Benjamin Law's "The Family Law"

“The Family Law” is a fun and quirky not-quite-biography of the Frankie editor, Benjamin Law. It details the life of a Chinese family living in Australia, putting their most humorous and fun moments to pen and paper.

This book is certainly not without its charm, particularly in the individual characters and most often their peculiar traits. The Law family is one which is closely knit, but not without strain or troubles.

While the characters and stories aren’t personally familiar to me (I come from a typical white, domestically-troubled family), they were reminiscent of my Chinese-Australian high school friend’s childhood and adolescence (the close bonds of the siblings and cousins, their joking-teasing nature, and the huge family gatherings).

The only thing I dislike about this book is the anecdote about cockroaches and his pet mouse. I am realising that animal neglect in childhood is a common theme for humour writers, but I find this somewhat disappointing, but my guess is that most readers won’t really have a problem with the dismissive air, “They were just a child!” (I wish parents would realise that it is a sentient life, and a far greater responsibility than watering a pot plant or putting your shoes on the rack, and should be supervised closely.)

It is an interesting but sometimes heart-breaking view of Australia (relatives who are illegal immigrants are sent back to China, despite being in Australia to escape the violence there). I recommend “The Family Law” to those with an interest in humorous writing like that of David Sedaris, family anecdotes (especially those a little dysfunctional), Australian literature, or Chinese-Australian perspectives.

John Paxton Sheriff's 'Practical Short Story Writing'

Sheriff has over thirty years of writing experience to share with you in this delightful and practical handbook. He guides you from start to finish, imparting all his writing life's lessons along the way, from how to start an idea to how to present it for publication.

The book opens with 'Thoughts On Short Story Writing', is an introduction that deals with the very basics, including your personal approach to writing, types of short stories and genres, as well as the trickier stuff, like marketing, agents, and income.

'Ideas' is the header for the following chapter, which is all about the concept of inspiration. If you are trying to make it as a writer, it is your duty to be observant, and it is wise to keep a notebook on hand at all times. Sheriff also teaches you tricks of the trade for idea generation, such as picture stimuli, word association, inversion of an idea, and expanding on a theme, as well as writer's block: there is always the chance that ideas just won't come no matter what, so if all is really lost, he advises to keep in the habit of writing and give a factual report of your day instead.

Under ideas, he talks about the the Three Laws of Fiction Writing:

1. All stories must have a conflict

2. All conflicts must be of vital importance to the characters involved

3. The consequences of failure in their struggle must be disastrous

There are also the Three Basic Conflicts, which come under the First Law, which consists of man against man, man against nature or his circumstances, or man against self.

The third chapter is all about the plot, which, to directly quote Sheriff, is simply: 'a pathway through the dense woods of an absorbing tale; an often wriggly line that sometimes doubles back on itself but nevertheless traces the sequence of events in any story.' Using what he refers to as the plot skeleton, which encompasses the four 'bones' of situation, reaction, frustration, and resolution, as well as scene creation, he helps you flesh out your idea into a fully-fledged plot.

Chapters four and five are all about technique in story-telling. Detailing how to make the beginning, which should provide insight to character, the scene, a hint of the problem, he also discusses viewpoints, language to establish mood, dialogue, and chronology which includes details on flashbacks, like if you should use them and how to handle them. He thoroughly delves into characterisation, and that you should show, rather than tell, who your character is by letting the reader jump to clear conclusions, and how to create a realistic character behind the scenes, by having everything set out, including a basic description, a list of traits, appearance, and their gestures and actions. You should know all your character's motivations, and be able to anticipate how they will respond in almost every situation (occurring in your story or not).

'You And Your Reader' is concerned with the close relationship between readers and author, even if you never meet. It tells of how you are most likely going to subtly and inadvertently reveal a bit of yourself through your story, and how it starts with you and ends with them. Chapter six also gives advice as to finding the right time, place, and analysing your target audience.

Next, Sheriff provides the plot skeleton for a story, then the result: a full-length, fifteen page-long story which he interjects with an analysis of the implementation of techniques he has previously out-lined, such as hinting at the problem, introduction of character, the set up of the location and the mood, and appropriate timing and usage of the flashback.

The last chapter deals with gestation and how your idea will change and develop from what you originally planned, letting your finished story rest, the revision process, titling your work, and the role of editors will have to play in everything, as well as persistence in getting published and over-all presentation of your story.

'Practical Short Story Writing' has a lot to offer the currently undiscovered or recently published writer, experienced or not.