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Of Adolescence & Adulthood June 2004 Click to view Table of Contents Click to view photo gallery Click to view cover story |
( http://melange.enigmatic.org )
Personalities
| John Ling, Young Malaysian Writer By emily ding |
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John Ling, only 21 years old, is already an accomplished writer, whose short fiction has appeared in American and British magazines, anthologies and webzines. Born and bred in Malaysia, John currently resides in New Zealand, studying Economics and Political Science at the University of Otago. But as he will surely tell you, his first passion is writing.
The biography that appears on John Ling's website ends with this: "Little else is known about him."
Well, all that is about to change.
I first heard of John Ling while browsing through the Book Review Blog, and I was immediately intrigued at the mention of a “young Malaysian writer”, because I felt I could relate to such a person, and I like to think that such a phrase could be used to describe myself. So I headed over to John Ling’s website and had a look at his portfolio of writings. After reading about three of them, I decided to email him.
hi john.
i'm emily from http://a.holeinmyhead.net
i read about you in the book review blog and immediately perked up at the mention of a 'young malaysian writer'.
imagine my astonishment when i realized you are only 3 yrs older than I am and yet you have accomplished so much.
you know, i had an english teacher who told me to write only about what i know, to keep away from writing about things i haven't experienced, like war and murder and such. but you break this rule, and it seems to have worked quite well. all of sudden I am reminded of stephen crane who wrote 'the red badge of courage' - he had never been to war, and yet this classic has been defined as one of the best of war literature.
anyway, good luck with your writing!
- emily ding
i'm emily from http://a.holeinmyhead.net
i read about you in the book review blog and immediately perked up at the mention of a 'young malaysian writer'.
imagine my astonishment when i realized you are only 3 yrs older than I am and yet you have accomplished so much.
you know, i had an english teacher who told me to write only about what i know, to keep away from writing about things i haven't experienced, like war and murder and such. but you break this rule, and it seems to have worked quite well. all of sudden I am reminded of stephen crane who wrote 'the red badge of courage' - he had never been to war, and yet this classic has been defined as one of the best of war literature.
anyway, good luck with your writing!
- emily ding
I didn’t have to wait long to receive a reply.
Dear Emily,
Hello, it's John Ling here.
Thank you for your email and your kind encouragement. It is always wonderful to hear from a Malaysian writer.
Well, your teacher is partially correct. You should always write what you know. But the thing is, is there really any limit to what you can know? Knowledge is limitless and there is no end to learning.
As a writer, I don't really see myself as breaking any rules. Of course, I have never visited many the places I write about. But I tend to think that all people, no matter what ethnicity or culture or nation they hail from, are not that far removed from us. We all have dreams, aspirations, sorrows, loves. I identify with those themes very much. With that in mind, I try to explore the beauty and tragedy of those things, as sincerely as I can.
So, the best advice I can give you is not about writing techniques or technical structures. The best advice is simply to be sincere. Write not just what you know, but also aim to write what you personally believe in.
Take care!
- John Ling
Hello, it's John Ling here.
Thank you for your email and your kind encouragement. It is always wonderful to hear from a Malaysian writer.
Well, your teacher is partially correct. You should always write what you know. But the thing is, is there really any limit to what you can know? Knowledge is limitless and there is no end to learning.
As a writer, I don't really see myself as breaking any rules. Of course, I have never visited many the places I write about. But I tend to think that all people, no matter what ethnicity or culture or nation they hail from, are not that far removed from us. We all have dreams, aspirations, sorrows, loves. I identify with those themes very much. With that in mind, I try to explore the beauty and tragedy of those things, as sincerely as I can.
So, the best advice I can give you is not about writing techniques or technical structures. The best advice is simply to be sincere. Write not just what you know, but also aim to write what you personally believe in.
Take care!
- John Ling
Just from his email you can tell he’s a writer. Look at that perfect punctuation, perfect capitalization (unlike my small caps), perfect sequencing of paragraphs. Perfect sign-off, even.
Sometime in between emails we talked about my online-magazine escapades, and I decided it would be interesting to interview him, and to feature one of his stories, entitled ‘Rain’, which can be accessed here.
So. Here we go.
An interview with John Ling conducted on the unglamourous ICQ, if only because I do not have MSN.
Emily Ding: First things first, the question everyone expects: Did you always want to write? I can already answer that for you. “Yes, yes, and yes.”
Ladies and gentleman, this is a guy who, at the tender age of ten, tried to enrol in a writing school in Singapore, but they turned him away for being too young. Tell us more about that incident John, it’s quite hilarious. What made you think then that they would accept you? Children so young are usually shy and easily intimidated. Did you know it was for adults? What gave you such initiative and such drive at such a young age to try to enrol? Most kids at ten would just be playing at school and doing what they’re parents and teachers tell them to. Did your parents have a hand in you trying to enrol? Were you also residing in Singapore at this time?
John Ling:
I suppose you can blame the whole incident on my mother and I mean that in a good sort of way! She got me hooked on reading everything from Enid Blyton to Charles Dickens. After immersing myself in books and scrutinizing the way they were written, I found myself thinking, "Hey, that is what I want to do!"
I assumed that in order to become a writer, I had to go to some sort of school. At the time, there was a recurring series of advertisements that ran in Reader's Digest. The advertisements featured the striking image of an imprisoned man clutching the iron bars of his cell and peering out desperately. If I recall correctly, it had a tagline that went like this: "DO YOU WANT TO FREE THE WRITER IN YOU?" Naturally, that appealed tremendously to me and I pestered my mother to ring up that school. Now, truth be told, Singapore and Kuala Lumpur is a long way off, but I was so fired up, I didn't care what I had to face. I wanted to be a writer! Imagine my disappointment when I was told the course was for adults.
Of course, if there's a lesson to be learnt here, it is that enthusiasm outstrips practicality. Nonetheless, I was determined not to be stopped. So, I began writing my own series of Enid Blyton-like stories that featured a obnoxious protagonist called John-John. I have been on the path of doing things through 'trial-and-error' ever since. While unconventional, I like to think that experimenting with writing in my own way has taught me more than any writing school possibly could.
I assumed that in order to become a writer, I had to go to some sort of school. At the time, there was a recurring series of advertisements that ran in Reader's Digest. The advertisements featured the striking image of an imprisoned man clutching the iron bars of his cell and peering out desperately. If I recall correctly, it had a tagline that went like this: "DO YOU WANT TO FREE THE WRITER IN YOU?" Naturally, that appealed tremendously to me and I pestered my mother to ring up that school. Now, truth be told, Singapore and Kuala Lumpur is a long way off, but I was so fired up, I didn't care what I had to face. I wanted to be a writer! Imagine my disappointment when I was told the course was for adults.
Of course, if there's a lesson to be learnt here, it is that enthusiasm outstrips practicality. Nonetheless, I was determined not to be stopped. So, I began writing my own series of Enid Blyton-like stories that featured a obnoxious protagonist called John-John. I have been on the path of doing things through 'trial-and-error' ever since. While unconventional, I like to think that experimenting with writing in my own way has taught me more than any writing school possibly could.
ED: You are currently enrolled in the University of Otago of New Zealand, majoring in Economics and also doing Management and Political Science papers at the same time. Why didn’t you opt to do a writing course, since it seems to be your obvious passion?
JL:
Well, that's a very good question. But I guess my father put it best when he said, "Do you know of any Malaysian writer who has ever made it big?"
The short and sweet answer is no. Most writers never make a living through writing. So, that's the reason I'm doing Economics. Perhaps I am bidding my time until I can pursue writing more seriously. Even writers need day-jobs. Besides, I can be an economist that writes!
The short and sweet answer is no. Most writers never make a living through writing. So, that's the reason I'm doing Economics. Perhaps I am bidding my time until I can pursue writing more seriously. Even writers need day-jobs. Besides, I can be an economist that writes!
ED: Would you say this practicality is particularly Asian? Do you think, Malaysia, being a largely philistine society, it is mostly quite difficult for writers to develop and grow? There’s always the pressure of writing not being a real job, not bringing in any real money, or offering a future of uncertainty, and especially with our Asian values… has this been to some extent true for you? Do you think being a writer in a western society is more viable than it is in Malaysia?
JL:
I think it's unavoidable that Malaysia tends to be a risk-averse culture. We tend to value security and stability above all else. What interests people usually is, "Can this profession make money or not?"
Having been in New Zealand this past year, I can see the contrast. New Zealand is a small country of only 4 million people. However, they consistently produce a plethora of world-class filmmakers, musicians, writers and artistes. The quality of their creativity has been acclaimed worldwide. The Lord of The Rings film trilogy is, of course, a well-known example. New Zealanders are a very positive people who are constantly pushing the boundaries of what is possible.
Malaysia is still decades behind when it comes to the arts. It's definitely easier to be a creative person in a Western country because your skills are valued. For example, in all my ten years of writing, my work has only been published in American and British publications.
I strongly believe that government must take the lead in funding and encouraging the arts. This is what has happened in New Zealand and the positive results are clear. Until that happens, the Malaysian arts will continue to be stagnant.
Having been in New Zealand this past year, I can see the contrast. New Zealand is a small country of only 4 million people. However, they consistently produce a plethora of world-class filmmakers, musicians, writers and artistes. The quality of their creativity has been acclaimed worldwide. The Lord of The Rings film trilogy is, of course, a well-known example. New Zealanders are a very positive people who are constantly pushing the boundaries of what is possible.
Malaysia is still decades behind when it comes to the arts. It's definitely easier to be a creative person in a Western country because your skills are valued. For example, in all my ten years of writing, my work has only been published in American and British publications.
I strongly believe that government must take the lead in funding and encouraging the arts. This is what has happened in New Zealand and the positive results are clear. Until that happens, the Malaysian arts will continue to be stagnant.
ED: Is that why your stories have not been published in Malaysian fiction magazines?
JL:
Malaysia has a definite lack of fiction magazines, particularly in the English language. It seems that the general consensus is that not many Malaysians would buy such magazines. Therefore, nobody would dare publish them.
by the way, Emily, you ask really tough questions.
by the way, Emily, you ask really tough questions.
ED: Well, there wouldn’t be any point in asking easy ones, would there? And I am sure you appreciate the challenge (insert smiley face). But it’s just nice to bring some essence of your being Malaysian into this since that's bascially where you are from and where you’ve grown up. One last question about that and I’ll move on to other things, I promise.
Moving on… none of your stories seem to be set in Malaysia? Why so? Is it because of lack of universality? And the fact that since you submit to British and American magazines, they might not understand it? I remember when I first started out writing stories I used to find it very difficult to set in within Malaysian surroundings but I have grown more comfortable with it now, though expression can still sometimes be clumsy.
JL:
Well, it's simple. I adore researching and exploring events in foreign places. It's stimulating and incredibly exciting to learn new things.
Certainly, I don't write about Malaysia for the simple fact that a lot of Americans and Britons know a great deal about Malaysia! The sense of mystery is no longer there. On the other hand, a country like Sierra Leone, nobody really knows what's happening there. Endless possibilities for a story!
Certainly, I don't write about Malaysia for the simple fact that a lot of Americans and Britons know a great deal about Malaysia! The sense of mystery is no longer there. On the other hand, a country like Sierra Leone, nobody really knows what's happening there. Endless possibilities for a story!
ED: I guess it is because you write fiction, and not personal stories. With personal narratives I find there can almost be something of the exotic about childhood memories, times spent in provincial little town like Sitiawan (a little town in the state of Perak of Malaysia where both John Ling and I are from). And why fiction instead of other forms of writing?
JL:
Fiction is flexible. I can put my own experiences and beliefs in my stories in the form of metaphors and symbolism.
At the same time, fiction is a good way of exploring serious social issues. For example, when someone reads my work, they get entertained. But more importantly, they receive a strong awareness of what's happening in other parts of the world. In that sense, I love fiction because you can have a social conscience without people thinking it is being preachy.
At the same time, fiction is a good way of exploring serious social issues. For example, when someone reads my work, they get entertained. But more importantly, they receive a strong awareness of what's happening in other parts of the world. In that sense, I love fiction because you can have a social conscience without people thinking it is being preachy.
ED: When did you first ‘discover’ your own talent? Was it your own confidence in your own ability, your own belief? Or did a teacher, family member, or friend tell you so, which made you think that you had something?
JL:
I don't think there was ever any definitive event that made me sit up and go, "Ah, now I know I'm a writer!"
I think it simply comes down to the fact that I could express myself better through writing. So, that is how things progressed. Whenever I could not say something in real life, I resorted to writing.
Having said that, there is this quote I really love: "You are either a writer or you are not."
I think it simply comes down to the fact that I could express myself better through writing. So, that is how things progressed. Whenever I could not say something in real life, I resorted to writing.
Having said that, there is this quote I really love: "You are either a writer or you are not."
ED: So you don’t believe it’s something that can be developed through time and a lot of hard work if someone doesn’t have some measure of talent to start off with?
JL:
When I say that "You're either a writer or you're not", I mean that there is no such thing as a 'wannabe writer'. If you write, that automatically makes you a writer. A writer, after all, is one who writes.
I don't really place that much importance on talent. Talent is overrated. Writing, like anything else, is a skill that can be honed and improved. Once you consciously make the choice to be a writer, talent is mostly a moot point. The only thing that makes you a better writer is hard work. That is what matters. Determination and faith in yourself.
I don't really place that much importance on talent. Talent is overrated. Writing, like anything else, is a skill that can be honed and improved. Once you consciously make the choice to be a writer, talent is mostly a moot point. The only thing that makes you a better writer is hard work. That is what matters. Determination and faith in yourself.
ED: When you first started out were you shy about letting family and friends and relatives read your stories? Were you ever afraid of criticism?
JL:
Well, naturally, I love to share my stories with my friends and family. They are always the first to read any of my works. Can't be too shy of criticism, otherwise a writer can never improve!
ED: Has your writing been encouraged at school, or have you largely pursued it on your own outside school during your own free time? Did you have any English teacher who inspired you? (Or were you better than your teachers at story writing?)
JL:
Oh, definitely, I must credit my English teachers for encouraging me in my essay writing. However, for the most part, I pursued writing outside of school.
ED: I see from your writings that you always put the characters in context of some historical war or other. Did you have to do much research to write about these? Was it difficult to write about them? I mean some historical accidents range so far and wide, did you had trouble defining which part of it to write about, or do you usually just do a sort of introduction of the historical context although this latter technique if not done well can seem trite and lacking in effort?
JL:
I am certainly fascinated by little-known events that happen in other parts of the world. I wouldn't call myself a history buff, but I definitely do a lot of research. Sometimes I read or hear about something so incredible that I can't help but do follow-up research on it. You know what they say: fact is stranger than fiction.
You are right. It can be difficult to outline all the complexities of the events I write about.
So, it's easier for me to approach it from the point-of-view of the characters. I try to explain what is happening to them and why they find themselves in certain situations.
I always ask myself, "Is this explanation relevant to my characters? If it isn't, I should leave it out."
My goal is always to put a human face on any conflict. It is my hope than I can inspire my readers enough for them to go visit their local library and learn more about the places I write about.
For example, my story ‘Diamant’ was actually based on a 150-page UN document on Sierra Leone. Naturally, I had to filter it all down. But I still tried to capture the ultimate essence of the situation over there. That is the goal of all fiction writing. To take real-life and stylize it so that readers can digest a story.
You are right. It can be difficult to outline all the complexities of the events I write about.
So, it's easier for me to approach it from the point-of-view of the characters. I try to explain what is happening to them and why they find themselves in certain situations.
I always ask myself, "Is this explanation relevant to my characters? If it isn't, I should leave it out."
My goal is always to put a human face on any conflict. It is my hope than I can inspire my readers enough for them to go visit their local library and learn more about the places I write about.
For example, my story ‘Diamant’ was actually based on a 150-page UN document on Sierra Leone. Naturally, I had to filter it all down. But I still tried to capture the ultimate essence of the situation over there. That is the goal of all fiction writing. To take real-life and stylize it so that readers can digest a story.
ED: You are currently studying at university, aren’t you? And I hear you are also writing a novel concurrently. How do you get the time to juggle everything?
JL:
I only write very little per day for my novel... perhaps only 500 words... that's how I keep going.
ED: When was your first big break at writing? When were you first recognized? Did you do self-promotion? How did you get people to notice your work?
JL:
I would definitely say that my biggest break is my appearance in Maelstrom Volume One. Due to be published on June 15th, it is a UK collection of horror and suspense from 30 of the best new talents from around the world.
In conjunction with that, I have received publicity from The Star newspaper since I'm the only Malaysian in Maelstrom Volume One!
Naturally, I have to promote myself tremendously. The fiction market is astoundingly competitive. That is why I created my website to showcase my portfolio to potential publishers. I even forked out some money to self-publish my some experimental writings as a way of garnering attention.
In conjunction with that, I have received publicity from The Star newspaper since I'm the only Malaysian in Maelstrom Volume One!
Naturally, I have to promote myself tremendously. The fiction market is astoundingly competitive. That is why I created my website to showcase my portfolio to potential publishers. I even forked out some money to self-publish my some experimental writings as a way of garnering attention.
ED: When you meet new people, do you tell them you are a writer and invite them to visit your website?
JL:
Now, here's the funny thing. I would rather be known as John Ling the friend, rather than John Ling the writer. But for the sake of exposing my writing, once I get to know a person better, I do reveal what I do. Ultimately, if you want to get published, you must be an attention seeker.
ED: What is the general theme of your stories? Is there one unifying principle you always try to go back to like love and redemption or something? Or do you always try to go for something different?
JL:
I'm intrigued by the concept of man's inhumanity to man. War is truly an evil and unjust thing. I won't deny that I am anti-war and my stories reflect that. I never glorify warfare or violence. On the contrary, I focus on friendship and love. Because that's what all human beings have in common. No matter how much you may hate your enemy, does he or she not have the same emotions as you do?
So, if there's any underlying theme, it's about human dignity and that deserves to be respected. It's the one thing that separates us from animals. Otherwise, what is war all about than human beings lowering themselves to the level of beasts?
So, if there's any underlying theme, it's about human dignity and that deserves to be respected. It's the one thing that separates us from animals. Otherwise, what is war all about than human beings lowering themselves to the level of beasts?
ED: Whenever you finish writing a piece, do you have someone look it over to give you their opinion or edit it or anything before sending it off to a magazine/publisher? Or do you judge its quality solely on your on judgement? Do you have a sort of advisor to help you get your work published, and do you do it all own your own?
JL:
Well, when I comes to the storyline, dialogue or grammar, I trust my good friend Marcia to evaluate and suggest any changes. For general facts and accuracy, my friend See Xien is the one I turn to. I always like my work to be the best quality it can be. After all, writers tend to be too close to their work to see any mistakes!
ED: Marcia writes too, doesn't she? Poetry? You have a page on her on your website. What about See Xien? Why do you trust his/her for facts and accuracy? Does s/he study history?
JL:
Yes, Marcia writes poetry and I do have a section for her on my website. I consider her my best friend!
See Xien is a very well-read young man who also happens to boast an astounding IQ. Naturally, he can pick up any inaccuracies in my stories before anyone else can!
See Xien is a very well-read young man who also happens to boast an astounding IQ. Naturally, he can pick up any inaccuracies in my stories before anyone else can!
ED: You have kindly allowed us to publish ‘Rain’ in Melange Magazine, which you cite as your best work. Why would you say it is the best you’ve ever written, and how did you go about writing it i.e. your ideas and inspirations and such?
JL:
'Rain' actually blends fact and fiction. I wanted to portray the full horror of war and contrast that with the beauty of friendship.
'Rain' is basically a story of how two sworn enemies come to see that they share so much in common. They have similar loves, similar aspirations and similar hopes. The hatred between Serbs and Muslims suddenly seems so petty and senseless.
It is in equal terms heartbreaking and inspiring. No other John Ling story comes close in capturing what I want to say about human nature.
'Rain' is basically a story of how two sworn enemies come to see that they share so much in common. They have similar loves, similar aspirations and similar hopes. The hatred between Serbs and Muslims suddenly seems so petty and senseless.
It is in equal terms heartbreaking and inspiring. No other John Ling story comes close in capturing what I want to say about human nature.
ED: You are also currently working on a new novel, right? What is it about, briefly? And have you found a working title for it yet? How do you usually think of your titles? After you’ve written a story, or do you have some sort of phrase in mind right at the beginning?
JL:
Well, I can't talk too much about ‘Zero Sum’ since it's pretty much under wraps at the moment. But I will say that it is inspired by little known events that are happening right now in Africa. It promises to be my most exciting and dynamic project yet. In six months, all will be revealed.
As for titles, it's usually something that just comes to me at the spur of the moment, I suppose. No big magic there.
As for titles, it's usually something that just comes to me at the spur of the moment, I suppose. No big magic there.
ED: Writing a book is obviously a big thing, a serious responsibility. Do you think through the ideas you have for a book very thoroughly before beginning? Have you ever gone halfway through writing a book and realized you have run out of ideas and don't think you can end it well?
JL:
Well, I generally have a broad idea of what I want to achieve before I start writing. So, I have never really experienced writer's block! But the key is to be flexible. Because even though you may have things planned out, when you actually begin writing the novel, you may discover that your ideas weren't really practical! So, flexibility is the key.
ED: What do you think about happy endings?
JL:
Well, I have mixed feelings when it comes to happy endings. I tend to favour more gritty endings, myself. But readers, in particular, do want a positive conclusion to any story. So, it's a bit of a balancing act. There can be happy endings for me, as long as they aren't fairy tale.
ED: What with writing a novel and studying at university, do you get time these days to read? What sort of books do you read at this time?
JL:
Well, my reading time is very limited. So, I tend to read non-fiction magazines like Newsweek and Time. After all, if you are going to read, might as well read educational items! Of course, I never pass up reading a good thriller.
ED: You have lots of action in your stories, and they come off quite believable. I can imagine them unfolding.
JL:
Thank you for your kind words. I suppose I try my best to choreograph action sequences that leap off the page and grab the reader. I credit lots of editing for that. Masterful action is what I aim for.
ED: Why do you think your writing seems to work?
JL:
I can't really narrow down what exactly makes my writing work, but I can say that I am willing to surrender to 'trial and error'. For every ten words that I write, it is almost certain that five words will get discarded. I try to refrain from flamboyant or flowery writing. Instead, I seek to be purely functional by using the minimum amount of words to describe my scenes. In this way, I am forced to do more with less. And that's how I achieve clarity with what I write.
So, contrary to popular belief, the key to good writing is not solely about talent. It's more about good editing. Never describe with ten words what you can always describe with five words. When you do that, you get your mind thinking and you become more creative.
So, contrary to popular belief, the key to good writing is not solely about talent. It's more about good editing. Never describe with ten words what you can always describe with five words. When you do that, you get your mind thinking and you become more creative.
ED: People generally have multiple personalities (and I don’t mean the multiple personality disorder). So besides John Ling the writer, who else is there?
JL:
Well, I suppose there's John Ling the friend and John Ling the son. Other than writing, I'm a pretty much ordinary guy. Nothing to separate me from the rest of the crowd. I would have that no other way.
ED: Do you do the things the average young adult does? How's the clubbing scene in New zealand? Most people around our age love to go clubbing here in Melbourne, but I don't like it much - not because I am some sort of purist, but it’s just not something I enjoy. What about you? And do you… oh, I don’t know, play football and such? Are you particularly athletic? I think most people who write tend not to be so athletic.
JL:
Me? Well, other than gym and badminton, I’m not really that athletic. And certainly I don't really have much time to waste on clubbing. :P
ED: Okay. Thanks, John. I think we’re just about done. Was it an exhausting interview?
JL:
Well, it was rewarding. You're definitely the most exhaustive interviewer I've ever had!
ED:
Well, I’ll take that as a compliment.
And good luck writing!
Interviewer’s notes:
This conversation ran on for two and a half hours. And I found out after the interview that John Ling was actually writing a chapter of his new novel ‘Zero Sum’ while at the same time answering my questions. Talk about multi-tasking.