#Authors - An Infinite Writer's Resource

Writers are always looking for resources, whether it’s for technique, style, how to get published, or ideas for a story. The single best resource is using other authors as a reference for better ways of working.During my Creative Writing Certificate course at Sussex University, we spent one semester on  ‘Special Author’.  We each chose an author, and a particular novel, whose work we thought would most benefit our own. I chose The Blind Assassin by Margaret Atwood. We looked at all aspects from first encounter, tracing sub-plots and the climax of the story to name a few.At the end of the semester we each gave a verbal presentation to the class, which forced us to study the work, and think about it in a critical way we’d never have done otherwise. We were lucky to have Susannah Waters as our tutor - a stickler for precision in technique and critique skills,  with an incredible passion for the process. (FYI Susannah does independent mentoring and manuscript assessment, as well as  teaching at Arvon. See *below for contact details)The purpose of the course was not to necessarily emulate the author, but to look at how they might deal with different aspects of writing from dialogue to creating suspense, character and setting and thereby learn from them. A simple example is in my novel Radio Echo- the first scene in Bologna is set in a graveyard. I’d had no thought of using that location until our tutor asked us to create a scene in a setting used by our Special Author.As an example of how to learn from another writer’s work, I’ve chosen two pieces of text from The Blind Assassin to look at dialogue and description, and see what Atwood does with them. The sparingly used dialogue in Atwood’s novel, functions as an insight into character relationships, rather than moving the plot forward.  The immediacy is emphasized by the use of present tense. The dialogue is tight, short phrases back and forth, rarely interrupted by gesture. This accentuates the intimacy and envelopes two individuals in their own world during the scene. It’s the lover’s first sexual encounter; this is never stated, but just enough information is given to spark the reader’s own imagination. Don’t worry so much, he says. Lie Down.Don’t you’ll tear it. Wait a minute.She hears her own voice. It isn’t her voice, its too breathless. ....Smoke  taste on his mouth, salt in her own; all around, the smell of crushed weeds and cat, of disregarded corners. Dampness and growth, dirt on the knees, grimy and lush; leggy dandelion stretching towards the light.Below where they’re lying the ripple of a stream. Above, leafy branches ...the blue sky in splinters. Hard dirt under her back.¹ The text shows Atwood’s excellent use of metaphor and simile. Her descriptions are not elaborate: they simply use evocative words to show what’s in the scene. Once that is established, she then places the character, in a physical sense, into the scene, which highlights the physical nature of the encounter, but also grounds the reader.The second text shows description of setting that also conveys the mood of the scene. It’s the last time the lovers meet and the scene depicts resignation, a bleak encounter in a rundown motel.A carpet once dark blue and red. A pathway strewn with flowers, worn down now to the roots.I’m sorry, he says. It could be better. ² Painters are renowned for learning from other painters – “learn from the masters”. So why should it be any different for writers? We’re not talking plagiarism, but simple learning by example.At the end of the course I realized as a writer I'd always have an infinite resource if I was stuck and wanted to know how to deal with a scene. Looking for a spare style?  - go Raymond Carver, or Cormac McCarthy. Want to portray a character who’s fraught to the point of despair? - go to the scene in 'Anna Karenina' leading up to the suicide. Write text that will push emotional buttons? – Jodi Picoult.Etc. ad infinitum.We first learn to love books by reading them. Learn to love writing from the same source.Who or where do you go to when you’re stuck? What authors would you recommend for particular styles?Let me know. For me, learning is an ongoing process.  Excerpts from The Blind Assassin by Margaret AtwoodPaperback 2001 Virago press¹Pg 32 -33 Chapter - The Lipstick Heart²Pg 563 Chapter – The B Rage Room *Susannah Waters:-susannahwaters@yahoo.co.ukLiterary Mentoring and Manuscript Assessment. To follow this blog click on “FOLLOW” in the bottom right hand side of the page. 

#Editing Forward

How many times have you groaned about having to go ‘back’ and edit a piece of work? And yet all writing is rewriting. I’m fortunate that for the most part I enjoy editing. In fact I often view it as a way of ‘keeping in touch’ with my work when there’s not a lot of time. Edit a short passage – even a sentence – rather than wait for the 2 hr stretch that won’t come along so easily - and it keeps your mind from losing the plot so to speak. Makes it easier to get started the next time you come back to the work. In short I’m a big advocate of little and often. But hey, no one’s perfect, and I can get ground down and see editing as something that’s dragging me back, stopping me moving forward. But no more. This afternoon I had an epiphany!Today is the start of British Summertime. The clocks went forward – which is what prompted my train of thought. It’s been a lovely weekend in Brighton, on the south coast of England, and yesterday I went down to the seafront. It could have been the start of summer. The stripy deckchairs were out, seaside kitsch was back on sale – bags of shells, flip-flops, small containers of shrimps and half shells of freshly caught crab. Men had taken off their shirts, women wore bikinis – generally a lot of pale skin that hadn’t seen a stroke of sun for many months.  There were even some people with a couple of toes in the water. And not the hardy 365 days a year swimmers.The Wurlitzer carousel, built in 1888 has been reassembled into its circle, though when I was there at 10.30 the horses were still wrapped in a giant tent of tarpaulin. There was a sense of emergence in the air, a new season, a new beginning.It was only today when I sat down to do a bit of editing, secretly wanting to press on with where I’d left off, that I realised the problem was that I was looking at editing from the wrong perspective. Editing is not going back but going forward. As you may have seen in my last post I’ve changed the title of my first novel to ‘Radio Echo’. I’ve also recently re-edited the first three chapters (rewrite 28?). Both things have been very positive in my approach to the work. When you edit a section, it’s done to make it better. You might be approaching it with some feedback from other people, or with merely a keener eye from yourself. But the chances are very good that you’re going to make the work better. So in what way is that ‘going back’? The answer is it’s not. It’s moving forward.I’m not being Pollyannaish about this, it’s simply a fact. You are moving your work forward every time you edit. There is no going back about it. So if we keep this in mind, then maybe it will help to take the groan out of having to edit. When you’re sitting down to edit a 60-100,000w bit of work, it’s going to be more than a quick ten-minute task. Inevitably there’ll come a point – or several points, where you feel jaded, bored – whatever you want to call it. But more often than not, we’re editing smaller chunks - a line, a paragraph, or a couple of chapters. All of this is moving the work forward, which is a good thing. To be a writer you have to enjoy rewriting. That’s the fact of the matter. If you don’t, then you’ll rarely get past one edit without it being an unpleasant gut-wrenching task. It’s impossible to edit everything as you go along. The work needs distance. Then you move forward. You edit.I hope that looking at it as editing forward, rather than going back to edit is of some help to those of you who dislike the task. We all have different writing habits, methods, rituals that work for each one of us. How do you approach your editing? Are there ways you make it go faster or are more economical with your time?Let me know what you’re approach is, bad habits you’d like to get out of or any good habits you want to share.I’d love to hear from you!  

Cantoni Sisters - What's in a Name?

I've changed the name of my first novel to The Cantoni Sisters.What's in a name? Depending on what it is  - everything.  For a person, it's either a moniker they're stuck with and hate their entire life, or probably for most of us it's one we're ok with, maybe we play around with abbreviations, nicknames, but settle for what we're given. But names are important. Rightly or wrongly, they can give an impression of what that person is like, or let us foolishly go along with our preconceptions.Would we think of a strong, manly figure being called Pinkie? Well, I would have said no But take the main character in Brighton Rock, by Graham Greene. He's called Pinkie and he's a mean spirited thug. But did that make him strong and manly?  You make the call.For writers, and particularly novelists, as we need to live with the characters for so long - as do our readers - names are incredibly important. I spent hours deliberating names for my characters for my first novel. The fact they are Italian names did not make the job easier. We each have personal associations that interfere with potential choices - people we know, or someone we don't care for; perhaps a teacher who was particularly mean. Our own history colours our decision as well as the characters we're trying to portray.Some people say having names that begin with the same letters make it confusing for the reader. Two brothers called Harry and Henry, I can imagine being easy to mix up, unless their characters are either extremely well defined and/or very different from each other. Take the Kray brothers - Ronnie and Reggie Kray.  Can anyone remember which was which despite the publicity at the time, or the filmic portrayals etc.? I can’t.The younger sister in my novel is called Alma. But initially the older sister, the main protagonist of the novel, was Essie (an Italian abbreviation of Esther). For me I knew who they were, but other people found their names too similar. They had the same number of syllables and they found them confusing. I eventually changed Essie’s name to Raffaella, which instantly made her a different character both in my mind and on the page. I also had to admit, part of the problem was her character hadn’t been clearly enough defined. So changing her name helped me shape her character. I talked about character in my blog a few weeks ago (see Real Characters Feb 18^th).So where does that leave us with the title of the work, in this case a novel? That too has to fit, has to mean something to someone who picks up the book and has only the blurb on the back cover and the title to help them decide whether or not to buy it. For the past 3 yrs the novel has been called Tracing Paper. And it fit the novel when I began. But the novel has changed so much, that the meaning behind it has become diluted.So after a professional critique of the beginning chapters and other writers who thought it no longer fit, I have changed the title to The Cantoni Sisters.Letting go of the original name has been hard – almost like letting go of a friend. But as with any rewrites, you have to be prepared to be brutal, even if it was a favourite piece of the work. Publishers often change titles, so I may have to let go of it again. But to me, writing is all about change and rewrites. How else can the work grow and improve? My hope is that long term it will help me deal with change in real life, which is usually just a tad bit harder than a quick tap of a key or stroke of a pen.How do you go about choosing names, or the title for your latest work? Was it a difficult process? Is it one that's ongoing?I’d love to hear from you.

Savouring Taste Treats: Using the Senses in Writing

Senses evoke such different responses in everyone, so it was fantastic to get feedback from people about their experiences, from last week’s blog, 'Music Evoking Memories'. Thank you.When we try to describe a situation we might have encountered to someone else,  we often simply talk about what we saw, or maybe what was said. But for an author, all the senses need to be engaged, to really capture the moment. Much as I love photography, I’m always frustrated that only the visual is captured. Who was on the street? What did it sound like?  What did the air smell of, or taste like?The sense of taste, like any other sense can evoke memory. But much as we might enjoy certain foods over another, at a basic level we also associate it with being hungry, or once we’ve eaten, being full.These are things most people reading this blog will take for granted. We get hungry we eat, we 're full. A few hours later the ritual is repeated. Sometimes we eat alone. Sometime times with others. Each time has a different connotation, a different emphasis, and through these experiences we build memory and associations.Radio Echo is set during World War II and food rationing was a major part of life for all the countries involved. Ration books were issued in the UK at the beginning of 1940 and continued until 1953. It was not limited to food but included petrol, clothing, bicycles and most hard goods. The US brought in similar rationing in 1943.Much of the effort to encourage people to participate fully and get behind the idea in the UK came from the Ministry of Food.Here is a short flash film:httpv://www.youtube.com/watch?v=PdVSNALj1XYMany people had ‘Dig for Victory Gardens’ and grew their own food. And of course the lack of protein was made up for in creative ways – two of which were using whale meat and eating horses!httpv://www.youtube.com/watch?v=Ouu_aignRfUIn the novel, as in the reality of wartime, the black market is used for those who had both the money and the contacts.Italy, where Radio Echo is set,  is known for its fabulous food and  wonderfully simple, but flavorful ingredients.  But during the war, Italy was badly hit by poverty and food shortages, especially in cities like Bologna that had been heavily bombed. Communal kitchens were set up, and neighbors for the most part helped each other. But the Black market was thriving there as well as in the UK and US. There was no waiting at the Bologna Market Hall for hours for a loaf of bread for the Benedetti family who is central to the novel.But whether it was bought from the Black Market or doled out in the small rationed portions, food was savored, appreciated in a way that is foreign to many of us today. An onion or an orange is not a rare commodity.  We take them for granted. And by doing so, we miss the uniqueness of their taste. Their specialness. The sense of taste evoking memory is different for different people. Perhaps the first time you ate a particular food or something you might have been forced to eat as a child sticks in your mind and is remembered by the same taste. Or avoided.At my junior school, after the boiled meat and cabbage variation on lunch, we often had pink blancmange for dessert – basically jelly (Jell-O) with milk. God knows what the pink was from  - some gross strawberry flavoring. It’s the kind of thick pudding that lodges in your throat, making you feel sick with every spoonful. I have a clear humiliating memory of being made to stay in the canteen for the second sitting with the ‘big kids’ until I finished my pink blancmange. Maybe that’s why I’ve never liked the color pink.Let me know what your taste buds long for or where they take you. Your comments are always the most interesting part of writing this blog.To end on the note of one of the the most popular tastes - if you’re looking for a great chocolate shop somewhere near you, check out this blog http://diversionswithdoreen.com/.Doreen is writing a Chocolate Travel book.Happy eating.      

#Music Evoking #Memory

Supposedly the sense of smell is the most evocative of the senses in terms of memory. Whenever I catch a whiff of flowers beginning to fade I am ten years old on my knees behind the blackboard, changing flowers from  one thick glass vase to another, the water green and smelly. There are worse memories.But music  - ahh now for me that really strikes a chord - ok I couldn't help myself. I listen to all kinds of music now, but as a teenager once I'd passed the pop phase, protest songs were about the only thing I'd listen too.  With a bit of Dave Brubeck,Miles Davis and Rolling Stones thrown in. Classical music was something I had to force myself to learn to like, which was a shame as there were wasted years of enjoyment. Same with opera. So my knowledge of both is sketchy at best .In my novel Radio Echo, music is a constant theme. Raffaella grows up in an apartment above Cafe Musica, where local musicians come to play , either bringing their own instruments or borrowing ones, Raffaella's father kept for that purpose. A musical impromptu get together is not unusual in Italy, especially in small towns. I've seen people show up of all ages, playing mandolin's, accordions guitars or drums. The music would change from traditional Italian to jazz to 60's folk depending on who was playing.Here are some links from you tube that encapsulate the progressions of the music in Radio Echo. As a novelist it's important to incorporate as many senses as appropriate in setting the scene. Music is often one that's forgotten.httpv://www.youtube.com/watch?v=iaJdjDOzL9w'Trio Lescano' were the Italian 'Andrew Sisters', extremely popular in Italy in the 30's and 40's, with their close swing and jazz harmonies. They were actually Dutch, but in 1941 they became Italian citizens.Two years later their fame ended as their mother was Jewish. They were first cancelled from all radio programs, then arrested and imprisoned on allegations of espionage. The accusation was "their songs contained encoded messages for the enemy". Once the war was over, after a two years' silence, Trio Lescano wanted to bid farewell to their Italian audience with a final performance broadcast live by the radio on 1 September 1945. The three sisters then moved to South America, where their artistic career continued.On a completely different note , Stefano, the son of the family in Bologna, played classical duets and Schubert’s Fantasia in F minor, the duet for four hands, was one of his favorites.httpv://www.youtube.com/watch?v=SzAx_IQydxELater in the novel we move to Cole Porter's Song "Night and Day" referencing Django Reinhardt and Stefan Grapelli. This is a 1938 rendition:httpv://www.youtube.com/watch?v=bOHdYA0XvAYI couldn't mention Reinhardt and Grapelli without including this fun little video of the members of the Hot Club of France playing "J'Attendrais"httpv://www.youtube.com/watch?v=gV6AB3WsNcMMusic is everlasting and a few bars can transport one back in time with such power it's often overwhelming.I'd love to hear your musical associations or if anyone else uses music in their writing.  

To e- or not to e- That is the Question (orig. post Feb 9th)

To e- or not to e- that is the question: Whether 'tis Nobler for the novel to sufferThe trends and whims of publishing world fortune,Or to e-Book, instead of a Sea of Submissions,And by virtual means, end them… To e-publish or not? Strictly speaking it’s to self-publish or not that’s the question. The rules and the game itself have changed and now as novelists, we’re faced with the decision as to whether to seek the recognition and validation of a traditional publisher rather than choosing to self-publish. The stigma of so-called vanity publishing has not been eliminated completely, but between Smashwords, Amazon’s KDP, Createspace, Lulu, Bookbaby and other organisations, it’s easy to self publish whether it is an eBook, or hardcopies printed on demand (POD). Millions of people have already jumped at the opportunity, preferring the option to traditional publishing. So if you choose to dive in, it will be a crowded pool.There have been a number of publicly noted success stories – Amanda Hocking, for example. She’s a 27 year old novelist, from a small town in Minnesota, who tried the traditional route, had about 50 rejection letters from agents, and finally decided to self publish back in 2008. She also looked at Wal-Mart and where her work could fit in. Not in the James Patterson thriller market, but in paranormal romance – fantasy stories –vampires, witches etc- with a love story thrown in. She has now joined the ranks of Stieg Larsson and only 10 other authors who’ve sold 1million books for Amazon’s Kindle. She’s been picked up by St Martin’s Press, and has her first print book, Switched, published. The movie rights have also been optioned.In the interview I read through NPR, Amanda emphasizes she was prepared to put in the hard work. I got the impression she was talking not so much about rewrites and edits, but self –promotion, as well as handling what was, initially, essentially running a small business. Not quite what you had in mind? – Earning the $2M perhaps, but all the marketing that would go with it? – Not so much, I imagine.The reality is, that even if one decides (or should I say, is lucky enough) to be able to go the traditional publishing route, then unless you’re an exception, you’ll be asked to do just that – get a website, write a blog, have a social network presence. In essence brand yourself, not just your work. Times are economically hard, but also the publishing industry has changed dramatically over the past 20 years in the way books are marketed. As artists, it might seem loathsome, but the good side of this change is that more people are reading books than ever before. And that surely has to be a good thing.For myself I’m in the middle of the rejection letter phase for, my first novel Radio Echo. I wouldn’t have considered self-publishing until very recently, but I’m now reconsidering it as an option. What changed for me is that in the submission guidelines for the agents I applied to, some asked for details of self published work - where, in what form, and what the sales been. Mainstream publishers are clearing coming round to embracing indie publishers. It helps them see if you have a marketable product, which let's face it is ultimately what they’re interested in.So we’ll see. You can write a good novel or rewrite until your hand falls off, but it doesn’t guarantee a publishing contract. People’s tastes are varied enough to warrant a huge range of work, and trends come and go. As a writer do you want your work read? Presumably yes. So the question is, in what circumstances and at what cost?It’s not the 20^th century anymore. It Time to get real kids. BTW a great resource for self publishing and self marketing is Joanna Penn's website:  http://www.thecreativepenn.com/She has a great blog, a wonderful series of podcasts and is a huge resource for writers in general, especially those considering self publishing. COMMENTS from previous site:CommentsfrancescaWed, 08 Feb 2012 07:38:10I'd say go for it - not only can you gauge your readership and its response, but you also have the chance to be involved in your own promotion - like it or not, these days marketing is everything. You might also consider having Radio Echo  translated into Italian so that you can market it in Italy too, just a thought.AK AndrewWed, 08 Feb 2012 09:54:23Good point about gauging the readership Francesca. And what a brilliant idea having it translated into Italian -I shall definitely look into that.Mille grazieBeckyWed, 08 Feb 2012 10:29:44Not being in the enviable position yet of having my novel finished so that I can send it out, I'm still hoping to go the traditional route. But I don't think I'd rule out self-publishing if it came to it. I think it's interesting that Amanda Hocking, even after all her success self-publishing, eventually went to a publisher when one was offered. But your comments about agents asking you if you'd had success self-publishing is valid too. Maybe we all need to be more open to whatever avenues get the work out there.A.K.Wed, 08 Feb 2012 22:24:03I think that's a really good point you make about Amanda Hocking ,Becky. I suppose at that point it might have felt like someone was taking the weight off her shoulders, but I suspect the validation aspect we've discussed before must have come into play. She is also (now) someone with a 'story' worth putting money in to publicize too. So I will continue to go the traditional route, but may consider (at some point) self -publishing along side it. The two can happen simultaneously.Thanks so much for your comment.Jenny ReeveWed, 15 Feb 2012 21:51:29I enjoyed reading this, it certainly gave me an insight into self publication. I did not know that we could self publish. I think I must be naive, I thought that he ereader was just an electronic book, boring and lacking the feel of a 'real' book. I will have to look into the real concept of it I think.  

Italian Jews in the Holocaust (orig.posted Jan 27th)

 You who live safeIn your warm houses…   Consider if this is a man    Who works in the mud    Who does not know peace    Who fights for a scrap of bread  Who dies because of a yes or no. From ‘If this is a Man’ by Primo Levi Today, January 27 is International Holocaust Remembrance day. The date was chosen as it’s the anniversary of the liberation of Auschwitz by Soviet troops in 1945. In Italy it's called ‘Giorna della Memoria’In remembering the Holocaust, it’s rare that Italian Jews are mentioned. Perhaps because it’s a Catholic country, there might be an incorrect assumption that there wasn’t a Jewish community in Italy. More than 8,000 Jews were deported and killed in the death camps. When WWII broke out there were over 42,000 Jews living in Italy. Put simply, 20% of the Italian Jewish community was lost in a little over a year.An Italian Jewish community still thrives in Italy today, mainly living in Northern Italy in the cities. Like many other countries, Italy has a long history of anti-Semitism. The word ghetto is an Italian term first used in Venice, the site of the first Jewish Ghetto in the 16^th century. It’s a term combining ‘gheto’ or ‘ghet’, which means slag or waste from a foundry (which was located near the area of Jewish confinement) and borghetto the diminutive of ‘borgo’ or borough.Jews were compelled to live in city ghettos which following the Venetian example. Gates at the exits were locked an hour after sunset until dawn. This went on for literally hundreds of years. Only after the unification of Italy in 1861 were Italian Jews gradually allowed to live in other areas.The ghettos themselves, usually in undesirable locations of the city, were places of overcrowding and poor housing, and owned by Christians; Jews themselves were prohibited from owning property. Poverty was rampant as the types of trades Jews were able to pursue was restricted e.g. ragmen, second hand dealers, or fishmongers. Jews could also be pawnbrokers, the latter profession stirring considerable hatred towards them. Most Jewish women, because they didn’t work outside of the home were not allowed to leave the ghetto. On occasions they did, they had to wear a yellow veil, the same color as prostitutes.In the decades prior to WWII Italians were generally more tolerant towards Jews than other European countries. This is perhaps rooted in the fact that as a community, Italian Jews more assimilated into Italian society. It was not unusual, Jews to marry Italian Catholics, and there were high ranking Jews in the Fascist Party.Mussolini and Fascism in Italy was a way of life that initially did not initially discriminate against Jews. In fact there were the same percentage of Jews in the fascist party as there were Jews in Italian society. However once Mussolini allied himself to Hitler things changed. In 1938 the Racial Laws were passed.  In effect, the laws barred Jews from participating in society - they were banned from any form of state education teachers, professors and students alike. They were banned from libraries, from seaside resorts, from employing, or marrying non-Jews, owning a sizeable business or property, or a radio. Once Italy came into the war in 1940, Jewish refugees were interned in concentration camps in Italy. The most famous of these was Fossoli near Modena. This aspect of Jewish life changing is touched on in the early parts of Radio Echo.Then in 1943 the Allies landed in southern Italy, and Northern Italy became occupied by the Nazis. A campaign was then launched to deport all Italian Jews out of Italy. On October 18^th 1943 the Rome ghetto was raided, and in one day, 1,200 Jews were rounded up and deported to Auschwitz.Another issue that is individual to Italy is the position of the Catholic Church with regard to the deportations, as well as saving many Italian Jews. Again this issue is touched on in Tracing Paper. Many people criticized Pope Pius XII for doing little to intervene. That said, one cannot speak highly enough of the many individual priests and nuns who chose to risk their own lives without a papal decree to shelter Jews.Probably the most famous Italian Jew in literature is Primo Levi. In “If This Is a Man?” Levi writes about his life and survival in Auschwitz, as well as the many Jews who fought in the Italian resistance. The irony of the opening line of his preface “It was my good fortune to be deported to Auschwitz only in 1944…” shows the spirit of survival that was uppermost in his thoughts. Every crumb of thought, or bread he had, or movement he made, led to his survival. His very being was on a singular path. And luck was on his side.Those targeted by the Nazi’s pursuit of a ‘master race’ were not only Jews. Other groups include Gypsies, Lesbians, Gays and the physically and mentally disabled – anyone considered sub-human or imperfect.To those who were less fortunate than Primo Levi, we remember you.We remember you and we will never forget.CommentsDavid

Fri, 27 Jan 2012 14:12:26

Thank you for this sensitive account, Kathy. It is unfortunate that collective memory seems in such short supply these days, and so many of the same prejudices are even now reasserting themselves in Europe and the UK.A.K.Andrew

Fri, 27 Jan 2012 23:15:16

Thanks David. I completely agree. Unbelievable, but unfortunately true. That in itself is very scary.  

Real Characters (orig. post Jan 13th)

Real Characters

I recently watched a US hospital drama in which Alfre Woodard (an excellent, but underrated actor) played a writer desperate to finish a novel before her aneurism burst. She said the characters in her book were her family. I understood what she meant. They were real to her and her readers. That’s when you know if the character is successful or not. The three-dimensional nature of characters is to me the test of a good book. Plot is great, but without characters it's worthless.When writing Radio Echo, I struggled for months writing the characters of the two sisters. Then I started to write the character of the homosexual fascist. I was staggered that he just fell off the end of my pen. I instantly cared about him despite his unlikeable nature – or at least his distasteful politics. I realised in part that with the two sisters, I’d focused on what happened to them, rather than who they were; trying to nail the plot of the entire novel, at the expense of their character. I re-worked them, and now they’re three-dimensional.I think the response of the viewer for any art form is an integral part of the process. Arguably, the end product could be considered incomplete without the response of the viewer, however different that individual response is. I could go further and say that fictitious characters are as important as real flesh and blood characters if they have had an effect on you as individuals. If fictional characters can evoke emotion, isn’t that about as good as it gets in terms of anything meaningful? Okay you can't hug or touch a character in a novel, call them up and have a chat. But to miss them when the novel ends and to wonder what happened to them or to feel changed by them is to learn something about one's self. Especially as an adolescent, but also as an adult, a good character in a book might express what you’ve been thinking all along, but didn't have the words to say it. How often have you finished a good book and said –‘yeah that’s what I meant’?Much of Radio Echo is set in Bologna. The central piazza there, Piazza Maggiore features in the hearts and minds of the characters. “We’ll be dancing with GI’s in Piazza Maggiore before the end of the year,” one of the characters says after the Allies have taken Rome. The sentiment encompasses the hope that people had at that point in Northern Italy. Because the novel is historical, characters have root in real life. They all are fictitious; none of them are based on real people per se. None of the individual events are based on real events. But of course in other ways they are based on things that did actually happen. So when I went to Piazza Maggiore myself, I was fighting back the tears. I had lived with those characters for a long time and it was as if I, in their place, had made it back to the piazza. And of course the citizens of Bologna and returning resistance fighters did congregate there and celebrate with the Allied troops when Bologna was liberated in April 1945.The memorial in Piazza Maggiore is very different to any of the war memorials I’ve seen in England. It is dedicated solely to the men and women who died fighting in the Italian resistance. Instead of just a list of names, there’s a photo of each person printed on a tile and so you have an image of that person as they were in the mid 1940s with their name beneath it. More than just a list of names, the sight of the images together makes them truly real characters.   

Route 66 to Writing Rooms (orig. post Jan 9th)

Route 66 to Writing Rooms.I started this week by having a spinal MRI. In order to get this layered X-ray, they slide you into a big white tube, somewhat similar I imagine, to being in a cylindrical coffin. The ceiling is about 4 inches above your head. I've had a number of these over the years and initially claustrophobia ruled big time. An MRI doesn’t scare me now. I don’t have the hideous panic of having to claw my way out of the tube. But its taken work. To combat my claustrophobia I started some years ago by never, ever opening my eyes while I was in the tube. To open them gave way to panic. Then, eyes shut, I’d meditate or at least imagine being in a different place. By the ocean or some wide-open space. Anything but an enclosed environment.This time I put myself in a different place by thinking about a character in ‘Under the Bed’, the novel I’m working on. Instead of focusing on the closeness of the ceiling my character took me to the main thoroughfare of Albuquerque, New Mexico in 1951. Walking up Central Avenue, I was surrounded by flashing neon both sides of the street; motels and all kinds of American Southwest kitsch popular back in the day. Central Avenue was Route 66. It still is Route 66. The cache of going from ‘Chicago to LA’ on a single highway has been lost, but you can still see the remnants of the motels that used to be crowded with travellers looking for somewhere cheap to spend a night. Central Avenue is still thriving in it’s own way, although you might ‘get your kicks on Route 66’ with one of the hookers who wander up and down the strip at night. Some of the motels have been renovated, but most either don't exist or are in disrepair.I then followed my character to 1969 Harlem in New York City. There’s a loud drilling noise that accompanies an MRI, which is similar to the opening bars of a Ramones song or a jackhammer. I prefer the Ramones analogy, but it was bizarre to hear that noise and yet I was in a gospel church a couple of blocks off Seventh Avenue up in Harlem. The choir and the congregation were singing ‘Just a Closer Walk with Thee’.This isn’t the first time I’ve used hospital time to write. I always take a notebook with me wherever I go, but especially to the hospital as wait times are often long. In Radio Echo, my first novel, I decided on one of the main characters fate while I sat shivering in one of those charming little tie gowns they give you that make you look ridiculous with shoes and socks still on, white legs poking out. I sat in a cubicle with the curtains drawn, writing frantically, wanting to get down the plot epiphany before the nurse called my name.So writing has become a liberation in terms of hospital visits, because now it’s not a waiting room but a writing room. We all know a writer should carry a notebook, jot things down, make notes at every available opportunity. Easier said than done. I’ve picked up the habit by having enforced periods of what would otherwise have been mind numbing boredom. Instead I’m freeing up time to be creative that would have been lost in a frustration of waiting for the doctor or waiting for a friend to arrive or waiting for the car to be repaired.So now, waiting rooms are not something to be dreaded or avoided. Waiting rooms are writing rooms.CommentsGed DuncanFri, 06 Jan 2012 01:13:39'Would you get hip to this kindly tipAnd go take that MRI tripGet your kicks on Route 66'thanks for the heads up on journeying in the mind and redeeming the time - hope the soundtrack didn't show up on the scan xxA.K. AndrewFri, 06 Jan 2012 02:37:25Thanks for the comment Ged. I'm hoping the soundtrack does show up on the MRI. Might make it easier to twist again.RowenaFri, 06 Jan 2012 04:23:34Thanks Kathy, It's a great message that no time is dead time when you can use it to write, or imagine a story.You've reminded me of the concentration it takes to believe that you're not in a coffin when you're inside an MRI machine - I had white knuckles clutching the panic button.....A.KFri, 06 Jan 2012 04:41:13Thanks for the comment Rowena. Its easy to forget all the times one could have to write. Yeah - I've gripped that button pretty hard myself at times.tom tomMon, 09 Jan 2012 22:58:18Hospital machinery is sometimes the only way to travel. I wrote significant parts of Under the Singer in my early days of writing, while waiting in X ray departments. Deciding to use my own experiences to fatten out the character of Joseph allowed me to consider the fact that these quiet, slightly detached people looking after me, may well be about to discover I have cancer and it would really screw up their day.I look forward to the next instalment of your road trip.AKMon, 09 Jan 2012 23:02:33Thanks Tom. Hospital machinery is a cheap ride in UK at least. Now the US - ah .. a different beast altogether. Theirs is more shiny & expensive.NoelMon, 09 Jan 2012 23:26:03Oklahoma City sure looks pretty... If I don't have a notebook or pen I use the notes app on my phone. God, I'm so modern it's frightening.KateThu, 12 Jan 2012 21:01:30I'm booking an MRI. Thanks for the journey, Kathy.