An Abundance of Apples (Part 2 of 5).

For the five Mondays in June, I’m taking a break from discussing and analysing the world of writing, and make one of my stories available free online. This one is called An Abundance of Apples.

Last week in part one, we met an orchard owner who started off with too many apples apples, traded them for blackberries, and the blackberries for carrots, and he wants to continue up the alphabet in this manner. In part two, below, he is in possession of a flask.

Flask

I checked You & We the next day. More people had shared the link, and I found an e-mail waiting for me. Tom Jeffreys offered to swap my egg cup for a flask. If I wanted it, I only needed to go around there at my convenience.

I must’ve spoken to him on the porch for less than two minutes. During this brief time, Margaret didn’t say a single word to me, but continued her dusting in the hallway behind him, sighing at least twice and making sure she saw me checking her watch.

Golf club

It took further days and a couple of online updates before I could trade again. This time, a friend of a friend offered me a golf club she’d been left in a divorce settlement.

It turned out to be a large, expensive driver, and I asked Irene several times if she felt sure about this, as I could only offer her a flask that held barely a cup of coffee.

“I’ve no use for it. Neither did he, that’s why he didn’t take it.”

I thanked her, and spent the rest of the evening at the driving range before advertising it for swaps.

Throughout this time, I’d still been working in the orchard all day, but instead of reading at night, I would update my Web presence. I decided to merge all my activities from the home-made Web page onto You & We as I seemed to get a lot more reaction there.

Unknown to me, another user had tipped off the local press. I received an e-mail from a journalist who wanted to interview me and arrange another swap.

Helicopter trip

The journalist introduced me to a businessman who ran experience days, and who wanted to give me a voucher for a short helicopter trip in exchange for the golf club and an article in the paper. I gladly accepted it.

When Mum and Dad read the article out, Daniel immediately danced around the room and told all his You & We contacts he would be going up in a helicopter.

Once he’d calmed down, I took great delight in reminding him I would be exchanging the the voucher for something beginning with I.

“But that’s not fair. That’s my reward for helping you.”

“Helping me? How did you help?”

“Well, I said you’d swapped apples and blackberries, then them for carrots, then that for a doorstop.”

“And?”

“And what?”

“And the egg cup. I seem to remember you couldn’t care less about that, or the flask, or the golf club. And now because it’s something you want, you expect me to hand it over to you.”

“It’s only fair.”

“All you’ve done for the last fortnight is watch football. You haven’t lifted a finger to help, so don’t expect me to give you anything.”

“But that was then and this is now.”

I ignored him. I turned to my parents, who were now re-reading the article to themselves with smiles on their faces. Before I could say anything to them, Daniel had bounded over to me and punched me in the shoulder. He hadn’t done this for years, but my reaction remained as sharp as ever. I kicked him in the shin.

“Stop it,” shouted Mum, “don’t you dare do that. Daniel, get to your room now, it’s way past your bedtime.”

“Yes, Daniel, you just get to your beddy-weddy.”

“And you stop winding him up,” she shouted at me.

“Hate you all,” stated Daniel as he slammed the door shut.

“How am I winding him up? He knows I’m going to swap it and he hasn’t done anything to earn it.”

“He’s only young,” soothed Mum, now calmed down from her shouting.

“I had more sense than that at his age.”

They both laughed.

“You were exactly the same,” said Dad.

“No I wasn’t.”

They laughed even harder.

Now the paper had published my You & We address, my one e-mail every few days became half a dozen a day. I had to sort through them.

I first deleted those who failed to grasp the concept, offering items that didn’t begin with I, such as bookshelves. I then put them in order of relative value, disregarding any below the value of the voucher, such as a model igloo. I narrowed it down to two possible items.

Italian Grand Prix programme, signed

I decided against the offered iPhone from an electronics dealer because it had been used. But after a few inquires, it seemed the signed Italian Grand Prix programme was worth more than the helicopter trip, although I’d never heard of the driver.

I arranged a meeting with the seller. He appeared smartly dressed and wealthy, and we exchanged items.

On opening the envelope containing the helicopter voucher, ripped-up pieces of paper fell out. I’d left it near the door so I wouldn’t forget it. I could only apologise to the seller, who told me he understood, and would hold the programme until I obtained a replacement.

I drove home, ignoring every speed limit sign, to find my parents watching TV while my brother played his football game. I grabbed the computer from his hands, threw it across the room and gave him an overdue beating. It would have been worse if Dad hadn’t pulled me off him.

I told Mum and Dad what he’d done, and showed them the ripped pieces of paper. They expressed disappointment with him rather than anger, while I spelled out to him exactly what it had cost me, not just in monetary terms, but wasted time.

Daniel said a pitiful, “I’m sorry.”

“You will be,” I countered.

Happily, the helicopter company saw the funny side and replaced the voucher, allowing me to swap it for the programme.

 

Next week: Jigsaw.

An Abundance of Apples (Part 1 of 5).

For the five Mondays in June, I’m going to take a break from discussing and analysing the world of writing, and make one of my stories available free online. This one is called An Abundance of Apples, and it totals 4500 words. Part one commences below.

Apples

Last year, we ended up with too many apples. We experienced just the right weather conditions, we harvested at the optimum time, and we ran out of storage space. The supermarkets would take the bulk of the crop, but as a family-run orchard, we wanted to sell as much as possible.

Blackberries

I phoned around the other farms to ask if they needed or wanted any of our surplus. Only the blackberry growers did. They said they couldn’t pay us, but offered to swap for some of their surplus. Mum agreed, so my brother and I drove there.

My brother Daniel is 13. Even before I reached his age, I’d been collecting and trading items: cards, coins, books, tokens from cereal boxes, anything I could. The skills I’ve built up over the years have stood me in good stead, so I’ve tried to pass on as many as I can to the boy.

Mum looked again at the three large boxes of blackberries as we unloaded them from the car. “I can’t use all these. I thought you said they only had a few left.”

“They did. This is it. Their yield’s been good as well.”

“By the time I make jam with the first box, the rest of them’ll be rotten. You’ll have to get rid of the rest.”

“How?”

“Phone Margaret Jeffreys. See if she’ll take some off your hands.”

“Oh, not Margaret Jeffreys,” Daniel and I complained in unison. We dreaded seeing, phoning or dealing with this family friend and her gruff, short attitude.

Carrots

However, her son Tom answered the phone. He was the polar opposite of his mother, and happily agreed to pay for the berries, throwing in half a dozen misshapen carrots from his vegetable patch. Mum wouldn’t complain about vegetables.

On the way home, Daniel stared out of the window in a thoughtful manner. “Did you know we’ve gone up the alphabet?”

“What do you mean?”

“Well, we had too many apples, so we swapped them for blackberries. Then we had too many blackberries, so we swapped them for carrots, so we’ve gone A, B, C.”

I thought about this, “I suppose we have.”

“So what are we going to swap them for?”

“The carrots?”

“It has to be something beginning with D. A doorstop, darts, maybe even a dog.”

“You begin with D; I’ll swap you for them. No, but let’s not get too carried away.”

“But can we? It would be great if we kept swapping for bigger and bigger and bigger things and got to Z and got a zebra.”

Doorstop

Mum never got to see the carrots. As I drove Daniel into town the next day, I told him I knew a bloke who owed me a favour.

We walked into the ironmonger, where we told him about our adventures in swapping items alphabetically. He hesitated and asked us a few questions, but gave us a doorstop in exchange for the carrots, bursting Daniel’s hopes of obtaining a drill.

The shopkeeper played his part perfectly. Although we’d made a genuine exchange, I’d arranged it with him the previous evening.

Egg cup

A few days later, I received an e-mail with the subject line Offer to swap doorstop for egg cup. It couldn’t possibly be spam with such a specific heading, so I opened it. The sender made reference to a website, which I didn’t click on. The message had been sent to my address and Daniel’s, so I confronted him.

He excitedly showed me a page he had made, detailing our swaps so far and appealing for help with the next letter.

“What have you done that for? Get that down right now,” I ordered.

“But I thought you wanted help with it. It’s a great way of telling people, and they can give us all sorts of things.”

We argued about this for some time and we came to a compromise. He could keep the page up, provided he removed our details. I contacted the woman who offered the egg cup and explained the situation. As she had taken the time to write, I decided to take the time to meet her in a café and arrange a trade.

Despite his initial eagerness, Daniel’s interest faded in the space of a week, and he became engrossed in football. I didn’t share his enthusiasm for the game, so I left him to it.

I started to consider the egg cup meeting again. It felt like being a kid, when you had two identical trading cards and finally found somebody who also had duplicates. You’d work out which you could swap, and what you had to buy. It’s how youngsters learn the value of items without risking large sums of money.

I chose to make a go of it.

Daniel gladly handed over the password to the site. I rewrote his posts in adult-speak, adding an appeal for something beginning with F. I opened a fresh e-mail account that I didn’t mind getting spam into.

But after another week, I had no replies, and the hit counter hardly rose. I asked him how it had come to the attention of the woman who offered the egg-cup after 24 hours, yet I’d had nothing for seven days.

He’d posted the link to our page on an apparently massively popular website called You & We. His list contained over three hundred contacts. I hesitated to say friends because I doubt even the Pope knows that many people personally, although he insisted he did. He’d posted the link, two people had given it to their contacts, and it spread exponentially from there.

I’d never previously paid attention to these sites as I would usually be working, reading or asleep, but I joined You & We out of curiosity. Once I added Daniel, the site made suggestions based on his contacts about people I might know. In just under two hours, I’d connected with more than fifty people from real life.

Next week: Flask.

Do you know who I am?

Last week, I had the opportunity to show my published and soon-to-be published pieces to my work colleagues. Some of them were aware of my writing through reading this page, while it was news to others.

I don’t talk about my fiction writing much when I’m doing my day job. Although it certainly isn’t a secret, I believe there is a time and a place for promotion, and I was given that time and place on Thursday lunchtime, so I took advantage of it.

On Twitter and Facebook, it’s particularly important to keep a balance between ordinary updates and promotional copy. How often have you seen an account post exactly the same message four or five times a day? It makes people switch off, like that one individual you avoid at the party as you know they’ll talk about their pet subject ceaselessly. Besides, if you say everything upfront, what is there left to have a conversation about?

Two great places for advice about promotion – and there are dozens of others – include the writer Rayne Hall, and the marketer Wilco Wings whose advice can be adapted for writers.

And now I have your attention through our implied conversation, it’s time to launch into the self-promotion.

To date, three of my short stories have appeared in the following anthologies: Because of What Happened by The Fiction Desk, FourW Twenty-Four by Booranga Writers’ Centre (I’m not credited on the website, only in the book), and Alternate Hilarities by Strange Musings Press. While looking out materials for my work event, it seems I’ve misplaced my copy of Because of What Happened, so I’ll have to hunt it down like JR Hartley and his book about fly fishing.

 

I’m also due to have two poems published in an upcoming anthology called Seagate III when the last tranche of funding comes through, and one in a promotional leaflet for the MLitt Writing Practice and Study programme at the University of Dundee.

By coincidence, I received an e-mail last week from Giovanni Valentino, editor of Alternate Hilarities. In each of his anthologies, he likes to run a reprint from the magazine of the same name from the 1990s, but it’s becoming harder and harder to find the authors.

To this end, he’s asking the Internet for help. On the off-chance that you’re one of the following people, or that you know their whereabouts, please e-mail him forthwith at giovanni.valentino@strangemusingspress.com.

Issue 2

  • Alex MacKenzie, The Elvis Wars
  • Dana Cunningham, The Man Who Could Communicate with Animals
  • Buzz Lovko, The First Dinosaurs (a near Myth)

Issue 3

  • Dan Crawford, X-0001
  • Ken Goldmen, The Devil and Myron Rabinowitz
  • Michael Eugene Pryor, Irreconcilable Instructions

Issue 4

  • E. Jay O’Connell, Until the Tuna Runs Out
  • Alex MacKenzie, The Real Me

Issue 5

  • Tomas Canfield, Learning the Ropes
  • Leonard Jansen, Old ’99

Issue 6

  • Greg Costikyan, They want our Women!

Can I Have a P Please, Bob?

Plagiarism

Hot on the heels of my copyright post the other week, a case of poetic plagiarism was brought to my attention. Remaining copies of Laventille have been pulped after Sheree Mack admitted to including others’ work in her own inadvertently, although fellow poets have accused her of stealing work deliberately.

In this instance, it’s not only the original poets who have been hurt by her actions, but the pulping will wipe out the profit margin that Smokestack Books would otherwise have made.

The one positive aspect we can salvage from this mess is that this type of plagiarism is relatively rare. If it happened every day, this story wouldn’t have been reported and nobody would have kicked up such a stink.

Postgraduates

I’m a firm believer that every writer ought to learn the skill of public performance. More on that story later. But last Wednesday marked the first time I would be performing to an audience of academics, rather than the general public or other writers.

The University of Dundee has run a Postgraduate Conference for the last four years where students set the agenda by presenting papers. Students were also free to respond creatively to this year’s theme, Lost in Translation. When I saw the final running order, I appeared to be the only person giving a creative response, and I seriously considered withdrawing as I didn’t feel it would fit in with the other presentations.

The upshot is that I did go ahead with it, although I was moved to a different slot with theatre students and a novelist. I felt it flowed more smoothly, and I received an excellent response, both verbally and on the anonymous feedback slips. My tutor was also sure to stop by and ask a couple of tough questions.

Performance

Shortly after the Postgraduate Conference, I went along to a workshop… on performance; unfortunately, it had to be in that order. Jenny Lindsay, one half of poetry duo Rally & Broad, was hosting, and they’re one of my favourite contemporary acts. She asked each of us why we were there. I told her I was quite comfortable with public speaking, but I felt there was always more to learn.

Blockbusters (UK game show)
Blockbusters (UK game show) (Photo credit: Wikipedia)

She took us through the process of preparing for an event, including how we might introduce ourselves, putting together a set list, and we even took turns at walking out in front of an audience. The organiser is hoping to put on another event in the near future but using an actual stage.

If you have the chance to hone this skill where you live, I recommend signing up. What many writers don’t realise is that if you’re snapped up by a publisher, you’ll be expected to read excerpts to a live audience. I’m not going to pretend it’s easy to stand up and entertain people, but the only way to make it easier is to keep practising, and prepare your materials thoroughly in advance. Remember, most audiences aren’t sitting waiting for you to slip up – they’re willing you on.

Promotion

Although National Novel Writing Month and its offshoot Camp NaNoWriMo are over, an enthusiastic band of us have continued to meet each week. The most recent meeting was yesterday, but we left after an hour to visit Waterstones where Kirsty Logan was promoting her novel The Gracekeepers.

I’d seen the posters across town, but I hadn’t heard much else about it until that evening. By the time I’d listened to the excerpt, learnt about the background of the world in which it’s set, and was told were some characters written as gender-neutral, I decided I wanted it. The issue of gender is something I become interested in since my feminist friends talk about from time to time.

And our group each spoke to Kirsty Logan for a couple of minutes each as she signed our books. I wish I’d thought to take a photo, as her dress contained pictures drawn in the same style as the book jacket. If I ever have a novel published, that’s a touch I’ll think about adopting, although I might settle for a shirt rather than a dress.

Find your niche.

Where and how you write is as individual as the work you ultimately produce. There are many examples of writers who need a particular space, certain items on their desk or a strictly-observed time of day, and there are others who can churn out stories in the back of a taxi. Shortlist gives a few examples. I fall into the back-of-a-taxi category.

When I’m at home, I prefer to stand up while writing, normally using an ironing board to rest my materials. I sit all day in an office and it’s a relief to be on my feet, plus the health benefits have been known for some years. In February, for instance, Tom O’Donnell took a satirical look at the health dangers of sitting down all day.

Minimal modern writing desk
Minimal modern writing desk (Photo credit: Wikipedia)

However, it’s also my least favourite place to write as there are many distractions around the house, such as tidying or loading the washing machine. To that end, I sometimes write in a cafe or a library. Unfortunately, I’m not often able to stand up there, but I find I concentrate better as I only have one desk, and there are no chores needing done.

The background noise is also a consideration, as there’s a fine balance to be sought. When I write in the University of Dundee library, I always choose the Group Study area. I find silence quite conducive to writing, but I’m also on edge because every rustle of paper or drink of water then stands out a mile, whereas a consistent ambience can more readily be tuned out. The opposite is also true. I’ve tried to write in Dundee Contemporary Arts, but the noise is loud then quieter as the audience enters and leaves the cinema, and this is just as distracting.

Of course, such distractions can be overcome with headphones. For the last year or two, I’ve written to the soundtrack from the film The Assassination of Jesse James by the Coward Robert Ford. It’s an unwieldy title, but the Nick Cave music helps my writing along no end.

The need for writers to use their personal rituals makes me wonder whether there’s a market for a dedicated studio nearby. I have a few artist friends who rent individual rooms in a converted mill and can work undisturbed at their convenience.

Considering the average size of the studios, I reckon it would be possible to squeeze up to four soundproofed booths in one of them, allowing each writer to stay in his or her own customised bubble. An Internet search shows the nearest dedicated writers’ studio is in Nottingham, with a handful scattered around the US, and that’s a long way to travel from Dundee just to find the ideal environment.

However, if you are in the city of Discovery, Hotchpotch is taking place tonight at The Burgh Coffeehouse on Commercial Street. It’s an open mike night for writers, where you can read your own material or come along to listen. More information about Hotchpotch on the Facebook page.

The Finish Line.

Every April, there’s a contest called Camp NaNoWriMo, an offshoot of November’s National Novel Writing Month. In November, the aim is to write a 50,000-word novel in 30 days. Camp, by contrast, allows participants to choose a word goal starting at 10,000 and to work on any type of writing.

I intended to do more work on one of my unpublished novels, which is mostly written but needed extra scenes. I did write a few thousand words of it, but I didn’t feel the same enthusiasm as I did when I edited it a couple of months ago. Rather than bore myself stupid with it, I changed focus.

A piece of advice often given to new writers is Finish what you start. It’s rare that I don’t finish work, but I did have a few short stories that had gone nowhere. I therefore used the opportunity to finish two of them.

One had started off as a little self-indulgence but rereading it after this time allowed me to work out and deliver the message I was trying to convey. The other one should have been written in one session, but I was interrupted and never went back to it. I now have a satisfactory ending for both pieces and they’re ready for a second redraft – and a ruthless reduction in their word counts. As for the novel, I will redraft it when my enthusiasm returns.

Camp NaNo is traditionally done without a group leader and without meet ups in person. In Dundee, however,  we’ve been fortunate enough to have active members who have met up every Tuesday in April to work on their respective pieces. I set my own target at 10,000 words as I also had a university paper to hand in around the same time, but thanks to these meetings, I managed to reach the goal.

If you’re also in Dundee, by the way, there’s a new monthly Literary Lock-in at the George Orwell up the Perth Road. There are no speeches or readings, just an opportunity for writers to mingle and speak with each other. The next one is on 25 May.

©

Open the front cover of most books and one of the first pages you’ll encounter contains paragraphs that begin something like:

  • First published in Great Britain in [year] by [publisher];
  • The right of [author name (s)] has been asserted by [him/her/them]…;
  • and All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted…

This legal text is effectively saying that the author and publisher, and/or anyone else involved in making the book, have created an original piece of work and that the reader is not permitted to do anything with it other than enjoy the text. The modern copyright system began with the Berne Convention in 1886 and has evolved over the intervening decades, and it’s now something we take for granted.

It was brought to my attention this week that there is a manifesto proposal by the Green Party to shorten copyright terms to a maximum of 14 years, a move that is causing anger among authors. In most cases, the current system guarantees copyright control for the rest of an author’s life, with control transferred to his or her estate for 70 years after death. If the 14-year proposal were already in operation, this would mean anything produced in the 20th century was now in the public domain.

Incidentally, following a change in the law last year, comedians are less likely to be sued successfully if they produce a parody version of an existing work.

With so much at stake, there’s a good reason to make it plain who owns the copyright. To this end, many emerging authors place a large copyright and/or © on their manuscript before sending it to a publisher, or on the cover of the book if it’s self-published.

There is no need to do this for two reasons:

  1. Making a big show of copyright is the mark of a nonprofessional. A publisher isn’t going to steal your manuscript unless they’re a dodgy outfit, and if you do self-publish a book, a discreet copyright notice inside will suffice. Make sure it’s drafted by a lawyer or someone who knows what they’re doing; don’t make up your own wording.
  2. In any case, copyright exists the moment a work is created, at least in the UK and in the USA. The purpose of the notice is merely an affirmation of the copyright.

If you have had something published in a book or in a magazine, make sure you’re receiving the appropriate money from it. Register with the Authors’ Lending and Copyright Society to check whether you could be paid secondary royalties from photocopying, scanning and digital copying. If your book is in a library, royalties are generated each time it’s borrowed, so consider joining the Public Lending Right scheme to collect any money owed.

Situation Comedy.

Last night, while stuck for something to watch on TV, I came across an old Rich Hall DVD. I’ve been a fan of his for some years, whether as himself or in the guise of country musician Otis Lee Crenshaw. This DVD featured both personas. In the Crenshaw part, he performs a couple of template songs using the details of audience members to fill in the blanks.

English: Rich Hall performing live on November...
Rich Hall performing live on November 1, 2007 at Knabrostræde in Copenhagen, Denmark. (Photo credit: Wikipedia)

Regular readers will know that I encourage every writer to stand up and read their work in front of other people, and one area I like to explore is customising the material to that particular situation. Writers can easily use those same principles of comedy at a reading.

Not too long ago, I saw a poet walk on stage with a rucksack. He started his act, and midway through, he took off the rucksack and walked through the audience, giving out small bars of chocolate to everyone who had performed before him and to anyone involved with organising the event, adding briefly why he considered each individual to be, “awesome.”

The last time I tried a tailored act, I read out a story consisting of six passages from six viewpoints. I placed each passage in an envelope, marked each one with a letter from A to F, and passed a beanbag around the audience. Whenever it was caught by a new person, I asked them to shout out a letter and that would determine the order of the story.

Some acts thrive on audience embarrassment, but that’s not to my taste unless anyone is heckling or generally being difficult. When I threw the beanbag, I made it clear that whoever caught it would not be hauled up on stage or embarrassed in any way. And with regard to the rucksacked poet, who doesn’t like free sugary treats? These two approaches kept the audience on-side, while allowing the performer to customise the reading to that particular location on that particular night.

In fact, even this entry is situation-specific, as the subject would have been totally different if I hadn’t seen that DVD last night. Rich Hall is also responsible for one of the most bizarre situation-specific incidents I’ve seen on stage. At the Edinburgh Fringe a few years ago, he unexpectedly brought Radio 4 stalwart Barry Cryer on stage as a guest vocalist.

Author amnesia.

If British Rail posted a blog entry late, they would claim it was on time. I, however, make no such claim, but I have been busy over the last couple of days. I shall attempt to restore my Monday timetable from next week.

On Sunday, I went to see bestselling author Irvine Welsh launching his latest book A Decent Ride. There were two unusual things about this event. The first was the charge for admission since book launches are usually free in the hope you’ll buy a copy, which I did anyway. The second unusual occurrence was that I asked a question.

Hint: I'm the one that's not the bestselling author
Hint: I’m the one that’s not the bestselling author

Welsh was interviewed for 40 minutes, during which time he gave a couple of readings, one dressed as his main character. Then the audience was invited to ask questions, and I asked whether non-Scots readers find his use of slang and dialect a barrier to his work or a way of pulling them into the story. It seems readers struggle a little for the first 20 pages, but slowly learn to adjust.

I don’t what it is that stops me from thinking of a question on the spot. It’s not that I’m embarrassed, but I can’t think of something to quiz them about, and I don’t want to rely on the old classic, Do you write longhand or use a computer?

If I can think of something, I often go away thinking it was perhaps best to keep my mouth shut so I didn’t ask something stupid. That said, I saw Iain Banks live on stage twice and he invited questions from the start of both events. Again, my author amnesia struck. Shortly after the second event, he announced he was dying and cancelled all future engagements so I’ll never have another chance.