Book of Poems

It’s been a long time in coming. A very long time in coming, but at last it’s happening!

For the last few months I’ve been looking through my poems and creating a book of poetry from them, using Blurb. I’ve written so many that I’ll be publishing several books. For the moment, all the poetry for the first book has been collected and I just need to work on the look of the book and put pictures in, then it’ll be ready for publishing. 🙂

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Mor Spelling Alternativs

I’v just seen this on Wikipedia and feel it’s on to somthing intresting. You don’t hav to change the entire alfabet, just make a few useful adaptions to the present system.

A few simpl steps to get the ball rolling:
– write e-sound as e (head, any, said hed, eny, sed)
– get rid of useless e’s (have, freeze, valley hav, freez, vally)
– change ph to f (alfabetical!)
– and doing somthing diffrent with those infernal augh and ough words (maybe I should rewrite my surname as Bruf? That’ll stop the awkward “Mr. Broo… Brow… Broah…” phone calls, lol).

I was surprised that the Australian government did attempt to work with the first one (hed, eny, sed, etc.) but it didn’t stick.

By the way, I’v been working on a new wikispaces to present a few of my orthografical experiments, which I’ll share shortly.

(don’t worry, I won’t always be writing like this, just occasionally 😉 )

Writing Style

At the moment I writing a short story about a Brinkleginks first encounter with humans. I started it in a serious-fantasy mode, and I could start it, carried on it for a few paragraphs, but then there comes a bit where there’s a “pause” in the actual story, where I don’t know how to transition from one phase to another. Well, I’ve just written the same story but in funny-fantasy mode and found it flows much better. I think that, for the moment, this is really “my style”, as I discovered with Jake Fish, St. John de Monmouth and a few other short stories. For the moment I think I’ll just write what flows, and what entertains me by whilst I’m writing.

Principles of Poetry

Right now I’m working on something about my experience with poetry and Jung’s ideas on active imagination, a creative way of building a bridge between conscious and unconscious.  Can’t talk much about it now, but it’ll be published by the 1st Nov (or it should be, lol), but I thought I’d share these “principles of poetry” , which I wrote a few years ago, early on in my poetic days. Further down are four principles written by Jung about the relationship between conscious and unconscious.

–          Poetry is created by the formless ore of Universal Inspiration, which is filtered and forged through Personal Experience.

–          Inspired poetry is an organic product that is made intuitively, instinctively and spontaneously, so the most inspired poetry cannot be forced nor rationalized.

–          It doesn’t matter whether a poem is good or bad; as long as it’s expressed that’s enough to make it good.

–          Because part of poetry is from Personal Experience it remains to some degree a subjective experience. Therefore let each person find their own interpretations.

–          There are traditions and practices that help inspire and structure poetry in different ways. Whilst these are not essential to write good poetry they do exist as powerful tools to enhance the poetic experience.

–          Being a poet is not about being able to write poetry all the time. It’s about accepting that inspiration is irregular.

(1)    Consciousness possesses a threshold intensity which its contents must have attained, so that all elements that are too weak remain in the unconscious.

(2)    Consciousness, because of its directed function, exercises an inhibition (which Freud calls censorship) on all incompatible material, with the result that it sinks into the unconscious.

(3)    Consciousness constitutes the momentary process of adaption, whereas the unconscious contains not only the forgotten material of the individual’s own past, but all the inherited behaviour traces constituting the structure of the mind.

(4)    The unconscious contains all the fantasy combinations which have not yet attained the threshold intensity, but which in the course of time and under suitable conditions will enter the light of consciousness.

C.G. Jung, The transcendent function

Talking History

A while ago I had an idea about writing interviews with historical personalities. I did it before with Socrates and thought it was quite fun, and a couple of weeks ago I did one with King George III (the “mad one”). This one’s just a bit of fun, but I thought about more serious stuff (not much more, but a bit), perhaps talk with a load of philosophers, or even monarchs? Though always with an underlying humour.

MAD KING GEORGE

ACB (that’s me): Hello

MKG: I’m a teapot!

ACB: Yes, so I see. Not very convincing.

MKG: What!?

ACB: I mean…

MKG: Careful of the Kettle Republicans, they’re out to pour boiling water in me to make tea!!! I won’t have that, NO!!! not at all…

ACB: Erm, yes, terrible. Kettles shouldn’t do that to teapots… I suppose.

MKG: Tea?

ACB: …

MKG: Ich bin könig!

ACB: Sorry, I don’t speak German.

MKG: Tiddles! Where are you boy, come here, Tiddles? Dinnsey Timesey, you’d like that, wouldn’t you?

ACB: I see, I don’t think I’ll get much from you. Thank you anyway.

MKG: Babi bimbi boombi blaaaaah

ACB: Right, I’ll leave you to it. Bye.

Andrea and the Gnomes

A little while ago I mentioned that I’d entered a story writing competition with Catalonia Today‘s Write On competition. All stories had to start with “Andrea knew today would be special.” And from there you could make up any story you wanted. For me it was about some troublesome Gnomes who lived at the bottom of Andrea’s garden.

Since the competition has already been published in the latest magazine I can now share what I did, with you (btw, I didn’t win, but there’s always another time!).

Andrea knew today would be special. Today she would be leaving Snailfield village to go to work in London. It was such an exciting prospect! Except of course she’d have to break the news to her neighbours, who were sure to protest. Not the neighbours of 15 or 19 either side of her, nor Ethel over the road, but the ones at the bottom of the garden. It was infested with gnomes.

She was the only human they trusted, and, more importantly, the only one to put up with their troublesome ways. They loved her for it. She had to tell them at the last minute otherwise it’d be impossible for her to leave, and impossible for the new tenants.

“Girrumz?” she called. “You there?”

Between the calendulas a little red hat came into view, and a little bearded face peered up looking like it had just woken up.

“`lo”. It mumbled.

Andrea considered her next move carefully, “I’ve got something to tell you.”

Girrumz raised his eyesbrows.

“I’m leaving. For three months.”

“’kay,” he said with utter nonchalance.

“There’s to be tenants living here for that time. You promise not to cause them problems, won’t you?”

“’kay,” Andrea was feeling worried by his calmness.

“No tying up their dog.”

“Nope.”

“No tying hair whilst they sleep.”

“Nuffin’,”

“Oo’s that?” a voice called out from the pansies.

“s’ndrea.” Girrumz replied.

The voice was from Marthipin, Girrumz’s wife. Girrumz was just the spokeperson, Marthipin was the one that ran the whole show.

“Wot she want?”

“Sh’sleavin’,”

“Oh,” a pansy said.

Another hat appeared, Marthipin’s, followed by a hoard of others. It looked like they were all there, but there was something wrong that Andrea couldn’t pin down, something missing. Not only that but they should be putting up a fight, convincing her not to go or playing a trick to stop her going.

“Well, bye for now.”

“Yep, bye bye,” lots of little hands started waving.

As Andrea walked away Girrumz disappeared like lightning to the front of the house.

“Neeve!” he called to the gnome missing from the hoard, “You finished with the car tires?”

“Mmmmpf,” confirmed a voice behind a flat wheel.

Good, Girrumz thought, she’s not the only one that can pull surprises like this at the last minute. What did she think, that we wouldn’t find out?

“You get back the others, Neeve; I’ll cut the phone.”

Reading and Writing Novels

Doing the Novel Writing course with the London School of Journalism has been very interesting for me; I’m going through a step by step process, learning some of the technical bits of writing stories (the imagination part, the story and its background, I have no need to learn about, lol), how to use the words, how to “use” the characters and situations to explain bits about the world and the story. It brings its own challenges too.

I like dialogue, and I like action, to read. Description of scenery and people I don’t like because part of the magic of reading, for me, is that I can fill in the blanks*. Often a book will describe something but my imagination has already decided what something looks like, and I just can’t shake it off and replace it with something I’m reading. What I’d skip in some books I’m trying not to put too much emphasis in my own writing. Each writer has their own style.

*description of a world in a sort of historical-cultural overview is a different matter.

Writing Competitions

Last month I entered into an artistic competition on OBOD’s website and won in the prose category. If you click on this link my story’s the first one (it was a pretty close run thing); it was originally written for Realms Beyond the Sea.

I continuing the trend and have entered into a writing competition with Catalonia Today, a magazine that I am subscribed to, an English magazine for those living in Catalonia. I’m really looking forward to the results and would love to share my own story here, but there are some restrictions on publishing before the time.

I promise you, once the competition is over and done with then I’ll happily share what I wrote here!

Background or Story?

That is the question!

What’s more important in fiction writing, the background or the story?

I have to confess that I find it much more interesting to build up a whole world, inventing places, peoples, religions, creatures and societies than I do writing the actual story, which can often seem laborious. So whilst writing a story I could easily get sidetracked into explaining the world which my characters are moving around in.

But that’s the challenge if I am to write a novel: how do I keep the story flowing and yet also introduce the context without interrupting the flow? The trick is to do it in little bits so that the reader can build up a fairly comprehensive picture and just keep the characters doing stuff and talking.

And if there’s so much information about the world that I can’t share it all in a novel I can always add it as an appendix a la Tolkein, or even write a special encyclopedia for it! lol

Erewhon

I was interested by this book. I went into the library and found the English section (mostly novels) and saw Erewhon. It had some very interesting ideas, two of which I shared recently in quotes. A man from England finds himself in an unknown land with an unknown civilisation: Erewhon (an anagram of Nowhere). But it doesn’t really follow his story; it’s more of a reflection on Erewhonian society, and underneath this is Samuel Butler’s satire of Victorian society.

If you want to read the book online then go here: Erewhon.