EDITING: THE LONG DAY’S JOURNEY TO IMPROVEMENT

I never used to like editing my writing.  In point of fact, I didn’t really know how to edit properly. original_171221_3mHe3q6MhgSuNzpG9NpsnFzQG  I was always aware of Hemingway’s scatological description of his first draft although he seems to be working away quite happily in this picture.

My approach to editing changed when I bought two books by Sol Stein, ‘Solutions for Writers’ and ‘Solutions for Novelists.’  In these he outlined his approach to editing, including a very smart and powerful model using what he calls ‘Triage.’  In this you fix the biggest things first.  These include your characters and their motivation, scenes and overall flow of the story.  Then you should look at more general points including the language used, the rhythm of the piece, tightening up the story and inconsistencies.  Finally you should look at the nuts and bolts of the writing including imprecision of language, confusion in dialogue and things which interrupt the suspension of disbelief.

This is just a quick overview, I’ll say more about Stein’s approach in a later post.

But what is clear is that editing is a long process, that it takes several stages and it can be every bit as creative as the initial writing.

This is the process I use.

  1. My editing takes place even when I’m writing my first draft.  I re-read what I wrote the day before and fix anything which needs fixing.
  2. Once I’ve finished my first draft I leave it for a month or so.  This leaves me enough space for me to re-read it with fresh eyes.
  3. I read the draft quickly and note down anything which works well and doesn’t work so well.  Is the story strong enough?  Are the characters’ motivations realistic and clear?  Are there any parts where the story is sagging?  Are there themes which need to be heightened?  Are there any characters who shouldn’t be there or who are missing?  Are the chapters and scenes in the right order?
  4. Then I read it through more slowly, looking for weak style, repetitive words, confusion of narrative or dialogue.  I often find it useful to read out loud when I come across a troubling part.
  5. I then read the story in a different format.  First of all I use the Read function in Word.  This puts the manuscript into two pages which is more like a book.  It is surprising how different a view this gives.  I use this for copy-editing, particularly typos and punctuation errors.
  6. Then I transfer it to my Kindle and read it on this, making any changes as I go along.  I may also print it out on paper and look at the manuscript in this format as well.
  7. When I have made all my corrections I give the draft to my wife to read.  She is a skilled and tenacious reader.  We argue about plot, character and motivation which gives me good ideas on improving the overall shape of the novel.  And she has an eagle eye for typos and punctuation mistakes!
  8. I rewrite the manuscript again.  I read it on Kindle once more.  Then I publish.

Back to England

Tomorrow we’re going back to England again.  This was our scheduled break to see my father, son and his family.  We had hoped to introduce my dad to my grand-daughter but because of dad’s double heart-attack he is still in hospital so that is no longer possible.

A disappointment for everyone.

Still, we’re seeing friends in London before going off to the West Country to see the family.  Looking forward to going to a BIG bookshop or two in London before we leave.

I love me Kindle and my Sony Reader but there’s nothing quite like the smell of a bookshop.

I’m using the wonderful wizardry of WordPress to post the next extract of my new novel on Sunday.  Getting very excited as I hope I’ll be able to keep to my (self-imposed) deadline of publishing the novel by the end of November.

 

1066 and the End of a World.

English: Harold Godwinson falls at Hastings. H...

English: Harold Godwinson falls at Hastings. Harold was struck in the eye with an arrow (left), slain by a mounted Norman knight (right) or both. (Photo credit: Wikipedia)

In October 1066 Duke William of Normandy won the Battle of Hastings and killed King Harold.  Confident that the path to the throne was now clear he rested his army and waited for the Witan, the council of the great English lords, to come to submit to him.

They did not come.

Instead they chose as the king Edgar Aetheling, the young grandson of Edmund Ironside.  Edgar was the only person directly descended from Alfred the Great and the Witan must have believed that only he had any hope of uniting the country against the Norman invaders.

English: Edmund II of England and his family (...

English: Edmund II of England and his family (Edward the Exile, Edgar the Ætheling, Saint Margaret of Scotland, Edmund , Cristina) (Photo credit: Wikipedia)

Thwarted in his wait for the English to come to him William marched north to seek their submission in London.  A terrible disease, possibly dysentery, swept through the army and William himself became terribly ill.  In a few weeks, however, the army was on the move again, ravaging Kent and heading towards London.

It was at Southwark that the Normans experienced their first setback.  The English, defending their new young king, threw the invaders back at London Bridge.  Unable to enter the city, William burnt Southwark in revenge.

William then led his army on a long sweep west and north of the Thames, destroying everything in his path.

It was by such methods that William made his first mark upon the people of England.

But he still had to deal with the legitimate king of England.

 *********

My novels, ‘The Lost King: Resistance’ and ‘Wasteland’ tell the story of Edgar and his resistance to the Norman invaders.  They are available in e-book from all retailers including Amazon, Kobo, Barnes and Noble, Sony and WH Smith.

The third in the series: ‘Warrior’ will be available early in 2013.

Part 2 of my Kingdom of Jerusalem novel #SampleSunday #Histnov

This is the second sample of my new novel which is set in the immediate aftermath of Saladin’s conquest of the city of Jerusalem.  If you’ve seen the movie ‘Kingdom of Heaven’ you’ll have a good understanding of the time and setting.

The huge gates were winched shut.  The crowd, which moments before had roared with joy at the departing army, gradually fell silent.  People turned and looked at their neighbours, elation fading from their faces.  The throng began to disperse.  Those who remained looked forlorn, almost embarrassed.  A pained silence descended upon them.

John and Simon gazed at the crowd in confusion.  It was the first time they had paid them any attention and they were shocked.

The men were swarthy and heavily bearded, a few with turbans.  The women wore veils and their arms shimmered with silver.

They can’t be our people, John thought.  Since landing in the Holy Land the cousins had paid little heed to the locals.  They had assumed that Jerusalem would be full of Europeans.  It appeared that they were wrong.  The people here looked unlike anybody they had ever seen before.

There was a sudden commotion behind them and they turned to see what was happening.

The two boys were clambering down from the shrine they had climbed to watch the army go by.  A priest with pale face and livid eyes grabbed the eldest by the hair.

‘You dare to stand upon a sacred shrine,’ he cried, slapping the boy across the face.

Simon stepped forward.  ‘Leave him alone,’ he cried.  ‘He’s doing no harm.’

‘Infidels must not pollute this shrine,’ said the priest.

‘I’m not an infidel,’ said the boy.

‘Liar,’ said the priest.  He clenched his fist still tighter and shook the boy’s head.  ‘What’s your name, infidel?’

‘Claude-Yusuf.  My father is a soldier.  He’s just marched off with the King.’

The priest slapped the boy once again.  ‘A half-breed.  Worse than an infidel.  I’ll have you whipped.’

‘You can’t do that,’ said Simon.

‘Can’t I?’  The priest held Simon’s gaze.  ‘I think you’ll find I can.’

‘He’s done nothing wrong.’

‘He’s a half-breed.  Whelped on a Saracen mother.  I’d slaughter the lot of them.’

Both boys began to wail.

John had not interfered until this point but he could stand by no longer.  He stepped up to the priest but Simon saw and blocked his way, preventing him from reaching the priest.

‘I have journeyed from England to Jerusalem,’ Simon told the priest, ‘and in all those miles I never thought I’d see such unchristian behaviour.’  He prised open the priest’s fingers.

The priest’s eyes narrowed.  ‘I shall remember you, infidel-lover,’ he said.  He strode off, his curses carrying on the air.

The boys wiped their noses.

‘Are you all right?’ John asked.

‘Yes.’

‘I am as well,’ said his friend.  ‘My name is Gerard.  Are you pilgrims?’

John nodded.  ‘We are.  We’re from England.’

The boys exchanged looks, this news of much greater interest than the recent assault upon them.

‘Is England in France?’ Gerard asked.

John shook his head.  ‘Certainly not.’

Simon bent down to the boys.  ‘You seem to like soldiers.  You were watching the army march past.’

‘Claude-Yusuf is for the Hospitallers,’ Gerard said once again.  ‘I’m for the Templars.  I shall be one when I get older.’

‘What about you, Claude-Yusuf?’ John asked.  ‘Do you want to be a Hospitaller?’

The boy did not answer.  He stared at the ground and twisted his toes in the dust.

Simon shrugged and held a penny up to the boys.  ‘Thank you for arranging such a magnificent welcome to the city,’ he said.  ‘We are going to stay at the Pilgrim Hostel.  Do you know where it is?’

‘It’s a long way from here,’ Gerard said.

‘A long way,’ said Claude-Yusuf.  ‘We know a better place.’

John raised an eyebrow, suspecting some trick.

‘The best inn in Jerusalem,’ Gerard continued.  ‘It’s much better than the Hostel.  Good beds, good drink and good food.’

‘It’s close by,’ added Claude-Yusuf.

Simon laughed.  ‘Then let’s take a look at this marvel of an inn.’

 ***

The two boys took the cousins’ hands and led them into a maze of alleys.  John feared they would soon be lost but in a few moments they found themselves at the inn.

‘See,’ said Claude-Yusuf, ‘I said it was close.’

After the glare of the streets the inn looked dark.  Better yet, it was cool.  A large room stretched in front of them with rough tables and benches dotted around in an ordered manner.  At the far end of the room a door led into a courtyard with small trees and shrubs.   Along the wall ran a counter stacked with barrels of ale and bottles of wine.  A woman stood behind this, cutting bread.

‘We’ve brought some pilgrims,’ Gerard called.  ‘From England.’

‘From England?’  The woman smiled and handed each of the boys a slice of bread.

‘You’re good boys,’ she said, glancing over towards John and Simon.

Her face was oval, with olive coloured skin and dark brown eyes.  Her hair was a tawny blonde, little darker than the colour of straw.  Two dimples played on either side of a tiny mouth.  John had never seen anything as lovely.  He cast his eyes downward, seeking to banish the thought from his mind.

Simon smiled at the woman.

‘My name is Simon Ferrier,’ he said.  ‘And this is my cousin, John.’

‘Welcome,’ the woman said.  ‘You must be tired.  Can I offer you food and drink?’

Simon nodded enthusiastically but John shook his head.

‘Not yet, I beg,’ he said.  His eyes remained fixed on the floor.  ‘My cousin Simon may wish to eat but before I do I must climb the hill of Calvary and see where Our Lord was crucified.’

The woman gave a fleeting smile and then frowned, wondering how best to answer.

‘To see that would indeed be a miracle,’ called a man from the courtyard.  He was of slight and wiry build, dark skinned with curly hair, a moustache and a wide grin.  His apron was covered in red and brown stains, some of them still wet.

Perched upon his shoulder was a small girl about five years of age.  He slid her to the floor and came towards them.

‘There is no hill of Calvary,’ the man continued.  ‘It was flattened and a church built around it.’

John was shocked.  ‘So we can’t see Calvary?’

‘Not a trace of it.’

‘And the cross?’

‘Oh you can see that; or a bit of it at least.  It’s in the church.  There’s a tiny fragment of timber buried in a cross of gold.’

John frowned.  ‘Gold?’

‘The churchmen felt that Christ would have wanted gold.’

The woman sighed and shook her head as if in warning.

‘The cross isn’t in the church now, father,’ Gerard said.  ‘The army took it and marched with it at the front of the column, the very front, just behind King Guy.  The army took the cross to go to war.’

‘Did they, indeed?’  The man looked troubled.

‘So they stake everything on this attack,’ he said almost to himself.

The novel will be published in December 2012.

The Common Knights of Jerusalem #SampleSunday #histnov

I am busy editing my new novel which is set in the days following the fall of the Frankish Kingdom of Jerusalem to Saladin.  So, I thought I’d post the first few pages for today’s sample.

CHAPTER 1 THE ARMY OF JERUSALEM

John and Simon climbed up the steep track towards the city.  John felt he might die at any moment.  The sun poured out of a clear blue sky, an intense, implacable heat which seemed intent on beating him to his knees.  He uncorked his flask and sipped at the water.  It tasted of iron and gave no relief to the desert of his mouth.

‘Nearly there,’ he gasped to his cousin.

Simon gave him a blank stare.

The last mile was the worst.  John forced his eyes to peer through the glare but no matter how often he looked he appeared no closer.  It seemed the city would stay forever beyond his reach.

Could that be, he wondered?  Was Jerusalem so holy a place that those who were unworthy would never attain its bliss?

The two men lurched together.  The contact gave them renewed purpose and their pace quickened.  Finally, they reached the city and stumbled into the deep shade beneath its walls.

‘At last,’ said Simon.

‘Ten months,’ John said.  ‘Ten months.  But we’ve got here.’

Just outside the gate to the city a cistern had been placed for the relief of pilgrims and their horses.  The water was brackish and oily, strewn with wisps of straw and dead insects.  They plunged their heads into it and swallowed down great draughts.  In England it would have been too warm to drink; now it was like water from an icy stream.

Eventually they drunk their fill and slumped down before the gate.  John’s eyes filled with tears.  ‘We’ve done it, Simon,’ he said.

‘I knew we would,’ said Simon, ‘but I began to doubt.’  He sighed and rubbed his eyes.

They looked at each other and gave a weary smile.  They climbed to their feet, hoisted their packs upon their backs and took up their staffs.  Hearts hammering with excitement they strode into the city.

No sooner had they stepped through the gates than they saw crowds of people lining the road, jostling for position.  The sheer numbers pressed them back until their legs were slammed up against a stone shrine.

Two small boys had clambered onto the shrine and were shouting to each other in excitement.

‘What’s happening?’ John asked them.

‘King Guy,’ cried the youngest boy, ‘King Guy is going to war.’

Almost immediately a trumpet sounded from deep within the city.  A heavy and regular beat sounded in the distance.  It got louder and louder and soon the reverberation jarred the ground beneath their feet.

A huge cheer rose from the crowd and the children shrieked with delight.

John and Simon followed their gaze.  Riding down the cobbled street came two lines of armoured knights, pennants high, bright armour glistening in the sun.  The knights closest to them wore red surcoats with white crosses emblazoned upon them.  The knights in the far column wore white coats emblazoned with stark red crosses.

‘Who are they?’ John asked.

‘Knights of the Hospital and of the Temple,’ cried the youngest boy.  ‘I am for the Templars but Claude-Yusuf is for the Hospitallers.’

‘Gerard is too young to know better,’ explained the older boy with what he thought was a condescending look.

Behind the last of the knights there was a gap of ten yards before two men on great horses rode alone, side by side.

The older man was a red-head with rough beard and close-cropped hair.  He sat forward in his saddle as if hoping by his stance to make it go faster.  His eyes were wide and shining, and he glanced about him with an exultant look.

‘Who is that?’ asked John.  He did not say but he was disturbed by the look of the knight.

‘Raynald of Châtillon,’ said an old man in the crowd.  He leaned closer.  ‘If you are wise you would make no comment about him, no matter what anyone says, good or ill.’

John and Simon exchanged wary looks.

‘And the other?’  John stared at the man who rode beside Raynald.

He was tall and slim, with thick, flowing hair and neat trimmed beard.  His face seemed carved from stone.  He was handsome and dignified, with regular features and a strong chin.  His eyes were bright and imperious and he glanced about him at the crowd and acknowledged their cheers with a courteous bow.

‘That is Guy of Lusignan,’ said the old man.

‘King Guy, King Guy,’ cried Gerard.  ‘Hooray for King Guy.’

The king, hearing the cry, searched out the owner of the voice and held out his hand.  Gerard gasped and reached up for the king’s hand.  Guy took it, shook it in a sign of triumph and smiled.

Delighted, Gerard grinned at Claude-Yusuf.  ‘King Guy has shaken my hand,’ he cried, ‘King Guy has shaken my hand.’

The king was followed by long lines of knights and foot-soldiers.  The boys became even more excited and Claude-Yusuf began to yell at the top of his voice.

One of the soldiers heard his voice and turned, searching the crowd.  His face lit up and he waved with wild enthusiasm.  He called to the boys but could not be heard.

‘Goodbye, father,’ Claude-Yusuf cried, ‘goodbye.’  But his voice was lost in the tumult.

Eventually, the last company marched through the gate and disappeared down the road that had brought John and Simon to the city.

***************

 I plan to publish the book in December.

First steps in planning my new novel

A few days ago, while lounging on the terrace, an image on a poster I had seen many years ago flung itself into my mind.

I knew at once that this image would be the source of a new novel.  I immediately hit the internet and got copies of the image.  Then I began to reach out and searched for all the relevant information concerning the character in the image.

Whoopee.  There was hardly anything.

This might give you pause.  Having little information about the person who you’re planning to use as your next protagonist is surely something of a problem.  Not a bit.

It gives me a huge amount of freedom.  There’s hardly anything known about him.  It gives me the opportunity to develop him in terms of personality, what he does, who he relates to and how he views the world.  I started to write about him, using the first person and then the third person.  The first two attempts looked stale.

The next step was to find the sort of people who he might have come into contact with.  Two or three were obvious because he was involved with English kings.  Others took a little more detective work but soon I had three more central characters.  One of the three was just a name, the second was wonderfully enigmatic and potentially sinister.

The third was relatively well documented already.

I wrote a third piece with the third character meeting the protagonist.  Great.  They related well and, even more important, I had found the voice and general characteristics of my protagonist.

Today I have got down to the essential for the historical novelist.

This is getting a fix on the events which took place in the period of the protagonist’s life.  This by the way is a moveable feast at the moment.  I have already altered his date of birth to make him five years younger than I had originally planned and I might alter it yet again in light of the chronology I’ve found.

Undertaking this trawl of events can throw up surprising things which are well worth noting down.  A couple of strange new taxes.  A woman who was punished terribly for speaking her mind.  A riot which put recent riots in perspective.  I was most surprised at my reaction to one of the two kings in the novel.  I shall remember that feeling of surprise and keep it as a central perspective of my protagonist.

Next step is to find the antagonists, some love interest and then the conflicts which will inform the novel.

‘Artful’ #SampleSunday #Free today #Kindle #amwriting

Chapter 6 New Horizons

The prisoners were taken out of the barracks and mustered along the quayside.  A party of Government officials appeared and, together with Lieutenant Bolt, passed up and down the line of men, studying their papers as they did so.

If a man looked as though he might prove particularly useful one of the officials pointed him out and a guard led him away.  Beresford was one of the first to be selected.

‘No,’ cried Jack.

‘Shut it,’ said the guard.

‘But he’s my father,’ Jack pleaded.  ‘You wouldn’t want to separate an orphan child from his father would you?’

The guard raised his hand to cuff him but one of the officials signalled to him to desist.

He was a tall man with a well-groomed beard and a thick head of hair with straggly locks framing his face like the ears of a basset hound.  His spectacles balanced upon the end of a sharp, thin nose.

‘Are you really trying to tell me that this man is your father?’ he asked.

Jack nodded.  The man consulted his papers.

‘It says here,’ he read, ‘that you are called Jack Dawkins and that this fellow, who you claim to be your father, is called Beresford.’

‘It’s his first name.’

The official tapped his fingers on his chin and turned to Beresford.  ‘Is this boy your child?’

Before Beresford could answer, Jack threw himself upon his knees and held his hands up to the official.  ‘I’m a bastard,’ he said.  ‘There’s no record of us.  We’ve just found each other after years of separation.’

The official shook his head and patted Jack on the head.  ‘Good try but I fear not good enough.  Even if you were related I’m afraid that the colony could not easily find work for one such as you.’

‘Come along, Dr Fowler,’ said the leader of the party, ‘we haven’t all day.’

The doctor patted Jack on the head and moved on.

The guard pulled at Beresford’s arm.  He resisted for a moment and clasped Jack on the shoulder.

‘I thought we’d not be able to stay together, lad,’ he said.  ‘But I’ll always remember you.  Look after yourself and remember; keep a lid on your swagger.’

The guard led Beresford away.  A familiar snigger sounded from further down the line.

‘Get lost, Crimp,’ Jack said.

Beresford need have had no worries concerning Jack’s behaviour at this moment.  No matter how much he tried to swagger, the chill in his heart prevented it.

The official party worked its way down the line, selecting about a third of the men for government work.  Those who were selected either had specialist skills or were particularly strong-looking men like Beresford and Trench.  Those left over were as varied a looking bunch of miscreants as could be found in Newgate or the House of Lords.

They were now herded close together and a new party of men strolled up and down, documents and little purses clasped in their hands.  These were the free settlers.

Some were inhabitants of Sydney wishing to be assigned servants.  Others were settlers from further away, many of them men termed squatters who owned vast tracts of land out in the wilderness.  They were looking for experienced men to tend their flocks or till their fields, or, failing this, men who looked strong enough to work until they dropped.

The wealthiest looking settlers were at the head of the line and they made selection of all the best men.  The whole process was much more chaotic and speedy than the measured progress of the government officials.  The settlers were in a hurry to get the choicest men possible and they knew they dare not linger over-long for fear of losing out to a rival.

In the end there were only two prisoners left on the quayside; Dodger and Crimp.

There were very few settlers either.  They looked long and hard at the two remaining figures before shaking their heads and leaving.

‘What’s the matter with you?’ cried Dodger bitterly.  ‘Can’t yer see what a bargain I am?’

Only one man scrutinised them still.  He was a huge man, nearly six feet tall and broad and fat.  He leaned upon a thick walking stick.  His right foot was swaddled in bandages.

Although the man was big his head was very small, looking like the head of a fox or weasel jammed onto the neck of a man.  His beady eyes were cold and unreadable.  A raw, red scar ran from just beneath his left eye to the edge of his lip.

He chewed tobacco and every so often spat it out, staining his bandaged foot brown.  Dodger noticed him staring and fell quiet, having no wish to attract his attention.

They continued in this impasse for a few minutes, until the man lurched over to him.  He held Dodger’s chin and scrutinised him carefully as if he were a horse or a dog.

‘Open yer mouth,’ he growled.

The voice was so harsh, so reminiscent of the all too-familiar one of Sikes, that Dodger obeyed.  The man peered at his teeth and shut his jaw with a snap.  He then turned and did the same with Crimp.

‘Take your glove off,’ he told Crimp.

Crimp gave an anxious look and shook his head.  The man lifted his fist and, muttering, Crimp inched it off.  Dodger gasped.  The top of the fingers had disappeared; the stumps which remained were blackened and charred.

The big man examined the hand for a moment and then shrugged as if he expected little different.

‘They’ll do,’ he said to the one remaining official.  He reached into a mud-stained purse and pulled out a sovereign and some silver.

‘It’s two pounds, Mr Stone,’ said the clerk, ‘one pound per convict.’

‘He’s only a lad and a puny one at that,’ Stone said, poking Dodger in the chest. ‘And the bloke’s not much better.  I think I should get a discount on account of the lack of eye and hand of the one and the puniness and ugliness of the other.’

‘How much are you offering?’

‘Thirty bob for the pair.’

The clerk considered for a moment, pocketed the money and thrust two sets of papers into Stone’s hand.  ‘Fred Crimp and Jack Dawkins,’ he said.  ‘Yours for thirty bob and no questions asked.’

He turned towards Crimp and Jack.  ‘This is Seth Stone, your new master,’ he said.  ‘Do well by him and he’ll do well by you.’

I doubt that, thought Dodger.

‘My carriage is there,’ Stone said, pointing to a tumble-down crate.  A donkey with a hang-dog expression stood in the traces.  ‘You can walk behind.’

The clerk handed Jack and Crimp a parcel each which contained some bedding and clothing.

As they walked towards the cart Crimp muttered, ‘I must have died and gone to heaven.  Do you know why?  Because I’m going to make your life hell.’

 ’Artful’ is free today on Kindle and all Kindle apps.  Click on the pictures to the right to buy.

David Gaughran on ‘A Storm Hits Valparaiso.’

Martin: Hi David and thanks once again for agreeing to do a second interview on my blog.

My pleasure, Martin. Good to speak with you again.

 Martin: Before we focus on ‘A Storm Hits Valparaiso’ I wonder if you could tell me when you first know that you wanted to be a writer.  Was there a specific event that made you decide?

David: I’ve wanted to be a writer for as long as I can remember. However, I didn’t really do anything (other than talk about it, or daydream) until I read Stephen King’s On Writing. It’s truly a great book, and it gave me the confidence to get going and turn that dream into a reality.

You have written a very successful book on self-publishing and two collections of short stories.  Your first novel, however, is a classic historical novel.  What drew you to this genre?

My reading is all over the chart, but I suppose I read historicals more than anything else. I write all sorts of stuff too, but historical fiction is my “main” genre. I’ve always enjoyed big, sweeping stories – especially those that have a new take on a well-known event, or, even better, books which uncover a lost piece of history, or a fascinating figure who has slipped from the collective consciousness. I can spend days at a time on Wikipedia bouncing between unknown battles or forgotten generals, or poring over maps of fallen empires.

The struggle for South American Independence was epic and full of heroic and dashing figures such as Simon Bolivar and Bernardo O’ Higgins.  Yet you chose to write about San Martin, a private man, less well-known, who spurned fame and heroics.  What attracted you to the challenge of writing about him?

The original plan was to write about both San Martin and Bolivar, but, as you have pointed out, Bolivar’s story was (relatively) more familiar, and half the fun (for me) is uncovering something less well known. On top of that, the scope of the story was already spiralling out of control and I needed to make some big decision early on regarding what to focus on and what would make a coherent story. I already had seven main characters, and I felt that was about the limit in terms of what a reader could keep fresh in their minds (and that I could keep track of).

Aside from that, there was something terribly seductive about focusing on the man who walked away when power was within his grasp. What would lead someone to do that? That question powered the whole novel.

You slaughtered a number of your characters which made this reader, at least, feel sad.  Do you regret losing any of the characters in this way and, if so, who and why?

The whole backdrop of the novel is a bloody twelve-year independence struggle, and given that most of the characters were in the army, it would have been stretching credulity that all of them could survive. I was very concerned with conveying the dark side of war – even when the cause was as just as this one. The independence forces were quite progressive in terms of freeing slaves, and allowing Indians to serve in the army as equals, but I also wanted to reflect the fact that independence didn’t solve all of South America’s problems. The lot of the poor and the minorities didn’t change hugely, and, as such, I felt it essential that certain characters didn’t have a happy ending. It’s always a strange feeling to kill off a character, but war is brutal, and the novel had to reflect that. But, to answer your question more directly, I did feel some emotion in snuffing out the lives that I had created. It always feels somewhat strange.

Which authors had the greatest influence upon you in framing and writing your novel?

Gabriel Garcia Marquez and Louis de Bernières – two of my favourites – hugely influenced the kind of style I wanted to achieve for this book. I could live for a thousand years and never write as well as those guys, but it gave me something to shoot for. I especially enjoy the way that Garcia Marquez can describe an entire character in a sentence and their life in a paragraph – without you ever feeling he left anything out. Louis de Bernières can do that too, is a deft hand at weaving together a succession of captivating narrative strands. Both have a beautiful, lyrical style, and their books are among the few I re-read over and over – especially Birds Without Wings by de Bernières and One Hundred Years of Solitude by Garcia Marquez.

This might sound a little strange, but this book was also greatly influenced by some of the Cold War thriller writers like Tom Clancy. I don’t read him so much now, but devoured his work as a teenager. I loved the way his books would have one chapter in Moscow, then another in New Mexicowith a different character, then the next in Afghanistan. As a reader, you were trying to figure out how the hell all these characters were going to meet up. I tried to replicate some of that structure. I think readers like a puzzle.

How did you research your novel?  Did you do it before you started to write or was it more of an ongoing process?

I first got the idea while travelling around South America. I came across the story of San Martin and Bolivar meeting in that room in Guayaquil, and I was hooked. I was in the middle of writing something else (terrible) at the time and I was merely satisfying a curiosity about what transpired between the two men. I began making notes, sketching out scenarios, and, before I knew it, I was outlining a novel. It was all a happy accident, to be frank.

I didn’t get to properly commence until a few months later, when I spent the summer in Thailand. I had three months to myself, with nothing to do but write, and I took advantage of it. I had been reading background materials for months, but I only had a vague outline of a story and half of the characters in mind. I began writing the separate narrative strands in isolation, then had to figure out where and when they could begin meeting up. The story changed a lot as I wrote it, and research was virtually continual until the book was done. There was always something else I didn’t know enough about.

I went back to South America in 2008 for another nine-month trip. It was great to walk down the streets again, and breathe in the air. I had set the book (mostly) in locations I had been in before, but it was good to refresh the memory. I also got to visit a few museums and talk to some local historians – that added an extra dimension to the whole book.

I didn’t actually finish the book until late 2009, and rewrote it several times before eventually releasing it in December 2011. There were moments when I thought I would never cross the finish line. However, just shy of the sixth anniversary of when I first got the idea, I published it

Which research tools, sources and web-sites did you find most useful?

Wikipedia is a great starting point. It allowed me to get a quick primer on a subject, before ordering a few books and researching the old fashioned way: a big table, lots of scattered, barely intelligible notes, and a generally frantic demeanour.

What would be a typical writing day for you?  Do you have set times, spaces, routines or rituals?

I wish. I’m not disciplined enough to have a set schedule. I’m a binge writer, who works in spurts, then lets ideas stew for a while and recharges for the next session. I can be quick enough in getting the bones of a story down, but can fiddle interminably. My first drafts tend to be quite rough – full of plot holes, mistakes, scenes that need a lot of work – and then I will cycle through successive drafts, usually focusing on one aspect, until I feel like I’ve taken it as far as I can. Then the beta readers get to kick it around for a while, and once I fix all that stuff it goes off to the editor.

You have moved countries a couple of times and, as someone who has also recently moved I wonder if the change of culture and language has had any effect upon your writing.

I don’t know. It certainly helped in getting some of the details right in this book, but I’ve moved around so much in the last ten years that it’s hard to say what is influencing what. I suppose it has directly influenced the setting of my stories –South America, Sweden, Czech Republic– but there is nothing really deliberate about that, the story decides the setting, not the other way around.

What is your next writing project?

I’ll be releasing another historical next month – Bananas For Christmas –about a colour-blind railroad engineer with the unlikely name of Lee Christmas who swaps New Orleans for the Tropics and gets caught up in a Honduran civil war. He was one of the most famous people in America 100 years ago – regularly featuring in the Sunday supplements – but he has largely been forgotten today. That story was so much fun to write. If you think Cochrane was a colourful character, wait until you see this guy.

On top of that, I’ll be updating Let’s Get Digital and releasing a sequel, aimed at writers who have already taken their first self-publishing steps and who are looking to take things to the next level. The French version of Let’s Get Digital will be out in a couple of weeks, followed by some of my shorts – other languages are planned too.

In terms of new fiction, I’ve started work on a dystopian novella called Supertramp which is twisted take on the reality TV shows that are clogging the screens, and that will be quickly (I hope) followed by another historical, also set in Latin America, and plenty more short stories. I have a few more historicals planned for Latin America, and then I’ll be trying something totally different with a book set in theMiddle East. Too many ideas, not enough time!

Thank you so much for taking the time to chat on my blog, David.

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You can find out more about David Gaughran and his work at the following places:

http://davidgaughran.wordpress.com/

David also has a blog focusing on South America.  This can be found at southamericana.com

‘A Storm Hits Valparaiso’ can be found at:

US: http://www.amazon.com/dp/B006OPORV8/

UK: http://www.amazon.co.uk/dp/B006OPORV8/

Smashwords: http://www.smashwords.com/books/view/116662

Barnes & Noble: http://www.barnesandnoble.com/w/a-storm-hits-valparaiso-david-gaughran/1108178310?ean=2940032953050&format=nook-book

His new novel: ‘Bananas For Christmas’ should be available at the end of July.

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Join me next Saturday when Ty Johnston talks about his work.

Using the Disney Strategy in Your Writing

Robert Dilts is one of the key thinkers in Neuro-Linguistic Processing (NLP) and a number of the tools used by business on a day to day basis owe something to him.

I attended his Master Practitioner course in 2003 and it certainly opened my eyes to a wealth of new ideas.

I am going to look today at one of them.  This is Dilt’s analysis of Walt Disney’s creative strategy and how it may have a bearing on writing.

One of Disney’s closest associates said: “…there were actually three different Walts: the dreamer, the realist, and the spoiler. You never knew which one was coming into your meeting.”

By this he meant that Disney approached the creative act in distinct phases.  First he would imagine what the finished product was like.  Next he would breathe life into it, often by acting out the parts himself.  Finally, he would evaluate it and criticise it, thinking especially how the audience would react to the film.

Here’s what Disney himself had to say about the art of making animated films.

“The story man must see clearly in his own mind how every piece of business in a story will be put. He should feel every expression, every reaction. He should get far enough away from his story to take a second look at it…to see whether there is any dead phase…to see whether the personalities are going to be interesting and appealing to the audience. He should also try to see that the things that his characters are doing are of an interesting nature.”

As a writer this translates to me as:

1.  researching, planning and plotting.

2.  doing the actual writing, acting out the characters and action in words, being there.

3.  getting distance from the writing.  Seeing what works and what doesn’t.  Trying to see it through other people’s eyes, the eyes of the people you hope will read and enjoy it.

Physical environment is important for me in this.  I often get my best ideas when I’m dreaming in a cafe, away from where I normally work, without the distractions of friends, laptop or internet.  I also find I get great ideas if I’m sitting with my feet off the ground.  I’ve no idea why this is; perhaps I’m tapping into being like a little child sitting on a swing or a chair that’s too big, perhaps it’s because I’m not tied down to the ground.  This is clearly the dreamer stage.

When I write I write on a laptop and it could be almost anywhere.  I do need space, however, and I need sufficient privacy, or comprehension from my wife, to talk to myself and act out the parts.  I’ve had sword-fights with adversaries. imagined a long ride on a horse and even tried to pick pockets.  This is the realist stage where I work at my novel.

The final stage, the critic, I do in a number of ways.  I leave as much time as I can between writing and doing a re-read and starting to edit. This is getting the distance that Disney recommends.  I put the book in PDF format onto my Kindle so I can see what the reader will see.  I then put the Word Document into ‘Read’ view to give myself another different perspective.  I give it to my beta readers and my editor before taking the cut and paste to the document again.  If something doesn’t sound right then I read it aloud.  (A recent book I’ve read ‘Can’t Sell, Won’t Sell’ by Sean Campbell and Daniel Campbell suggests using the Text to Speech function which I think is a great idea.  It’s a good book, well worth reading.)

The important thing to remember is that you cannot miss out any stage or minimise it’s importance.

For indie writers, especially, who don’t have the benefits of publishing house editors, copy-editors and readers, the final stage of critic may be the most difficult and, therefore, the one that is likely to be more rushed.

You need them all, I reckon.

Robert Dilts gives lots more information about the Disney Strategy.  Check out what he has to say and then give it a try.

http://www.nlpu.com/Articles/article7.htm

Editing my latest novel

I used to hate editing.  Since becoming a self-published author I have learned to embrace it with enthusiasm.

I have to wear a different head to the one when I wear I am writing.  I work more slowly, with greater attention to detail, less attention to the overall flow.  When I write I sometimes act out scenes.  When I edit I often read aloud to myself in a mumble much like chewing the cud.  I use my ears more than my eyes.

I am lucky that I have a very skilled editor who not only copy-edits but also interrogates me about plot and motivation.  Then it’s back to the laptop once again.

I also make a great deal of use of the features on Word.  I tend to change the view to Read which gives me two smaller pages on the screen.  The difference is remarkable and I can spot things I might otherwise never have seen.

I also make great use of Word’s Search and Replace.  I have a thing about characters having names so similar that might confuse the reader.  Many of them have to sport any number of name changes as the story is written.  Here Search and Replace is invaluable.

One of my friends said that I used the word ‘seemed’ too much in the sample I put up last Sunday.  I hadn’t realised, Andy.  Thanks for pointing it out.  I search and replaced every ‘seemed’ in the novel and changed a majority of them.  But not all.

Because this is the thing about editing.  I take all the advice I can.  I crave it.  Yet in the end I listen to my inner ear and and feel the story in my bones.  The final cut is mine.  It has to be.