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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What’s The Story?

A couple of entries ago, I mentioned that I rarely post my work on the Web. This is because I enter competitions and contact publishers. The rules invariably state that any story submitted should never have appeared either in print or online.

I have one story that’s already in the public domain, and I’m going to share it with you below. I wrote it for a Twitter friend, and it gives you a flavour of my style, although I don’t usually write in American English.

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Text In The City
By Gavin Cameron

Monday, and for the third week in a row, I took to the streets of downtown Ladymill. I had made some acquaintance with a few of the commuters, one of whom had bought me a cup of coffee every day last week.

But as pleasant as it was to meet these people, I wasn’t doing this for the friends. I desperately needed something that nobody seemed able to give me. I perhaps should explain why I attracted so much attention. I’d been carrying two dry-erase boards attached by two ropes over my shoulder.

The one on my front read: NEED A JOB. CAN’T GET MORE WELFARE. Oftentimes, the rain washed off the semi-permanent ink and I had to rewrite it two or three times.

The blank board on my back allowed potential employers to write down their details. So far, I had only attracted a couple of comments, including KICK ME and I’M WITH STUPID.

But I believed this Monday would be different. Perhaps it was the optimism from the sunnier weather, or that the commuter’s coffee had gone straight to my head after an inadequate breakfast, but I definitely felt a new sense of being.

As the commuters thinned out at around six o’clock, no doubt rushing home for a well-earned beer, I considered finishing up for the day. But I had no beer, just leftover Chinese food.

I walked to the train station, when a man in an expensive-looking suit approached me. Over these three weeks, I developed an ability to tell when someone was about to speak to me, and I spoke first to show I wasn’t afraid to take the lead. “Good evening. I’m Rachel Morton. Can you help me?”

The man nodded. “I think I can.”

Excited, I replied, “Oh that’s great. What kind of work can you offer?”

“I work in advertising and marketing. Have you any experience of the industry?”

“No,” I replied, “but I’m a fast learner. You can even give me a week’s trial, but I’ll only consider a paid trial.”

“Don’t worry,” replied the man, “I would pay you, although it’s minimum wage. And to be fair, you don’t need much experience.”

“I’ll consider any reasonable offer.”

“I have an office a couple of blocks from here. How about you come in tomorrow morning? Here’s my card. Bring a resumé and some ID.”

I arrived as instructed wearing my most professional outfit. The office looked very glassy and modern, and didn’t contain many staff, so I could work almost uninterrupted. Yes, I could do this. No more rainy days wandering around town. I was now an office worker. I signed a month-long contract that day.

I soon found out why there were so few staff. This advertising company wasn’t offering a desk job. They wanted people to walk around the streets with billboards strapped to us.

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Giving The Finger.

As writers, we should all protect our most valuable tools of the trade: our fingers. Lately, I seem to have been using them a little too much. I’ve taken leave for a week, and I’ve seen a physiotherapist. So this post is brought to you by Dragon NaturallySpeaking voice recognition software.

This type of technology has improved enormously since Stephen Hawking was kitted out with a synthesiser. Only today, I found a CD-ROM containing ViaVoice 98. That was a nightmare to use. You. Had. To. Speak. Each. Word. Individually. Nowadays, you can speak in your everyday voice.

Dragon is actually relatively accurate, even though I have a Scottish accent. That said, it reset itself for no obvious reason as I was about to type this entry so I’ll need to recalibrate it. I don’t mind because the calibration text is excellent, including excerpts from 2001: A Space Odyssey and Dogbert’s Management Handbook.

Just as handwriting can produce different results from typing, so can dictation. By speaking the words out loud, you can hear the cadence as you go along, or if you have a new idea while writing, you can record it before it’s forgotten.

One word of caution, though: it’s not cheap. Dragon for individuals starts at £79.99. Happily, if you own Microsoft Word, you already have this feature. Have a look at the Help menu to find it.

EDIT: Since writing this entry, I’ve been advised that the facility is not available in Office 2010 on XP.

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Never has Earsham been so lauded.

There’s a reason you rarely see my work on the Web. When you send work to publishers or competitions, their rules normally stipulate that the work must not have been published elsewhere, including paper books and online. This entry is a rare exception.
On Friday 23rd May, I had the privilege to see Rally & Broad, Luke Wright, Lake Montgomery and Alan Bissett for the second time, plus others for the first time. At the event, the organisers ran a Poetry Bingo competition, encouraging the audience to circle off twelve words as they heard them in the show. In addition, there was a challenge to use these twelve words in an original poem, and the winner would receive a ticket to the last show of the season. I’m pleased to report I was one of three winners, and my effort is below.

Note that the last four lines are slightly incorrect because my handwriting was terrible, but I actually quite like the published version. Those few words lend it a different tone. The correct words are:

He could make up the
how, where, why and when of it.
So the unknown rescuer
could keep his sickness benefit.

See which one you prefer.

Rally & Broad's avatarRally & Broad

We do love to stretch our audience’s artistic glands. At Rally & Broad’s last outing, ‘Ye Dancin’?’ (May 2014), we went for a bit of good ol’ poetry bingo – our esteemed poets and artists gave us some words that would be guaranteed to pepper their sets, and waited for ‘HOUSE’. And just to flavour it further, we promised a free ticket to our season finale to the best* poem that could be made up from the words on the bingo cards.

*best proved a tricky concept for us to qualify. Oh we tried, readers, we tried, but Rally & Broad are different and passionate beasts in their own fiery ways and had to agree to differ before fur flew. Thus, we have three winners: Rally’s Favourite, Broad’s Favourite and Definitely Most Amusing. 

Anyway. Thanks to all! You are most marvellous. xx

Poetr

Rally’s Favourite 

I wrapped my dreams up long…

View original post 423 more words

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Long May It Last.

A couple of entries ago, I riffed upon the art of shortening the short story. But having thought a little more about it, I’ve come to realise a lot of the short stories I’m most proud of are actually longer than 2000 words. I have written novels, but they’re a different class entirely.

My longest short is called An Abundance of Apples, clocking in at around 4500 words. This tells the story of a man who trades 26 items, each beginning with a different letter of the alphabet. This was always going to be the approximate length, and it gave some room to manoeuvre when telling the story.

Another of my favourites is The Cracked Goldfish Bowl, about a man with an amazing memory but no self-confidence. The final word count was 4300 words, but that’s merely because I kept thinking of new challenges to face the main character rather than creating an overarching plan.

I tend to approach my short stories from the top downwards. Sometimes I know where I’m going to end up, but often I let the story wander as it wishes. An artist I know, Jennifer Robson, prefers the meandering approach to her sewing, as she doesn’t feel challenged if she knows what the end result will be.

I’m a strong believer in writing a proper ending to a story, whether that ending is known beforehand or not. Sadly I’ve read too many ‘two-thirds’ pieces with a great set up, and enjoyable narrative, but the writer has omitted a satisfactory conclusion, leaving it to flop out with a vague sentence or two. That final third might have made all the difference.

What I’m saying is that some stories need cut down to size, as discussed in that last entry, while others require some room to breathe. The question is which approach is the best one to take for that particular story.

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What a So-and-So.

I once heard digital information compared to a greasy pig. You can hold on to it for so long before it slips from your grasp. Despite this, I’m unable to find a recording of the BBC Breakfast news item about the use of the word, “so,” at the beginning of sentences. I can only find their Twitter update from Friday:

Nonetheless, I’ve found a great example from last year, when the boss of BlackBerry failed to explain adequately how the company lost direction. Stephen Bates uses the conjunction at least four times at the beginning of answers, and several more throughout.

I think we all know people with verbal tics. I probably have one I’m not aware of. I once had a conversation with someone who kept saying, “He/She turned around and said…” By the end of the conversation, I imagined the other party with a nail in one foot, frantically turning round and around with the other.

On the page, a fictional character with a pet phrase can be a useful device in dialogue. If they always start with, “Well, the thing is, you see,” or call everyone, “love,” it eliminates the need for an identifier when multiple people are speaking. Even a gesture can be effective. I have a novel where a character shrugs when he doesn’t know an answer, and that’s a lot of the time.

But, well, the thing is, you see: balance is key. It’s enough to, like, give a flavour of the character’s go-to words. Including it in every, like, sentence or clause will only, like, annoy the reader.

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The Final Cut.

Further to the publication of the Alternate Hilarities anthology, I’ve been interviewed by Strange Musings Press. I’ve also received two paper copies of the book, but I’ll read the electronic version and keep the physical copies pristine and flat.

The story in that anthology is 1,160 words long, but in fiction, as in food, it’s sometimes necessary to cut down. I’m a great fan of reading work aloud. It’s a very good way of finding where one clause would be better than two, or where a semicolon could replace several words.

I only half-follow Elmore Leonard’s advice to Kill your darlings. In other words, to cross out any lines you particularly like. I think that’s fair game if the line in question has been squeezed in where it’s inappropriate, but if it’s the perfect means of expressing what you mean, I say jolly well leave it in.

But what if the problem is not just a line or two, but whole chunks of text? I encountered this problem with a 1,000-word story I wrote well over a year ago. I simply couldn’t make it work to my satisfaction. I shuffled round a few of the characters, who are all introduced as they enter a house, but I still couldn’t make the story flow.

In the end, I cut out the first 700 words, and I’m much happier. All the characters are still there, but it works by starting when they’re already in the house. The dialogue explains the immediate situation, and the twist makes the reader fill in the gaps.

But what to do with the cut part? Don’t delete or bin it, whatever you do. You’ve worked your hardest on it, and it deserves to be seen. I’ve recently started to maintain a list of story stems, those ideas that have thus far gone nowhere. Some are mere seeds, others are massive chunks, but they’re waiting with their jackets on in case the right alternative idea comes along.

Since constructing my list, I’ve used three of the stems. Once I use them all, I’ll need to start actually thinking again.

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Alternate Hilarities Released by @Strange_Musings Press.

I’m pleased to report that my short story Amending Diabolical Acronym Misuse has been released today by Strange Musings Press in its Alternate Hilarities anthology, along with a number of other comedy pieces.

It’s available in both paper and electronic formats. You can buy a copy from Amazon UK, from Amazon US, or from Smashwords. Find out more about the book, and enter their Rafflecopter gift card giveaway, at the official website.

I’d also like to give thanks to the editor, Giovanni Valentino. Book publishing takes months of work, and throughout it all, he has been in regular contact with the contributors, and kept us up-to-date with its progress.

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A Sense of Time

I’ve recently started watching old episodes of the comedy show Drop the Dead Donkey. At the beginning of each episode, an announcer now explains some of the topical references. As the series ran from 1990 to 1998, it’s likely a lot of them will have been forgotten.

A similar rule applies to fictional writing. If you want to set a story in a particular era, there might need to be some explicit or implicit reference to the timeframe in which the story is set.

For instance, one of my novels is set in 1964. This is introduced to the reader when a 21-year-old character is revealed to have a birth year of 1943. There are plenty of other era references throughout, but this avoids the dull initial statement that, “The year was 1964.” In one of my short stories, the 1980s is drawn more subtly, since the main character possesses a Filofax and a pager. It falls under Elmore Leonard’s classic advice to show, not tell.

To me, it’s important to avoid jarring the reader by letting them assume the story is set in the modern day if it isn’t. If a character is described as arriving home by car, then watching TV, that could have happened any night in the last fifty years. But tell the reader that the character arrived home in a Ford Capri, or watched Popstars: The Rivals, and that says they belong to the 1970s or the 2000s, especially when they go on to look up a number in the Yellow Pages and dial it from a wall phone. There will, of course, be occasions when you’re already aware the author lived in or wrote about a particular era.

The alternative is to make this story timeless. It’s hard to do in an urban environment since architecture and technology change, but it can still be done very successfully. If you’re describing a natural scene, it’s much easier to imagine it being any time over the last thousand years.

For anyone reading this well beyond 2014, this entry was set at a time when David Cameron was Prime Minister, coffee-lovers went to Starbucks for their fix, and people still thought Twitter was a good idea.

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Extrovert Through The Gift Shop.

There’s no escaping the truth that writing is a solitary occupation. Authors can spend hours of their life alone in attics, sheds, and cafés, immersed in the land, world or universe they’re trying to create. It’s therefore tempting to imagine that this breed of people are shy introverts. Actually, of the majority I’ve seen, I’ve found the reverse to be true.

These days, it’s important for a writer to be able to self-promote, as many publishers’ marketing budgets are not massive. A prime example is Man Booker Prize winner Eleanor Catton, whom I had the privilege to see at a live event last week. She was interviewed about her book The Luminaries and gave some excellent, confident answers. Doug Johnstone also illustrates my point, as he’s forever looking for an opportunity to crack out his guitar. Chris Brookmyre dispenses entirely with an interviewer in favour of his own speech, while Iain (M) Banks usually invited questions from the word go.

This space reserved for Banksy's next piece
This space reserved for Banksy’s next piece

Have you considered trying it yourself?

Public reading and question-fielding is not reserved exclusively for established authors. Anyone can do it, and I believe they should. Like many authors, I read my work out loud when there’s nobody around, as it’s a valuable tool for ironing out clumsy phrases and misplaced punctuation.

I also consider myself an extrovert. I might spend time alone in front of a PC churning out short stories, but I’m perfectly at home in front of a microphone or camera. I volunteered at hospital radio for a long time, and used to keep a video blog. I’m also lucky enough to have a writers’ open-mike night nearby, where I can try out new material. The audience is made up of fellow authors and poets.

That’s not to say I don’t find it terrifying standing in front of them. I’ve never made a complete hash of it, but I have stumbled, and that’s something I need to work on. But even if you’re an introvert, find a willing audience and push through that barrier. It’s valuable for seeing how well the piece goes down with the public, particularly if they’re laughing when they should be shocked, or vice-versa.If you do, your work will almost certainly improve, and if you become published, you’ll already have the experience of making public readings.

While I was writing this, I thought of one introvert who always causes a fuss whenever he exhibits a new piece. I refer you to Banksy in his iconic film Exit Through The Gift Shop. He seems uncomfortable with the camera being near him, but his self-promotion skills are second-to-none. I know he’s an artist, but if he were a writer, I wonder what type of work he would produce?