LOCKDOWN? ALL ABOARD FOR THE FLIGHT OF IMAGINATION!

lockdown blog pic

Book sales have soared as people jump into books to escape the pandemic. Love in the Time of Corona. The Non-Traveler’s Wife. A Tale of Two Metres. Even my Lighthouse Keeper’s Daughter, initially self-isolating in a lighthouse as it happens, has had an increase in fans. But how are writers coping, now we’re figuring out how to Zoom our day job, helping offspring yanked out of uni, dealing with a series of stress-related ailments we thought we’d grown out of, and worrying about loved ones, finances and loo rolls?

Twitter shows a full spectrum, from writers who now can’t write at all, to those who see little difference between this and the usual authorial lockdown as you try to meet a deadline. I’m closer to the latter extreme, probably helped by the fact that my work-in-progress features another protagonist coming from a state of isolation. If that sounds bleak, I should point out that it’s set in a quiet corner of sunny Andalucía, taking me and the protagonist somewhere no flight other than that of imagination can currently go. I’m never in a rush to return.

Today, however, is the second birthday of The Lighthouse Keeper’s Daughter, so I’ll be celebrating with a walk down to the sea, some cake, the instagram of my dry-throated interview at the book launch

https://www.youtube.com/watch?v=rI8Hk_b9HEM&feature=share

and a listen to the novel’s Spotify song playlist,

https://spoti.fi/2JGs34Kstarting with Contigo en La Distancia (With You in the Distance) :-/ 

Keep distant (but friendly) and well!

If you’d like to lockdown with The Lighthouse Keeper’s Daughter, you can get hold of it online  https://mybook.to/lighthousekeeper or you could get a copy from matthew@urbanepublications (charging via paypal) or CBS at orders@combook.co.uk / 44 (0) 1892 837171.

 

 

WRITING UNDER THE INFLUENCE OF… FLAMENCO

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OLÉ!  Flamenco Festival time again at Sadler’s Wells Theatre. Seven years ago I was so astounded with it all that I went straight off to Granada to do a flamenco course and start a novel. I was writing real-time, being the character (well, within reason); it was crazy, but one hell of a buzz.

Back home I continued dance classes, and flamenco took over my iPod and car. I was (and still am) entranced by the complex rhythms, the excruciating beauty of those exotic chords, the sensuality of it all. It wasn’t just the music; I was taking on flamenco’s live-in-the-moment ways, where the only things to worry about were being fuera de compás (out of time) or being told no me dice nada (you’re not saying anything). I wrote flamenco: vaguely knowing where the story would go, but letting the characters do what the joder they liked with it – as long as they kept to pace.

Years passed, the book came out. I promoted it on a bilingual radio show in Madrid alongside a well-known flamenco guitarist, got invited to performances, started another novel with a flamenco guitarist in it…

If my head hadn’t been so stuck up my flamenco culo, I might have noticed that my tinpot publisher wasn’t responding and hadn’t paid me any royalties. None at all. It turned out that they were quietly going bust. (Future blog post: My Miserably Potholed Path to Publication).

But Flamenco Baby is still available, for hispanophiles who want to ‘gobble it up like a good plate of pulpo‘ (Amazon review). It’s even for sale at the wonderful Sadler’s Wells Flamenco Festival, where it was conceived. OLÉ!

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Sadler’s Wells Theatre, 2013 Photo: Carole Edrich