I’ve been working on Para Kindred over the weekend, the forthcoming Wraeththu story collection. I’ve edited one of Wendy Darling’s stories for it, and another from Daniela Ritter. I’ve also attended to editorial corrections Wendy asked for my story, ‘Painted Skin’. After making this post I’ll take a look at my second story for the anthology and start work on it. So far it hasn’t got a title. The collection’s shaping up well and if the last couple of stories come in on time we’ll hit our desired March publication with no problem.
Short stories seem to be taking centre stage for me at the moment. I’ve just finished one to send off to an anthology, (superstition forbids me from revealing more until it’s taken or rejected!), and I’ve heard word of another couple of collections I’d like to submit to. After a long break from writing shorts, it’s great to get back to them over this past six months or so, and I’m really enjoying dabbling in them once more.
I have some news concerning the collection I mentioned in my last post that I was in talks about with another publisher. This was Ian Whates from Newcon Press. He’s going to bring out a collection of mine in 2015 for his ‘Imaginings’ series – which comprises limited edition, nicely-produced hardbacks from various authors across the science fiction, fantasy and horror genres. To date, this series has included authors like Tanith Lee, Liz Williams, Lisa Tuttle, Stephen Baxter and Stan Nicholls, so it’s a prestigious project to be part of. My anthology, yet unnamed, will include uncollected works and a few new stories. So these will be pieces not available in any of my Immanion Press collections. I’ll give more news of the book’s Contents once they’ve been finalized. Newcon Press’s full catalogue can be found here: http://newconpress.co.uk/
Work on my Wraeththu novel, ‘The Moonshawl’, is still going well too, and I’ll be spending a couple of days on that this week – two days seems to be about all I can manage at the moment, what with all the short story writing. But writing is writing, and what wants to come out has to be allowed to come out. I feel as if a creative dam has burst after years of drought!
My own writing aside, I want to let off steam about something that’s increasingly getting on my nerves: the poor standard of grammar, spelling, syntax and punctuation in so many of the published works I read, and also in magazines and newspapers, and even in broadcasting on the radio and television. Every editor, I’m sure, has pet hates. (I won’t go in Ian Whates’ long-standing war with the word ‘it’!). Mine include the wrong use of verb forms, in particular the now all too common ‘he was sat’, ‘she was stood’ etc, instead of the correct forms of either ‘she stood’ or ‘she was standing’. I’m reading a novel at the moment and am being tripped up and ejected from immersion in the story every few minutes by one of these appalling bloopers. Strangely, it’s not consistent, and the author gets the verbs right as often as she gets them wrong. I can only assume she doesn’t have a full knowledge of grammar and therefore lacks control of her prose. This particular, horrible corruption has crept into all aspects of the written and spoken word, and I really hate it. Whenever I see it I can’t help thinking the writer is just lazy and uneducated in their craft.
Another pet hate, and I think this has come over to the UK from America, is the use of ‘off of’ for ‘from’, such as ‘off of that programme on the telly’, instead of ‘from that programme on the telly’. It’s forgivable in toddlers, i.e. people learning to talk, but not in adults, and certainly not in writers. I see this horror all over the place, and the mere sight of it is enough to raise my blood pressure! Call me a grammar nazi if you like but I really detest the sloppiness it reveals.
Another annoyance is misuse of the word ‘that’, when ‘who’ should be used, i.e. ‘these are the people that were stood’… oops I mean, ‘these are the people who were standing’! It’s clear the writers concerned aren’t aware that when it’s a person or people we use ‘who’; when it’s an object or an animal, (and some writers might even contest the latter), we use ‘that’.
I often see weak punctuation, syntax and spelling, as if the books I’m reading haven’t been edited properly, if at all. I also see cases of endless repetitions of words and phrases close to each other on a page, (and not in a deliberate, poetic or dramatic way), which should be spotted by an editor, even if the writer is blind to them. (I know I make mistakes in my work all the time, which is why I ensure it’s read by several people and also edited thoroughly.) Not only ‘popular’ novels suffer in this way – I’ve seen it in allegedly literary works, whose covers have been crowded with unctuous praise from ‘names’ and whose authors have even won awards for their writing.
It worries me that we are heading into literary Dark Ages, where standards plummet to the quality of text speak and the construction of language – our basic tool of communication – dissolves. Even now, (and perhaps for a long time), students emerge from schools and colleges barely able to string a sentence together. Friends of mine who are teachers and lecturers constantly lament the illiterate state of their students, many at so-called university level. The most horrifying part is that people at the top, with the power to do something about this situation, don’t seem to care that much. Standards are lowered so that barely literate students can get degrees. I too see countless manuscripts from would be writers that are almost unreadable, so poor is their grasp of the tools of their trade. And yet they think they have the ability to produce novels and stories, patently not realizing they have to learn their trade – and most likely work hard to educate themselves in English language skills they were never taught at school – just like in any other profession. Perhaps this is a tide us old school writers cannot swim against and it’s the inevitable fate of literature in our modern society, a heart-breaking dumbing down. I really hope I’m wrong.