Here’s another unadorned list of my recent reads.  All thoroughly recommended.  Aren’t books great?

Under The Dome by Stephen King

Collecting Cooper by Paul Cleave

The Snow Child by Eowyn Ivey

Dominion by CJ Sansom

The Wicked Girls by Alex Marwood

The Betrayal by Helen Dunmore

Life After Life by Kate Atkinson

The Last Warner Woman by Kei Miller

Ghostman by Roger Hobbs

Snowdrops by AD Miller

Today I’ve been along to Fallowfield Library – one of 6 Manchester libraries threatened with closure in the latest round of public service cuts – cuts due to the government’s austerity programme.  (And that’s working really well, isn’t it?)  The meeting room was packed and reflected the wide cross-section of local people who depend on the library and see it as the heart of their community.  From pensioners who meet there and find it a lifeline, a social hub, and who can only attend because it is near enough to walk, to children involved in youth activities  (no youth clubs are left in the area) or who use the computers and other resources for homework.  From students who study there and people who use the library to try and find jobs, to people who need help and advice and know the best place to start is at the library.  Then of course there are the people of all ages who go in to borrow books (including talking books and books in other languages) or DVDs, to read newspapers or get something photocopied.  The clear shared feeling at the meeting was that the library is the heart of the community and that losing it would be a life-blow to community cohesion.  ‘There’ll be nothing left,’ was said and repeated several times.  ‘It’s all we’ve got.’  There are no other community venues in the area and the library supports many local groups who meet there.  Back in June I wrote a piece for The Reading Agency for National Reading Group Day about what libraries mean to me – you can see it here.  Every person at the meeting today and those in libraries across the country will have their own stories to tell about what their library means to them.   And everyone there today who spoke, except the local authority’s Head of Libraries, was totally opposed to the proposals.

As well as writing novels and TV scripts, I write for radio, mostly for the Radio 4 Afternoon Play slot.  That means creating a forty-five minute drama usually over a three month period and involves up to five drafts of a script to get it ready for production.  But just before Christmas I was given the chance to work on a very different project, From Fact to Fiction, which invites writers to work on a topical news story and create a fictional response to it for a fifteen minute slot.  The challenging – and exciting – aspect of this is the timescale.  It all happens in a week.  The writer meets with a news journalist and the production team on a Monday to agree on the topic and by Wednesday must deliver a first draft, with the recording taking place on the Friday and broadcast on the Saturday. This Monday, January 21st, I’ll get my assignment and I’ll be tweeting  about the process throughout the week.  Deep breath!  You can catch my From Fact to Fiction on Saturday January 26th on Radio 4 at 7pm repeated at 5.40 pm on Sunday 27th.  Happy listening.  And here’s the link.   

Day 1

Tram through sleet and a grey cityscape to Media City.  Met with the production team at BBC Radio Drama to trawl through the papers and identify potential stories and topics.  Read newspapers I never read (and now I know why!)  Joined by a guest journalist who could tell us what was on the horizon for the week and how the news might shape up. Left the meeting with a list of items that interested me, a very sketchy setting for the piece, a bag of newsprint and a deadline.  By the end of the afternoon I’d uncovered a potential narrative and characters.  Beginning to see it in my head and hear the voices.  Sent this as an outline which will be considered by the commissioner.   Tomorrow might be back to the drawing board.

Day 2

This morning I got feedback from the commissioner which meant I needed to focus my idea more tightly and alter some of the elements in my story.  Discussed this with the producer and then set to work.  I’m not sure whether the changes weaken my original idea but I need to meet the demands of the slot.  That’s the trouble with writing to a particular brief – your imagination can tempt you down interesting new paths but away from where you’re meant to be going.  I also kept an eye on the weather forecast as it’s an element in my story and was slightly dismayed to hear it is due to get milder.  Noooo!  Fun sticking in some veiled references to another writer.  Afternoon spent hammering out a very rough first draft then reading it.  The script needs to be 13 minutes long.  Mine is.  But the corrections I’ve just made might have added too many lines.   More to do before I send a draft in tomorrow.

Day 3

After a read through and further work, the first draft of the script went off this morning.  Then a tense wait for the response.  The first draft is usually where the biggest notes arise when the producer and team see how the writer has interpreted the brief and how much it conforms to or differs from what they thought they were getting.  I’ve had some daunting sessions on first draft notes, as characters, structure and plot are called into question.  When this happens I resist the urge to climb into a deep well for an unspecified duration and instead take deep breaths and then set about solving the problems.  Which is my job.  Given the time demands of this project though any big changes could be really difficult to do well.  It doesn’t seem to matter how much experience I have, the confidence in what I’m creating is very fragile and there’s always doubt and insecurity.  That’s one reason why I don’t read my reviews unless someone else has scanned them for me first, and selected the good ones.  Anyway, today’s phone call came bringing positive feedback and for me a flood of relief.  Notes concentrated on clarifying the motivation of one of the characters, adding some specific references to better connect with our original news topics and ratcheting up the sense of jeopardy and tension.  The afternoon I spent putting all that into effect in the second draft.  Duly emailed.  Today I also settled on a title.  And heard about the cast!  Now it’s really getting exciting.

Day 4

Notes on the second draft came through last night and I set to work on them first thing this morning.  By this stage the notes are small* – cuts to make the dialogue flow better or where ideas are repeated, additions to make the setting and the action clearer for the listener who will be picturing it all in their head.  I make tweaks of my own too, when I’m reading it aloud and find a clumsy phrase.  Draft 3 completed and goes off.  Watching the clock, I’m aware that at this time tomorrow we’ll be in the recording studio at Media City and actors will be bringing my drama to life.  The cast are confirmed as Sarah Belcher, Stephen Hoyle and Kate Coogan.  On a techie note, scripts have a standard layout and for this I use Script Smart Gold software which I downloaded for free from the BBC.  A quick check tells me that they’ve now ‘retired it as obsolete’.  Harrumph!  However you can find information on other free and paid-for packages via the BBC Writersroom http://www.bbc.co.uk/writersroom/send-a-script/formatting-your-script  The producer rings with another query – still trying to get the ‘pictures’ right around a bit of business that is crucial to the tension in the piece.  We talk through a couple of possible solutions but they feel clunky until finally we come up with something that might do the trick.  Once I’ve done the amendments I send that off as draft 4… *See that line above about notes being small – I spoke too soon.  Late afternoon and a new pair of eyes brings with it major notes that mean a substantial rewrite and me jettisoning some elements of the story and reining in the more futuristic aspects of the piece.  Kill your darlings.  Awash with blood and frothing at the mouth I send off draft 5.  And wait to hear if I’ve got the balance right.  I am encouraged when the producer says she still thinks it works really well and by reports that someone who’s only read the very latest draft (and doesn’t know about the cull) thinks it’s great.  Finally get a thumbs up and I must admit the emphasis of the new version does include some pertinent references that we didn’t have before – and which I like.  And I breathe.

Day 5

Day 4 went on longer than expected with a phone call at 9.15pm to say that because of the earlier cull we were now short on material.  Rather than leave me to turn up and panic today, and write stuff on the hoof, they gave me warning and so I sat and wrote it on the sofa last night and finished it on the tram to Media City at the crack of dawn.  In the process of scrabbling about for extra lines, most of which were an elaboration of existing dialogue, I came up with something totally new but I needed a second opinion as to whether it would suit the tone of the piece.  The producer thought it was a good addition and when we were recording it did work well (and the performance brought tears to my eyes).  Once the new drafts were typed up (with me dictating insertions) and copied we had a read-thru with the cast and then it was into the studio to rehearse and record the piece.  The action is set in a single location which meant we didn’t have to spend time shifting microphones and actors to different areas of the studio space.  The play is called The Cold Cold Snow and each time I heard the wintry sound effects I felt a shiver of delight.  The actors really were brilliant: big thanks to Sarah Belcher, Stephen Hoyle and Kate Coogan, and it was a pleasure to work with the production team who are so skilled at the job – thanks to Sharon Sephton, Richard French, Graham Davies, Steve Brooke and Celia Hutchinson.  And to their colleague who ‘read the news’ for us, whose name I didn’t get.  With radio, the writer works alongside the producer/director and can contribute feedback to the cast which is quite different from my experience of writing for television.  The script (20 pages) was broken down into ‘scenes’ and generally two or three recordings made of each scene.  This afternoon they are putting together the final edit of the programme ready for broadcast tomorrow.  And my work here is done…  Happy listening.

I’ve been tagged by Russell James http://russelljamesbooks.wordpress.com/ crime writer extraordinaire, to take part in this relay style blog called ‘The Next Big Thing Blog Hop Tour’ or some such combination.  In essence I answer a handful of questions, and then tag other authors who will answer the same questions on their own blogs.  I am going to cheat a little bit here but for good reason – I’ve been working on two books this year, both out in spring 2013 and would like to talk about both of them.

What is the working title of your next book?  TBC but it’s the second Scott & Bailey novel.

Where did the idea come from for the book?  The characters come from the TV series Scott & Bailey, created by Sally Wainwright and Di Taylor, but the central story is about a family homicide – a subject which I find very frightening.

What genre does your book fall under?  Crime fiction.

What actors would you choose to play the part of your characters in a movie rendition?   The same ones who already play them on telly!

What is the one sentence synopsis of your book?  A man kills his wife, daughter and brother-in-law and flees with his two young sons, can Scott and Bailey save them while fighting their own private demons?

Will your book be self-published or represented by an agency?  Agented, published by Transworld.

How long did it take you to write the first draft of the manuscript?  Five months.

What other books would you compare this story to within your genre?  Broken Harbour by Tana French begins with a similar crime but develops it in a very different way.  (I read it after I’d plotted out my story and totally loved it!)

Who or what inspired you to write this book?  My agent Sara Menguc flagged up this topic some time ago when we were talking about my standalone titles – this book seemed like the right vehicle for it.

What else about your book might pique the reader’s interest?  The female friendships remain very much to the fore, it’s rooted in the North and there’s some inventive swearing a la TV series!

 

And for round two….

What is the working title of your next book?  Blink of an Eye.

Where did the idea come from for the book?  Thinking about what it would be like to have a child in trouble – in this case charged with causing death by dangerous driving.

What genre does your book fall under?  Crime fiction.

What actors would you choose to play the part of your characters in a movie rendition?  Absolutely no idea!  I can only see them in my head for now.

What is the one sentence synopsis of your book?  A moment’s recklessness destroys the lives of three families; how would you cope if your daughter was to blame?

Will your book be self-published or represented by an agency?  Agented, published by Constable and Robinson.

How long did it take you to write the first draft of the manuscript?  Five months.

What other books would you compare this story to within your genre?  Not sure, to be honest.  The stand-alone books I’m writing are less detective fiction and more about ordinary people caught up in the criminal justice system.  They do ask ethical questions and one reader compared them to Jodi Picoult.

Who or what inspired you to write this book?  Just my imagination.

What else about your book might pique the reader’s interest?  The impact of the accident puts great strain on the family and fans a feud between two sisters while mother and grandmother Carmel tries to hold it all together.

Please do visit the following authors who are taking on the baton:

Dagger award winner Margaret Murphy writes gripping psychologial thrillers (and is an accomplice of mine in Murder Squad) http://www.facebook.com/AuthorMargaretMurphy

Kate Ellis (another Squaddie) creates an intriguing blend of mystery and history in her novels http://www.kateellis.co.uk/kates_diary.html

Mel Sherratt (who I’ve met on Twitter and at crime writing festivals) specialises in gritty crime drama  http://writerofmurderandmayhem.wordpress.com/

Janis Hill (also a Twitter friend who lives down under) is about to launch her debut book in the speculative fiction genre.  Find her here http://janishill.wordpress.com/

WE’RE ALL IN THIS TOGETHER

©Tim Preston http://www.lookoutjo.co.uk

 

 

Looking for something to read?  Want to find a book to give as a present?  Here are my latest assortment of recommended reads.  Some from the library, some read on my Kindle, others advance copies I’ve had from publishers (thank you).  Most are recently published, a couple older and one is still to hit the shops.  They include disturbing psychological thrillers, classic science fiction, brutal Manc noir and a breathtaking collage of family history.  They all tell a great story which kept me hooked, turning the pages.  And all the writers have a skill, an assurance with their prose which makes the read seamless.  Enjoy.

Heart Shaped Bruise by Tanya Byrne

Ursula, Under by Ingrid Hill

The Language of Dying by Sarah Pinborough

There But For The by Ali Smith

Out Of A Clear Sky by Sally Hinchcliffe

The Murder Wall by Mari Hannah

The Cutting Season by Attica Locke

Flowers For Algernon by Daniel Keyes

Light Shining in the Forest by Paul Torday

Chamber Music by Tom Benn

In one of my first blogs I wrote that I had reservations about joining Twitter but soon became an addict.  I love it now – I like the interaction with people, the humour, the way news breaks ahead of other channels, the help and advice and recommendations people share and the momentary glimpses into other people’s lives.  Another thing I like about it is that I can flit in and out at whim, there’s no obligation or expectation on me to stay tweeting if I’ve other things (work/life) to do.

There are a few things I dislike though and I don’t think I’m alone – these are the things that turn me off and make it most unlikely that I’ll follow you:

People who only tweet ‘buy my book’ over and over and make no effort to connect.

People who only tweet ‘read my blog’ or ‘visit my site’ over and over etc.

People who do either of the above and ask me to RT.

People who I’ve had no interaction with who baldly ask me to follow them back.

I don’t know what you do but when I get a new follower I usually check them out to decide whether I’ll reciprocate, I go to their home page and see what their last dozen tweets have been about, what their interests are, if they might be good company on Twitter.  If it’s all heavy ‘marketing’ style stuff I won’t bother following back.  If their tweets are protected or they don’t have a profile picture or they only tweet once a year, I’m unlikely to follow them too.

In the guide  Tweet Right by @nicolamorgan she likens Twitter to being at a party and I think that’s a good analogy, it’s a social network not an online store.  That and the ‘never tweet anything you wouldn’t want to see up on an advertising hoarding’ are good advice I think.  Another  entertaining post on etiquette comes from  @crimeficreader you can see that here.

Catch you later.

Recently I tweeted to ask my followers if there were any topics they’d like me to blog about and @JanetOkane (follow her on Twitter) wanted to know what it was like writing novels based on pre-existing TV characters.  (I write the books based on the popular Scott and Bailey ITV1 cop series.)  When Transworld editor Sarah Adams  approached me to do the prequel to the show I’d three instinctive reactions: delight at the prospect, fear that I’d get it wrong and panic that I wouldn’t be able to do it by the deadline.  Delight because I was already a fan of the series and loved the characters and tone.  Fear for the same reason.  We all assume that we are seeing a character on screen in the same fashion but what if my interpretation on the page turned out to be way off kilter?

After an initial meeting with Sally Wainwright and Di Taylor, the show’s creators, where we discussed the three central characters (Rachel, Janet and Gill) and agreed on the back stories I would cover and what my murder case would be, I began work.  The first line came instinctively and captured the flavour of the book but was it too rough?  Too blunt?  A confab with my agent Sara set me right.  But the fear for the rest of it remained and the only way to deal with this was to seek some reassurance before I’d completed the draft.  Once I’d written a few chapters I sent them to Sally and Di for comments.  They gave me a resounding thumbs up which was a massive relief and I carried on at full pelt.  Every so often I emailed Sally with queries about the characters: did either Rachel or Janet like football (no), is Rachel’s dad alive (yes) and how long has Janet been married (25 years); to make sure I wasn’t veering off track or writing something that would demolish continuity with the television series.

The fact that I really liked the show was a huge help in writing the characters, they were three dimensional for me already.  It wasn’t hard to imagine how they’d respond to the new traumas I dreamt up for them.  Or what they’d say.  Another advantage was that we share the same Manchester territory (one of the reasons that Transworld thought of me in the first place).  So the local references, the landscape and the atmosphere are familiar to me as are the rhythms of speech and the things people say to each other.  There was no need for research visits or hours spent online looking for locations or dialect words.  No time either!  Remaining true to the original also gave me licence to swear much more than I usually do in my work which was immensely enjoyable.  Thankfully I must have been doing something right because after receiving delivery of the prequel, Dead To Me, Transworld commissioned a further two Scott and Bailey books.  So I best get cracking…

This week I was delighted to attend the presentation of the prize for the Jo Powell Memorial Writing Competition at Edge Hill University.  Jo, a highly-respected creative writing tutor at the university died of a brain haemorrhage in May 2011 and the £1,000 prize was set up by family and friends to reward the best short crime story written by a student.  I was one of the judges and the award went to 24-year-old James Harker with Gary A Love Story.  James, originally from Weymouth, studied at Manchester Metropolitan University and is now working on the Young Writer Programme at the Everyman and Playhouse Theatre in Liverpool.  He’s definitely a writer to watch.  I’m a fan of competitions.  My first novel was published as a result of entering one, in my case a prize organised by Commonword community publishers for the best North West debut.  That was Sal Kilkenny’s debut and helped launch my writing career.  It goes without saying – but I’ll say it anyway – that writing is a really tough field to break into.  Finding an agent, getting a publishing deal, getting another one after that are all very difficult to achieve.  Entering competitions can be a  great way to discipline yourself so you finish work, meet deadlines and send stuff out.  They provide an opportunity to make a mark and get recognition for your work and if you’re successful they’re a real boost to your confidence and your profile.  There are lots of places to find out about writing competitions and a quick search online led me to these: http://www.booktrust.org.uk/books-and-reading/short-stories/prizes/  https://www.writers-online.co.uk/Writing-Magazine/ http://www.writersandartists.co.uk/competitions 

Good luck.

Recently I was invited into Radio Leeds to do a One on One programme with presenter Liz Green.  This involved an hour’s in depth interview, talking about my life and work and choosing a number of pieces of music that had special importance or significance for me at particular times.  A little like Desert Island Discs.  I could only pick 10 and that was so difficult but I winnowed it down and I’ve listed them below – without the associated memories.  What would your ten tunes be?

(On another very vaguely related note, I am sometimes asked if I write to music.  The answer is a resounding NEVER!  I would have to work hard to block out the sound if there was music playing, even if it was instrumental.  And it would interfere with me writing dialogue which I frequently speak aloud, playing all the parts myself.)

1. Getting to Know You  (The King and I: Deborah Kerr/Marni Nixon)

2. My Boy Lollipop – Millie

3. Twist and Shout – Beatles

4. Ride A White Swan – T Rex

5. Sitting on the Dock of the Bay – Otis Redding

6. No Woman No Cry – Bob Marley and the Wailers

7. White Man at Hammersmith Palais – The Clash

8. The Wedding – Abdullah Ibrahim

9. Warm and Tender Love – Percy Sledge

10. My Baby Just Cares For Me – Nina Simone