Author: Gavin Cameron

I've been writing fiction and poetry since 2010, and I run writers' groups. This is a blog to talk about writing and adjacent topics.
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The Fight Against a Bad First Impression

Every Tuesday, our National Novel Writing Month (NaNo) group meets virtually on a Discord server. This is software that was originally designed to allow users to chat while playing computer games, but the layout and features makes its useful for writers too.

By default, servers are not open to the public, so users have to receive an invitation issued by an administrator, namely me or my assistant. These can be generated or revoked easily, and we can change how many times they can be used and their expiry dates.

As part of our NaNo affiliation, we’re required to make the official website the first port of call for members, and we have a Dundee & Angus region page to make announcements. We can, of course, can cross-post links to other places like Discord.

Unfortunately, when I last refreshed the link a week ago, I posted the wrong one. Existing members could use the server as normal, but new users wouldn’t be able to join. I found this out because a new member had twice posted on the region page saying that she had finally worked up the courage to join the group, then found the link didn’t work.

It took 25 minutes to notice this because the official website doesn’t notify organisers of any posts to our region page. I also spoke to my counterparts in other regions about this incident, and it seemed this was also a source of annoyance among them.

Because we weren’t notified, the member probably thought we were ignoring her when we simply weren’t aware of her message. That frustrates me: first impressions stick, and it wasn’t our fault. What’s more, people also talk to each other about their bad experiences – and I would do the same – making it even harder to fight back the tide.

As soon as I realised what had happened, I immediately e-mailed out a corrected link to the whole region. I was able to send the member a private message, and the other region runners said it was likely she would have been notified of that. I also asked our region members whether anyone knew her personally, so we had another way of reaching out.

Happily, she responded about 24 hours later, and I was able to apologise for the mix-up and to welcome her to the Discord server. What’s even better is that we’ve attracted two other members in the last week or so, and we remain as active as ever.

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Building an Archive

Just before I settled down to write this, I spotted I’ve published exactly 400 blog entries since beginning in 2013.

On the one hand, that’s not surprising as it equates to approximately one post per week, yet it’s still a powerful demonstration of how regular and consistent writing can help to build a useful archive.

Let’s take my own work as an example. In the folders containing my poetry and short stories, I have more than 320 distinct pieces. I also like to keep revisions, so many of them house multiple copies showing the evolution of each piece: some complete and others abandoned.

If you’re a new writer, I strongly advise you to keep all your work, even if you don’t like it at the time. If there’s one lesson I’ve learnt from a decade of writing, it’s that some pieces need to be left in a drawer for a while and looked at again with fresh eyes.

Last year, I tasted this from the other side when I started taking art lessons last year. One recurring problem – especially at the beginning – was when I knew something was wrong with my drawing, but I didn’t know how to fix it. Perhaps one day I’ll be able to go back and see what’s wrong.

I’ve also had a hand in creating an archive of other people’s work.

Since March of last year, my open-mike night Hotchpotch has maintained a YouTube account in lieu of live events. I was initially disappointed that we receive perhaps five submissions per month compared to the 25 or so who would perform in person. But those small contributions each month have steadily built up to a library of 73 videos at last count.

When people now ask what our event is like, we can now direct them towards that page. For that reason, I’m keen to maintain it even once we can meet up again.

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Knowing My Own Limits

I’m often uncertain what to write on this blog until I actually sit down to type it out. But I’ve recently been plauged with a different problem, where I know exactly which topic I want to cover, but I can’t find an angle for it.

Some months ago, I was reminded about African American Vernacular English (AAVE). The University of Hawai’i has an excellent introduction, breaking down the usage into vocabulary, sounds and grammar. My trouble is that I’ve nothing to add beyond that as don’t know any native speakers personally, so my experience is limited to what I’ve heard in films and on TV.

If I were to pursue this topic in the future, it’s possible I could draw parallels with the Scots language.

One example from the university link above is using the word bad to mean good. It can, of course, still mean bad, but the meaning may depend on its context. Meanwhile, I grew up listening to Scots speakers talk about the morn’s morn. The first morn means tomorrow, while the second means morning. But again, it’s a matter of context, as the phrase can also be used to refer to the indefinite future, much like the Spanish mañana.

Aside from that short analysis, I feel that’s as far as I can go with discussion of AAVE, certainly for the time being.

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Finding Poetry from Odd Sources

Poets are often characterised as agonising for hours over a single word or phrase, or even a punctuation mark. Yet sometimes, the source material arrives almost wholesale and just needs a little packaging. This is the art of found poetry.

In 2003, the journalist Hart Seely wrote a piece for the Slate website in which he took chunks of speeches by Donald Rumsfeld, who was then the US Secretary of Defense, and turned them into short verses. The phrase ‘There are known knowns,’ caught the imagination of the public for a brief time.

Sometimes the phrase is just a single line that the poet then expands into a further thought. Some years ago, Luke Wright took a quote by Boris Johnson and turned it into a piece called Once You Clear the Bodies. In this instance, a lot has been added to that one line in a satirical manner.

Away from politics, a classic source of material is the shipping forecast, issued by the Met Office. Looking at any given part of it, there are no wasted words; even a phrase like ‘gale force 8’ often has ‘force’ removed to increase its brevity. The forecast is also broadcast on BBC Radio 4, always at a moderate pace, which is easily parroted and parodied.

If you’re dabbling in found poetry, always be careful not to steal someone’s work outright. The examples above use politicians’ statements and public weather reports, so they’ll generally be safe to use.

But simply adding line breaks to work that’s already creative, such as a novel or a film script, is unlikely to be considered fair use. In short: have fun but be cautious.

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Style Counsel

Every so often, I find I naturally lean towards writing in a certain style. There was a long while where I was churning out poems in triolet form, then I went through a clerihew period, and a time of short free-verse work.

At the moment, I’m drawn towards producing longer and more wistful pieces, as demonstrated in last week’s entry with a video of a recent poem called The Living Ghosts. With a running time of more than two minutes, it’s the longest poem I’ve produced for some time.

Sometimes there will be a trigger for writing in a particular manner, but often there isn’t anything specific.

I find that if you have such an impetus, the best way to deal with it is to run with it. I have a spot at an open-mike on Sunday, and I want to produce something original, so I’ll be letting that wistfulness come out before it turns into another style.

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Hearing Yourself Back

Over approximately a ten-year period, I volunteered at three different radio stations. The first was a student station at the University of the West of Scotland, which overlapped with my second, a community station in Govan. These gigs were then followed by an eight-year stint on hospital radio in Dundee.

During this time, I became so accustomed to hearing recordings of my work that I can’t recall the last time it bothered me. As such, I often forget that many people don’t like listening to themselves.

The main reason I gave up the hospital radio was to focus on writing, but the ability to play back your own recordings is definitely a transferable skill. I also have a camcorder, and I used to ask someone to film my live performances so I could learn from them.

During this last year of online gigs, going on camera has become almost the only way to perform to a live audience. Here’s one that’s been submitted to Poets, Prattlers, and Pandemonialists for an event tonight:

Submission to Poets, Prattlers, and Pandemonialists for an event tonight.

When I look at that, I can see it’s not very well framed, and there are a few pauses towards the end as the last few lines were improvised. However, the sound is nice and loud, so it’s good enough for the purposes of the event.

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A Short Piece About Short Pieces

Ten years ago next month, I joined my first writing class with the author Zoe Venditozzi.

In each lesson, she would give us a prompt, which might comprise a sentence, a few words or even a photograph. We’d then have five or ten minutes to write a paragraph or a passage inspired by it, sometimes with extra restrictions like using a particular viewpoint or writing a certain number of words. Many actors take improv classes to hone their skills, and this was the writers’ equivalent.

Since then, I’ve built up a considerable volume of short pieces, many of which have been revised over the years, but nothing that forms a larger cohesive work on a single theme.

Some time ago, I wanted to change this, and add some longer-form pieces to my archives. These turned into stage plays: one is ready to go, the other needs to be redrafted. I also have in mind a radio play that is mapped out but needs to be written.

Now, I’m ready to go back and write shorter pieces. I’m in a poetry monthly group that keeps me focussed on producing work for the next meeting, and I wrote another original poem for the purposes of performing to a virtual audience yesterday.

Along with this, I also need to return to the habit of responding to publishers’ requests for pieces. I used to aim to send an average of one a week, and that still seems like a manageable target.

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Being There

In early March, the StAnza poetry festival takes place in St Andrews. I’ve been going for at least five years now. It’s an easy half-hour bus trip, although I’ve previously stayed over so I can go to late shows without worrying about missing the last ride home.

While it would be inaccurate to say there is a ‘house style’ of poetry, it does tend towards the contemplative and wistful, more Carol-Ann Duffy than Brian Bilston. In this relatively quiet town, save for the transient student population, it’s a mood that fits well.

In 2020, the in-person festival narrowly escaped cancellation, so the events were held in venues across town as normal, predominantly the Byre Theatre or the town hall. The challenge this year is to convey its essence through a screen for the first time.

The ones I’ve been to so far this year certainly fit what I expect to see from StAnza: these include the two-hour launch event, a meditation session, and a poets’ feedback group.

But what I enjoy most are the breakfast panel discussions where the audience is served with a pie and a cup of tea. On Sunday, I tried to recreate this at home, and it was somewhat successful:

A Twitter update showing a pie and other food on a plate, and an online event on a projector.

It’s not too late to grab many of the tickets. The festival is on all this week, and there are plenty available free of charge.

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Debunking the Basics

I’m now in my tenth year of writing, and I was thinking back today about the advice I’ve heard given to beginner writers, and how it can be misleading. Here are three of them that I feel could do with some clarification.

‘You have to write every day’

The classic example cited here is Stephen King, as his process is widely known through On Writing. When you’re starting out, it can be helpful to write daily, but there are other schools of thought. In 2016, Amy Mason won the Dundee International Book Prize for The Other Ida, and she sees writing as seasonal, with fallow periods in the year.

‘Write what you know’

This advice is often misinterpreted to mean: ‘write what you already know’. Instead, think of it as a reminder to research anything outside of your experience. So whether you need to find out how to write a character with dementia, what happens in a restaurant kitchen, or how a train crash is investigated, it’ll have a little authenticity.

‘Kill your darlings’

William Faulkner is credited with saying, ‘In writing, you must kill all your darlings.’ A ‘darling’ in this instance is what you feel to be a particularly good phrase or sentence.

But don’t take that as a sign to strike out words you like. I’m conjecturing here, but I suspect Faulkner meant to take out any good phrase or sentence if it doesn’t fit or work in the text at hand. Remember you can always save your favourite turns of phrase for another piece.

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Must Dash

This week, I wanted to pick up on a small point from last week’s entry about how my use of punctuation differs from what Grammarly considers correct. I’m focussing not on commas, but hyphens and dashes.

There are three main lengths of horizontal line used as punctuation in English. The shortest of these is the hyphen (-), the mid-length is called an en-dash (–), and the third is an em-dash (—). For the purposes of this entry, we’ll ignore the underscore (_) as this is used only for computer programming and other specialist purposes. Now let’s look at how these three marks are used.

Hyphen (-)

A hyphen connects two words or two parts of words together, and touches the letters on either side. It’s done to avoid ambiguity or to suggest a certain pronounciation.

Consider how, ‘I re-sent your e-mail’ communicates something very different from ‘I resent your e-mail.’

You might also note that ‘e-mail’ is hyphenated here, indicating that the stress should be placed on the first syllable. The more common form these days is ’email’, but modern readers understand the pronounciation without the hyphen as a guide.

A hyphen can also be used to show a range; eg, ‘The Hundred Years’ War: 1337-1453′.

En-dash (–)

This takes its name from the width of the letter ‘n’ in the first printing presses, although the width varies on modern machines, and it has several uses.

It can be used as an alternative to the hyphen to show a range; eg, ‘Normal core body temperature: 97–99˚F’. But that’s the only crossover in usage.

On this blog, I frequently use the en-dash in place of brackets – to interrupt one thought with another – and you can easily find them in previous entries. In this case, the dash doesn’t touch the letters that surround it.

You don’t even need to come back to the original thought, as an en-dash will quite happily take the reader in a different direction – and leave them there.

Em-dash (—)

The em-dash takes its name from the width of a letter ‘m’. Like the en-dash, this punctuation breaks up a sentence, but with more urgency.

Recently, I wrote in a comment, ‘There were two blunders—sorry, happy accidents—in the pictures below.’ I could have used en-dashes there, but this construction implies a slightly frantic energy. The em-dash always touches the letters that surround it.

Unlike the en-dash, however, this punctuation mark isn’t suitable for showing a range.