Wednesday, 13 June 2012
Making That Main Character A Woman
For my new Seattle Emerald City series of books, my main character was a male music journalist – something I did myself in that city. I say was quite advisedly: the company that’s publishing the books (simultaneously as ebooks and audiobooks) suggested making the protagonist female. It wasn’t a demand, by any means, and I understood the practical rationale behind it (one of the women behind the company is American and an award-winning ebook narrator and actress – Lorelei King). But it appealed to me. I’m male, think like a man.
Now I’m changing the character’s sex and it’s proving to be a wonderful, deep challenge. It affects every dynamic in the book, every interaction with every character, male and female. More than that, I have to get into her head and learn to think, and more especially feel, as a woman. What writer wouldn’t relish?
Seattle in the late 1980s was far more feminist than most parts of the US. Gender politics were rife, as were gay politics, which were interlinked. That has to be part of it, and it’s made me think and become more aware of the sexism inherent in everyday life. It was more so then, and quite casual, but it still exists. It was even there in the music scene, not too bad but still there. There were some female music journalists around, but men remained in the majority and they made up most of the musicians.
A woman writer said to me that women feel more. That might not always be exactly true, but in general women are more aware of their feelings, and they’ll discuss them, with partners and friends, so that has to becomes part of the equation of character, too.
Add to that the fact that I’m inserting this character into a story that’s already written, although there will be some changes and it becomes even more interesting. Am I enjoying it? Absolutely. Will it succeed? I hope so, but you’ll have to read for yourself to decide. That’s your challenge…
Thursday, 17 May 2012
Going Digital
As some of you will already know, I’ve just signed a contract for a three-book deal. This is wonderful news, of course, and it’ll give me chance to explore the Seattle music scene from the late 80s up to around 2000. The first book, Emerald City, will hopefully appear later this year.
What’s particularly interesting is that the novels that will comprise the series – and yes, they’re all mysteries – will all appear as ebooks. I’ve worked with this publisher before; they put out the digital version of The Broken Token and also my John Martyn biography. But I was in the unbelievable and enviable position of having an offer from another publisher, a small press who would have issued the book in both paper and digital formats.
So why choose digital only?
In part, because it’s the future. More and more people have ebook readers, and that number is only going to grow. It’s handy, portable, and you can carry a staggering library on one. It’s cheaper for the reader and often more attractive. That’s not to say books will fall by the wayside, by any means. I still read more books than ebooks and it’s likely to continue that way for a while.
But I also work as a music journalist and I’ve seen the changes wrought by the mp3. So many labels distribute their music to reviewers in that format. Buying music on mp3 is easy, and for most people any difference in sound quality is hardly noticeable. You can burn a disc of it, play it on your computer, transfer it to your mp3 player – it’s amazingly versatile.
Ebooks are still a few years behind the mp3 in acceptance, but the statistics are telling. More ebooks are sold than hardbacks, for example. Giving people the chance to look in the book on a site like Amazon allows people to get a taste of what they might be buying. Granted, most magazines and newspapers don’t review ebooks, but libraries carry them now, and mainstream reviews are only a matter of time (with the exception of self-published).
It’s growing, and I’m happy to be a part of it. With production costs spiralling, I think a time when we generally see only paper and ebooks of new titles published is just around the corner. And, no small matter, a writer can earn more from ebook sales than from other methods. That’s important to those of us who are scraping by.
Wednesday, 16 May 2012
A Three Book Deal
I'm very pleased to say that I'm a signing a contract with Creative Content for a three book series of novels. These will come out as ebooks.
They'll all be set in Seattle, where I lived for 20 years, and set around the music scene. The first, Emerald City, takes place in 1988 as the local music scene that will become known as grunge, is crystallizing and involves the investigation of a musician's supposed heroin overdose by a local music journalist.
That one's written, and will receive a final polish. We've yet to sort out a publication date, but it will be available worldwide.
Monday, 23 April 2012
Finishing a Draft
I’ve completed the first draft of my new novel and I feel drained. There’s been no huge rush to it, no deadline, it’s not even under contract, but it’s left me completely drained, more than the ones that have gone before it.
Why, I wondered last night? What was so different about this? It had been very hard to write in parts, quite emotional, and trying to convey what my characters were thinking without going over the top was a challenge. That was part of it, certainly. But more than that, it’s a book that’s taken me into some very dark places inside myself and forced me to explore them. I’m told that my novels are quite dark, although I’m not sure I’ve always seen it. This time, however, I wanted to look into the shadows, and it appears I’ve succeeded. That’s not necessarily a bad thing. There can be plenty of truth in those places. And without truth there’s no point to a novel.
Now I’ve put the book aside for a month. There are plenty of things that need to be changed in it, and small additions, changes to language, and all the other things a revision does. I’ll have a better idea of how well it all works when I read it through. For now, my brain is pretty much on empty. And I’m glad.
Why, I wondered last night? What was so different about this? It had been very hard to write in parts, quite emotional, and trying to convey what my characters were thinking without going over the top was a challenge. That was part of it, certainly. But more than that, it’s a book that’s taken me into some very dark places inside myself and forced me to explore them. I’m told that my novels are quite dark, although I’m not sure I’ve always seen it. This time, however, I wanted to look into the shadows, and it appears I’ve succeeded. That’s not necessarily a bad thing. There can be plenty of truth in those places. And without truth there’s no point to a novel.
Now I’ve put the book aside for a month. There are plenty of things that need to be changed in it, and small additions, changes to language, and all the other things a revision does. I’ll have a better idea of how well it all works when I read it through. For now, my brain is pretty much on empty. And I’m glad.
Monday, 9 April 2012
Mônica da Silva
Mônica da Silva
Brasilissima
Socialite Fiasco Music
Mônica da Silva’s second outing (which actually dates from 2010 but is still well worth covering) showcases not only her Brazilian roots and MPB sensibilities, but also her life in America. She’s a luscious, sensual singer, whether in English of Portuguese, but much of the credit here goes to partner Chad Alger, who shares in the compositions, and whose guitar is the underpinning to much of the music. Yes, there’s bossa and samba here, with some wonderful warmth (witness “Canta Coração”), and the mood can also become soft and languid. Made by the duo with just a smattering of guests, there’s some excellent rhythm programming. It’s a disc that connects the north and south of the Americas; Alger has a feel for Brazil, but there’s also a mildly indie sensibility lurking in there, while da Silva herself is close to her roots but still influenced by modern – and classic – pop. “Somewhere,” for instance, could easily have wandered off a vintage Stevie Wonder album, with its driving clavinet, and much of the production reflects. As a singer she’s more Maria Bethânia than Daniela Mercury, but still capable of a wild edge. All together, it makes for a very satisfying disc, with the hope that there’ll be more soon.
Brasilissima
Socialite Fiasco Music
Mônica da Silva’s second outing (which actually dates from 2010 but is still well worth covering) showcases not only her Brazilian roots and MPB sensibilities, but also her life in America. She’s a luscious, sensual singer, whether in English of Portuguese, but much of the credit here goes to partner Chad Alger, who shares in the compositions, and whose guitar is the underpinning to much of the music. Yes, there’s bossa and samba here, with some wonderful warmth (witness “Canta Coração”), and the mood can also become soft and languid. Made by the duo with just a smattering of guests, there’s some excellent rhythm programming. It’s a disc that connects the north and south of the Americas; Alger has a feel for Brazil, but there’s also a mildly indie sensibility lurking in there, while da Silva herself is close to her roots but still influenced by modern – and classic – pop. “Somewhere,” for instance, could easily have wandered off a vintage Stevie Wonder album, with its driving clavinet, and much of the production reflects. As a singer she’s more Maria Bethânia than Daniela Mercury, but still capable of a wild edge. All together, it makes for a very satisfying disc, with the hope that there’ll be more soon.
Sunday, 18 March 2012
Justified
I owe a huge debt to my friend Thom Atkinson (incidentally one of the very best writers around today) for pointing me in the direction of the TV series Justified. Set in Kentucky – pretty much bouncing between Lexington and Harlan, it features characters created by the masterful Elmore Leonard in his short story Fire in The Hole and in a couple more novels.
Raylan Givens is a deputy US Marshal transferred back to his home state after shooting a criminal in Florida. But in spite of gunplay here and there, it’s anything but macho. He gets his ass kicked with regularity – usually after a few drinks. But when he’s one his game, which is most of the time, he’s smart and savvy, and very intuitive.
So far we’re partway through season two – a year behind the US – and it all becomes more and more delightful. Wonderfully written, directed and acted, it has the easy, wry flow that typifies Leonard (who didn’t work on any of the scripts). The speech captures the Eastern Kentucky rhythms and vocabulary, and the way life is life there. Or if it doesn’t quite, it’s convincing enough that you believe it.
More than Givens himself, it’s two other characters that are among the great television creations. Boyd Crowder (Walton Goggins) is a man who likes to blow shit up, someone who finds God and starts preaching when in jail. But is his change for real? Played with a subtle intensity, he’s a character to leave the viewer guessing and wrong-footed, capable of sudden great violence, at times Biblical in his speech and always quietly menacing.
Mags Bennett (Margo Martindale) is head of the Bennett clan, who farm much of the eastern part of the state with marijuana. She’s a powerful woman but down home with the general store. She also delivers the very best speech I’ve heard – possibly up there with anything written and performed in serious theatre – when she gives Walt McCready some of her apple pie moonshine. It’s so perfectly done that you want to hit rewind and play it over and over.
But it’s a series full of wonderful moments, with powerful story arcs, great humour and moments of violence. There’s drama, laughter, tears. It’s everything great television ought to be.
Raylan Givens is a deputy US Marshal transferred back to his home state after shooting a criminal in Florida. But in spite of gunplay here and there, it’s anything but macho. He gets his ass kicked with regularity – usually after a few drinks. But when he’s one his game, which is most of the time, he’s smart and savvy, and very intuitive.
So far we’re partway through season two – a year behind the US – and it all becomes more and more delightful. Wonderfully written, directed and acted, it has the easy, wry flow that typifies Leonard (who didn’t work on any of the scripts). The speech captures the Eastern Kentucky rhythms and vocabulary, and the way life is life there. Or if it doesn’t quite, it’s convincing enough that you believe it.
More than Givens himself, it’s two other characters that are among the great television creations. Boyd Crowder (Walton Goggins) is a man who likes to blow shit up, someone who finds God and starts preaching when in jail. But is his change for real? Played with a subtle intensity, he’s a character to leave the viewer guessing and wrong-footed, capable of sudden great violence, at times Biblical in his speech and always quietly menacing.
Mags Bennett (Margo Martindale) is head of the Bennett clan, who farm much of the eastern part of the state with marijuana. She’s a powerful woman but down home with the general store. She also delivers the very best speech I’ve heard – possibly up there with anything written and performed in serious theatre – when she gives Walt McCready some of her apple pie moonshine. It’s so perfectly done that you want to hit rewind and play it over and over.
But it’s a series full of wonderful moments, with powerful story arcs, great humour and moments of violence. There’s drama, laughter, tears. It’s everything great television ought to be.
Thursday, 9 February 2012
Some Thoughts About Leeds
Two nights ago I thoroughly enjoyed the official launch of my new novel, The Constant Lovers, at Leeds Central Library. After from the cock-up – the booksellers actually only had two copies of the book for sale – it was a great event, and as close as I’ve come (geographically at least) to appearing on the stage at Leeds Town Hall.
It made me think about my relationship with my hometown. I haven’t lived there since 1976, and I’ve actually spent more time in another place (Seattle). But Leeds has a claim on me, and exerts a hold, that no other place can ever match. In part it might be genetic. My family’s been there since the end of the 18th century. The place is in my DNA. My father grew up in Hunslet, and spent his summers in the relative countryside of Sheepscar, where a relative ran the Victoria – much bigger in the 1920s that it became later, and with a huge garden and supposedly renowned rhubarb garden. For him, above all, it had a piano he could play. My mother’s family was decidedly more middle-class, out in Alwoodley, with a maid and a chauffeur.
Each time I return to Leeds, which is several times a year now, it renews me. Yet, curiously, I see a place that isn’t that. Several places that aren’t there, really. In my mind I see the place from my books, the jail at the top of Kirkgate, the Moot Hall in the middle of Briggate, close to where Harvey Nick’s is (and I know which I’d prefer), Garroway’s Coffee House on the Headrow. In truth, there’s very little of those days left; about the only private residence of that time is now Nash’s, just off New Briggate.
I also see the Leeds of my childhood. The magical toy shop that was the Doll’s Hospital in the County Arcade, Fuller’s where my other and I would meet my grandmother for tea every week, and the department store Marshall’s, which had a uniformed doorman, and where I, a very innocent four-year-old in 1959, saw my first black person in 1959 and asked my mother why the woman was made from chocolate. My mother apologised to the woman, but I truly had never seen a person of colour before. It was a very, very different time, and not a better one. Then there was the music shop at the corner of County Arcade and Cross Arcade where I went with my father when I was seven. Ostensibly we went in to buy a harmonica for me and came out with a baby grand piano, which appeared a few days later in our front room. And I did get my harmonica.
And then I see the Leeds of my youth, the great bookshop opposite Leeds Poly, sorry, Leeds Met, where I discovered Hamsun, the small, two-storey Virgin shop on King Edward Street (I believe), the head shops close buy, the discos at the Poly, gigs at the Town Hall and the 100 Club not far away where I saw Taste and the Nice. On Saturday mornings I’d go into town (before I had a Saturday job), get off at the ABC, cross the street and go down to the basement coffee bar for a frothy coffee before spending the morning mooching around, and maybe buying a record at Virgin or Vallance’s.
Before this descends into mawkish reminiscence, let me say this is simply a small sampling of memories that tie me irrevocably to Leeds. The city formed me much more than I was willing to admit for many years. It took a long time, and many miles, for me to really understand that, and give me the desire to start studying the city’s history.
Out of that have come my books. Apart from being mysteries with (hopefully) good characters, they stand as love letters to Leeds. The city of the 1730s that I describe might not be a beautiful place. The people, many of them, anyway, a degradingly poor, the place stinks. But it’s mine as much as it’s Richard Nottingham’s, and I love it then as I love it now.
It made me think about my relationship with my hometown. I haven’t lived there since 1976, and I’ve actually spent more time in another place (Seattle). But Leeds has a claim on me, and exerts a hold, that no other place can ever match. In part it might be genetic. My family’s been there since the end of the 18th century. The place is in my DNA. My father grew up in Hunslet, and spent his summers in the relative countryside of Sheepscar, where a relative ran the Victoria – much bigger in the 1920s that it became later, and with a huge garden and supposedly renowned rhubarb garden. For him, above all, it had a piano he could play. My mother’s family was decidedly more middle-class, out in Alwoodley, with a maid and a chauffeur.
Each time I return to Leeds, which is several times a year now, it renews me. Yet, curiously, I see a place that isn’t that. Several places that aren’t there, really. In my mind I see the place from my books, the jail at the top of Kirkgate, the Moot Hall in the middle of Briggate, close to where Harvey Nick’s is (and I know which I’d prefer), Garroway’s Coffee House on the Headrow. In truth, there’s very little of those days left; about the only private residence of that time is now Nash’s, just off New Briggate.
I also see the Leeds of my childhood. The magical toy shop that was the Doll’s Hospital in the County Arcade, Fuller’s where my other and I would meet my grandmother for tea every week, and the department store Marshall’s, which had a uniformed doorman, and where I, a very innocent four-year-old in 1959, saw my first black person in 1959 and asked my mother why the woman was made from chocolate. My mother apologised to the woman, but I truly had never seen a person of colour before. It was a very, very different time, and not a better one. Then there was the music shop at the corner of County Arcade and Cross Arcade where I went with my father when I was seven. Ostensibly we went in to buy a harmonica for me and came out with a baby grand piano, which appeared a few days later in our front room. And I did get my harmonica.
And then I see the Leeds of my youth, the great bookshop opposite Leeds Poly, sorry, Leeds Met, where I discovered Hamsun, the small, two-storey Virgin shop on King Edward Street (I believe), the head shops close buy, the discos at the Poly, gigs at the Town Hall and the 100 Club not far away where I saw Taste and the Nice. On Saturday mornings I’d go into town (before I had a Saturday job), get off at the ABC, cross the street and go down to the basement coffee bar for a frothy coffee before spending the morning mooching around, and maybe buying a record at Virgin or Vallance’s.
Before this descends into mawkish reminiscence, let me say this is simply a small sampling of memories that tie me irrevocably to Leeds. The city formed me much more than I was willing to admit for many years. It took a long time, and many miles, for me to really understand that, and give me the desire to start studying the city’s history.
Out of that have come my books. Apart from being mysteries with (hopefully) good characters, they stand as love letters to Leeds. The city of the 1730s that I describe might not be a beautiful place. The people, many of them, anyway, a degradingly poor, the place stinks. But it’s mine as much as it’s Richard Nottingham’s, and I love it then as I love it now.
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