Showing posts with label David. Show all posts
Showing posts with label David. Show all posts

Thursday, November 18, 2010

Research: A short Postscript!

A tricky place...

I sat, contemplating.


Sat in consideration;


sat thinking, mulling and pondering


– just why?


 



Just why, you say.


Why should I deviate


from fictional play


to reality?


 


He spoke not a word today.


Just a wave to beckon me on,


then, carelessly tossed away,


my identity drifted aside.


 


I wait; contemplate.


Did I offend?


Some transgression; even fate?


No. Idle curiosity satisfied, I move on.


 


The old man, sprang from stasis.


His weathered features, grey,


like the dried bed of a dead oasis.


Taxi? he called.



No. No taxi, I plead.


First, I seek the help of others,


a money changing need.


Taxi? The old man reappears.


 


But, where is this he leads?


Steel: a crumbling, decaying fragility,


we mount the old man’s wheeled steed.


Darkness embraces us.


 


Again, where is this he leads?


Sand: it gives place to concrete.


As lights flash by, time pays no head.


The old man smiles in my darkness.


 


I sat, contemplating.


Sat in consideration;


sat thinking, mulling and pondering


– just: why?


 


Steel: the crumbling, decaying fragility;


the old man’s wheeled steed creaks.


Through darkness my taxi’s ability,


once denounced, now championed.


 


Paper: the folded bills demanded;


the old man’s smile fades…


…his extortion plans now interrupted.


The old man turns away; I smile.


 


Just why, you say.


Why should I deviate


from fictional play


to reality?



I stand at the foot


of seven star luxury, contemplating.


Stand again, as considerations put


the breath of life in words I write.


 


Later, as I continue a stand,


more darkness envelopes our ground


as wind rustles and whips at sand.


Yellow dust coats my parched throat.



And, later still, I breath again,


as sand no longer troubles,


replaced by simple generosity, plain


– hands  full, I smile.



The paradox of the unreal real


stands, now bare, before me.


Yet again, in my existence, I feel


what I have known.

Thursday, November 4, 2010

Research: the write stuff – a tale of big words?

OK, a free blog topic! So, is it really true? I really don’t have to write more about horror, Halloween, and other ghouly stuff? (At least not for another year!)

But I have gotten so used to this place… writing about stuff I haven’t really a clue about! What am I to do now? Go back to mundane thrillers and financial crime? And, me being so late with this post… What will you readers be looking for now?
If in doubt… write from experience! Write what you know and can feel!

Yes, all well and good, I say… but there is an existential paradox here (big words #1 & #2) Oooo! I love it when I get philosophical! (Big word #3) Again I digress…

The Existential Paradox of Fiction


[caption id="attachment_3794" align="alignright" width="144" caption="A paradox..."][/caption]

Write what you know and can feel? But I write fiction. Fiction is not real. I cannot KNOW it; neither can I actually FEEL it! I cannot therefore write fiction based on what I know and feel. I cannot write what I cannot know. QED!

Existentially, if in doubt… what the h*** do I do now? How can I effectively write fiction if writing is best based on knowledge and experience and I have neither?

Research, I hear you say. (Well I might, if I could get the hang of this auto-suggestion malarkey!)

Research is a search for knowledge – perhaps the knowledge I need to write the fiction I am planning. But research implies a systematic investigation to establish facts and it usually also implies a scientific (not existential) method. What good is research to me? I am trying to write about stuff that does not exist – it is FICTION!
I repeat: F I C T I O N ! ! !

What about applied research, though? Surely that is different?

Oh, yes! Discovery and interpretation – all designed to advance human knowledge. But, knowledge as the basis of the unreal – of fiction? The paradox again. There are no facts concerning what is not real.

Now here’s one! Artistic research… Debatable! Art as an alternative in the search for knowledge and truth? Dubious, surely… but we are still digressing from the paradox! There are no facts concerning what is not real.

The existential paradox suggests: “why should we bother to develop our individual knowledge-bases as an aid to writing fiction – developing untrue narratives for the purpose of entertainment, not the advancement of human knowledge – why?
Why bother with research? We can just make stuff up, surely!

[caption id="attachment_3791" align="alignright" width="114" caption="A tricky place..."][/caption]

Case in point! A short time ago, I posted the opening chapter of my work in progress – the sequel to River of Judgement – in which I set the villain of the peace in a tricky situation in Libya. What do I know of Libya, or what an encounter with a criminal master-mind would be like? I know nothing. It’s fiction. I just made it up!

I created a social situation in a country that I have never visited, in a world (of crime) that I have never witnessed, about people that are wholly fictitious! If I was to gather facts – research, if you like – to develop the knowledge to write that scene on the basis of what I knew to be the case, I could end up in a pretty dicey situation myself. That is, assuming that such a reality actually existed somewhere, and didn’t mind being exposed in a real narrative. But then, that would not be fiction… ;)

I have missed a point here (deliberately so, in the hope that I could find enough to write about, lol)
The paradox of the unreal real is simply solved.

The answer lies in counterfactual analysis (big word #4). Assume the fiction is real, as we write about it. We research for facts that would support our fictional reality (if it was real). We research to support the narrative, not to provide it.

We want our readers to believe in the worlds we create. But the great thing is, these worlds we create don’t actually have to BE real. The world of our fictional narrative merely has to give the impression of a reality, long enough to engage our readers.

Fictional worlds, the places and characters that exist within them and the lives and actions we portray as fiction writers, form what can be described as socio-cultural contexts of systems of meaning, action, and/or beliefs.

These contexts of systems are basic to the world they describe. They are “plausibility structures”, and are a dialectic (given up counting big words now). Our fictional world should comprise a plausible structure, one that supports the fictional narrative. It does not replace it. And the fictional narrative, drawing on the plausible structure, in turn, suggests that structure is wholly real! The narrative acts to make the fictional world self-evident.

So research becomes a necessity if we do not have the knowledge to create and write about plausible structures.

And where does that leave the opening of my sequel set in Libya? Is my reality plausible? (Not factual.) Well, lucky me, this weekend I am about to set foot on Libyan soil for the first time in my life. I shall take full advantage of gaining experiences that will help me develop the structure of my fictional world – but I shall not worry a jot about the narrative! :)

Wednesday, October 20, 2010

Quelle horreur?

A time for confessions? Indeedy!

But, not only have I not read any Stephen King (not even his book on writing, Sharon), I have also not read Dean Koontz, James Herbert and that chap called Poe! (I have been warned off Shaun Hutson and Clive Barker – but, strangely enough, I had never heard of them in the first place. No loss there, then.)

He heard snarling, inhuman voices cutting through the ghostly blackness in front suddenly ... a man was beating a dog with a stick… [He] strained helplessly not to see or hear ... A small crowd watched. A squat woman stepped out and asked [the man] please to stop. "Mind your own business," the man barked gruffly, lifting his stick as though he might beat her too ...


Ooops…. Now where did that come from?

When researching for this post… “Research,” I hear you exclaim. Yes, research…

When researching for this post I recalled the one (horror) story that I read that must have appealed to me. Well, I recalled it, didn’t I?

When I was young, I had a collection of short stories – the only collection of short stories I had ever attempted to read, until I acquired a collection of Anton Chekov only last year… There I go, digressing again…

[He] quickened his pace to get away, almost ran ... At the next corner a man was beating a small boy brutally in the midst of an immobile crowd ... [He] recoiled with sickening recognition. He was certain he had witnessed that same horrible scene sometime before. Déjà vu?


Some digression! Now, where was I?

Ah, yes… a short horror story… Well, despite recalling it, I have no idea of who wrote it or what its title was; but its themes have stuck with me. If someone tries to engage me in a conversation about horror stories and writers, then this short story is about the only thing I can talk of… then I try and change the subject because I truly cannot recall the detail.

I do know that the story in question featured three inns on a desolate moor, three inn-keepers, copious quantities of darkness and fog, a traveller and various body parts – including some rather ornately carved “ivory-like” utensils, chair legs and some rather tasty soup… Just what a tired traveller on the desolate moor would look forward to! I believe one of the inns was called the Rest of the Traveller!
[caption id="attachment_3715" align="aligncenter" width="150" caption="I could just do with a drink..."][/caption]

The yawning wound — was that a tube of slimy bone he saw running deep inside the gory scarlet flowed behind the twitching, startling fibres of weird muscle? — was dripping blood in several trickles, like snow melting on eaves, but viscous and red, already thickening as it dropped.


Urggghhhhhhhhhh……… too, much detail! Is that why I don’t read horror stories? My mother was a nurse, my sister is a nurse, and my step sister too… I’ve been in and out of hospitals (as patient and visitor) and I viewed the effects of knife wounds and gunshot… Do I really want to read about more of the gory stuff?

[His] undershorts… were soaking up blotches of blood on one side as though in thirst. [He] was stunned at how waxen and ghastly his friend’s bare leg looked, how loathsome, how lifeless and esoteric the downy, fine curled blond hairs on his odd, white shin and calf. The wound… [was] as long and wide as his hand, and too raw and deep to see into clearly. The raw muscles inside twitched like live hamburger meat.


I said… “DO I REALLY WANT TO READ MORE OF THE GORY STUFF?” It’s a good job I’m not a regular at MacD’s or (perish the thought) BK… (Live oysters are much more fun… they don’t twitch so much… well, maybe, if the lemon is particularly sharp! But that’s another subject entirely.)

Then he saw a sickening, gigantic hole in his friend’s ribs and watched helplessly as the man died before him, his insides spilled out all over him, revealing a secret.


“Look, this is beyond a joke…”
“What?”
“This…”
“This what?
“This interrupting my blog post with your constant glimpses of stuff I’m not interested in...”
“Ah! That STUFF! You mean you don’t like glimpses into…”
“Into what?”
“Stop interrupting”
“Pardon,” I exclaim, “you’re interrupting me! I thought? Now you’re getting me confused…”
“I should say!”

His teeth were chattering in horror. He forced himself to look again. Here was God’s plenty, all right, he thought bitterly as he stared — liver, lungs, kidneys, ribs, stomach and bits of...


“Look…”
“There you go again.”
“Where?”
“There. Interrupting me when I’m about to tell you what I’m up to.”
“You’re up to something?” I ask, sarcastically. “What do you know of horror?”
“More than you, it would appear!”
“If that’s horror, I’m not sure I’m going to change genres…”
“But…”
“But what?” I snap.
“But didn’t you say… now let me think… last post, wasn’t it? Didn’t you say something about horror being found in reality?
“Well, yes I did, I guess. But this?
“Yes, this…”

"It was easy to read the message in his entrails. Man was matter; that was [his] secret. Drop him out a window and he'll fall. Set fire to him and he'll burn. Bury him and he'll rot, like other kinds of garbage. The spirit gone, man is garbage. That was [his] secret. Ripeness was all"


“Where did you find this?”
“Don’t you know? I am surprised, David… it’s one of your all time favourite books, by one of your all time favourite authors.
“Pardon?”
“Really!”
[caption id="attachment_3710" align="alignright" width="150" caption="Tasty, this soup..."][/caption]“I just played with your mind a bit and changed the context.”
“Go on then, tell me.”
“No. Now sit there and eat your soup...” ;)
"What did you say the name of this inn was?
"I didn't..."

Wednesday, October 6, 2010

TEN FOUR… (and a competition, again)

No, this is not an Association of Public-Safety Communications Officials-International announcement in the affirmative. It is an oblique reference to our schedule and this week’s topic – scary movies. (Well, I did to a light double-check as, being a Brit, I wondered whether I could get away with suggesting I got the wrong date… Four Ten would have got me off the subject entirely!)

But first, this time... The Competition… which I find I am hosting again. Now, is this a new competition? Or is this week two of the competition in my last post? Questions, questions!

However, after my last post, I also wondered …dare I venture forth? Not one entry to win a copy of my book…  :(

Come on, guys, it’s not that bad! Honest. And just to show there are no hard feelings, the competition will remain open… and I will give away two copies, one each to the two best answers. So, come on, and give it a go!  Follow the link!The comp is at the bottom of my last post.
What next? Ah... The schedule! That’s what!"

Favourite scary movies? I wish it had been Four Ten! Or at least Four One – April 1st would have suited me better.

 

[caption id="attachment_3588" align="alignright" width="150" caption="Abandon hope..."][/caption]

 

I do recall, as a child, watching black and white talkies from the Hammer House of Horrors and other studios. I think I even recall mentioning the Pit and the Pendulum in an earlier post (but having been born with a mild case of something like Alzheimer’s, my memory has always been hazy).

Other titles seemed to revolve around the actors Peter Cushing and Christopher Lee – which just goes to show, I must have watched a few such films in my youth. I cannot remember many actors’ names at all! But, try as I might, I cannot say I have remained a fan of the genre or, indeed, continued to watch any scary movies of any age. (The one exception being, I suppose, Sean of the Dead – and only because someone told me it was funny!)

What gets me is that I find – letting my imagination run away with me – that there is enough in real life that is a good base for “scary”…  “suspense”… “thrills”… or whatever.

 

[caption id="attachment_3589" align="alignleft" width="112" caption="Interesting... tee hee!"][/caption]

 

 

[caption id="attachment_3590" align="alignright" width="150" caption="More interesting... I have an idea!"][/caption]

 

I do, though, have a confession. The conflation between real life and scary movies happened early for me… at the age of (ahem, clears throat… and mumbles incomprehensible sound). After the Pit and the Pendulum, I had a brilliant idea. I tied my younger brother to a soapbox cart in the cellar of our house (when no one else was there). He lay prone, motionless (relatively speaking) under the wooden beams of the floor above. I then proceeded to construct a pendulum from an axe and rope… (and before you call in social services, I was well trained in knots – being a Sea Scout).

I set the axe swinging and…"



Well, my brother is still around – I hasten to add. And he doesn’t seem too afflicted by the experience! Furthermore, following his Close Protection training with the Military Police and more recent Canadian Special Forces Training, I am unlikely ever to attempt such a stunt again!

I suppose, since recreating such a famous scary movie scene in the bowels of my mother’s house, cinematography has never really offered the same sense of reality. But that is my excuse. Now I just find it more challenging to create suspense on a less-is-more basis.

And I guess my brother might be thinking...
…it’s a good job we didn’t have computer games to play with in those days.”

So, who else out here in reader/writer land thinks that there is enough “scary” to be found in "reality"?

Wednesday, September 22, 2010

Stranger than fiction… can it be true?

OK, dear readers…. getting even with someone who’s riled me? Have I ever written a character to help me deal with my anger?

Well, let me tell you something… anger? A little strong, perhaps… catharsis might be more appropriate…  But imagine losing your job (not difficult to imagine these days). Would you want to get your own back on the guy giving you the push? Especially if you had been doing most of the work and he only seemed to be window dressing (at times, anyway)… Oh! And I forgot… it is your company!

[caption id="attachment_3491" align="alignright" width="275" caption="Stranger than fiction..."][/caption]

It’s true, I tell you! Imagine it… there I was, one sunny August Monday morning, stepping into my office as CEO of a public limited company – my company, the company I founded – ready to face another day struggling with a depressed economy and the increasing fallout of the sub-prime crisis, when my business partner says to me: “David, we want you off the board and out of the company. Period.” (Or words to that effect, at least!)

Well, what’s a guy to do? A guy who is burning to write a story? I write one, don’t I!

This is a work of fiction.
All characters and events in this publication, other than
those clearly in the public domain, are fictitious and any resemblance to
real persons, living or dead, is purely coincidental. All companies
and locations are either the product of the author's
imagination or, if real, used fictitiously.




Are there any recognizable characters in it? Well, that would be telling… but since the idea of this post is to enlighten you, dear reader, I can offer you one possible answer!

In UK employment law (and I am sure that it is not too different in the US), there is a thing called a “Compromise Agreement” and one of the things in that legal agreement is a requirement for me not to bring the name of the company or its directors or staff into disrepute. There are also laws on slander and libel! Of course I didn’t write about anybody in my old company! Of course… because there must have been a perfectly good reason why I had to leave! Must there not? It was my own decision. Was it not? Of course it was – the agreement said as much!

So the story I wrote is not about my company, my exit, my business partner or my colleagues! The only truth of the matter was that the hero leaves his company. It was so true, in fact, that one reviewer had to suspend disbelief:
“This story has more twists than a corkscrew and I reached a point where I simply had to keep reading to find out what would happen next. On more than one occasion I simply couldn't see how the situation could be retrieved. It's superbly, cleverly done. I had to suspend disbelieve over how easily Finn was initially ousted from Tiger Oil, but after that I was hooked.”

Suspension of disbelief? Really! The only (possibly) true bit in the fiction, and… well, I won’t carp on about it.

But how did I handle characterization? How did I not get sucked into a potential legal minefield of libel and slander? Well, I made a conscious effort to select a board of directors who were most definitely not images of my acquaintance. (I had no money for a court case!) I found a real oil company, with a real board of directors and said: “Hey-ho, these are the guys for me!”

[caption id="attachment_3487" align="alignright" width="300" caption="Old Town, Nice... nice spot for people watching!"][/caption]

But isn’t it funny… have you ever sat in a café (the South of France is brilliant for this – sorry, name dropping again) and just watched the world go by? You see someone. They have a physical presence, characteristics, mannerisms… all good stuff for observation. And then you sit there and imagine them in conversation… imagine who their lover might be, who their partner is, what happened to them that morning, what is going to happen next… you project them into another reality – your reality. They are malleable… you can dress them (undress them!)… you can see things in their character that might (oops), accidentally of course, remind you of other people. (Now, isn’t that strange!) You could even murder them!

“Ooooooo,” I hear you say, “…did you say murder?”

“I did,” I say, smiling; a little sardonically, perhaps. “I am a thriller writer.”

“Did you really project the character of your business partner onto one of the characters in the story? And then murder him?” you say.

“Of course not…” I smile again, wink, in a knowing sort of way, and continue “…I sold him a copy of the book, of course! He loved it.”

“So, no revenge then?”

I consider your question thoughtfully for a moment longer than is perhaps strictly necessary. Rubbing my chin, I reply.

“Have you ever heard the saying, ‘revenge is a dish best served cold’?” says I. “There is a series in this!” I laugh. The sound of my laughter echoes, eerily, as though it is being channelled down some tightly narrowing but endless passage, bouncing ceaselessly, carelessly off the walls, until it disappears in the distance, a faint reminder of the past.




Oh… and the competition? How remiss of me, I nearly forgot!




[caption id="attachment_3490" align="alignleft" width="133" caption="Gloria..."][/caption]

Well, since I will post a real “printed” and signed copy of my book “River of Judgement” to the lucky winner, who may well be in the US, then I will make this one challenging… Go to Smashwords, download a free copy of my short story Gloria, read it and leave me an honest review there. Then post a response here on WickedWriters with an answer to this question: “Which character in Gloria is a character based on someone I have known?” There is only one right answer. No marks will be deducted for honesty in the review! In the event of more than one correct answer there will be a tie breaker. The tie breaker will be the most accurate (or amusing) answer to the question “Which renowned classic short story writer influenced the plot of Gloria?” All runners-up (anyone who actually enters) will receive a consolation prize. Bon chance, mes braves!

Wednesday, September 8, 2010

Who is Henry Blogg? …lest we forget (words for unsung heroes)

It is understandable, at times like this, when world events are remembered and those that have lost their lives in-service or as innocents become our present focus, to reflect our current feelings and dwell in the now.

But, as writers, we have a responsibility.

Our writing, regardless of genre, is reflective of our times. In our words we possess the power to enlighten future generations as to the state of our cultures and societies, their failures and successes, their heroes and heroines.

We have a choice.

We can follow commercial trends and write in the isolated moment of dissociated facts, or we can weave into the fabric of our narratives, stories that leverage our experiences, our knowledge, our feelings.

[caption id="attachment_3369" align="alignright" width="264" caption="Exceedingly good poetry!"][/caption]


Far-called, our navies melt away; On dune and headland sinks the fire:Lo, all our pomp of yesterday Is one with Nineveh and  Tyre! Judge of the Nations, spare us yet. Lest we forget—lest we forget!


From "Recessional", a poem by Rudyard Kipling

What would it be for our stories of vampires and ghouls to revolve around tales of heroism that are rooted in the philosophy of battles between right and wrong? What would it be for our narratives of love and endeavour to struggle against forces that seem destined, on some perennial, visceral level to frustrate our desires for peace and democracy for all?

In fiction we can build on fact. We can draw parallels in previously untold-of worlds. We can bring enlightenment to others and longevity to the past.

In 1873, John Ruskin wrote that ‘…the art is greatest which, conveys to the mind of the spectator, the greatest number of the greatest ideas…’ Writing as an art, then, has a duty to convey great ideas to its readership. It is no option, writing as an artist, to simply relay facts. We must aim to convey ideas, to create within the minds of our readers, images of realities that, while fictional, leave lasting impressions and promote the possibility of learning.

[caption id="attachment_3368" align="alignleft" width="150" caption="Arthur C Clarke"]Arthur C Clarke[/caption]

Consider the plot for a science fiction novel… An unpaid, volunteer space rescue pilot, consistently flying out on deep space rescue missions in an improbably under equipped, manually controlled, aging space shuttle. This space pilot normally shuttles his craft from moon to moon, carrying supplies between outposts. When a distress call goes out, he is first to respond. Is this something for Arthur C Clarke?

Perhaps one of the bravest and most spectacular rescue missions this pilot undertakes sees him rescue 11 crewmen from the meteor-shattered hulk of the galactic freighter Fernebo. And this on top of an earlier rescue mission that same day. In fact, the pilot himself has to battle through a meteor storm to reach the stricken wreck. By the time he pulls alongside the Fernebo, he and his small crew had been fighting the elements of deep space over nearly 14 light hours.

Such feats may have earned the rescue pilot an Intergalactic Federation Gold Medal. They become regular citations! Indeed, some twenty years later, this relentless pilot and his faithful crew are called out to the space barge Sepoy. He might even refer to this later as the worst journey in his then 24 years as a rescue Pilot. He makes several attempts to go alongside the stricken barge but it is impossible to hold his own ship in position to effect a rescue because of the solar winds and meteor showers. He decides to run his own ship onto the deck of the Sepoy. But he only has time to take of one crew member before his small ship falls away, and he has to return and repeat the dangerous manoeuvre. Both crewmen are rescued, but all, including the rescue pilot and his crew carry injuries from the event.

How would our memory of Henry Blogg be affected if Arthur C Clarke had written of such heroism in his novels?



No other lifeboat crew member has been awarded as many medals as Henry Blogg. He was awarded three Gold Medals and four Silver Medals for Gallantry. He was also awarded the George Cross and the British Empire Medal. Henry joined the crew of the Cromer lifeboat in 1894 at the age of 18. He became the Coxswain at the young age of 33 and continued in this role for 38 years, retiring in 1947 at the age of 71. During 53 years’ service, his Cromer lifeboat launched 387 times and saved 873 lives.

As I sat writing this, I remained conscious of 20 years of my own military service – a different time, a different world – and a brother who has just this month arrived in country, in Afghanistan, to commence a tour of duty with the Canadian Forces there. Respect!

[caption id="attachment_3367" align="alignright" width="150" caption="My hero..."][/caption]

But, I am not a historian; I am a writer of fiction. So, if I am to take a lead from a fictional hero of mine, “It was a dark and stormy night…” how am I going to portray the big, heroic events of the now for future generations to gain insight and ideas from? And how might you, as a writer also, respond?  Or, as a reader, what might you expect? Do tell! :)

Wednesday, August 25, 2010

Let the fruit throwing begin!

A great title... it bears so little resemblence to my post this week, but it is a colourful idea... (thanks C.J.) Watermellon is big here in Greece and it is such a bright colour!


Well, what would the alternative have been?

A more mundane "FIVE THINGS" I suspect! Anyway, I shall continue!


I can announce that Greece does have the internet... but, after 10 days of burning my fingers out on the keyboard of my laptop, working on the sequel to River of Judgement, I have not been checking my emails as diligently as I should (it is also supposed to be a family holiday!) Quelle suprise! When I came on line this evening, to post the blog I had written poolside this morning, after checking the schedule at the weekend, I had to do a double take! But it is too late now to find a new horse, let alone write a new post, so here goes...

FIVE THINGS (no, not five items of fruit, C.J.!)

Expresso, chilled water, ouzo, good wine and good food…

And...

Company of course, to share all the above!

[caption id="attachment_3284" align="alignright" width="224" caption="Such a hard life, writing!"][/caption]

But, as I sit here at the poolside bar in the Eagles Palace Hotel on the Athos peninsular in Greece, on what is the last full day of my summer holiday, I believe I may have that angle covered!

“Five things” the program said… (momentarily in Greece, anyway :) ), more specifically list five things I would wish to see more of, in the genre I write in. I do so love these challenges!

I think I might have mentioned, in a previous post, how I am not a good reader (I read very little, for a writer) and how I tend not to stick to a genre label. I am writing a story about a number of characters in a certain situation. It just so happens that the situation – and its consequences – gives rise to some fundamental characteristics. These characteristics may be shared by others stories and, low and behold, a collection of stories that share enough such characteristics becomes labelled a genre.

My own view is that we are conditioned too much by the process of publishing that, for marketing considerations, is driven by the requirement to segment audiences. Publishing is just like any other industry. It has to follow rules of supply and demand. Market research and segmentation is just another facet of commercialisation that removes the need for people to really think about things! OK… So, we live in the real world, I concede this fact… but where is the art in that?

(As an aside, I feel I may be digressing a little here. Perhaps it is the effect of all the ouzo I have drunk in the last ten days? But, no excuses, I shall return to the focus shortly!)

[caption id="attachment_3283" align="alignright" width="224" caption="Which one, Dad?"][/caption]

I asked my young son, Finlay, what he enjoys in the stories he reads… he likes mysteries, and action adventures. He is nine (going on 59) and his reading age is such that the books he has started to read contain profanity, which we have been telling him is wrong! But that is another issue… (Had this post been about five things I would like to see less of in the genre I write in, then I could happily expand this point!)

Finlay’s wish is to see more series. He likes to get to know his characters, and this makes him want to read his books faster so he can find out what the hero is up to in the next one! Maybe this is genetic. His mother (she declined to appear in a photo) gave a similar response when I asked her what she likes in stories – and she reads across multiple genres. Although the series angle was played down, the idea of getting to know the character was certainly important.

Where does that leave me? I used to read, and read a lot. I, too, loved series. (There you go! It is genetic!) Westerns, Sci-fi, James Bond. I loved complicated multi-faceted plot lines. Could I possibly cast my mind back and come up with areas that influence my own writing. Well, for the purposes of brevity, and avoiding further procrastination and digression, here goes, in no particular order of importance…

1) More life in some of the characters.  I am not quite talking of writing that brings characters to life here, though that is also important. (As I said, I would prefer the “less of” rather “more of” approach.) How about more life as in less death? OK, so I am crossing borders between crime, thrillers and such, but, really, do we need quite so many deaths to make a good story? High body counts to me smacks a little of sensationalisation.

2) More mundane events. Mundane? Yes, but I thought thrillers and suspense and crime are all supposed to be the antithesis of the mundane. True, but, again, the less is more approach. Why do the high body counts in many “in-genre” thrillers and crime novels also feature such horrific, mutilations of the victims? Do they all die such horrible deaths? Is every criminal also a sadist? I think not! People do die in crimes; sometimes passion leads to excess, but not all crimes are passionate. Many crimes occur as a consequence of circumstance.

3) More suspense. Most definitely! Especially if I have just reduced the excesses of criminal intent. I want the words on the paper to be put there with a purpose – I want the author to “play” with my mind, to “caress” my thoughts, to enlighten my senses. I want the words to act with subtlety, not shock. Like the chords and melody of music come together to build tension then release, I want the words of the story to do the same. I want each section and chapter and sub-plot to be put together with the same thought… to build tension then release. All the while contributing to a whole, in which the intensity of suspense builds through to the very end.

4) More story telling. OK, someone told me some days ago (and I apologise that I cannot remember who) but the Titanic was built by professionals and the Ark was built by amateurs (oops… wrong “arc” still, it gives me an excuse for a brief diversion). But, please, do give me a meaningful story arc to follow. As with suspense, I believe the concept of a story arc should apply at a levels of good fictional narrative construction. The beginning, the middle, and the end. Like a good rainbow, the story arc should climb (suspensefully, in my case) out of the beginning, and lead my eyes on a journey of wonder through clouds of inspiration, before dropping down to its root in that pot of promised gold! And I do so wish not to be disappointed when I get to the end of the rainbow!

[caption id="attachment_3286" align="alignright" width="150" caption="And one for C.J. (smiling, here!)"][/caption]

5) Finally, more plausibility. Unless I am blessed with a visit from the author’s very own muse, to sit on my shoulder and help me translate some of the implausibility gaps, the seemingly impossible transcendences, the missing or unbelievable contexts in which some writing seems to be set in, then the story must lead me, effortlessly from my current place of very real, plausible, existence, into one where I can see all the story elements working together to show my a new reality. Even gothic horror and spiritualism can be handled within a plausible reality. All it requires is a measure of sensitivity on the part of the writer. Good writing will always attract cross-over readers – broadening the audience for readership. And how good will that make you feel?

When someone tells you that they don’t read your genre, but that they couldn’t put your book down, how high will you be flying? And I am not refering to my flight back to London tomorrow morning!

Happy writing and reading :)

Wednesday, August 11, 2010

The Mandarin Segment...

Something completely different?

OK, so, out of all the elements that make up a good story – which would I tell a novice they should take the time to study up on? You’re asking me? Really?

English usage? Strike one – C.J. gone done that one – fair‘n’square…

Plausibility, or, if your name is Greg: Keeping it real… damn it, Greg! Strike two!

No, please… Sharon, must you? Strike three… Out? Failed on account of characters?

But, in (my) reality all of the above and more ARE required. Now that really IS a problem for the novice writer.  So let me cast my mind back to when I had a story idea for a novel. What pragmatic advice would have helped me with the daunting task ahead of me? In fact, what was the first thing I wanted to find out about that ACTUALLY got me through the process of getting the idea down on paper?

Well, if you will bear with me – perhaps even read a little “flash” of inspiration… then maybe, just maybe, I’ll tell you…


The Mandarin Segment...


“Bye, honey,” she said “...don’t forget to eat something. It’s breakfast time! There’s a bowl of fruit on the table.”

With that his wife disappeared from view, on her way to the beach – his young son skipping gaily in-hand.

The writer sat at the small desk of the hotel they had checked into early that morning. It was the start of his holiday, but he had made a commitment. This last project, then he would relax. He had promised. He’d promised himself, promised his wife and child. He was an honourable man; promises were that: responsibilities to be met.

Sweat poured from his brow as the heat of the rising tropic sun screamed in through the open window. The gentle sea-breeze offered no respite. The effects of a sleepless early morning flight crowded his thoughts. Inspiration, that ghost of fancy, slipped from his grasp – that drowning muse parted his metaphoric grip as he, the sole survivor in his boat of life, looked helplessly, listlessly on.

Where to start?  It was his first novel... the commitment made to himself...  an outline of the story! A plan! Yes, damn it, he’d already qualified himself as a writer – but this was different... a novel? Eighty thousand words, he told himself... over three hundred pages. The thought scared him. Where to start?

He stood; he sat; he fidgeted.

The mid-day sun rose to its zenith... then fell.

Hunger avoided him as a plague.

The disappearance of his muse had long ceased to be that faded ripple on the outgoing tide of his consciousness. Oh yes! ...he still had the idea ...that glimmer of story hope that teased him into continuing his purgatory existence. But ...eighty thousand words?

The deadline, the end of this day, loomed ominously. Soon, they would return: promises to fulfil.

He paced the room. Desperation rose as a geyser from the bottom of his soul. Bile kissed the back of his throat. Panic began to consume him.

His eyes, heavy in desperation, rolled downward. His glance set upon the bowl of fruit. Atop the bananas, apples and grapes stood a single mandarin. The small orange fruit melded with the colour of the now setting sun. The mandarin became one with nature, growing in stature as his vision occluded all else before him.

He stood, mesmerised by the immense vision of the mandarin that became the world before him.

He stooped forward. Reaching down with his left hand he picked the fruit from the bowl, surprised at its lightness, given the sense that it seemed, at that moment, to hold the source of all energy. The fruit became all.

Involuntarily, his right hand met his left, trapping the soft fruit between them. It radiated inspiration. It controlled his movements. He knew not why his thumb pierced the orange skin at that precise time. He knew not why the skin fell cleanly away as, caressed by his touch, the fruit rotated against the sharpness of his nail. He knew none of these things. He knew only that he now held the mandarin, its fleshy nakedness exposed. Its pithy segmentation beckoned him.

The fruit was whole, it invited him to enter... to consume, not be consumed, but where? Where to begin?

And then he knew. ...A plan!

He smiled. He would break his story into segments. Each segment would begin as almost uniform, manageable scenes. Pithy links would bring the segments together, to realise the whole – an arc of enlightenment; from beginning to end.

He slid his finger into the mandarin... and breathed life, wishing he’d been hungrier, earlier.

****


And my point?

Pace.

The challenge, should you accept it, is to pace the story idea across something like 300 pages without letting the reader down. The writer must carry the reader on a journey through place, time and characterization, using effective language, well written and grounded in a reality that allows the reader to relax when the going gets tough. To my mind this takes a plan. It is a big challenge and, for the novice, breaking the story into manageable scenes is a great place to start.

Happy writing, mon braves! (...with no apologies to Richard Condon) :)

Wednesday, July 28, 2010

I Think, Therefore I am Not Blocked...

Ok. Now let me see… it’s, what? 22:30? (…so the little digital time piece in the corner of my Windows 7 task-bar tells me). That is… precisely… one hour and thirty minutes within which I have this target to complete a post on writer’s block!

Any ideas, anyone? ANYONE! Please… PLEASE! ANYONE! PLEASE…

I look to my fellow authors hereabouts…

C.J. – our darling of no little acerbic wit…  (no digs! Respect!) – has never experienced writer’s block and is not so sure it exists… Mmmm… Can I build on this?

[caption id="attachment_3051" align="alignright" width="150" caption="I say, Descartes?"][/caption]

Philosophically speaking, and maybe I can blame Descartes here (at least I shall try to), if I can think, therefore I exist. If one can talk of the concept of writer’s block then surely, at least as a concept, it must also exist? (Ooops! I can feel the knife entering between 5th and 6th ribs, angled sharply upwards, twisting… (Ouch! Thriller writers… don’t you just love their attention to detail… sometimes!)

C.J., may you forever hold your beliefs… they are part of what makes you who you are! As I say… Respect!

And what of Greg? Me thinks he knocketh a nail on the proverbial head… (And don’t apologise, Greg… late night stints on writing to deadlines have become a part of my own life and MO!) An interesting concept, too… the blah! But forgive me, here, for I knoweth not what a blah is, and cannot, therefore, dispute it! Q.E.D. (Funny how philosophy works!)

But clearly blahs do appear to work… even if going to clubs and spending three hours nursing half a bottle of Smirnoff Ice gets “real old real fast”. Truth is, Greg, you do write, your blog posts are great and people enjoy reading your words. Your views on time management may not make a seminar at Harvard, but (again) they make you who you are! Respect!

[caption id="attachment_3052" align="alignleft" width="120" caption="Einstein... on writer's block?"][/caption]

Anastasia? Of mythical proportions! Such passion grounded in reality… harnessed, how could such passion fail to break through even the cloudiest of days? But, as Einstein (I did science at school, too!) would no doubt suggest, for every action there is an equal and opposite reaction; for every force, a counterpart. The very tone of Anatasia’s frank analysis is suggestive of personal beliefs that are borne of opposites; that could not exist without them. The words say as much. Indeed, such a strong a belief that there is no such thing as writer’s block suggests that there is… (oops, sorry, Anastasia – I feel your sudden urge to aim a slap!)

Beliefs are what we use, create, or otherwise rely upon to make sense of the world we live in. However, no one person can quite see the world in the same way as another person. But, in knowing this, lies the greatest of freedoms… that we are entitled to our own perspective, as much the other is entitled to theirs! So, again, I say: Respect, Anastasia! (And kudos to you for the delivery of your words about your beliefs with your passion.)

[caption id="attachment_3053" align="alignright" width="150" caption="Block? ...Pah! A temporary lack of direction!"][/caption]

Writer’s block! It must exist! Mustn’t it? Surely? If it didn’t exist, why have I taken this path? What forced me on this discursive ramble through the week’s collection of Wicked Writers musings?

I can’t say I was looking for an excuse not to write… I did not seek a label to explain my situation: not knowing where to start – and it hasn’t been the first time in this space, dear reader(s), I can assure you.

I had a purpose, a goal; but I lacked a direction.

Let me, for a moment, court controversy here on the Wicked Writers blog! Let me suggest that there is such a thing as Writer’s Block… (though I’ve never knowingly experienced it, I must admit)

How do we go about getting over it? As the topic for the week suggests… Writer's Block - how do you cope? Getting past this issue can be crippling for some writers and a non-issue for others. For this, I am going to assume that there may be some writers there to whom overcoming a mental block can be an issue, however imaginary, temporary or constraining that blockage might be.

How would I “get over it”?

I am a writer! I want to write… but I know not what to write… But, as an artist first, I am also an explorer… What drives me to explore is some idea that there is something out there to be seen, to be discovered, to be described. But such “somethings” can only ever (generally) be a result of something else. Such “somethings” are built on the ideas of others who have gone before. In truth, consider how many ideas are truly original? How many plots are there, from which countless stories have been built.

[caption id="attachment_3056" align="alignleft" width="150" caption="Damn wood... where is it?"][/caption]

Sometimes, just possibly, the cause of a mental blockage could simply be a failure (or refusal) to accept that there is no big, new, virgin idea! A struggle to find the new, when the new does not exist. When an explorer looses his or her way, the action to take is to retrace ones steps to a place of familiarity. And then, build slowly, incrementally, upon that familiarity through mapping the terrain ahead.

So, when I was unsure of where I was going, (OK, let’s call it a block then) I took a look around and grounded myself in what was familiar to me. I built on the work of others who had gone before, adding my own interpretation and creating my own path through the subject!

Is it a response to writers block? It could be for someone out there; and if it is, then I’ll sleep easy tonight… noticing it is now, precisely 12 midnight! And I have finished my draft post at around 960 words!

Bon chance, mon braves! :)

Thursday, July 15, 2010

A Very Public Encounter

Dylan Who? Not Bob, surely? A good friend suggested, when I mentioned that I was about to attend my first literary luncheon as a published author, that I should do a “Dylan Thomas” –

[caption id="attachment_2945" align="alignright" width="129" caption="No, not Bob!"][/caption]

“Just wear a scarf, drink a lot of alcohol, and you’ll be OK,” she said. Except that I don’t have a Welsh accent. Good advice, I thought. (And thank you, Kate :) )

I did also think about a donning a black felt fedora… I do wear a hat, on a regular basis… and it is black, felt and fedora-like. But, despite my love of hats, I couldn’t help thinking that, as a relatively unknown author (so far – but I do have appropriate aspirations, I assure you) then I could easily be wrongly labelled as trying to copy that great British author – Sir Terry Pratchett.

[caption id="attachment_2946" align="alignleft" width="149" caption="Love the hat, Sir Terry!"][/caption]

So, before I go further, I will take this opportunity to state that I will, at an appropriate time in my authorial career, let my love of wearing hats resurface! I will come-out of the hat closet and reveal all… (But, as readers of my posts will know by now, I am prone to digression… so back to the post in hand!)

Given the free nature of this week’s subject matter, I suggested to C.J. (rather requested, and she – who is the font of all schedule wisdom – kindly agreed) that I post on Friday this week, so that I could write on the experience of my first literary lunch. So, here goes…

The week my book was published, a local paper carried news of an excellent Delicatessen and Tea-room’s launch of a monthly literary lunch. Lunch guests could sit and enjoy an aperitif and three-course lunch, while listening to author’s talk about their work.

“Wow!” thinks I. “What a great way to get some exposure for my newly published book!”

So I called, before the organisers had time to realise I wasn’t well known! What a coup – they booked me in for July 15th, 2010. That was around four month’s ago! Plenty of time to prepare, I thought!

[caption id="attachment_2952" align="alignright" width="93" caption="Much ado..."][/caption]

Then my ‘redundant’ employment situation came to a welcome, but unexpected end… and, lo and behold, I found myself with little time to do much ado about anything! (The slight hint of Shakespeare is purely intentional, dear readers.)

In the public eye?

I’ve now experienced radio on quite a few occasions. This time, though, I was to appear in front of people who had actually paid real money to come and listen to me! The pressure was on!

I then realised, a while ago, that there was little advertising of the event. “Strange,” I thought, “maybe I have been found out!” Until the publicity consultant contacted me to tell me the event was a sell-out. They had reigned back on publicity, in order not to disappoint any further potential guests.

[caption id="attachment_2947" align="alignright" width="132" caption="Who goes there?"][/caption]

More pressure! Not only were there going to be real people, but the room was going to be full! But who were these mystery guests going to be?

This is problematic, how can you prepare something, if you don’t know your audience? So, under pressure, the night before the talk came this week, faster than I had thought possible. (And in entirely indecent haste, in my humble opinion.) Nothing prepared. What to do!

I have never believed in re-inventing wheels. Interviews work well… I have been interviewed on radio, and in print... Why not take an interview format?

A Brilliant idea!

I don’t ad-lib… I have never ad-libbed… But, I reckon, if you ask any author a question about their book, then they will wax lyrical! Indeed, I have done so. The trick, then, was to come up with a set of one-word questions which would provide the catalyst to 30 to 45 minutes of un-rehearsed monologue! Add a couple of readings, and, hey-presto, a format for my talk.

[caption id="attachment_2948" align="alignleft" width="114" caption="Oops! Did I do that?"][/caption]

Well, here is something for you to think about if you find yourself in the same position… FLASH FICTION! (And thank you, the person who suggested the theme a few weeks ago… despite my having never tried it.)

A 500 word short story is an ideal ice-breaker in a public reading. It is a show-case of writing skill – a chance for an audience, who may never have actually read your work, to see how you handle a beginning, a middle, and an end! A normal reading just does not allow that, and can easily act as a spoiler.

OK, so the tea-room was small – at around 16 guests, the room was fully packed – but the audience was a gem! Quality, not quantity! They listened to ‘Just a thought’ intently. And a strange thing happened…

[caption id="attachment_2949" align="alignright" width="100" caption="I said "spontaneous"!"][/caption]

Within two minutes of me being introduced… the audience had broken out into spontaneous applause!  That has not happened to me before, ever! I can tell you!

The ice broken, the rest was a pure pleasure: a bit about me (needed no one word question as a prompt), and I introduced the book. (I had ascertained that only one guest had actually read it prior to the lunch.) Here, I made good use of a review, rather than my own words, and then I read the short opening scene from ‘River of Judgement’.

One more time?

By this time, the audience were engaged with me. And, although they did not applause after the second reading (I was not disappointed) my set of questions went out of the metaphoric window as I checked that I now only had ten minutes left! Where had the time gone?

The audience seemed attentive, interested and waiting for more! Do they want more? Really?

I asked them… “I have another reading, if you would like?”

Affirmative nods, and some murmurs of ascent! Even an audible ‘yes’ or two! (I had, fortunately, printed off the opening scene from the sequel, freshly written.)

“Will it spoil our reading of the first book,” came a very interested, if slightly concerned voice.

(Note: if you are in business, selling, this would be considered a very strong “buy” signal… time to close the deal!)

“No,” says I. “There were a bunch of obvious crooks in the first book; I am only giving the name of one in the reading.”

More murmurs of approval. So I delivered the opening scene of the unnamed sequel. I did warn my audience that it would be twice as long to read – 1000 words! But they were not shaken!

“Thank you,” I finally announce.

And a lovely lunch was served, during which I spoke to some lovely guests who were really interesting to talk to, and who were really interested in what I had had to say.

“Do you think it went well?” asked one lady who, together with her partner, had been there because their tickets had been booked by a family member in Australia.

“Yes,” I said, with a smile.

“…because it has persuaded me to buy three copies of your book for our friends,” she said.

That one sentence, from that one lady, made the whole thing worthwhile! And I think around half the audience left with at least one signed copy of the book.

[caption id="attachment_2950" align="alignleft" width="133" caption="You can't get enough!"][/caption]

As writers, both self-published, and those with publishers, we need to be able to get out there and engage with those we want to buy our books! We cannot be complacent. Every opportunity for publicity must be grabbed with both hands and pursued. We must take every opportunity and maximise its impact. And, if this little story helps show how a previously unknown situation can resolve itself, then I am happy to have had the opportunity to relate it!

Happy writing! (And speaking!)  :)

Wednesday, July 7, 2010

It gets deeper... (the river, that is!)

Well, this week, I'm following the lead of C.J. and Greg, and opting to give you a taste of my work in progress. A simple explanation... I have mentioned before that I am a very poor reader. I don't actually follow a great deal, so posting some of my work in progress seemed the easier option.

Of course, my problem was then that the only work in progress I had was a spreadsheet with around 68 scene titles forming the plot structure for the sequel to River of Judgement. And Microsoft Excel spreadsheets do not make riveting reads.

Well, the challenge was then to write the first scene or two! So that's what I did yesterday afternoon, in between business meetings. I sat at a cafe in London's Covent Garden market place, amongst heaving crowds of tourists, all wondering what this stange guy in a suit was doing, head bent over the table, scribbling madly into a note book!


So, in the words of C.J. "I know it needs some work..." but here you are (without pictures this time) the first 2000 words of the sequel, hot of my brand new notebook!  It's uncut, unedited... and at the time of posting, less than 24 hours old!  Remember folks: you read it here first!

CHAPTER ONE



It was not a good day to be hauled out of his hotel bed. The Corinthia Hotel in Tripoli had all the comforts he could wish for. But the day had not been good. In fact, there really had been no good days recently.

The Corinthia suffered from the fact that it had little real competition in terms of International-standard accommodation. He’d seen better service and, while his room was clearly modelled on five star luxury, the price he had been paying since his exit from London was proving outrageous. But, strangely, if it had not been for his circumstances, he might actually have enjoyed the sojourn.

Exile was a good descriptor for where he found himself. Oh! He could roam about if he wished. There were no bars on his windows. He was free to come and go… but to go where? For what reason? He was fed up of the restaurant food, but there was little alternative but to eat in. Of course he could get to the Green Square area of the city, but the walk through the old town rarely seemed worth the effort. At the height of a North African summer, movement was a game of jumping from air conditioned environment to air conditioned environment.

No! For Aaron Philips, fugitive from British justice, today was a bad day, and it was going rapidly down hill.

‘Mr Philips?’ said the man in front of him now. ‘I do have your full and undivided attention, do I not? …Mr Philips?’

His contemplation abruptly terminated, Aaron sat forward on a low, white leather stool. His concentration returned to the man opposite. Despite the air conditioning humming in the background, he felt the beads of sweat gather at the nape of his neck, an run, uncontrolled, onto his shirt collar. The man looked at ease as he sat wearing his traditional Berber cloak of thick white wool. Two other men stood, patiently, either side and to the rear of the large sprawling white leather sofa the man occupied. They stood motionless in clichéd black suits, with black open-necked shirts. The dark, Arabic features of the three men made a stark contrast with the clean white contemporary lines of the furniture.

‘Yes,’ Aaron said finally.

‘Good.’

A white cat would have been too much. But, surreally, the thought amused Aaron. A white cat would have been welcome; it would have brought with it an air of Hollywood ambivalence – the chance that this encounter was merely some staged joke over which he could conjure his own outcome, if he wished. Take it or leave it. But he could not leave it. This was no joke – just the menacing presentation of a single option for his continued presence on earth.

The day was not going at all well, thought Aaron. He was, for the first time in his life, scared. He had no idea where all this was going.

‘Mr Philips, you…’ began the man, speaking quietly and deliberately. ‘You have created a problem for me and for my clients.’

Aaron was all ears now, intent, listening.

‘We came to you,’ the man continued, ‘…because friends recommended you.’

Friends, Aaron thought. More people with a grudge against me now.

‘You “were”…’

The use of the past tense struck Aaron hard. Unseen, his body reeled from the metaphoric blow. His career was shot, but that seemed the least of his problems.

‘…highly recommended,’ continued the man, who clearly had no interest in what Aaron might be feeling at this moment. ‘We wanted a legal, financial vehicle to move a great deal of our cash through London. You “were”…’

Again the past tense, again the sudden blow to Aaron’s psyche.

‘We are very disappointed. You have cost us a lot of money. It is time, Mr Phillips.’

‘Time?’ echoed Aaron.

‘Yes, time. Time for you to take action.

‘Time? said Aaron, pathetically. He tried his best not to comprehend what was happening.

‘Time for you to clean up some loose ends.’

‘But…’ began Aaron.

‘No buts, Mr Philips. This is embarrassing for us all. We will, of course, provide you with some assistance. However,…’

‘Yes?’ said Aaron.

‘Make no mistake, it will be sorted.

Had there been a white cat then it would have been purring under the attention of its Master.

‘It will begin without you, Mr Philips.

Aaron felt a chill rake his spine. ‘What will begin?’ he asked. His question was ignored.

The man quickly brought his hands together with a clap, and held his left hand up and out, reaching behind. The aide to his left deftly produced a mobile phone and placed it in the outstretched hand. The man dialled a number. He spoke again, while waiting for his call to connect. ‘Friends, Mr Philips. We will put you in touch. They will make sure that you do no get, shall we say, arrested? Yes, arrested! They will make sure that you are not arrested.’ The man smiled at his own choice of words. ‘At least until the work is done.’

‘What work? asked Aaron.

‘Come now, Mr Philips. Such naivety in one so cunning as yourself…’ he raised his other hand, signalling a halt to the conversation. He turned his attention to the phone. The other party had replied. The man spoke briefly in Arabic. He returned his gaze to Aaron, and continued in his perfect Oxford English, as if he had not been interrupted by the call. ‘I would find the situation charming if it was not so potentially disastrous to us. But now the work has begun.’ He smiled at Aaron.

‘What work? Aaron found himself repeating the question.

‘The clean up, Mr Philips. Your clean up.

The man passed the phone back to his aide and reached his right hand out and behind. This time the aide on his right passed the man a ticket wallet. The man reached forward and held it out to Aaron.

‘Your flight to Paris leaves in one hour, Mr Philips. My aides will escort you. Your case has been packed; it is in the car. And…’ the man paused. ‘Do not fail us this time.

Aaron sat in stunned silence. The ticket wallet seemed to hover but a foot away from his face. He slowly reached up and took it. The aide on the man's left moved round to the front of the sofa and stood next to Aaron, placing a hand gently on his arm.

‘It’s time, Mr Philips,’ said the aide in a thick Arabic accent.

~


Finn Jackson sat at the small, unstable table; its surface, like the others at the Covent Garden café, was covered in a lime-green plastic-like cloth. He ordered a wrap from the plastic-like menu – chorizo and buffalo mozzarella with sun dried tomatoes. He needed something in his stomach.

He checked his watch. Four in the afternoon. It had been a long, hot day so far. Lunch had been liquid. A bottle of chilled rose wine shared with pleasant female company. Business, totally business, he reminded himself. The young lady was a city analyst in oil and gas. She’d been doing a research piece for a client and wanted an update on the ecological impact of the tar sands exploration.

Finn looked around. The crowds in Covent Garden market were heaving as always. The cacophony of sound that reached his ears was a welcome friend. It was a typical London summer’s day: overcast, oppressive, damp heat. Reassuringly unpleasant in a suit. His tie had been discarded the moment he left the comfort of his office with its air conditioning. He moved uncomfortably in his chair, the wooden slats in the seat were leaving impressions on his backside. He looked at the coffee and water that had been placed before him and smiled at no one. He did like his life.

His short repast dispensed with, Finn turned his mind to Alexa. She would meet him there, at five, she had said. Alexa, that vision of loveliness; he had still not worked out in his mind how easily all the pieces had come together for him recently. Things had been so different before.

There was a brief commotion a few tables away from him. He wasn’t sure what had happened. There was a flurry of activity. The waitress, who had just moments ago removed his plate and napkin, now seemed to be on the end of a very polite, but firm dressing down.

Finn looked on.

A women, blonde, her hair in an immaculate off-the-shoulder bob, sat two tables down to his left, midway between him and the piazza with its constant caravan of moving tourists. She looked, to him, to be in her early forties. But he’d never been good at the age game. She was attractive. Classically so. A little thinner than Rueben would have preferred, but all the right curves were there, and in all the right places. His attention had obviously been arrested one moment too long. The waitress and her transgression became history as the women glanced to her right and saw him looking at her. Her almost-stern expression dropped.

There was no one at the tables between Finn’s and her own. She smiled directly at him. Confidence was clearly a virtue the women held in spades. ‘Damned hairdresser,’ she exclaimed.

Finn caught himself smiling back. He reached for his glass of water, as if embarrassed for being caught out – a naughty school boy, caught peeking at his attractive teacher’s shapely legs.

‘I’ve just spent two hours there. Every six weeks – I ask you! You’d think they’d remember…’

Finn chanced his perception. ‘...how you like your hair?’

‘No, damn it! How I like my coffee!’ she smiled. They always do my hair perfectly. I say half an inch and they do half an inch. What more can a girl ask for…’

‘Perfect coffee?’ he ventured. ‘And I suppose the waitress here didn’t help then?’

‘Perceptive for a northerner, aren’t you.’

‘Is my accent that much of a give away?’

‘You could say that,’ she said.

‘Well your hair looks great to me.’

‘Don’t overdo it, you were doing fine just then.

‘Sorry…’

‘And don’t say sorry. I pay a fortune to keep it looking just like this. I like to come out looking just the same as I go in.’

‘I wouldn’t know.’

‘I wouldn’t have expected you to…’

Finn’s phone, resting on the table by his now cooling cup of coffee, burst into chime. He didn’t move to pick it up.

‘Wife?’ the blonde asked, smiling at him.

Finn reached out and slid the Blackberry from its case and looked at the caller ID. He was reassured to see Alexa’s name appear. He looked back to the woman. ‘Partner, I’m not married,’ he said. He had no idea why he felt he’d had to add that qualification.

The blonde woman continued to smile at him. ‘You’d better answer it,’ she said.

‘Yes.’

Finn put the handset to his ear.

‘Finn Jackson? Mr Finn Jackson? repeated the strange and male voice.

‘Yes,’ said Finn, unsure what was going on, but sensing something wrong. He saw the look of concern on the woman’s face as she reacted to his own expression.

‘This is Detective Inspector Clarke.’

Finn felt the colour drain from his face. ‘Pardon,’ he said.

‘DI Dan Clarke. I’m with the British Transport Police down at Holborn station. I’m afraid there’s been an incident.’



~


Well, I hope you like this. I would certainly appreciate any feed back. :)

Tuesday, July 6, 2010

Yellow Beehives, Lipstick Teeth & Favorite Authors

Today, I am joined by my guest, Kate Porelli.

One of the joys I have found since beginning to write fiction in earnest, and making that writing available on the internet, is coming to know a whole new bunch of exciting and interesting people, some readers and some writers - take my fellow Wicked Writers, for example.

Then there has been the opportunity to give advice to those who are at the beginning of their writing careers, or those just thinking about starting out. But I think the most rewarding experience is to prompt someone to take action and for that action to produce something tangible - a piece of writing.



[caption id="attachment_2827" align="alignright" width="150" caption="Proof..."][/caption]

My guest today is posting her first ever blog! But, despite this, Kate knows about writing – she is a proof reader and editor, and offers us an excellent insight into our craft!

Kate has always liked working for herself, and after being made redundant as a Personal Assistant for the second time in two years, she decided to take up proof reading as a profession. She'd read something somewhere about a lot of transcription work being outsourced abroad, and how it's then proof read in the UK. So, Kate tells me, being of a picky and meticulous nature (she has been known to argue with the radio, apparently) and always having been a reader for fun, she thought that it sounded like a job she could enjoy.

I hope you enjoy her proof reader’s insight…



[caption id="attachment_2825" align="alignleft" width="130" caption="Kate Porelli"][/caption]

YELLOW BEEHIVES, LIPSTICK TEETH & FAVOURITE AUTHORS

by Kate Porelli


OK, I’ll come clean. I’m not a writer. (Well, not yet anyway!) But I was asked if I’d like to guest blog on my favourite authors, through the point of view of one of the peripheral aspects of writing as, by trade, I am a proof reader and copy editor. It puts a roof over my head and food on the table, but it doesn’t stop there, not for me. Nor does it mean that I am a full-time apostrophe fascist (although I am; I once refused to eat in a café that advertised “panini’s” just on principle).

Proof reading has, as a by-product, changed my whole view of the written word, either fact or fiction. In short, I have become a very demanding reader, as those of you who see us (not entirely wrongly) as pedantic nit-pickers, will already have assumed.

Sloppy writing and lack of continuity is something I’m trained to see, which isn’t always of benefit as it can ruin an otherwise perfectly adequate story. The other side of the coin is that I can now spot eloquence when I see it, and as a result I find that I am enjoying a far wider field of writing than before.

[caption id="attachment_2828" align="alignleft" width="129" caption="A wandering tale..."][/caption]

I believe that writers are the modern equivalent of the travelling bards and story-tellers whose job, when only the elite could read, was to captivate their audience and to beguile, enthral and entertain. It is not a job that should be done lackadaisically.

Our world is in a state of constant change and innovation and it’s right that our language reflects this fact. However, I hasten to add that, in my belief, text speak should be a recognised crime, punishable by long periods in a forced training camp where people have to write things out in full for sixteen hours a day until they get the hang of it. But I digress…

We have more access than ever before to great literature and even things like computer spelling and grammar checkers that will tell you (more or less) if you are making mistakes and yet, perversely, I find that the standard of writing in general is falling.

I often read manuscripts that Mrs Palmer (my old English Language teacher) would have called us up to the front of the class and picked to pieces before sending us away to do them again. (I didn’t like her daffodil yellow beehive or the lipstick on her teeth, but thought it best not to say so!) And these are manuscripts from educated people to whom the English language just doesn’t seem to matter any more.

A good story needs a plot that holds the reader’s attention and characters they can become emotionally invested in, that goes without saying, but that isn’t enough by itself. A good story needs clear and elegant phrasing to lift it above the mundane.

If asked to pick a favourite author I wouldn’t be able to. There are too many to choose from. Writers are like favourite foods – chocolate is lovely but not if you’re in the mood for steak. Stephen King spins a good yarn and can hold my attention throughout a volume the size of a couple of house bricks, Neil Gaiman has both surrealism and wit on his side, Graham Greene wins in the elegance category, Bill Bryson has me laughing out loud, but Terry Pratchett fills me with awe at the inspired bizarreness of his world (despite the sneaking suspicion that some of his references go over my head).

Terry Pratchett is the closest I can get to defining the writer I would like to have been. I still haven’t read all of his books, I get through perhaps three or four a year, read them slowly and savour every moment. He puts a sentence together and plants a new concept like nobody else can, I am still trying to imagine what colour magic is and still as taken as I ever was with the idea of octarine (an eighth colour which is only normally visible to wizards and cats and described as a “greenish-yellow purple” in the books).

[caption id="attachment_2831" align="alignright" width="86" caption="Great hat, Terry..."][/caption]

All that aside though, Terry’s prose is so precise that he can throw a new word that he has just made up into the middle of a passage and you know exactly what it means and that to me has to be the sign of a great modern writer, the writing doesn’t have to be standard stuff, but the quality has to be able to carry it if you’re going to go out on a limb.

So, you may (or may not) want to know, what I think makes a bad piece of writing.

I’ll tell you anyway.

From the point of view of a reader (not a professional reader, mind you, just a general reader in the street), there are the obvious things like a poor plot, lack of research, continuity going to pot and characters I can’t either empathise with or loathe. None of these need any further comment from me, but other story wreckers are using five long words where three short ones will do, (which often appears to just be an author showing that they know long words), and repetition.

Repetition includes both the double statement sort (“he glanced quickly”) and the kind where somebody will use one particular word over and over again (“nice” syndrome). Then, of course, there’s a fine line between enough description or detail and too much. One enormous advantage the written word has is that the reader can add their own imagination to that of the writer, it somehow makes us feel part of things.

A good proof reader or copy editor is a necessary evil, it’s our job to know how a finished piece will read and it’s what we do best (well, that and getting irritated by signs that say “potatoe’s” and sighing a lot whilst reading newspapers).

Kate Porelli


Thank you for joining us today, Kate.

Thursday, July 1, 2010

VERBAL REASONING… Improvisation on-line, 101

Not the usual suspects…

[caption id="attachment_2811" align="alignright" width="104" caption="I said "Not"!"][/caption]

I said NOT the usual suspects… but, then again, have you ever been Keyser Sözed? Do you ever wish to do (or have you ever done) a Keyser Söze in your story line?

Take a look around you… you are a writer, or a reader, or both. What can you see that will add credence to the realities you write, or read into?

Well, after two great posts from Greg and George on our blog this week, about favourite on-line writing resources, what else is there to write about? Clearly I have to come at this from another angle.

It is, oh, sooooooooo difficult following others on a chosen subject!

Pass me my foundation, darling…

[caption id="attachment_2814" align="alignleft" width="118" caption="That's a cover up, then?"][/caption]

I, too, am a fan of on-line tools such as dictionaries and a good thesaurus. And, as for Wikipedia? Well, I find it a brilliant tool, despite the limitations of knowledge validation (which are, frankly, and in my humble opinion, in some cases not without foundation).

Foundationless knowledge… ouch!

I sense my doctoral supervisors cringe at the very idea of according Wikipedia articles the status of knowledge… But, and it is a big BUT! …we are talking fiction here, and who gives a darn about the status of knowledge in fiction?

All knowledge – I have commented before – starts in life as fiction. It takes a process of communication and understanding (often coupled with demonstration) for a group of people (call it a society, if you like) to come to know something as knowledge.

So, someone writes something (not quite true – shall we say) in Wikipedia; some budding novelist picks up on the idea and works it into a crime novel (perhaps); some Holywood/Bollywood producer turns the novel into a film and it is seen by millions, including a budding criminal who thinks the “idea” is perfect for his (or her) next crime caper! And he (or she!) enacts the idea to commit the crime of the century. What was fiction has become truth! And a factual article is written about the “real” crime! Fiction becomes fact!

Anyway, again I digress. Greg has covered Wikipedia. :)

Keyser, who?

[caption id="attachment_2815" align="alignright" width="137" caption="What's in a name?"][/caption]

It is not until the end of the film, The Usual Suspects that we realize the narrative that Kevin Spacey has been spinning to the detectives has been based on simple “real” things that he has observed around him: the “strung-together” details taken from an office notice board, and the KOBAYASHI logo on the bottom of a coffee cup!

Imagine yourself, Roger "Verbal" Kint, famous author! You are sat there – no interrogators this time – but the pressure is on! You have your computer on and a blank page to fill. At this point you have an idea, but no details. The idea? A crime!

The greatest on-line resource I have found is the world-wide-web itself! Why stop at dictionaries? Why limit yourself to a certain thesaurus? Why stop at Wikipedia or Google. The same phrase entered into Google and Ask and Yahoo and… well, whatever… the same phrase will often return different results! Go on, be brave, pick and chose! Start stringing things together! This is where the fun starts… be your own Verbal reasoner.

The internet (I would argue!) is the definitive resource. All the other tools are just windows on the mass of data. We chose a window to look out of, just as we might pick a favourite window to look out of a house onto the yard outside. But we sometimes forget there are other windows. Our views become restrained, we forget that when the light moves, the view changes.

As a writer, I am thankful for all those people in the world out there who have given me so much material to pick and mix from. In River of Judgement, I wanted a board of directors as characters in my plot… Do you realize how many companies, world-wide, post brief bios of their directors? No?

[caption id="attachment_2813" align="alignleft" width="143" caption="Clearly not "usual" anymore!"][/caption]

So many, in fact, that when you string things together, add new names, new locations, plot ideas etc, fact becomes embedded in new fiction and nobody is any the wiser.

Fact becomes fiction!

One might wonder where other characters in my writing come from? Well, keep wondering. That might be the subject of another post!

Happy reading and writing, y’all! :)