And while I’m breaking radio silence, I might as well say that after selling out Marrow earlier this year, I’ve decided to self-publish another flash collection. I don’t know when I’ll be releasing it, though, so don’t get any funny ideas. It’s called Dare, it will contain two poems and twenty-four very short stories, and the cover looks like this:
My blogging has been exceptionally poor since returning from Thailand. And I’d apologise for such awful radio silence, were it not for the fact that I’ve done exactly what I wanted to do, which is to get my head down in The Hollows and write my ass off. Five months later, I have no ass left. It’s completely gone. That’s how much writing I’ve done. No ass.
Last night, I finished a very first, very rough draft of The Hollows. It comes in at just over 101,000 words. I started in February, and couldn’t work in May (because of this). If I add up my two days a week of writing time, and the myriad mornings of sentences and paragraphs, I estimate the draft has taken me a total of approximately 35 days. That’s a ludicrously short space of time, and I’m still not sure how it happened. The Visitors took me near enough six months, I think, while my first (and thankfully forever unpublished) novel demanded a year of full-time work. I don’t think I’m getting any faster, though the muscle memory will be there – this chair, this keyboard, this notebook, this pen – but perhaps I’m believing a little more in what I want to do, where I want to go.
After spending all of 2014 torturously writing the wrong book, I’ve reached the conclusion that the key to writing is writing the right damn book. And The Hollows is right – right for me. I know it to my fibres. Even though there are weeks or months of editing still to come before I’ll feel ready to share it with my wife, I’m pleased with it. My first instinct for this story revolved around memories and mud, and while it has taken a roundabout route to get here, morphing through a dozen incarnations, it has finally come around, finally delivered what I wanted. My heart broke when I realised I was writing someone else’s story. The subsequent weeks spent with a notebook and a pen were some of the most productive of my life, but none of it could have happened without setting off along the wrong path. Sometimes it takes the wrong path to find the right one. Right? Write.
So there it is. We write to the universe. Sometimes it writes back.
I have a full week of college work to come, then ten days camping on Tiree and Coll with my wife and daughter. I’m going to print my rough draft and take a bag of pens, and read through the manuscript while the sea hushes in the simmer dim. Then comes the edit. See you on the other side.
I haven’t really had a chance to share this yet, but I’m thrilled to report that I’ll be at Edinburgh International Book Festival this year, appearing alongside the intimidatingly talented Chigozie Obioma to discuss his debut novel, The Fishermen, and mine, The Visitors. This is really exciting, and very humbling. I’m delighted to be contributing to such an amazing event.
I have also just discovered that all debut novelists are entered into the First Book Award. I’m up against some outstanding competition, so if you’ve read and enjoyed The Visitors, I’d be hugely grateful for your vote: mosey over here for the full longlist.
After mugging my way through a wonderful intimate spoken word night at Sprint Mill last year as part of the C-Art Open Studios, I’m delighted to say that I’ve thrown myself into running a follow-up event.
Solstice Songs will be held on midsummer’s eve in the amazing 18th century Sprint Mill near Burneside in Cumbria. I’ve gathered the estimable talents of some wonderful writers throughout the northwest and Scotland to read at the event, and you – yes, you – should come along and hear them do their thing.
I’m honoured to share the line-up. In alphabetical order, we have:
Edward Acland The owner and curator of Sprint Mill shares his startling, disarming and heartfelt reflections on people and place, distilling a lifetime of collection into magical focus.
BigCharlie Poet As well as hosting and running Lancaster’s Working Title night, BigCharlie Poet is a ferocious slam poet with word-perfect visions of life and love, all skewed nicely through a balance of wit and wonder.
Alan Bissett Fresh from having a street in his native Falkirk named after him, we’re thrilled to be joined by the multi-award-winning playwright, actor, poet, novelist, essayist and consummate performer Alan Bissett. I don’t know what he’s going to read, but whatever it is will be good.
Luke Brown Writing without exaggeration, I consider Luke to be a true heir to Roald Dahl. He is a superb storyteller of the macabre, bringing a host of weird and wonderful alter-egos to life in his darkly humorous tales.
Joy France The inexhaustible slam-winning poetry powerhouse that is Joy France joins us from Wigan with her witty and reflective take on life – life in the world, in the north, in the past, in the present, and in the weirder corners of her own wonderful mind. Here she is performing one of her signature poems, Hey Mrs B:
Harriet Fraser A multi-media poet of landscape, dreamscape, place and unusual word projects of all sorts: this summer she is poet in residence for a hay meadow, and one of Harriet’s most recent canvases was a herd of sheep.
Jonathan Humble Following the launch of his excellent debut collection My Camel’s Name Is Brian, the Tripe Poet Laureate™ brings his brilliant, laugh aloud ballads of tea cosies, leeks and rhubarb.
Kirstin Innes The multi-award-winning journalist, essayist, playwright and novelist brings her astonishing new novel Fishnet to Sprint Mill. Meticulously researched and brilliantly observed, Fishnet ducks sensationalism to explore the sex industry through the prism of a missing person.
Ann Wilson Fresh from the launch of her second collection Straight Bananas, the former South Lakes Poet Laureate and driving force behind spoken word night Verbalise delivers her unique blend of stand-up, song and rhyme.
…and me. Just me. (Sorry.)
All this wondrous wordsmithery comes for FREE, so bring a bottle, bring yourself, and shake your rump. Let’s get pagan.
Solstice Songs | Sunday 21st June | 7pm | Sprint Mill near Burneside, Cumbria
I’m currently wrapping up another film project before I get back to my writing. A couple of months ago, my friend Dom Bush and I were commissioned to make a film called Take Me Back To Manchester, based on the extraordinary true story of a lion tamer called Lorenzo Lawrence, an elephant called Maharajah, a cartoonist called Oliver East and a 200-mile walk across the country.
It was an incredibly tight turnaround – we had less than six weeks from commission to completion, and only three weeks from the shoot to the deadline. Dom shot the film, using drones and steadicam, and I cut it. I used the parallax effect for the first time to bring some of our amazing archive images to life. Technically we co-directed the film, but the story was so rich, the contributors so engaging, and the archive material so fascinating, that it pretty much directed itself.
Take Me Back To Manchester has now been shown at Toronto Comic Art Festival, and a shorter version will be screened on a loop in Manchester Museum.
Roll up, ladies and gentlemen, roll up…
This is my last film project for a while. I’ve really enjoyed working on this piece and To The End We Will Go, but I’m more than ready to get back to the Hollows. I’ve been maintaining my erratic early morning writing sessions, even if that means grabbing five minutes before Dora explodes downstairs demanding her breakfast. Those snatched sentences and stolen paragraphs might only give the book twenty words, fifty words, a hundred words a time, which feels painfully meagre in isolation, but they add up over weeks and months. I’m up to about 66,000 words, for all the difference it makes, and happy with where it’s going. I think again of how little I achieved last year, and feel a grim urge to push on and make up for so much wasted time.
After almost two years of work, I have finished making a film about hay meadows. This has been a huge project for me, both professionally and personally, and it has changed the way I think about the world.
When I come to the end of a project, I usually have a stronger understanding of the subject than when I began. In this case, while my knowledge has increased hugely, I’m left with far more questions than answers. In 2013, I was commissioned by Cumbria Wildlife Trust to make a ‘democratic’ film about meadows, tasked with balancing opposing points of view to create a space for discussion and reflection. Within that brief, I started the project with a sense that hay meadows were something like a set of scales, and if only the interested parties could work together better, then an equilibrium could be achieved between food production on one side, and sustainability on the other. I no longer think that’s possible; and I now think of meadows more like a jigsaw, being made by many people all at once, only everyone has a different picture on the box. Every time you place one piece down, another changes. They are mosaics of demand, shifting with the seasons. All the fundamental issues facing agriculture in Britain can be measured in hay meadows: growth, demand, food, want, waste, profit, biodiversity, sustainability, heritage, science, tradition.
Over the course of the shoot, I talked with school kids, beekeepers, walkers, landowners, farmers, conservationists and a 97-year-old farm labourer who worked in meadows between the World Wars. I left a camera in a barn outside Kirkby Stephen to record a five-month time lapse of a meadow in growth. I learned more about slow motion video, and about macro photography. After ten months of searching, I tracked down an astonishing piece of archive film footage from the 1930s. Halfway through it, there’s a shot of an old tramp simply standing in a lane, staring at the camera. It’s haunted me ever since:
All this was happening in the build-up to the Scottish referendum. Through the process of making this film, the two became inextricably linked around my realisation that if we are to survive – as a species – then it’s by being smaller. We need to reduce. To be less. Less ambitious, less hungry, less wasteful, less oblivious. We will survive in communities and cooperatives, not corporations. This was one of the many reasons I supported a Yes vote in Scotland. For me, the referendum went a long, long way beyond some petty nationalism. It would have swung a sword through the Gordian Knot of a corrupt, venal Britain. I cried my eyes out on the morning it was No. Being small and being nationalistic are not the same thing. We’ll be better as bees in hives, sharing the meadows. (This analogy does not, for me, extend as far as having Queens.)
I found out this morning that To The End We Will Go has been selected for the CMAC Rural Film Festival. This will be my first ever festival screening, and I’m really pleased. It’s quietly astonishing to think about people on the other side of the world watching my wee film and spending a few moments in Cumbria. The last shot is a drift of swifts exploding past my window against a purple dusk. I love the thought that an audience in Minnesota will look out of the same window and see African swifts in a Cumbrian sky.