Tag Archives: writing

Under review

I was pleased to find in looking at the Amazon page for my short story collection – The Cat Factory and other stories by Tim Newton Anderson – that it had some very positive reviews.

One of them was from a friend – albeit one I have only seen once since leaving university thirty odd years ago – but the other two were from people I don’t know. All of them gave me five stars and very positive reviews.

It is always worrying when you put something out there that it will be received negatively. Performing on stage is not too bad. You may not get the reaction you want but it is over quickly and you move on to the next event. It’s only if you continually get bad responses you start to worry. My former band guitarist always reckoned you get gigs in a set of three threes – one bad, one ok and one good. Sometimes you just aren’t feeling it, sometimes the audience are not in the mood or are more interested in chatting, and sometimes there isn’t enough audience there to create any kind of atmosphere.

With music you can also quickly go back and work out how to improve the next performance. It is harder with a book. Once it is out there it stays out there. Jules is doing an audio recording for me of the collection and in preparing the files for her to scroll through I’ve noticed several typos I missed despite lots and lots of proofreading. Nothing that major but still annoying to me – and more importantly to the reader.

I also keep thinking of ways to tweak the stories to make them better. If I’m totally honest I’m not sure I would award the collection five stars, because I can see ways in which it could be improved. Perhaps the important thing is the reader’s reaction. They only know what they read and whether they enjoy it – not what I was trying to do with the story. cover

Poetry Rock

I’ve never really been able to do poetry, although I’m quite good at writing song lyrics. I have no idea why I just don’t get how to write a poem.

It may be in part because I don’t understand what differentiates poetry from lyrical prose or plain lyrics. Songs I understand – there is a form to follow. You need to follow rhyme and scansion – even if you can cheat a bit and use half rhymes or assonance, and you can mess about a bit with the length of lines by stretching or compressing words or lengthening bars. I can sort of do lyrical prose as well by working with the rhythms of a sentence and the imagery. But when does that stop and poetry start – especially with free verse.

I am always in awe when I see performance poets in particular – my friend Olly Watson is brilliant at it. I can recognise that when he tells a story it is a poem – even when he uses a structure that on paper would be more like prose. I just can’t do it myself.

Perhaps it is an OuLiPo thing that allows me to write lyrics and not poetry – the constraints of the form are actually freeing rather than restricting – or perhaps it is just that my brain is hardwired for patterns. The structure is less obvious when I write prose, but it is always there. I always have an overarching plot, story arcs for the characters, threaded metaphors and allusions, and a number of set pieces I want to place in the correct pattern. A lot of the stories also place within a meta pattern as a close up on a single part of a larger body of work – a bit like those photo puzzles where you have to identify an item from a small element.

The songs are part of that too – I mention in the novel I’m revising at the moment that the lead character is writing a musical based on the Pied Piper of Hamlin and the Comedia Del Arte canon but set against the backdrop of municipal corruption on Tyneside in the 70s. The novel itself is set against the same background and one of the songs I would use if I ever get round to writing said musical is featured. Others pop up in other stories – never miss a chance to reuse something you’ve done in another context. In the same way stuff I’ve done for writing exercises has made its way into larger works, and I’ve often used bits of the same  research to inform stories with radically different settings, genres and feel.

But poetry…I wish I could do what James Branch Cabell did and hide whole poems inside his novels by punctuating them as prose. One to think about.

Publish – and prepare to be damned

cover

My first short story collection – The Cat factory and other stories is now available to buy from Amazon as an e-book. You can buy it for the very reasonable price of £2.08 (you have to set a price in dollars and this was as near as I could get to £1.99 with the current exchange rate) by visiting either Amazon.co.uk or Amazon.com at searching for The Cat Factory and other stories. Or, you could always borrow it for free if you are a Kindle Unlimited customer (and then buy it).

This is a bit scary – I’ve shared stories with friends but now the great reading public across the world will be able to read and judge for themselves. As soon as you press the publish button, no matter how well you think you have done, the doubts start in your head. Did I sort out all the grammar and spelling properly? Are the cover and illustrations good enough? Most of all, are the stories actually any good? They are the best I can make them without descending into the madness of revision after trivial revision, but how many people will agree?

If you do read it and enjoy it I would appreciate reviews. If you read it and don’t like it, keep your opinions to yourself! (That was a joke – honest feedback is always welcomed).

 

 

Transreal Fiction

I noticed when editing my short story collection how many times I use my recurring character Tom Robinson – a person who shares a lot of their life experiences with me.
Part of the reason for this is that I wanted to use a lot of the events I have lived through and the feelings I had at the time so it seemed “honest” to have a reasonably accurate version of me go through them in the story. I hope I have been careful not to make Tom a hero but a person who shares my flaws as well as my strengths.
Another reason is that I was attracted to Rudy Rucker’s concept of Transreal fiction where you use your own life as a jumping off point in fantasy or science fiction so that the characters are realistic even if the setting is fantastic.
Other authors have used the inclusion of a “me” character as wish fulfilment, but I didn’t want to do that. Tom is normally the narrator retelling what has happened to other characters while he is only a peripheral part of the action.
There are exceptions – particularly the “Dulwich” short story and novel – based on my experiences as a journalist but taking their stylistic cues from two alumni of Dulwich School: P.G.Wodhouse and Raymond Chandler respectively.
The short story – included in The Cat Factory and Other Stories and attached below as a free taster – is a farce where I tried to emulate Wodhouse’s wonderful domino rally plotting. The plot elements are carefully installed at the start and you then just push the first one over and see the pattern emerge as they tumble.
The novel is a noirish crime story with a lot of black humour in the background. A dark sense of humour is endemic in journalism as well as other professions where you deal with the aftermath of tragedy on a regular basis. It gives you a way of being empathic but keeping a degree of distance.
Most of the background incidents in both stories are completely true, although the characters they happen to are removed from reality in order to protect the innocent (and me from libel, although I still have the notebooks). The newspaper I worked for has already featured in one comic novel: Yeah,Yeah, Yeah by Angus McGill, and formed the basis for Norman Wisdom’s Press for Time.
As well as putting in a fictional crime plot I used the mythic subtext of the Fisher King legend. It is set in the Queen’s Jubilee year of 1977 when Elvis died and punk was king. It was also a year of economic and political turmoil as Militant Tendency were struggling for the soul of the Labour Party and the seeds of the Thatcherite revolution and the death of Tyneside’s traditional heavy industries were being sown, as well as the start of change in the newspaper industry as it moved from hot metal to litho and computers. It seemed the perfect setting for a coming of age story with the death of the Council leader echoing the death of so many other things we thought would keep getting better in the heady freedom of the sixties.

Although on the face of it the novel is in the crime genre, I added a few things to make it an alternate reality novel – just because I could.

Tom so far has featured in two novels and five short stories – nine if you realise he is the unnamed narrator of the London Institute of ‘Pataphysics stories. He will feature again in the rest of the novels in the series started with Masonic Fire and may have a walk on part in the Three Wise Monkeys stories.

To read Identity Crisis click here

Self Publishing

I’m busy preparing my short story collection The Cat Factory and other stories for publication via Amazon. It seems pretty straightforward so far.
There are, of course, lots of paperwork to sort out. As Amazon only has a US based service, although I can sign in via Amazon UK, I have to give details so I don’t pay US taxes and then declare them on my UK tax form.
It also allows you to create a cover so I could use one of the drawings I created.
I also used my new writing name – Tim Newton Anderson. I decided to add the middle name as there are a lot of Tim Anderson’s on the internet, including someone who won Masterchef in the UK a few years ago, and someone who writes on IT. Newton is my mother’s maiden name so it seemed a good option. I am the only person with that name who comes up on Google at the moment.
I also created a publisher with a few keystrokes – ATJ Entertainments which is the partnership my wife and I formed when we took over the hotel.
This is exciting and scary at the same time. Doing everything yourself avoids the trauma of someone else messing about with what you have written – although as an ex journalist I’m used to someone changing my words. However I am now the only person I can complain to if there are problems.
It also means I have to do my own marketing so I’ve been busy researching potential blogging reviewers, how to use sites like Bookbub etc, and thinking of a strategy for discounts etc. as well as ways to get followers so I can get the news out as soon as widely as possible.
Watch this space for more information and a launch date.

Making a Pen and Ink

The Cat factory

The Cat Factory

tangled in the tree of ghosts

Tangled In the Tree of Ghosts

Sniffing Out The Truth

Sniffing Out The Truth

stripping the past

Stripping the Past

I’ve been preparing the various short stories I’ve written to publish as an e-book on Amazon.

I decided it needed some illustrations and rather than get someone to do them thought I would have a go myself. I haven’t done much drawing for forty years so getting out the Rotoring pens was fun as well as a challenge.

I’ve never been that good at freestyling so used some photographs as a basis and then adjusting the images to fit the stories. They were drawn freehand, however, rather than copying or tracing. I’m not sure they are that good, but I’m quite proud of them so have pasted some below.

Those familiar with the work of Georges Perec may recognise the inspiration of the first of these – appropriate as the inspiration of the story it comes from: The Cat Factory, was also inspired by Perec’s life and writing.

 

In jokes and obscure references

I have to admit I love texts that include in jokes and references to other books and media. That’s why I’m such a fan of Philip Jose Farmer, Kim Newman and Howard Waldrop.
When I wrote The Revolutionary Tapestry I wanted to do some of this myself. Not just because it would be fun to do, and hopefully fun for readers who spotted them, but because it is an alternative world novel. One of the recurring jokes is that incidents in the book inspire later writers – including Jarry himself. A case of art imitating life.
The Jarry references are the key ones – there are scenes that reflect elements of The Supermale, Days and Nights, Le Dragonne and some of his journalism. The other references – more obvious to those who don’t have a good knowledge of Jarry – are around the Fantome character. He is supposed to be the inspiration for Fantomas, the Phantom of the Opera, the title character in the Werewolf of Paris, and the Lone Ranger!  There are also references to Verne’s Robur the Conqueror.

This came as a bit of light relief to the historical research I had to do to get the period right. All bar two of the speaking parts are real people and have largely the same back story as they did in our world. The trick to this was to avoid the “Hello Mr Wilde, have you met your fellow Irish playwright George Bernard Shaw.” school of historical fiction – normally worse in visual media than written. I don’t mind a bit of name dropping if it is done subtly: “Roger saw the man he was after – he was at the far side of the room talking to the Prince of Wales”. Generally,however, if I was going to introduce someone I wanted to have a reason for them being there.

The other challenge I wanted to overcome was the need to drop in background information without a reason for doing so in the plot. It is difficult to totally avoid it, but by including some of it in during reflection by characters on their current situation I hope I avoided the worst of it.

 

H Jones Has Talk Mod – an appreciation of John Thomas Sladek

One of my favourite science fiction writers of all time is John Thomas Sladek.

Sladek, who died in March 2000, first came under the spotlight in the New Wave of British science fiction around Michael Moorcock’s New Worlds magazine, although he was born in Iowa and most of his writing was set in the USA, His writing fitted the experimental nature of the New Worlds stable of young – and young at heart. He also shared the sense of humour of many of them – especially his frequent collaborator Thomas Disch.

Where Sladek was unique was his satire and scepticism, and especially his fascination with puzzles and formal games. His experimental fiction often resembled the blend of mathematics and art practised by the OuLiPo group of writers who grew out of the Institute ‘Pataphysique and included Raymond Queneau, Italo Calvino, Georges Perec and Harry Mathews. It also echoed Postmodern writers like John Barth. Unlike those writers, the publication of most of his short stories and novels under the science fiction banner meant he had little critical interest from the mainstream and his experimental fiction meant he did not achieve the sales of more more straightforward SF writers.

Like OuLiPo he would set rules in the way he approached many stories – including writing the mystery novels Black Aura and Invisible Green under the rules laid out Rev Ronald Knox for Golden Age detective novels at a time when no-one else in crime writing cared about them. At the same time he subverted Asimov’s rules of robotics in Tic Toc – one of his many novels which used robotics, artificial intelligence and the sciences of Information Theory and Cybernetics developed in the Macy Conferences in the 40s.

Although the structure of his stories and novels were based on formal rules – they were anything but formal in their humour. He was a savage satirist of the worst of human nature and particularly of wilful ignorance, stupidity and hypocrisy. His non fiction book The New Apocrypha ripped apart pseudo science, woolly minded and crank theories and cults with devastating logic and rationalism and most of all with humour. Sladek was always very funny and he used the same scalpel in writing his mock new age books Arachne Rising, The Cosmic Factor and the Judgement of Jupiter – the best joke being that most readers believed they were serious non fiction.

He has sometimes been compared to the more well known satirist who came out if the science fiction community – Kurt Vonnegut. But his work could not be more different to the bleakness of Vonnegut’s vision. Sladek has hope and his masterwork Roderick (published in various slices as one or two books) brings out the humanity in his young robot who becomes a real boy and suffers but overcomes the same issues we can all face in childhood. A Candide for the Information Age.

Some of his work was written just for fun – like the affectionate but devastatingly accurate parodies of other science fiction writers or some of the squibs collected in Maps – but he never wrote anything that wasn’t interesting and clever and his best work deserves wider recognition for its innovation, fun and intelligence.

Most of his writing is available as e-books. Read them.

A Kind of Magic

I’m about to start rewriting Masonic Fire (or Chasing the Dragon depending on which title I go for) for the second time.
I did the first draft last November as part of National Novel Writing Month (NaNoWriMo) as a straight conspiracy thriller. I then had more ideas for the main characters as occult thrillers so went back and rewote it adding supernatural elements.
While my best reader and critic – my wife Jules – liked both versions, she felt the second one hadn’t integrated the supernatural elements well enough as there was no underlying rationale for them. What I then decided to do was to think about the underlying structure of that universe so the books would explore that as well as working as stories.
Most novels featuring supernatural elements or magic just accept it as a given and use one or more occult traditions as a backdrop. The reason we don’t generally experience this in everyday life is the UFOlogist explanation – it is there but is covered up in some way by either the magicians themselves or some government agency that doesn’t want us to know what’s really going on. Or we simply suppress the memory.
There are a few ways of trying to put some kind of scientific rationale for magic:
• The Arthur C Clarke theory – magic is simply advanced technology. That is (sort of) the approach Lovecraft used – magic relies on the presence of ancient aliens whose technology is so far beyond ours that it looks miraculous and acts of magic by humans is based on tapping that power
• Magic is something that comes into our universe from somewhere else where it does work – either an extradimensional world of Faerie, or the Pratt/ de Camp approach where the underlying laws of an adjacent universe work differently so magic is possible. The Zelazny/Amber variation is that our world is shadow of a real world where magic works.
• Magic is based on undeveloped powers of the human mind which a few individuals have been able to tap into
All of them are bit of cop out in my view – that doesn’t mean that I don’t like enjoy them, as I do. Just that I don’t like them for my own work as I want to be able to write about issues in our own world that I care about which means most of the characters should be ordinary people with ordinary human strengths and weaknesses.
Most stories featuring the occult or magic have heroes who are special – they have talents the rest of us don’t. I want to write about ordinary people doing extraordinary things, which I believe is the real magic in our world.
I cheat a bit in the science I use – a lot is theories that are not wholly accepted, to say the least. I then use that to develop a revamp of history which keeps the same facts, but puts a different spin on what is happening.
The core of it is the Einstein/Bell/Rodalsky paradox which points out that the behaviour of paired particles contradicts the Theory of General Relativity as they seem to indicate something travels faster than the speed of light. My explanation is that there is a fundamental substrate of information which means at a quantum level everything is connected.
At the other end is Teilhard de Chardin’s idea of the Omega Point. A Jesuit Priest and scientist he speculated that the purpose of the universe was to evolve consciousness to a point where it becomes God. In my version of the universe that collective godhood then travels back in time and sets the condition for the Big Bang – thus having an ouroboros loop where it sets the conditions for its own creation.
Between these bottom and top levels are James Lovelock’s Gaia hypothesis where the earth is a collective organism which is itself evolving in the same way its constituent creatures are, and Jung’s Collective Unconscious which links all human beings at a fundamental level populated by common archetypes. Jung’s idea has a number of variations from the mundane that our brain structure throws up things that we interpret in a similar way, to a more mystical one. Mine is at the mystical end which uses the Gaia theory and the pairing of particles to suggest that we actually do communicate unconsciously in a real way.
The working out of this can then be used to explain magic, bringing in things like stone tapes, mystically charging objects and places, possession, supernatural creatures, ghosts, and the power of ritual.
The reason in my universe that we don’t see magic is that there are three basic worldviews that are competing to impose their version of the Omega point on the universe – the magical, the religious and the rational/scientific. There are only a few people in each of these camps that understand what is going on and are in the battle knowingly and who consciously propagate their memes in order to win. Those who see the supernatural either accept it or rationalise it according to their own world view.
There is an organisation first set up by the Royal Society – or more accurately by its predecessor the Invisible College – to maintain a balance between the three world views. Hence the re-explanation of history. When the protagonists accidentally stumble into the machinations of people who want to change the balance in their favour, they are introduced to the organisation which reveals this truth to them.
Now I’ve worked it out, I just need to rewrite the story!