Originally posted on Novel Writing Festival: PITCH: Title: The Vorbing Written by: Stewart Stafford Type: Novel Genre: Fantasy/Horror Logline: The Vorbing is a fantasy/horror concerning Vlad Ingisbohr’s struggle to free his village from the reign of terror of vampires and avenge his father’s death at their hands. Interested in this logline, please email us at…
Where do you start your story? A key question and one of hundreds if not thousands to be answered when writing and publishing a book. Do you start when your character is born or before? When they are a child? A teenager? An adult? When they get married? When they are old? Do you start at the point of death or after and tell the story in flashback?
If you were telling the story of your life, where would you choose to start and why? Looking at your characters in the same way and treating their lives as real can be hugely beneficial. When you start treating them seriously, they become more realistic to you and hopefully your readers.
When a potential reader opens your book, how do you pique their interest? Your first sentence is crucial. The point you choose to start the story will determine that first sentence. The whole structure is like a line of dominoes (no, not the pizza place); set the first one right and the rest should stand. Get it wrong and they all could topple.
It took me many years to publish my book The Vorbing and, during that time, I wrote many different versions of it. I went through a city map of blind alleys but it taught me what worked and didn’t work each time and sharpened the story. When the time came to pull all the strands together, I could use all the best bits from all the various drafts to come up with a kind of “greatest hits” version of the story. All those ideas gave the whole thing a fast pace and fresh perspective. I won’t have that luxury on book two, but such is the challenge of writing.
This is where a fresh pair of (preferably experienced) eyes on your work can pinpoint a loss of initial focus. Even if you need to lose earlier material, you can use it later in the story or in a sequel or even just as backstory to help you know your characters better. No piece of writing is ever really wasted. You can cannibalize it later or even combine bits to create a new story (Anne Rice was writing a book set in Atlantis and hit a dead end, so she put her vampire Lestat into the mix and, hey presto, got a new Vampire Chronicles book out of it – Prince Lestat and the Realms of Atlantis.)
That old cliche “you never get a second chance to make a first impression” is doubly true for writers, especially in the internet age. If someone is viewing a preview of your book using the “Look Inside” option on Amazon, that mouse button is right at their fingertips and they are ready to click off if you fail to hook them. So think carefully about that first sentence. Be original. Be surprising, but be true to your characters, your story and yourself above all.
© Stewart Stafford, 2016. All rights reserved.
Imaginary things take time to write. Fantasy and horror and, to a lesser extent, science fiction can be among the toughest genres to write as they are works of pure imagination. Science fiction can be slightly researched and current trends can be followed to their logical conclusion. Educated guesses can be made as to what direction science will go in. Fantasy and horror mostly comprise world-building from scratch and, depending on the writer, the concepts can take time to generate.
Added to that, readers want new product yesterday. They’ve become ultra-impatient in the internet age. Some of them even refuse to read the first book in a series as they are unable to wait for the other books to be written and published. “Am I going to have to wait years for you to finish your Vorbing trilogy? I’m an impatient bitch,” one of my readers helpfully explained to me.
In their book, The Neuroscience of Clinical Psychiatry: The Pathophysiology of Behavior and Mental Illness, Edmund S. Higgins and Mark S. George note: “People who can delay gratification and control their impulses appear to achieve more in the long run. Attention and impulsivity are opposite sides of the same coin.” This is especially true of all those internet babies who have grown up in the technological age. So the internet is a bit like Brexit; we don’t know what the full implications of its arrival are yet.
The web has its advantages. It’s a phenomenal communication tool. Twitter has definitely made me think faster and streamline messages better, that is certain. As a way of quickly disseminating a message or a product worldwide immediately, the web takes some beating. The net is like a giant synthetic brain our thought patterns are connected to (a strength and a weakness that can be exploited). There are concerns over privacy and who is doing what with our data and those worries will only increase as time goes on.
Back to the writing. This awareness of the disintegration of attention spans has unquestionably changed both the method and style I employ when writing books. I started writing my first book when the internet was in its infancy. I was able to remain in the world I had created all day interacting with my characters. I was totally immersed in it and wouldn’t notice hours passing. Now social media, that great thief of time, eats up chunks of my day without me noticing hours passing. I mostly interact online with people I don’t know instead of my characters. I’m totally immersed in the internet. Writing is done now in feverish bursts to meet my daily word count so I can get back online. Experience has enabled me to do much more in less time though. I no longer need to spend all day going down blind alleys trying to find myself creatively. So perhaps there is no damage done there.
There are writers who have given up social media for a month to get books out there. I’d be concerned about losing half my hard-earned followers. You can’t expect people to continue following you if you’re offline for weeks. Especially if you’re a self-published writer dependent on social media to market your books. It appears to be a 21st-century Faustian pact with the web.
Then there is the pace of the novel itself. I am only too aware that if you fail to hold the attention of your readers, social media is tickling their ears non-stop to woo them away. So they’re dealing with getting their electronic fix too (especially if they’re consuming your book on an e-reader or smartphone app that’s connected to the internet and the ejector seat button for your novel is half an inch away). The pacing of a novel has to match the online frenzy going on out there or you’re toast. Then again, if the flour is going rotten to begin with, maybe the quality of the toast isn’t so important these days. We shall see.
So the internet has rewired our brains, changed our expectations and how books are written, edited, sold and read (or not as the case may be). What form will books take in 2026? 2036? 2066? Will we be taking downloads directly into our brains as in a William Gibson cyberpunk novel? I have a saying: “The possible is just the impossible that we’ve come to accept.” It will happen.
My novel “The Vorbing” is available here
© Stewart Stafford, 2016. All rights reserved.
An excellent appraisal of the work of H.P. Lovecraft. Enjoy
H P Lovecraft is famed for his creation of what is widely known as the “Cthulhu Mythos”, a term used to describe the intricate fictional universe constructed by Lovecraft that was gradually expanded upon through successive stories. This fictional universe became so influential that it continued to be widely referenced, utilised and expanded by other authors even after Lovecraft’s death, and still is today.
Even outside of the direct use of the Cthulhu mythos, Lovecraft’s influence can be found across modern horror literature, films, and music, such as the Evil Dead franchise (1981-2015), songs such as Metallica’s “The Thing That Should Not Be” (Master of Puppets, 1986), games such as Bloodborne (2015), and Terry Pratchett’s Discworld series.
During his lifetime, Lovecraft’s contemporary authors also referenced his fictional universe, just as Lovecraft referenced the creations of his contemporaries. For example, Lovecraft wrote in a letter to William Anger, in 1934…
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“The lowest point in my life was in 1975, when I was 28, living in Los Angeles. I really did think that my thoughts about not making 30 would come true. Drugs had taken my life away from me. I felt as though I would probably die and it was going to be all over. My assistant, Coco, got me out of it. Thanks to her, I got myself out of America to Berlin”
So he did and that is where the genesis of his classic song “Heroes” begins. Germany has an oddly influential place in popular music history. Elvis was stationed there in the army in the 50s. The Beatles went to Hamburg and learned their craft and lived it up in the early 60s. Bowie recorded his Low, Heroes and Lodger albums there and Queen recorded several albums in Munich, including their best-selling album The Game. U2 would record Achtung Baby there in the early 90s. David Bowie played a concert in West Berlin in 1987 that could be heard over the Berlin Wall in East Berlin. Earlier this week, when news of Bowie’s death broke, the German Foreign Office tweeted: “Good-bye, David Bowie. You are now among #Heroes. Thank you for helping to bring down the #wall.” Praise, indeed.
The album “Heroes”, the second of Bowie’s “Berlin trilogy”, was recorded at Hansa Studio by the Wall in what was then West Berlin. It was produced by Bowie and Tony Visconti with Brian Eno playing a key role in it also. (Bowie credits Eno with shifting the emphasis of his career away from the creation of characters like Ziggy Stardust to the music itself.)
The song “Heroes” was recorded using a noise gate technique. According to Wikipedia, a noise gate is “an electronic device or software that is used to control the volume of an audio signal.”
It goes on: “The invention of a technique, called multi-latch gating by Jay Hodgson, common in classical music recordings for years, is often credited to producer Tony Visconti, whose use on David Bowie’s “Heroes” may have been the first in rock. Visconti recorded Bowie’s vocals in a large space using three microphones placed 9 inches (23 cm), 20 feet (6.1 m), and 50 feet (15.2 m) away, respectively. A different gate was applied to each microphone so that the farther microphone was triggered only when Bowie reached the appropriate volume, and each microphone was muted as the next one was triggered.
Bowie’s performance thus grows in intensity precisely as ever more ambience infuses his delivery until, by the final verse, he has to shout just to be heard….The more Bowie shouts to be heard, in fact, the further back in the mix Visconti’s multi-latch system pushes his vocal tracks [dry audio being perceived as front and ambience pushing audio back in the mix], creating a stark metaphor for the situation of Bowie’s doomed lovers shouting their love for one another over the Berlin wall”
(Tony Visconti recently admitted that the he and his mistress were the couple seen kissing by the wall.)
Bowie played the sax solo at the end of “Heroes” and even recorded a version in German called “Helden.”
When released on October 15th 1977, the song only got to number 24 in the UK charts a far cry from smash-hit Ziggy Stardust mania just a few years earlier. Even his appearance on Top of the Pops in a plain shirt with a less-harsh remix of the song seems muted compared to his culture-changing turn on the same show with Starman.
The noise gate technique the shouting Bowie had to resort to did result in a harsh-sounding vocal that wasn’t exactly radio friendly at the time which perhaps accounts for its low chart-placing. (Queen’s “We Are The Champions” was released the same month and became an instant classic anthem when it reached number 2 in the charts.) While “Heroes” remained a favourite with his fans, in the general public’s consciousness the song quickly faded from the charts and into obscurity. It remained there until eight years later, when Bowie had the inspired idea to include it in his set for Live Aid.
Bob Geldof had christened his Live Aid charity extravaganza “The Global Jukebox” and told the artists on the bill to give him hits, hits and more hits to keep viewers watching and donating. While “Heroes” wasn’t one of Bowie’s biggest hits on first release, it is one of his best songs and the idea of being heroes for a day was the perfect tagline for Live Aid. So it proved, the song went down a storm. Everyone in Wembley Stadium got swept up in the idea of their generation changing the world in that place at that time. Bowie told the Wembley crowd: “You’re the real heroes of this concert.”
Queen had ended their legendary Live Aid set earlier with “We Are The Champions.” That day, “Heroes” joined “We Are The Champions” in the pantheon of inspirational anthems that are often played at sporting events. When a documentary was made about the Live Aid concerts by the Band Aid trust later in 1985, a montage of the artists that performed was cut to the sounds of David Bowie’s “Heroes.”
The rehabilitation of “Heroes” reached its apotheosis at the London Olympic games of 2012 when “Heroes” was playing on loop in the background at each medal presentation. It even featured in the closing ceremony.
Who knows, perhaps “Heroes” may even become a posthumous number one for David Bowie, such is the popularity and poignancy of the song now. That would be a fitting close to the remarkable journey the song has taken in the unforgettable life of its creator and in the lives of us all.
© Stewart Stafford, 2016. All rights reserved.
(Stewart Stafford’s novel “The Vorbing” is available here)
David Bowie died of cancer yesterday aged 69. I’d like to pay tribute to him in some way.
Where on earth do you start with the legend that was and is David Bowie? You don’t, as he was not of this earth. His first hit was “Space Oddity” in 1969. At a time when people were writing hippy-dippy songs, Bowie was thinking of space travel and the future. Nobody else was doing what he was doing musically at the time. He truly was a visionary.
Despite that first hit, he struggled in the very early 70s to find another one. When he hit upon the persona of Ziggy Stardust, his fame exploded. “I’m going to be huge,” he said in 1972, “and it’s quite frightening in a way.” He went on to dominate the 70s the way Dylan had the 1960s. I can’t think of another performer who challenged himself and his audience as Bowie did, drastically deconstructing every successful look and sound and rebooting it with the next album. Something was popular? BOOM! He’d moved on to something else. Oh, you like that now? POW! He did it again. (Bowie said the one thing he hated journalists saying was: “You’re a chameleon that’s always ch-ch-changing.”) In an age of one-hit-wonder X-Factor wannabes, he looks even more of giant.
Nicolas Cage: “You have to stay uncomfortable. I learned that from David Bowie. I said, ‘How do you do it? How do you keep reinventing yourself?’ He said, ‘I just never got comfortable with anything I was doing.’ I knew those were words of wisdom from a great artist and I took those words seriously.”
My favourite Bowie story is the time he went to see Elvis Presley perform at Madison Square Garden in 1972. Bowie arrived late to his front row seat in full Ziggy Stardust gear as Elvis and the band were powering into “Proud Mary.” “He must have thought Mary had arrived,” Bowie joked. Yes, he was weird and wonderful, but people forget how funny he could be. (Just check out his “Chubby Little Loser” song from Extras with Ricky Gervais)
This is how he recalled writing the classic Life On Mars: “I took a walk to Beckenham High Street to catch a bus to Lewisham to buy shoes and shirts but couldn’t get the riff out of my head. Jumped off two stops into the ride and more or less loped back to the house up on Southend Road. Workspace was a big empty room with a chaise lounge; a bargain-price art nouveau screen (‘William Morris,’ so I told anyone who asked); a huge overflowing freestanding ashtray and a grand piano. Little else. I started working it out on the piano and had the whole lyric and melody finished by late afternoon.”
Queen gave what is generally considered the greatest performance of all-time at Live Aid. Bowie had to go on after them and he was still magnificent. That’s a true testament to how good he was.
It’s a cliche to say when someone famous dies that there will never be another like them again but it’s true in Bowie’s case. Not just because of his groundbreaking, daring abilities but also because the music business he became a superstar in during the 1970’s just doesn’t exist anymore. Albums were king then but not now with music sales dropping. Live touring is where the money is. If Bowie was starting out today, he would never be given the time or creative space to develop even one of his personas let alone the many he did (can you imagine One Direction ever tampering with their smash-hit formula as drastically as Bowie did even once? Nope, neither can I.) Nor would Bowie be given a chance to come back from less successful albums. Presently, if you’re not an instant success, you get dropped by your record label. The patience of executives and their belief in the artist is gone. Young Bowie in this world would have to lower himself to entering reality talent contests like X-Factor or American Idol where his baritone wouldn’t be appreciated. He would probably be eliminated early in favour of the glass-shattering screamers who tend to win. I can’t see how Bowie or anyone else could have a 47-year musical career starting in 2016. It’s all about making a quick buck and moving on to the next teeny-bopper sensation before the kids get bored.
“Who wants to drag their old decaying frame around until they’re 90 just to assert their ego? I don’t,” he said in 1977. He didn’t, he left us at 69 with a staggering, diverse body of work. Hard to believe one man came up with all that but he did. The world was lucky to have him as long as we did. Go, David, fly Starman beyond the bounds of time and space to your true place in the Heavens.
© Stewart Stafford, 2016. All rights reserved.
I have to do a “two-for” every now and then. These are definitely worthy.
The evolution of this story, like so many others, started with my mother. I remember her always referring to the first movie in the series as the “scariest movie” she’d ever seen. She mentioned it in passing when I was about 5 and I never forgot it. I was not allowed to watch it at that time given my age.
Approximately 6 years later, the sequel was the Sunday Night movie on ABC (I think–one of the big four networks, anyway). My father was very excited when he found out and started queuing up a tape. I remember the ominous score at the beginning as a very small spacecraft was docked onto a larger one. The speed with which the engineers cut through the metal doors is an image I will probably never forget.
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Being a writer in the 21st century is like being the driver of a very jerkily-driven vehicle. You’ve dreamt up ideas, written them, shaped them, rewritten and edited them and published them. Then you have to switch hats and sell your work. Now you find yourself measuring your book’s merit and your own self-worth by reviews, ratings, rankings, likes, shares, follows, analytics and sales. If they rise, your confidence rockets with them. If they mysteriously drop, you become frozen with doubt. You can control your writing up to a point. After that, it’s up to readers, reviewers and bloggers to spread the word. You can’t make people buy something they don’t want no matter what social marketing gurus say (who are biased witnesses involved in the hard sell).
It is healthy to get away from that draining stuff for a while. Major writers have people to handle sales of their work. They have agents, managers and the might of publishing houses behind them with their huge advertising budgets and key media contacts. Self-published writers only have themselves and their savings to rely on. That only goes so far unless they have great connections or access to bigger sums of money. If not, they may have to accept defeat on their beloved project when the cash runs out.
Some people say make your own luck but if everyone could do that, we’d all be successful. Life is never that simple or easy. Luck is mostly being in the right place at the right time. The wind catches your sails and whoosh, you’re off. Nobody can plan for that. It just happens. Word of mouth is another way. A neglected work slowly begins to pick up. Sales rise, reviews become more plentiful and positive and you’ve caught the Mighty Whoosh again.
Being an author now is a marathon, not a sprint. The idea that you could hit the send button, publish your book and it would become an instant bestseller really is a fantasy. It will take many months, if not years, to build up a loyal readership and a solid body of work. There is even the possibility of posthumous recognition Van Gogh-style. To become rich and famous when you’re no longer around to enjoy it would be cruel but better late than never. At least your heirs may benefit from your delayed Mighty Whoosh.
© Stewart Stafford, 2015. All rights reserved.
Thanks to my cousin Jill Roberts for this.
The Vorbing is a must read for all. Mr. Stafford (who is my cousin and brilliant writer) takes the Vampire myth and turns it on it’s end by keeping to the original myths and dare I say history. In this fantastic novel vampires are neither gorgeous nor sparkling like most most fantasy novels or tv shows on the CW (The Vampire Diaries and the Originals). The novel keeps to traditional Celtic lore and as the series names is the Vampire Creation Myth. The characters keep you reading and the vampires keep you invested in this new haunting series. Grab your copy today on Amazon and enjoy being spooked even more this Halloween!