Ever since the cinematic cover of the Aberystwyth Mon Amour noir novel caught my eye, I’ve needed to wear glasses. That isn’t so true. I have never worn glasses. Also, not true. I have worn sunglasses and safety goggles, as well as some sort of cinematic enhancement framed device. I have never worn spectacles due to an eyesight problem. Not that wearing glasses should be frowned upon. You can also frown without eyewear. One author, and probably a few more were glasses. Nobody judged them, or perhaps they did. I cannot be responsible for everyone. I wouldn’t want to be, either. Malcolm Pryce, the author of the Louie Knight series wears glasses and has great vision.

Mr Pryce, lectured at Oxford, published online videos (The Oxford Writer) for aspiring writers, worked in advertising and other such pleasantries on his path to becoming an author and inspiration to a walking tour in his childhood hometown of Aberystwyth. If you are lucky enough to read reviews or listen to them, you will see phrases and words such as:

“This is Crime Noir with a hefty dose of pastiche” – Girl with a Head Stuck in a Book, Amazon

“… with a dollop of Monty Python and a zest of The Dam Busters – is a riot.” – The Guardian

“Throw in some veterans, hidden identities and some really good ice cream and you have a story that can barely be believed” – Eco Witch, Waterstones

“…the off-kilter imagination that made Aberystwyth Mon Amour such fun is firing on all cylinders again.” – The Independent

“…such cadence, such panache and such abundant comic talent…” – Daily Telegraph

Many writers want a page turner, but as the author highlights, future writers should aim for much more in the imagined reviews of their future imagined texts.  

Storytelling at campfires from the times of men (with women and kids) living in caverns and caves has evolved time and time again. Curiosity, causality and conflict have spread in life and text, equally. Page one, the hook raises a question. Raising more and more questions, answering a few or all, whilst raising more adds to anticipation as we go from page to page. The page turner, so to speak. Causality must propel, and progress needs resistance, like conflict or things that go wrong.  

Scenes set tones, moments and a stage that action can live from. The reader reading a book imagines scenes, unlike those at the theatre or movies where actual reality or computer-generated imagery causes a scene to lead to another scene and every sequel afterwards. The finale is the end. Stories within stories lead to novels. Ian Fleming famously set his 007-vehicle Goldfinger in three parts. Part one: Once is happenstance. The sequel: Twice is coincidence. The finale: Three times is enemy action. Fate delivered in text.

Emotion in reading can be tragic. Readers are drawn to it. Stories can help us experience something life cannot always guarantee and help us connect to our hearts and minds. Writer Malcolm Pryce evoked a twang of curiosity and desire to know more, when he mentioned On The Art of Writing by Cornishman Sir Arthur Quillar-Couch. This Bodmin-born poet, novelist and critic pushed for short, sharp, succinct English to be used by writers to draw in readers. Concrete words are easily connected to and visualised. Abstract terms and jargon can be difficult to access for many readers. The simplest of words can generate a dramatic effect.

Beyond these paragraphs, other key topics included:

• · story definition.  
• · plot coupon.  
• · habit
• · never give up
• · Vlad the Impaler was a memorable and model baddy
• · morbid curiosity  
• · In the Realm of the Senses (Japanese)
• · the need for suspense (to arouse curiosity)
• · Thisness  

“A professional writer is an amateur who didn’t quit”. – Richard Bach, author

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Much more will be learned from Mr Pryce. I’ll save it for another day…