do you approach the writing of television in a different way…

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loonyliterature:

The lovely Nisha Moodley is talking about Turn of the Screw. I adore Henry James, even if he does have convoluted sentences. If you are not familiar with this story, read on, it might just be what you are looking for.

Originally posted on ArtiPeeps:

Welcome to Classic Friday with Nisha Moodley, your monthly journey into  Classic authors  and their Literature!

Nisha MoodleyNisha is a South African writer, blogger, amateur historian, mystery-chaser and former ghost-hunter who, with a completed collection of short-stories under her belt, is currently working on her first full-length novel.

http://nmwritersbloq.wordpress.com

I hope you enjoy this ‘Classic Friday’ entry and I’ll be back on  Friday 22nd February for some more…

____________________________

The Turn Of the Screw - PenguinTITLE: TURN OF THE SCREW

AUTHOR: HENRY JAMES

GENRE: 19th century GOTHIC HORROR

DATE FIRST PUBLISHED: 1898

NO. OF PAGES: 133 (my copy : Vintage Classics/Random House)

It’s been mentioned in numerous popular TV shows including CSI and LOST; it has been the inspiration for many Hollywood movies like Deborah Kerr’s The Innocents (1961) and Nicole Kidman’s The Others (2001). Oscar Wilde described it as “a most wonderful, lurid and poisonous little tale.”

So what is it about Henry James’ Turn…

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loonyliterature:

For all you readers and writers out there, we are pleased to give you Will’s interview with none other than the author, Darren Shan. This is off our sister site theconsultingdetectivesblog.com

Originally posted on The Consulting Detective:

_38461827_pg_shan_darren

Hello Darren. Your first book was Cirque du Freak published in 2000. Did you expect it to take off as it did or was it a surprise?

I was hopeful that it would do well when I wrote it, but then 20 different publishers all rejected it, so I started to wonder if I was wrong! When HarperCollins finally bought it, they didn’t pay a huge amount for it, and it took them more than 2 years to publish it, so my expectations were not super-high. But then, in the run-up to publication, things began to change – in-house staff read the book and loved it and started to push hard for it. A movie company got interested and optioned the rights. Other publishers around the world began to bid for it. So, by the time it came out, my hopes were back up high again – although it would…

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loonyliterature:

This is one of Will’s interviews with author, Alex Scarrow – from our sister site theconsultingdetectivesblog.com – I could read about Alex as a delicious bad boy in a novel going off Alex’s top photograph – great pose!

Originally posted on The Consulting Detective:

Alex%20at%20Brit%20School%20Brussels[1] 
Hello Alex, TimeRiders is a popular time travelbook series about a group of teenagers who have cheated death and are now working for an organisation to combat others from changing history. Where did you get the idea for the series?
ALEX – I’ve always liked time travel as a story telling device because it gives you an infinitely large canvas to work with.  I was a big fan of the Terminator movies and the Back to the Future movies in the 80s, mainly because of the idea of alternate versions of the present day that could be the result of an altered past.  Great stuff; at once familiar and at the same time so very different.
Why did you decide to set the series base of operations for the first five books in 2001 on the day of 9/11? Is it not rather risky to set it in…

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