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.
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There is an absolutely brilliant piece of writing in Francis Ford Coppola’s The Godfather. It’s not the opening scene which perfectly establishes the power and darkness of Marlon Brando’s Godfather Vito Corleone and the tone of the film and the resulting trilogy. It isn’t one of the many classic lines; “I believe in America!” “I’m gonna make him an offer he can’t refuse,”, “Luca Brasi sleeps with the fishes”, “Keep your friends close but your enemies closer,” “Don’t ever take sides with anyone against the family again…ever.” (a line which foreshadows Michael Corleone’s murder of his brother and eventual moral downfall as he destroys his own family). It’s not the big, showy assassination scenes or the unforgettable minor characters that are patiently sketched out. I could go on listing all the many examples of masterpiece writing.
The scene I’m referring to is the subtle and under-appreciated negotiation scene with thug-on-the-rise Virgil Sollozzo a.k.a. The Turk. Brando’s Godfather is there as is his son Sonny (James Caan) and two of their henchmen with The Turk at the negotiating table. It is a verbal game of cards with everyone keeping their opinions close to their chests and giving nothing away. It is the 1940s just after World War II. The Turk wants money from the Corleone family to set up a drug-dealing operation (after the Prohibition booze boom of the the 30s, drugs would be the next one for organised crime) which is “infamita” and unacceptable to Brando’s Godfather. This frustrates The Turk and also Corleone’s son who can see the huge opportunity to get in early to the drugs market and make vast profits.
The Turk offers a sweetener that rival mob family The Tattaglias will guarantee the Corleone family’s investment. Hot-headed Sonny foolishly puts all his cards on the table and reveals an eagerness for the deal. “Wait a minute,” Sonny says, “are you telling me that The Tattaglias will guarantee our investment?” There are subtle reaction shots from everyone around the table. It’s a huge mistake and all of them know it immediately. The Godfather tries to reprimand his son and makes apologies for his rashness but it is too late. A division in the family is now revealed and Sollozzo can start to take lethal action to get his deal.
That one line will change the course of the rest of the movie and the other two films that follow. It will result in the death of Sonny Corelone, the attempted murder of his father Vito, the exile of his brother Michael (Al Pacino) to Sicily for taking revenge on Sollozzo and a crooked cop and Michael’s subsequent merciless rise to power on his return, the near-destruction of The Corleone family and an all-out war between the five Mafia families.
Sonny dies before most of these things happen, so he never sees the full consequences of his actions, but we don’t in life. We see some of them, but never all. Another nice touch in the screenplay. The Corleone family are clearly based on the Kennedy clan and their rise from immigrant obscurity to power and success in America with help from organised crime. There then followed assassinations and an unbelievable litany of tragedies just like the Corleones endure. No wonder Americans lapped up The Godfather in the early 70s; they were watching their own history writ large with the drama bringing them even closer inside it.
The Sollozzo negotiation scene is rarely commented upon but it is masterful in its execution. Sonny’s unthinking rage is the Achilles heel of the Corleone family, a thread sticking out of a quilt that is gently tugged upon to start the whole thing unravelling. A superb piece of writing that, in a movie that is all about strength and power, reveals a realistic human frailty. The moment is even foreshadowed by Brando who says: “Women and children can be careless but never men.” A great deal of clever planning has gone into the script’s epic construction by Coppola and Mario Puzo based on Puzo’s 1969 novel of the same name. It rightly won the Oscar for Best Screenplay.
Text: © Stewart Stafford, 2016. All rights reserved
The Godfather © Paramount Pictures
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We’ve all heard about the self-publishing revolution in books in the last few years with Amazon Kindle and all the other e-readers and websites. I was watching a BBC documentary called ArtsNight last week and the presenter made an interesting point: punk rock bands were the first indie authors. They learned their three chords, set up their own bands and, in some cases, record labels and self-published their own music. They took control of their own destinies in the same way novelists did recently. Even the punk fanzines were do-it-yourself wonders; stapled together, photocopied and distributed through record stores, mailing lists, by hand and by word-of-mouth in those pre-pre-internet days.
It’s a very cogent analogy. As with the self-published books, some of the DIY punk music that was put out was awful, but some of it has reached classic status in hindsight. Self-publishing until recently was called “vanity publishing,” but writers were no longer prepared to sit on their hands waiting months for a form rejection letter. They too seized their own destinies through the technology that was around them and turned the publishing industry on its head.
Movies are even being made from self-published books for the first time like Ridley Scott’s The Martian starring Matt Damon and a future fantasy film that 20th Century Fox has purchased the rights to called Fall of Gods (even after that movie deal was signed, the book was taken down from Amazon due to formatting issues, the bane of indie authors everywhere. Luckily, it didn’t impact on the movie deal and Fox could see the merit of what was there despite the flaws.)
Punks and indie authors are strange bedfellows indeed, but both groups were and are pioneers in their fields. While the punk movement didn’t manage to overthrow the mainstream in the same way hippies in the previous generation hadn’t, they democratised their art form and showed others what was possible with self-belief and a little effort. Just as indie authors did. The shockwaves of the indie author revolution are still spreading out from the epicentre and nobody really knows where it will stop or what comes next. The most important thing is that books that would have gathered dust in drawers and on hard drives and memory sticks are now finding a worldwide audience. That can only be a good thing.
© Stewart Stafford, 2016. All rights reserved.
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