There have been a number of great charity efforts of late from the writing community.
We've had Lost Children, Uncle Mildred, Off The Record, Brit Grit Too and the generous offer of a donation from Pablo D'Stair following his flash fiction competition. Many of them are donating to charities relating to young children.
Yesterday I was invited into a Primary 5 class to talk about my writing in the slot I usually spend with a small group on phonics games.
I got out a pile of magazines and books to show them and began at my own beginning, a childhood when reading and books didn’t make a lot of sense to me. It reminded me that my last teacher at primary school, Pop Woolly, had re-kindled in me a love of stories by using the BBC radio programmes and by reading great stories aloud to us using his rubber-band voice.
As far as I could, I related my experiences to their own school lives. I explained aspects of the writing and re-writing process, about submitting to magazines, cover design and about the new-fangled world of e-publishing (which will no-doubt have changed completely by the time they’re young adults). I could even point out that we'd made an e-book with the 6 year-old class about a year ago.
Right the way through, I tried to pass on my enthusiasm for the subject. Let them know how much it means to me. Showed them how little saplings from small acorns grow.
If you pop over to this link, you’ll see the responses of some of the children.
They asked great questions at the end, the kind of things that wouldn’t be out of place at a major literary festival. I also think they left with a bubbling energy about the subject that might well change their attitude to aspects of their schooling. It could be that I’m the Pop Woolly that some of them need. I certainly hope so.
The literacy support offered by the charities I mentioned earlier is invaluable. The building blocks of reading and writing can lead to the creation of fine structures, but can also empower people as they get by in the world.
I wonder what you have to offer. If you’re here, it’s likely you’ve a talent for something to do with writing. You may also have an amazing collection of something, be an avid knitter, a scientist in the day job, a plumber, nurse, builder, artist or fundraiser. Whatever you have, maybe you’ll consider popping over to one of your local schools and offering to give a little talk. If you’re enthusiastic and passionate, you can pass that on to the young people of your world and get them to see some of the opportunities that exist out there to which they might so far have been blinded.
I’m sure the schools would be happy to have you.
It was easy for me. All I had to do was to walk up the stairs and along the corridor. For whatever reasons, making such an offer yourselves might not be easy or comfortable.
I don’t post this to preach, I just want you to think about it. Go ahead, punk – make a difference.
Tuesday, 7 February 2012
Sunday, 5 February 2012
Dancing With Myself: LES EDGERTON interviews LES EDGERTON
So, I said to myself… “Self?” And had no answer that wouldn’t get me locked up if someone saw me talking to myself…
Okay. Let’s give this a try. I think what I’ll do is ask myself the questions I wish others might ask me and don’t.
Les… may I call you Les?
Absolutely. I rarely answer to Beulah or Jim-Bob, so that’ll work out well. I’ll be more alert to your questions. If I suddenly quit answering, it’s because a couple of guys in white coats carrying butterfly nets just showed up…
You’ve just published GUMBO YA-YA with Snubnose Press. This is your second story collection. Your first, MONDAY’S MEAL, was with The University of North Texas Press in 1997. Why so long between collections, especially since that book came out to rave reviews in The New York Times where they compared you to Raymond Carver, as well as garnering great reviews in Publisher’s Weekly and others, and contained stories that were nominated for a bunch of literary honors? Not to mention selling out the press run?
I guess these aren’t going to be short, “yes or no” questions are they! Several reasons. One, I kind of quit writing short stories to focus on novels and screenplays. There was just no money in short stories and I wanted to focus on work that paid. Second, until the e-book revolution, the rule of thumb with publishers was that a minimum of half the stories in a collection had to be published previously in prestigious literary magazines. Since I wasn’t writing many during this time, they weren’t being sent out. Most legacy publishers won’t publish collections simply because there’s no money in ‘em. With the e-publishing revolution, because of the less expensive cost of production, collections have suddenly become viable and profitable. Even though the requirement of prior publication isn’t an issue with e-book publishers, I’m old-fashioned and for myself still want to adhere to the old standards, so wouldn’t submit a collection until most had been previously published. And, all but one or two of these have been. Also, years ago when I was writing short stories, they were harder for a lot of reasons to get published and there were far fewer venues available. And, then, a couple of years ago or so, I began to get requests for stories and the money offered was decent, so I began writing a few again. One of the most positive effects of the e-book revolution is that short stories are experiencing a rebirth in popularity.
Do you rewrite much?
I hope none of my writing students read this as I constantly tell them things like, “Writing is rewriting.” I tell them this with a straight face and with a serious mien. But, the truth is, I rewrite very, very little. Most things not at all. I write very carefully the first time through and edit as I go. I’m not one of those writers who “slap it down and go back later and fix it.” I’ve found that when I do that, I forget what I was going to fix and that little note on the margin that says “rewrite this” is meaningless at this point. I get the perfect word at the time and I get the effect I wanted or I don’t go on until I do. Plus, I’ve been doing this a long time and I’m pretty good at it. Writing is kind of like riding a bicycle. When you first begin, you have to consciously think of a bunch of things. You have to remember to pedal, to steer, to balance, and probably some other things. Once you’ve learned to ride a bike, you don’t have to think about it any more. You just ride the damn thing. That’s where writing is for me—I just ride the damn thing. I don’t have to worry about the structure or any of that—I know structure just like a bicyclist knows how to steer. I think some writers are naturals and others have to learn to write on a much more basic level. Doesn’t mean the output for one is necessarily better than the other—just different ways to learn to ride the bike. I’ve found that the earlier in life one became an avid reader, the quicker they’re likely to become a good writer.
Also, I worked as a reporter for several years. A sports reporter (don’t laugh), and I covered lower Michigan and northern Indiana high school sports and Notre Dame football and basketball. Every Friday night, I wrote more than 40 stories in a two-hour period. You can’t be thinking about pedaling, steering, or balancing in a job like that—you just have to ride the bike… or they take your Schwinn away from you and give it to someone less dumb than you are. And they don’t want cookie-cutter, clichéd stories—they can get those anywhere and cheaper. Newspapers want some originality, unless you’re working for the Neighborhood Weekly Shopper. I worked for a top paper, renowned for its toy department (sports), The South Bend Tribune. Our main beat was the Notre Dame football team, one of the top programs in the country at the time (Ara Parseghian era). The Chicago Tribune and both coasts’ Times took our stories. Great training.
Why do you write?
Why do you breathe? The answer to both is the same. You quit… and you die. Or might as well…
What are your favorite stories in GUMBO YA-YA?
I like all of them, but if I had to pick my favorites, it would be the first and last stories. “Best of Friends” and “In the Zone.” Both are largely biographical and bring back great memories. And, I think they represent my best work. I’m proud of all the stories in this, but particularly proud of those two. I’m looking over what I just said and just thought—that was dumb! Why would I include any story I wasn’t proud of? Of course I’m proud of ‘em! I’m also proud of the essay at the end, “Censorship and Why I Love Charles Bukowski.” It was written in the nineties and blasted the concept of political correctness when others thought it was a good idea and I felt it was out-and-out censorship. I feel I’ve been proven right and the world is exactly where I thought it was heading. Fucked up. Now, do you want to hear what I think of the Mayan prophesies…? (Hint: No worries…)
What else is going on, book-wise?
Of course, GUMBO YA-YA. I’ve also got three new novels out that are doing well. StoneGate Publishing put out JUST LIKE THAT and THE PERFECT CRIME and both were an absolute labor of love. And, Bare Knuckles Press brought out THE BITCH which is my best novel to date and I love every word in it. I think in its way, it’s a ground-breaking novel. My secret dream… well, I guess it’s not a secret now… is that somebody in Hollywood that can make a decision reads it… I think it’s the most cinematic of all my work. If anyone knows anyone I can send it to, lemme know!
What makes me feel good about all of these books are the reviews they’ve all received from the people I respect most in the world—other, quality writers who know a good book when they read it… and don’t blurb or review if it sucks. The folks we see on this site.
Where do you go to improve your craft skills?
I have the TV on the BBC America channel most of the time, and I tune it out most of the time—it’s just white noise—except when Chef Gordon Ramsey is on. I pay attention to his shows as they’re the best classes on writing I’ve ever found. If you substitute the word “writer” for “chef” every single thing he says applies to writers. He cuts through all the bullshit and doesn’t allow for excuses. He insists on his charges always performing at their highest level and doesn’t mollycoddle them with false praise and crap like that. He exposes pretenders. He has standards and accepts no substitutes. He approaches the craft of cooking like I try to approach the craft of writing, both for me and for my students. He’s got it right. He knows that if your goal is to make money in your restaurant, you first have to make your food the best you possibly can. He doesn’t tell the people he rescues to blog, network, market, advertise, Tweet, or any of that. He has a simple message. Put out a great product. The money will follow.
I think many of us forget that in the e-book universe. As well as in the traditional print universe. I recommend all of my students watch his show and think of him as teaching writers instead of restaurateurs and chefs. Try it. You’ll be amazed at what lessons he drives home that you can use for your writing.
Thank you so much for this opportunity, Nigel. One word of advice—I’d look for better interviewers… This guy’s terrible! He never once asked me about my amazing sex life!
Now. Run out and buy my books. You owe it to yourselves!
sea minor - You surely do. UK buyers here. US here.
Friday, 3 February 2012
Dancing With Myself: JOHN LAWTON interviews JOHN LAWTON
This is your first inclusion in a "Mammoth", yet you've been in print for over fifteen years. What took you so long?
More like twenty five years, but ... de nada. The answer's obvious though.
The short story is not a form I'd ever used until asked. I was a scriptwriter, then a novelist.
Never written a short story until Otto Penzler asked me.
Why did you say yes?
I was approaching the end of A Lily of the Field [sea minor note - currently a top-ten kindle hit in the UK]. The point where you go over everything for error and continuity and so on ... Lily was a book that cost me brain damage. The opportunity to do something else for a while was irresistible and timely. I was living in Italy, high up a mountainside. I took a long walk and came back with East Of Suez mapped out in my mind. It's a mild comedy ... my 'Our Man in Havana'. If it had a subtitle it would be Homage a Graham Greene. And it's loosely based on real things.
Greene's favourite of yours?
He was. Haven't read him in ages. Maybe it's time to re-read.
Would a Graham Greene be your Desert Island book?
No. That would come down to a flip of the coin, perhaps two flips.
Crime and Punishment, Vanity Fair ... Anna Karenina, maybe Middlemarch.
No contemporaries in that list?
Not right now. Ask me again in a year's time.
I really liked AD MIller's debut this year (Snow Drops), but desert island books should be things you've lived with for ages I think.
If your books were filmed who do you see as Troy?
Hard one, but Depp would do. Tosca's easier ... that's Janeane Garofalo.
Diana Brack I wrote with Anna Chancellor in mind, but Samantha Bond would be just as good.
I invented Walter Stilton for Michael Elphick. He's been dead a while now.
If you hadn't been a writer what would you like to have been?
Will a fantasy answer suffice? If so, I think I'd have been a Victorian naturalist, round about 1875, with an interest in amphibians, especially toads.
Toads? You're kidding?
Absolutely not. Newts too.
If you got seriously rich what would you do?
Sue. I'd get very litigious. I think every retiring Prime Minister should be indicted. Let them account for their actions. Guilty until proven innocent. I think I'd use the loot to bring private prosecutions against the buggers. And I'd start with Thatcher and Blair.
What's next?
Next ... well the new book has a provisional title of "...Then we take Berlin" and is set there in 1948 and 1963. The old ones will be put on Kindle ... started on Christmas Day I believe.
sea minor - the Mammoth Best British Crime 9 is now available at the bargain price of £4.49
Thursday, 2 February 2012
Simply The Best
Wednesday, 1 February 2012
On A Brighter Note
A message from Pablo to cheer up a bum day:
Hello all,
First off, a sincere “Thank you” to everyone who downloaded, read, voted, help spread the word—this challenge was thrown together off the cuff and would not have amounted to anything without efforts from a lot of folks. Individual e-mails will go out when I have two seconds to breathe, but you all know who you are.
So, the results are in but I am treating them as tentative, for now. Of the 180 copies of each collection that went out, we have only heard back from 15% of readers with votes. In fact, I have personally chatted here and there with people who have told me they read the collections and just needed to vote, but those votes have not come in yet.
The winner (by a margin of a little more than 2-1) as of midnight, Feb. 1st, is Pablo D’Stair’s collection.
BUT: As this could easily change if a good amount of tardy votes come in, any vote that does come in for the next week WILL be counted, no questions. If you personally know someone who read and did not vote (or are such a person yourself) please get the vote in by Feb. 7th.
Because votes are still being counted until Feb. 7th, the Author-List-By-Story for the Challenger Collection and some other updates (including details of Round Two with the $500 Prize Pot) will not be posted/sent out until then.
Now, I do have to say, though I am happily surprised (a little bit shocked, really) to have won (at least so far) that due to the percentage of the readers-to-votes this win is nowhere near as conclusive as I was aiming for. And because of this, and due to the amazing work from the challengers and from all manner of folks helping to promote, I don’t feel right about saying “I win” and having no prize being awarded. At the same time, I don’t just want to give the listed prizes…because that would be kind of silly and oddly dismissive of the work the Challengers did.
SO—as many of the challengers had hinted at donating any winnings to charity and as many of the challengers have actually worked on the charity anthology The Lost Children, I am going to make a donation of the $100 First prize to PROTECT: The National Association to Protect Children and Children 1st UK on behalf of all the writers who participated.
NOTE: This donation is being made, no matter what. If enough votes come in between now and Feb 7th to make the Challenger Collection the winner, I will still pay out all three prizes to the top three Challenger stories, as voted by readers ($225 total).
More updates and details to come.
Cheers again to everyone,
Pablo D’Stair
Tuesday, 31 January 2012
Bon Anniversaire
It's a year to the day that 'Dirty Old Town (and other stories)' went live on Amazon.
Like my children, it's difficult to imagine my life without the collection in it. Whatever happens from here on in, I think it will remain my favourite of all simply because of what it involved at the time.
I should have learned a lot during the process. Maybe I have. Time will tell.
I've certainly realised that writing and the world of books, stories and publication is where I want to spend my 'working life', even though the path has had it's fair share of jagged glass and impure objects to negotiate.
Bare fact - the book has sold 1,327 copies to date. That's over 3 (3.63) per day. Imagine that for a short story collection, probably inconceivable before ebooks. There have been giveaways and tree-book sales, too, making it even more incredible from where I'm sitting.
It wouldn't have done so well without the help of so many. Thanks for the reviews, purchases, patience, retweets, links, spreading of the word and all the encouragement along the way.
Sure, at an income of about 20p per copy I'm not rich in money terms and that dream of long writing days remains in the clouds, but I feel very much enriched as an author and as a human being because of this journey.
Last thing, and this may make no sense at all, I realised when searching out a birthday picture that I see Dirty Old Town very much as a girl. A female book. Maybe it's the Nigella referrence in the press the other day. Who knew? So do your books have different genders? Let me know.
Saturday, 28 January 2012
One Man's Opinion - THE BITCH by LES EDGERTON
In baseball it’s 3 strikes and you’re out, for ex-con, Jake, 3 strikes and he’s in. For life. And ain’t that The Bitch?
Jake’s been inside. Twice. One more conviction and he’s going away for good.
Fortunately for Jake, he’s sick of prison life and has decided to go straight.
He’s been to college to better himself and has even built a reputation as a hair-stylist that’s good enough for him to set up his own salon. I love this incongruity – big, bad Jake with his blood-stained hands chopping away at a perm.
And he’s met a woman too. Paris. Beautiful, sexy, smart and about to have Jake’s baby. Looks like he’s hit the jackpot, no?
Thing is, Jake doesn’t know his stories. Paris was the guy who did it for Troy. A name like that and maybe he should have sensed that his bed-of-roses might be full of thorns.
‘It all began with a phone call.’
The first thorn appears in the form of Walker Joy, one-time cellmate and saviour.
Walker’s in big trouble. He owes big money to big crooks. One job will see him safe. All he needs is a break in man.
Of course, Jake’s not having any of it. He knows which side his bread is buttered.
Problem is Walker has a few aces up his sleeve and Jake knows he’s screwed. It’s enough to drive an alcoholic to drink. Really.
From there on in the story unfolds. Jake is reeled in like a prize-fish on the end of the line, all the while knowing that he’s got a hook right up his ass. He’s not a bad bloke, you see. Or at least his heart’s in the right place. Circumstance has him by the short-and-curlies and no matter how he examines the angles, he’s lined up for the corner pocket.
At every point of the story where a ray of hope appears, the world conspires against him and as every chapter comes to a close, the need to read on grows stronger.
It’s a well-told tale. I found it hard not to feel for Jake. If it were a film or a play, it would be the kind that would have you shouting out for him to get the hell out of there. ‘He’s behind yer!’ and ‘He’s still behind yer!’
On the whole, the plot is very much in the present and is all the more uncomfortable for that. It’s punctuated by prison stories and tales from Jake’s past that should possibly have made me think less of the man; instead it had the opposite effect.
Well paced, engaging and very entertaining, it’s like one of the small diamonds in the collection Jake is aiming to steal.
The ending is perfectly weighted. Sits on top of the story like the bowler hat on a dapper gent, a hat that needs to be doffed every time Les Edgerton approaches.
Well done, sir.
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