Blogging from Bed

I've just discovered a new way of blogging. I've got an app on my phone which allows me to lie in bed and blog about the random thoughts occur to me as I'm lovely and cosy and warm. The only problem is that sometimes it gets the words wrong, but it's so much better-this speech recognition-then are used to be. Paragraph it's actually it's actually serviceable. I can imagine me standing on the mountain tops of my beloveds homeland. Or by an ancient stone circle having thoughts about sandwiches and when I want to eat and I can share them with people as easily as this. Been back your ears you're going to be deluged

The Ghost of a Place

I notice that in my writing I am often very specific about places. The train stops at Craven Arms; he navigates from Glasgow Central to Glasgow Queen Street station; his office is on Bedford Square; he lives in St John's Wood and drives down past Point Lobos on the Pacific Coast Highway. Places are important to me.

In fact, I have often wondered whether places have souls. This year, the beloved Sheila and I travelled to Great Malvern to climb the Malvern Hills  (from the Welsh Moelfryn - bald hill - I'm interested in words too, but you knew that.)

Then we went through Gloucestershire (see I'm at it again) Worcestershire, with a brief dip into Herefordshire before hitting Somerset and Glastonbury. As part of the trip we went to Stonehenge and Avebury before coming back through the Cotswolds on a sad and rainy Brexit day in Stow on the Wold then up to Cumbria and across into Scotland for a weekend in Kirkcubright.   Some of these places breathe when we're not looking. I'm sure of it.

In a previous career, not wholly unrelated to my writing, I was a tour leader for ghost tours. And from the age of a kid right up to dotage, I've stood by lakes and watched the snow come in, or on mountains feeling the wind, or in the middle of a marsh calf deep in peat,  or by the sea when the waves are breaking from Ireland (or even in Ireland watching the phosphorescence off the coast of Connemara).  But the feeling I get in these places, where does it arise?

Is it from the places themselves - so Glastonbury, or Tara or Whitby (or Jerusalem when woken by the call to prayer) - is it in the places - the dragon energy - that we feel. Does this cause the shiver in the haunted house, or do we take the haunting there ourselves?  My rational brain tells me the haunting is all our own, but my heart tells me the world breathes. I'm heart over head every time. Except when I'm not. What about you?

Synchronicity with Cables

I have twin daughters. Yesterday I saw one of them off to University. As the afternoon progressed, she said she had forgotten her phone charger. Luckily, I had one in the car. She accompanied me to the car and we decided we'd say goodbye there. I gave her the charger hugged her, gave her traditional Vulcan farewell and left here there. Today it was the turn of the second twin. As the afternoon wore on, we walked back to the car. I had the free ethernet cable the University had given her and I gave her the cable and we hugged and gave the traditional Vulcan farewell and I left her there.

It struck me that I had inadvertently said goodbye to both of them separately by giving them a cable. What can this mean? As we know there are no coincidences in the Universe, so the cables must be in some sense symbolic. I suppose cables join things, they pass energy - in this case love, and they transfer this energy over distance; the distance I will be apart from them.  So I guess that's what they mean. Or am I crazy?

On the other hand I just went to see the Blair Witch recent episode. The tunnel bit was the best. The rest was just people running around in a confused manner bumping into each other and screaming and playing meaningless, loud sound effects similar to I used to create for the Dark Door in 1995.  And despite what the website says, the first "game" was in April 1992. I had a lot of fun making those sound effects. At first I tried to make them relevant to the story, and I think the best ones were, but by the end I just had babies laughing and trees falling down with lots of echo and flange. Just like Blair Witch. I mean what were all those coyotes doing making that noise? Why were they even in that wood? And the tree noises? It seemed to me that the trees were getting angry, like evil Ents. But then the sister? How would she have survived all those years without shampoo?  That little plot hole was never filled.

Yes, Rotten Tomatoes gave it 37%. So I'm not the only one.

Point of View

You will remember Save the Cat by the late Blake Snyder and Story Physics by Larry Brooks. I think that screenwriting has done a lot for writing writing. It introduced the idea of structure and it helped people focus. With the idea of structure came the idea of the Hero's Journey. Goodness knows I like Joseph Campbell and his grandfather Carl Jung, but I also think these things are overdone.

When I look back at the books I like, I think of books like The Glastonbury Romance by Cowper Powys and the Dictionary of the Khazars by Milorad Pavic and they certainly don't have the structure that now all film-makers and increasingly all writers espouse. Yet they're still good. I'm not sure that the greats of literature follow the three act structure slavishly either. Increasingly, movies become boring because they block out the same pattern. Books too.

One of my observations is Point of View. I've been involved in writing groups before and the PoV has become a shibboleth. You have to stick in one guy/girl's head. You have to. You must.

This is the third person limited. You can only see out of one person's eyes in a film, so by extension if we base all writing on film scripts, we can only have the third person limited. Yet, when I read older works, they absolutely don't keep to this. Most are written in the third person omniscient and dib and dab in everyone's head revealing their feelings and thoughts. So, I think the third person limited is an artefact of novel writing being dominated by screenplay writing as everything is now filmic. It's not a rule that you have to keep to one PoV. Readers don't care as much as fiction writers who have read writing manuals based on screen writing.

Just saying.

Audiobooks (again)

I got my pop screen today. No more excessive plosivity for me no more. I have been recording tons of stuff. I did some auditions on ACX, but then I thought - it takes ages to record audio. I would end up recording audio for other people and have no time to record my own, so I am thinking on.

I have been recording a few of my stories and uploading them into Soundcloud.  Just click the rinky-dink link and there I will sink. I'm tired now because it's late and I've been recording and I start to talk in rhyme when I'm tired. That's how my family know. They say "Dad, you're talking in rhyme again - get to bed!" Also I talk nonsense. I need to be careful of that now because I don't want to create the impression on you that I am a fool.  Maybe you already got that one.

So, other problems I've had with audio. Accents - if you listen to my audiobooks, this will instantly reveal itself as an issue. The other issue, which you might get is the fact I live opposite a f*g garage. The road itself is busy but the mechanics insist on repair folk's engines. That means big revving all the time. They finish about 8 pm. But I have to get all my recording done before Sheila comes back because she can't abide it and she forbids me to do it.

But after saying that, recording the audio and then listening to it through iTunes was a pure wheeze. I laughed my socks off to hear my luscious voice. And it is luscious. Click and try and if you don't think it's luscious I will email you the image of a Malteser. If you came by my house I would give you one, but I'm not telling you where I live in case you are weird.

Yes, I'm quite tired now. I'm also pretty wired and tomorrow I think I'm going to get fired over what I did today, which was to merely say that one day I want more pay. Ole.

I'm off to bed.

Doing American

I am revealing here that I am going to serialise my book Unreal City by Podcast. Yes, with a capital P. Now I practised recording it the other day. I was in the back room. There was a lot of seagull noise. And a dog. It was not acceptable, but I spent a long time polishing and editing and took it downstairs to play to Sheila.  

She commented in passing that my American accent wasn't as honed as it could be. You see, in the first chapter there is a French/American private detective in London. Okay, that makes it sound confusing. But in any case, I decided he would talk with an American accent as he'd learned English from his American mother who was from Cherryvale in Kansas.  I think she was from Cherryvale. I picked Cherryvale because Louise Brooks was from Cherryvale. It's set in the 1920s see and for a time in, I loved Louise Brooks. Unfortunately she was dead at that time, so it wouldn't have worked out. What a dish though. Anyway back to my accent.

There were times when the accent sounded okay, but I heard some New York in there. Sheila said that my "b"s sounded like someone from West Cumbria would say. I don't even know what that sounds like but it's not American. That much is sure.

There is a website that suggests I should say "Oh My God" and "So, I'm like..." and I knew already about "Totes" and "Rad".  But this is a Franco-American from 1925 whose mom (see how I'm coming along) was from Kansas. A Kansasite. A Kasasian. A Kansaw.   I realise this could be offensive, and that was far from my intention. I can't afford to alienate people, Heaven knows.

Anyway look out for my Franco-American accent, on Soundcloud if I can figure it out. Or I was considering going with Libsyn.  It's slightly more expensive but more plugged into iTunes and I guess that's where the bulk of these audiobooks are going to sell.

Laters, homie.

The History of the Runestaff by Michael Moorcock

I still love it. Hawkmoon is a bit less utterly heroic than Elric (who is also a bit dreary) or Corum, but I like the jewel in his skull. Hawkmoon oddly leaves the all powerful amulet he obtained in The Mad God's Amulet at home when he sets out to find The Sword of the Dawn. But, I'm always forgetting things too.


The first two books in the series - Jewel in the Skull and the Mad God's Amulet are written in a way that would have got Moorcock thrown out of his writing group these days - his use of adverbs, his stylised nodding, frowning and especially his flip flopping Point of View, now in one person's head, now in another's. He's still doing it by the third book - Sword of the Dawn, but his writing is getting better by this time. I am not sure that readers care as much about these things as writing groups anyway, and they didn't spoil my enjoyment of the book. 


Also he isn't doing the philosophising that features in the more recent books on the Eternal Champion, I'm a bit bored with that now. However, I remember when I was a young lad reading these how I loved the ideas about Chaos and Law. In fact Dungeons and Dragons's Lawful Evil/Chaotic Good alignment set up wouldn't exist without Moorcock. He should get a cut. 

Where Moorcock utterly triumphs is how he manages to introduce questions at every chapter so you keep turning the pages. He is also astounding in his use of striking, novel and bizarre images - the animal masks of Granbretan, the descriptions of Londra and the Kamarg and the various vanished cities, odd technology and everything. That's why he's great. It's a feast for the senses and though it's pure pulp, it's fantastic fun.