New Short Story Collection

 

I've always been fond of short fiction, both as a reader and as a writer, although I must admit that nowadays when I'm writing I tend to want the elbow room of a novel or at the very least a novella. Over the years I've had various stories published in all kinds of magazines, literary and popular. 

In the small hiatus between completing a draft of the current project, The Last Lancer, and thinking 'what next?' I decided to put a small collection of stories together, editing one or two of them. Here it is: a dozen short stories of all kinds from the reasonably literary to a couple of scary ghost stories that turned out to be very popular when first published. 

It's cheap although not always cheerful. But it might entertain you on a train journey or a flight, where you need something that you can pick up and put down as your journey dictates. 

The decision to edit or not to edit past work is an interesting one. On the whole, if something has already been published, it may be better not to change it. As I was working my way through these, I realised that the stories that had been published didn't need polishing. But there were a couple that hadn't found a home, and I took the opportunity to edit them, mainly because with the passage of time, I could see much more clearly what I had wanted to say. Could, in fact, see the wood for the trees. 

You'll find them here - A Bad Year for Trees - and I hope you enjoy them. 

Twenty Five Years of Work in One Small Box

 

One small box

In the above picture, you're looking at twenty five years of my radio drama, packed into one small box. I sorted them all out when I was decluttering my office recently and these were on their way to the excellent Nigel Deacon who runs a radio archive, as well as being an expert in apples and a fine musician too. My chief feeling when I looked at them was one of exhaustion bordering on depression. So much work, and so little trace of it left.

This isn't strictly true, of course. Some of them still exist in CD form, and some of them crop up on Radio 4 Extra from time to time - my dramatisation of Ben Hur for instance was repeated quite recently, and I enjoyed listening to it again. 

The cassettes are a mixture of original drama, dramatisations, mostly for the old Classic Serial slot, and one or two abridgments, but that wasn't really my thing. I had completely forgotten about some of them, which is hardly surprising, since I started writing for radio when I was in my very early 20s. 

Drama made in Scotland

My first two plays were The Hare and the Fox and A Bit of the Wilderness: two slightly weird half hour plays, made with the late Gordon Emslie, who died much too young. They were broadcast only in Scotland. Those were the days when Scotland actually had its own radio drama budget and could make decisions about what it produced, without - as now - filtering everything through a London editor. Revolutionary idea, eh?

O Flower of Scotland won a UK-wide best original play of its year and Bonnie Blue Hen won a Scottish radio industries club award. I remember going to London to pick up my award for Flower and being hissed at by the young woman waiting to usher me onto the platform to 'be quick, we're running out of time'. Even then, radio was the poor relation. No acceptance speeches for me. 

Maydays, the Butterfly Bowl, Sardine Burial, Cloud Cuckoo Land, Bright as a Lamp, Simple as a Ring, Madame Butterfly, Tam o' Shanter  - there they all were, bringing so many happy memories with them, especially of the radio drama department in the welcoming warren of a building on Queen Street. It was originally in the old BBC building at Queen Margaret Drive in Glasgow, but most of my work was made in Edinburgh. In all the years I worked on productions there, I never could find my way around it without help - but I loved the place. And I certainly remember the ultra strong coffee and hot scones that kept us going during long hours in the studio.

There were original series: The Peggers and the Creelers, Running Before the Wind and The Curiosity Cabinet that later became a successful novel. (Usually it works the other way round, but not this time!) 

Looking back, I still think my titles were intriguing. 

There was a trio of Polish themed plays directed by Marilyn Imrie, with whom I worked for years - Gnats, Amber and Noon Ghosts, of which I liked Noon Ghosts best. This was the last performance of distinguished Scottish actor Callum Mill, with the equally wonderful Harry Stamper. The BBC wanted to repeat it but found that they had deleted it and nobody had a copy that was good enough to broadcast. 

Then came a series of big dramatisations: Kidnapped and Catriona. Ten hours of radio. Such luxury is practically unheard of nowadays. The Bride of Lammermoor, The Hunchback of Notre Dame, Treasure Island, the Mysteries of Udolpho and good old Ben Hur with a starry cast that included Samuel West, Jamie Glover and Michael Gambon. 

Sound effects and serials

When I started out, the tapestry of sound effects had to be done in the studio, simultaneously with the recording, rather than added after. Some technical wizard would run between record decks, fading sounds in and out - a lark in a clear sky, a bumble bee buzzing past. It involved an awesome amount of skill and a real commitment to the script. 

'Spot effects' were, and probably remain, good fun. Actors standing on chairs shaking bunches of keys sound remarkably like men on horseback, with the jingling of harness, but the swords in Kidnapped were real enough. They belonged to my husband, and still have the notches to prove it. 

There were Bradbury's Tales of the Bizarre that I dramatised with Brian Sibley - each of us allowed to choose favourite stories. A wholly enjoyable experience that one, with the brilliant Hamish Wilson producing - so brilliant in fact that the Beeb did its usual trick of suddenly making this international prizewinning producer redundant only a few years later. I doubt if he ever got over it. I certainly didn't.  

There were a few random post-Woman's Hour serials, for a slot that no longer exists, because - you know - current affairs. Hilary Spurling's brilliant and bizarre La Grande Therese was by far the best and most enjoyable of these, but my own original Voices from Vindolanda worked well too, and one of these days I may do something else with that material. The last serial I did was something called Feelings Under Siege by Bridie Canning, with an excellent producer who had wanted to work with me, but by then the BBC had decided to borrow the role of script editor from television and impose it on a system that was already working well. This one stuck an unwelcome oar into the relationship between producer/director and writer, and I think the result was unsatisfactory for all concerned. 

Swansong

After that, my last radio play was The Price of a Fish Supper. I suspect that was only because my stage play had received such glowing reviews, and went on to have another life as a successful touring production, that they couldn't quite bring themselves to turn it down.

After that, silence. My name became the kiss of death on any submission. For a while, I had young producers who wanted to work with me but I had to tell them that there was little point in it. Like Hamish, a few years earlier, my face just didn't fit any more. Once or twice, Marilyn Imrie, with whom I had had a long and productive working relationship and friendship until her death eighteen months ago, would suggest an idea with my name on it, but it would always fall at the first hurdle. 

Was I sad about it? Well, at first I was. My first intimation of trouble ahead was when a big commission was summarily cancelled just before the contract was due to be finalised. That had been money that I was counting on as a significant part of our household budget, so there was a certain amount of panic. But of course freelance work is always uncertain and until the cash is in your account, nothing is ever sure. 

Moving on

In the long run, it was very good for me, forcing me out of my comfort zone.  I wrote a few well reviewed stage plays but, more importantly, I turned to fiction, and found that I loved it. Some nine novels later, although radio paid a whole lot better, I would never now go back to it. Besides, it isn't what it was, perhaps because budgets hardly ever allow for the 'elbow room' of a big bold production like Ben Hur. Radio drama has been subject to a slow process of attrition with slots disappearing all over the place. It's wonderful to see new writers coming forward, but the BBC allowed experience, especially technical experience, to leach away, getting rid of the old before they had time to train the new in the nuts and bolts of how to make a good radio drama. 

I'll tell you what I do miss though. I miss the collaboration. I miss the good working relationship with an excellent producer/director. I miss the script readings with fine actors, and the technical expertise, and the sheer pleasure of that experience. I miss the way I used to write in the knowledge that I would go on to work with a group of talented people to create something that was faithful to my vision, but better - alive, engrossing, a thing apart. Novel writing is a solitary business by comparison. 

Oh, and I miss the tarry coffee and the hot scones as well. 

Bird of Passage - A New Cover for an Old Book

A couple of weeks ago, I sent a draft of my new book, The Last Lancer, to my publisher, Saraband. I can't say final draft because it isn't. And I can't say first draft either, because it's about the fifth draft so far. It's an in between draft. As good as I can make it for now, but there will probably be more work to be done. It's a piece of non-fiction about the Polish side of my family, more specifically about my grandfather, a man I never knew but always missed. 

But more of that in due course. 

When you've spent two years and more focusing almost exclusively on one project, everything seems very empty. I have a new project in mind but I'm not quite ready to start it yet. My wee office had Quentin Crisp levels of dust and monumental levels of clutter. It took me four days to sort it out and it's a small room. It's still cluttered, but it's clean, and everything is where it should be. 

Then I went back to the various projects I'd neglected while I focused on the new book. 

When I shared a stall with my artist husband at a pre-Christmas fair, I noticed that my novel Bird of Passage attracted far less attention than any of my other books, traditional or independently published. People DO judge a book by its cover. Now I've remedied that, with the help of my husband, Alan Lees, who provided the cover art, and Lumphanan Press, who made a great job of the original formatting, and then redesigned the cover for me. It already looks a lot more attractive. And much more suitable for a novel set mostly on a small Scottish island. 

One or two friends have commented how much they love this novel, and I've thought 'me too'.  But until I took the decision to publish it myself, it had always been my orphan child, the book that nobody in the industry wanted. Unlike the Amber Heart, that kept being turned down with fulsome praise, because 'nobody is interested in Poland', which seemed in theory at least to be a credible marketing decision back in the 1980s, no agent or publisher would even read Bird of Passage, in spite of its Scottish setting and Irish background, and in spite of the fact that it tackles some harrowing issues that are still very much current. In short, it was turned down unseen.

In this case, I suspect the kiss of death was the Wuthering Heights connection. No matter how much I was at pains to say that this wasn't a rewriting of the incomparable original, (how would I dare?) but was a kind of homage to it, nobody in my industry believed me enough to read it and see for themselves. 

Wuthering Heights was my late mother’s favourite novel. I was a Yorkshire lass, although one with a rich Polish and (like Emily) a rich Irish heritage as well. We lived in Leeds until I was twelve years old. You can read more about my family background in a book called A Proper Person to be Detained (Saraband 2019), part personal memoir, part family history. I was named for the heroine of Wuthering Heights, a doubtful compliment some might say, and I was trundled over the moors in my push-chair to Top Withens, the setting for the Heights in the novel, if not for the house itself. As soon as I was old enough to read and begin to understand the novel, I fell in love with it, although I soon realised that it was a powerful and absorbing evocation of a cruelly obsessive love, with very little of romance about it. Since then, I have reread it almost every year, and have found more to marvel at with every reading.

 

Top Withens

Cue forward some years, and after a spell of writing for the stage, I began to focus almost wholly on fiction, with occasional ventures into non-fiction. Most of my work since then has been beautifully published by Saraband. But I still kept going back to Bird of Passage. Most writers have ‘bottom drawer’ novels: the books that you write before you are  published. I have several, and most of them should never see the light of day. Bird of Passage always felt different. Felt like irritatingly unfinished business. 

Back then, I had an agent, but I had other work waiting for submission, and Bird of Passage languished on the far recesses of my PC. Nobody wanted to know. Nobody had the time to read it. Nobody cared except me. 

 All the same, I couldn't get Finn and Kirsty out of my mind so when, some years ago, I took the decision to combine self publishing with traditional publishing, this was one of three novels that I felt deserved another life beyond the confines of my computer and my own imagination. It has done well as an eBook, but the new paperback copies arrived yesterday. The cover is exactly what I wanted, and seems to reflect the story as accurately as possible. It's a grown up story set in Scotland, exploring the kind of mutual passion that is attractive in theory but ultimately destructive. It's a novel about the nature of obsessive love and the terrible damage of childhood trauma, all set within a landscape that is almost a character in itself. 

If this sounds like your kind of novel, give it a try. 

Plotters and Pantsers - which one are you?

 

A friend inspired this post and I'm grateful to her. She observed that she had been taken by surprise by the ending of one of my novels called Ice Dancing and my immediate thought was 'so was I!' I honestly had no idea how it was going to end until I started writing the last couple of chapters, and suddenly saw what should have been staring me in the face at the same time as the narrator herself discovered it. The odd thing was that it didn't involve any manipulation of the story. When I looked back, the clues were all there. I didn't have to plant them at all. 

Which in turn led me to think about a couple of other novels where the ending had taken me by surprise. Without any spoilers, in Bird of Passage, I discovered the trauma that the 'hero' (if he can be called that) Finn was trying to remember at about the same time that he realised it himself. Until that moment, I knew there was something, but didn't know what it was. I literally woke up in the middle of the night saying 'So that was what happened!'

Similarly, in The Physic Garden, I knew that the ending involved a shocking betrayal - because that's how it begins. With the narrator mentioning it, without explaining it. Again, I realised the nature of that betrayal and its consequence only when I got to that part of the story. 

I am what I believe is known as a 'pantser' in creative writing circles. I write by the seat of my pants. Although that isn't how I'd ever describe it myself. I write to find out. I always know the beginning, and I sometimes have a very vague idea of the ending, sometimes as little as the last few lines - but I never know how to get there. And if I did, I would get so bored that I would never finish writing the book.  

Outlines were always anathema to me, because I could write them (with difficulty) while knowing full well that the finished book would be nothing like the outline. How could it be when I just didn't know? Plotters do seem to know. They plan everything out, including detailed character sketches. I never do that either, because I've only just met these people. It doesn't feel precarious. It feels uncannily as though the story is already there, waiting to be uncovered. 

All the same, for many writers, plotting works extremely well. I don't write crime fiction or the kind of thrillers that depend upon intricate plots that must fit together but I suspect they do need to be pretty well plotted in advance. Otherwise you might find yourself desperately trying to tie up too many loose ends in the last chapter. Or in the last episode, as happened with a recent, deeply annoying TV series. But it would be interesting to hear from crime writer friends if this is indeed the case, or if there's a sort of half way house where you have a broad outline that you flesh out as you're writing. 

There is, of course, no right or wrong way - only the way that works well for you. The trick, as with so much writing, is to find out what suits you best. And the only way to do that is to carry on writing. 

 

There Was a Lad and all that

Happy birthday to Robert Burns who was born on this day, here in Ayrshire in 1759. I knew little about him when we moved up here in the early sixties, but I quickly became a fan. Over the years, I've written a radio play and then a stage play about him. But my biggest project was The Jewel, a novel about the poet's wife, Jean Armour, and a companion anthology called For Jean, Poems, Songs and Letters by Robert Burns for his wife. He called her The Jewel of them all, and so she was. But although the novel is a third person story (he said, she said)  it is nevertheless very much told from Jean's point of view, So of course, I too began to see the poet from his wife's point of view. 

And was equally charmed by him. 

Whenever I've done book events or talks about the novel, somebody in the audience - usually a woman - has asked me what I thought about him, and I've always had to confess that I reckon in Jean's shoes, I'd have fallen for him too. Hook, line and sinker. 

One of his most attractive qualities must have been his sense of humour. He made people laugh. He made women laugh. He genuinely seemed to like women, young, old and every age in between  - which for a man of his time was a fairly rare quality. If he had to fall in love to write a love poem - as he himself admitted - he also had many genuine friendships with women throughout his too short life. He had his faults, but my goodness he must have been attractive. 

Anyway - hope you've got your haggis and neeps and tatties for tonight. (I love Burns, but haggis, not so much!) - and perhaps a wee dram as well. 

Here's my very favourite version of Rab's song about himself, from the late, wonderful and much missed Andy M Stewart: Rantin Rovin Robin. 

There was a lad was born in Kyle,

But whatna day o' whatna style,

I doubt it's hardly worth the while

To be sae nice wi' Robin.

Chorus  - Robin was a rovin' boy,

Rantin', rovin', rantin', rovin',

Robin was a rovin' boy,

Rantin', rovin', Robin!

Our monarch's hindmost year but ane

Was five-and-twenty days begun

'Twas then a blast o' Janwar' win'

Blew hansel in on Robin.

Robin was etc

The gossip keekit in his loof,

Quo' scho, "Wha lives will see the proof,

This waly boy will be nae coof:

I think we'll ca' him Robin."

Robin was etc

"He'll hae misfortunes great an' sma',

But aye a heart aboon them a',

He'll be a credit till us a'-

We'll a' be proud o' Robin."

Robin was, etc

"But sure as three times three mak nine,

I see by ilka score and line,

This chap will dearly like our kin,

So leeze me on thee! Robin."

Robin was, etc

"Guid faith," quo', scho, "I doubt you gar

The bonie lasses lie aspar;

But twenty fauts ye may hae waur

So blessins on thee! Robin."

Robin was, etc

Guest Post: A Career in the Video Games Industry

I don't normally have guest posts on here. It's not that sort of blog. But I make an occasional exception - and what better exception than a post from my professional video game designer son? I'm hosting this post because I know that it's a dream job for many young people. The industry itself, worth some $180 billion worldwide, is developing and changing at speed, but for anyone looking for advice about getting into the industry, this is a good starting point.

A Career in the Video Games Industry

In the eyes of many, a career in game development is seen as the holy grail of working life. Video games are a fascinating and rapidly evolving entertainment medium, and by their very nature, are a special blend of technology and art, the likes of which is encountered in few other areas of creative work. As a result of this, I firmly believe there is something for everyone within the video game medium, extending from simply enjoying playing games to a variety of career opportunities within the industry, not all of which will be recognized by careers advisors.

The focus of this post will be one of the most sought after roles: the game designer. It is often a misunderstood role, and is notoriously ambiguous and challenging in terms of finding an entry point. In all honesty, a little luck is needed to enter the industry as a designer: being in the right place at the right time for the stars to align. However, for anyone genuinely interested, I'll go through some of the pragmatic things you can do at different stages of life and education to swing the odds in your favour.

The Game Design Role

One major caveat is that the design role will vary somewhat from company to company, but in general, you can think of designers as essentially architects for the games. Designers come up with the rules and create the experience a player will have when playing a game. This differs from programmers, who are actually coding the tangible product or ‘things players do’ (e.g. mechanics like shooting a gun), and artists who are creating the perceptible visuals (e.g. environments and characters) that players will see in the game. Game designers are working ‘between’ programming and art disciplines to craft the player’s enjoyment.

Design work typically involves documentation, spreadsheets, and special software tools, along with open communication between the various disciplines. This ability to communicate is important. There are different sub-specialities within the broad scope of design, and of course differences between how various companies approach the role. To name a few, there are narrative designers who create the story, system designers who work on various features such as combat, and my own speciality, which is economy design. This involves working on those aspects of the game concerned with the long term progression and engagement of a player. There is also level design, which is often seen as a separate branch of design. Level designers use special software to physically lay out game environments and create the actual minute-to-minute experience for the players.

Despite the various specialisations, members of a design team will work closely together, with overlap in the work, so it is important to keep an open mind, and enjoy a working environment where no two days are the same.

Stage 1: In High School

At this early stage, even if you see yourself as a game designer in the future, one of the most important things you can do is to keep your options open! I can’t stress this enough. You never know what you'll end up truly enjoying or being good at. Despite this, you will likely gravitate towards science or art, so if you’re technically minded, consider subjects like Maths, Physics and Computer Science. If you are more arty, then naturally you'll choose Art but try not to abandon the STEM subjects entirely, because a working knowledge of some of them will help. The key is versatility.

If choosing school subjects is proving challenging, the general guide of sticking to the core traditional academic subjects at this early stage will put you in a strong position for a future career in games: Maths, English, Physics, History, Computer Science, Business Management, etc. are all helpful.

As a young teenager, there can be occasional opportunities to take short (week long) placements at game companies. This is something to go for if you have the chance. Even if this is not an official part of school, don’t hesitate to approach game companies and politely enquire about any opportunities they may have. Some companies see this as part of their outreach programme, so you may be lucky. Always make your approach personal and courteous. Never send out group emails to different companies at the same time. The scattershot approach just irritates the recipients.

Outside of school, it will be helpful to try to make games in your spare time. This can be tricky, as making a full game requires many different skills (which is really the whole point of this post!), not to mention expensive high-powered software. However, there are many more options out there. Try downloading software such as GameMaker, and see what you can put together. Maybe you can also take the chance to team up with a few other like minded people to create something original.

Stage 2: Higher Education

Although you will hear of exceptions, 95% of the time you will need to be educated to degree level to enter the games industry (with the exception of QA, see below) and sometimes to postgraduate Masters level.

Choosing where to apply for your higher education will present an important but tricky choice. Nowadays, there are very good degree courses specifically for game design. In Scotland, Abertay University in Dundee is a top place for computer games degree courses but there are plenty of others, worldwide. These courses do put people on the correct path to join the games industry, and if you are dead set on a career in games, across any discipline, then you should seriously consider one of them. However, you should also bear in mind that if you suddenly decide half way through such a course that it’s not for you, then choosing an institution where it’s possible to switch or perhaps just tweak your course options might be no bad thing.

If doing a dedicated game related degree is not feasible, or you are potentially unsure about what role you want, then getting a good degree in a core academic discipline will serve you very well. Look at English, Maths, History, Physics, Computer Science, to name several solid choices. Many people do an initial core degree, work for a few years and then do a dedicated postgraduate video game Masters degree, once they have more certainty about what they want and need.

This is also the time when it would be valuable to try to get an internship in your chosen field, or a place at a company in the Quality Assurance (QA) testing department. Some of these roles are part time, so can be fitted around a degree. Some are full time jobs which will allow you to get valuable experience after graduation. It’s worth stressing here that QA is not ‘beta testing’ where individuals play an almost completed version of a game. It is an important and often tricky job within game development where you test games intensively, usually sections of games, finding and reporting bugs. It is generally, although not always, a junior job and you can sometimes get work with few or early stage qualifications. That said, it is a vital job, and good testing jobs at very well-known companies will naturally require some qualifications.

 
Stage 3: Entry Level Game Design Jobs

The catch-22 of requiring work experience to get work is common within the game design discipline, but there are ways around it. As mentioned above, QA is a very good place to start for many designers, even after becoming qualified to degree level. Many companies actively promote good QA testers into the design team. This is because QA testing will allow you to experience the complex realities of working on a game and that practical experience is invaluable.

Other junior design roles are available, but you will need to be persistent and enthusiastic about the industry you hope to enter. It should go without saying that if you are applying for a position, you should be very familiar with the company and the product. With little or no experience, you really will need to be able to demonstrate your design ability through some sort of tangible artefact such as a working game prototype. This is something that doing a game related degree will help you with, as you will certainly graduate with a portfolio of prototype game projects and some knowledge of working in teams. On the other hand, you will be investing years of time and money into studying, so don’t let it completely define your decisions.

Some Final Words

In conclusion, a career in Game Design is a worthwhile, lifelong endeavour, so don’t be discouraged. For me, personally, studying mathematics at university level was by far the best option as a game economy designer although I also went on to study game development at Masters level. I knew roughly what I wanted to do, back then, but very little of the well-meaning advice I received as a teen reflected the rapidly evolving situation in the industry. It is certain that similar changes will happen for us all in the future. The best advice I can give is to love and play games, keep up with developments, study as broadly as you can, but prepare to be flexible, adjusting your goals as you learn more about what suits you as an individual within this extraordinary industry.

Good luck!

Charles Lees-Czerkawski

To Beta or not to Beta: That is the Question!

 

I've been working on a big research and writing project throughout Covid - a piece of narrative non-fiction that seems like a companion book to A Proper Person to be Detained. 

The Last Lancer is about the Polish side of my family, especially the grandfather I never knew - his background, his milieu and what became of him. It's a good story but it was probably the most difficult thing I have ever had to research and write. I now have a draft that I can send to my publisher. It will need more work, but I'm at the stage where I've done a lot of revision, but I don't know whether it's good or bad or indifferent. What I need now is time and distance and a fresh pair of eyes. 

Eyes I trust. 

When I was chatting about this on Facebook, somebody asked if I didn't use some kind of market research and let other people read it at this stage to judge the response. It's a fair question, because I know a number of writers who do just that and find it very useful. They call them Beta Readers, a select group of people who will give feedback on a reasonably early draft. 

The term originates with Beta Testers in the video games industry, although it's worth pointing out that Beta Testers aren't there to shape or question the essential idea and structure of the game, nor even its development. That is done by teams of professionals. They are there to discover annoying glitches in the almost ready project, and their parallel in the world of publishing is probably a copy editor - somebody who spots all your silly mistakes, the punctuation glitches, the names that change, the infelicities, the repeated words and so on. 

My gut response to that perfectly reasonable question was 'Noooo!' It surprised me that I had such a visceral reaction, but like many writers, I can hardly bear to talk in any detail about what I'm writing while I'm writing it, let alone allow anyone to read it. If I do that too soon, it so often melts away, like snow in sunshine, leaving a little puddle behind. I don't  even let my supportive husband read it at this stage. Not even when I've written it and done some revisions and have a decent early draft.  

All the same, you reach a point where you are too close to the wood to see the trees. At that stage you need to hand the manuscript over to some trusted individual, an editor, a publisher, an agent if you have one. 

I have many friends who are great readers, but I wouldn't want any of them to read an early draft of a book. 

Beta Readers may work well and if they work for you, that's fine. Every writer is different. But they're not for me. Partly it may be that I've taught creative writing to mixed groups who critiqued each other. Often, with the best will in the world, and often without knowing they're doing it, people will critique a piece of work according to the way they would have written it themselves, and that isn't always what's needed. Sometimes, too, a reader and a book are just not a good fit. Nothing wrong with the reader but nothing wrong with the book either. 

The other difficulty is that at this stage, too many different opinions may be problematic. One or two trusted professionals - that's fine. But even then, I've experienced two different agents reading the same novel and recommending that I remove a third of it. One was certain it should be the first third and one the last third. (I did neither although there were significant edits!) On another occasion, a young intern at an agency read a book called The Physic Garden, later beautifully published by Saraband, and said that it was 'just an old man telling his story'! I don't blame her. It simply wasn't for her. And it is a bit of a Marmite of a book. When people love it they really love it, but a few readers dislike the narrator (the old man telling his story) and tell me so. That's fine. He's crabbit. I'm very fond of him. 

Then there was an early experience of a play developed over several weeks of rehearsal, about which - after a very successful production  - the director pointed out that I had been 'far too accommodating' with editorial suggestions. I should have fought more, he said and I think he was right. 

I wouldn't use Beta Readers myself, although I would use an experienced editor, one who would ask all the right questions. But I'm old and wise enough (I hope) to  know what works for me. 

Essentially, whatever works for you is good, but remember that not everyone will like your book or your characters. That doesn't necessarily mean that there's anything wrong with them. 

Finally there is one bit of advice that may be useful. Beware of anyone attempting to rewrite for you. The best editors or directors or producers - in fact anyone who comments on your work - will never attempt to do this, although they may point out sentences or even paragraphs that are unclear or don't work effectively. What they will do is query and question you intensively, these days using Track Changes software, so that you can have an online conversation about the manuscript. The best editors will look at structural problems if there are any. Then they will hone in on those parts of the book or play that you have been most uncertain about - and there will be many uncertainties, if you're honest with yourself. He or she will ask the right difficult questions and in finding the answers to these questions, you'll make the piece of work better.  

This is a difficult, professional job. Choose your help wisely. 

Money Matters

Where's that pot of gold?

This is the time of year when we think about money. This year we're thinking about it more than most, with our energy bills about to rise, the prices in the shops already going up, and our annual paperwork revealing just how little we have earned, yet again, for large amounts of work. The accountant and I have just had our annual 'this time next year we'll be millionaires' conversation and even he has noticed that it's all wearing a bit thin.

We're told that Arts and Culture contribute £8.5 billion to the UK economy. So how come all the writers and artists I know, and we're talking full time or almost full time, long term professionals here, not hobbyists, make so very little cash? Every year in every way, we seem to do more work for less money. 

Where is it all going? 

And what, if anything, can we do about it? 

I don't have any easy answers to these questions, by the way. I'm just throwing them out there as points for discussion, because until we debate this, things can only get worse. 

Is it because people believe that anyone can put words on a screen or on a piece of paper? Maybe they're right. Maybe there is so much free stuff out there that people don't see why they should have to pay for it. Do artists have the same problem? Probably. 

I'm always a bit phased by writers who boycott Amazon, but are OK with people buying a single second hand copy of a book and then passing it around several friends. Do people ever stop to think about where the money to pay the writer -  or, indeed, the publisher - comes from in that situation?

I dimly remember a time when I made a decent living out of my writing. My husband was working as a woodcarver and I was writing mostly radio drama, with a little bit of television and theatre. TV was the pot of gold at the end of the rainbow but I never did enough of it to get rich. But radio paid reasonably well, and with one or two good drama commissions each year, as well as a bit of tutoring here and there, the odd story or feature article, a review or two for a newspaper, we were OK. 

Remember reviews? Newspapers with decent circulations used to pay professionals for reviews and freelance articles. Alan, meanwhile, was making new hand carved rocking horses  and restoring old ones. as well as working on some spectacular outdoor carvings. Again, we made no fortunes, but we could pay our bills and have the occasional treat. We made a living.

Now, many of the 'extras' that used to provide a decent portfolio of work have evaporated. Instead 'creatives' need to spend more and more time and money on promotion, time that we used to spend on the actual creative work. 

Once again, this is not so much a complaint as something that should be up for discussion. There are no easy answers. But I know very few full time creative people who make anything like a living from their work. People often come late to a creative career when they have a reasonable pension from a completely different job. They don't have to make money. The rest of us muddle along as best we can. Not very well at all. 

Writing Advice: Getting the Details Right

This isn't really a 'how to write' blog. But I've been writing in so many different media for so many years now, that occasionally things occur to me that may be useful for people who are just starting out on the long road to publication or production. I used to teach Creative Writing for various organisations, so I have a good idea of what works and what doesn't. For the New Year I've dug out my big folder of 'how to' notes and I'll be including an occasional post with what I hope may be useful advice. Some of it should be self evident - but isn't always. 

I've been reading a contemporary thriller. I won't name it, even though it's a very good read. It fairly gallops along with plenty of surprises along the way, although less than half way through, I've guessed at least part of the ending. That, though, is more my problem than the writer's. The more you write yourself, the more you tend to be able to guess what's going to happen next. 

No. The niggling irritation involved a garden. 

The story is set in spring (I think) a warm late spring, in the South of England. The house has a big garden. Early on, we're told that it is full of wild garlic and lavender. Now, although wild garlic flowers and scents the air with its wonderful pungency through the spring of the year, it tends to be found more in ancient woodlands, bluebell woods in particular, flowering from April to June after which it is masked by other growth. By May, the scent of bluebells usually takes over. Lavender stays green throughout the year in mild climates, so that's fine. Although it wouldn't be all mixed up with the garlic. Later though, that same day, we're told that the garden is miraculously full of flowers including foxgloves, night-scented stock, hyacinth? As any gardener, even the most amateur among us, knows, your foxgloves and night scented stock are summer flowers. Hyacinths? Not so much. Not even bluebells if that's what's meant. 

We all get details wrong. But it is this kind of precise detail that can pull the reader right out of the story, challenging her willing suspension of disbelief. On reflection, it's indicative of a wider problem, because I'm still not 100% sure at exactly what time of year the story is set. Sometimes it feels like summer but other details mean it must be spring. In which case, yay for the wild garlic and hyacinths. Not so much for the foxgloves and night scented stock.  

It shouldn't matter at all. But it sort of does. It irritates, because this is a much lauded traditionally published novel and it's exactly the kind of thing that a good editor should immediately pick up on, writing 'flowers? time of year?' in Track Changes. Then perhaps even extrapolating from that a question about timescales, the when of the story. That's what good editors do. They pick up on the small things with wider implications. They ask the right questions and in finding the answers, you, the writer, make the piece of work better. 

So much of writing involves finding exactly the right word. That goes for things as simple as garden flowers, as well as complex emotions. If you're not a gardener, then Google is your friend. 

 

Lwow Pierogi for Christmas Eve

Every year, at this time, we spend at least half a day making the Lwow pierogi that my father loved. I can't believe that we used to make them on Christmas Eve itself, and then invite friends and neighbours in at 5 o'clock for mulled wine and pierogi. It was a fairly huge undertaking, and I don't know why we weren't more frazzled, especially when we went out to the midnight service in the local kirk afterwards. But perhaps we were just younger and more energetic. 

Now, even in a normal year, we make them in advance and freeze them. In yet another wretched Covid year, we're still making them and freezing them so that we and a few friends can eat them in stages. Not as difficult as last year though, when we sat in the garden in the freezing cold, wrapped up in coats and blankets, to drink wine with our next door neighbours, with whom we were in a 'bubble'. 

My mum and dad used to make these pierogi, and I've eaten them in Poland too. The traditional Polish Christmas Eve meal is meatless but consists of many courses, and generally includes carp. We always had pierogi. There are many variations on this recipe, and pierogi associated with different regions. But this is how to make Lwow Pierogi - with a few additions of our own. 

You begin by preparing the filling. It seems to be obligatory to make twice as much filling as you need, but that's OK, because you can bake or fry any leftovers as an accompaniment to other meals. 

We use any large all purpose potatoes - Maris Piper  - five or six depending on size. Peel and boil till tender. Meanwhile, finely chop 2 medium or 1 large onion and fry gently in a little oil till translucent, not brown. Grate about 200 grams of any good strong cheddar. NB, the genuine Polish cheese to use is Twarog, and Quark is a good substitute, but we like a stronger flavour. It would be worthwhile experimenting with Wensleydale or Lancashire, which have more of a curd texture, but are also quite sharp. Mash the potatoes while they're still hot, with the grated or crumbled cheese and stir in the onion. Set aside to cool while you make your dough. 

Sieve 500 grams of plain flour with a teaspoon of salt. Mix in two beaten eggs and enough cold water to make a soft but not sticky dough. It will be very elastic. Set aside to rest for half an hour or so. 

You'll need a cup of cold water, and a pastry brush. Divide the dough into two halves, and roll out on a very well floured board until thin, but not so thin that it disintegrates! Now for the fiddly bit. Use a fairly large biscuit or scone cutter to cut out your dough into circles. A cup or glass will work just as well. Holding the circle in your left hand, put a good teaspoonful of filling onto it, brush the edges with water, and fold into half circles, like a small pasty. Gently but firmly nip the two edges together all the way along the join. If you don't get this bit right, the filling will all boil out at the next stage. But luckily, the dough is very 'self adhesive' and should form a very good bond. It's a knack and once you've done a few, it becomes easier. Curve them slightly into an ear shape. Lay them out on a floured tray. Do NOT let them overlap, or they will form a horrible mass and you will have to start again. (The voice of experience!) 

You need a large pan of boiling salted water. Using a slotted spoon, carefully put the pierogi into the boiling water, five or six at a time, although a huge pot will take seven. Bring back to the boil, very gently keeping the pierogi moving so that they don't stick to the bottom, and once they are floating in boiling water, simmer each batch for five minutes, or a little longer depending on size. Take them out carefully with your slotted spoon, and lay them (still separately) on lightly greased oven trays. You'll find that you need to top up the water if you're making a large batch, and turn up the heat from time to time to keep it at a rolling boil. 

After that, there are options. These would traditionally be slightly dried out and kept warm in the oven on a very low setting, and then served as one of the courses on Christmas eve, liberally covered with melted butter. 

You can freeze them as soon as they have cooled -  freeze them on a tray before putting them into bags or packets once they are solid, otherwise they will stick together. Thaw them before you intend to use them. We fry lots of chopped smoked streaky bacon in a little oil, and then gently fry the pierogi until they are heated all the way through, the outsides are just becoming golden and the bacon is crisp. This wouldn't be done on a Polish Christmas eve - which must be meatless - but my dad was very fond of them cooked in this way and this is usually the way we make them. 

You can experiment with other fillings. Some regions use a combination of cabbage or meat and mushrooms. Lwow pierogi are made with traditional Polish curd cheeses.My dad used to make them in summer, filled with wild blueberries from the Galloway hills, served with powdered sugar and single cream. 

It is, let's face it, such a faff, that you're better to make a lot at the same time - the above recipe makes about forty. They keep well in the freezer. They are much easier to make if there are two or three cooks - one to do the fiddly bit with the dough and filling, and one to man the pan and kettle, so that you can keep the batches coming. We did it this year while Carousel was on the TV, so I put together forty  pierogi while weeping over poor Billy Bigelow. 

Good luck! And here's hoping for the return of proper Christmas Eve parties, as soon as possible We're heartily sick of restrictions. We're physical, social beings. Isolating is, for most of us, bad for our mental health. 

But Wesołych Świąt anyway!

If you want to read a bit more about a traditional Polish Christmas Eve, you'll find a country Christmas described in my novel The Amber Heart available as an eBook or paperback. And if you can wait until Christmas Eve, the eBook will be on a special deal for Christmas week.

 

New Shoots - The Winter Solstice

In the picture, you can see a couple of hyacinth bulbs in a pair of vintage bulb glasses that were a gift from a friend. I love them and use them every year. They're sitting on my office windowsill, alongside an oak block from some ancient shipwreck. It washed ashore at the south end of the Isle of Gigha, and lay there waiting for us to find it, one long gone summer. 

The other day, after a bitterly cold, misty spell of weather, the sun shone and I walked around the village, dropping off Christmas cards. It was quiet in the village with not so much as a dog barking, although one or two of them popped their heads up as I passed by. As I walked along the winding drive to the old manse of Gemilston, I was suddenly aware that the verges were already starred by bulbs, peeping through, little clumps of pale spikes, tiny teeth. I'm not sure whether they were snowdrops or crocuses - snowdrops possibly, because they come first. Before the end of January and well into February, they will be in bloom here in the west.

I don't much like winter, but if anything, I like autumn even less. I can admire the colours, enjoy the apple harvest, the brambles, the sloes. All that. But nothing lifts my heart like the first signs of spring. I'm a springtime person, and for me, spring comes early. As soon as the Christmas decorations are put away for another year, I like to bring springtime into the house, in the shape of snowdrops, catkins and early indoor hyacinths. 

Today, at 15.49, the time of the winter solstice, we were waiting with our bottle of fizz (Cava today!) and a couple of Victorian champagne glasses, and we raised a glass to the turning year and the return of the sun. It would not be an exaggeration to say that I find the way the light leaches out of the days in October and November profoundly depressing. (Especially at this miserable Covid time) - but almost as soon as the year turns I feel a small lifting of my spirits, a sensation that only grows as the weeks go by. 

I hope you do too. 

Another Outing for my Radio Dramatisation of Ben Hur

Back in the dear dead days when I was writing lots of radio drama, I dramatised Ben Hur in four episodes, for BBC R4. Now, you can hear it again on R4 Extra, and you can also catch up with it online, here. 

I've been listening to it again myself, because my only copies of it seem to be on cassette (although I still have the scripts filed away somewhere, I think.) To my surprise, it has stood the test of time. Not everything does, but I've occasionally listened again to my dramatisations of Kidnapped, Catriona and Treasure Island, and found that I've enjoyed them. A lot of it is down to the original material, the skills of the producer/director (with Kidnapped and Catriona it was my friend, the late Marilyn Imrie) the music, the editing and perhaps most of all to a brilliant cast. Radio, like all drama, is collaborative.

Ben Hur was directed by the late, much missed and exceptionally fine radio producer Glyn Dearman, with a cast to die for, including Jamie Glover as Ben Hur, Samuel West as a suitably villainous Messala, and Michael Gambon, no less, reading the relevant bible passages. The sound - the amazing sound and music - was by Wilfredo Acosta. 

The original novel, should you want to give it a try, is still available. I found it quite hard going. And when I was dramatising it, I found one or two significant plot holes that I had to fill in,  in the course of the drama. But it is undoubtedly a very good story indeed - as anyone who has watched the film will already know.

The most fun bit to write and record was definitely the chariot race. If you want to hear how it was done, though, you'll have listen yourself! 

End of Shift: Summer - another amazing picture by my artist husband!

 

End of Shift: Summer

I'm not sure what else I can say about this new piece of work, except that I think it's amazing. It's big, as well - 3ft by 3ft in acrylics on a stretched canvas. 

It is a companion picture to Alan's earlier painting: End of Shift,Winter. We sold the original of that one some time ago, but prints are still available. This new work is for sale in our Etsy store: the 200 Year Old House. You'll find more images of it there, as well as a few close-ups. The detail is extraordinary. 

For anyone who doesn't have deep pockets, you can still buy very reasonably priced giclee prints of the first End of Shift on Etsy, and prints of this new image will be coming soon.

Do browse through our shop as well - you'll find all kinds of interesting things! 

Days of Hatred

Yesterday the hideously xenophobic nature of England became all too clear. I don't often make political posts on here, but the deaths of 27 refugees in the English Channel elicited the kind of response on social media that made me, the daughter of a refugee myself, feel a deep despair for the country where I was born.

I can't see any way back for England now. I just can't. Scotland has a slim chance. That's about it. 

These were human beings like us, with hopes and fears. Every single person alive today in this (dis) United Kingdom is descended from an economic migrant. That means you. Even those of you proudly proclaiming your Anglo Saxon and Viking roots. Economic migrants all of you, searching for a better life. Without them, you wouldn't be here. 

These were refugees. They aim for the UK because their second language is English. We take fewer than any other European country. Many of them have relatives here. Many of them are young men, because few want to send elderly women and children across a continent in search of a new life. Some young families risk it. But who wouldn't, if they could, send their sons ahead, hoping for their safety and the possibility of a home and a future? 

What surprised me was that the very worst, the most racist, most disgustingly inhuman comments were on Facebook, rather than on Twitter, which generally tends to have something of the bearpit about it. Mostly they came from older men and women. A few were quite obviously bots. It's a fair bet that if you misspell country, but get all the long words right, you're not posting from the White Cliffs of Dover. But far too many weren't. Far too many were people who would otherwise consider themselves to be fine upstanding human beings. 

Dehumanizing others leads to catastrophe. 

Perhaps if the refugees dressed up as cats they'd meet with a bit more sympathy from the denizens of Facebook..  

My Other Half's Art 4: More Painting

One of the good things about having a husband who is an artist, is that you can sometimes use the images he paints as book covers. Village in Winter made a lovely cover picture for my novel Ice Dancing, which was as much about the joys and peculiarities of village life, as it was about the very grown up love story of the two main characters. 

Village in Winter

Village Gala Day

I think some of Alan's most engaging images are those that involve 'busy' scenes with lots of figures, pictures that tell a story without being just an illustration of something static. They're full of life, colour and movement and I love them. Certainly these are the ones that almost always find a buyer. Lots of people seem to like Outsider Art except the galleries who turn their exclusive noses up at it. 

I think my favourite of all, though, is the one called Ae Spring, in which Tam o' Shanter, is only just managing to escape from the clutches of Cutty Sark, showing her bum in her short shift, with Meg the Mare as well as Tam himself, looking around in horror. And the eyes under the bridge.And the small devil sitting in the tree. It's a wonderful picture and although the original has long been sold, we still have prints. 

Ae Spring

                                 

Bonspiel

 Do have a look at our Etsy Store, the 200 Year Old House, and at Alan's website. 

Meanwhile, remember this post from September?  Artwork Free to a Good Home? Well, time is marching on. It takes up so much space. And he means it. If somebody doesn't come along and take it away very soon, he really will chop it up and put it in the chimenea. But if you do want it, you're going to have to come and pick it up. Preferably for a church or some other religious foundation. 

My Other Half's Art 3: More Woodcarving

 Here's some more of Alan's woodcarving. Including the Gorilla that had to travel to Kelburn Country Park by yacht. 

Some of these pieces, including the chess set, are for sale, and again, you'll find them in our Etsy store. Some of them, like the gorilla, are long gone to very good homes!

Here are a few more images of the spectacular Hapsburg/Ottoman chess set.

The reverse of the board

And some of the work that went into it!

And the Last Supper - a beautiful lockdown project

Finally, a sciapod. This was a commission for a very special anniversary, and it a copy of a Mediaeval 'bench end' from an old church. Who doesn't love a creature whose foot is so big that he can use it as an umbrella or a sunshade? 

If you want to read and see more of Alan's work, go to his website: Alan Lees Artist

My Other Half's Art 2: The Celtic Guitar

Today's artwork is an entirely hand carved celtic design electric guitar. It really is extraordinarily beautiful. You can see more of it here.

It is not strung and never has been, although stringing - and therefore playing - would be possible. But it is also a collectible, and very unusual, sculpture in wood.

It measures 105cm long by 31 cm at its widest.
It was made in the 1980s when Alan Lees was working as one of Scotland's foremost wood carvers. Examples of his work can be seen throughout Scotland, many in outdoor settings, but he also produced fine indoor pieces such as this one. As he himself says, he cannot now remember what wood this is made from, but it is an exotic hardwood that was recommended for its resonance by musician colleagues. It was also a very beautiful wood for carving.

If you would like to read and see more about Alan's work, you can go to his website 

Alan Lees Artist 

My Other Half's Art: End of Shift

 I'm going to spend a bit of time this week showcasing some of my artist husband's beautiful work. Alan Lees is, if we want to categorise, an 'outsider artist' although sometimes he's labelled a 'folk artist'. He has had more than one snobby comment over the years, but lots of admiration too. Some of his work, including some of his extraordinary woodcarving, is available for sale in our Etsy Store, the 200 Year Old House

I won't waste too much time talking about this, or attempting the usual analysis of his intentions, but will just show you some pictures so that you can make up your own minds. He's currently working on a new, enormous and wonderful canvas, which is pretty much a companion picture to this one, titled End of Shift, one of his most popular images. The original of this sold long ago, but good prints are still available. 

End of Shift

And here's a detail:

I can't show you the new one yet, since he's downstairs working on it, even as I type this!  If you want to see more of his work, go to his website Alan Lees Artist. 

The End. Well, no, not quite.

At Dziedzilow

 Yesterday, after a few months of intensive work, I typed The End. Cause for celebration, but it isn't really the end. Maybe it's the end of the beginning. I'm writing a book called The Last Lancer about my grandfather, his milieu, his family and what became of them. It's a real family saga, a labour of love and it has been extraordinarily difficult and painful to write. 

The research has taken years. I did some of it decades ago, stopped, started again, stopped again. Then, during lockdown I organised my previous research: documents, pictures, photocopies, books, emails, translations, letters. Found out where the gaps in my knowledge were. Did more research. Was helped along the way by a few wonderful Polish people whose generosity with their time and expertise is beyond price. 

Two factors were also important. All of the main protagonists in this story are dead. Some of it is so very personal that I doubt if I could have done full justice to it while, for example, my father was still alive. His voice is in the book because he wrote down so much for me before he died. I have wished time and again that he was still here, so that I could ask him about all kinds of things, but still, it would have been difficult to write about times that must have been painful for him, events he had tried hard to forget. 

About six months ago, I started writing the book in earnest. I've finished the first draft. Now, the long  revision process begins. 

I almost wrote 'real work' instead of 'revision process' there. But I've done the real slog. Revising is hard, intensive work, but I love it. Once I have the first draft on screen, everything becomes a lot less difficult for me. Now, I can 'see' the whole thing, I know where where the problems are and where I'm going. I write to find out and that's why the first draft is so often like pulling teeth, especially in a piece of complicated reflective historical non fiction like this, and perhaps especially so when the historical aspects are very personal. 

I thought writing my previous book of this kind, A Proper Person to be Detained, was difficult, and it was. But The Last Lancer is a whole other order of difficulty. And real, heartrending sadness.