An invaluable guide. Well, quite entertaining anyway.
A few years ago in a post about rendering accent in writing, I mentioned that after 10 years of living among Geordies I’d attempted to write a Geordie character, only for OneMonkey to recoil in horror at my ineptitude. Well, a couple of weeks ago I had another go (completely different story, and characters) and this one passed muster. I’m not saying it would fool a native, just that OneMonkey judged it bearable.
I had a feeling I might do better this time, I can now read and interpret the whole of the 1960s educational pamphlet Larn Yersel’ Geordie, even if I can’t say most of it out loud. I have understood each one of OneMonkey’s uncles in normal conversation, and barely notice that his dad speaks a completely different dialect from me. Despite living back in West Yorkshire (‘the South’ as OneMonkey calls it) for years, I appear to be morphing slowly into a North East native, scoring 100% on the Chronicle’s How Geordie Are You? quiz (though I’m not convinced of its scientific accuracy…) and recognising more than half of these You know you’re a Geordie when… signs in myself. Time to go recalibrate myself with some Yorkshire dialect poems.
I had such plans for this weekend – a bit of writing, a bit of editing, a couple of book reviews. What with Spotify and the BBC 6Music festival highlights online, however, all that got shelved and I’ve been indulging in music. I air-guitared to some instrumental rock ‘n’ roll, fired myself up with gritty early Kinks, bounced around to Maximo Park, and did a whole exercise session to Adam and the Ants. Marvellous, but not helpful on the writing front.
I’ve mentioned before how I struggle to write to music these days, and how I wish that wasn’t so. I’m often drawn to fiction that has a strong connection to music, like John Harvey’s detective Resnick and his jazz, or Kate Atkinson’s blunt Jackson Brodie with his surprising penchant for female singer-songwriters. It’s an added dimension and a way into a mood. Perhaps part of my problem is my eclectic taste, I skip around from Slayer to Joy Division to Half Man Half Biscuit, and if I was writing at the same time it would infect the words, resulting in a complete dog’s breakfast of a story. What I need is to plan a playlist to match what I’m working on at the moment. If anyone has suggestions for songs suitable for editing sci-fi noir, let me know…
I have – somewhat belatedly – been reading an entertaining blog post from last month by Christine Entwisle, winner of the Writer’s Prize for Radio Drama 2014. Not only did she write about how winning things is something that does not happen to her (which gave me some faint reassurance that it’s not all pre-ordained, for creative writing graduates with the right networking skills) but she also mentioned a play she’s been writing for 12 years that no-one wants, whereas her prize-winning script took her four days. This has spurred me on in my last-minute attempt at a story for the Writers’ and Artists’ Yearbook short story competition, which closes on February 15th. That’s in 4 days. Perfect.
56-year-old Detective Harry Bosch is on his first case since moving to the LAPD Robbery Homicide Division. A medical physicist has been murdered, and the killer may have taken dangerous substances from him. The terrorism alarm bells start ringing and before Harry has chance to do much work, he’s saddled with the FBI and all the extra bureaucracy and secrecy (and frustration) that brings.
This was the first Michael Connelly I’d read, picked from a library shelf because I thought the name seemed familiar from a casual recommendation I’d had. I toyed with giving up on it partway through; it looked like a fairly stereotypical thriller with obligatory mentions of the Middle East, the twin towers plane-crashes, suspicion of Muslims, and an unrealistic-sounding threat that was only vaguely (if at all) understood by the police involved. It redeemed itself by the end by turning out to be more subtle, more intelligent, and more of a detective story than that, but I’m still not sure I’d read another.
I’ve read and enjoyed (as light entertainment) a few Elvis Cole novels by Robert Crais. The Overlook was set in the same sort of location, and other than Harry being a policeman whereas Elvis is a private detective, there was some similarity. A lot of driving around Los Angeles being a bit of a maverick, with the occasional mention of a traumatic experience in Vietnam, and more people than seemed strictly necessary getting shot. Elvis Cole spends his life circumventing the LAPD, Harry Bosch circumvents the Feds. Given this similarity I’m surprised I didn’t enjoy The Overlook more than I did, but I wonder if this (the 13th Bosch novel) was a bad place to start. Harry has a new boss, a new partner, and though he did encounter people he’d run across when he worked for a different division, I didn’t feel like I got much of an insight into his character. The events of the whole novel took place in less than 24 hours, perhaps not enough time to get to know him.
Interestingly, in the edition I read there’s a section at the end where Michael Connelly ‘interviews’ Harry Bosch. That was nicely done, and did give more of Harry’s background and personal life away, plus an insight into what really drives him. It’s a writing exercise I’ve come across a few times – interview your main character – but this shows that not only can it help the author nail the details of a character, presented to the reader it can help to make that character seem more real.
Yet again I’ve missed a week, my flimsy excuse this time being I was busy writing a valentine themed story for this month’s writing group meeting. Young love, music and misjudgement – their eyes met over a New Order cassette and life was never the same. Whether the story will ever see the light of day I don’t know but it was fun to write. Seasonal greetings to all of you who owe your biggest love stories to music in some way.
Looking at the top 10 list of fiction borrowed most often from Leeds Libraries in 2014, a few thoughts scudded across my mind (nothing too deep, I’m sleepy and full of cold right now). One was that they’re mostly authors who’ve been around for a long time (John Grisham, JK Rowling, Ian Rankin), another was that there’s a hefty dose of crime and thrillers on there, and the third was that there are a couple of authors with a Yorkshire background (Kate Atkinson, Peter Robinson). Which got me wondering how this sort of list varies across the UK – do crime novels with a local link prove popular everywhere? Are there places where you can see the influence of the Richard and Judy Book Club, for instance, or where it’s all Booker Prize longlisters and recommendations from the Guardian review section? How does it match up with book-buying habits (are we getting the Hmm, not sure but let’s see what all the hype’s about out of the library, and buying the ones we think we’ll treasure)?
As I don’t have the answers to any of that (though I’d be interested if anyone else does – have I missed a similar top 10 list from Dorset library service this week?) I’ll merely note that I did read 3 of those authors last year (Peter Robinson, Kate Atkinson, and Michael Connelly) though not the books mentioned, and all borrowed from the Library of Mum and Dad rather than Leeds.
My most-read authors of 2014 are (and this will tell you more than you need to know about me, I’m sure):
One of the nineteenth century novels I read in 2014 and am now trying to get away from, New Grub Street was a book I’d heard of but knew very little about, except some vague connection to the Radio 4 comedy Ed Reardon’s Week. I have a feeling it was a Guardian article that finally nudged me into downloading the ebook and diving in.
As an entertaining character study, Jasper the ambitious carefree hack (he will essentially write anything for anyone as long as they pay him well and/or provide useful connections) is amusing in a thoughtless, I’m alright Jack sort of a way. Edwin Reardon, his contrasting best friend, is a wonderful caricature of the moody, introspective, ‘artistic’ writer, waiting for his muse and harping back to a critically-acclaimed novel or two that he wrote in his youth. Beyond that, however, lies just another Victorian romance, and I felt it descended rather towards melodrama as it neared the end.
There is, naturally, the loyal girl who gets thrown over – a doormat of the first order who exasperated me quite early on. There is also Edwin’s heartless, selfish, entirely unsympathetic wife (can you tell I wasn’t keen on her either?), though she at least was interestingly modern in her musings on the idea of a woman leaving her husband and starting a new life. There is noble poverty, and desperate illness, and the odd death and wedding.
If you are a writer, or live among writers, New Grub Street will amuse you with its observations about tit-for-tat reviewing, the triumph of luck and networking over talent, and various other features of the life that every generation of writers seems to think it’s the first to experience. If you’re looking for a good Victorian romance, however, you’d do better to pick yourself a random Anthony Trollope instead.