Ballyalban Fairy Fort

Ballyalban Fairy Fort

Tuesday 8 December 2015

Despised, rejected - a writer of sorrow and acquainted with grief!

So after a month of very little happening, apart from a polite "does not fit with my list" rejection, or perhaps two, and some "careful consideration" from JK Rowling's agents, I finally received the coup de grace - the rejection from Urbane Publications.    As rejections go, it was a pretty rave one - and ultimately the reason was "does not fit with my list".

I am coming to understand this.  I understand it when a publisher says it, they have a brand, they want to burnish that brand, they have core activities they want to focus on (I didn't work in Mergers and Acquisitions for nothing - I understand all this).  It's commercial and it doesn't mean TMoF is a bad book - in fact he said he'd enjoyed it, and thought it was very good, but he isn't doing fantasy, except with writers who already have a track record,.  I.e. he doesn't really have the resources at present for a debut author.  However, although I am disappointed, it's not quite as bad as I thought it would be.  This is in part because I had had some reservations over whether he was the "right" publisher for it because he was so new, even though he's pretty well connected.    

I also understand that when an agent says I wouldn't fit with her list she means that she has particular relationships with particular editors, none of whom she would want to offer my book to.

I took my laments to Tara and she had lots of ideas for new agents etc etc. and best of all she sent me a wonderful cover design for the book... in 3 different colourways, and this amazing 3D one.  As a result, I briefly feel as if it has been published already.   This is comforting, and does help me to keep the faith for a bit longer!


Sunday 8 November 2015

Only a bad dream?

I had one of those dreams, where you have an outcome to a real life issue, you know, where the man you fancy kisses you and says that you are the one, or whatever.   These dreams don't always have a good outcome of course.  I woke about an hour ago from a really bad dream.  I was reading an email from the independent publisher I've sent TMoF to.  It began by saying he'd enjoyed reading it and it was well written but "the reason I'm not writing to you wearing my keen hat".... and then was a long detailed breakdown about how the market wasn't ready for this.

I awoke about an hour ago, with a sick feeling in my stomach that has not yet dispersed.  I think if some one turns you down, on the whole you don't want a long closely argued email of justification.  This is really, currently, barring death and destruction to my family, currently my worst nightmare and I've just had it.  

I wonder if I've heaped too much expectation on TMoF.  I believe it to be good, commercially the most viable thing I've written, without compromising too much.  This inner belief, the gut certainty which one seldom gets, has impelled me to promote it and shout about it more widely amongst my friends than I would have dreamed of doing with previous efforts.  And on the whole, I felt I was coasting towards publication in the not too distant future.    This dream has shattered those feelings and replaced it with a big dose of "What if I'm wrong?  Do I have a plan B for the book?  Will I self-publish after a year of getting knocked back?  I have hopes from America, the US market might be wider and deeper, but I'd have to remove those sarky remarks about American tourists.

It is also true that TMoF isn't the only pawn in the game, the re-write of the Ash Grove is on the agenda next.so...it wouldn't be the end of all my hopes.   Nevertheless, it would have a very negative impact if he turned me down.  I'm not saying TMoF is the greatest work of literature ever, or even the supreme commercial novel - only that, for once I know it's good! It really doesn't have anything much wrong with it, and I know that there's a market out there for it.  If an enterprising independent publisher who publishes a wide range of titles doesn't pick it up, it would really squash my hopes of a more conventional agent or editor liking it.  

Sunday 18 October 2015

Paralysis

So - what happens between books?  Oh - everything and nothing.  Usually, to date, I've had a burning idea for another book and I've been researching and sketching things out and so on.  Alternatively, there have been previous works to amend, re-write and generally tinker with, and lots of submissions.

For some reason, perhaps because I have two no burning ideas for another book, and  potential publishers a tiny bit interested in two books - subject to re-writes - and 200 other things that might go wrong - I feel totally paralysed.  If I start working on changing one, I then feel distracted and want to do something on the other.  I have dedicated myself to The Ash Grove for the last week - and done nothing.  Next week I am going to start with re-writes to TMoF - because I've had good feedback from Tara and have wanted to fiddle with it.  Perhaps if I tell myself this is the week to do it I can finish and make a start with TAG after the half term.

When I say this, it all seems reasonable and sensible, no one's hassling me for them after all.  And that's probably the trouble.  Because while I feel good about TMoF on one level, I feel that because it's a seldom seen topic, transcending genres etc. that it may be even more difficult to place than any of the other books.  There is a bit of me that is saying "what's the point?" and at the moment that voice seems stronger than all the positive feedback.   So, spending a day in my dressing gown, replying to emails and trying to sort things out - and editing M's article on the Roman elephants for Minerva begins to seem like an almost serious day's work, especially as it is a Sunday.  I felt able to do this because I got my share of social life on Friday night (theatre) and Saturday (demo in Dover, followed by Ruth R's vernissage).  So today it was either gardening or the laptop.  But not writing.  For some reason I don't write on Sundays.  However, I still have ideas, and hope to remember them on Monday!

Let us hope that the paralysis is temporary (it's lasted a couple of weeks now) and that the negative voices in my head are simply a sign of a slightly compromised immune system (new thinking says this could be the cause of schizophrenia).




Sunday 4 October 2015

Submissions and the lunar cycle.

I often send batches of submissions out at New Moon (the Rudolf Steiner system) and coincidentally I usually get a lot of rejections around the Full Moon. This could be because agents go wild and start shredding their slushpiles before the very eyes of their terrified assistants. Astrologers would say it's because the Full Moon is a time of completion and fulfillment/endings. The menstrual cycles is said to be "naturally" aligned to the moon's phases: ovulation at New Moon, menstruation at Full Moon. Does this mean all those spates of rejection letters are a result of PMT? Should I just submit to male agents, or is there some testosterone equivalent? Weirdly, I've just noticed that this Full Moon has not brought on the usual round of rejections, not even on the Friday (often a favoured day for dealing with the slushpiles). i

Sunday 20 September 2015

A rapid response - 2 days later!

"I don't feel it's right for our list" is a common kiss-off line from agents.  It's actually perfectly fair and plausible - they feel the authors they represent have a certain "house style".  Which, especially in a smaller agency, is almost certainly true, since their authors are all hand-picked after all.  But when you look at a literary agency's client list and find it is full of people you haven't heard of, who have written books with really unattractive covers, it becomes difficult to know whether you fit into that particular bunch of "middle list writers" you haven't heard of, or another bunch, represented by another agency.  What you could do of course, is check out some of those authors' works on Amazon.  This would take a few hours, days, if you were really assiduous, but at least you'd know not to submit to that agency.  

The trouble is, all the writers I really like are represented by uber grand agents - who don't even allow writers to submit to them - you could burn incense and rare meats under their noses for 40 days and still be turned away.  Short of being personally introduced to them by William Boyd or Seb Faulks you have no chance with these guys.  Being rejected by them would be a privilege, being rejected by a small agency run by two young women who were made redundant from publishing jobs and couldn't think of anything else to do, feels a bit humiliating.  I know, I am sounding all Ed Reardon now... (http://www.bbc.co.uk/programmes/b006r5ck) but, like the Murphy's, I'm not bitter. And I would, of course, be very happy to be taken on by any agency run by two young women recently made redundant from publishing jobs. Or indeed, run by men, coyotes, or mutants from outer space.  

Saturday 19 September 2015

Trumpet sounding....

It is all about the publicity isn't it?  So when I submitted to the agent who'd been on my mind, I saw that her agency wanted evidence of what one had done to promote the book.   Now, to me it seems like appalling hubris, but some people start FB pages to promote their books, usually after they are published.  However, other people start pages before that, and I have now joined their ranks.   This is the link  https://www.facebook.com/The-Malice-of-Fairies-519328408225637/timeline/

I had of course posted on FB in July, a link to this blog and the first chapter, and I'd tweeted about it...but having a whole Fb page seemed one step towards hubris...self-delusion, and downfall.  Anyway, so far I have 43 likes which isn't bad - and even likes from people who don't know me.  So now I suppose I had better go off and tweet the link to my followers (all ? 200 of them).   And then I have to think of new interesting content. Which I might stick up here on the blog... and post links to it.  It's a kind of massive circle jerk really.

Thursday 17 September 2015

Today's rejection

I had an agent rejection - it was " You write well, but I'm just not sure it'll stand out enough in what is such a competitive market." 

What, there are so many fairy abduction novels out there?  No, she just didn't like it.  No matter.  I would love to know where all these mysterious agents who represent books about fairies are though!

For the last few days I've had a particular agent's name on my mind - but I'm not sure if she represents this sort of novel, still, I can but hope.  I wrote a longer than usual account of myself, since this agency wants to know if one is approaching the matter in the most professional way possible.  So as a result I felt compelled to set up an FB page.  Then I felt full of hubris - suppose this one doesn't make it either?  How silly will I look?  I am searching for some nice images for the page, I was looking, inevitably at Arthur Rackham, and I found this one rather sympathetic. I don't think it's quite what I want on the cover though.  If there ever is a cover.  Then again, who knows, I might be searching for covers any month now.

Sunday 13 September 2015

A submission to a publisher

I have never submitted one of my novels directly to a publisher before - and today I have.   A few weeks ago I attended a mini literary festival called "Margate Bookie" where I met (amongst others) Matthew Smith of the newish independent publishers "Urbane Publications".  I heard him speak at WhitLit in May, and Tara was so impressed that she signed with him.  I interrogated him about his publishing model, which he calls "collaborative publishing" and involves more input, and work, from authors.  But the work is chiefly of the going around and doing signing and speaking about your book - which I can't see would be totally arduous.

I sent him a note 2 weeks ago, and didn't get a reply and I was a bit discouraged, but now I thought, Oh sod it, just send it to him.  He had said I could if I wanted to.  I think we were both being a bit "cool".  Today I received another lovely rejection from Juliet Pickering who said she just didn't "do" suspension of disbelief and thus not magical realism...but many other agents would.  I cheekily asked her to suggest a couple of agents to help cut down the slop of submissions.  We'll see, I've also done one agent submission this morning - so I'm hoping!

Anyway, I am full of grandiose ideas about how this novel will do commercially - and wonder what to do next - I had planned lots of agent submissions this week, but if Matthew likes it I will be writing a different sort of letter.  And maybe I could focus on US submissions instead.

The unnerving thing is that I know about this, I am feeling an internal resolved confidence that I haven't felt about anything for years (oh wait - did I know TRF was going to be published - ulp, I think I did).  Then again I sort of knew that I would get some interest in another quarter (not being explicit here for fear of making assumptions) and I have had, just need to do the necessary work first.  Anyway, we'll see.  Of course one is always hopeful about a new production, but the fact that I've had so much really good feedback on this one does make me more confident.  Of course there are those whose response is "Urggh - fairies" (who include the author of Duncton Wood - a series of books about talking badgers).  But most people love the premise - the uber rational meeting the irrational world.  One reader enjoyed the fairy sections more than the real world ones - and that seems to be a good thing - suggesting I've successfully conveyed the relative dullness of Deirdre's world - compared with the intensite of life in Faery... the opposite of Jonathan Strange and Mr Norell - which is a most wonderful, incomparable, book.  And may be that tension between the two worlds is something I want to consider - if I continue to write about the "interface" between these worlds.  Traditionally faery isn't much fun... all the appearances are just glamour...to hide the truth of what it's really like, and of course because it was important to distinguish between the false pleasures of faery and the true pleasures of Heaven...

The real inspiration of the book though is the Pilgrim plays of Sebastian Bankiewicz - which deal with real humans who come into contact with faery or magical matters.  He bases his stuff in English folk traditions...but still comes across examples of belief in the "old ways"... white magic etc.  I should have researched that more.  

Thursday 20 August 2015

Ignoring Stephen King

A week or so ago I decided to ignore Stephen King's advice - no, not the bit about adverbs, she typed defiantly, but the bit about leaving your first draft for a month before looking at it.

I know it makes sense, and I intended to turn my energies to The Ash Grove but that was delayed for various reasons, and I'd had some feedback on The Malice of Fairies that I wanted to deal with.  So at the end of last week I plunged into the printed copy, going through it and making notes, trying to switch one or two scenes, and making notes on what I wanted to write.

As usual, I noticed a number of things: the sections I knew had been pure slog "I - am - writing this - be-cause- I -have - to..." scenes, generally needed more work than the "pure inspiration scenes" many of which came out perfectly formed and needing virtually no editing.   This was gratifying.    Slightly worryingly I felt the book fitted together, and though Anna said she didn't want to stop reading, I thought it both rounded the story since we saw how Deirdre had changed, and also left the possibility for a future book.

Today I wrote and edited and proof read all day and finished the second draft.  I am happy to change things, if necessary, and to take professional advice, but otherwise, it's largely agent ready. And I feel happy and successful, the repeat of the sensation I had when I completed the first draft, the feeling that this is good, and enjoying the idyll before I start submitting it, and getting back rejection letters!   I submitted it to a "new" agent yesterday, one I've never submitted to before.  Exciting!  But I should also submit to the rave rejectors of the past.   Once I have flung in a few submissions I can sit and cower with misery - or get on with The Ash Grove.  


Saturday 15 August 2015

Useful advice

I realise this sort of blog would be of great interest if one had an immense loyal readership, fans even, but I do not (yet?).   What most writing blogs do is provide useful advice about the writing industry,on this I have fallen down terribly.

I suppose I could offer writing advice a la Stephen King, but why should anyone take the advice of an unpublished novelist?  What do I know?  I have read some writing advice books, but ultimately it's "apply appallingly spreading bottom to a chair by a laptop and stay there until novel is complete.  If stuck, go for a walk.".

I couldn't tell anyone how to write - although I have a few useful tips about how not to write.   Then again, all these would simply be a reflection of my own literary taste.  Well organised self-promoting writers invite other writers to write guest blogs on how to write - and leave all the heavy lifting to them.

Most of the advice on other writing blogs is fairly repetitive - a regurgitation of creative writing classes I guess, but still useful to people like me who have have not actually "learned" how to create realistic characters, or to heighten a sense of tension/emotion/fear - but have been vaguely struggling in that direction through trial and turgid error.

I think that while this blog does not provide useful advice as such, it does show what an appallingly lengthy process it is to get oneself established as an author - and how lucky one has to be.  Writing well (see Dan Brown, passim., is a very small part of it).  There are ups and downs and near misses and rave rejections, and still one does not get published.  I think TMoF will - but I doubt if the known agents will necessarily snap it up.

The Ash Grove - some quandries

I paid a very high powered Irish editor to read and comment on the Ash Grove (she'd laugh if she read that I think).  She was far less critical than I expected, but did make some very valid points about the story and how it ends.   She wasn't keen on it being part of a series, but when I'd explained my grand scheme for it, she seemed mollified, but wanted to feel it would be a stand alone novel with its own characters that could be read on its own.   Which I would of course make it.  My model is  Pat Barker's Regeneration but I don't pretend to her level of research and insight and I doubt I could achieve anything quite as brilliant as that.

The joy is that G liked it - she liked the writing and found the characters fascinating - which was wonderful, because I was worried about some of those characters - a bit too formal I wondered....but I think it's good, because they gradually unbutton a bit during the book...and will do even more in the next one, if I ever need to write it.

She made several practical suggestions which I agree with - but I am going to find it hard to decide on a new title... I may go back to calling it Conscience again.  I do like The Ash Grove  - because I understand the play on ash, as the tree - but also the ashes from burning, of something lost, of the destruction of war...but we will see... G is thinking of a less literate and more hard of thinking audience than I am, and no doubt she is right.  Let's face it - would I rather write a bestseller or a great literary novel - Anna Karenina or Princess Daisy?  Can you do both? Could I ever do either?  I expect everyone dreams of writing a bestseller, but probably the best one could expect is a solid slog through a series of popular, commercial fiction.  In the late 20thC have there been literary novels which were best sellers?  I have a long pause and I think - Captain Corelli?  Not great literary exactly;  Unbearable Lightness? was it a best seller?  Given the opportunity, would I rather write a novel that is being read in 50 years time or one that brings £50,000 or more...Can you do both?  And isn't it all just a blip of the market in some way...the luck of the draw - appearing in the right season, in the right mode, with the right cover even?

Perhaps I could keep the title The Ash Grove  if I used a line from a poem like Ash on a young man's sleeve, is all the ash the roses leave - then readers would understand the play on the word, the song itself is about lost love etc.  Perhaps I could have that as the epigraph?  I'll have to think about a lot of things, probably for quite a while, which is why I am going to deal with TMoF first..


Thursday 6 August 2015

Post scriptum omne animal triste est...

The writing has reached the unpleasant point where the euphoria of having finished the first draft has finished, and while feeling pleasantly undaunted by the prospect of revising and re-writing - one begins to wonder what will happen if it meets the same enthusiastic lack of interest the other works have experienced, if it will ever get published, and all the fond hopes that one had had on completion of the work seem to be nothing but egotistical fantasy.  But this time I did feel I was beginning to get the hang of it all, the writing lark I mean.  It is far from being a work of "extraordinary genius" - it may be more commercial than literary - although I hope it has enough resonances to last a little longer than some of the books I've read recently. 

 I was introduced to the concept of "alterity" last night - or rather the word for it - I was aware of the idea, I just don't know what the current academic/theoretical names for things are.  Anyway, in literature it was described as being "magical realism lite" - which I rather liked.  I would hesitate to describe The Malice of Fairies as magical realism exactly. M has always snorted that there is too much "magical" stuff in my other works.  This is monstrously unfair - I wish it were so. 

The above is copied from the other blog... and since then, I have had a rave review from a very kind friend who "couldn't put it down"... this is the first person to read it all, and since she has an English degree I will take her compliment reasonably seriously.  She thought the end needed more jeopardy.  She's right.  I think I may betray the conventional wisdom about leaving a first draft fallow for a bit - and just re-write it now, "while the humour is on me" as Tara said earlier. 

Wednesday 29 July 2015

Restless

Between things, I always feel restless, not writing feels odd, and I start writing reams on FB, or doing reviews on Trip Advisor or adding unecessary updates to my Food Odyssey blog....

I have just escaped another screenwriting project: I started out keen, but when I began to read through the documents I felt that while this was a fascinating story for one of his descendants, it didn't really offer the kind of story arc one needs for a feature film.  It is interesting - but I think it would need the oomph of a bigger name, and even, dare I say, a bit more experience of the industry.  I think if one has a good story. then it's not a problem - but this story wasn't enough for 90 mins, and would have needed skilfull padding...

So, I'm FREE - had a day off today, but still started to edit and fiddle with TMOF because I want to submit it to an open submission thing.  And I am awaiting Gaye's verdict on TAG - so that will be the next task, and Tara and another friend are reading TMoF - so am hoping for useful feedback from them.

Heigh-ho!  I wish I could enjoy the liberty!

Wednesday 22 July 2015

The Malice of Fairies!

It is finished!  And here are the first few pages, first short chapter actually..  Picture of Ballyalban fairy fort courtesy of tripadvisor.   This post has now been edited, since the book has been, and the new improved first chapter c. April 2016 has replaced the original one.

Cover by Tara Moore



Chapter 1
Hallowe’en
“So, how come I’m the only one booked in at the Freke Park Hotel?” Deirdre asked Róisín, the conference manager.
 “Didn’t you request it? You ticked 5-star on the form – and it’s the only 5-star hotel in driving distance. You have your satnav?”
“Oh, yes, if it will work out here in the sticks.”
“You’ll be grand, so!” said Róisín, in a tone of steely cheerfulness.
Outside there was a gibbous moon and once Deirdre had pulled out of the conference-centre car park and into the dark country lanes, the scene was eerily lit. At first she drove confidently – only slightly unnerved when she looked into the mirror and found nothing but utter blackness – no street lights, no headlights behind her – just deep, enshrouding darkness. She was comforted to hear the satnav’s mechanical instructions occurring regularly. But it was strange – she didn’t recall it having an Irish accent this morning, when she’d picked the car up at the airport.
She had been driving along an interminable road through rough grassland land and bog, with no sign of any farm buildings, let alone a 5-star hotel, when she arrived at a crossroads. The satnav was annoyingly silent. She slowed down, then stopped by the Yield sign – peering about hopefully for a signpost, or even some evidence of human occupation. In one direction, the road went slightly uphill, and the beginnings of a hedge sprouted along a poorly maintained stone wall. In all other directions stretched unbounded tracts of bog. She probably ought to just go straight over the crossroads since there was no signpost. The right-hand road looked more domesticated though: that hedge indicated some sort of farming activity, and perhaps there’d be a place where she could ask directions.
A movement, glimpsed out of the corner of her eye, made her skin ripple with gooseflesh. A sinister dark shape was moving purposefully across the bog towards her. She quickly turned the key in the ignition, then panicked as the car wheezed, refusing to start. At a second try it coughed into life and she moved forward with relief, her headlights now picking out the old sheep which turned skittishly and trotted off.
Don’t they sleep? she thought irritably.
She turned right, and the satnav came alive.
Change of direction has been noted. Will I re-compute the journey for ye now?
“What?” This was mad – this was taking cute Irishry to desperate ends – next time she’d ask for a regular satnav – not some Tourist Board whimsy.
Or would you rather just go your own sweet way?
Deirdre felt panicky: this was not satnav-speak. She had heard her grandmother saying those words to her a hundred times throughout her childhood. For an instant she imagined that some thing, some entity, had taken it over. That was ridiculous – nothing could interfere with the laws of physics. It must be some daft folksy program they had put in. Perhaps if she re-set it …
She stopped the car a little farther up the road, where the hedge had given way to a thin band of trees. She re-set the satnav, and waited while green lights flashed on the device until it appeared to settle down.
When the satnav spoke this time, it had an old man’s voice, uttering the immortal words: “Well now, if I was you, I wouldn’t start from here.
“Christ on a bike!” She clicked it off.
Damn it, she’d find her own way to the hotel. It wasn’t rocket science. She had a map too, an old Ordnance Survey map that had been in the car – the last hirer must have left it there. She opened the glove compartment and pulled it out. There was the conference centre, and there was Freke Park. So she must have come this way ... now was it this crossroads … or that … perhaps this one? The contours were changing. Then she gasped as the interior light went out. She scrabbled at the switch, but nothing happened.
It was now so utterly dark that she could barely see the road beyond the headlights. Deirdre flung the map on the passenger seat. She’d seen enough – she’d go on up the hill, see if she could find a farm to ask directions. Failing that, she’d soon arrive at Caisleanshee, which looked like a small village. Surely there’d be a bar there? It was still only seven thirty; she’d be at the hotel in time for dinner. She started the car again and drove on up the hill. The trees were dense and full grown on either side now, and they reached to meet each other overhead so that she was driving through a deep tunnel of boughs, which were still well-leafed. At the brow of the hill, the road fell steeply down, but she noticed an opening onto a green way off to her left, through the trees. That must be the drive to a farm, she thought. There was a wooden noticeboard as she turned into the lane, but the sign was written in Gaelic script and she couldn’t make it out. It was so silent, driving across grass, through the still tunnel of trees. The lane ran steeply downhill – she felt as if she were tumbling down it towards something. As her headlights cut the darkness, through the rear-view mirror she saw it falling back into place around her, unscathed and absolute. She felt like the only person in the world.
This is quite a drive, she thought, hoping it would be a short cut to the hotel too.
After several minutes of uncertainty she stopped. She’d always been afraid of the dark – now she was trembling with the effort of not giving in to her anxiety.
This is ridiculous, she thought. There’s nothing threatening you, you’re out in the countryside, in one of the safest countries in the world. You have nothing to be afraid of!
The moon had deserted her, invisible beyond the trees which were packed together as densely as fencing pales. And if she switched the headlights off ... but she was not going to do that.
How much farther can it be? I must have gone a mile already surely ... I’ll turn around, that would be best.
But she could see that the road was so narrow that it would be impossible for her car to turn in it.
“Oh, if only I’d got one of those tiny cars – that would have turned here, no problem!”
If you’d a smaller car, the road would be narrower,” a woman’s voice said.
Deirdre yelped. “Who’s that?”
But there was no answer. She looked about – certain there was no one outside. With a loudly beating heart, she cautiously opened the door – it scraped against the stone wall – the road here was barely wider than a parking space. There was nothing to do but go on, and hope she could turn in a field gate, or indeed in the farmyard she was expecting to find any minute.
A little music perhaps? she said to herself, clicking the radio on.
She pressed the different buttons, attempting to find one audible channel – but there was nothing but crackles, and white noise, until at last she found a station which was playing, very faintly, some fiddle music. It wasn’t her sort of thing, but it was the only thing available, so she started the car again, and drove on, fighting down a fear that it would get narrower and narrower and she would have to somehow reverse all the way back. More time passed – she wasn’t sure how much, since the car’s clock seemed to have stopped when the interior lights gave up the ghost. Thank heavens for the radio – but then again, this station seemed to play nothing but fiddle music, with no announcements, adverts or news flashes. It alternated between lively dancing music, so vivid that she could almost see the fiddler’s elbow bobbing and swooping, and slower, majestic, heartbreaking tones, that seemed to convey a lost grandeur, a noble race whose glory had faded forever.
As one of these tragic pieces came to an end, so did the road and she found, to her relief, that she was in a small green circle with room to turn around. There was no farmhouse though: the road ended here, in a steep wall of rock. Deirdre thumped the steering wheel in frustration, and accidentally hit the horn. To her surprise the sound was echoed with a couple of seconds delay in the radio broadcast. For a moment she felt her hairs rise a little. How could that be? A coincidence. You occasionally heard these things on live Radio 3 concerts – a police siren serenading the Schubert or whatever.
Deirdre sat up straight and took a few deep breaths – she had clearly been breathing too shallowly – her brain was starved of blood – that was why she was feeling panicky. There was no way out but back, but it looked like there would be enough space to turn around and leave by the way she had come. She drove cautiously into the circle but, as she turned to face the opposite direction, she was horrified to see the headlights of a car approaching along the lane. There’d been no sign of any car behind her before – how on earth had it got this close without her noticing?
It would probably be a local farmer, someone who could give her directions, but she couldn’t see how they would both be able to turn about in this tiny circle. As the car drew near her, she saw that it was a small, neat sports car. Was this a lovers’ lane? This circle would be ideal for a courting couple. Romantic even, if you were in the mood, but Deirdre was definitely not. A shower, a change and a hot meal were her sole desires at present. Still, it was embarrassing. She’d have to ask them to help her out. She manoeuvred her car to the side of the circle to make room. However, the car stopped in the mouth of the lane, blocking her way out. He – it would be a man of course – had deliberately blocked her exit! Deirdre was really frightened now, and quickly turned to lock herself into the car, but there was no reassuring click of locks – had that failed too? Well, she’d just sit tight. What was it they said about opening automatic windows in dangerous situations? Don’t! was the only advice she remembered.
The door of the little sports car opened, and a surprisingly tall man unfolded himself from the driving seat and crossed the green circle to her. He didn’t seem fazed by the headlights, which illuminated his almost glowing green eyes. That’s not possible, she told herself, noticing how incredibly attractive he was. This was irrationally reassuring. Surely such a handsome man wouldn’t have any evil designs on her?
He bent down and briefly touched the driver’s window – it slid down smoothly and he leaned towards her. She could barely bring herself to look at him. He was so gorgeous she was afraid he would see her interest on her face. But she still had to get herself out of this.
“I’m afraid I’m lost!” she said, as cheerfully as she could manage.
“Were you looking for me?”
“Well, I was looking for someone to give me directions.”
“So, since I’m the only one who lives hereabouts, you were looking for me then.” He smiled, with curving lips that reminded her of an Aubrey Beardsley faun. She found herself checking his ears, to see if they were pointed, but they were covered with brilliant, thick red-gold curls.
“I suppose I was then,” she said, smiling up at him. God, this is ridiculous, he’s so ...
“Well – you’ve found me now.” His voice had a husky edge to it, and he was smiling faintly, but invitingly.
“I wonder, could you tell me the way to the Freke Park Hotel? My satnav went on the blink at the crossroads down the hill and I got confused.”
“They’re terrible things, aren’t they? I never use them on my roads – I won’t have them.”
“You surely don’t need one for this area yourself?”
“No, no ... now, let me think.”
He turned his head to one side and half-closed his eyes, allowing her to admire the slightly slanting lids and the high cheekbones. Suddenly Deirdre felt very lumpen and ordinary – even if he came back to the hotel with her and she changed into her smart black dress, she’d feel too dowdy to be seen with him.
He dropped his head to look down at her again, and she could see he was assessing her. She didn’t really mind as much as she usually would have.
“I think I’ll turn around and you can follow me to the hotel – that’d be best, wouldn’t it?” he said.
That voice: warm and deep as an embrace.
“Oh, would you? That’s so kind, but if you can just show me on the map ...”
He pushed it away. “It’s no trouble at all – I’m always happy to help a visitor – just follow me.”
He got back into the car and it turned about without doing any obvious manoeuvres ... as if it compacted itself, spun around and then elongated itself, as it was now a long, elegant, low-slung car, rather like an old E-type Jag. Since this was impossible, Deirdre did not believe what she was seeing. The darkness and her fear had discombobulated her. His car started up the lane at a fair old lick and Deirdre followed. He was the perfect guide, slowing at the crossroads, indicating in good time. It was all too easy to follow him, and within a few minutes he was driving into the brightly lit hotel car park.
During the drive, Deirdre formulated her plan: she wasn’t going to let him get away. She was on her own this evening, since Niall had abruptly dumped her by cancelling their plans for dinner, and she would be happy to have the company of this handsome local landowner, or whatever he was. She was betting he was a bachelor: a car like that, no wedding ring. He might be gay of course, but she was curious know more about him.
He parked his car beside the hotel and she jumped out to speak to him. When she touched the vehicle she was surprised to discover it was not apparently made of steel – but a soft, almost rubbery material. It must be one of those new smart materials which could be programmed to change shape and so on. He opened his window.
“Thank you so much for your help,” she said. “I was quite lost out there.”
“You were nearly entirely lost, but I’m delighted to have had the opportunity to help you.”
“Can I buy you a drink to say thank you?”
He inclined his head.
“That is, if you don’t have another engagement?”
He looked up at her, his eyes looking straight into hers – and to her surprise she saw a distinct interest.
“Why don’t we have dinner together and make a night of it?” he said.
The low, slightly rough tone in his voice suggested something earthier than his sophisticated appearance.
“That would be lovely – I think the food’s meant to be pretty good here.”
“Wouldn’t you rather come back to the old castle with me?” he asked.
Deirdre’s skin prickled ... having dinner with him in the carefully lit hotel dining room was one thing ... but going to some old castle, however charming and traditional – she didn’t like the sound of that at all. The hotel dining room was nice and public, but presumably they’d be on their own at his castle. He was a stranger, anything could happen, yet no alarm bells were ringing – she was more concerned with the trivial horrors of dust, damp, draughts, cobwebs, spiders, beetles, mould … and yet ... She felt herself being gently nudged towards saying yes and having no resistance to the proposal.
He would have a drink in the lobby while she changed for dinner.
After a quick shower, she came back downstairs in her black dress and some jewellery and saw him sitting in a wingback chair, turning the pages of theIrish Arts Review. With his tumbler of whisky beside him, all he needed was a red setter at his feet to look every inch a member of the gentry. Out there in the green turning-circle by the rock he had seemed austere, aloof. His beauty had been almost sinister, but now, seeing him in proper lighting, everything about him appealed to her, even his slightly outré green velvet jacket. It gave him a charming, sexy, boho air. Of course a lot of these gentry types were old hippies really. She hoped to God he’d got a decent bathroom back at his place and that the “castle” wasn’t just some glorified tepee in a field.
She handed in her key at the desk.
“Are you not eating with us, Professor Riordan?” the receptionist asked.
“I’m sorry – will you cancel my reservation please – I’ve been invited to the old castle for the evening.”
The girl looked at her in astonishment.
“Do you know the place at all?” she asked in a low voice.
“No – my friend over there is taking me.” Deirdre gestured in his direction – but the wingback chair stood empty and the glass empty beside it on a table.
The girl nodded uneasily. “Oh, that gentleman … but he’s … Well, I wish you a pleasant evening.”
This small exchange gave Deirdre a slightly frosty feel, but her “gentleman” was standing by the door waiting for her, giving her an approving look.
“Have you a coat?” he asked.
“It’s a warm enough night – the jacket will be fine, won’t it?”
“I’m sure it will,” he said, putting his arm through hers.
As soon as he touched her, she felt two conflicting sensations: the first a sort of limpness, as if her intellectual faculties were draining away, then a weird vitality as though a green sap was pumping through her veins, making her feel intensely alive. The “body-mind disjunction”, was her last rational thought as they walked towards his car.




Tuesday 21 July 2015

Prophetic?

When I told T that I was not going to work on Borderlines, because I had my own work to do, I admit I was worried that it might not pan out quite like that.  But, barring accidents, I will finish The Malice of Fairies tomorrow.  I have also heard from the lovely Irish editor who is critiquing The Ash Grove for me, that she likes the style and the characters (there's a but coming) and she'll be in touch at the end of the week... perfect timing!

For once my "prophetic phren" has delivered - and I have been fully occupied with my work, and completed a great deal... if I had been fretting about Borderlines all this time I doubt if I would have achieved half of this.

Thursday 16 July 2015

Strange incidents in the creation of a book

I've been reading a memoir by my cousin Moyra Caldecott,  Her book Multi-Dimensional Life is a fascinating account of how a great many unexplained phenomena have helped and inspired her writing and given her a deeper spiritual awareness.  In particular when she was writing about the Egyptians, such as Akhenaten, all sorts of weird events occurred - not least her trip to Egypt with Tina Turner - others of a rather more terrifying nature.

Cover by Olly Caldecott
I veer and struggle between a fairly rational approach to things, and a belief in the psychic/spiritual which some people would laugh at.  I take most accounts of irrational phenomena with a big spadeful of salt - but I am always open to hear personal experiences which don't rely too much on coincidence and credulity.

As I re-read the book, I recognised a lot of things I had in common with her (well, I knew this anyway), telepathy, a sense of the eerie, occasionally a sense of evil presences and I have also experienced those sequences of significant events occurring in a short time (Jung's Synchronicity) which seemed to have a meaning (although I am wary of attaching meaning to something which may just be coincidental).

The sort of event's Moyra described are also familiar to Christians who "live by faith": phone calls from strangers who have to give you important news, a cheque arriving for exactly the right money at the right time, healing, finding exactly the right book you need for your research, a book falling open at a significant passage.  All these were things that occurred to progress her writing, deepen it.

Since I've been writing The Malice of Fairies I have had one or two experiences - one friend has brought me magically relevant books, and I have had moments of wild inspiration - common to most writers I think - when the book just writes itself.   Two of these moments came while I was in Cardiff visiting my mother in law (I write better when I'm angry).  Since May I've been wondering what the hell has happened to what I wrote then - two scenes from the last third of the novel. I have been looking in all my notebooks but none of them contained the pages I'd written.   A lost notebook that I'd pinned my hopes on, proved not to have them when I found it.  These few hundred words began to seem crucial to the successful completion of TMOF .  I was really annoyed as I had invented a whole group of new characters and felt re-constructing them would be stiff and stilted.  Also I have now reached the point in the novel where I needed to incorporate them.

Last night, sitting at my desk I saw a small ring-bound A6 notebook to the right of my laptop.  It wasn't there before - I don't know how it got there.  It was folded open and I flipped through it to see what was in it. There were the scribbled pages I'd written on a Welsh bridge on Easter Sunday, and in the Cardiff Museum the following day. There is probably a rational explanation for its sudden appearance, but the fact that it was sitting next to my laptop, just where it was needed, the night before it was needed, does seem like a miracle. The fact that I'd been feeling such a connection with Moyra through re-reading her book (available on Kindle) encouraged me feel (as she might have) that I was getting help from some greater power - perhaps via Thoth, Hermes or one of the Muses, or maybe Moyra's already found a new role in the Life Beyond.

Perhaps less is more?

There has been a lot of grief - but at our last SoA meeting we were meant to discuss "What my writing passion is" and I realised that my writing passion was to work on my own creation - to do work that I had conceived and could fashion myself - not becoming increasingly bored with a smash/bang conspiracy series - which is what Ransom is increasingly becoming.  I was still not very engaged with the characters and saw no sign of Tony doing anything much to rectify this.  I talked a bit about it and several of the SoA men told me furiously I should get a contract immediately - and later Tony (another one) who has worked in tv for 40 years in virtually every capacity - told me quite firmly that what the other Tony was doing was "unethical".  So - greatly daring when I got an email from him saying "The plan for July is that we are going to work on...." I found myself thinking, "well, that's not my plan for July".  So I sat down and emailed him back and said - awfully sorry - but have to work on my book - so can't do this now.  Also isn't it time we had some sort of formal agreement for our co-operation?  I sent it to the whole Borderlines team... and I pointed out that I needed to finish my novel and start on a re-write of TAG.   I waited a week and then he sacked me.

I felt a bit narked that he said several somewhat putting-down things in his email - about me not being a team player (this, my child, is what we therapists call projection) but I rose above them!  And Tara was nicely rude about him, as was Jill who has a lot of experience in tv... so...and then of course there was a great liberation.  There have been some sticky patches, but The Malice of Fairies has surged ahead and I am in the home strait at last.  I haven't replied to his last effusion - but his "that's not the way we work" comments when I've made suggestions (note royal "we") haven't endeared him to me.  I don't think the experience has been completely wasted, but I have definitely found it tied me down and made it harder to write my own stuff.  

When we first discussed the project he said airily "Oh, the beauty of this is that you'll have plenty of time to do your own work..."  My riposte should have been "How do you know - have you ever tried it?"  Of course he hasn't.  I'm at a loss to know what he actually has done - because I can't find him under any of his aliases on Google and he doesn't appear to be one of the East Enders writers, or to have written a play performed at Edunburgh about Captain Swing... so I am at a loss to know why he feels he can tell me how to write.  On Google he doesn't appear to exist - on Google I have plenty of entries - some for writing! entries.  So.   The point is, it is incredibly difficult to get creatively excited about stuff if you don't have any real input, if your ideas are not used and your "co-writer" won't give you anything to do - or then decides he doesn't want that scene because he's changed the story from what you discussed in your meeting.  If the writing were brilliant one could accept it, but frankly some of it was gibberish and ruthlessly under punctuated - one was always getting a rough draft, and if you complained you were told it was at an early stage..."so maybe you let me see the whole one..."  I think it was a bit of an ego trip to have modest females politely admiring his stuff.

About 10 years ago if this had happened I would have been devastated and wondered what I had done wrong - but now I think that even if the thing does become must see tv and the boxed sets are flying off the shelves in HMV my withdrawal from it will not be a bad thing.  He says they will pay me for my contribution - so if I get £100 out of it, it'll be something (although it's a pretty poor hourly rate).

Anyway - I am now involved in less work - and am convinced that I have far more energy and imagination as a result.   So onwards to the end of MoF.

Wednesday 27 May 2015

3 months!

Yes, 3 months since I last wrote on this blog.  I blame politics, the trip to Greece and everything else.

So here is the latest update:  The Romantic Feminist - firmly stuck in virtual bottom drawer.
The Ash Grove - 2 rave rejections, 1 normal rejection and 5 non-responses...
Darren - nothing happening
The Malice of Fairies - I am now up to about 45,000 words, have a strong idea where it's going - and am enjoying working on it.

Ransom - on going - on to Episode 5 - a lot of reading to do before next week...

And now we are starting a new series of scripts - Borderlines which I feel will need a lot of research - which I am reluctant to do...but it's important.

I have only got back to writing in the last week or so, and I have been editing the first half of MOF - before pressing on with the rest of it.  I should be working harder - but there's a limit to how much writing I can do in a day, and if I've done 3,000 words of MoF - as I sometimes do, it's better to go and do the garden, or clean the windows or do some ironing!

Thursday 26 February 2015

Submissions again

This afternoon, because I was stuck, I submitted The Ash Grove to 8 agents, 3 UK, 5 US.   This evening I got a wonderful rejection letter from "an agent" it read thus:


Thank you for your email. You wrote such a strong submission letter that I read your chapters on the way home this evening. I think you're a great writer, but after a promising start I'm afraid that David didn't quite manage to keep me interested. His frequent ruminations on his job and his thoughts on women, stood in the way of something more exciting happening, perhaps. And I was slightly concerned, even as I read your letter, that WW1 fiction (and I know this isn't really about the war, but it can't help but involve that context) has been widely published over the last 18 months and editors are looking for something a bit different now. 

If you write anything else and are still looking for representation further down the line, I'd be glad to hear from you again. In the meantime, good luck with this novel. 

With best wishes,


 You can't really expect a much better rejection email... it's gloriously frustrating though - she begins to suggest what's needed, but I'm thinking - I could re-write and dynamise it more, but if there's no WW1 market anyway...  I had the ingenious idea of asking Eyvor to read it - and she will ask a friend to read it too - so with luck I might get some really helpful feedback and do a re-write.  It's all so difficult. But as I'm having a break from TMOF...it doesn't seem such a bad idea to re-visit it.  Eyvor said she'd read it on hr return journey tomorrow - which is fab!


Wednesday 25 February 2015

Stuck

It's unusual for me to be stuck - but I've become aware that I can't write much more without getting into territory I need to research, so I have slowed to a crawl and I'm editing and submitting The Ash Grove to more agents.  It's all very well 3 agents picking it up - but nothing is happening with any of them - so it clearly isn't quite as significant as when a UK agent asks for a full read.

The Malice of Fairies has been very enjoyable so far...but I realise I'm trying to do to something rather difficult - I need to work harder on it...MORE research.

Not the anti-hero of this book - but fairy images on Google are horrendous.

Wednesday 7 January 2015

2015

This is the situation.

TRF is in a metaphorical drawer; I keep having ideas about returning it to its purer "literary" form, but think this would be a waste of time.

TAG is still in the US - but I have really no hope that either of those agents will take it up.

GATD is in disgrace.  There's nothing really wrong with it - or nothing I can work out, but there is a big empty feel about it, and I don't feel the urge to re-write/edit or do whatever is necessary...so I won't submit it again just yet...the advice I have had is (a) Focus, and (b) don't send it out until it's absolutely right.

I am now writing The Malice of Fairies - I wrote a little in November, then left it until now.  I have already written 4,800 words this week - so it's up to 22,000 now.  I am pretty happy with it, I have almost got the hang of writing novels I think.  I have also been editing a bit as I go. I am trying to decide whether I feel so positive about it because it is good, or because it is not GATD or because I am enjoying writing it.  I just feel so much better about it than I have about anything...except perhaps TRF - but that was more novelty value.

Looking at this list, I feel it is rather sad that I have all these unpublished novels - how many do I have to have before I finally give up?  Or will I just carry on until I get bored, or too gaga to write, or feel such a failure...

In a way things are good because there aren't any books out and under scrutiny - that makes me very happy.  Nothing to look forward to, but nothing to dread either.