Elegy for the Pub?

The Economist’s Christmas-New Year double issue had a fantastic article on the current challenges facing British pubs — both economic (recession and the rise in energy costs), legislative (smoking ban, ratcheting up alcohol duty and being paranoid about upsetting the supermarkets) and social (rise of many alternative forms of entertainment and the general trend towards eating out rather than drinking — last year saw the biggest drop in alcohol consumption for a long time — see this BBC News report).

The whole article is happily available for free here on the Economist website (most articles there are subscription only and this may eventually go the same way).

However, despite being a good read, the original article is over 2,000 words long so I’ll try and summarise some of the arguments it makes that are most pertinent to the themes in ‘The Angel’.

Many pubs, particularly in lovely villages such as the as-yet-unnamed fictional community that will be home to The Angel, are worth far more developed as private houses than they are as businesses that generate cash. Within five miles of where I live I can think of at least three very desirable private houses that were pubs not so long ago — I’ve visited one on several occasions that still has its sign outside — The White Star I think it used to be.

Similarly, pubs often sit on valuable plots of land and many are bulldozed to be replaced with infeasible numbers of new-build houses all jammed together where the beer garden used to be. Sometimes the developers have the nerve to allude to the land’s former use by naming a new development ‘Innkeepers Court’ or ‘Red Lion Mews’. (Often developers will demolish a pub without planning permission for any other use — they smash the pub to pieces to prevent anyone else taking it over and making a better go of running it.)

And no planning permission is needed at all to change a pub into a businesses that the government and planning departments (but no-one else) regards as similar to a pub — usually restaurants. That’s why so many pubs have metamorphosised into the Olde Village Tandoori. Not that there’s anything wrong with a curry every so often but a restaurant performs a fundamentally different social function than a pub — where people interact casually at the bar and pop in and out.

As the Economist’s correspondent says (they don’t have names in the magazine, except for very special reports): ‘the vanishing of a pub means, by common consent, the loss of the beating heart of a community, in town or countryside. A pub can become a sort of encapsulation of place, containing some small turning’s grainy photographs, its dog-eared posters for last year’s fete, its snoozing cats, its prettiest girls behind the bar and its strangest characters in front of it.’

Some of the comments made on the website about the piece compare it to George Orwell’s famous ‘Moon Under Water’ essay that appeared in the London Evening Standard in 1946. I love the imagery of the snoozing cats and the prettiest girls behind the bar. The latter comment, predictably, drew accusations of sexism. I’d argue that the ‘pretty girls’ are more metaphorical than literal (although Nick at the Whip Inn in the village of Lacey Green seems to consistently deliver this attribute in practice as well as keeping some excellent beer).

Tim Martin was so inspired by the essay that he named many of his early Wetherspoon pubs after it — while Orwell might not have been too impressed with Wetherspoons barn-like interiors and supermarket type promotions, he might have seen some merit in its offering of staggeringly cheap food (£1.99 for ham, egg and chips in some) and reasonably priced real ale.

Whatever their merits, Wetherspoons don’t represent the profound continuity with the past of traditional pubs. As the Economist writes: ‘pubs are meant to preserve [history]. They hold ghosts, myths, the memory of kings; Green Men live on in them, White Horses carry Saxon echoes, Royal Oaks keep the drama of civil war and restoration. The world before the hunting ban still thrives in the Hare and Hounds and the Tally-Ho; old trades survive in the Compasses, the Woolpack and the Wheatsheaf.’

The pub is also a democratic institution and social leveller: ‘the origins of pubs [were] in the kitchens of wayside farmhouses, where a man exchanged his own hearth for another. He was not, however, alone there. In the pub he met his fellow men and, with them, formed a society of musers and drinkers. He mingled with people he might not otherwise meet, had words with them, was obliged to take stock of their opinions. In a highly stratified society of worker, merchant and lord, the pub was open to everyone.’

This may seem slightly exaggerated but in her excellent book, Watching the English, social anthropologist Kate Fox devotes a chapter to pub etiquette in which she explains how this democratic social interaction usually occurs only at the bar — and there’s a tacit understanding that the further one sits from the bar in a pub,  the more privacy one is granted.

As the Economist says ‘Most pubs retain a peculiarly English blend of socialising and privacy’. Fox makes many other fascinating observations which support her claim that  ‘it would be impossible to even attempt to understand Englishness without spending a lot of time in pubs’. (Download the magazine from this link and scroll to pages 20 and 21 to read a review of the book I wrote in 2005).

Writing a novel about a pub I was pleased that the Economist agrees that ‘drama suits pubs. They are places for pushing limits, and not just in the sense of jars and fists…In pubs normal wariness is suspended in favour of live and let live, of free speech and free space… Americans have their guns; but the Briton has always had pubs, liberty glowing in thousands of small corners, as his weapon to beat back tyranny. John Bull lives there. When pubs are swallowed up, or die, something very much more than a beer-shop perishes with them.’

And the last paragraph is probably the most impassioned that I’ve ever read in the Economist — an exhortation, almost, that some things are more important than mere economics: ‘Time slows; company gathers; speech is freed; beer flows, like the very lifeblood of the land. Pubs are needed, even when every social and economic indicator is running hard against them.’

The ‘very lifeblood of the land’, indeed.

The German Fourth Plinth 2013

Here’s me for various complicated, meandering reasons, writing a novel about a German artist in London, which seems a bit esoteric but, come 2013, almost every visitor to London is going to see a memorable work by a German artist — in the form of a huge blue cock. German sculptor Katherina Fritsch has been chosen to fill the fourth plinth in Trafalgar Square for the whole year — see photo below from the Fourth Plinth website.

Katharina Fritsch's Blue Cockerel
Katharina Fritsch's Blue Cockerel

It seems there’s something of a Zeitgeist at the moment for finding out more about Germany. One of the biggest selling non-fiction books at the moment is Simon Winder’s Germania, which I’ve bought but only dipped into — hopefully I can blog about it when I’ve finished it. In the introduction to the book, he suggests that it’s only now, with the passage of more than sixty years since the last war, that preconceptions and prejudices are being dropped and the rest of the world now realises that, unlike, say, France or Italy, that Germany is relatively little known.

In fact the most read and commented on post on this blog recently has been the one on the BBC4 Germany series where I comment on the Al Murray documentary and the art and walking programmes.

So, bizarrely enough and certainly without any specific intention, I might have stumbled on to some themes in the novel that people are suddenly getting more interested in. I’d better hurry up and finish writing the thing.

Good Night on BBC2

A couple of novel-related programmes on BBC2 tonight.

The Great Outdoors is a short series that was on BBC4 last year. It’s about a group of ramblers enjoying the countryside and features Ruth Jones of Gavin and Stacey fame and who’s shortly to star as Hattie Jacques — who, in turn, I remember well from Sykes along with Derek ‘Corky’ Guyler and his washboard — if this means zilch to you then congratulations on being young — as well as the Carry On films.

I watched a few odd bits of when it was on BBC4 — mainly on the prompting of local newspaper The Bucks Herald which said it was written by local writers and was filmed largely on the Ridgeway locally around the Chilterns. While I’m not exactly sure where the embedded clip below was filmed, the beautiful landscape shots are very typical of the local area where The Angel is set and it’s quite  incredible to think these areas are within forty miles of the centre of London. The beauty of the countryside is one thing that Kim will fall in love with.

Earlier is Michel Roux’s Service. I caught the last half of the programme last night. It’s a series a bit like The Apprentice and Masterchef (without the cooking) whereby the eponymous restaurateur will train some young people (for whom the term ‘rough diamond’ may have been invented) into developing the service skills required for a Michelin starred restaurant. Needless to say, in the first episode they were hopeless in a pizza restaurant and we’re now promised they’ll go back to basics in a greasy spoon and curry house.

I’ll watch this quite carefully as my novel has a restaurant customer service angle — it won’t be the main focus but it will provide some incidental materials. I’m also quite intrigued by the systems that are used to manage restaurant service delivery. As with making a Christmas dinner at home, it seems simple because lots of people do it but it’s very difficult to get right.

I’ve not often eaten in Michelin starred restaurants but I did once have a wedding anniversary spectacular at Raymond Blanc’s Le Manoir Aux Quatre Saisonspushing the boat out with a surprise bouquet of roses waiting on the table after the champagne in the garden before we got started on the however many course meal it was. Of course it cost more than the monthly shopping budget but demonstrated how excellent customer service makes you think it’s all worth it — until the credit card bill turns up.

My Dissolution and the American Canon

Over Christmas I came across a box of old books that had been gathering dust in an attic ever since I left university. A lot were pretty useless, except as curiosities — a book on American foreign policy that goes up to about 1982 would give quite a rose-tinted perspective.

However, I managed to pick a good dozen or more novels that are taught just as regularly now as they were a couple of decades ago.

1980s Paperbacks
1980s Paperbacks

Quite a few books (Ralph Ellison, Toni Morrison, Frederick Douglas, Rita Mae Brown, Richard Wright) probably date back to a course I did on American literature at the University of California Santa Barbara, which probably should have been more accurate called Afro-American literature. It was taught by a lecturer called Elliott Butler Evans who saw the whole canon of American literature through ‘cultural semiotics and ethnicity’. (The quotation is taken from this page on the UCSB website, where he still appears to be teaching.)

I must have learned to read literature to take into account the Afro-American perspective reasonably well as I think I got a B+ on that course.

There’s also quite a few books by 19th century American novelist Nathaniel Hawthorne. I did a year-long course in my final year at Birmingham taught by Brian Harding, this country’s greatest expert on the writer (at least at the time), who’s since edited many editions of Hawthorne’s work.

1980s Paperbacks
1980s Paperbacks

That was in the days when we were taught in a weekly tutorial for five students — all sitting in Dr. Harding’s office (at the time the one next to David Lodge’s) around a big table: great for in-depth discourse on one of the most influential authors developing the American literary tradition but not so good if, like me, you’d been in the pub instead of reading the works beforehand.

Somehow I managed to get a decent mark in my finals on Hawthorne but the enduring image I retain from that course was when an attractive but quiet female student called Gill (I wish I could remember her surname) once turned up in fishnet stockings and leather boots. I still remember watching her, quite stunned, walking down the English department corridor.

1980s Paperbacks
1980s Paperbacks

The Orwell ‘1984’ as well as Mary Shelley’s ‘Frankenstein’ came from another UCSB class — taught by Professor Frank McConnell who was the most popular lecturer at the university. He was described as being  ‘known for his renegade lifestyle and his love for teaching’ — unfortunately this was in an announcement made by UCSB when he died in 1999 aged only 56. Sadly, his renegade lifestyle probably contributed to his early passing away. I remember him doing Roger Daltrey impressions, swinging his microphone in front of a huge lecture theatre full of hundreds of students — rather different from the Hawthorne seminars.

There are other iconic books in the pile — Steinbeck, Updike’s ‘Rabbit Run’, Kerouac’s ‘On the Road’. I don’t have any recollection much of what’s between the covers of John Dos Passos’s ‘U.S.A.’ — I was never going to let a book that thick stand between myself and the student bar or pub.

The Tom Stoppard play was one I appeared in when I was in the sixth form — not sure how that got in the box.

Any guesses what subject I studied at Birmingham?

‘Peace on Earth and Goodwill To All Men’

Continuing on the theme of end of year greetings and the real Christmas message (not the ‘buy buy buy’ one that Amazon stopped imparting once it realised it couldn’t deliver its goods) here’s a very apt scene that I took on Sunday 19th December — on the way back from the Nine Lessons and Carols service. I’ve not photoshopped the colours — it came out like this with the moonlight on the snow.

Chiltern Snowy Nightscape
Chiltern Snowy Nightscape -- 19th Dec 2010

And Io Io Io

I braved the elements yesterday and went to the Service of Nine Lessons and Carols at our local church, which looked rather spectacular in the snow. I took some rather lovely photos just as the light was fading, which I’ve reproduced here.

St. Nicholas's Church, Great Kimble
St. Nicholas's Church, Great Kimble

For ‘The Angel’ it’s always been my intention that something happens in the village around Christmas which symbolises Kim’s surprisingly seamless integration into the community.  And in the sort of place where ‘The Angel’ will be set then it’s a fair bet that some sort of church carol service or similar might be a good candidate event.

Thinking about this led me on to a variation on my annual musing on the completely bizarre words that we sing to many of the most popular Christmas carols. It’s peculiar that British children sing such arcane and, in some instances, nonsensical lines but at least we all grow up with their familiarity. I wondered what a foreigner who’s otherwise fluent in English would make of the carol service hymn sheet.

St. Nicholas's Church, Great Kimble
St. Nicholas's Church, Great Kimble

Possibly the worst offender of the lot is ‘Hark the Herald Angels Sing’ — the title of which is normally misinterpreted because the hark is an exclamation, grammatically separated from the rest of the sentence. The tune, adapted from Mendelssohn is fantastically stirring but it wasn’t the original melody that Charles Wesley wrote his words for in the 18th century. Surely even then this quatrain from the second verse sounded odd:

Veiled in flesh the Godhead see;
Hail the incarnate Deity,
Pleased as man with man to dwell;
Jesus, our Emmanuel.

‘Veiled in flesh the Godhead see’ — apart from the butcherly imagery it’s a really clumsy inversion to get the rhyme with deity.

‘Adeste Fideles’ has apparently existed in Latin since the 13th century but the translation we sing as ‘O Come All Ye Faithful’ is mid-Victorian. This has a couple of great verses ‘Sing, choirs of angels, sing in exultation,’ for example, but the second verse is pretty lame:

God of God,
Light of Light,
Lo, he abhors not the Virgin’s womb;
Very God,
Begotten, not created

The third line is particularly eccentric — ‘he abhors not the Virgin’s womb’. What on earth is that meant to mean? And the fourth line seems to have thrown in the towel with a three syllable line requiring elongating to five syllables to fit the melody.

St. Nicholas's Churchyard, Great Kimble
St. Nicholas's Churchyard, Great Kimble

Almost certainly the most popular church services these days are the Christmas Eve midnight masses which are conveniently timed to siphon people out of the pub and into the pews. (They’re about the only times when churches are full so maybe the clergy are missing a trick the rest of the year?)

It seems some carols have been specifically written to be sung by ranks of pissed people — ‘God Rest Ye Merry Gentlemen’ is an exhortation to go to bed drunk, of which I entirely approve. Even so the line ‘This holy tide of Christmas all others doth deface’ should puzzle even the inebriated.

A couple of carols seems to have taken this principle further and have been written by people who are pissed. There can’t be any other explanation for the second verse of ‘Ding Dong Merrily On High’.

E’en so here below, below,
Let steeple bells be swungen,
And “Io, io, io!”
By priest and people sungen.

The rhyming of swungen and sungen must be unique in the English language and, perhaps, the quotation of ‘io io io’ is either an intriguing example of self-reflexiveness or simply that Charles Ratcliffe Woodward, the Victorian composer who wrote the words, had simply given up (the tune is several hundred years old). This carol is infamous for the long, extended ‘Gloria’ in the chorus, during which the amount of wavering in the singing voice  is a sure indicator of whom in the congregation on Christmas Eve is the most pissed.

As with most great pop songs, it’s the melodies that make Christmas carols enduringly popular, not the peculiar words. Many hymns also have incredibly rich and resonant tunes that have been embedded deep in the collective consciousness — something for which we have early 20th century composers such as Vaughan Williams and Holst to thank (amongst others) due to their work collecting folk music. In fact, I’d argue that carols and hymns have been one of the main influences on British popular music — the likes of the Beatles will have had the sort of education where these melodies were drilled into them. Another influence was soul music which itself adapted the melodies of these hymns sung in the American south.

One of the universally best-known melodies of all is ‘While Shepherds Watched Their Flocks By Night’ — another very ancient tune. The current words can be forgiven for being somewhat archaic as they were written around the start of the eighteenth century by the then poet laureate, Nahum Tate. It’s interesting that otherwise obsolete words, such as ‘swaddling bands’ or in ‘thus spake the seraph’ are still familiar to most people in the country.  The carol ends with one of my favourite quatrains — evoking an incredible angelic  certainty about the Christmas message:

All glory be to God on high,
And to the earth be peace.
Goodwill henceforth from heaven to men,
Begin and never cease.

The Cake

Following various tweets and retweets I came across a great blog posting from the US by writer J.M. Tohline about approaching agents via query letters and submitting manuscripts.

There was a response from an agent called Amy Boggs that not only identified what should go in an agent query letter but neatly summed up the dynamics of virtually any novel (if you substitute ‘novel’ for ‘query’).

The bulk of a query should consist of 1) the main character, 2) what happens to complicate their life, 3) what goals they now have in response to that complication, and 4) the main obstacle between them and their goal. That is the cake of the query; everything else is just frosting and sprinkles.

Of course there’s an awful lot that needs to go into the writing of a novel that is just frosting and sprinkles but the cake is what most readers really want.

Click here to read the full, comprehensive posting.

The Paradox of the Dishy Russian Researcher

I was wondering whether I had something of a plausibility gap in the premise of ‘Burying Bad News’ as I have an MP with an attractive young, Eastern European aide (though mine, Ana, comes from Latvia, which is inside the EU and makes her eligible to work here without a visa). But splashed all over the papers today is something a lot juicier from real life than how my plot is set up. As the Sun inimitably describes the story:

A DISHY Russian who worked as a British MP’s aide is facing deportation as a suspected spy. Sexy Katia Zatuliveter, 25 – employed in the House of Commons as an assistant – is understood to have been detained after a lengthy investigation.

So maybe not so good from the perspective of originality but certainly good for plausibility. It gives me more reason to complete this novel once I’ve done a first draft of The Angel — although the two are connected by literary connecting doors as it is. Sally turned up in The Angel in my reading at the workshop yesterday.

On a politically-themed tangent I’ve just seen David Cameron’s signature in the guest book of our local church. He visited the two local churches on Tuesday 30th November — putting his address as Chequers — which is only on the other side of the hill.

Signature in Church Visitor Book
Signature in Church Visitor Book

I also bumped into the Speaker of the House of Commons, John Bercow, on Friday night — he’s our local MP and was in Princes Risborough for the turning-on of the Christmas lights.

Revising/Re-drafting/Editing?

One handy aspect of this blog from my own perspective is that I’ve gradually found many other blogs that I’ve linked to and taken RSS and Atom feeds from (see toolbar on the right). Some are those written by friends and others are some really useful sites written by editors, agents and authors.

I was reading a post of NaNoWriMo on How Publishing Really Works which had a link to a page on This Itch of Writing, novelist Emma Darwin’s blog, about revising and editing. The article starts off by discussing the semantics of what the words editing and revising actually mean but goes on to make some excellent points about the teaching of writing  — some which have similarly occurred to me.

Emma Darwin uses some railway and engineering metaphors to argue the logical point that writing a novel is such a huge undertaking that, even with careful planning, it’s usually inevitable that it does (or should) become evident while writing that there are structural issues (plot problems, characters that don’t work) which will need addressing. Rather than give up and start again, she recommends carrying on with a very rough first draft on the basis that, once at the end, it will be easier to address the structure of the novel as a whole.

Interestingly, this was the advice — plough on and finish a rough first draft — that we received from our tutors towards the end of the City Novel Writing course — and that many of us have realised in practice. However, it’s very difficult advice for students on courses to take for a couple of reasons — one internal and one external.

Most people who can write to a reasonable standard, but who haven’t had the experience of producing a work of about 100,000 words plus are probably instinctively unhappy in writing something that they know can be improved without going back to edit it fairly soon afterwards. There are some comments on appended to the post on This Itch of Writing that suggest writers go back and hone recently written prose because it’s a bit of a cop-out — that’s it’s easier than telling oneself it will be sorted out eventually as it’s more important to continue on with a roughly-written draft that will expose plot, setting, character and so on to greater scrutiny.

I think those comments are somewhat self-deprecating — that sort of close line-editing is actually quite hard to do well and very time-consuming in itself. I suspect that one reason why people do it is that they perhaps lack the confidence that they will ever return to re-write it — that the whole enterprise may be abandoned and, therefore, it might be better to produce a well-written chapter partly perhaps to demonstrate that one’s capable of it and maybe to be re-used in the distant future. Perhaps.

However, the external reason that applies to people on Creative Writing courses is all to do with how writing is taught.   Emma Darwin says in her post ‘I think it’s because so much writing-teaching focuses on the small scale. That’s partly because prose is easier stuff to read and write and teach on in class-sized chunks, than structure is…So writers embarking on their first novel are often quite aware of the micro-work it takes, but much less aware of the macro’. For example, on the City University course the  workshopping is structured into about six or seven opportunities to read 2,250 words — perhaps not uncoincidentally each about the length of the short stories that are assessed on the OU Creative Writing courses.

I wondered after finishing the course what difference it might have made to have given each writer a couple of slots of about 7,500 words each. I can see that practically it might make some students wait a long time for a workshop and also wouldn’t allow much opportunity to develop the work having received feedback but it would give an experience less like writing a short story — both to the writer but, also more importantly perhaps, to the other students offering feedback.

Someone called Sally Z posted a comment after the Itch of Writing post relating her experiences with a writing group. The members would always ask the ‘big’ questions when asking for criticism on a piece of writing (e.g. do these characters work?). But the sort of feedback that was offered tended to be detailed stuff about punctuation and on the over-use of adverbs. (The ritual slaughter of adverbs is a bête noir of mine that seems to be promoted by people who seem to over-evangelise some of Stephen King’s style advice in ‘On Writing’.)

Close attention to the text is certainly necessary before a novel is submitted to a publisher or agent but Emma Darwin argues that a writer who has polished up a section of a novel to publishable standard may be much more reluctant to subsequently make wholesale changes that may be necessary to improve the structure of the entire novel. However, if you participate in a writing course then it’s almost unavoidable that you will sweat hard to make your prose as good as possible as you won’t want your precious feedback to solely consist of other students pointing out passive sentences, repeated words, too many adverbs and similar textual elements. And it would also seem a bit perverse on any writing course to ask someone to circulate first draft work without worrying about typos and errors as other people will get distracted by them whatever — it’s a bit like walking down the street with your flies open.

However, if one does feel capable of creating reasonably good prose given the opportunity to edit later, what’s most important is to discover how the novel works as a whole — which is fairly tough when readers are exposed to small chapter-length chunks, especially if not in sequence, as I tend to have presented mine. I have a slightly perverse theory that if a 2,250 word extract of a novel works perfectly as a self-contained piece and doesn’t raise any questions of context with the rest of the novel then the writer isn’t really producing a novel — because a novel must necessarily have strands and elements that only make sense when read in its entirety.

Another unintended side-effect of over-examining the prose style is that writers may be tempted to concentrate on a sort of  literary ‘keeping up with the Joneses’ — it’s much easier to praise someone’s brilliant imagery or use of metaphor because examples can be cited from the text than it is to praise something more abstract — such as empathy with an emotion or resonance of setting. Of course there’s nothing wrong with some competition spurring people on to better writing but some genres are more suited to the sort of writing that’s easily praised than others.

For various practical reasons, it might be impossible to teach the more structural aspects of novel-writing in a course or to offer feedback in most writers group — mainly because of the investment in time required. What might be better is for novelists to learn from the examples from the canon of literature — this ties back into the much repeated recommendation that ‘writers have to be readers’ (more Stephen King advice like over adverbs that’s sensible in itself but not when mis-applied in extreme). I know one person from the City course who’s considering doing his next course not in creative writing but in English Literature — and this may be a very astute choice.

The Manchester Metropolitan University MA course has so far taken a similar path — we’ve been studying one novel a week from a brilliantly varied and idiosyncratic list but together by the tutor Dr Jenny Mayhew. When we’ve come to discuss the texts, rather than a loose ‘book-club’ type discussion, we’ve largely concentrated on the ‘big’ questions — like structure, character, narration, use of time and so on. The discussion on these points has the benefit of being able to examine finished, published works.

Personally I’ve done something of a mixture of the rough and (hopefully) more polished. I have quite a bit of rough draft that I’ve produced with the aim of ploughing on and just getting it done but, because of the workshopping and, also because I like to get feedback in other ways, I’ve gone back and spent a long time re-working certain sections for the benefit of other readers — partly with the objective of pleasing the adverb police and also a bit of vanity in fishing for compliments on phrases, metaphors or imagery — which is dangerous as it’s an encouragement to over-write.

As is mentioned in the original blog posts, there are two sorts of professional attitude required by successful novel writers — the discipline to plough ahead and get a first-draft finished and then the maturity to realise how much revision and re-drafting that draft needs before you even think about line-editing.

Does anyone else have any thoughts about how to address the ‘big’ issues in a novel while mired in the middle of writing it?

The Pub Landlord Discovers the Art of Germany

Just like buses — you wait for a programme on German art for ages then a whole series comes along on BBC4, which started last night. This should be fertile material for anyone writing about a character who’s a German artist.

Part of the press release for the programme hints at an underlying reason why German culture is less known outside German-speaking countries than it deserves to be. The presenter, Andrew Graham-Dixon said in a press release ‘Following two World Wars, there is a tendency to deny German culture the equal reverence of Italy or France, and this enlightening new series provides a wonderful opportunity to explore a great, yet often neglected, artistic tradition whose influence has been just as profound.’

BBC Four controller Richard Klein added: ‘Germany is beautiful and has a rich and luminous cultural heritage, but it is virtually unknown over here, or simply misunderstood.’

I caught the second half of the programme and recorded it so will return to watch the rest and found that even the section I saw was quite fascinating in terms of explaining the German character. There were plenty of shots of green plains, forests and Alpine meadows which illustrates the German love of the outdoors — despite some very urbanised areas (such as Berlin and the Ruhr) many German cities (like Hanover, Munich and Stuttgart) have large areas of forest or parkland close to their centres.

Whereas the English love of the rural idyll tends to be a romantic aspiration (with suburbs being invested with rural decoration) the Germans are, perhaps, more practical. They might be happy to live in apartments in the city most of the time but many of them love to get out into the countryside in practical terms.

I’ve experienced this several times. I once went for an overnight business meeting at a very rustic lodge hotel in the middle of a forest by a huge lake called the Steinhuder Meer. The manager, who lived in Frankfurt, who organised it always stayed in the middle of the forest rather than in the centre of Hanover, where the office was, about 40km away.

I’ve also been taken on long walks up hills with German colleagues and, in one very memorable event, walked up through an Alpine forest when we stayed in a ski resort in the summer to a ski lodge at the top of a mountain where we were all plied with schnapps and cold cheese and meats — and one of my English colleagues got so drunk she was ill the whole of the next day.

When I workshopped the last extract of the novel people were wondering about Kim’s ‘German-ness’ and I also had some comments about what does she see in James and why on earth would a left-wing urban artist want to go out and live in the countryside. To my mind these two aspects are bound together — because she’s German my theory is that once she gets out into the relative wilderness (Buckinghamshire compared to Hackney and Shoreditch) that some desire to escape back to nature will be triggered. It might not last but, as someone who’s already a bit rootless, it seems a bit more plausible for her to move as a German than perhaps as a native Londoner or English suburbanite.

The back-to-nature theme is continued on BBC4 as part of a wider mini-Germany season. Tomorrow night (1st December) Julia Bradbury starts a German hiking season with a walk along the Rhine — the spectacular valley between Cologne and Frankfurt is spectacularly pretty. ‘The Germans enjoy a relationship with walking that has lasted over 200 years. The exploration of their landscape has inspired music, literature and art, and Romanticism has even helped shape the modern German nation, as Julia discovers.’

Also tomorrow, Al Murray (probably one of the very few Oxford-educated ‘pub landlords’) does one of these documentaries where we’re believed to invest more in the subject because it’s of interest to a celebrity. Given Murray’s alter-ego this series should hopefully be of great interest to my novel (what could be better than the pub landlord going to discover Germany?) — and perhaps shows that there’s maybe a latent interest in discovering about modern German characters?

The BBC website says: ‘Making fun of the Germans has had ‘Pub Landlord’ comedian Al Murray’s audiences laughing in the aisles, but behind the scenes Murray is a serious historian with a fascination for the real Germany. In this two-part documentary, Al sets out to discover the truth behind the wartime jokes and banter that still plague all things German. In a breathtaking journey through one of Germany’s coldest winters, he discovers a country of warm and welcoming people and two centuries of stunning arts and culture. From Bach to Bauhaus and the Brothers Grimm, Al falls in love with the true historical, natural and cultural beauty of this much-maligned land.’

Tattoo Culture

I mentioned in a previous post that the Belle Vue pub in High Wycombe has recently opened an art gallery. The second exhibition starts on Tuesday next week, 23rd November and runs until 28th December — open 12-11pm, free entry.

It’s called Tattoo Culture and features the work of photographer Mark Page, who is one of the UK’s most sought after erotic/fetish/alternative photographers. He sent me the photo below, titled Wild Thing, which is a much compressed version of the original artwork taken from the brochure and poster for the exhibition.

Wildthing -- Mark Page
'Wildthing' -- Artwork for 'Tattoo Culture' exhibition by Mark Page

I’ll certainly try and pop into the Belle View to have a look — both from the pub/art gallery perspective and also because Kim in the novel will be into body art as well. Mark told me that the photos on display in the pub will be very mild compared with some work in this genre. Further information can be found at his website: http://www.photoswithattitude.net/ (you have to be 18 to enter the site).

Playlists

This is a post mainly about playlists associated with novels but also has a few references to the BBC3 TV programme Lip Service, which ended its first series last night. Having had a look at a few website analytics I have to start with an apology to the people who’ve ended up on this blog after doing a Google search for Lip Service’s Ruta Gedmintas (or in one case Ruta Gedmintas’s feet!). I think there’s only one blog post about her — in the context that her very effective playing of Frankie in the series eerily summed up the zeitgeist of one of my novel-in-progress’s characters). Nevertheless, for some odd reason this site seems to occasionally turn up in Google searches associated with the actress. This might get worse as I’m going to mention her again in this post.

So if you’ve landed on this page looking for some nice photos of Ruta Gedmintas then the best I can do is provide a consolation link to a photo on the programme’s official Facebook page that captures a beguiling, almost feral look to Frankie — click here to see it (you don’t need to be signed into Facebook to see it). (There will be also be another Frankie related link later on.)

I mentioned David Nicholls’ use of playlists in the last post. In ‘One Day’ Emma makes Dexter a couple of laboriously compiled cassette tapes — from tape-recording on to a cassette tracks from vinyl records and CDs in real time as you had to from the mid-70s until the era of the MP3. Even though CD-ROM drives came along in the mid-90s, it was a bit later than that that the likes of iTunes and Windows Media Player allowed instant playlists to be compiled and burnt to CD — and later digitally — and now we have semi-predictive services like Spotify which make the whole process almost subconsciously easy. My computer made up a playlist last night (presumably from tracks I’d played a lot or hadn’t skipped and it kept me awake an extra hour as I didn’t want to stop the fantastic tracks from coming.

What playlists — and the ‘my music’ concept as a whole — seem to tap into is a deep-seated desire to identify oneself with your favourite music — almost as if that might partially define your personality. Music is often used in TV and film in a similar way and Lip Service has been a good example — the track listing of music from each episode has been demanded by fans and published online.

I’m also very fond of thinking about music in relation to the parts of the novel that I’m writing and I’ve got a habit of describing the music characters are listening to — James likes ‘talented, blonde singer-songwriters like Pixie Lott’ and Dido, Emma likes William Orbit and Kim is a bit eclectic, enjoying a bit of John Tavener or Thomas Tallis as well as Gabriela Cilme (‘Sweet About Me’) and the Walrus of Love, Barry White plus another significant act to be revealed anon.

Referencing music is great but one thing I’ve learned about novel writing — Penny Rudge mentioned this when she talked to our City class — is that quoting lyrics is done at a cost — a pretty high monetary one. Even a line or two needs permission (unlike, perhaps, a quotation from a longer written work) and that might cost into the hundreds of pounds — and the author usually pays the rights holder. So it’s a lot more cost-effective to cite the title and artist and hope the readers can fill in the lyrics for themselves (if that’s really necessary) as there’s no copyright on titles and names. It could be argued that playlists like those created by David Nicholls and Lip Service are actually intellectual property in themselves — I seem to remember a court case in the distant past about this connected with Classic FM first starting up.

As The Angel is set largely in a pub, I was speculating last night listening to my auto-generated list that it would be almost inevitable that there would sadly be some riotous party for me to test my writing skills on and, as part of that, I wondered about taking a page or two just to list the music — as other writers tend to throw in odd bits of ephemera like shopping lists or envelopes.

And then in a moment of pure serendipity, I noticed a tweet from Kudos TV’s head Lip Servant on the very subject of playlists. (I’ve exchanged a few tweets with @LipService_BBC3, most recently today when I forwarded a link to the Arts Desk review of the last episode, which has a comment from me added. She’s also read the existing posting on this blog.) This tweet revealed that Ruta Gedmintas had been persuaded to publish her Frankie playlist — songs on her iPod that she used to work herself up into the right mood for the character — so the concept of establishing character via music choices obviously works for her.

It’s on the Notes page of the programme’s Facebook site but can (I think) be accessed without needing to be signed in. Click here to read it: http://on.fb.me/9q7qOV .

There’s even a link there to hear them all on Spotify, which I might have a go at doing out of curiosity as I’ve never heard of most of them. I do, though, have the Florence and the Machine and Bat for Lashes albums so I probably know them. It’s not too surprising to see Björk and the Prodigy there given the character she was playing. However, for me, the serendipitous part was finding the title of a track listed in the playlist that I’d written as the closing line of the novel extract that I workshopped 10 days ago (and wrote about three weeks ago) which a few people who read it said was perfect for the scene I’d written — and I can see why it’s also completely apt for Frankie. I’d probably watched a couple of episodes of Lip Service before I decided on this song but her playlist wasn’t published until this week. Here’s how I referenced it in my writing:

‘Her hand reached into his lap and grabbed the entertainment system’s remote control from where it had dropped…She entered the title of a song that seemed perfect for the pair of them. The screen displayed a list of versions she never dreamt existed but she chose Nouvelle Vague’s cabaret cover over the Dead Kennedy’s original. As she sipped her drink, the suite infused with the sophisticated sound of brushes against drum skins and the ironic twang of the double-bass. Then a cool French chanteuse started to croon “Too Drunk To Fuck”.’

One Day

‘One Day’ by David Nicholls won the Sainsbury’s Popular Fiction prize at the Galaxy National Book Awards last week. I’ve mentioned this book in passing a couple of times on this blog since I read it in the summer.

I’ve found the book interesting for a number of reasons. It has quite an interesting cover and this is also plastered with all sorts of endorsements which largely serve to position it in the market: ‘big, absorbing, smart’ (Nick Hornby); ‘incredibly moving’ (Marian Keyes); ‘totally brilliant’ (Tony Parsons); ‘fantastic Labour boom years comedy’ (the Guardian) (although less than half the relationship occurs under Blair); ‘you really do put the book down with the hallucinatory feeling that they’ve become as well known to you as your closest friends’ (Jonathan Coe). That’s just the covers, there’s plenty more epithets in the first two pages inside.

One clever thing about having these quotations on the cover is that it makes it look like a film poster. And the book is very cinematic — so much so that a film is already in production. (The author wrote some of one of the series of ‘Cold Feet’ — and this book has many echoes of that TV series.)

These endorsements are very accurate as they position the book into a sweet spot that sits between the lad-lit of Parsons and Hornby, chick-lit with a dark touch of Keyes and the modern comedy of Coe — and with a ‘bit of politics’ thrown in by the Guardian. And that’s exactly the genre — a funny book written by a man that also appeals very much to women. A look at the 262 (at time of blogging) 5 star reviews on Amazon appears to show they are predominantly penned by female names (although, of course, women do read more book than men overall).

I have a feeling that this book is significant because this genre may well be something of a new phenomenon — non-gender specific and a synthesis of lad-lit and chick-lit — whereas previously these commercial social comedy novels have tended to have been aimed at either gender. Again, the cover is significant — two silhouettes — each of a man and a woman. I has the mark of very careful marketing as if the publishers had taken a punt on a book that didn’t ‘fit’ directly into any neat category. And, if so, I’m very glad this has worked because one of the other reasons I bought and read the book is because it seemed to fit the genre I’m writing in.

The book follows two characters, Dexter and Emma, and switches between their points of view. However, my reading is that Emma is the character the author is most attached to, as I find her more realistically drawn and complex (but that might be my male POV). And I think this may tap into something mentioned by Graeme A. Thomson in his analysis of Kate Bush that I blogged on a few months ago — an innate curiosity about how the other half feels (either as intimate lover or as gender in general). I’ve noticed recently in women’s magazines how they often have a ‘typical’ man writing a column that is meant to give the readers some idea of a male perspective on an issue (although I’ve been fairly infuriated by the views of most of these supposed representative men in the few I’ve read). But I think that Nicholls has shown there’s quite a sizable market for novels written by men that perhaps don’t achieve the ultimate insight of providing an authentically female point-of-view (although if you want that authenticity then there’s plenty of female writers to pick from) but are actually more interesting and enlightening by presenting a sympathetic interpretation of what a male author considers to be a female perspective.

Actually I find that women writers are a lot less neurotic about writing from a male point-of-view — they just get on with it — but perhaps that’s maybe because they’re less likely to be challenged over its authenticity by men.

Going back to the Amazon reviews, I’m not sure if I’ve seen a novel like this that has polarised opinions so much — not so much in the star ratings but in the comments that accompany them. Many of the five star reviews say it’s one of the reader’s favourite ever books while the one-star reviewers completely damn it on many different aspects, predominantly technical.

Having come out of the City University course where I’d spent six months reading other students’ writing with a very critical eye, I’ve started to read published novels with the same perspective and, in many, I have a mental pencil which strikes out words and makes notional comments in the margins.

Reading ‘One Day’ was oddly both infuriating and quite affirming because there were passages where I thought ‘if I’d have brought that to the City workshops I’d be slagged off mercilessly’. There were the dreaded adverbs (particularly hated when applied at the end of speech tags), long passages of dialogue where despite it being between two characters (male and female) it became unclear who was speaking, some occasionally very stilted dialogue (Dexter’s mother) and in some passages the POV kept leaping all over the place (sometimes within the same paragraph) — although there were amusing occasions when I was reminded of Douglas Adams when the POV suddenly switched to a minor character.

Also, and I’ll try not to spoil the story, there’s a massive twist to the plot that relies completely on a co-incidental, totally random event — which is something all the how-to advice tells writers never to do because the plot should derive from character. However, I actually liked that twist because it was genuinely surprising and it does throw the reader — I’m not sure that it helps the remainder of the book that much but it did pack an emotional punch and that part was well-written.

Having finished and reflected on the book, I think that all of the above are perhaps why readers like it — it’s not too perfect, the imperfections perhaps bring the reader closer to the characters in an informal way. And also it shows that many creative writing class shibboleths are quite over-pedantic anyway.

I liked the book even though the characters aren’t particularly likeable — often people will criticise books by saying they need to ‘like’ the characters — but I’m not sure whether this is mainly a defensive reaction that a reader likes to use to make a statement about how they’d like to be perceived themselves.

Overall, the book succeeds because it does something that, in my experience, creative writing courses fail to emphasise — perhaps because it’s so fundamental — it makes the reader want to know what happened next. By taking a clever device of basing the action every day on 15th July from 1988 to 2007, Nicholls has (most of) the readers hooked — and it’s a life experience saga too — the characters will be just about 40 by the end of the period.

Almost all popular fiction (which is the category of award ‘One Day’ won) succeeds because readers want to find out what happened next. I find it quite odd sometimes when someone writes on my drafts (‘looking forward to what happens next time’ or ‘always like yours as it has me turning the pages’) because sometimes it seems like the readers have more interest in the events in the story than you do as a writer (perhaps because you have the burden of inventing them?) but in a workshopping session one is more likely to be praised to the skies for a nice sounding phrase or a piece of imagery.

It’s good to have this counterbalanced every so often by reading warm and funny novels like ‘One Day’ and also appreciate the genuineness of many readers’ reaction to it — and good that there are awards that recognise this too.

I also liked the use of pop music in the book too. The book’s website had a lovely feature where it listed the tracks Emma had put on compilation tapes to give to Dexter. I e-mailed the author to discuss the relative absence of Smiths’ tracks and he was a nice enough chap to send me a quick reply on the subject.

Mo Yan

No, it’s not a piece of George Dubya Bush street-slang (as in ‘Yo Blair’) but the pen name of one of the leading Chinese authors whose novel, ‘Life and Death Are Wearing Me Out’ is one of the books we’re due to discuss in a couple of weeks on the creative writing MA course.

It was pretty hard to get hold of and I prevaricated for a while because Amazon offered me some bizarre buying options — either about £50 for a copy sent from somewhere in the UK or a more reasonable price if it was shipped from the US. (They didn’t have the book in stock nor gave a date when they expected it to be.) Waterstones didn’t have it either — whose website I try to support in preference to the Amazon behemoth, so long as it’s competitive and has the book in stock. (Unfortunately the Waterstone’s site has had more technical problems in my experience than almost any other web-site I’ve recently used — I had a short twitter exchange with the agent Carole Blake about this.)

But I took the risk in ordering it for about £10 from the US (the risk being that it might take so long to arrive that we’d already have had the discussion) and today it arrived. It took a fortnight to come across the Atlantic, which isn’t too bad considering the shipping was about £2.75.

I knew nothing about Mo Yan until I read the book jacket and then looked him up on Wikipedia (for some reason I thought he was a woman). The book itself is apparently in a magical realist genre — something Kirstan Hawkins, one of the City course alumni who spoke to us, uses in her novel. It’s a big thick hardback of about 540 pages but I was sobered to read that Mo Yan (not his real name — it means ‘Don’t Speak’) wrote it in 43 days. In case anyone reading is impressed by my ability to read a Chinese book of that length then I must sadly point out that it’s a translation and the 540 pages apparently correspond to 500,000 Chinese characters (interesting to equate that with our word count concept).

I shall blog further once I get into reading the book — it seems to have quite a clever premise — but first I need to turn my attention for next Monday to Winifred Watson’s ‘Miss Petigrew Lives For A Day’. (This is a book written in the 1930s, which is about as far away in style from our last novel, Martin Amis’s ‘The Information’,  as it’s possible to get. (It was adapted into a film a couple of years ago with Amy Adams who’s another actress who looks like my imagination’s version of one of my characters — Sally who will probably turn up in ‘The Angel’ but is a principal character in ‘Burying Bad News’).

Noise Words

Over the summer I sent out a chapter of ‘The Angel’ to Guy to read, who’s a fellow (ex-)student from the City University course and always gives excellent, well-informed and comprehensive feedback.

One thing he pointed out, which was blindingly clear to me in retrospect, was what made that chapter look like an early draft as much as anything is that it was littered with what he termed ‘noise words’. These are words that tend don’t tend to do much work and clutter up the space needed by those that do. In my case particular offenders are words (or phrases) like: quite, slightly, only, good, just, a little, perhaps, maybe, well (as in the pause), something, like, might, think, thing, actually, rather and a few others that annoyingly I can’t think of off the top of my head.

(I’ve found now that the term ‘noise words’ is something that comes from database analysts as they like to remove these redundant words from things like database and web-searches.)

If I’m writing fast — such as e-mail or even blog postings — my own writing tends to be littered with these horrible words — they’re probably the written equivalent of saying ‘um’ and ‘ah’ as a pause to think (something I also do a lot). They probably make a piece of supposedly well-written prose look even more amateurish than other classic mistakes like boring verbs sexed up with extravagant adverbs and so on.

Unlike some other examples of bad writing practice these noise words are usually just that — noise — and can be often eliminated almost without any other compensating action — whereas it would be a lot more difficult to freshen up tired imagery, cliché, repetitive sentence structure and so on.

So for the last couple of extracts I’ve send out to be reviewed in our workshops of ex-City students, I’ve made myself sit down with a supposedly fairly finished draft and do repeated ‘Find’s in Word for the whole beastly family of noise words. I’m thinking of trying to freshen up my Word macro writing skills and create myself a little macro application that might hunt them all down in one go.

I would also like to have a macro that made words flash luminously when they were repeated fairly closely to each other — another blind spot of mine — although it would need to exclude ‘a’, ‘the’, ‘it’ and so on to avoid giving people migranes. (In my latest extract I’m paranoid about the number of times I keep using ‘her’ and ‘herself’ when narrating from a female POV — I’m not sure if that’s a problem if it’s impossible to avoid if you’re quite close to a character.)

Perhaps because I know I’m now going to try and make myself do this I’ve found disappointingly few of these noise words in my latest repeated searches through the document. That’s not to say there’s none there but a lot are in dialogue and, while I appreciate that dialogue doesn’t reflect everyday speech verbatim, I think that a few strategically placed ‘just’s and ‘slightly’s can give as much insight into a character as a whole screed of internalised self-analysis.

I do also think a few noise words typify British English writing over American writing whose dynamism comes from an intense conciseness where verbs work their US butts off and anything extraneously discursive is ruthlessly edited out. I had experience of this when studying screenwriting at the University of California, Santa Barbara where the tutor (a former Columbia and Warner Brothers executive and organiser of the Santa Barbara writers conference, Paul N. Lazarus Jr) used to tell me to take out half the words in my dialogue. But they’re English people who are talking, I’d say.

Hopefully, people at the weekend won’t have so many of these noise words to remove as perhaps I inflicted on Guy previously but I do think there is still room for a few. One of my favourite sentences from what I’ll read on Saturday has two of the dreaded things in succession. It’s a moment where Kim’s inner voice reveals her intense dislike of Dido’s music but, suddenly in the context of the moment, changes her mind and thinks the track is ‘actually quite beautiful’.

PS. Any further suggestions for noise words gratefully received. If I ever get round to doing a macro I’ll share it with anyone who comes up with good ones.

Kim Makes An Impression

My blog post on Lip Service was read and commented on (via Twitter) by the official Twitter for the programme makers (Kudos). I know that a fair number of people have also clicked through on it via the shortened link that could only be found via Twitter so perhaps a few people involved with the programme have actually read my thoughts — such are the wonders of blogging and Twitter.

And my description of Kim within the post has sparked a bit of friendly interest in the character. Click on http://bit.ly/9Y6Hcy to read more. (As it’s Twitter I don’t know how long the link will work for — but it looks good.)

Nice Photos of Autumn Colour in the Chilterns

Autumn in the Chilterns
Autumn in the Chilterns

This is where Kim will pitch up, having had a pretty grey time in London. Will she like it? (If she does, she probably won’t be quite prepared for how bleak it gets in the winter.)

And what could be more rurally English than an old post box (and a speed limit sign)?

Rustic Autumnal Post Box
Rustic Autumnal Post Box

Cardboard Megaliths

Those from the City course who’ve carried on with the monthly workshopping read an extract of mine in the last session where James is struggling to build an IKEA wardrobe.

The piece is intended to cast light on the state of James and Emma’s relationship — both by using the wardrobe as metaphor and also flashing back to his recollections of their trip to the Milton Keynes branch (the new city being somewhere that Emma instinctively detests as she doesn’t like its appropriate of the Celtic mysticism that she has a great interest in herself.)

IKEA also reflects James’s fairly half-hearted attempt at fiscal belt-tightening — he tried to persuade Emma to buy a wardrobe that was a cheap piece of MDF crap but instead they settle for something fairly decent made out of solid wood (that nearly kills him to lug upstairs) — but it’s still not the Heal’s wardrobe she really wanted (see post below — ‘A Solid Piece of Research‘).

I did a bit of quick research in Milton Keynes IKEA after I visited the nearby Open University a few weeks ago but this week I had cause to go there again for the purposes of actually thinking about buying some of their furniture.

IKEA Milton Keynes
Inside IKEA Milton Keynes

I took a few photos on the way round. Here’s a montage of a few — showing the curious juxtaposition of the nicely-staged rooms upstairs compared to the functional warehouses where you have to get the flat-pack stuff.

The bizarre names of IKEA furniture are staple jokes — see Dave the Laptop Table and Gilbert the furry brown placemat above.

IKEA Kolon
Who Says IKEA products Are Crap?

However, I noticed a floor protector thing with one of the most bizarre names. As it’s a medical term I think the word spelled with a ‘c’ must be the same in Swedish.

IKEA's Rats
The Welcoming Rats

I also thought it quite surreal that customers were greeted on entering the showroom with a crateful of furry-rats.

I had another opportunity to inspect the wardrobe that I had in mind for James to build for Emma. In the novel it’s not exactly like this one — I think it may have its drawers inside the doors — but it’s fairly similar.

Emma's Wardrobe
Emma's Wardrobe

It’s pictured here in a trendy looking bedroom that Emma may not even have turned up her nose at.

In the end, I had my own cardboard megalith experience as the furniture that I wanted to buy (including two wardrobes as luck would have it) was in such huge cardboard packages that they wouldn’t have fitted in the car.

In fact, probably they were so heavy (two boxes weighing about 50kg for each wardrobe) that perhaps the easiest way to have got them home might have been to put them on rafts and float them down the Grand Union Canal — in the same way as Stonehenge’s builders transported their rectangular megaliths all the way from Wales?

(And perhaps it might make Emma feel better to know that I bumped into the Minister for Europe’s wife in the IKEA café and said hello — if it’s good enough for ministers of state? Or maybe they’re being mindful of expenses?)

Lip Service

A fascinating aspect of reading fiction is that, sometimes despite the best efforts of the author, every reader must have a different mental image of each character — most likely a synthesis of their own experience and from triggers picked up from the text. Most ‘best-practice’ writing advice tends to suggest the author should leave as much detail to the reader’s imagination as possible — only providing concrete descriptions that are vital to quickly establish character or to provide information necessary to the plot.

When a novel is adapted for film or television this often leads to disappointment for readers of the original novel — an actor or actress may be physically dissimilar to how they imagined a character or, perhaps worse, behaves in an entirely different way. I read something recently in the Radio Times complaining about Stephen Tompkinson not being at all like the writer had imagined Peter Robinson’s Inspector Banks in ‘Aftermath’.

Stephen Tompkinson as Peter Robinson's DCI Banks
Stephen Tompkinson as Peter Robinson's DCI Banks

(Parts of the second episode of which were filmed on the moors very near where I grew up. Look at those intimidating pylons on the picture on the left. They loomed over me every day. ).

The converse of the reader’s mental image is that a writer must also have a picture of a character in mind when writing fiction. Again this must be a mixture of experience and imagination that rarely transfers directly into a reader’s imagination, although, like screenwriters, if a novelist is writing a series of books that has been featured on film or television then they may start writing for a specific actor. I seem to remember Colin Dexter saying this about John Thaw as Inspector Morse.

Occasionally, however, writers must have the image of a character in mind and see some sort of very close likeness in the visual representation of a person — a photograph or picture or something on film or television. I recently had that sort of revelation in connection with the new BBC3 drama series, ‘Lip Service‘. It was the publicity photos for the series on the front of, I think, the Guardian’s Saturday Review section that made me take notice: the actress Ruta Gedmintas, pictured as her character Frankie in the series is a very close fit for how I see my character Kim — at least Kim at the start of the novel.

It’s partly the urban-arty clothing (Frankie’s meant to be a photographer) and her gaunt physical appearance — and she has short-ish blonde hair and a nose piercing, even green eyes. I don’t know whether Frankie is meant to portray a particular lesbian style of dressing. Kim in my novel isn’t gay (I think Frankie is actually meant to be bisexual) but Kim certainly comes from a arty-edgy culture in Shoreditch and Hackney where she will mix with and be influenced by a lot of gay people.  (And similarly in my writing experience I have and have had plenty of contact with gay writers and have workshopped gay fiction.)

Ruta Gedmintas as Frankie on the cover of Guardian Guide 9th Oct (Linked to Guardian Website)
Ruta Gedmintas as Frankie on the cover of Guardian Guide 9th Oct

Frankie is, of course, different to Kim in many ways but, the character, as played by Ruta Gedmintas, captures a startlingly arresting attitude. She has a very interesting, expressive face that varies between a the kind of ‘fuck you’ arrogance of an urban artist and a very genuine smile that shows flashes of concealed vulnerability — two contrasting character facets I’m trying to work on bringing out with Kim. Ruta Gedmintas is probably prettier than I imagine Kim to be but that may be because in my novel, Kim deliberately makes herself look confrontational to start with but she will have the sort of understated beauty that becomes increasingly attractive to James.

I was a bit intrigued by having stumbled over such an uncanny resemblance to a character I’ve had living in my head for around a year. I found from a couple of interviews online that Ruta Gedmintas comes from a Lithuanian family (hence the unusual name) — so perhaps her appearance has an Eastern European aspect, which may have made me think of German Kim — but the actress was brought up in Buckinghamshire which, co-incidentally, is where the bulk of my novel is set — in the Chilterns. (This, perhaps, explains why Frankie curiously speaks with an accent that’s pure Home Counties — or maybe her lack of the Scots brogue might be explained in later episodes with further revelations from her mysterious past?)

In the imaginary sequence of events whereby my published novel gets adapted for film or TV and then (possibly the most unlikely of this chain of possibilities) the original novel writer got asked for opinions on who should play the female lead then I think I’ve now found a perfect recommendation — so long as she can do a Hochdeutsch accent.

‘Lip Service’ has attracted controversy as it’s a series about the lives of lesbians in Glasgow. Apparently it’s the first British-made series specifically about gay women (as opposed to men) and the programme makers have to address a dilemma in that they want, on the one hand, to portray the women’s lives as being as ‘normal’ as possible (i.e. not contingent on their sexuality). But on the other hand if they’ve created a unique platform for the portrayal of intimate scenes between gay women characters then obviously they feel it’s something that they ought not to shy away from using — and, in my opinion, this is achieved very successfully — frankly (or, perhaps I should say, Frankily) but not salaciously.

I’ve watched the first couple of episodes and it strikes me as it’s quite like a gritty Glaswegian ‘Cold Feet’ with added sex (sex is something I always thought ‘Cold Feet’ could have explored more) — a comparison I mean as a compliment as I liked ‘Cold Feet’, especially the first few series — and it had some great actors in it. Like ‘Lip Service’, ‘Cold Feet’ also uses music effectively — and quite a lot of my writing throws in references to music (the latest extract I workshopped mentioned ‘Stop Me If You’ve Heard This One Before’ by The Smiths and ‘Big Love’ by Fleetwood Mac — the latter in a slyly filthy context).

I’m interested in that ‘Cold Feet’ genre — tangled relationships between people who are starting to deal with the responsibilities of adulthood — and think that my writing is probably pitched at the same kind of audience. The success of David Nicholls’ ‘One Day’ that I read recently and learned quite a lot from (Nicholls wrote some of the scripts for ‘Cold Feet’). The book gets fervent reviews  on Amazon from the many people who say it’s their favourite ever demonstrates that this is also a commercial genre. I have to say too that David Nicholls is a nice chap as he replied very quickly and politely to an e-mail I sent him about the clever playlist feature he did have on the book’s website — which now seems to have disappeared unfortunately in favour of some of the book’s film adaptation promo material.

Character Names

It always seems to me to be more difficult to think of names for my characters than virtually any other of their attributes. If you look online for any inspiration there are a large number of baby naming websites which handle Christian names and a few that give historic frequencies of names given at birth.

However, I’d not come across much in the way of surnames until I did a Google search and came up with a brilliant site which is apparently part of a website for women called So Feminine. http://surname.sofeminine.co.uk/w/surnames/uk.html

Why it’s located there among articles about fashion and understanding your man, I can’t really explain. However it allows searching for individual surnames and gives an approximate breakdown for most surnames of geographical distribution around the country — I found that my surname is the most popular in Oxfordshire. (Odd as I thought it was most common in Nottinghamshire, although it’s not the overall accuracy that I’m interested in here as much as just a list of names.)

There are also lists of the most popular surnames — 8,500 of them in order should you wish to plough through them all. http://surname.sofeminine.co.uk/w/surnames/most-common-surnames-in-great-britain.html

While naming characters can offer possibilities of investment with some sort of allusion and meaning, this list perhaps throws up a few random bit of inspiration?