Showing posts with label humour. Show all posts
Showing posts with label humour. Show all posts

Saturday, 16 April 2011

The London Book Fair and a bribe

Yes, it's that cover again - but bear with me, it's relevant.

I’ve always been partial to a little bribery and corruption as long as I’m on the receiving end of the profits, so for a change this will be a mercifully short blog which ends with an offer you may find it hard to refuse.

First, though, some abbreviated thoughts on the London Book Fair, around which I wandered aimlessly for two of its three days last week. We all know how many hundreds of thousands of books are being produced each year but, sitting in our studies or kitchens or attics or yachts or sheds or wherever as we scribble our masterpieces, we still manage to generate the notion that readers will snap up our babies the minute we let them out. But when you see row upon row of stalls, with crowds milling round them all, smartly dressed people sitting at tables with impressive document holders before them deep in earnest discussions with other movers and shakers, huge adverts for books by people you’ve already heard of and who hardly need the PR, you start to think that the wee label you’ve pinned to yourself which identifies you as an AUTHOR is the equivalent of wearing a yellow sack, ringing a bell and shouting ‘Unclean! Unclean!’ as you move through it all.

At the same time, it gives a sort of smug satisfaction that all these people are only here and only earning a living because writers write books. When it’s laid before you in this way, with translators, little independent publishers, foreign rights, niche markets, huge publishing empires and God knows what else, it’s a pulsating proof that the industry is enormous and dynamic. So vast, in fact, that you get this ambivalent feeling that your ambitions are presumptuous and yet there must be a wee corner in it somewhere for you.

But it doesn’t feel like the place that you can go up to someone on one of the stalls and say ‘Hey, I’ve written this great book. Want to read it?’ The response would range from a puzzled, concerned look to an old Anglo-Saxon invitation to go away. My impression, in fact, was that this wasn’t about books, but about deals. And that’s fine because that’s how it works. We just have to make sure one or more of our books is/are part of those deals.

Anyway, those are the impressions I came away with. Now to the bribery. I’ve already told you that The Sparrow Conundrum is supposed to be funny and I’ve encouraged you to contribute to the funds which will buy my tax haven property by buying it. But for five lucky people who haven’t, I have a little deal. On Smashwords, the ebook version sells for a ridiculously low $2.99 (about £1.80). It already has 2 5-star reviews on Amazon UK and is obviously the best and funniest book that’s been written in this room for well over a week. So … all you have to do is leave a comment on this blog. It doesn’t have to be long – just something to show you’ve been here. If more than five comments appear (dream on, Bill), I’ll put the names in a hat and choose five, each of whom will get a coupon code to buy the book at half-price. That’s $1,50 (90p) for a masterpiece. You’ve got until the end of the month. Good luck.


Thursday, 31 March 2011

Bagpipes and Bullshot and Janice Horton

The Darkness appeared at about the same time as a romance novel by Janice Horton called Beneath Apricot Skies. They’re both set in Scotland but there the parallels end. My book was pretty scary, with some nasty goings-on, a murder, some disappearances and (I hope) a challenging attitude to morality. Janice’s, on the other hand was full of warmth, romance, humour, and beautiful places with, at its centre a love between a Scottish laird whose funds were running pretty low and an American cowgirl. But, because we have several mutual friends who bought both the books, Amazon obviously thought they belonged together and, for a while, said that people who bought Janice’s also bought mine, and vice versa. There’s no reason why readers shouldn’t enjoy both books but some unsuspecting people who’d just been drawn into Janice’s lovely, upbeat tale might get a nasty shock if they thought mine would offer the same sort of pleasure.

Anyway, Janice, who obviously shares none of my laziness, has now reworked the original story, getting more quickly into the meat of it and giving even more scope to the humour, a fact that the new title confirms – now available for Kindle, the book’s now called Bagpipes & Bullshot. And her visit to my blog is part of her enterprising blog tour.

B): So welcome Janice, and first of all, I note you’ve been asking people NOT to buy it. That doesn’t sound like a good marketing strategy.

J): I hope it is, Bill. You see, I’ve asked everyone who might consider buying it to wait until Friday 1st April. The date is important because it’s very difficult to get a new e-book noticed by potential readers unless it features on one or more of Amazon’s Top 100 charts, but because of the way Amazon calculates its sales, just a few sales on one particular day – Friday 1st April – can make all the difference in pushing it through the charts.

B): Very clever. You seem to have given this plenty of thought. Before we move on to the actual experience of publishing with Amazon Kindle, though, tell us a bit about the book.

J): Well, it’s a humorous contemporary novel which twists an everyday love story with a whole cast of village eccentrics into an entertaining play on Scottish rural life. The story begins with boy meets girl in Texas but soon unfolds into a tale of love and conflict set in Scotland. I’ll leave it for the reader to tell me if it’s a love story with elements of humour or a humorous novel with elements of love story.

B): What made you decide to go indie and self-publish on Kindle?

J): Two reasons: the first was that having been previously published in paperback by both traditional and self publishing methods, I couldn’t resist the challenge of having a go at e-publishing, especially on Kindle, because distribution and marketing on Amazon are all well established. The second reason was that I unexpectedly fell in love with the Kindle my husband bought me for Christmas and wanted to have my books available for it.

B): You know I’m a complete techno-idiot, so how did you find the process of uploading to Kindle in terms of technical problems?

J): I read the Amazon guide to formatting and uploading and also watched some helpful You Tube videos to give me an idea of what I was letting myself in for. I also opted for the simple route. You can get involved with writing your own HTML if you like, I didn’t. Preparation is key, so do make sure you edit your manuscript with formatting ‘activated’ which will help you check that tab stops and page breaks are correctly placed. If they’re not, then transferring your file will move your paragraphs all over the place. You do get a chance to preview before you actually publish but that should just be for final checking. I had the manuscript on Word, saved it as a HTML filtered file, and uploaded it to Mobipocket Creator (downloaded free from the internet). This created a stable file recognised by Amazon Kindle.

B): You make it sound easy. Next question, though, now that it’s available to download, how are you going to get it noticed amongst the thousands of other books already available on Kindle?

J): OK, this is the plan. I want you to ask your lovely blog readers to support me by either buying the book on Friday 1st April 2011 (it is £1.38 / $2.24) or by telling other people about it through their own social network. I would be very grateful for all sales, support, and help to spread the word. I’ll be blogging and tweeting all day on Friday 1st April. You can find out where I'll be on my Blog Tour throughout the whole day by checking on my own blog here. I’ll also be running a prize draw there (Friday 1st April only) to win Kindle beach protectors (an essential and stylish accessory for every Kindler). All you have to do to be in with a chance to win is go to my blog and leave a comment.

B): Hmmm, my ‘lovely blog readers’ – I’ll let that one pass. But how about people who don’t have a Kindle? Can they download it for their PC, Mac, IPhone, IPad, whatever?

J): Yes, absolutely. Go to Amazon and download their free App for PC, Mac, IPhone or IPad.

B): You seem to have covered all the bases. Anything else?

J): Well, just the obvious one really – buy the book. I’ll be forever grateful.

B): OK people, you heard Janice. But DON’T buy it, at least not until April 1st. I for one will be very interested to hear how the strategy pans out. Thanks for the visit, Janice, and lots of luck with Bagpipes & Bullshot – I’m looking forward to seeing for myself the changes you’ve made to Beneath Apricot Skies.

J): Thanks for the invitation, Bill. It’s been a great pleasure.


A bit more information about Janice for those who don’t yet know her work. She lives in Scotland and writes entertaining and humorous contemporary women's fiction novels which are, for the most part, inspired by the romantic beauty of the heather-filled glens around her country cottage. When she’s not writing novels she writes lifestyle articles and has had work published in national magazines and regional newspapers. She’s also been involved in BBC Scotland's Write Here Write Now project. Her next novel Reaching For The Stars will be available soon on Kindle. Her website is here, and her blog here and you can follow her on Twitter at @JaniceHorton.

Thursday, 17 March 2011

A quite long, FREE glance at the Sparrow


For those of you who don't read the comments bits, just to tell you that you can download the prologue and first three chapters of The Sparrow Conundrum free in the e-format you prefer here.

Wednesday, 16 March 2011

Where did the Sparrow come from?

No, this isn't another 'What does the dog mean?' posting, so settle down while I tell you a true story. The picture you see is the cover of my new novel. In fact, it was the first novel I ever wrote, many years ago. As I mentioned in a recent posting – Softly, Softly – I tell writing groups or workshops that you don’t ‘write a novel’, you write some words, then some more words, then some more – and eventually there’s a substantial pile of paper on the desk and you realise you actually have written something that’s a lot longer than a short story. That’s making it sound easy and unstructured – it’s not, and I have great respect for the form and conventions of novel-writing, but that was my experience with this first book. I invented the characters, had a great time with them and actually looked forward to getting back to the writing to see what happened next.

I’d written lots of stage and radio plays which were produced and broadcast and a few short stories, but it never occurred to me that I should try a novel until I read about a competition and decided to enter. This was so long ago that blogs, Facebook and the rest didn’t exist and even PCs were scarce and definitely unaffordable. So I wrote it in longhand and typed it up. It didn’t win the competition but I sent it to an agent and he took me on.

In the end, he didn’t manage to sell it, but the important thing was that it had shown me I could sustain and control an extended narrative, so I started writing the next one, which was an early version of The Darkness and which led me to another agent and my first published novel, Material Evidence.

So now you’re yawning and asking ‘So what?’

Well, I’m suggesting that ideas, words, even apparently unwanted stories can be successfully recycled. The Darkness is another example. As I said, it was the second novel I wrote but, after many, many rewrites and changes of title, personnel, and themes, I think it’s become one of my best. So ‘recycling’ doesn’t just mean you keep sending it off to one agent and/or publisher after another, it means keep working on it, rewrite, edit, polish, improve. OK, some ideas don’t work and should be discarded, but give them a chance and only throw them out when it’s obvious they’re rubbish.

It reinforces, too, my conviction that writing and editing are separate processes. In your first draft, don’t be held back by the need to be ‘correct’ – either in terms of grammar, spelling or, for want of a better term, morality. Let the words flow, let the characters do what they want, don’t try to drag them back into any preconceived plotlines without first checking whether they’re actually leading you to somewhere more interesting. Then step away from them, forget about them for as long as possible and return to them as an editor, with your critical faculties sharpened.

The Sparrow Conundrum has been through even more changes than The Darkness. It started as a spoof spy story, moved to a spoof crime story, changed locations several times and titles even more – but its personnel and central story were there from the start. I’ve always had a soft spot for it because it’s (intended to be) a frankly comic (absurd, farcical) novel which I wrote purely to entertain. It’s the only book I posted on Authonomy in the brief period I spent on the site and there’s no doubt at all that it benefitted enormously from the reactions and constructive criticism of the other writers there.

So there, that’s its story. For the moment, it's available on Amazon.com but soon there'll be a print version, too, available in Europe as well as in the USA. So what I want you to do now is …

… first of all, become its friend or fan or whatever the correct designation is on Facebook. I’ve cleverly called its page The Sparrow Conundrum. Then, after you've written comments there saying how wonderful and funny it is, buy it, read it, tell all your friends and extended families and community groups and reading groups to buy it, order several copies for all the libraries within a twenty mile radius of your home and place of work and, in your spare time, try to get it put onto the reading list of every subject in your local schools, colleges and universities, nominate it for the Man Booker and Pulitzer prizes, nominate me for a Nobel prize, tell the Coen brothers they can have first option on the film rights and … well, that’s enough to start with.

Saturday, 12 March 2011

Jargon and other distortions

I’ve mentioned before that I’m halfway through writing another book in the Brilliant series – this one on Workplace Skills. A tiny part of it will deal with jargon, to which I’ve always been – shall we say, sensitive? So when I read the following paragraph in today’s Guardian, I thought a good cop-out blog would be to share some of the remarks and writings that I’ve copied down in a book I’ve kept for many years. The Guardian’s piece was from an organisation called the Local Better Regulation Office, which read:

'We are hosting a master class to take local authorities through the process of developing outcomes and impacts dashboards against their developed pathways. The session will focus on local authorities who have gone through the process of developing their logic model, and now require additional expertise on how to develop indicators to measure achievements against outcomes.'

We all love language, the things it can do, the magic it can unlock or create, and when it’s mangled, strangled and kicked to death by committees, evasive politicians and people who should know better, it hurts and infuriates. On the other hand, the way it sometimes transcends the atrocities inflicted on it to suggest dimensions unsuspected by the speaker is delightful.

It would be too easy to take examples from George W Bush, John Prescott, Dan Quayle (of far from fond memory) or all those other eminent public speakers who, rather than having a command of language, were in constant conflict with it.

Equally easy targets would be those ‘Instructions for use’ translated from another language, such as the one for a toy car, which warned ‘on occasion by using it as pushcart for the toddling baby about 12 months since born, the leg comes into contact with the car’s speed and accordingly the baby may be overturned’ or the cleaning fluid for glasses which suggested users should ‘apply less than one drop to both sides of the lens’.

But I prefer examples from people trying hard to make the words work for them. Like the engineering union official interviewed on the BBC who said ‘our members’ mood is one of very seriousness’. And these gems from a British football manager famous for his loquacity. Of his team’s disappointing position in the league, he said: ‘we cannot expunge the last 20 games. What we can say is as a result of the last 30 games, whatever the variables, excuses or praises one wishes to implicate, our position is as it is.’ He also wrote of another team which just managed to avoid relegation and which we’ll call Acme United: ‘Only a very, very few people were aware of the demeanour of Acme in 1986. Reminiscent of the eerie old haunted house that had been empty for years and was begging for life. No different to the dodo. How joyful for them not to have acrimoniated in the non-league. How delightful for them to be making a success of defeating extinction. Let us hope we are all able to be pulmonic!’ Another football manager – again British – whose team was winning 2-0 but ended up losing the match 3-2, remarked ‘As I see it, if you’re going to commit suicide, you don’t do it yourself.’

In fact, British sportspeople seem to have a gift for speaking English as if it’s a foreign language. One boxer claimed that ‘the British press hate a winner who is British. They don’t like any British man to have balls as big as a cow’s like I have.’ A Formula One driver said wisely that ‘the proof of the pudding is in the clock’. One reputedly intelligent footballer’s contribution to the sum of human knowledge was ‘Football’s football; if that weren’t the case it wouldn’t be the game it is.’ And yet another football manager, coaching a team in Spain, who wanted to stay there because of his garden, told his interviewer: ‘Look at that olive tree – 1000 years old. From before the time of Christ.’

It goes on and on and on – but in each case, it’s words that provide the delights – even in my final example – perhaps the silliest of all. The first names of a succession of managers of one English team in the Midlands were: Don, Johnny, Ronnie, Ron, Ronnie, Ron, Ronnie, Ron, Johnny, Ron and Ron.

Maybe it just shows how sad I am that I have a book full of stuff like that which I’ve bothered to copy.

Monday, 24 January 2011

Dragon Academy's blog tour


I'm not sure how blog tours work but I heard that Diane Nelson (who's a friend and a regular commenter here) was having one for her Dragon Academy so, in the spirit of mutual marketing assistance recommended by Linda but also because I've read and enjoyed the book, I've decided to make this blog one of Diane's tour stops. (I know, I don't understand how it all works either.) So all I'm doing is posting the review I gave the book on Amazon. It probably breaks all the blog tour rules but that's what rules are for (except when it comes to grammar and stuff - but that's another blog, and has nothing to do with Diane, whose writing is immaculate).

This is what I wrote.

We all know dragons don't exist, right? Well, once you've read this, you'll maybe reconsider. When the last pod of Greywing dragons is discovered, the scientists of the Bureau of Land Management who are studying them are concerned to find that they're suffering from parasitic worms and in danger of dying out completely.

Husband and wife team, Dietrich and AnnaLise, run a riding school in New Jersey. When Dietrich's sister-in-law, Berit, who's an Adjunct Professor in Large, Dangerous Animals with Anger Management Issues at UNLV, asks them to look after Michael and Nikita, two of the youngsters from the pod, they agree on condition that Berit's son, Nick, comes for the summer to help them.

Transporting the dragons from Nevada to New Jersey is an epic in itself, with the truckers BobbyRay and BillyBob unused to the habits and feeding needs of their cargo and the dragons' tendency to set fire to things. But when the dragons arrive and settle in, the author focuses on the developing relationships between all the people involved and the two dragons. At the centre are the two couples - Nick and Maxie, who's a pupil at the school, and Nikita and Michael. The fascination is that there's an interplay of jealousy between dragons and people. Nick and Nikita start building a relationship, which makes Michael angry, but Michael, in turn, displays a clear affection for Maxie. And so the story builds, with sub plots and adventures, culminating in a glorious set piece involving the military, the scientists, a massive forest fire and the search for Michael among the flames.

Summaries of this sort do no justice to the book's impact. There's humour, tenderness, anger, guilt, love and many more emotions in both people and dragons. Simultaneously, there's an attention to detail in the descriptions of riding horses and dragons which brings an intense realism to the whole reading experience. As they decide how best to saddle a dragon, the nature and textures of scales, wing membranes and shoulders are explicit. We learn how the valves in their nostrils are adapted to the flames of plasma they blow out. And, gradually, through it all, Nick also realises that he and Nikita are communicating through telepathy.

But the combination of the fantastical (dragons, telepathy) and the real (harnesses, anatomical details) makes the story believable. We care about what happens to dragons and people, we laugh and suffer with them. As the teenage anxieties of Nick, anxious to experience a `date' - i.e. a movie and pizza with Maxie - increase, so the dynamics of the relationship between Nikita and Michael develop also. The book ends with Nick being forced to make a difficult decision. It also leaves room for further adventures.

If you believe in dragons already, this book will delight you; if you don't, you might well after you've read it, and it'll delight you anyway.

By the way, it’s aimed at the YA audience, but I’m over half a century beyond that and I loved it.

Friday, 25 June 2010

Dinsdale the whale - part two


As the ‘part two’ suggests, this is a continuation of an experiment which started when I asked readers for ingredients for a blog. If you’re new here, it’ll make more sense if you start by looking at the blog before last, called A (probably very unwise) challenge. And, for ‘The story so far…’ check Dinsdale the whale – part one.

Dinsdale said she was different right from the start. He was contemplating a poem about horses so he’d been eating nothing but hay for a week and booked himself in for a penis extension. She’d heard him whinny as he waited for a bus and surprised him by identifying him as a piebald mustang which had probably been broken in by a member of the Sioux nation. Everyone else at the bus stop had told him to shut up and bugger off.

I only met her once myself. It was about two weeks after that at our local. When I went in I saw them at a table. She was rolling some leaves into a tight, purplish-green cylinder. The blade cut, sharp, snicking through, releasing an aroma of...
‘Bloody hell,’ said Dinsdale. ‘That smells like dog shit.’
She smiled and, in a low, breathy voice, said ‘No, my stallion. It has the aroma of pungent prairie, the fragrance of soft hidden yearnings’.
‘Ah, right,’ said Dinsdale.
He introduced us. Her name was Peggy Sioux.
‘Ah, Buddy Holly,’ I said.
‘No,’ she replied. ‘Bury my heart at Wounded Knee.’
But there was no aggression in her tone and pretty soon she was telling me, in that extraordinary voice, that Peggy Sioux was only her pretend name. Her parents had been well into their forties when she was born so they saw her as a gift from Manitou and named her Thing Called Love. It turned out to be an apt name because, when she was saving to come to the UK, she had to work and the only vacancies on the reservation were for croupiers or escorts. Escorts earned lots more and so the name Thing Called Love took on an extra resonance.

She’d lit the green cylinder and she and Dinsdale were passing it to one another, sucking in great lungfuls of the dung-flavoured smoke. They offered it to me but I could see the effect it was already having on them so I decided not to risk it. By the time we got back to his place they were well away. But, for Thing Called Love, it wasn’t enough. She went through to the kitchen and called back ‘Dinsdale darling, where did you put the microtome?’

‘By the Bran Flakes,’ he shouted and, almost at once, she reappeared with a lump of whitish meat, a cutting board, some assorted herbs and spices and a scalpel-like instrument. She put the meat, which I could now see was a brain, on the board and began slicing into it.

Dinsdale was clearly excited. Apparently, so he told me later, this was the ultimate high. Depending on what memories the brain’s previous owner had, eating it could take you into all sorts of unanticipated places. I watched as the microtome made a further pass through the brain tissue, barely a whisper as it took a paper-thin slice. She flicked it onto the cutting board and seasoned it with sea salt, freshly ground black pepper, a hint of garlic and a sprinkling of sage leaves. She then quadranted it, wrapped the seasoned side round a plump sea scallop, stood up, and beckoned us to follow her.

We went through to the kitchen where she turned on the gas. I heard Dinsdale suck in a quick breath.
‘Oh my God,’ he said. ‘Is this going to be …?’
He stopped. Thing Called Love smiled and nodded. I was lost. What was the question? Too many weird things were happening. My brain switched off. I felt foreign and longed for a return to simple phrases, things I could understand. Even some of Dinsdale’s crap poetry would do.

‘What’s happening?’ I said, pointing to the meat. ‘What is this, Thing Called Love?’
‘Sssshhhh,’ said Dinsdale. ‘She’s going to release the phlogiston.’

She stuck a fork into the parcel of meat and held it over the gas ring. The flames licked around it and danced over it, their colour changing as they consumed the fats and oils. Dinsdale, way out of it by now, was making the sort of noises teenage boys try to stifle as they leaf through old copies of Asian Babes in their bedrooms. Thing Called Love was in a sort of trance, too. She trailed her fingers through the flames rising from the meat, muttering ‘Phlogiston’ over and over again.
‘What’s phlogiston?’ I whispered to Dinsdale.
He simply pointed to the flames.
‘They are,’ he said.
‘But … but I thought it was only a hypothetical substance,’ I said. ‘I thought Lavoisier proved it didn’t exist.’
‘Banjaxed,’ said Dinsdale. ‘David Bowie, Guinness, Halley’s comet, eggs.’
They were both in another dimension, neither seeming to know I was there, both transfixed by the look and smell of the flaming brain with its inner scallop. It was when they began eating it that I left. They didn’t even notice. I could see that this woman was very dangerous indeed.

Dinsdale was still being a whale, making those stupid noises.
‘Ever hear anything of Peggy Sioux?’ I asked, trying to deflect his attention from being a tidal behemoth.
‘All the time,’ he said.
‘What d’you mean?’ I said.
He tapped his head.
‘Here,’ he said. ‘I’m with her. She’s with me. Always. Forever.’
‘Bloody romantics,’ I said.
‘No. I mean literally,’ he said. ‘She needed a bit of my brain. I said that was OK. I got the surgeon to take a slice off while I was under anaesthetic for the penis extension. So now, I never see her, but we do it all the time. We’re insatiable, both of us.’
‘What d’you mean?’ I said.
‘Easy,’ he said. ‘I know when she’s eating my brain. I feel it. I know she feels it, too. Even as all trace of sentience spins hopelessly into chaotic darkness I sense her pearly teeth crushing my neurones by their millions, feel her hot impetuous breath which used to caress my skin so softly - when I had a skin - and the thought sparkles into renascent consciousness: by this means I penetrate her very being, leaving her in rapturous melodic spasms that will sweep, soft, sensually over her carapace, a metronome of desire and despair. All sensation a pulsating prelude to a pregnancy test.’
I’d had enough.
‘Dins,’ I said. ‘You’ve always talked shite, but this is more excremental than I’ve got words for.’
I pushed him overboard. That was the last time I ever tried writing on Tantilly.

Saturday, 29 May 2010

Cop-out blog number one

Since this is the beginning of a busy time, I'll be casting around for blogs to satisfy the hunger which continues to drive you here. This first one is a recording of a song I wrote and sang at the Edinburgh Festival several centuries ago. There's no actual video. The images are there to provide the means to lay down the sound track. Normal service will be resumed as soon as possible

Monday, 21 December 2009

March/April 0000


To mark the season, a mini dialogue which seems to be about religion but isn’t. It’s triggered by a sentence in The Bible which always fascinated me. I remember very early on hearing that Joseph and Mary were engaged and that, when she told him about being ‘with child’ he was ‘minded to put her away privily’. Back then, I wasn’t sure what it meant – it sounded as if he locked her up somewhere or maybe did even worse Mafia-type things. When I eventually wrote this sketch, it wasn’t about divinity or Christianity or anything, it was simply me imagining a scene between an engaged couple sharing some … well … surprising news. It could have been touching, angry, jammed with revelations and spirituality, or just dull. So please don’t be offended by it. It’s not about religion, it’s about writing.

The scene is a carpenter’s shop. Joe is sawing a particularly difficult tenon joint. He’s interrupted by the sudden arrival of his fiancée Mary. He stops sawing.

JOSEPH: Hello, love. What’s up?

MARY: Joe … We’re going to have to get married.

JOSEPH: Eh? What for?

MARY: I’m pregnant.

JOSEPH: What? I thought you was a virgin.

MARY: I am. But I’m still pregnant.

JOSEPH: I don’t believe it. How could you do that to me?

MARY: No, Joe. I’m still a virgin. Honest.

JOSEPH: Pull the other one. Go and marry the bloke what did it.

MARY: There wasn’t any bloke.

JOSEPH: Oh, Act of God, I s’pose.

MARY: Sort of . . . Let me explain.

JOSEPH: It’d better be good.

MARY: Well, last night, I was in bed asleep, and suddenly I woke up, and there was this bloke standin by the bed. With big wings stickin out the back. He said … Well, he said he was an angel. Called Gabriel.

JOSEPH: And you fell for it?

MARY: No, honest, Joe. He never touched me. He never even put down his harp. He just said I’d found favour with God, and I was going to have a baby boy.

JOSEPH: Just like that.

MARY: Yeah. He said I was goin to be visited. By the Holy Ghost.

JOSEPH: That was his mate, I suppose.

MARY: No. I’m goin to have a baby boy, and he’s goin to be king and rule over the house of David for ever. And I’m to be blessed among women. Oh, and we’ve got to call the baby Jesus.

JOSEPH: Jesus? Well, you should’ve realised he was havin you on when he said that.

MARY: Why

JOSEPH: Well, I mean, if he’d said Kevin or Arthur or somethin, it would’ve made sense. But Jesus? … Christ!

MARY: That’s another thing. He’s goin to be a Christ.

JOSEPH: What’s a Christ?

MARY: I dunno. But he’s goin to be one.

JOSEPH: Alright, look. Suppose I do marry you. Is there anything else I ought to know?

MARY: Yeah, we’ve got to go to Bethlehem to have him.

JOSEPH: Bethlehem? That’s bloody miles! And there’s no obstetrical units there or nothin.

MARY: We’ve got to have him in a stable and lie him in a manger.

JOSEPH: A stable and a manger? They’re not making a very good job of it, are they?

MARY: Well, it’s the first time they’ve done a saviour.

JOSEPH: And when’s all this supposed to be happenin?

MARY: Sometime around Christmas.

JOSEPH: I’m not sure about it. Sounds a bit dodgy to me.

MARY: Oh come one, Joe. It’ll be nice.

JOSEPH: Looks like I haven’t got a lot of choice, doesn’t it?

MARY: Not really, no.

JOSEPH: Alright then. I’ll still marry you. Come on, let’s go to bed.

MARY: Oh no, Joe. I’ve got to be the virgin Mary, remember.

JOSEPH: Eh? How long’s that supposed to last?

MARY: Two thousand years. At least.


Happy Christmas everyone. (Or happy holidays if you prefer.)

Wednesday, 10 June 2009

The Lovers of Wensley Dale - 2

It’s a well-known Internet fact that, when people want deep, meaningful philosophy and need comfort, condolences, compassion and lots of other things beginning with C, this is the last place they come. However, despite the fact that today I’d intended to conflate The Iliad, The King James Bible, four poems by Tennyson and the text of Irn Bru adverts between 1995 and 2004, that particular piece of enlightenment has had to be shelved. The reason? Well, by popular demand (OK, 2 people suggested it), I’ve penned (better than ‘keyboarded’) a continuation of ‘The Lovers of Wensley Dale’.

The story so far was posted on June 1st. It continues thus:

Leticia’s body was still awash with the desire Roger’s parting kiss had kindled in her. Her time at Wal-Mart had dulled her appreciation of metaphor to such an extent that she was ignorant of the fact that the conflation of kindled and awash implied a soggy fireplace. For her, the passion was an awakening, a confirmation that her time spent watching those TV movies written by Jane Austen had been the beginning of her education as a Belle Dame sans Merci.
She got up, poured herself another glass of the rich red wine and once more stood before the cheval mirror, turning her body to admire the way the satin folded jealously down the curve of her back. She lifted the hem of her dress, admired the legs which Roger had kissed and likened to freshly dug asparagus, and felt again the stirring inside her that was always provoked by the memory of his lips on her skin. She wanted him again. Badly. His sardonic laugh was a drug, the curl of his hair a challenge, his cheese-related quips a delight.
His image came to her – pulsing, hot, eager – and the Beethoven was suddenly infiltrated by the counterpoint of the Nokia theme. Roger! It was a sign. Merely thinking of him was bringing him to her, giving her access to his voice and, by extension, the tongue and lips which caressed its modulations into the air. The telepathy she sensed between them could fly through the night and burrow into his mind. And his body.
She put down her glass and looked around for her cell phone. (She’d stopped calling it a ‘mobile’ when Roger had smiled at her and told her that anecdote about himself with the B-movie actress in the elevator in Philadelphia.) It was on the rug in front of the blazing fire. She grabbed it without bothering to look at its little screen, spread herself on the sheepskin, rolled onto her back and pressed the button. There was silence with only a faint sound of breathing to disturb it.
‘Darling?’ she said.
The silence stretched. Then came a sneeze.
‘Roger?’ she said, alarmed at the thought that he was in any discomfort.
‘’snot Roger,’ said a voice.
Leticia sat up.
‘Who is it?’ she snapped, angry that her lover’s place had been usurped by a stranger.
‘’sme. Gavin,’ said the voice.
‘Oh no. What do you want? Bugger off,’ said Leticia, her Paisley accent resurfacing for the first time in days.
‘I can’t. I’ve got a puncture,’ said Gavin.
‘I’m not a bloody bike shop,’ said Leticia. ‘What you phonin me for?’
‘’cuz I still loves you, Myrtle,’ said Gavin.
‘Don’t call me that,’ said Leticia.
‘But it’s your name.’
‘Not any more. So bugger off. Where are you anyway?’
‘Outside,’ said Gavin. ‘I rode up here to see you, but me bike got the puncture just outside the village so I pushed it here.’
Leticia couldn’t believe what she was hearing. The village was a mile away. He couldn’t be here. Not Gavin. Not that loser. Outside Roger’s log cabin? Impossible.
She went to the window and looked out. In the yellow light it cast on the deepening snow stood a figure, wearing only a Celtic football shirt and a pair of jeans. Over his shoulder was a bike.
Bloody Gavin. She felt the hot tears brimming in her eyes. This never happened to Miss Bennett. It made a mockery of the flickering fire, the cabin’s sumptuous interior. It breached her dream and, in its place, built stark reminders of Wal-Mart and special offers on selected brands of cheese.
Gavin’s phone was still pressed to his ear.
‘Oh God, you look gorgeous,’ he said.
‘So I bloody should,’ said Leticia. ‘This is a Vera Wang frock. Twelve hundred quid’s worth.’
Gavin knelt in the snow, one arm stretched beseechingly out toward her, the other still holding his phone.
‘Come home. Please,’ he said.
Home. The single room in the tenement. The Pizza Hut deliveries. The laundrette. The TV with just five channels. No, she’d graduated from all that. She’d been elevated to the hushed corridors of amorous elegance. She could control her own destiny. Myrtle was dead. Long live Leticia.
She closed the phone and drew the curtains. Even in such adversity, love would triumph.

Tuesday, 9 June 2009

Being funny

A question on Linda M Faulkner’s blog about ‘being funny’ set me thinking about the process of trying to make readers or audiences laugh. There are some, such as Michael Malone on his May Contain Nuts blog, who seem to find it effortless. And the trouble is, when it isn’t apparently effortless, it isn’t funny either.

There are plenty of theories, of course, lots of them stressing the cruel nature of laughter. They suggest it’s an expression of superiority, the purest sound of schadenfreude. But that’s too crude. Laughter’s a shared reaction – and it doesn’t have to be at someone else’s expense.

If we stick with the theories for a moment, the one I like best is the one which says that laughter’s actually an intellectual manifestation. It’s the mind seeing a set of circumstances, assuming they’ll progress in a particular way then having those assumptions undermined when something unexpected happens. At its crudest, it’s the banana skin scenario. A person (preferably one of rank and substance) is walking along and suddenly becomes a disarticulated mechanism. If the result is a serious injury, the laughter dies at once, which rather discredits the ‘laughter is cruel’ theory. It’s the juxtaposition of apparently mutually exclusive sets of rules.

A medal-laden head of state processing along a red carpet is a ‘moral’ entity, for want of a better word, embodying the pomp, ceremony and grandeur of an eminent human being and a representative of the rest of us. When he ends up in a blushing, tangled heap, he’s merely a substance that’s subject to the laws of gravity. The mind appreciates the gap between the two and we laugh. The laugh demonstrates our capacity for appreciating distinctions, for being capable of judging and assessing situations.

If you’ve read this far, thanks for your tolerance and indulgence. Because such theorising doesn’t really achieve much and definitely isn’t funny. So how do we ‘write funny’?

Well, when I used to write sketches (skits in the USA) and songs for performance, the characters used to do the work for me. For example, when Mary (the virgin) discovers she’s pregnant, she breaks the news to her fiancé, Joseph who, according to the Bible is then ‘minded to put her away privily’. I love that. It skates over the whole crucial scene there must have been between the two of them. Imagine your own fiancé(e), whose wish to remain intact you’ve respected, coming in and saying ‘By the way, I’m up the spout’. How do you get from there to the seeming acceptance of ‘OK, babe., I’ll just put you away privily’.

Or what sort of conversation would Jude the Obscure share with Tess at the Casterbridge disco?

And how did Adam and Eve relax when he came home from a long hard day in the garden? (This was before they were aware of their nakedness and original sin, remember.)

In all these cases, and in others, such as Hannibal Lecter’s quip that he was ‘having a friend for dinner’, it’s the co-existence of two separate levels of interpretation that generates the humour.

All of which sets me up perfectly for comments such as ‘What do you know about laughter? None of your stuff’s funny’.