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…
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.
Allow me to elaborate on my quote, dear readers. In the Second World war, Britain and Germany were gleefully bombing each other’s major cities into oblivion day and night. In the myopia of war, they thought they were engaged in a conflict to strengthen themselves, but were, in fact, destroying each other as major world powers. This created a vacuum into which stepped the new superpowers – the United States and the Soviet Union.
In the aftermath of the war, Britain was devastated physically, financially and mentally. Rationing was still in force and luxuries were unheard of for a whole generation of children. The war was before their time but the impact and implications of it were a daily fact of life. Ruined areas called bomb sites still pockmarked the land and the new kids played on them, including a young David Bowie.
Bowie’s biographer Paul Trynka kicks off his excellent book Starman with this illustration of grim post-war austerity from Peter Prickett: “Everything seemed grey. We wore short grey flannel trousers of a thick and rough material, grey socks and grey shirts. The roads were grey, the prefabs were grey and the bomb sites seemed to be made of grey rubble.”
Behold the constraints of reality! Glam Rock in the 70s was going to be the antithesis of all that childhood drabness and deprivation. First though, Tolkien would unleash the beast that was The Lord of the Rings. Despite being written in stages between 1937 and 1949, three volumes were published over the course of a year between 1954 and 1955 (The Fellowship of the Ring, The Two Towers and the Return of the king). There was a sudden glut of Tolkien product in the marketplace at just the right time. The books were manna from Heaven for a generation starved of good food, new ideas and hope. For the first time, they had in their hands an affordable escape and a template for a way out of their difficult situations. It was like the scene in the Wizard of Oz where the world goes from monochrome to eye-popping technicolor as Dorothy reaches Oz. John Lennon was one of many British kids who became a fan of Tolkien’s.
The Beatles turned everything on its head when they shot to fame in 1962. As well as topping the charts with monster hits on both sides of the Atlantic, they also made some remarkable films including A Hard Day’s Night, Help and the surreal, Pythonesque Magical Mystery Tour. Kicking around for ideas for a new Fab Four flick, John Lennon suggested an adaptation of Tolkien’s The Lord of the Rings.
Peter Jackson directed both The Hobbit and Lord of the Rings trilogies. In 2014, he said “The Beatles once approached Stanley Kubrick to do The Lord Of The Rings and he said no. I actually spoke about this with Paul McCartney. He confirmed it. I’d heard rumors that it was going to be their next film after Help.”
It wasn’t just Kubrick who rejected The Beatles: “It was something John was driving, and J.R.R. Tolkien still had the film rights at that stage, but he didn’t like the idea of the Beatles doing it. So he killed it,” Jackson added.
Lennon had published two books himself, A Spaniard In The Works and In His Own Write, his love of wordplay being evident in the titles. Lennon was fan of Lewis Carroll as well as Tolkien and his writing has been compared to Carroll’s, particularly I Am The Walrus.
It is arguable that many of the prog rock concept albums of the 70s were an attempt to transfer Tolkien’s epic fantasy imagery to the album format. Rick Wakeman played piano on Bowie’s Life On Mars and was the keyboard player with Yes. Wakeman did a 70s concert at an ice rink with skaters playing knights on horseback jousting to the music he was playing. He admitted recently that he had gone too far but it was excess-all-areas in the 70s.
Robert Plant of Led Zeppelin was a serious Tolkien nerd, liberally sprinkling references to the books in his songs. Take these lines from Zeppelin’s Ramble On: “Twas in the darkest depths of Mordor, I met a girl so fair. But Gollum and the evil one crept up and slipped away with her.”
Queen, in turn, were big fans of Led Zeppelin. They played Zeppelin’s Immigrant Song during soundchecks and Plant turned up at The Freddie Mercury Tribute Concert in 1992 to perform Innuendo and Crazy Little Thing Called Love. It’s possible that Freddie and the boys imbibed some of Zeppelin’s Tolkien imagery by osmosis. Seven Seas of Rhye was Queen’s first hit. It came out in 1974 and was written by Freddie Mercury. Rhye was a fantasy world that Freddie had created with his sister Kashmira. Freddie sings of “the mighty Titan and his troubadours” in Seven Seas of Rhye. On other Queen albums there was “Ogre Battle” and “Fairy Feller’s Master-Stroke.” The imagery of Brian May’s The Prophet’s Song on A Night At The Opera is very Tolkienesque, although the images came to him in a dream. Queen would also go on to do the music for fantasy films like Highlander and Flash Gordon.
Tolkien was probably horrified by the bands and music he inspired but that would have been a typical reaction from his generation. None of it was intended for him. He was unable to foresee the consequences of publishing his books but it is interesting to see how one creative act can inspire many similar and dissimilar ones, spreading out like ripples in a pond. We pass the torch of inspiration down the generations, it is not ours to keep but ours to maintain and pass on.
© Stewart Stafford, 2016. All rights reserved.
If you’re a generous person who believes this writer should be paid for his hard work, you may donate here.
Writers in the 21st Century think they’re so sophisticated in the way they can store, transport and transmit stories. We worship at the altar of electronic technology. However, hard drives can fail. Memory sticks can get damaged, lost or stolen.
Take my case, for example. Although I didn’t know it at the time, my cat Ginger was going blind. He thought he was in his litter box but was actually squatting over my memory sticks which had fallen onto the ground. He peed on them and wiped 8 gigabytes of data on me, a huge amount for those who don’t know what that means. The acid in his urine corroded and rusted the metal tips of the memory sticks, making them unreadable. Although I had saved the contents of my prime memory stick to a back-up, the cat had managed to pee on both of them. Through that freak accident, I lost things I can never get back.
Similarly, I went away on holiday once. While I was gone, my sister decided to surprise me and clean up my place. She threw out a load of writing I had saved on disk, including about half a book’s worth of material. When I got back, I was shocked and not a little pissed off (we’re back to urine again, see a theme emerging here?). Luckily, she hadn’t thrown out a stack of hard copy printouts I’d done. I went through the pile, silently praying that my discarded work was there. It was and I breathed a massive sigh of relief. Now, I had to retype it all from scratch but the material wasn’t lost forever. I was able to retrieve it. You might think you can retype something verbatim from memory but every time you sit down to write, you make different choices. It’s never the same way twice. Retyping it all was actually a good way of revising what I’d done. I spotted some errors, fixed them and took the story in a different direction as result.
The point being, print out early drafts of your material as well as storing back-up copies separately from the primary source. If you’re blocked, reading what you’ve done so far gets you thinking. Even if the solution doesn’t present itself immediately, your mind is working on it. You may not find a way to progress the story ahead but, very often, you’ll see a way to link earlier sections of your book with new sequences. That all adds to the wordcount and gets you closer to completing your novel.
Yes, paper can be shredded or torn up but it’s far more difficult to do than wiping something electronically which can happen in an instant before you know it.
So there’s the writer’s life for you; sometimes we sabotage ourselves and sometimes it’s technology, those around us or even nature itself preventing us getting our work out there. (I wonder how many great books have been lost over the centuries in that way?) For all our perceived sophistication, you really can’t beat having that tangible paper copy in your hand. Some things never change.
© Stewart Stafford, 2016. All rights reserved.
“Ah, good taste! What a dreadful thing! Taste is the enemy of creativeness” – Pablo Picasso
I have written a fantasy/horror novel about war with vampires called The Vorbing. It is hard to deal with either of those subjects without dealing with bloodshed. Yet, I have discovered, to my great surprise, that there is discrimination by book reviewers against books with “gore” (which they find “tacky” and on the same level as porn) and “extreme violence” (which they find “offensive.” That’s strange as fiction isn’t about real pain or suffering so there’s nothing to be offended by. It’s all make believe). They had better not read The Bible then or anything by Shakespeare.
In Act III, Scene VII of Shakespeare’s King Lear, the elderly Earl of Gloucester has his eyes gouged out by the Duke of Cornwall with the words: “Out, vile jelly! Where is thy lustre now?” Pretty graphic stuff but it perfectly illustrates the upside down nature of Lear’s kingdom once he mistakenly divides it up between his three daughters.
The crucifixion of Jesus in The Bible also has scenes of graphic torture followed by the slow death of Christ that follows. Again, this is deliberate to make the reader or the listener in church live every wound with Christ as he dies for our sins (or so The Bible says, believe or don’t believe what you want, dear readers).
Where did this ludicrous squeamishness appear from suddenly? Why are books being prejudged for their content without being given a fair chance?
“Don’t judge a book by its cover,” the old adage goes. Equally, don’t judge a book by its content until you’ve read it. If you dare to write extreme scenes, you are essentially barred from getting not just a fair review but ANY review. This is wrong on all levels. It is holding back writers that want to try new things and push boundaries. You don’t get great art by playing it safe but that is the message being sent out loud and clear by these reviewers. Conform and be unimaginative is their coda.
It is a form of censorship and all that entails (I always get images of Nazi book-burning in my head when I think of censorship) My old acting teacher told me never to censor myself as that’s when all the good stuff happens. She was and is right. I never have censored myself and I never will. Nor will I allow others to censor me either. The glorious freedom of writing is a beautiful thing that must never be stifled.
I am not saying be outrageous or controversial for the sake of it. That is petulant attention-seeking. Some writers are acutely aware that there are two ways to get your message out there – advertising (which costs money) and publicity (which is free). Being cynically controversial is the cheapest and fastest way to sell anything. The media and chattering classes see to that. I am saying take risks because your characters and their world take you there or demand that you do. Even if these lily-livered reviewers want you to water down your work, I say don’t. Why? I’ll give Shakespeare the final word: “To thine own self be true.” Amen.
© Stewart Stafford, 2015. All rights reserved.
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.
Tell us about yourself and how many books you have written.
I was born in New York City to Irish parents. My family moved back to Ireland when I was three years old. I’ve lived there ever since.
I appeared to have a natural gift for writing. The first school report card I got when I was five had just one comment at the end: “Stewart writes very interesting stories.”
I listened to my grandmother’s tales of the Banshee in her kitchen and was enthralled and terrified. It was direct exposure to Ireland’s Celtic storytelling tradition and I was hooked. I love the folktales, traditions and superstitions of Ireland, the country that gave the world the festival of Halloween and Dracula author Bram Stoker. I went on to do an Irish Folklore course in University College Dublin. I also have qualifications in Theatre Studies, Criminology and Social Media for Business.
The Vorbing is my debut novel. I have a plan to write five novels; three in the Vorbing Dubhtayl saga and two crime books.
What is the name of your latest book and what inspired it?
The Vorbing is my first book and a nightmare I had back in 1996 inspired it. I rushed to type it up before I forgot it (you always think you’ll remember these ideas later, but you never do. Get them down!) The short story that resulted became the first chapter of The Vorbing. 19 years later, it’s finally out there.
Do you have any unusual writing habits?
I don’t have a set wordcount goal that I must reach each day. I wait for inspiration to strike and write in feverish bursts. That way, what I’m writing is fresh and just sings off the page. Sometimes it can take weeks for ideas to start flowing, but I never panic and wait for it happen. Thankfully, it keeps happening. I don’t know how or where these ideas come from, I’m just grateful they appear.
What authors, or books have influenced you?
Joseph Campbell’s work on mythic structure was a definite influence. James Ellroy (L.A. Confidential) is my favourite fiction writer and Antony Beevor (Stalingrad) is my favourite non-fiction writer. I also admire Richard Matheson’s daring take on vampire lore with I Am Legend.
What are you working on now?
I’m working on the paperback version of The Vorbing and its sequel.
What is your best method or website when it comes to promoting your books?
This is all new to me, so I’m still trying to figure that one out. Online sales are the Holy Grail for writers and you’ll come across a zillion people promising you the earth, moon and stars. Everyone likes and shares my book posts on social media and wishes me luck but somehow that doesn’t translate into actual sales. If I could crack that one, I’d be on to something. Everyone that has read The Vorbing raved about it, so it’s frustrating that people won’t take a chance on a new writer. I’m hoping this will change.
Do you have any advice for new authors?
Finish your book no matter what. Don’t listen to negative people or your own doubts; keep going, get it done and get it out there. Never put something out that isn’t up to scratch. Get your work professionally edited. Believe me, there are mistakes in your writing that only others can spot.
What is the best advice you have ever heard?
Don’t listen to advice. Give yourself the freedom to make your own errors, it’s the only way you’ll learn.
What are you reading now?
How Star Wars Conquered the Universe: The Past, Present, and Future of a Multibillion Dollar Franchise by Chris Taylor
What’s next for you as a writer?
Vorbing II and III and then two crime books. That will be my five-novel plan completed. After that, there may be a Cold War black comedy or maybe I’ll give up writing, who knows. It depends on whether people want to read my work. Supply and demand.
If you were going to be stranded on a desert island and allowed to take 3 or 4 books with you what books would you bring?
The Year in Ireland by Kevin Danaher
The Writers Journey: Mythic Structure for Writers by Christopher Vogler and Michele Montez
Stalingrad by Antony Beevor
The Black Dahlia by James Ellroy
This interview first appeared on the Awesomegang website; http://awesomegang.com/stewart-stafford/
The Vorbing is available exclusively on Amazon Kindle here; http://www.amazon.com/Vorbing-Dubhtayl-Saga-Book-ebook/dp/B0162713PU/ref=sr_1_1
My exposure to the magical world of stories began in my childhood. My mother would read bedtime stories to my brother and I. She would read from books and we heard tales like The Elves and The Shoemaker, Snow White and Rumplestiltskin. It was hearing the canon of the works that had gone before.
Adam West and Burt Ward as Batman and Robin
My father took a different direction. He made up stories on the spot and put us in them. We would start chipping in ideas on what direction the story should take. Our particular favourite was the story our dad told about Batman and Robin bringing us to school in the batmobile (we were crazy about the old Adam West Batman TV show). Sometimes, my dad would say it was too late to continue the story despite our protestations. (He would always finish with: “I had a little doll, I stuck it in the wall, that’s my story after all.”) The next day in school our imaginations ran riot with the possible turns the Batman story could take later on. I was starting to write my first story.
In school itself, there were more stories. I remember my teacher reading from Roald Dahl’s James And The Giant Peach. She read the words and I put the visuals to it in my mind. I would look from the book to the teacher’s face. The book was some sort of incantation read aloud to us, holding us spellbound. Then the teacher would close the book and say it was time to move on to another subject. I didn’t want her to close the book. I didn’t care about the other subject. I wanted to hear the rest of that story. As a writer, I don’t get distracted from stories now and it is very satisfying to me.
A Banshee mourning
In grandmother’s kitchen, once the housework was finished, the women in my mother’s family would sit down with cups of tea and swap stories, jokes and gossip. My grandmother recalled how the Banshee attacked her father in the wilds of the country. The story went that his bicycle tyre got punctured. He was pushing the bike along a narrow country road when he heard a woman crying. There, on the wall, was a woman combing her long, bedraggled hair and sobbing. My great-grandfather approached the woman and asked her what was wrong. At that moment, she threw her comb at him, striking him in the foot. His foot swelled up as a result. The moral of the story is; if you hear the Banshee crying, you mind your own business and don’t interfere with her spectral mourning. She was crying for families with O’ or Mc in their names. As a child, I didn’t question the veracity of this story. It was 100% real, terrifying but also enthralling. This wasn’t just family history I was hearing, it was the words of eyewitness testimony to a supernatural incident. I have tried to do the same thing with vampires in my novel The Vorbing. I wanted to make the vampires real creatures to see how that society operated, hunted and functioned. I also wanted to treat vampirism as a pandemic.
My grandmother also related an incident to me that may or may not be true. She claimed to have witnessed an attempt to dispose of a murder victim’s body possibly through cannibalism. Before I relate what happened to you, you have to understand what life in rural Ireland was like when my grandmother was a child. She was born in 1910 and there was no electricity in the countryside then. The Irish government’s Rural Electrification Scheme didn’t come along until the 1940s. It was a dark land where the even darker worlds of superstition and criminality flourished. My grandmother was told to get something in the shop by her mother. It was dark outside and if it wasn’t a moonlit night, you wouldn’t be able to see your hand in front of your face. Pitch darkness. She set out and soon came to a house with its front door wide open. My grandmother thought she saw what looked like a human body roasting on a spit over the fire. She crept inside to get a closer look. Her fears appeared to be confirmed. It was a man’s body. She spun around to get out of there and something or someone hit her on the leg. She managed to escape and lived to tell the tale. My grandmother died back in the 1990s, so we’ll never know if any of her story was true. Was it mistaken identity? A bad dream? Something she made up? Or was it real? It was related to me as fact when I was in my 20s. There’s a little nod to my grandmother’s experience in my book The Vorbing, I won’t give away how I work in the reference. So you’ll all have to go to school and hear about Batman later if/when you buy my book, he he. I had a little doll, I stuck it in the wall, that’s my story after all.
The Vorbing is available exclusively on Amazon Kindle from Thursday, October 29th, 2015 and can be pre-ordered at this link now; http://geni.us/1bza
© Stewart Stafford, 2015. All rights reserved.