Author: Gavin Cameron

I've been writing fiction and poetry since 2010, and run two writers' groups. This is a blog to talk about that writing, and to speak to fellow authors.
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A Plea to Organisers – Create an Event Listing

If you’re the organiser of a literary, comedy or any similar event, I urge you to read this entry about the importance of creating clear event listings. Or should you really be unable to spare the time, at least skip to the bottom line.

Regular readers will know I host and co-organise an open-mic for writers called Hotchpotch, typically on the second Wednesday of each month. We then have a self-imposed deadline of four days to compose a bulletin about the next event.

While a substantial chunk of the text remains static from month to month, we always go around the members at the end of each session asking for other local events to be featured in that bulletin. We take a recording for our reference and make sure we ask for the time, date and venue.

The problem arises when it’s time to compose the bulletin. At the last session, a member said he’d be performing the following week at an open-mic for musicians. As it was a venue well-known by locals, I thought it would be easy to find.

I discovered this particular place uses Facebook for its events, as do many others. This is not a problem in itself, but it was difficult to find a reference to the open-mic, as all the events were years out of date. I eventually found one reference in a picture that had been pushed down the feed by other updates.

This is only the latest instance of being unable to find events. Some have websites that haven’t been updated for some time, if ever. Others omit vital information like the start time, or require the visitor to email an organiser for details.

By now, you might be thinking there’s a simple solution: ask people to send us events in writing, complete with URL.

But this isn’t the easy option it sounds. I’ve been running this event a long time, and collecting events while you have members’ attention is much easier. Waiting for people to send in submissions can cause a significant delay, and some forget entirely once they’re back home.

With Hotchpotch, we post our bulletins in three main places:

  1. On an opt-in email announcements list.
  2. As a Facebook event.
  3. At a static URL that always shows the latest update.

Additionally, we post the static URL to our social media pages every couple of weeks, so visitors shouldn’t have to scroll back more than three or four updates to find it.

Despite the bottleneck caused by finding external events, our reason is a simple one: if we don’t do it for other organisers, they’ll have no reason to do it for us. There are some organisations, such as Creative Dundee and I Am Loud who regularly boost our events, and reach people we can’t.

The bottom line is: Whatever format you choose to publish your listings, please keep them in an obvious place and update them regularly. Take an afternoon to sort out your online presence: it helps new – and existing – punters to find your events, it helps promoters to boost them, and it helps our community as a whole.

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Not Lost, But Hard to Find

A couple of weeks ago, I made an entry about keeping an archive of pieces and how I found one particular poem that wasn’t stored in OneDrive with the rest of them. A few days after writing that entry, my backup system was put to the test.

On Sunday 2 June, the town of Leven was finally reconnected by railway after 55 years. Along with a couple of pals, I was one of the first passengers on the revived service, and we decided to head for a coffee. One minute, I was using my phone to tell people about my day; the next, it went completely black and wouldn’t react to any button pushes nor attempts to charge it.

Fortunately, there were a lot of services I could still access, such as the aforementioned archive. However, some relied on two-factor authentication, which requires using a phone as verification, like I used to secure WordPress.

The short version of the story is that my old phone was beyond recovery, but I now have a new one, and I have full access to all my services again.

In all that excitement, I didn’t have much of a chance to think of a writing-related entry. But I do wish to reiterate the advice of backing up all your work, both locally and online, so you don’t fall victim to an unexpected loss.

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Writing a Character Backstory, But Enjoying It This Time

This entry is a spiritual sequel to a post from two years ago about a character from a game of Dungeons & Dragons (D&D).

When I mention D&D, there will likely be some readers who immediately switch off mentally. However, I promise this entry will not go too deeply into the game mechanics, and will instead focus on characters and storylines, so I invite you to stick with me.

I’ve been playing for the last few years in different groups. The most recent game has also been my longest, with sessions roughly every fortnight over the previous 18 months or so.

Every D&D game has a Dungeon Master (DM) who controls the general setting and what happens there, as well as acting as the voice of any secondary characters encountered.

When I began that game, I let the DM choose the attributes of my character. Many players consider this the most enjoyable part, but in my other games, I’d always found it a chore. My input was limited to giving my character a name – Max Wellhouse – and writing a placeholder backstory, with a view to expanding it in the future. D&D characters always work as a team, so the backstory typically explains how each character met the others.

Then I happened to watch this video from professional player Ginny Di, titled 5 backstory bad habits that drive your DM nuts. During the first section – Not having a catalyst – I began thinking about the placeholder backstory from months previously, and the pieces began to fall into place one by one. I’d written a background for Max Wellhouse, but not a backstory. It lacked a clear motivation for him to join the other characters.

You know how I said earlier that I’d found character creation a chore? Within two days of Ginny posting that video, I’d written paragraphs of backstory and motivation, comprising one main thread and two minor arcs, and what’s more, I enjoyed the process. I won’t reveal the content here, since it hasn’t yet been revealed to the other players.

Separately from this, I met up last weekend with one of my past D&D groups. The game halted a few months ago after we lost our former DM, and we’ve now decided to reform with an amended line-up. I was granted permission from the new DM to transplant my previous Captain Coconuts – from two previous games and rewrite his backstory from scratch. Again, I was inspired enough to write that up within 24 hours.

In the new backstory, Coconuts owned a ship and would seek out sea-based jobs and opportunities. On one job, he was accused of selling substandard copper to a powerful merchant. He sailed away as fast as he could with the merchant chasing him. Although Coconuts made his escape, it was at the cost of his ship smashing into rocks and sinking, leaving him on dry land with the few clothes and items he could salvage. Bonus points if you spotted the veiled reference to Ea-nāṣir in there.

Once again, I really enjoyed writing that, even if the character was pre-made with the assistance of the previous DM. I think that’s because I was doing it in the wrong direction.

Before this, I’d always tried to create a character, and then formed a backstory that would fit into the world. I think a better approach is to establish the world first of all, then have everything follow from there.

At the weekend, for example, the DM told me the world would be dark and serious. If I didn’t have Coconuts already made, I could then work on a backstory that might suit such a setting, then figure out what type of character might end up in that situation.

Unless something goes horribly wrong in either game, I expect it’ll be a while before I need to create another character, but I will make an effort to enjoy the process this time.

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Lost and Perhaps Found

When I started writing around 2010, I made a point of keeping an archive of my work.

Every story and poem has its own directory, and dated revisions are kept within each one. Plain text doesn’t take up much storage space, so there’s plenty of scope to keep doing this into the future.

About two or three years ago, I was looking for a particular poem I’d written; I knew its title, many of the words, and roughly when it was written. So when the archive showed no results after several attempts, I realised my system had broken down somewhere and wrote it off as a loss. I could have reconstructed it with a little effort, but I never did.

There’s a common misconception about Snapchat that it deletes every picture you send. In fact, you can set it to keep a copy of every picture you add to the My Story feature.

Fortunately, I’d not only set this up, but I’d taken a clear picture of the original handwritten verse four years earlier – and I’m not in the habit of doing that. In February 2022, while looking for something else, I found that picture. The original verse had almost certainly been shredded along with other papers. I swiftly copied the words into a Word document and placed it in the archive.

Luckily this was only a 16-line poem. Other writers have suffered far greater losses. Jilly Cooper, for instance, lost the original manuscript of Riders on a London bus and it took her years to rewrite.

Not all losses are accidental. A significant quantity of drama has been wiped from BBC and ITV archives, including episodes of popular shows like Doctor Who and Dad’s Army. Before the advent of home video, there was little incentive to keep old programmes except to resell them overseas.

In some cases, collectors and members of the public have discovered recordings; some in great condition, others needing significant restoration. The BFI used to hold an annual screening called Missing Believed Wiped, featuring a selection of recovered footage, but I’m unable to find any recent events.

It remains a mystery whether I typed out the poem in 2018 then lost it, or whether it was never typed up in the first place. I’ve nonetheless started backing up my archive locally and online so no further mishaps should happen.

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Tackling War & Peace

Around 2015, I bought a copy of the Leo Tolstoy novel War & Peace. I say ‘novel’, but it actually comprises four volumes, telling the story of the French invasion of Russia through the eyes of four fictional families.

The book is noted for its length, but all the chapters are short enough that you can read one or two before bed; there are just a lot of chapters. That also doesn’t mean the story has been stretched out longer than it needs to be. Tolstoy has enough plot points to justify the word count.

I recently found the book again, with the bookmark still around the halfway point where I left it. I’d fallen out of the habit of reading it, and I’d really like to restart it.

My edition has character biographies at the start, but I made a decision early on that I wouldn’t try too hard to keep up with the individual characters and instead just enjoy the story.

I think my best tactic for diving back in is to devote a full day or weekend to making progress. Meanwhile, the book is now at least in a prominent place so it won’t slip my mind.2024-05-21 Fractal

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A Play on Words

Back in December 2021, Wordle started to explode in popularity, with a reported two million daily players at one point.

As a fan of word puzzles, I thought this would be right up my street. However, I’m also someone who dislikes hype, so it took me a long time to start playing. In fact, it was January 2024, exactly two years after the game was bought over by The New York Times.

I’ve now enjoyed it for 108 days straight. Around a third of these were guessed on the fourth try, with a 23-26 split between the third and fifth tries respectively, and ten that went down to the sixth guess. There have been days when I simply haven’t reached the answer, leaving me with a disappointing 94% success rate and no way to make up for it other than continuing to win until the losses are statistically insignificant.

The other word puzzle I play of a morning is Full Rainbow, which gives visitors three minutes to unscramble a seven-letter anagram. Sadly, it’s not possible to open an account to keep track of your score; you can only use the same browser and make sure not to clear your cookies. Instead, my personal aim is to be in the top 50% of players for solving it quickly.

I’ve always enjoyed word puzzles, and I was even an early adopter of sudoku before it took off in 2004. It’s probably no wonder, as my gran avidly completed the puzzles in Take a Break each week, while my grandad preferred the daily cryptic crossword.

I’m convinced he would have enjoyed Wordle because a similar deduction technique can be used for solving crosswords. For example, whenever there’s a ‘K’ at the beginning of a word, it’s unlikely to be followed by a ‘U’, or if it’s near the middle or the end of a word, there is likely to be a preceding ‘C’.

At the time of writing, Wordle gameplay remains free of charge. There has long been speculation that this might change, although it has become almost a loss leader for the paper’s subscription puzzles. Until then, I’ll keep playing, with a view to restoring my score to an acceptable level.

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Eight Weeks of Writing Group Independence

Every Tuesday, I run a writing group with a pal. Until eight weeks ago, the group was affiliated with National Novel Writing Month (or NaNoWriMo).

We broke away to form an independent group after we felt the organisation was not working in the best interests of its members. You can read a previous entry exploring the reasons for this.

In the weeks following the announcement, we fielded a few questions from members, largely to reinforce that the new group would feel as familiar as we could make it. Only a couple of people have left, but no more than would have happened anyway.

In short, it’s been something of a velvet divorce.

I’d been running the group for about nine years, while my pal came on board about two years ago. We feel we know what works with our members and what doesn’t, and this secession allows us to take our own actions without needing to toe the line of an umbrella organisation with their own differing priorities.

There are still aspects we need to work out. For instance, we have an outstanding question of how to attract new members without being overwhelmed by new recruits. This, however, is not an urgent problem and we’ll work it out in due course.

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The End of the Renga

Back in 2020, I was invited to take part in a collaborative project started by the poet W N Herbert, known to us all as Bill.

His idea was simple. He would create an email list containing a group of poets. Then each month, he would send out the first stanza of a new poem and incorporate suggestions from those poets for a second stanza, then a third, and so on. The complete poem would be posted publicly by the end of the month.

From the start, Bill introduced us to the renga form. We did play somewhat fast and loose with its complex rules and conventions, but we mostly stuck to the alternating stanza length: a three-line haiku followed by two lines of seven syllables each.

Here’s part of a recent renga. Depending on the contributor, some parts were written in standard English and some in Scots.

Then two days ago, he announced the project was at an end. It seems this always intended to run for four years, but in the initial excitement of being asked to contribute, I hadn’t read that part.

I haven’t always had the time and/or inspiration to contribute, but I always made a point of reading the constructed renga when it was sent out. The next stage is to think about publication; Bill has a lot of experience in this area, so it’ll probably happen.

Meanwhile, I look forward to hearing about whatever project he has planned next.

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Plagued by Plagiarism

Back in 2015, Sheree Mack was accused of plagiarism by another writer. The claim was that her story The Tracks was based upon A Mercy by Judith Turner-Yamamoto. The publisher New Writing North believed the accusation had merit and pulped the remaining copies of the Mack story.

It subsequently emerged that other writers had similar concerns, coming to a head that year when Mack published what was described in The Guardian as a semi-apology on Facebook, admitting to “slackness and carelessness”. The same article also covers other notable examples from the writing scene.

And so everyone moved on and the matter died down, at least until a few weeks ago, when Sheree Mack was announced as a headliner for the upcoming Timber Festival. She will appear alongside Simon Armitage, although there’s no suggestion that he’s guilty of copying work.

I’m a member of a poetry page on Facebook that has members all over Scotland – and a long memory. A couple of the members have written to the festival urging them to think twice about her inclusion, while a few others have given first-hand accounts of hearing her stolen poems, one of which was in front of the original poet.

The festival has responded to the effect that they believe her actions were a one-off occurrence. This means the appearance at Timber is expected to go ahead as advertised.

It’ll never be possible to stop plagiarism, but the wider question is what we can do about it when it does happen. There probably needs to be a test case before a solution can be found.

I can see a parallel between this incident and the hip-hop scene of the late 1980s. Around this time, music sampling was becoming increasingly common, thanks to the rise of solid-state storage that allowed songwriters to loop sounds without the need to splice tape.

With no precedent to stop the practice, many tracks of the era simply borrowed bits and pieces of other tracks without credit or payment. Pump Up the Volume by M|A|R|R|S is a textbook example, containing 29 identified samples and many more unidentified ones.

The scene started to put its house in order at the start of the 1990s when Gilbert O’Sullivan objected to the rapper Biz Markie using Alone Again Naturally in a new work. Their record labels went to court and the judge found in favour of O’Sullivan.

From that point on, record labels were careful to clear any samples before using them in a recording. It’s far from a perfect solution, but the framework has been in place for more than 30 years at this stage.

I can’t immediately foresee a situation where such a case will happen in the poetry scene; it’s more fragmented and less commercial than the music industry.

Until that changes, a publisher having to pulp a few books isn’t seen as a great loss in the big scheme of things, even if it’s a massive deal for those who have had their poetry stolen and/or reworked without permission.

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Ideas Coming Out My Ears

Occasionally, I sit down to write this blog on a Tuesday only to find my tank of ideas is empty.

At the moment, I have a different problem. I have a list of subjects, but I can’t find a way to start on any of them. For example, today’s entry was meant to be about the problem of plagiarism among poets, but I couldn’t move past the first line.

Instead, let’s pick this up next week, once I’m able to articulate one or more of these ideas.