To write, to edit – at the same time

Yeah, a crazy idea, to edit one book while writing another but hey, after a few weeks of this it’s not that bad a deal. To edit you need reasonably quiet surrondings and the ability to research online or offline, which isn’t easy to do unless you’re based in a library. And when you’re in a coffee shop or a bar that’s not going to be feasible. But you can scribble down ideas, even string together sentences of an idea. That’s my take on it anyhow.

So, at home I edit the third novella I’ve written using a character named ‘Bobby Olsen’, a guy who comes from a dark background but who now acts on the right side of the law as a private investigator (no, it’s not hardboiled Mike Hammer stuff…) in late 1950s, early 1960s New York. The writing has developed over the three books and has, I think, become less quirky and more straight forward. Not sure that’s for the best but I guess I find it hard to write in one way as the protagonist all the time. and Bobby’s quirky manner of narrating and talking can annoy even me at times. Hopefully it’s readable, light and makes some kind of sense.

The hardest part has been developing or even maintaining the relationship he has with his sidekick in work and life. It’s easy when they were first acquainted, when she might have lasted only one chapter, and it was fun with the ‘jousting’ of words when they were in the ‘are they/aren’t they’ stage of friendship/lovers. Now they are an item it’s tricky not to make them sound bland, sound the same in their speech, or to continue the ‘banter’ of earlier dialogues for too long. It’s very tempting to write ‘her’ out, with a baby, and leave Bobby to pursue storylines by himself, along with any new sidekicks, male or female, I feel like bringing in female ones might cause problems as it would be so easy to make them sound like possible lovers and so ruin the happy family life in place. So this might be the last ‘Olsen’ story for a while. Or, I’ll sit in a coffee house with nothing to write and fall back on yet another tale involving the guy.

By the by, anyone else have the problem of catching the ‘Num Lock’ key when aiming for the Backspace key? I keep doing it and the blasted icon comes up on the screen telling me the lock’s on. It’s like hitting the \ key when I’m trying to get the Shift key for a capital. As you can tell, I’m not a trained typist!

The new story I’m attempting while coffeeing most days is a homage to or a rip off of, depending on your view, of Breakfast at Tiffany’s. It’s set around the same time, same location, with a similar single woman as the centre of the story which is told by an admiring guy who flits in and out of her life. Or rather, she flits in and out of his life. I wanted to keep it to the same length as B. at T., around 100 pages/30,000 words and I’m at around 25,000 right now and closing in on the final scenes. I’ve no idea how it hangs together as I’ve only read short passages each day after I’ve written them. It was quite straightforward to write the early scenes as the woman appears in the first two ‘Bobby Olsen’ stories I wrote so I was able to ‘lift’ her appearances from those and retell them from this other guy’s point of view. The final scenes have proved more problematic. And the ending still hangs in the balance. Do I go for the movie’s happy-ever-after-ending? Or the novella’s she’s-disappeared-could-be-anywhere-ending? Or something more dramatic; a death? a wounded-we’ll-never-know-if-she-survived-ending? a walkout which leaves a broken-hearted guy behind? I’m still not sure.








2018 – a definite Write-Off

A Write-Off in the sense that writing is the only thing I seem to have done in 2018!

One book, started in December 2017, was completed in March 2018, edited and published on Amazon at around 60,000 words. A simple tale, written in cafes, edited at home.

Another book, the third using a character I created back in 2016, has just been finished in its first draft at around 68,000 words. Again initially composed in cafes with some of the final chapters written in the late afternoons at home, it now awaits editing. While I am starting this at home I need something to occupy myself when sat in various cafes if there is no one around to talk with, so in the last few days I have written about 4,000 words of a new story about one of the minor characters in the three book series, an attempt to ape the style and length of Breakfast at Tiffany’s – yes, a slightly high bar to jump at, I think I have aborted several take-offs already…

And so on we go, hopefully the writing is improving in style and content and readability, certainly my latest book had more dialogue in it after my experiment with writing a tale mostly in dialogue.Β  Are we any nearer writing something of worth? Not really, but it’s fun to keep trying and it keeps me out of mischief. More or less…

Oh, I nearly forgot, I also published the second book, 35,000 words, using the Bobby Olsen character. That had been completed back in February 2017 but I only got around to editing it in 2018. Blame it on house moves and plans to make it longer which never came to anything.






The dialogue-narrative bust-up

Well, I got a few hyphens in there anyway.

As I progress with my fourth novella, the third using the character Bobby Olsen, I find I am using more dialogue in this latest piece of writing. Or that should be ‘dialog’ as my story is set in America with American characters.

Before I wrote the first book I used very little dialogue in my writing, it was all description or narrative. Then in my third book, not about Bobby Olsen, I determined to try and tell as much of the story in speech as possible. It made the tale speed along, and the word count to mount quickly. Now in my current novella I find I am incorporating a lot more dialogue. Again the number of words is climbing, 53,000 so far compared to 43,000 and 35,000 for the other two stories involving Bobby Olsen. Of course, does this mean the story is better? Or is it all waffle?

I find in particular that there are scenes where I could easily just have the narrator, Bobby, tell us what happened but I am finding I am writing these out as dialogue. Yes, the answer is to strike the right balance. Too many conversations and they must run the risk of repeating phrases from earlier dialogues, or prolonging the action too much. Too many characters, particularly minor ones, might start to sound the same, trying to make peoples’ speeches sound different is hard work. And you have to include more details about the characters such as mannerisms and just general descriptions such as what they’re doing with their hands or how they are standing. More and more words. A good thing?

One particular difficulty is the relationship between Bobby and his sidekick and partner, Carol. With more dialogue between them I am having to really think about how their relationship must be developing and avoid them sounding too much like each other. It was easy when they first met and the dialogues were sort of ‘jousts’ between them, those sort of ‘will they/won’t they?’ scenes. Now they are an item it’s tricky to move their relationship forward. Or does it need to?

And there’s the action sequences which in the type of stories I am writing do tend to occur. If you have two good guys chasing one bad guy, how much dialogue can you have between the two good ones? People don’t talk much when running, yet the reader needs to know where the narrator’s buddy is. Yes, it’s question of balance again but by including more dialogue overall I find I naturally start adding more in every scene. It’ll be much easier when the books are made into movies – you can see where everyone is!

The conclusion is, there is no conclusion. You need a balance of dialogue and narrative. Poor dialogue is as bad as poor narrative. Overlong dialogue is as bad as overlong narrative. Strike the balance and you’ll be a good writer, my son/daughter…





Linda Ronstadt

Why, when I write now about characters set in the late 50s and early 60s, do I listen to so much Linda Ronstadt?

My first memory of her was from back in the 1970s when I was attracted to her looks like so many other teenage boys. Her music didn’t interest me at the time; it was all Bowie, prog rock, glam rock, so the singing of a beautiful young woman didn’t really hit the mark. Then, just a few months ago I discovered her early singing with a group called The Stone Poneys. I’m not sure how this came about. It may have been I heard one particular song on the radio or it was just one of those ‘recommended’ videos that appear on the righthand side when you choose to watch something on YouTube. Some choice of mine must have brought up this song, ‘Different Drum’. And, wow, what an impact that song had on me. Yes, there was this stunningly beautiful young woman from the late 60s; yes, there was this wonderful song by Mike Nesmith of The Monkees; but it was the voice that caught me lock, stock and barrel.

A little research and I found out about The Stone Poneys and their folk song background. Linda’s vocals on their songs is very precise, full-vowelled and very English in its presentation. Yet on ‘Different Drum’ she lets go and gives us the hint of what could be lying underneath all that wholesome sound. I later discovered that the song was recorded not with The Stone Poneys but other musicians, which may explain why she felt freer to express herself. They had a minor hit with the song and it saw the launch of Linda’s career.


Further research, helped by more ‘recommendations’ on YouTube, took me to more songs of Linda’s. A visit to a local HMV store gave me a CD full of her hits. A few more were downloaded from iTunes. And I am well and truly captivated by Linda’s voice.

A few songs in particular stand out.

First, this version of ‘Will You Still Love Me Tomorrow?’. Firstly, what an epic song. And what an individual version by Linda. The band seem to be playing a very loose tune, some people commented it almost seemed like they were playing another tune! On CD I wonder if it was a recording of a live version, it sounds so natural. And Linda’s vocals and interpretation are incredible.

Next, ‘Stoney End’. I’m not sure I had ever heard this song before finding it on Linda’s list of recordings. It’s another wonderful version by the woman, really letting go with her vocals, such a balanced, piercing voice.


And lastly, or I will list all her songs, ‘A Long, Long Time’. Here her vocals are so melancholy, so powerful. What a voice she has, on all her songs. And so now I find these are the songs I play when writing about my PI in New York in the 50s and 60s, along with the Frank Sinatra ones I’ve written about before.

Linda is now battling a terrible illness, but at least we have all her fabulous recordings to listen to and watch.






Book 3

Strange how you can create a character for a single piece of writing, say for a writers’ group meeting, then you end up spending most of the next two years creating stories for him/her. That’s how ‘Bobby Olsen’ has come about. As mentioned in a blog post somewhere earlier here or over on my other blog dedicated to him and his books, he started as an unnamed character in a 1500 word piece written during the Xmas break from my writers’ group meetings. Three months later this nameless guy made his audience debut and I have written mainly about him since.

And now it looks like a third book/novella is in the making (or writing). Some months ago I had finished a novella (not about Bobby Olsen!) and yet wanted to go on writing whenever I found myself in a coffee house. Usually about three to four times a week! Gulp! Yes, literally, gulp!

I started by writing something along the lines of the story I had just completed, a story set in the present day, but after two or three paragraphs I found myself sliding back into the comfort zone of late 1950s New York…and Bobby. Over the past three or so weeks I have used my coffee house visits to edit what I had written to see if there is a coherent story to be continued. And there just about is. I love beginning new scenes with new characters for Bobby and his business/lifetime partner Carol to interact with. Joining them all up into a plot can be tricky. Some can be red herrings in that they are Bobby’s everyday clients early on in the book before the main storyline takes over, but this time I am trying to tie more of them into the long term plot.

Then I reached the stage where I had to get the paper and pencil out. And the eraser. All the characters and their connections or lack of them were written out on several pieces of paper taped together and I tried to link as many as possible with lines and arrows. And something like a plot has been created, if maybe a little stretched in places.

Hold on, was that the ping of a broken line I just heard? Help!

And then I have started transferring this from the tablet I use in the coffee houses to the Scrivener programme I use on my laptop at home. And where I try to break it down into chapters. So, it’s the tablet for creating the new writing, Scrivener on the laptop for ordering it all and editing it. In the coffee shops I don’t like logging on to the public Wi-Fi so I have to do all the research (I am an Englishman living in the UK writing about 1950s New York/USA…) at home on the laptop. And at some point I need to read it all through to see if it makes sense and is actually interesting!

I have reached around 30,000 words so far and Bobby and Carol have only just left New York (there seems to be a road trip in each book with these two characters) so it might develop into a 60,000 word book. Or crash and burn around 32,000! I guess the danger is to fall between the trap of being too long for a sharp-written novella and a full-blown novel. It’s a journey and it’s fun. And I don’t even try to market the books when finished, so the emphasis is on FUN! The fun of creating something out of nothing.

So, onward goes Book Three. A title? Absolutely no idea..!




Creating characters

I guess every writer has their own way of creating a character. I tend most of the time to start with a name. With my stories being set predominately in the late 1950s/early 1960s New York and America I find there is a rich vein of names to mine into. Just by googling surnames or first names for America in a given decade or even a particular year leads me to either lists from government departments or baby-naming websites. Nancy Hecht, Mildred O’Connell, Dirk Allocca, Walter Ernlaid, and Ruby Dexheimer all featured in my last novella.

One of my favorite characters – delectable and dangerous Buffy Summers.

I have to admit I’m not the best at keeping records of what my characters look like. Although I have been using Scrivener for the last three years and I do use the facility to create ‘Character’ pages, I am lazy at updating them and seldom if ever fill in details such as ‘inner motives’ or ‘personality’. I expect my characters come across as very shallow because of this. I just about remember to keep records of their hair colour and what make of car they drive. I did have an awful time with the last book when I realised I had given the protagonist, Bobby Olsen, two different cars during a lengthy road journey. It wasn’t fun sorting out Chevies and Packards.

Another – the cunning Odysseus

Of course it’s interesting to think of books you’ve read where you get to the end and you realise that you’ve never been given a description of the main character by the writer or by the other characters in the story. Some writers go the other way and give a very detailed description early on. I think I prefer the former method. That is maybe why I don’t describe Bobby closely. You can all think of him how you like. I can remember when I was reading episodes out of the first novella involving Bobby at a Writers’ Group and finding out that some of the people there thought of Bobby as looking like me! I guess that’s easy to do when you’ve read out a story with ‘I’ telling the tale. Well, if I’m Bobby, I can’t wait to meet my Miss Rios…(you have to read the books to get that reference, or you can probably guess).

And Tom Hanson from 500 Hundred Days of Summer

Now, how about killing your characters off? Easy with the bad guys, unless you get a secret desire to use them again in a sequel. But the good guys, or the innocent ones, that’s hard. I can remember in the first Bobby Olsen story I had him teamed up for half the book with the above-mentioned Miss Rios. Toward the end she gets shot. That was a big dilemma. Kill her off and get a real shock value, or have her recover and possibly be a permanent sidekick for Bobby? I fear a movie director might finish her off, especially if they were not planning a sequel. Me? Well, read the story and find out.

And my greatest two from childhood – The Lone Ranger and Tonto



A Hepburn obsession

Yes, I have to admit it. I am becoming obsessed with Audrey Hepburn. I’m sure I must have watched movies with her in over the years but it is only in the last twelve months I have slowly found myself seeking out everything Hepburn.

The reason is quite sinple. Miss Rios.

Miss Rios is a character I created in my first novella ‘Bobby Olsen’. He, the main character, was first involved with a woman called Gloria, who was a typical New York brunette brought up on the wrong side of the sidewalk, and then with another named Martha who resembled a slightly slimmer version of Maryln Monroe. So when I found Bobby by himself halfway through the story – Gloria having been dumped, Martha gone missing – I needed a different type of female to bring in, initially for just one chapter. I must have googled something like ‘1950s female movie stars’ and then perused through the images. And Audrey Hepburn leapt out – dark haired and slim and the opposite to the other women in the tale. Having referred to Miss Rios as ‘Little Miss Hepburn’ early on, every time I brought her into the story I found myself googling ‘Audrey Hepburn’ to see what hairstyles she sported and what clothes she wore. The only difference I made was to suggest Miss Rios had a slight brown tinge to her skin, hinting at a background in the south of the USA, probably from Mexico.

It is only in recent weeks I have sought out more on Audery Hepburn. I came across the opening to Breakfast at Tiffany’s on YouTube and was stunned by the music (‘Moon River’), the shooting of the scene, and Audrey in her evening gown, big shades and carrying her takeaway coffee and bagel. That led to finding a DVD on Amazon which contained five of her movies, including Breakfast at Tiffany’s, for just Β£12 ($16). I’ve now watched that plus Roman Holiday. That led on to buying Audrey’s biography – still waiting to be read. And also seeking out photos of her online. I particularly like her phase with the pixie haircut, it offsets her thick eyebrows, piercing eyes and wide lips so well. In my novellas I had Miss Rios with long hair in the first book and with the pixie cut in the second. Today I even have Audrey’s photo set as my screensaver – yes, it’s all getting rather sad…

Anyway, it’s interesting how a character can take you over and how they can develop from simple beginnings.


Audrey Hepburn NRFPT 30