Marie Marshall

Author. Poet. Editor.

Tag: writing

My obsession with Veronica

veronica-francoMy obsession with Veronica Franco continues – I mean the 16c Venetian courtesan, not the 21c porn star, just in case anyone was in any doubt. Lately I have been adding to my canon of poetry dedicated to or written about her. These poems have been handed to the e-zine Poetry Life & Times for their use, along with the previously-published poems from that collection. In these poems, Veronica and I inhabit a shadowy world between life and death, in Venice and elsewhere, where the Renaissance has cell phones and tablets, Tintoretto flies in and out from Marco Polo Airport, and she and I meet for lunch dates irrespective of her being alive or dead. The first one has just appeared, and – guess what! – its setting is Marco Polo! Read it here.

Ha! I just realised I said Death in Venice up there! Mann oh Mann!

Script-writer wanted!

After some discussion, my agent and I have decided to propose that my story ‘Axe’ (see previous post) be turned into a TV drama. So, my agent is currently scouting round the TV production companies in the UK looking for those with good drama credentials. We’re also on the look-out for a script-writer who can get the Glasgow and Caribbean-British register right, ‘see’ what was ‘playing in my head’ as I wrote it, and be creative with the para-dialogue – by which I mean the dialogue implied by the descriptions and expressions of emotion in the story, rather than the actual conversation I have written.

Is that you? If you think you could do, then get in touch with my agent. Go to bookseekeragency.com/contact and take it from there.

M.

A New Year present

LupaAn overlooked end to 2014 came to my attention due to an early-2015 tweet – someone was about to start reading Lupa, my debut novel, following an unsolicited recommendation. A little detective work led me to a review by author Michal Wojcik.

In his list of favourite reads of 2014, Michal puts my novel alongside Nicola Griffith’s Nebula-nominated Hild, multi-award-winning Connie Willis’s Doomsday Book, and The Count of Monte Cristo by Alexandre Dumas. That’s what I call company! Recommending Lupa, Michal says:

The writing is subdued, sparse, often mesmerizing. It’s a brisk read at only 130 pages, but I found myself thinking about it a long time after I read it. Let’s just say that there’s nary a wasted word here… Lupa is easily overlooked. But it shouldn’t be.

This was such a nice New Year present, and it is very gratifying to hear that a reader -particularly a fellow author – has enjoyed a book of  mine. In a comment in the thread below Michal’s article, someone has written “I’m running out to buy Lupa this very instant.” This kind of word-of-mouth is like gold-dust to an author. Well, I’m just away to read Michal’s short story ‘Mrs. Yaga’ here. I don’t know what to expect but I imagine that huts on chicken-legs will be involved…

I have had a re-think about what writing task to tackle in the spring. I think want to leave aside the element of fantasy – and that means any hint of steampunk, magic realism, or what have you – and engage in something which, though it might not exactly embrace the classical unities of time, place, and action, at least is based very much on ‘real world’ happenings. I am thinking of a setting that is historical, exotic (to me), and a story that is already familiar. However, my ongoing projects change like the direction of the wind. Oh, it can be fun being me!

M.

Looking forward in 2015

Happy New Year!

My previous entry was a review of what had happened during 2014. This one will be what I might expect of 2015. I’m not going to make any resolutions, because one of the first things that happens is I break them! So, no commitment to x hours per day writing, I shall simply write when I can.

Last year, as I reported, I had a story – my fifth success – read aloud at the Pitlochry Festival Theatre. This year I am trying for my sixth. So I do need to get busy, as entries have to be submitted this month. I do have a story partly completed, so this is doable.

KWIREBOY vs VAMPIRE will need some serious revision after beta reading. After that I will be letting my publisher see it. I am not expecting instant acceptance, but I am hearing murmurs that it will be an exciting year for P’kaboo anyway.

Ideally, I would like a rest from serious writing until the spring. Then I would really like to return to one of my adult/general readership novels, probably my partly-written The Deptford Bear. It seems to be turning into a hybrid work, with elements of detective mystery, psychological exploration, and Steampunk. What I have already is set in a ‘telescoped’ Victorian era in London, with one or two technological oddities, and with a host of folk rituals cropping up on the streets. There will be hints of vampirism – yes, I can’t leave the subject alone! – but these will probably be dismissed. Let’s see if the return of flowers and birdsong to my own city will prompt me to take up that project again.

No promises!

Meanwhile, I came across the image below recently on line. The more I look at it, the more I think there’s a story there. What do you think? What does it suggest to you? And how is your year going to go?

M.

storypic2

2014 in review

41ayn0pmq2l-_sy344_bo1204203200_I’m taking a moment to review how things have gone in 2014. Sometimes, at the end of a year, I feel that I haven’t achieved anything; but when I stop and think about it, actually quite a lot has happened.

In January, for example, my first novel aimed at the teenage market, The Everywhen Angels, became available from Amazon, and in March by order at any branch of 1Waterstones. Then in February my short story Da Trow I’ da Waa was read aloud to the audience at Pitlochry Festival Theatre. This was the fifth time in seven years that one of my stories has been featured at the Winter Words literary festival, and I consider that to be quite an achievement.

may prismThroughout the year both old and new poems of mine have been published in anthologies and magazines. Notable among the publications have been The Milk of Female Kindness (ed. Kasia James) in March, May Prism 2014 (ed. Ron Wiseman) in May, although I didn’t find out about that until August, and Rubies in the Darkness (ed. P G P Thompson) in December.

jpegIn September, of course, my third novel was published – From My Cold, Undead Hand – and what more need I say about it! And a short time ago I put the final full-stop at the end of the sequel, KWIREBOY vs VAMPIRE. Since then I have placed it in the hands of a couple of beta readers, and have had first reactions from one of them. Amongst her comments were the words “… great job!maelstrom of action and adventure…” and I am still basking in that rosy glow; however, a writer herself, she drew my attention to several things in the general readability of the novel about which I am going to have to think very seriously.

This year someone likened the quality of my poetry to that of Sylvia Plath. I have been continuing to write poetry, mainly in short snatches, for my poetry blogs Kvenna Ráð and a walk in space. As well as that, I have been keeping up the quarterly Showcases at the zen space. With regard to that, I am always on the lookout for ‘new blood’, for people who can express something in very few words – not just traditional haiku, but any form of short, in-the-moment poetry. Drop me an email if you either want to submit or to recommend someone.

So, all-in-all, it has been a busy and a fruitful year. How was it for you?

A cautionary tale for Editors

In 2007 I had a run-in with an editor who, in my opinion, was WAY above himself, as a result of which I wrote a poem called ‘The Pope and Michelangelo’, subtitled ‘A Song of Editorial Prerogative’. Since then of course, not only have I become even better acquainted with editors, I have been an editor myself for several years, so maybe my perspective has shifted a wee bit. Still, I thought I would share this piece of rhyming nonsense with you, just for the heck of it.

 

The Pope said, “Buonarroti,
Paint on this ceiling tall,
Some scenes from Holy Scripture
And frescoes on the wall.”
The Artist set about it.
He laboured all year long,
And every wondrous brush-stroke
Was like an angel’s song.

Ars longa – vita brevis.
Pontifex esse nolo.
I don’t want to be the Pope,
I’m Michelangelo.

The Pope came for a look-see;
He gazed around and said,
“Oh yes, it’s very nice, but
You should use much more red
This work just isn’t finished,
It’s not a perfect ten.
Splash on some extra scarlet,
I’ll papal-seal it then.”

Ars longa – vita brevis.
Pontifex esse nolo.
I don’t want to be the Pope,
I’m Michelangelo.

The artist started over
(I must say – in a huff!).
The Pontiff popped his head in,
And said, “Still not enough.”
The artist mixed his colours
With sunset-crimson full,
And, making his work ruddy,
Said, “Ruddy Papal Bull!”

Ars longa – vita brevis.
Pontifex esse nolo.
I don’t want to be the Pope,
I’m Michelangelo.

His Holiness came back there,
And said, “You’ve used too much.
The way it was a month ago
Showed such a gentle touch.”
The artist held his temper,
And started work once more,
To make the Sistine Chapel
The way it was before.

Ars longa – vita brevis.
Pontifex esse nolo.
I don’t want to be the Pope,
I’m Michelangelo.

The Pope came to the Chapel,
And thence to Mich’s home,
To say he thought the ceiling
The best in all of Rome;
But leaving, paused at David
And, pointing with his stick,
Said as an afterthought, “Put
A fig-leaf on that dick!”

Ars longa – vita brevis.
Pontifex esse nolo.
Would you rather be the Pope,
Or Michelangelo?

MORAL:

The moral of this story
(easy enough to follow);
Ars longs – vita brevis,
Pontifex esse nolo!
Crowds flock to the Chapel,
For Buonarroti’s fame;
But as for the poor Pontiff –
Why! – no one knows his name!

Have a Cold, Undead Christmas! :)

cover 200 disposalI was very pleased to see a copy of From My Cold, Undead Hand on the YA fiction shelves at my local branch of Waterstones the other day. There is still time, if you want to buy a copy as a Christmas gift for the bloodthirsty teen or vampire fanatic in your family – just pop along and order it at the counter. You can, of course, buy it on line in print form or as an ebook/Kindle download. Hurry!

I am currently doing minor tweaks and polishes to KWIREBOY vs VAMPIRE. I have sent copies to my ‘beta readers’ to get some initial comments, before I finally give it to my publisher. I’m hoping for a publication date later in 2015, but that has to remain a hope for now. Be assured I’ll let you know.
__________

The next Showcase at the zen space is due out on the first of next month, by the way, and I am looking for new blood (Oh – how appropriate!). Are there any poets out there who can use imagism or the haiku form to say something wonderful in very few words? If so, please get in touch.

M.

‘KWIREBOY vs VAMPIRE’ – first draft complete!

ShevToday’s big news is that I have finished writing KWIREBOY vs VAMPIRE, the sequel to From My Cold, Undead Hand. So now I plan a period of leisure – no more novel-writing until well into Spring 2015.

But wait! Leisure? I have to read through and revise KWIREBOY vs VAMPIRE, maybe making tweaks here and there. I have to find my trusted ‘beta reader’ and persuade her to read it. A busy writer herself, she may not be able to; but if she can, then I will be reading her new novel by way of exchange. I ought to try to find a second beta reader as well.

Then I have to attend to writing a macabre short story for Scotland’s Winter Words Festival – I have something in mind, but getting it from mind to paper is another matter.

Can I really leave novel-writing alone, though? I have two or three novels in plan form, some with test sections written, searching for the right ‘voice’. There’s my steampunk story of a young mountebank mentalist in Victorian London, a trail of bizarre murders, revenge, and detection – with a possible cameo appearance of Anna Lund! (Who? Read From My Cold, Undead Hand!). There’s my cynical wizard, working for the Chthonic Intelligence Agency. There’s a boy who finds he can work miracles. There’s a fictionalised life of Branwell Brontë. You see, if I wanted to immerse myself in novel-writing right now, I could.
__________

If you would be interested in reading a short review I wrote recently about Daphne du Maurier’s Rebecca, you can find it here. on Angelique Jamail’s blog.
__________

My last piece of news today is that I have just received the latest issue of Rubies in the Darkness, the magazine of ‘Traditional Romantic Lyrical and Spiritually Inspired Poetry and New Renaissance Writing’. On page 38 of this issue is a poem of mine from 2008. At that time I had restricted my poetry, by and large, to a formal style, in an effort to give my work discipline and technical power. It wasn’t just an exercise, however, as I greatly enjoyed using form, even in a light-hearted way, as in the poem below. It is called ‘We woke up to snow’:

snow

Rubies in the Darkness is available from The Red Lantern Retreat, 41 Grantham Road, Manor Park, London E12 5LZ.

The split infinitive: advice to and entertainment for writers

To split or not to spilt, that is the question. If the object of splitting is an infinitive, my rule is simple – split it or don’t split it, but have an eye to ambiguity, to the verb you want to qualify, and to euphony. Nobody in her right mind would correct the world’s most famous split infinitive, that of Starship Captain James T Kirk, because to do so would be to disturb its ringing prosody, even though its sense would be as solid as a rock despite the change.

If all fails, say it another way.

Henry Watson Fowler is often granted the last word on the subject, and I’m going to quote him in full here, not because I regard him as authoritative, but because this is one of the wittiest pieces of writing on the subject. I chuckle to myself whenever I get to the place where he uses ‘readier’ and I want to yell “More readily!” – I suspect that he did that deliberately. Although he does come down very heavily against avoidance of the split infinitive where such avoidance is obsessive to the point of fetishistic, he is gracious enough to quote one of the ugliest splittings ever.

Let me give you a word of warning – don’t use Fowler, or any other source, as a bolster for your own prejudices. ‘Magister ipse dixit’ is never a good argument. I try not to, and I’m one of the most consistent contributors to grammar debates on Facebook that I know; I find them difficult to resist. Here he goes:

HWF

HWF

The English-speaking world may be divided into (1) those who neither know nor care what a split infinitive is; (2) those who do not know, but care very much; (3) those who know and condemn; (4) those who know and approve; and (5) those who know and distinguish.

(1) Those who neither know nor care are the vast majority, and are a happy folk, to be envied by most of the minority classes. ‘To really understand’ comes readier to their lips and pens than ‘really to understand’; they see no reason why they should not say it (small blame to them, seeing that reasons are not their critics’ strong point), and they do say it, to the discomfort of some among us, but not to their own.

(2) To the second class, those who do not know but do care, who would as soon be caught putting their knives in their mouths as splitting an infinitive but have only hazy notions of what constitutes that deplorable breach of etiquette, this article is chiefly addressed. These people betray by their practice that their aversion to the split infinitive springs not from instinctive good taste, but from tame acceptance of the misinterpreted opinion of others; for they will subject their sentences to the queerest distortions, all to escape imaginary split infinitives. ‘To really understand’ is a s.i.; ‘to really be understood’ is a s.i.; ‘to be really understood’ is not one; the havoc that is played with much well-intentioned writing by failure to grasp that distinction is incredible. Those upon whom the fear of infinitive-splitting sits heavy should remember that to give conclusive evidence, by distortions, of misconceiving the nature of the s.i. is far more damaging to their literary pretensions than an actual lapse could be; for it exhibits them as deaf to the normal rhythm of English sentences. No sensitive ear can fail to be shocked if the following examples are read aloud, by the strangeness of the indicated adverbs. Why on earth, the reader wonders, is that word out of its place? He will find, on looking through again, that each has been turned out of a similar position, viz between the word be and a passive participle. Reflection will assure him that the cause of dislocation is always the same — all these writers have sacrificed the run of their sentences to the delusion that ‘to be really understood’ is a split infinitive. It is not; and the straitest non-splitter of us all can with a clear conscience restore each of the adverbs to its rightful place: He was proposed at the last moment as a candidate likely generally to be accepted. / When the record of this campaign comes dispassionately to be written, and in just perspective, it will be found that … / New principles will have boldly to be adopted if the Scottish case is to be met. / This is a very serious matter, which dearly ought further to be inquired into. / The Headmaster of a public school possesses very great powers, which ought most carefully and considerately to be exercised. / The time to get this revaluation put through is when the amount paid by the State to the localities is very largely to be increased.

(3) The above writers are bogy-haunted creatures who for fear of splitting an infinitive abstain from doing something quite different, i.e. dividing be from its complement by an adverb; see further under POSITION OF ADVERBS. Those who presumably do know what split infinitives are, and condemn them, are not so easily identified, since they include all who neither commit the sin nor flounder about in saving themselves from it — all who combine a reasonable dexterity with acceptance of conventional rules But when the dexterity is lacking disaster follows. It does not add to a writer’s readableness if readers are pulled up now and again to wonder — Why this distortion? Ah, to be sure, a non-split die-hard! That is the mental dialogue occasioned by each of the adverbs in the examples below. It is of no avail merely to fling oneself desperately out of temptation; one must so do it that no traces of the struggle remain. Sentences must if necessary be thoroughly remodelled instead of having a word lifted from its original place and dumped elsewhere: What alternative can be found which the Pope has not condemned, and which will make it possible to organise legally public worship ? / It will, when better understood, tend firmly to establish relations between Capital and Labour. / Both Germany and England have done ill in not combining to forbid flatly hostilities. / Every effort must be made to increase adequately professional knowledge and attainments. / We have had to shorten somewhat Lord D——’s letter. / The kind of sincerity which enables an author to move powerfully the heart would … / Safeguards should be provided to prevent effectually cosmopolitan financiers from manipulating these reserves.

(4) Just as those who know and condemn the s.i. include many who are not recognisable, since only the clumsier performers give positive proof of resistance to temptation, so too those who know and approve are not distinguishable with certainty. When a man splits an infinitive, he may be doing it unconsciously as a member of our class 1, or he may be deliberately rejecting the trammels of convention and announcing that he means to do as he will with his own infinitives. But, as the following examples are from newspapers of high repute, and high newspaper tradition is strong against splitting, it is perhaps fair to assume that each specimen is a manifesto of independence: It will be found possible to considerably improve the present wages of the miners without jeopardizing the interests of capital. / Always providing that the Imperialists do not feel strong enough to decisively assert their power in the revolted provinces. / But even so, he seems to still be allowed to speak at Unionist demonstrations. / It is the intention of the Minister of Transport to substantially increase all present rates by means of a general percentage. / The men in many of the largest districts are declared to strongly favour a strike if the minimum wage is not conceded.

It should be noticed that in these the separating adverb could have been placed outside the infinitive with little or in most cases no damage to the sentence-rhythm (considerably after minersdecisively after powerstill with clear gain after besubstantially after rates, and strongly at some loss after strike), so that protest seems a safe diagnosis.

(5) The attitude of those who know and distinguish is something like this: We admit that separation of to from its infinitive is not in itself desirable, and we shall not gratuitously say either ‘to mortally wound’ or ‘to mortally be wounded’, but we are not foolish enough to confuse the latter with ‘to be mortally wounded’, which is blameless English nor ‘to just have heard’ with ‘to have just heard’, which is also blameless. We maintain, however, that a real s.i., though not desirable in itself, is preferable to either of two things, to real ambiguity, and to patent artificiality. For the first, we will rather write ‘Our object is to further cement trade relations’ than, by correcting into ‘Our object is further to cement …’, leave it doubtful whether an additional object or additional cementing is the point. And for the second, we take it that such reminders of a tyrannous convention as ‘in not combining to forbid flatly hostilities’ are far more abnormal than the abnormality they evade. We will split infinitives sooner than be ambiguous or artificial; more than that, we will freely admit that sufficient recasting will get rid of any s.i. without involving either of those faults, and yet reserve to ourselves the right of deciding in each case whether recasting is worth while. Let us take an example: ‘In these circumstances, the Commission, judging from the evidence taken in London, has been feeling its way to modifications intended to better equip successful candidates for careers in India and at the same time to meet reasonable Indian demands.’ To better equip ? We refuse ‘better to equip’ as a shouted reminder of the tyranny; we refuse ‘to equip better’ as ambiguous (better an adjective?); we regard ‘to equip successful candidates better’ as lacking compactness, as possibly tolerable from an anti-splitter, but not good enough for us. What then of recasting? ‘intended to make successful candidates fitter for’ is the best we can do if the exact sense is to be kept, it takes some thought to arrive at the correction; was the game worth the candle?

After this inconclusive discussion, in which, however, the author’s opinion has perhaps been allowed to appear with indecent plainness, readers may like to settle the following question for themselves. ‘The greatest difficulty about assessing the economic achievements of the Soviet Union is that its spokesmen try absurdly to exaggerate them; in consequence the visitor may tend badly to underrate them.’ Has dread of the s.i. led the writer to attach his adverbs to the wrong verbs, and would he not have done better to boldly split both infinitives, since he cannot put the adverbs after them without spoiling his rhythm? Or are we to give him the benefit of the doubt, and suppose that he really meant absurdly to qualify try and badly to qualify tend?

It is perhaps hardly fair that this article should have quoted no split infinitives except such as, being reasonably supposed (as in 4) to be deliberate, are likely to be favourable specimens. Let it therefore conclude with one borrowed from a reviewer, to whose description of it no exception need be taken: ‘A book … of which the purpose is thus — with a deafening split infinitive — stated by its author: “Its main idea is to historically, even while events are maturing, and divinely — from the Divine point of view — impeach the European system of Church and States”.’

A Dictionary of Modern English Usage.

Fairy folk, writing advice, and no borders!

My publishers recently had a couple of little display stands at the Fairy Folk Market in Murray Street, Pretoria, SA. The hawk-eyed among you will spot my first novel, Lupa, featured on the shelves.

fairy folk 1

fairy folk 2

I must confess I keep forgetting it’s summer down in South Africa!

__________

I recently came across this piece of writing advice from Ernest Hemingway. It’s good advice, and I find that unconsciously I have already been following it…

The most important thing I’ve learned about writing is never write too much at a time. Never pump yourself dry. Leave a little for the next day. The main thing is to know when to stop. Don’t wait till you’ve written yourself out. When you’re still going good and you come to an interesting place and you know what’s going to happen next, that’s the time to stop. Then leave it alone and don’t think about it; let your subconscious mind do the work. The next morning, when you’ve had a good sleep and you’re feeling fresh, rewrite what you wrote the day before. When you come to the interesting place and you know what is going to happen next, go on from there and stop at another high point of interest. That way, when you get through, your stuff is full of interesting places and when you write a novel you never get stuck and you make it interesting as you go along.

__________

Something else I came across recently was this art ‘installation’ by Indian artist Shilpa Gupta. Basically she has created rolls of ‘incident tape’ on which the words ‘THERE IS NO BORDER HERE’ are repeated. The tape can be brought into use anywhere – anywhere the public can see it – wrapped around and along fences, suspending a miniature globe, in short stretches almost as a single slogan. But the main installation at art galleries is in the form of a paragraph of what can be fairly called concrete poetry, in the shape of a flag. Gupta is drawing our attention to the arbitrariness of lines on a map, to things that divide one human being from another.

there-is-no-border-here

The exhibition in which Shilpa Gupta’s work is displayed is currently in Scotland, and I would like to get along to see it. (I’m grateful to Paul at Bookseeker Agency for the photograph, taken at Glasgow, I believe.)