Showing posts with label writer. Show all posts
Showing posts with label writer. Show all posts

Saturday 9 May 2015

Summer at Maghermore : A Short Story

Summer at Maghermore - A Short Story


It was early and no one was anywhere near the shore but for an old man sat against the rock nearest the tide, draped in a long towel, who watched out for the light to break. It was still a little like night to venture out and he sipped from a flask he had brought to warm him at that hour. The first call of gannets had woken two surfers inside of their camper van and they sat, with tea, and watched the old man, wondering why he was out alone so early and on such a remote stretch of beach.
"He’s trying to kill himself," one surfer said.
"Why do you say that?"
"No one would arrive out here so early. He’s working up courage, drinking from that flask, maybe rum. He seems unsteady."
"Then why did he change into that swimsuit? Why the towel if not to dry off?"
"Who knows what occurs in the mind of a suicide? Maybe he wishes to seem normal, like it might look an accident."

They crouched behind the wheel of the van with the light off so as not to be noticed in all of the silence and darkness. The only thing to move was the low branch stooped over the old man’s rock and the loose strands of seaweed in the breeze. The gannets and gulls began to circle more frequently and the light began slowly to come in. When the water was lit well enough to make out, the old man folded his towel down into the bag where he had packed his clothes and placed his flask on top of the rock beside it. He began walking out toward where the water washed the first pebbles on the shore.
"There, he’s going to do it. We can’t just allow it to happen."
"He doesn’t look anything like drunk. He’s just testing the temperature."

They both silently got out of the van to watch from the shade, keeping sure to remain very still. The old man stood a while with the water reaching only his ankles. He adjusted his shorts, tucked up underneath where his belly hung, and crouched down to place his hands into the foam. He brought water up to rinse through his hair and down his face, doing this a number of times. He ventured out a little deeper, knee deep and then to his waist, and allowed the tide lap his belly and upper arms while he looked out at the sky gradually changing colours.
"Where are you going?"
"I’m going down there. It’s probably even a crime to stand by and watch someone kill themselves, doing nothing."
"You don’t know what you’re talking about. He’s just taking a dip."

The man craned his knees to have the water cover his chest and then wash over his shoulders. That early it was still cold enough to throw you off if you didn’t take enough care. He went through this motion a couple of times, then finally dunking his head the whole way under to come up again wet all over. Sure of his footing now and far enough from the shore, he pushed forward into a forearm stroke, letting the water catch his weight under the belly and kicking hard as he could manage it. It churned water high in every direction, his strokes weren’t quite timed to replace one another in the water and his kicking legs weren’t strong enough to breach the surface and push him on. He floundered sideways, unable to bring his following arm round in time to keep afloat and kicked down to touch the bottom again. He stood a minute out as far as the water reaching his shoulders and took a few heavy breaths. He washed some more of the tide through his hair. Bending his knees further, he let the tide lap up to his lips and nose and pushed off again, horizontal to the shoreline, this time with greater effort and more foam thrown up about him. His legs kicked harder and he forced his arms on through the water ahead. But he was already off course, and soon heading diagonally out from the tide to where the bottom began to slope off. The push and thrashing soon tired the old man. He quit to stand still a while again, but he had ventured a little far out of his depth. His shoulders dipped under quickly to his surprise, taking his head down under as well and he had to reach right away into another forward splash, even out of breath, to make it in close enough to shore to touch down.

"He doesn’t know about us. He thinks he’s all alone out here. He can’t even hardly keep afloat. It’s still almost dark and there’s no one for miles."
"He’s teaching himself to swim."
"Why would anybody do that at this hour, miles from any possible help? At that age."
"Maybe that’s why he’s out here."
"He’s well into his eighties easy. He was unsteady getting out there across the stones to start off with. Hazard to himself. There have to be laws against people acting out of recklessness with their own well being."
"There aren’t any people out in the water at this time. No one to pay him any attention back on shore either, to get unduly worried. He can concentrate freely."

The old man was back down into another stroke, this one a little sharper, tighter to the line of the tide. He seemed not to kick as much froth up around him either. A number of gulls had settled on the moving surface, content to drift and watch. He only made a couple of feet along before having to touch down again and catch his breath. He knew he was doing it all wrong, that his timing was off, he was pushing too hard and without any grace. Stood deep in the tide, he tried to figure out how to better it with his next go. He waded out a little deeper and practiced moving just his arms, each over the shoulder in turn, slowly as he could, for imagined in this lay the key. Then, remembering what he had seen others do, he began rolling his head from side to side in the water, breathing in one side and out the other. He stood in place and did this a little while. The younger surfer watched him, shaking his head. The man took another breath and lunged forward again, this time in the opposite direction. Again, he kicked up a lot of froth and began to stray diagonally outward, but it seemed a little more contained a motion than before. He couldn’t maintain it for very long and hadn’t gotten the breathing right. He lacked the strength to keep stroking any length and had to stop to again pretty soon. The younger surfer shook his head some more.
"You know he’ll be back out here tomorrow morning."
"He looks that type."
"And we’ve taken the place up by Maghermore. So we won’t be here."

The light had by then come in enough that the rock, the trees and camper van and both men were clearly visible and the old man, seeing them, wet his head one final time in the foam and began to stride his way back into shore through the water. He reached the stones and collected his bag and his flask from the rock, made his way back up the shingle slope and past the camper van, saluting the surfers with a nod as he went. Both of them nodded in return.

In a little while, they had suited up and prepared the boards, they’d locked up the van and headed down to the shore themselves. It was still early but the waves were starting to come in a little harder and break with more force. They paddled out far enough and caught what they could, but the waves weren’t as lively as they had been earlier in the month. That was why the younger surfer has suggested moving on up to Maghermore, where it was said to be rougher. They had planned to pass the summer there but had left it too long. He brought his board out past the furthest rock and let the sea rise and drop him until he felt there was enough in it to try and make it back in on. Each time he did it, though, it tapered off and he was left wishing he had left it longer. A few of these and he had given up. He relaxed and watched his partner fight to drag some life out of the waves, sometimes even getting a little. He sat on the surf board, flat on the surface of the water, and thought about that old man, wondering if he’d be out there the following morning and if he’d ever succeed in teaching himself to swim. It was too dead to surf. He paddled back into shore and lit a fire back by the van. He dried himself off and began to prepare breakfast.
If you enjoyed that, you might like my novel, Sour, an old Irish myth retold as a modern murder story:
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Sunday 3 May 2015

10 ways to get your short story published in a magazine.


How to get your short story published in a magazine



Getting your story published in a magazine is a great way to showcase your writing ability, get your name out there and grab the attention of editors, agents and publishers. Once you're writing to a good standard, it shouldn't be too difficult to get noticed by the magazines, but in many cases writers try the same things again and again to no benefit. I've compiled a simple list of points that should help set you up for a successful submission. 


1) Read the magazine you're submitting to.
This sounds pretty obvious. It's not all that obvious to many writers. Read at least a whole issue, ideally, read more. What this will do is give you a pretty clear insight into what the editor likes. He or she is your target market. Your YA tale of forbidden school-yard werewolf romance, no matter how well written, won't appeal to someone only publishing gritty social angst stories. It's all too easy to shoot off multiple emails to lists of magazines with a copy-and-paste intro and an attached word doc of your story. You're playing the game a little like a lottery there and chance are you'll get pretty much the same results.


2) Pitch the story in your intro email.
This is maybe not so obvious. Editors of these magazines aren't always working full time and have a limited amount of hours to trawl through submissions so a quick pitch, outlining tone really helps. A simple few words out to suffice, think clickbait. This doesn't need to be a synopsis. "Alexandra and Wesley are classmates united by an unusual preference for dog treats. Mr. Jeffries wants to know why they never meet during a full moon." 



3) Address the email correctly. 
Be specific. People can tell when they get blanket emails. Address the editor by name, mention the magazine, talk about the style and themes the magazine goes in for and why your submission would fit in exactly. This shows you've taken the time to get to know the publication and that you actually care about where you get published. 


4) Care about where you get published. 
This seems pretty obvious but only submit to magazines you're actually interested in. You might find a publication run out of someone's backyard shed, using a combination of fonts making it look like a ransom demand, you might happen upon a magazine where they dedicate a few pages to the opinions of the deranged, blinkered or worse. Look for magazines you actually like and respect. 

5) Show the piece around to people before submitting. 
Writing is a solitary endeavour, but as soon as you submit something it no longer stays that way. The whole process of getting a story out to people, in whatever medium, is highly collaborative, so get used to working with others in getting your work the best it can be. Show it to honest critics. Friends who fawn over your prose are no good to you. The ones who sit you down and list how and why a thing isn't working are invaluable. The greatest mistake a writer can make is thinking 'this person just doesn't get what I'm saying'. Your job as a writer is to make people get what you're saying. Feedback and second and third and ninth drafts is part of what you do. This will help massively. 


6) Use standard formatting. 
Comic Sans, random bold text, font size experimentation, trying out different margins, spacing, colour as ways to express your individuality are out. You express yourself through the words. The rest should be as undistracting as possible. 

7) Read as many short stories as you can. 
Read the greats, of course, Carver, Hemingway, Alice Munro, Chekov and so forth, read them to bits, but read younger, current writers too. Be aware of how people are writing now. Find your own voice. 

8) Tell a story.
I know, I know, but vignettes, exercises in prose styling, crazed narrative experiments and 'what-if' fan fiction is tough to find a home for. Very tough. Know what your story is, know what it says. Make sure it has a beginning, middle and end, conflict, and all the things a good story ought to have. When you're a seasoned pro you can turn around and mix it up.

9) Submit to one magazine at a time. 
Wait for their response. Worst case scenario is not two rejections, it's two acceptances, for then you must contact one magazine with the bad news and know that they will never entertain an approach from you again. Be respectful to the magazines, try and forge a bit of rapport, follow them on twitter, retweet them. 



10) Keep trying.
This doesn't mean keep sending the same story with updates. If a story doesn't make the cut in a magazine bite down on the fact and embrace it. Most of the time you won't be told why. The reason is either the piece is totally wrong for the magazine, the upcoming issue is dedicated to a particular theme and your story doesn't fall within it or it simply wasn't good enough. If it wasn't good enough, that's okay. It means you need to work harder. As a writer you'll always need to work harder. Craft what you do. Show it around. Beg, plead for criticism and when you get it, take it on the chin. Someone hating your piece  and you addressing that makes you better. Someone liking it just keeps you at the same level. 


Hopefully, these are of help, I'd be delighted to hear any other tips.  



If you found that interesting, maybe you'd like my novel, it retells an old Irish myth as a modern murder story:
Read More

Saturday 18 April 2015

Why Ireland's most famous female character is also a feminist icon.

Deirdre of the sorrows




That Deirdre of the Sorrows is still one of the most famous of the old stories in Irish folklore speaks volumes, I think, for how we see the downtrodden, the innocent and, in particular, women in Irish culture. That might come off a glib and sweeping statement but you have to wonder has all that much changed since the story was first told in Pre-Christian Ireland.

Setting the scene
The story goes that Deirdre was trouble before she was even born. The mystic druid, Cathbad, on hearing shrieking from within her mother's womb, advised the baby be killed, predicting it would be too beautiful and bring war and mayhem to the men of Ireland. Conchobar Mac Nessa, the king of Ulster, at this point steps in and takes the child as his own, as I guess  kings were able to do then, promising to keep her safe from causing any trouble.

The tables turn
Conchobar brings Deirdre up in seclusion, with only an old maid for company, with the intention of marrying her himself when she's old enough. Now, so far this is all tapping into some pretty on-the-nose themes of women as property, women as the downfall of men, women as helpless to decide their own destiny and also as a gateway to some kind of chaos if left unchecked, which rings true with a lot of older myth, only even going back to as far as apples in gardens. What's interesting next is the turn the story takes. The scene is set, Chekov's pistols are mounted securely on the mantelpiece, but now we start seeing things from Deirdre's perspective.

Deirdre takes control
She tells the old maid that she dreams of meeting a young man with hair as black as a raven, skin as white as snow and lips as red as blood. Fair enough, this could be seen as her only character motivation being defined by men, which doesn't help us as far as the Bechdel test goes, but I guess these were different times. The old maid, Leabharcham, says she might be able  to help out here and introduces Deirdre to a young warrior called Naoise, from the Uisneach family. Well, right off the bat, Naoise wants no part of this, knowing she's promised to the king, but it's not like he doesn't have eyes and can't see how outrageously beautiful the girl is. She finally convinces him to run away with her by jumping on his back and shaming him into doing it. What I find interesting about this is it shows her taking control. There are strong, powerful female characters in Irish mythology, Queen Medb being the foremost example, but here we see a young woman, controlled and dominated by men, breaking free of her own will and bending that of a young man to do what she wants. Sadly, this doesn't work out that well.

The action part
Conchobar learns of the escape and rallies troops to chase Naoise and Deirdre down. Meanwhile, Naoise has called in his brothers, some of the best warriors in the country, and the gang of them cavort from county to county trying to hide from Conchobor's soldiers, finally straying to as far as Scotland. Knowing this could go on forever, Conchobar offers a truce, saying Deirdre and Naoise and all his brothers can come back to Ireland and even back to his castle, without threat of retaliation, to work things out. Unfortunately,  when they arrive, Conchobar has his chief warrior, Fergus, kill Naoise and all his brothers and immediately marries Deirdre against her will. 

Things get worse. They won't get better. 
The story finishes up with Deirdre in a chariot, riding along between both King Conchobar and the warrior Fergus. She's defeated, she's broken, she's owned again. She took her shot and it couldn't have gone worse. The king turns to Deirdre and asks her, "Is there anyone in all of Ireland you could possibly hate more than me?"
"Yes." She replies, "Fergus, who killed Naoise and his brothers."
"Then," says Conchobar, "I will share you with him, as a punishment."  Here's where it ends. Deirdre, on hearing this, can't bear to be owned and shared and passed around. It's been said Deirdre represents a woman's need for independence, she expresses that here in the most powerful way imaginable. As the chariot is pulled along, it approaches a low hanging rock, just as it moves beneath, Deirdre raises her head, catches  the rock and is decapitated. The tale ends here.  Tragically, Deirdre has finally asserted her will in the ultimate way. She won't be owned. She won't be made queen against her will. Nor will she be shared. 

Women in Ireland.
Interestingly enough, at the time the story first emerged, women in Ireland enjoyed a position which would have been the envy of those in Greece or Rome or the East. They could own and breed livestock and, thus, make  a living for themselves. They weren't completely subjected to the man and his family on marriage either. Yet they were still unable, as were men, to own property, it being owned by the king, and were still trapped within the conventions of a society still totally governed and operated by men. Deirdre's attempt to break free of that and her final, devastating act, represent a struggle for independence still manifested today across the world and here at home in a multitude of  unresolved issues. 


If you're interested in Deirdre, maybe you'll like my novel, which retells her story as a modern murder story:



Image courtesy of Druid Synge



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Sunday 12 April 2015

Cuchulainn Reinvented: Guardians of the Galaxy, Manga and 5 more bizarre appearances.

CuChulainn, Guardians of the Galaxy


Most people know Cuchulain as Ireland's most famous mythological hero, defender of Ulster, warrior against armies and international lover ( he had a thing going on the side with a Scottish girl - worth looking up) but what most people don't realise is how Cuchullain has been re-imagined in modern pop culture. I've just written a novel re-imagining the different 
cycles of Irish mythology into one small modern Irish town, so I thought I'd look this up and I wasn't disappointed.

1) Guardians of the Galaxy.
In the original comics on which the movie was based, Cuchulainn ( pictured above), The Irish Wolfhoud, is resurrected in the 31st century ( thanks to magic from the Book of Kells no less) to  fight alongside the Guardians and protect the earth into infinity. 

First appearing in Guardians of the Galaxy Annual #3, he's a "master of all forms of archaic combat" and on at least one occasion has to actually defeat the Guardians themselves in combat. His weapons appear to be what he calls his "throwing stick" ( the Gae Bolg ) and his ignorance of 31st century culture seems to be his only weakness.

Photo courtesy of Marvel Comics.





2) Slaine.



Photo Courtesy of 2000 AD

Slaine is an impossibly muscular and singularly brutal warrior from the pages of 2000 AD in Britain. In truth, Slaine is a mixture of both Conan the Barbarian and Cuchulainn, but the entire strip is set against a backdrop of Celtic mythology and in moments of particular trouble, Slaine descends into what he calls his 'warp spasm' which is unmistakably the ríastrad of Cúchulainn ( down to the one protruding eye ), as well as carring his barbed spear the Gae Bolg.

Slaine has been hand 
painted by a slew of impressive comic-book illustrators, none as famous as Simon Bisley, who imagined Cuchulainn as a monstrous landscape of blood flecked muscles and unkempt hair.


3) Final Fantasy.
Image Courtesy of  Square Enix



Cuchulainn makes a pretty bizarre appearance in Final Fantasy XII as a bloated green monster, though his profile does say he was once fair and beautiful. He's the first demon players have to defeat. Despite his nickname being 'the impure' he actually becomes an ally if you defeat him. 

You kinda get the impression the game developers randomly looked up International mythological hero names and went at re-purposing them without even a glance at who they actually were ( Shiva seems to have been done a particular injustice ). 



4) Gargoyles.


Gargoyles
Image Courtesy of Disney


This is the Disney version of the Hound of Ulster. In the second season of the Disney cartoon, the characters encounter a young Irishman who turns out to be Cuchulainn reincarnated. There's a bit of weirdness then with a Banshee and a giant worm and defending something that seems to follow the kind of lines only children are sophisticated enough to grasp. 

Pretty dull rendition when compared to the previous though. 





5) Political Murals. 


Cuchulainn mural
Photo courtesy of Norman Craig ( Flickr) 

It's perhaps not surprising for a hero credited with defending Ulster against all the other armies of Ireland ( often single-handedly) that he'd eventually be claimed by the politics of his home province. Often used in some pretty spectacular looking loyalist murals, Cuchulainn takes on an almost martyr like appearance but one of pretty big, if divisive, cultural significance. 



6) Megami Tensei 


Tensei Cuchulainn
Photo Courtesy of Atlus, Cave 

Another pretty bizarre Japanese video game, Cuchulainn is a demon who can be summoned to defeat other enemies. He actually appears in many, many versions of this game ( even once as Setanta, his boyhood name ). You'd really have to wonder at the thinking behind leveraging the character for this kind of thing. 



7) Tir Na Nog


Tir Na Nog
Photo courtesy of Gargoyle games. 

Yet another weird video game, this one for the Commodore 64 all the way back in 1985 ( before that for the Spectrum and Amstrad). Cuchulainn essentially has to wander Tir na Nog collecting items and solving puzzles. Dun Darach is another game released in 1985 for the Spectrum which was essentially a prequel to this. 



To be honest, I'd imagine there are even more out there. In my own novel, Cuchulainn is reinvented as a traveller, Cuckoo, living peaceably with his wife after a lifetime of incredible fighting feats, which I thought was odd enough before discovering Final Fantasy. This has all prompted me to check out how other Irish Mythological characters have fared across popular media. I'll be posting more soon hopefully. Has anyone else seen anything out there? 
  








If you're interested in this, maybe you'll like my own novel, Sour, which retells an old Irish myth as a modern murder mystery:
Read More