#Dorothy Parker On Fiction

  In researching the 1950’s for my novel ‘Under the Bed’ , Dorothy Parker's name came up as one of the Hollywood writers black-listed. It is also 45 years ago this week since her death.Dorothy Parker was renowned for her wit, being a keen critic, her poetry, short stories, plays and her left wing politics. When she died of a heart attack in 1967, her estate was left to the Dr. Martin Luther King, Jr. foundation. Following King's death, her estate was passed on to the NAACP. In 1988 the NAACP dedicated a memorial garden to her in Baltimore and erected a plaque. She’d suggested her tombstone should read ‘Excuse my dust’. They didn't argue. But first, let’s have some fun and see if you can complete three of Parker’s famous quotes. No.1 is my favorite and was the name of the lunchtime theatre play in London where the wit of Dorothy Parker finally came into my life, a decade after her death. Answers are at the bottom of this post!

1. Men seldom make passes,

At girls…………………..2.     Guns aren’t lawful;Nooses give;Gas smell awful;You…………………….3.     You can lead a whore to culture,But ……………………… The following is taken from a Paris Review interview she gave in 1956, on the Art of Fiction.* If you're not already familiar with them, the archives of Paris Review have some incredible interviews of literary figures  - thoroughly enjoyable and a fantastic writer's resource.On how she started writing:

“I fell into writing, I suppose, being one of those awful children who wrote verses. I went to a convent in New York—the Blessed Sacrament. Convents do the same things progressive schools do, only they don’t know it. They don’t teach you how to read; you have to find out for yourself. At my convent we did have a textbook, one that devoted a page and a half to Adelaide Ann Proctor; but we couldn’t read Dickens; he was vulgar, you know. … But as for helping me in the outside world, the convent taught me only that if you spit on a pencil eraser it will erase ink. And I remember the smell of oilcloth, the smell of nuns’ garb. I was fired from there, finally, for a lot of things, among them my insistence that the Immaculate Conception was spontaneous combustion.”

On whether her reputation as a wit interfered with her acceptance as a fiction writer:

“I don’t want to be classed as a humorist. It makes me feel guilty. I’ve never read a good tough quotable female humorist, and I never was one myself. I couldn’t do it. A “smartcracker” they called me, and that makes me sick and unhappy. There’s a hell of a distance between wisecracking and wit. Wit has truth in it; wisecracking is simply calisthenics with words. I didn’t mind so much when they were good, but for a long time anything that was called a crack was attributed to me—and then they got the shaggy dogs.

On contemporary writers:

“…as for living novelists, I suppose E. M. Forster is the best, … at least he’s a semifinalist, wouldn’t you think? … He once wrote something I’ve always remembered: “It has never happened to me that I’ve had to choose between betraying a friend and betraying my country, but if it ever does so happen I hope I have the guts to betray my country.” Now doesn’t that make the Fifth Amendment look like a bum?

On her own writing practice:

“It takes me six months to do a story. I think it out and then write it sentence by sentence—no first draft. I can’t write five words but that I change seven.

On whether her political views made any difference to her professionally?

“Oh, certainly. Though I don’t think this “blacklist” business extends to the theater or certain of the magazines, in Hollywood it exists because several gentlemen felt it best to drop names like marbles which bounced back like rubber balls about people they’d seen in the company of what they charmingly called “commies.” You can’t go back thirty years to Sacco and Vanzetti. I won’t do it. Well, well, well, that’s the way it is. If all this means something to the good of the movies, I don’t know what it is. Sam Goldwyn said, “How’m I gonna do decent pictures when all my good writers are in jail?” Then he added, the infallible Goldwyn, “Don’t misunderstand me, they all ought to be hung.” Mr. Goldwyn didn’t know about “hanged.” That’s all there is to say. It’s not the tragedies that kill us, it’s the messes. I can’t stand messes. I’m not being a smartcracker. You know I’m not when you meet me—don’t you, honey?

 If Dorothy Parker was alive today, what issues do you think she'd be writing about?   *From Dorothy Parker, The Art of fiction No 13,Interviewed by Marion CampionTo read this interview in full, go to:http://www.theparisreview.org/interviews/4933/the-art-of-fiction-no-13-dorothy-parker Endings of Dorothy Parker quotes above:1.At girls who wear glasses. 2. You might as well live. 3. But you can’t make her think.  

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  Related articles Time and Place: 1950?s USA (akandrew.com)http://en.wikipedia.org/wiki/Dorothy_Parkerhttp://onetrackmuse.com/2012/06/11/a-year-in-booksday-154-the-portable-dorothy-parker/#more-3123http://www.npr.org/2012/06/07/154148811/how-dorothy-parker-came-to-rest-in-baltimorehttp://www.dorothyparker.com/wordpress/        

Time and Place: 1950's USA

I’ve recently finished the first draft of my second novel, “Under the Bed”. It's set in New York in both 1969 and 1952. Time and place are integral to the story; the commonality between the two eras is anti-communism in the USA. I’ll only deal with the 1950’s in this blog.“McCarthyism”, which was at the heart of the anti-communist movement, started in the late forties. You may be aware of the havoc and horror the Hollywood blacklist had on the lives of actors and screenwriters, many of whom were banned from writing or acting. Their careers, and often their entire lives were left in shambles. A number also went to jail. Dashiell Hammett is one of the more famous names of people who served time. He died a year after his release. Lillian Hellman, was also brought before by the House Un-American Activities Committee  - HUAC. She took a landmark stand, later known as the 'Diminished Fifth', in which she was willing to talk about her own activities but refused to talk of others .Paul Robeson and Charlie Chaplin were also victims of the HUAC. Chaplin, who was born in England, was refused re-entry into the USA in 1952, and ultimately never returned to America. Paul Robeson’s passport was confiscated, leaving him unable to work abroad – he was already blacklisted from working in America. His career as a singer and his International Human Rights advocacy work were severely curtailed.       Influence of the House Un-American Activities Committee, reached far beyond Hollywood into many professions, including those in public service. University professors and elementary schoolteachers  were asked to sign an oath swearing that they were not, nor ever had been a member of the Communist Party. Those who refused, which many did on principle, lost their jobs.All serious stuff - but in researching the period, I came across some hilarious footage from the public service announcement of the ‘Duck and Cover Campaign’ that told people, and especially schoolchildren, what to do in the case of a nuclear attack – “Why, duck and cover of course!”.httpv://www.youtube.com/watch?v=89od_W8lMtAIts simplicity might seem ludicrous to us now -  perhaps it did to many people at the time  -  but it gives us a certain insight into an era of fear, tinged with naïveté , in the USA of the 1950's.I love the whole idea of exploring different time and place in writing. They're usually the two challenges I first  set myself when I start a new project. It’s so important in a novel in setting the tone.Where do you set your work? Is it is always in the present, or in the town or country where you live? How does time and place affect your choice in the novels you read?Let me know - I’d love to hear from you.  

Related articles

• Sunday Open Thread (3chicspolitico.com) (A great blog site!)
• Tayo Aluko pays homage to a musical pioneer (charlestoncitypaper.com)
• Defrosting The Cold War (envisioningtheamericandream.wordpress.com)
• http://en.wikipedia.org/wiki/Lillian_Hellman

What is Your #Point of View?

I went onto the Sussex Downs at the weekend and was in awe of the beautiful rolling hills punctuated by the brilliant yellow of the rape fields in bloom. I mentioned to a friend how beautiful they were and his response was tempered by the fact he was allergic to them. We had a different point of view on how great they were. Different opinions.In writing, Point of View or POV, refers to who is ‘speaking’, or from who’s ‘vantage point’ the narrative is written. Before I became a writer, I hadn’t paid much attention to this. Waiting for me was the mine field of 'Point of View', with all it pratfalls.Prior to the 20^th century, the ‘omniscient ‘ POV was the norm. The omniscient author, who knew everything about the plot, the characters, and was often free with their opinion, told the story. Think of this wonderful opening line:  

“It was the best of times, it was the worst of times”

‘Tale of Two Cities'  by Charles Dickens

-Yeah it was, but says who? The author of course.

Because omniscient authors are god-like, they know what’s in everyones mind at all times, which they may or may not share with the reader. The author can choose to have a ‘limited omniscient’ POV, and in that situation the author focuses on only certain characters, and their inner thoughts.The other end of the spectrum is first person - the story is told, not by the author, but by a character in the novel. While they can act as a narrator, more often than not they are the main protagonist.In first person, the reader is in the mind of the person telling the story at all times. It's sometimes considered an ‘easy’ way to go for a debut novel, as you only have one POV to put forward. But the main drawback to first person POV, is that the reader is limited to the  experience of the character telling the story. We can only know what they know.There are ways around this e.g. someone else recalling an experience to the character. Murakami usually writes in first person, and uses this technique of a separate individual telling a tale in the ‘Wind-up Bird Chronicles’. We’re taken from the world of Murakami’s quirky narrator who enjoys cooking and music, to a Japanese soldier’s recollection of wartime Manchuria. For me, the latter was in some ways the most memorable part of the novel, in part because of an exceptional, albeit graphic, portrayal of a brutal scene. First person POV is often used when the protagonist has a very strongly defined character. Catcher in the Rye is a perfect example of first person, prominent protagonist. We immediately catch a glimpse of the kind of strong character Holden Caulfield will be. Not all first person novels have protagonists with such a striking personality, but the POV certainly lends itself to doing so.

 ‘If you really want to hear about it, the first thing you’ll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.”

'Catcher in the Rye' by J.D.Salinger

  In second person POV, the author tells the story. It’s a very underused POV, but it too can have an intimacy to it – as if we’re being told secrets by the author that only we the individual reader will know. It’s more often used in an instructional way, like in a ‘How To Book’.                                                                                 

 “Rub a little on the back of your neck, your forehead and your wrists before you start fishing, and the blacks and skeeters will shun you. The odor of citronella is not offensive to people. It smells like gun oil. But the bugs do hate it.”

 Camping Out.’ by Ernest Hemingway

 The most commonly used POV is third person. The narrative is told by the author, but from a particular person(s) point of view. Third person has the most variety of possibilities of all POVs and though the term suggests objectivity and distance, it doesn’t necessarily mean the reader is remote. We create distance or closeness in the way we write. Closeness can come in third person by the description of concrete things and letting us hear a character’s thoughts.

“His chest was heaving. He could smell Jack –the intensely familiar odour of cigarettes, musky sweat and a faint sweetness like grass, and with it the rushing cold of the mountain.”

 'Broke Back Mountain'  by Annie Proulx,

 Using more than one POV, once considered radical, has become more commonplace. Innovative novels such as 'Cloud Atlas' by David Mitchell and Margaret Atwood’s 'Oryx & Crake' used this technique. It lends itself to interesting work, if it's well written.Generally speaking, switching POV’s is most successful if the entire chapter is in one POV, or at the most, only changed paragraph by paragraph. A classic novice mistake is to change the POV in the same sentence without even noticing e.g. ‘I was two hours late, and ran upstairs to avoid my mother, who was more relieved than angry.’ – In this first person excerpt, how could the narrator know what the mother was thinking?Though it's more usual to have a novel written in one or two POVs, modern fiction constantly challenges the so-called rules. However, if there are too many POVs for the content to support, then it becomes an unconvincing piece of writing. In 'The Sacred Art of Stealing', a satirical thriller  by Christopher Brookmyre, there are five POVs. It was a humorous read until the author turned to lazy writing, adding in POVs merely as a convenient way to move the plot along, without any of the initial punch of the novel.Literary agents typically want to know ‘whose story is it’? So then it’s a tough call for an inexperienced author to give multiple POVs without making sure there is one clearly rising above the rest. I sometimes question if visual entertainment can successfully have an ensemble cast, then why can’t novels do the same?Trying to convey a theme, or premise can be done using any Point of View. But deciding which POV is best to use to present your premise, is one of the biggest challenges a writer faces, and will most likely determine the success of the novel.What POV do you prefer either as a reader or writer? What problems or frustrations have you had with this issue?   Footnote: This post is dedicated to the writer Ged Duncan. He and I have  spent countless hours over the past few years discussing POV. He's also allergic to rapeseed flowers. To follow this blog, click on "FOLLOW" at the bottom  of the page, or SUBSCRIBE at the top of the page!  

#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!  

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.  

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.