Your First Thought…

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As a writer you get a lot of advice thrown at you, particularly when you’re starting out, but I love this one from Karin Tidbeck. I trained first in improvisation and then more formally as an actor on screen and stage, where these principles are gospel. That first impulse, the one you often don’t even notice, is where the great stuff comes from: the raw, scary, sometimes weird, often dangerous stuff. The best directors recognise these impulses in the twitch of an eye or the flick of a finger, and employ sidecoaching to draw them out of their actors. Writers work alone – there’s no director on hand – but these impulses do occur and they mustn’t be ignored.

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A Job For One

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Kazuo Ishiguro was in the Guardian yesterday asking why film has never been able to depict the quality of memory as successfully as other forms.

Ishiguro reckons it’s because film presents a constantly shifting image, whereas we tend to remember events in stills. That hadn’t occurred to me before, though I have for a while now been complaining loudly about being forced to pay extra to watch films in 3D when I always remember them in 2D.

Ishiguro gives Eternal Sunshine of the Spotless Mind an honourable mention, describing it as a film about amnesia, but the most vivid and evocative scenes in that film come during the sequence in which Jim Carrey explores his own memories looking for a safe place to hide the good bits of the relationship he had wanted to erase. These scenes have a lot of the intangible quality of memories, but Michel Gondry characteristically uses a lot of old fashioned tricks (most of which involve putting actual stuff on an actual set and filming it) to preserve at the same time a sense of immediacy, and it’s that fuzzy-edged lucidity that best captures the essence of memory. Charlie Kaufman’s underrated Synecdoche is successful in the same terms, looking more explicitly at the accumulation of memory across a lifetime.

Both of these films are quite idiosyncratic, and you get the sense with both that you’re seeing pretty much into Kaufman’s mind, albeit via Gondry’s ingenuous direction in the case of Eternal Sunshine and Kaufman’s own Gondry-influenced style in Synecdoche . They feel uncompromised, auteured . This is key to their success, and yet they don’t entirely capture the quality of memory.

This for me is the answer to Ishiguro’s question. Memories are fundamentally personal. With a well written book, or well crafted piece of art, you’re mainlining another person’s subconscious. Films, even when directed by someone with a strong visual style, are the work of dozens or hundreds of people. Recreating such an intimate process as recollection is just much harder when filtered through a creative process that will always be collaborative in nature.

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I am here

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As I write this I’m sitting on the grass in front of the beautiful Tate Modern at Bankside Power Station. It’s warm and sunny with a nice southwesterly breeze. There’s a guy playing what I know as The Numa Numa Song on the accordion under the Millennium Footbridge. I’ve been working in Southwark for nearly 6 months and this is the first time I’ve been able to eat my lunch outside.

The blog has been quiet but I’ve been extremely busy. I’ve been writing fiction pretty much every day since Christmas. It has been one of those slow and painful periods, partly because of day job pressures encroaching on my brain space and partly because of other horrible real-world stuff that I won’t go into. Anyway, I’ve produced a couple of decent short stories that I’m happy with so it has been worth the slog.

I’ve finally managed to balance my reading and my writing, basically by not “reading”. Instead I’m making much more use of podcasts and audiobooks. I’m currently enjoying M John Harrison’s entire Viriconium collection, unabridged, and read amazingly by Simon Vance.

I didn’t make it to Eastercon for financial reasons, which was a shame, and also a guilty relief because these things still terrify me. But I’ve signed up for World Fantasy and joined the instalment scheme for Worldcon next year so I’m committed to those now.

Followers of my Twitter account will know I’m also committed to watching every episode of Buffy The Vampire Slayer, in order, after years of nagging from my other half that I would really like it and also a nagging sense that I couldn’t be a proper member of the geek community as I’d never seen a single episode. Well, I have now seen every episode bar the final four. Expect bloggage. If I’m honest, this epic endeavour has probably eaten more of my writing time than anything else, particularly after I heeded a friend’s advice to “alternate with Angel from season 2, for the crossovers”.

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Winter in Southwark

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Being Scottish

I’ve always had a bit of a fraught relationship with my Scottishness. I was born in Scotland, spent half my life there. But as a Glaswegian of Irish descent there would always be other Scots on hand to remind me that, to them, I was irredeemably Irish. On my way to school I was spat on because of the colour of my blazer. Most Glasgow catholics can tell you similar stories. For years I didn’t understand why people would ‘meow’ at me in the street. It was only years later that my mum told me the old playground rhyme that used to follow her around: “Catholic cats eat the rats.” The joke being that the poor Irish immigrants could only sustain their huge families by feeding on household vermin.

I am Scottish, though. I do feel Scottish. I’m just not sure what that means. I don’t think I share the prevailing view among the Scots of their own identity. I hate when we play up to the stereotypes: that we’re boozy, loudmouthed, good in a fight. I hate the fact that so many of us define our national identity in terms of our relationship with the English. We can be so parochial, so bitter.

On the other hand, we can be brilliant. We’re a nation of intellectuals, of dreamers, of strivers. These are aspects of our national identity that I can associate with. What else? We like a laugh, but then who doesn’t? We’re generous of spirit. Doesn’t every nation claim to be that?

We love language. I don’t think we’re unique in this, but we may be unique in how we love it. There is something particular about the way we wield language. We have these big, open, long vowels, fierce consonants. We’re natural born poets. We have a rhythm, a meter that is our own. If you listen to the lowlanders, for instance, people say we swear a lot, but listen. We’re unique in how we do that too. It isn’t about anger, or aggression, or even emphasis. It’s all about the meter. It’s all about the sound.

It’s perhaps because of our shared love of language that so many of the words we share are so lovely. Words like skoosh and skite, drookit and mockit. They’re just fun words to say, and you can feel the meaning in your mouth.

Eibonvale Press have announced a call for submissions to Caledonia Dreamin, an anthology of strange fiction inspired by the Scots language.

I’ll be giving it a go. I’m not sure which word I’ll choose as my inspiration, or what I’ll write about, but it will give me a good opportunity to work through my issues with my Scottishness and hopefully let rip with my own love of language, in classic Scots style.

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