Authors Electric

It’s time to don my flak jacket and helmet and try to look brave, because I’m going to talk about the potentially controversial topic of controversy. This is something of a pertinent issue for me. My novella Loving Imogen has a somewhat controversial theme, and though nobody’s complained yet, someone might. Indeed, given enough time, someone almost certainly will. Authors are of course no strangers to controversy. James Joyce got into trouble for his extensive descriptions of bodily functions in Ulysses . The Catcher in the Rye (ironically, for a book lamenting the loss of childhood innocence) came under fire for its adult themes. Lolita got people’s backs up for obvious reasons. American Psycho ? Genuinely disturbing, and I don’t shock easily. Admittedly, just about anything could be construed as being controversial. Controversy is in the eye of the beholder; it’s all a matter of perspective. Don’t believe me? Why, even the dictionary has been banned from certain librar...

Last month, Authors Electric’s Bill Kirton wrote this very interesting post. He was talking specifically about the fantasy genre, but he made a point that I think is relevant to all fiction: "We carry all these race memories, dreams, imaginings; we can release people and things from their restricted functions. Maybe fantasy is simply a means of relaxing our grip on experience, a way to deny chronology and inevitability. Maybe it’s just a less uptight reality." It seems to me that whenever we write fiction – whether it’s fantasy or not – we are, in effect, doing much the same. Fiction is a lie, but it’s not untrue; and that seeming paradox may be at the heart of what we do. “Reality is not the same as the truth” is the tagline to my novella Loving Imogen , and reflects the protagonist’s following thoughts: "These are the things that he remembers from that summer, the things that have always stood out. There are things, no doubt, that he has forgotten ab...

The novella. It’s the wallflower of the literary world, continually snubbed and ignored, judged to be to nobody’s taste. Like an overlooked middle child, it has neither the star appeal of its big brother, the novel, nor the simple charm of the short story. Stephen King once described the novella as “an anarchy-ridden literary banana republic”, and tellingly said that even he – Stephen King , who by his own admission could probably get his laundry list into print if he wanted to – had trouble convincing a publisher of his novellas’ worth. Big spines look good on shelves By many accounts , publishers are indeed reluctant to take on novellas. I’ve heard this attributed to a very simple, and brutally commercial, reason: novellas are simply too small to have much presence in bookshops. Readers are more likely to pluck a book off the shelf if it is physically prominent, with a thick, imposing spine. Novellas are also perceived to be less valuable: if a reader is going to spend his ...

One thing that I’ve always appreciated in fiction is a fully realised sense of place: a writer’s ability to bring a real or imagined landscape to life on the page or screen. Not too long ago, I read Carson McCullers’ The Ballad of the Sad Café , and found that it made the American Deep South – an area with which I’m actually unfamiliar – seem absolutely real and immediate. By the time I’d turned the last page, I felt that I’d just paid a visit to the Georgia town in which it was set. And, to McCullers’ credit, I hadn’t felt like a gormless tourist once, but almost like a local. Putting the book down, I was surprised to find myself back in Northern Italy on a chilly autumn night. Many of my favourite books share this quality: they allow the reader to immerse him- or herself in the world in which the story occurs. In the hands of a skilled author, the reader can move quite easily through an unfamiliar place, and never feel like a stranger. Place. It’s more than just a geographi...