Gavin Cameron

I’m Sorry, But…

Almost every writer who wants to be published will have to face rejection somewhere along the line. Perhaps it’s not what they’re looking for at that time; maybe they liked it, but other work was of a higher standard.

Last week, though, I was in the position when I had to turn down an offer. I have a friend – let’s call her Alice – who runs community engagement activities for a historic trust. This time, she was running an event for people aged 60 and over to share their memories for a children’s’ book. Unfortunately, one of the participants had fallen ill, but she had an unusual story of World War II that deserved to be told.

Anzacwoundedturk — Wounded soldier (Photo credit: Wikipedia)

Alice furnished me with the important points. I considered the offer for six days, but I found it impossible to shape a poem or a story around the facts I was given.

The difficulty with biography is that when you don’t know the individual personally, it’s necessary to conduct a lot of research. There was a Middle Eastern leader some years ago who would carry out an hour of research for every minute he planned to spend with a visitor; inconveniently, my own research has not turned up this guy’s name.

I need to stress that this wasn’t Alice’s shortcoming, but from the information I was given, I felt I’d be unable to do justice to her story. So I made the decision to decline the offer, but not before referring Alice to a tutor friend who teaches life writing. I do hope the participant’s story can be told in a suitable manner.

Of course, if there’d been no requirement to tell a true story, I could easily have taken the available facts and fictionalised the rest. It would have been very different, but probably rather compelling.

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Your Weekly Writing Update by Grammarly

A few weeks ago, I started a subscription to Grammarly. As I sometimes churn out my writing work quickly, especially blog posts, it’s a useful tool to pick up any spelling or grammar errors that creep in.

There’s already a proprietary checker in Microsoft Word, and it’s possible to download browser extensions that perform a similar function. But Grammarly software is consistent in Word, in your browser, and anywhere else you type on your computer. It doesn’t, however, seem to be available for mobile devices.

Every week, I’m sent a summary of how well or badly I’ve performed in my spelling and grammar. Here are selected stats from 06 February to 12 February.

You wrote more words than 96% of Grammarly users did.
You were more accurate than 82% of Grammarly users.
You have a larger vocabulary than 97% of Grammarly users.

So far, I feel like a latter-day Shakespeare. However, it’s not all happy news:

Top 3 grammar mistakes

1. Missing comma in compound sentence: 44 mistakes.
2. Incorrect use of comma: 15 mistakes
3. Missing comma(s) with interrupter: 10 mistakes

Grammarly and I can’t seem to come to an agreement on this issue.

Sometimes it allows the use of the Oxford comma in a list, but sometimes I’m told to take it out. Similarly, I’m often shouted at for placing a comma before and in a sentence, but it’s occasionally required to stay in.

I’ve also discovered a problem with the verb form in the following sentence:

The audience here tends to be corporations.

I’m advised this isn’t correct:

So I duly drop the final letter to make the verb agree with the plural subject corporations. Then I’m told:

tend

Now the verb form is incorrect because it doesn’t agree with the singular audience. And so we go around in a loop. There is a facility to add custom spellings or to ignore a suggestion, but no way to let the software learn your writing style or to flag up false positives.

Ultimately, the writer has to determine whether the words that are written, or the way in which they’re written, are suitable for the intended purpose. Grammarly is a tool that uses algorithms to apply the conventional rules of English; it’s not a textbook that must be followed precisely.

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Forcing Toothpaste Back into the Tube

Tonight I’m hosting a spoken-word evening called Hotchpotch. This is an informal monthly event where writers and poets can read out their own work without judgement or criticism. In recent months, we’ve seen many new faces, a trend we would like to maintain.

To keep our events at the forefront of people’s minds, I’ve made it a priority to communicate with members regularly, also to cross-promote other literary events and the venues we use. I send a bulletin every couple of weeks on Facebook and Twitter, and by e-mail.

The last time, though, there were some problems with the reminders, and it was up to me to fix them.

Facebook

A lot of our regulars subscribe to the Hotchpotch Facebook page. This is the easiest update to make: it can be done on a PC or a phone, subscribers are notified immediately when a new post appears, and there’s a facility to tag the pages of related literary groups. The posts can also be edited, and people can ask questions in the comments.

On Facebook pages, administrators have the option to post under their own name or to post under the name of the page. The last time, I forgot to change the option and posted as myself. People could still see the message if they happened to look at the page, but they wouldn’t be individually notified.

The post had been up for a few hours before I noticed. Fortunately, all I had to do was copy it, make sure the related events were correctly tagged, and repost it in the correct mode.

English: internet Español: internet — Teh interwebz. (Photo credit: Wikipedia)

Twitter

After posting on Facebook, I send out the link on Twitter using HootSuite software. This can calculate the times of day that people are most likely to see your updates; in our case, it typically posts at 9am the following day.

Shortly after I’d corrected the Facebook error discussed above, I saw our Twitter post had a spacing error which meant the venue wasn’t properly credited. To add to the problem, the message had already been retweeted by two followers and later a third. One of these is the Scottish Poetry Library, which has an extensive audience and is great exposure for us.

The question was how to correct this error in the least disruptive manner. I didn’t want to leave the post as it was because it looked unprofessional, yet I didn’t want to take it down because users had already engaged with us. I’ve learnt a few things from managing literary groups, and one of them is to admit when you’ve made a mistake.

I posted a corrected version with the venue properly credited. I then sent private messages to the three users explaining what had happened and asking whether they would do me a favour and retweet the correct version. And they did. This move ended up working in our favour, as more Library followers engaged with our new message than the original.

E-mail

A significant proportion of our members don’t use Facebook or Twitter, so we also maintain a mailing list.

The bulletin I’m most worried about is this one; once an e-mail has been sent, it’s not usually possible to recall or amend it. So when I send Hotchpotch updates, I’ve set up a 30-second delay so it can be cancelled if necessary before it leaves my outbox. Gmail users can find this feature in the Settings.

But despite the problems with the Facebook and Twitter pages, the e-mail was sent without any mistakes.

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Further to Last February

Exactly 12 months ago, I was given a chance to attend a masterclass at the Scottish Poetry Library in Edinburgh.

Performance poet Francesca Beard led the weekend class, with the aim of helping the participants form a full-length spoken-word show. Like many performers, she believes revealing part of your inner self on stage – or indeed on a page – makes for compelling work.

One year on, I’ve completed a few projects as a result of that fabulous weekend:

The Purple Spotlights EP

Before I had enough material for a full-length show, I did have enough poetry for a four-track EP.

I chose three existing pieces around the theme of friendship. Additionally, I wrote Seven Months especially for the release, which takes more than five minutes to perform. In print, that would be too long for most magazines, but ideal for audio.

The recording process taught me a little about performance and a lot about packaging my work for an audience who aren’t in front of me.
The EP was released in April 2016 and is available on Amazon, iTunes and Spotify, plus many other outlets.

Scottish Poetry Library, Crichton's Close, Can... — Scottish Poetry Library, Crichton’s Close, Canongate, Edinburgh Designed by Malcolm Fraser Architects, frequented by many excellent writers. (Photo credit: Wikipedia)

Crossing the Road

On the second day of the masterclass, Beard asked us to identify the subject or theme we were scared to write about. Then she asked us to write about it, and I did. We all did.

This gave me the confidence to interest the publisher in a previously-written work called Crossing the Road that deals directly with my bisexuality. It was then included in the Aiblins: New Scottish Political Poetry anthology; the first publication I approached. I was pleased to be invited back to Edinburgh, then to Aberdeen, for the launches.

I felt this poem would have more impact if it weren’t read from a sheet of paper, so I committed it to memory. From that point on, I’ve tried to do the same with all my performed work.

Sir Madam

Over the weekend, I became acquainted with the other participants, and I remain friends with most of them. One introduced me to the intense and angry work of Andrea Gibson and, by coincidence, I happened upon the Kate Tempest poem The Woman the Boy Became.

These influences helped me to shape an idea I’d had for years, but hadn’t been able to commit to paper. Sir Madam is a character who identifies as somewhere between male and female. Owing to the subject matter, I was particularly nervous about performing it. However, I received several positive comments afterwards, some from quarters I hadn’t expected.

Jennifer Goldman’s Electric Scream

The main aim of the workshop was to form a full-length spoken-word show. I’ve used some of the techniques taught to write a series of monologues that I’m seeking to turn into a one-hour play.

That isn’t finished yet, but it might not exist at all if it hadn’t been for that weekend with Francesca Beard.

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Across The Page

A couple of years ago, I was invited to pen a poem inspired by the former jute mill Verdant Works. I wrote the piece in situ. I later edited it, gave it the title Congregation, and sent it to the mill’s current owners to use as they wished.

Many months afterwards, the poem was published online for National Poetry Day. My original line breaks had been removed, however, so the piece was laid out more like prose. The image is below; the partially obscured words in the bottom line are mill fever and service is over.

I decided I liked this format better than the original.

Fast forward to the present day, and the question of typographical layout has occupied me again. Generally, I steer clear of contests with an entry fee, but I make the occasional exception, this time for the NYC Midnight Short Story Competition.

There are three rounds. At the starting whistle, every entrant is assigned a genre, a character, and a situation. In my case: a comedy about an art teacher and a mid-life crisis. We’re then given eight days to construct a story around these elements, and the winner progresses to the next round.

I struggled to start a story with my elements as they failed to inspire me. So I began to write down some thoughts as poetry, but using paragraph breaks rather than line breaks. I’ve also limited the number of rhymes that appear.

The final piece treads a line between prose and poetry that I would like the judges to pick up on. The other notable feature is that it runs to only 131 words, although there’s no minimum specified in the rules, only the maximum of 2,500.

Moreover, I’m happy with the result, especially since I now have something out of virtually nothing. If it’s enough to make it into the second round, all the better.

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And That’s Where We Differ.

I’ve recently finished the James Bond novel Goldfinger, the first Ian Fleming work I’ve tackled.

On the whole, I enjoyed the book. There’s a certain calculated calmness across its three acts, in which Bond plays cat-and-mouse, not to mention golf, with Auric Goldfinger. Unexpectedly, I didn’t imagine Bond as any of the actors who’ve played him on film. Rather, he became his own character with his own personal quirks.

Unfortunately, there are elements of his personality that age the novel badly.

In one scene, we’re told that Bond considers the Koreans – at least those who aid Goldfinger – to be lower than apes, an opinion that’s peppered throughout the rest of the narrative. In 1959, this might not have caught much attention, but it stands out today.

Furthermore, the female characters have barely any conflict with Bond; when he tells them to do something, they don’t question his orders. There is a hint of progressiveness as Pussy Galore is described as the leader of a Lesbian organisation – Fleming’s capital – but other casual digs set it firmly in a past era. These come to a head in the paragraph starting on page 221 of the Penguin Classics edition, in which it’s almost gleefully explained that:

Bond came to the conclusion that Tilly Masterson was one of those girls whose hormones had got mixed-up. He knew the type well and thought they and their male counterparts were a direct consequence of giving votes to women and “sex equality.” As a result of fifty years of emancipation, feminine qualities were dying out or being transferred to the males. Pansies of both sexes were everywhere, not yet completely homosexual, but confused, not knowing what they were. The result was a herd of unhappy sexual misfits – barren and full of frustrations, the women wanting to dominate and the men to be nannied. He was sorry for them, but he had no time for them.

Source: http://techland.time.com/2008/08/27/the_quantum_of_racist/

To me, the length and detail in this particular passage suggest the views aren’t simply the thoughts of James Bond but an authorial intrusion. As the protests surrounding the recently-elected US president have shown, they’re views that are no longer prevalent for many people. For further reading on this topic, I recommend the Grayson Perry book The Descent of Man.

Fleming has millions of fans around the world who read the books and watch the films, but would it right to remove these passages for a modern audience? It has been done relatively recently with a very different author.

In 2010, Enid Blyton’s Famous Five were given a 21st-century makeover. The term housemistress became teacher, mother and father were changed to mum and dad, and in a more extreme case, dirty tinker was amended to traveller. Anne McNeil from Hodder also made it clear that the publisher would continue to release the classic editions of the Famous Five books with unchanged text.

I think the important factor to remember is that times always change and that nobody could’ve predicted how it would happen. Perhaps in 100 years, all of society will accept several gender identities without question, or perhaps eating meat will be seen as shocking. So when we read archive material, we don’t have to agree with the views of the day, merely acknowledge them.

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Acceptable Attitudes

I subscribe to a popular members-only writers’ group. While it’s mainly to discuss the process of writing, there’s room for other types of post.

A couple of weeks ago, one member announced that her book was now available on Amazon, but she failed to provide a link or even the title. When these were requested, she eventually provided the title, and at the same time insulted one of those who had asked. As other members found the book and read the free sample, they brought to her attention a number of errors in the text.

By the end of the discussion, she had admitted to publishing the book without reading back over her work, so desperate was she to make it available. She even became a little apologetic.

Bad Attitude (album) (Photo credit: Wikipedia)

It comes down to one concept: attitude. The member who had started the post did so with a terrible attitude, though it was eventually softened by the firm yet helpful hand of many of the commenters.

Whether we’re aware of it or not, our attitude can earn or lose us readers. Around 18 months ago, I attended a literary event where one of the students constantly took over the conversation by talking about her degree course at length. She stopped coming back after her second visit; perhaps she ran out of achievements to boast about.

Fortunately, such an outright egotistical attitude is rare face-to-face, at least in my own experience. Yet a lazy approach can be similarly offputting.

I’m privileged to be followed by some amazing writers on Twitter, a few with verified accounts. But I won’t follow back if the writer posts the same link to their work over and over again, often adorned with tags such as #amwriting; one of many tags that’s now so common, it’s become meaningless. Laziness doesn’t fly with savvy Twitter users.

One user who gives an excellent impression is @RayneHall. A casual look at her page shows writing advice interspersed with photos of her cat, sparing use of tags – and plenty of replies to followers. To me, this projects the attitude of a writer who is passionate towards her subject without subjecting us to overbearing self-promotion, and who is willing to listen to the views of others.

If you view this entry on a laptop or desktop computer, you’ll see my own Twitter updates on the right-hand side of the screen under the handle @LadyGavGav. My usual style is to post jokes – especially puns – to engage people. These updates provide a little insight into me as a person rather than as a promoter. But when I do have something to advertise, such as a blog entry every Monday, the audience shouldn’t feel hit over the head with it.

In my experience, allowing an audience to see even a little piece of yourself is important. In 2015, I attended a Jeanette Winterson book launch. The first part of the event was taken up with videos about Shakespeare and speaking about his life. I was bored, frankly, because it wasn’t obvious at first that she was referring to the structure of her book. Thankfully, once the videos stopped and she began to answer questions, her own personality shone through; much more engaging than the razzmatazz that had gone before it.

There is no single correct or effective way to project a good attitude, but there are plenty of bad ways.

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Following Suits

Every writer who creates multiple characters has to balance up two factors.

On the one hand, both characters are inherently part of the author, and their words and actions are dictated by what is written. Yet the voices of these two characters must also be sufficiently different from each other so a reader can accept both as individuals. This is not always an easy balance to achieve, and sometimes even the professionals don’t succeed.

English: Gabriel Macht in March 2009. — English: Gabriel Macht from Suits in March 2009. (Photo credit: Wikipedia)

I’ve recently been watching legal drama Suits. Generally speaking, the dialogue is of a high standard, and pared back to lend a speedy pace. But the standard, I’ve noticed, begins to slip around Season 4. The first observation was that every character – main, minor and recurring – swears in an similar manner. Had this attribute been confined to one character, perhaps two, I would have accepted it as a personal quirk; it works for Malcolm Tucker in The Thick of It, for instance.

Suits also relies upon the line What are you talking about? and its variations. Used sparingly, this technique can be a near-invisible way to clarify information for the viewer, but its constant use becomes obvious and lessens its effect. Writing in The Guardian, playwright Lucy Prebble even warns that If ever a character asks another character, “What do you mean?”, the scene needs a rewrite.

Suits is not the only drama affected by such similarity. A couple of weeks ago, I watched Collateral Beauty. Among its other flaws, it seemed that each character held a spiritual belief and would often speak to the others in similar platitudes. Yet even if the writer did want to evoke a spiritual tone, it might have helped if someone had questioned or challenged these beliefs.

So how can we, as writers, avoid the trap of carbon-copy dialogue?

A good starting point is to reduce the number of characters where possible. In Moby Dick, the narrator Ishmael is on a whaling ship with dozens of other men, but Herman Melville tells their stories by illustrating only a few. He focuses, for instance, on the overbearing and egotistical Captain Ahab who who could not be confused with Queequeg and his strange customs.

For those who survive the cull, it’s worthwhile letting them live in your head and allowing them space to forge their own identities, perhaps even to construct their own back stories. It should be possible for the reader to follow two characters having a short conversation by looking at their individual speech, mannerisms and attitude rather than he said or she said tags.

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Keep on Moving

When I started writing, I needed to go to a class to begin any stories. When someone gives you five minutes to write a passage containing the words stapler, Wednesday and aquiline, it starts the creative process in a way that sitting alone with a blank page doesn’t.

I can’t remember exactly when I began to write pieces without any prompting, but it was around then that I felt more comfortable calling myself a writer, then later a poet. These days, stories and poems tend to bite at me until I write them, although attending a class is still my prime inspiration. Yet even now, there are times when I can’t seem to start moving. I hesitate to use the much-debated term writers’ block because it’s not that I can’t write, it’s that I don’t have enough of an impetus.

Many writers worry about balancing the need to write and the time to read. So when I don’t have said impetus, that’s the perfect time to pick up a book. My current novel is Ian Fleming’s Goldfinger, from which I’m learning a lot about structure.

Better yet, I like to visit bookshops. A few days ago, I was in St Andrews visiting Bouquiniste, and Toppings & Co – both small businesses – plus a popular chain store. As I browsed, I found myself thinking about the excitement all these authors must’ve felt on hearing their books were to be launched; thinking of them stopping by to check it wasn’t one massive hallucination.

I also imagined my own novel on its own table with a cover boasting Sixty Million Nicker – now a major motion picture above a gushing quote from The Guardian. And that inspired me enough to pick up the manuscript again that evening. After all, there’s no launch if it’s never written.

One day, I hope I won’t have to imagine, and I wish you all the best with your own work, however you become inspired. And if you’re not, why don’t you start with the words stapler, Wednesday and aquiline? You have five minutes.

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Writing to My Influences: Six Months On

Earlier this year, I wrote a letter to Kazuo Ishiguro after reading his book Never Let Me Go. It was necessary to use pen and paper because his publisher didn’t provide an e-mail address. I enjoyed the process so much that it sparked off a project to write to 10 other people who have influenced me.

Six months have now passed since that project. I haven’t received a response from any of them, but I didn’t ask for one; I merely wanted to express my thoughts on their work. At least I can be reasonably certain the letters did reach their respective destinations as none have been returned to sender.

English: The first U.S. aerogram, then called ... — English: The first U.S. aerogram, then called a air letter, the modern transformation of the letter sheet. (Photo credit: Wikipedia)

I have no plans to repeat this project, but if I did, I’m uncertain whether I would do anything differently.

The most difficult letters were to Jasper Carrott and Billy Joel because they were childhood influences rather than current ones. Yet I’m glad I did because, as 2016 has shown, nobody will be around forever. Conversely, I fear I might have scared off Andrea Gibson as that ran to four handwritten A5 pages. Given another chance, I might have boiled it down to its essentials, and I acknowledged this point within the letter itself.

There is one side benefit. To carry out the project, I needed suitable writing paper so I bought a notepad with tear-out pages. On the odd occasion when I’ve needed to write other letters and notes over the last six months, it’s been ideal.

I do quite often write on paper even if I’m not composing a letter. This entry, for instance, began life as handwriting in a notebook; I wasn’t in a hurry and it’s more portable than a laptop, plus it slows down your thoughts to the speed of the pencil. When it’s finally put on computer, it undergoes its first edit. If you’re accustomed to using a computer, I recommend the method.

	A Tale of Two Topics… on The Cultural Value of the Publ…
	Gavin Cameron on Hotchpotch Moves to Groucho…
	Anonymous on Hotchpotch Moves to Groucho…
	Understanding Epheme… on The Middle of the Road
	Understanding Epheme… on Plagued by Plagiarism