Setting: If You Build It, They Will Come

A story can take place across a span of galaxies or it can take place at the bottom of a well. Every story, unless it’s an especially experimental tale, has to take place in some kind of physical environment – we need to give the characters somewhere to stand (or, if it’s taking place in space, or underwater, float).
 In some cases, the setting may be crucial to the story; this is why, for example, world-building is considered an integral part of the sci-fi author’s skill-set. In other cases, the setting may not be as important to a story as its characters and plot, but we still need to afford it the attention to detail that will persuade the reader that they have stepped into what John Gardner calls the ‘vivid, continuous dream’.
 If you’re a writer like me, you simply won’t be able to start a story without having a very clear idea of where it takes place. In fact, it’s frequently happened that I had no idea for a story, nor any plan for writing one, until a setting presented itself. In a way, it’s the equivalent of a bare stage when the curtains are pulled back, and we know that the actors will soon appear. Once I feel the dart of recognition – that this place, this very particular place, would be a wonderful setting for a story – then I know it’s only a matter of time before the characters will start strolling into place. If you build it, they will come …
 Oddly enough, the initial setting, the one that provides the inspiration, isn’t necessarily where the story takes place. I first got the idea for The Lammisters while we were on holidays in Donegal, visiting an old stately home where the Anglo-Irish owner would host Hollywood stars from the 1920s. It seemed to me the ideal spot for a PG Wodehouse kind of novel; but for the purpose of the story, I needed, as it began, for Young Archie, the foolish third son, to travel to Los Angeles to encounter some Hollywood stars. And so the story opens on the terrace of Musso’s in Los Angeles; but Young Archie and I both enjoyed our brief sojourn in Los Angeles so much that we never made it back to Donegal, and the whole novel played out in Hollywood.
 But that initial setting gave the story a kind of palimpsest quality. Its physical environment and its history, its economics and its culture, set the tone for who Young Archie was, and what he needed to escape, and what he wanted to achieve. It was as if that setting underpinned the story’s immediate setting of Hollywood in the Silent Era, invisible but informing Archie’s motives and aspirations.
 Setting isn’t just about giving your characters a place to stand. Setting is what your characters emerge from, where they’ve evolved, the place they learned to speak and think, where their loves and hates and prejudices were formed. If you’re prepared to look and listen – to observe, as Joyce Carol Oates says, with reverence – then your setting will tell you more about your characters than you realise you know.

‘Pick-Me-Ups’ from PG Wodehouse

Hutchinson / Arrow will publish a new series of PG Wodehouse’s short stories later this year, each one a veritable bracer for the soul. Quoth the blurb elves:

In recognition that Wodehouse is “a tonic for the soul”, Hutchinson will be publishing a series of four pocket-sized paperback “pick-me-ups” – each containing three of the best Wodehouse short stories – for “those moments when you’re in need of a small dose of joy”. The new four books will be published in November 2017 as £4.99 paperbacks in Arrow.
  The Pick-Me-Up series will be aimed at the literary gift market for both devoted Wodehouse fans and curious new readers. The titles in the set – The Amazing Hat Mystery, Mulliner’s Buck-U-Uppo, Goodbye to All Cats and The Smile that Wins – are among Wodehouse’s most absurd, featuring repeating characters Jeeves and Wooster, Ukridge, and Mr Mulliner, the Oldest Member at the Golf Club.

Event: Writing Crime Fiction with Gerard Brennan

Gerard Brennan (right) is not only one of the good guys, but the good guy from whom – pace Wodehouse – aspiring good guys might take a correspondence course. ‘Writing Crime Fiction with Gerard Brennan’ is neither a correspondence course nor a set of guidelines in being a good guy, or doll, but it should prove both instructive and illuminating vis-à-vis the fiendishly difficult business of writing crime fiction. To wit:

‘Writing Crime Fiction with Gerard Brennan’
Starts: Thur 28 Sept 2017
Time: 7.00pm – 9.00pm
Duration: 8 Weeks
Venue: Crescent Arts Centre, Belfast
Cost: €88/£80

Maverick police detectives, hardnosed gumshoes or crime-solving cats. Anything goes. Do you have a criminal mind, but too much sense to break the law? You might be in luck. CSNI (Crime Scene Northern Ireland) is an introduction to writing crime fiction. An eight-week course that explores the wide range of subgenres within crime fiction where you can learn about the so-called rules of writing a crime novel, and break them.

Gerard Brennan recently earned his PhD in Creative Writing from Queen’s University Belfast. His publishing credits include UNDERCOVER (2014), WEE ROCKETS (2012) and THE POINT (2011); winner of the Spinetingler Award for Best Novella in 2012.

  For all the details, including how to book a place, clickety-click here …

Brain Noodles: Beethoven’s Ninth, Jeeves and the Feudal Spirit

I’d always assumed that Beethoven became deaf as an older man but – apologies if this is common knowledge – Beethoven (1770-1827) began to go deaf relatively early in life, in 1801. To put that into perspective, he had just finished his second symphony when he first started to suffer from tinnitus – yet to come were the remaining symphonies, Piano Concertos Nos. 4 and 5, the Violin Concerto, Waldstein and Appassionata, the Hammerklavier, the Missa Solemnis, the late quartets, and much else. If you’re feeling a little prickly today about what you have or haven’t achieved with your life to date, I don’t recommend listening to the final movement of the Ninth Symphony (and its then radical use of a choral section) and reminding yourself that the man who composed it was stone deaf:

  Beethoven going deaf was a tragedy, of course, although given what he created even whilst entirely deaf, you couldn’t really say it held him back to any great degree – in the grand scheme of music, it’s not as tragic as, say, Schubert dying aged 31. But a certain kind of mind might wonder what God was so busy with around about this time (Schubert died in 1828, the year after Beethoven’s death) that He couldn’t intervene in mortal affairs. Which would lead a certain kind of mind to consider the following possibilities:

(a) There is no God;
(b) God, to paraphrase Leonard Cohen, doesn’t really care for music;
(c) God was heedless, careless or jealously vindictive;
(d) God was too busy saving starving orphans; and anyway, if Schubert was really all that, he’d have been smart enough not to contract typhoid fever / syphilis / the bubonic plague (and, viz. deafness, ditto for Beethoven).

  Books-wise, I read PG Wodehouse’s JEEVES AND THE FEUDAL SPIRIT this week, about which there is very little to be said other than if you haven’t read PG Wodehouse yet, drop everything and rush to your nearest bookstore and buy every Wodehouse in sight. Actually, that’s a little previous – I’m a Johnny-come-lately to the Wodehouse world, and so far I’ve only been reading the Wooster novels. For all I know – although I’m inclined to doubt it – the rest of Woodhouse’s considerable output isn’t the most purely pleasurable writing you’re ever likely to read. But, as I say, I doubt it. For the time being, though, if you stick to the Wooster novels, you won’t go far wrong. Unless this - in which a butler admits a guest into the hapless-but-unflappable Bertie Wooster’s presence - is the kind of thing you don’t like:

Seppings flung wide the gates, there was a flash of blonde hair and a whiff of Chanel Number Five and a girl came sailing in, a girl whom I was able to classify at a single glance as a pipterino of the first water.

  Meanwhile, if it’s a good movie you’re thirsting after, you’ll go parched a while yet in this most barren of summers. This week in the Irish Examiner I reviewed Gods of Egypt, The Conjuring 2 and Bang Gang, none of which could be remotely described as the celluloid equivalent of a pipterino of the first water. If you’re still interested, the reviews can be found here …

“Ya Wanna Do It Here Or Down The Station, Punk?” Ita Ryan

Yep, it’s rubber-hose time, folks: a rapid-fire Q&A for those shifty-looking usual suspects ...

What crime novel would you most like to have written?
CROOKED HOUSE, or any one of about ten other Agatha Christies. She was the mistress of the twist. Another favourite is DEATH COMES AS THE END. That managed the difficult feat of getting the reader to look forward optimistically to the future while perched on a rock above the Nile in approximately 2000BC.

What fictional character would you most like to have been?
Sarah Kenny from the Quick Investigations series by Arlene Hunt. I’ve always loved Wexford St. It’s my favourite part of Dublin, with great bars and slapdash little cafés and flower sellers and unlikely charity shops. It’s lively and happening – just this side of seedy. Imagine the fun of perching a floor or two above it in an old-fashioned office and having dodgy characters appear and tell you implausible tales. Mind you, if a quarter of what happens to Sarah happened to me I’d have a nervous breakdown within a week.

Who do you read for guilty pleasures?
Janet Evanovich. Georgette Heyer. P.G. Wodehouse. Terry Pratchett. I also enjoy children’s books. My kids are getting to the age now where I can read my collection of children’s fiction to them. I’m enjoying that very much.

Most satisfying writing moment?
When I re-read something a month or two later and it still makes me laugh, or cry.

If you could recommend one Irish crime novel, what would it be?
There are so many to choose from, but everyone should read MY LADY JUDGE, the first in the series of Mara novels by Cora Harrison. It transports you back to early 16th-century Ireland, depicting a happy community in the Burren living under traditional Brehon law. It was a pivotal time, with the looming threat of advances from the East. The history books tell us what happened next. All the same, you’ll find yourself hoping that maybe they’re wrong.

What Irish crime novel would make a great movie?
Tana French’s BROKEN HARBOUR. It has it all going on: tension, bleakness, disintegration. It should be filmed in the incredible light you get on a sunny winter’s day in Ireland, and pervaded by the sound of the sea.

Worst / best thing about being a writer?
The worst thing is the editing. I do a lot of revising myself before handing over to my editor. I hate it. It’s totally worth doing, though. The best thing is getting a tweet or a message from someone who enjoyed the book. That’s like magic. This guy in Australia live-tweeted IT CAN BE DANGEROUS. Very entertaining.

The pitch for your next book is …?
Cynthia’s had a rough day. And now she’s found Nathan’s body. This could impact negatively on her performance review. Not to mention that the police are bound to suspect her, seeing as how she has no alibi and was cutting code right outside his office when he was murdered. Explaining that techies rarely interact with managers for long enough to kill them isn’t going to sort the problem. There’s only one thing to do before she’s arrested - find the killer herself. How hard can it be? She has a hotline to Nathan’s devilishly handsome son, enthusiastic friends and a lifetime’s expertise in armchair detection. Cynthia’s exploits soon reach the ears of the enigmatic Superintendent in charge of the case. She can handle that, but then she attracts the murderer’s attention ... (I must admit, that’s the pitch for my current book. My next book is currently just a tiny glint in Cynthia’s eye. But it’ll be brilliant.)

Who are you reading right now?
I’m re-reading Gamma, Helm, Johnson and Vlissides’ classic work DESIGN PATTERNS: ELEMENTS OF RE-USABLE OBJECT-ORIENTED SOFTWARE. I’m suffering from jet lag at the moment, and it helps me sleep.

God appears and says you can only write OR read. Which would it be?
I’d put up a good fight, but it’d have to be read. I couldn’t possibly do without books.

The three best words to describe your own writing are …?
Funny, fast whodunit.

Ita Ryan’s IT CAN BE DANGEROUS is published by Kells Bay Books.

“Ya Wanna Do It Here Or Down The Station, Punk?” Quentin Bates

Yep, it’s rubber-hose time, folks: a rapid-fire Q&A for those shifty-looking usual suspects ...

What crime novel would you most like to have written?
There are so many. Normally it’s the one I’m reading at the moment. It’s more thriller than crime, but let’s say THE DAY OF THE JACKAL.

What fictional character would you most like to have been?
The narrator in THE IPCRESS FILE, Harry Palmer in the films. He cooks to perfection, duffs up villains with aplomb and is never lost for an answer, plus being irresistible to passing supermodels. All of which I fail dismally at. Otherwise I’d settle for Josef Svejk.

Who do you read for guilty pleasures?
Viz. Mrs Brady first, then Eight Ace.

Most satisfying writing moment?
That point when it all starts to gel and you know it works.

If you could recommend one Irish crime novel, what would it be?
I haven’t read enough of them to make an informed judgement, but that ABSOLUTE ZERO COOL is something I’ve ordered people to read. Who wrote that one?

What Irish crime novel would make a great movie?
Again, haven’t read enough of them to say for sure. But I’d love to see one of Benjamin Black’s books filmed, if the character of Quirke and the atmosphere of ’50s Dublin would translate to film. I reckon it’d be either brilliant or terrible, no middle ground there.

Worst / best thing about being a writer?
The best bit is when someone goes out of their way to tell you just now much they enjoyed the story you’ve written, especially when it’s someone who took a chance on a writer they hadn’t heard of before and found they couldn’t put the book down. The worst bit is when it isn’t coming together, fighting the temptation to brood as the kettle boils yet again.

The pitch for your next book is…?
If you don’t want your wife to find out you’re being blackmailed, or wind up embarrassingly dead, maybe you should have been more careful where you put it? It’s set in Reykjavik at that dark, nervous time of year when the post-Christmas Visa bill is about to hit the doormat. (CHILLED TO THE BONE, out in April, UK & US)

Who are you reading right now?
Xavier-Marie Bonnot, Barbara Nadel, PG Wodehouse.

God appears and says you can only write OR read. Which would it be?
That’s a hell of a choice. If it happens, I’ll just toss a coin. Either would be terrible. Mind you, if I could only read, at least there’d be a chance to make a dent in the sprawling to-be-read piles.

The three best words to describe your own writing are…?
May contain nuts.

Quentin Bates’ current novel is COLD COMFORT.

“Ya Wanna Do It Here Or Down The Station, Punk?”: Andrew Taylor

Yep, it’s rubber-hose time, folks: a rapid-fire Q&A for those shifty-looking usual suspects ...

What crime novel would you most like to have written?
THE TALENTED MR RIPLEY by Patricia Highsmith.

What fictional character would you most like to have been?
Like any storyteller, I’m tempted to say God but on the other hand He might have the last laugh.

Who do you read for guilty pleasures?
PG Wodehouse, Josephine Tey.

Most satisfying writing moment?
When Livia Gollancz said she’d publish my first novel ... also, in one sense far more satisfying, anytime the writing’s going well.

The best Irish crime novel is …?
THE THIRD POLICEMAN by Flann O’Brien.

What Irish crime novel would make a great movie?
I’d love to see a movie based on Declan Hughes’ Ed Loy series. Or maybe a TV series.

Worst / best thing about being a writer?
Writing / writing. Of course.

The pitch for your next book is …?
NYGB - noir and nasty in the last months of British New York in the 18th century. Due in February 2013.

Who are you reading right now?
Laura Lippman’s THE INNOCENTS, Barry Forshaw’s GUNS FOR HIRE, and - wait for it - E. Nesbit’s THE ENCHANTED CASTLE.

God appears and says you can only write OR read. Which would it be?
Write (I shall need to rewrite the Bible, for a start).

The three best words to describe your own writing are …?
Don’t. Ask. Me.

Andrew Taylor’s Cold War thrillers - THE SECOND MIDNIGHT, TOYSHOP and BLACKLIST - are now available in e-book format.

“Ya Wanna Do It Here Or Down The Station, Punk?”: Jon Steele

Yep, it’s rubber-hose time, folks: a rapid-fire Q&A for those shifty-looking usual suspects ...

What crime novel would you most like to have written?
THE LONG GOODBYE by Raymond Chandler.

What fictional character would you most like to have been?
Peter Pan. He can fly, he fights pirates, he won’t grow up.

Who do you read for guilty pleasures?
MULLINER’S TALES by P.G Wodehouse. One story before bedtime. Add a cup of hot chocolate and life is about as good as if gets.

Most satisfying writing moment?
When a sentence falls on the page and you have no idea where it came from, but it’s perfect.

The best Irish crime novel is …?
THE WRONG KIND OF BLOOD by Declan Hughes. (no kidding) Everything about it appeals to the altar boy I used to be.

What Irish crime novel would make a great movie?
Keith Baker’s INHERITANCE. I read it and could see it on the big screen at the same time.

Worst / best thing about being a writer?
The loneliness.

The pitch for your next book is …?
Buy this book or I’ll shoot your dog.

Who are you reading right now?
Mario Vargas Llosa’s CONVERSATIONS IN THE CATHEDRAL.

God appears and says you can only write OR read. Which would it be?
I’d tell him to fuck off.

The three best words to describe your own writing are …?
Lost. Searching. Redemption.

Jon Steele’s THE WATCHERS is published by Bantam.

“Ya Wanna Do It Here Or Down The Station, Punk?”: Alan Monaghan

Yep, it’s rubber-hose time, folks: a rapid-fire Q&A for those shifty-looking usual suspects ...

What crime novel would you most like to have written?
THE NAME OF THE ROSE, by Umberto Eco. It’s got Sherlock Holmes in it, y’know ...

What fictional character would you most like to have been?
Either Jack Aubrey or Stephen Maturin, depending on the sort of day I’m having.

Who do you read for guilty pleasures?
P.G. Wodehouse.

Most satisfying writing moment?
It’s the same moment that comes along from time to time. The one when you get a sentence so right that you can’t stay in your chair.

The best Irish crime novel is …?
I’m afraid I haven’t read much crime since I was a kid, so I’ve missed the whole Irish Crime Renaissance. On that basis, I’d have to say DRACULA – and, hey, if Dracula wasn’t a criminal, then who was?

What Irish crime novel would make a great movie?
Ehhh ... DRACULA? Only set in Dublin, with Van Helsing as one of those pissed barstool philosophers we’ve all met.

Worst / best thing about being a writer?
The worst is that it’s such damn hard work – and almost completely solitary. The best is that it’s such damn hard work – you get a great sense of achievement when you’re actually able to finish a book.

The pitch for your next book is …?
It’s the best one yet!

Who are you reading right now?
George MacDonald Fraser. The man is much better than I expected – he has a truly great ear for regional dialects.

God appears and says you can only write OR read. Which would it be?
Probably read – because once you lose the ability to read, the ability to write won’t last long anyway.

The three best words to describe your own writing are …?
Clear. Smooth. Precise. Some of these may be more like aspirations.

Alan Monaghan’s THE SOLDIER’S RETURN is published by Pan Macmillan.