Monday 22 February 2016

Stephen King, On Writing- the tool box




The great thing about Stephen King is that he’s completely unpretentious, knows how to engage the reader and make us smile. And, boy, could I do with smiling right now, as my personal life spirals ever deeper into soap opera territory! My posse of self-harming, suicidally depressed and anorexic adopted kids live out the perennial debate of nature versus nurture on a daily basis. So, thank you, Stephen King!

All writers are readers, in my experience, and Stephen King suggests we all have a favourite place. Mine is to be curled up on the leather sofa with a good fire going, so that I feel cosy and safe. He adds: `Reading in bed can be heaven, you can get just the right amount of light on the page and aren’t prone to spilling your coffee or cognac on the sheets.’ I have one word to say to that: crumbs! The only thing I don’t like about reading and snacking in bed (a wonderful combination!)

When you transition from reader to reader/writer, Stephen King advises that: `it behoves you to construct your own toolbox… Common tools go on top. The commonest of all, the bread of writing, is vocabulary. In this case, you can happily pack what you have without the slightest bit of guilt and inferiority. As the whore said to the bashful sailor, `It ain’t how much you’ve got, honey, it’s how you use it.’ So- never use long words when a short one will do.

Grammar also belongs on the top shelf of the tool box- `and don’t annoy me with your moans of exasperation’. As he reminds us, bad grammar makes for confusion and misunderstanding. He cites an example from Strunk and White (`The Elements of Style’): `As a mother of five, with another one on the way, my ironing board is always up.’ In conclusion, `Grammar is not just a pain in the ass; it’s the pole you grab to get your thoughts up on their feet and walking.’

He is not the first writer to advise against using passive verbs, but he is, perhaps, the first to venture a theory as to why so many (bad) writers tend to use passive construction: `for the same reason timid lovers like passive partners. The passive voice is safe.’

The other piece of advice he gives before moving on to the next level of the tool box is: The adverb is not your friend. `The road to hell is paved with adverbs’- especially the adverb in dialogue attribution, eg `Go away!’ she shouted menacingly. He also cautions against `shooting the attribution verb full of steroids’. One example he gives is: `Never stop kissing me!’ Shayna gasped.

I will finish this blog with his insights on paragraphs: `Paragraphs are almost as important for how they look as for what they say; they are maps of intent.’ He adds: `The single-sentence paragraph more closely resembles talk than writing, and that’s good. Writing is seduction.  Good talk is part of seduction.’

So now I’m going to take the last remaining pages of Emma Healey’s wonderful `Elizabeth is Missing’ to bed with me-
with some Rich Tea biscuits for dunking.

Monday 15 February 2016

New Short Story

Here's my short story for the Writers 'and Artists' Yearbook competition, which closes at midnight tonight!



The Importance of Tips
 


You don’t stop laughing, when you grow old, you grow old, when you stop laughing. `The most important thing my dad ever taught me,’ Emily used to say. `George Bernard Shaw. Shame he didn’t follow his own advice, took himself far too seriously, that one. Pompous prick!’


With each passing year, Emily took an ever greater delight in peppering her conversation with rude words, rolling them on her tongue like gobstoppers. She had a habit of chuckling at her own daring, then reaching out a finger to prod whatever part of him she came into contact with, gauging his response, perhaps. Who was going to touch him now?


He caught sight of his grizzled reflection in the café’s giant mirror. The frame had carved and painted lilies intertwined with bright poppies, honeysuckle and variegated ivy. It was like finding himself suddenly inside a lush bower. He’d always wanted a garden, loved to feel damp earth under his nails, the smell of sun-warmed stones, to doze on crisp grass, listening to the squeals and giggles of children at play.


`That’s what parks are for,’ Emily would say. `I like my effing flowers in vases, where I can smell them all day.’


 He’d spent his last £10 note on a slice of Viennese sacher torte and a glass of 30 year old palo cortado sherry.  Plus the tip. Important never to forget the tip, one of Emily’s many maxims.  Emily’s mum had been a waitress at a Lyon’s corner house. Emily used to describe the sharp, hot smell of her mum ironing the black uniform with its white collar on a Sunday evening, followed by the duller smell of her and her sister’s grey school uniform. She said that as a child she used to wonder whether it was the colours themselves that smelled differently or the cloth.


`I always associated those smells with the end of the weekend and school the next day. Ma was called a Nippy at the corner house- they were always in a blooming hurry there. Maybe that’s what I should call you, eh? Can’t walk down the bastard street without you trying to nip ahead!’


It would have been her birthday today and this was exactly what she’d ordered last year, sitting at the same table, by the window. The young waitress with the bright and startled eyes of a squirrel hadn’t wanted to serve him at first, until he’d pointed out the sign on the wall. Was that what life was going to be like from now on? No one had ever dared challenge Emily, she was his blanket, old and beloved and safe.


`How are you going to pay?’ the waitress had asked, smile like a curtain drawn back. `They’re a bit snooty in here. You’d be better...’


            He shook his head, indicated the little leather purse hanging around his neck. Her smile reminded him of Emily; no, everything reminded him of Emily, she defined his world. All was Emily or Not-Emily. If only the waitress would laugh. Emily would have shrieked her delight at his daring, coming in here on his own.


He’d left the funeral crowd, gathered around the graveside on the muddy grass. He’d wanted to jump down on top of the coffin and stay there, feel the dark clay pelt down over them both. It was Emily’s sister who’d restrained him.


            `I know, Sam, I know. How are we going to manage without her, eh?’


He wasn’t, couldn’t.  What is the point of me now? he’d thought and left, loping off among the skewed gravestones, out through the wrought iron gates and along the blaring road, over the roundabout and the lights, finding the river and his bearings.


            The waitress brought the bill and emptied out the purse for him. He pushed a two pound coin towards her and she smiled again, rested her hand with its green, bitten fingernails on his back for a moment.           


            `Thank you. So much.’


            `No, thank you,’ he said inside his head. Emily would have been proud of him.


            He left the restaurant, ignoring all the people who stared at him and shook their heads, waving their arms like the long reeds in the oval lake- another place he used to go with Emily.


            It was night now, with a big, round moon like a silver tray in the sky; the light had been fading by the time he’d finally reached the café. It hadn’t been possible to stay close to the river all the way and he’d had to climb towards rushing roads with roaring buses, the dank, mulchy smell still in his nostrils, a wet leaf sticking to his leg.


            Now he made his way up onto the bridge; at least no one paid him any attention here.  He found he was tired, head fuzzy from the sherry the waitress had brought him in a shallow, stemmed glass. Just like the ones Emily used when she mixed their Tiger’s Milk cocktails before bed each night: rum, brandy, sugar syrup and milk, sprinkled with cinnamon.


            `Tiger, tiger, burning bright, In the forests of the night,’ she’d mutter as she stirred it all together with a wild chopstick. `Sweet dreams, old chum. Chin, chin.’


He wondered whether the young waitress could tell that dense chocolate cake and soft sherry would never have been his own choice, that he was celebrating the long life and short death of sweet Emily, who’d relied on him alone. No, that was a lie and it was important to be truthful. Another maxim. It was he who’d relied on her. And she was never sweet.


Each morning she’d start a new poem, sitting by the window, fingers curled around her coffee cup until she had the first verse straight in her head. Some days she finished the poem, tapping it out on her laptop and then they’d go to the park or along the High Street to the RSPCA charity shop. Or out to lunch with her sister or - only very occasionally now- her editor. At night she’d work on the day’s poem some more, decide whether it was a `keeper’, while he dozed by the electric fire. The only time he envied cats; the way they could purr, expressing content with dignity. That was important too, like proper tips and laughter; Emily had written a poem about dignity.


          Which is why he’d made the decision. He’d seen the way they’d looked at him at the funeral, had smelt their pity.  He’d wait here on the bridge till there were no more people crossing over and then he’d jump into the water. Emily had told him how fierce the current was, how easily you could get sucked under. In summer they used to swim in the oval lake, her arm circling his neck, splashing each other, frolicking, but never in the river. She could be fierce sometimes: he thought of her voice, rich and sweet, like chocolate drops, changing, when she was cross or frightened. It hurt him, like the memory of scalding water in the time before Emily.


            He sat down by the railings, could smell the river, calling, welcoming him to her embrace. Emily, again. The cold seeped into his bones.


            `Oh, it’s you!’


            Not Emily, of course, but the waitress. She paused beside him, leant her elbows on the rail and stared out over the water at the tall buildings and the sparkly lights.


            He tilted his head.


            She reached out a warm hand, laid it gently on the back of his neck.


            `Got fired!’ she declared into the night. `Some customers complained. Said it was unhygienic. Told them to read the sign, access is allowed. For guide dogs. Think maybe I swore a bit.’


            She squatted down then and scratched him deep behind the ears. His tail flicked with joy. No one had done that since Emily died.


            `Will you come home with me?’ the waitress asked, speaking softly, close to his ear. `After I got fired by the manager, the old chef told me all about Emily. My mum’s got AMD- macular degeneration. Scared to leave the house. You’re exactly who she needs! Please!’


He stood up and shook his stiff limbs. Now he could wag his tail properly. He had a purpose- and dignity, again.


He raised his paw and placed it on her knee, heard Emily’s chuckle quite distinctly in his ear:


‘You old tart! Effing brilliant! Go for it, old chum!’

Monday 8 February 2016

My Second Pitch for the NaNoWriMo Pitchapalooza 2016

I've found that having a 250 maximum word county has really helped me to hone my skills, so I've given a second book, Act of Faith, the Pitchapalooza treatment:


Mayfair, London. A middle-aged banker enters a secret place where he likes to relax, swathed in bandages: briefly mummified. This time he fails to wake up. His unexpected death sets in motion a chain of events, culminating in the poisoning of a beautiful, Muslim undergraduate. Her brother asks a rookie P.I., Rebecca, who’s suffered her own recent traumas, to investigate. He believes the police to be racist and under pressure from the college to dismiss his sister’s death as accidental. She ingested ricin from castor oil seeds in a set of prayer beads and died in her locked college room.

Meanwhile, Ishii, a seven year old Japanese boy, is abandoned by his Yakuza father to a trafficker at Heathrow, when the father leaves the country. Ishii desperately tries to escape the man he thinks of as `Fatty’ and phones his tutor from the airport. His tutor tells him he’s being fanciful, but the call is cut short by Fatty. Ishii wakes to find himself chained up in a basement. He manages to decipher the coded email from his tutor to his father, asking for a message from Ishii, and sends a careful reply. The tutor contacts Rebecca’s website for help in finding Ishii, but is killed before he can speak to her. A dwarf sex slave puts herself in danger to help Ishii, but disappears before their escape plan can be put into action.

This is a tale of betrayal and revenge, loneliness and love, faith and despair. And synaesthesia.





Friday 5 February 2016

My pitch for the NaNoWriMo Pitchapalooza

NaNoWriMo Pitchapalooza 2016 is now open- Submit your pitches to the Book Doctors for a chance to have them reviewed, and possibly submitted to an agent or editor! Here is mine:

Rebecca, a young Londoner and graphic designer, hasn’t uttered one word in 20 years. She’s just escaped her mum’s party and is hiding up a tree with a bottle of vodka, when she hears a scream from next door. She discovers a man in an old-fashioned, blue dress and latex horse’s head bending over the neighbour, who has a stocking around her neck.  Frozen in fear, Rebecca is pitched back to the year she played a donkey in her school Nativity play. When Mary bent over the Baby Jesus, little Rebecca wet herself. And now it’s happened again.

This is a story of obsession, revenge and art. As Rebecca strives to uncover the secret which attacks her bladder and has stolen her voice, she begins to find the links between the past and the violence escalating around her. Someone frightens her Gran to death and takes the contents of a locked trunk. Blood-spattered, old photos of Rebecca’s mum in a familiar blue dress are posted through the door by a man who’s been following Rebecca.

Who can she turn to for help? Maybe the ginger Canadian she meets out jogging isn’t quite as guileless as he seems. Her cheery colleague is hiding something on his flash drive, which gets him mugged. Suave Jonny, her mum’s friend, insists that Rebecca should pose for him. Did he take the beautifully posed pictures of dead women she finds by accident? And which of these men is the one inside the horse’s head?




GOOD LUCK!

Wednesday 3 February 2016

The Surface Pro, Stephen King and me


 My generous husband gave me a Surface Pro for Christmas. I resisted it, wedded to my old Dell which needs coaxing into life and crashes at crucial moments and is constantly `recovering’, like an alcoholic friend. Slowly, over January, I began the betrayal, helped by a special- lovely blue- cushion, which stopped the Surface Pro slipping off my lap (I have very short legs, so a truncated lap). And now today, when I finally reached for it automatically, rather than reluctantly, it won’t turn on. The charger is lit, I’ve separated it from the keyboard several times, but... nothing. So I’m writing this blog on the old Dell which is acting all smug and booted up like a dream. And I know if it’s really misbehaving, all I have to do is turn it face down on my lap- like a naughty child in a Victorian novel- and take out the battery for a few seconds.

As Stephen King says: `Writing is a lonely job. Having someone who believes in you makes a lot of difference. They don’t have to make speeches. Just believing is usually enough.’ It’s easy to persuade myself that my old Dell is someone who believes in me, the Surface Pro just doesn’t care. It’s got an important pitch locked away behind its dark screen.

I never realised that Stephen King used to have such a drug and alcohol problem, which he is very candid and amusing about in `On Writing, A Memoir of the Craft’. He talks about having used the `Hemingway Defense’: `as a writer, I am a very sensitive fellow, but I am also a man, and real men don’t give in to their sensitivities. Only sissy-men do that. Therefore I drink. How else can I face the existential horror of it all and continue to work?’ I’ve seen this defence work with a number of my therapy clients, from artists to actors, from surgeons to social workers. We all like to think we are sensitive and exposed to daily existential horrors. I had a poster on my wall at uni with the caption: `Absinthe makes the heart grow fonder.’

Apparently what really decided him to quit, was his character, Annie, in `Misery’ (later made into a great movie with Kathy Bates and James Caan). Annie is a psychotic nurse and fan who captures and then tortures a writer. As King says: `Annie was coke, Annie was booze, and I decided I was tired of being Annie’s pet writer.’


 
He ends this section of his memoir by saying this: `Put your desk in the corner, and every time you sit down there to write, remind yourself why it isn’t in the middle of the room. Life isn’t a support system for art. It’s the other way around.’ Personally, I like to write in bed a la Somerset Maugham. Which is why I need a lovely blue cushion.