Lynette McClenaghan

A Writer’s Day

Being a serious fiction writer means that you to have engage in research. I regularly read, watch and study the works and craft of other artists.

Today I watched Begin Again. The tale of promising musician, Greta, playing muse to boyfriend and rising star, David who betrays her, and not the kind of film I usually watch. Being a Keira Knightly fan I expected this film would deliver and it did.

From the film’s opening it sustains interest and even though this is a feel-good film it isn’t predictable and doesn’t disappoint with clichés. One of its features is that it’s critical of corporate music publishing, but takes a fresh approach to how a promising singer becomes a star.

The film is critical of the corporate music world showing it to be out-of-touch with artists and only interested in the bottom line. One of its key ideas is how a group of musicians working collaboratively and not simply for money or fame is able to subvert the corporate model.

After the film I bought the following movies to watch as part of my writer research work: Cujo, Midnight Lace and Twist.

Only Lovers Left Alive

Check out Squrl who perform on the soundtrack of Only Lovers Left Alive. You might like to know that Jim Jarmusch, the director of this film is also a member of Squrl.

Since watching the film Only Lovers Left Alive I bought the soundtrack, which complements the film. Film and music generate a dark mood and atmosphere. The music is psychedelic/Gothic and creates a unique and distinctive sound.

Only Lovers Left Alive is a must see for those who are seeking an intelligent and thought provoking Gothic tale and mood piece. It’s not a traditional vampire story that relies on blood-sucking horror and violence to sustain an audience. The mood, tone and music create a film that relies more on atmosphere rather than drama. It’s a thematically complex piece as well as including traditional Gothic themes, such as the romantic outsider. It also interweaves modern concerns, such as urban decay and climate change. I gave this film a five out of five. Tilda Swinton and Tom Hiddleston’s performances were impressive.

I have posted 23 reviews on Amazon and my recommendations have helped 33 readers.

Here’s another review:

Killing Sam Knight – a confronting and compelling read – not for the faint- hearted

Wow. Killing Sam Knight delivers on the promise of its subtitle: “dark, erotic thriller”. To be honest, this kind of horror is not my thing and I found a number of scenes in the book, confrontingly sexual, violent, or both. That said, it is to John Cassian’s credit and skill as a writer that I kept reading until the end. Cassian’s portrayal of his two profoundly flawed and disturbing protagonists is compelling. As in American Psycho, we are given confronting depictions of aberrant psychology, which, in Cassian’s hands, is interestingly both horrifying and fascinating.

Even the most lurid gore and perverse sexual behaviour can pall with repetition. But here, again, Cassian deals with his subject matter with flair and imagination – perhaps too much for readers like myself. The novel moves at a cracking pace. It is one of the few books I’ve read recently where I have not felt the need to skip a few paragraphs until the action picks up again. This is a non-stop thriller. The plot has some amazing twists and turns and some mind-blowing moments. For instance, I was particularly struck by the introduction to the plot of the serial-killer fan websites and the content therein.

Four stars for Killing Sam Knight because it was, at times, a bit too graphic for me. This is of course a matter of personal taste, other readers may be more comfortable (!?) with this. I look forward to the next book in the series.
www.lynettemcclenaghanauthor.com

There is an art to writing for young adults. Particularly in the gothic/fantasy genre which has exploded in recent years. My Frankenstein by Michael Lee succeeds because as with all good writers for young people he does not patronise them by presenting material that is easy. His subject matter is original – instead of going along with the plethora of vampires/zombies/werewolves he returns to one of the great modern myths, the story of Frankenstein and his creature, and reworks Mary Shelley’s story for a modern, teen audience. He is also strongly influenced by film versions of the story. Lee takes some liberties with the original story, as expected, but what impressed me was the fidelity to Shelley’s original themes and his expectation that his young readers want some depth to their reading.

The story’s main protagonist is Eva who lives in a village near Castle Frankenstein. Baron Frankenstein returns to the village determined to create a new, industrialised society. He recognises Eva’s intelligence and she becomes his protégé. At the same time he is engaging in his dreadful experiments. Eva falls in love with the charismatic Baron but their relationship is problematic as she is an independent and moral young woman who perceives deep flaws in his character. She is introduced to and becomes the tutor of Frankenstein’s “cousin”, Adam, who is horribly disfigured. Throughout much of the book the reader knows more about what is happening than Eva does and Lee uses the reader’s extra-textual knowledge effectively. There are also some neat moments such as Adam’s relationship with Eva, which recalls the film The Elephant Man.

Shelley’s philosophical and social comment remains intact in My Frankenstein: the irresponsible scientist who is driven by power, not morality; the appalling social and environmental effects of rampant industrialisation, particularly dehumanisation; society’s mistrust and hatred of the “other”; the unforeseen consequences of technological change; hubris versus humanity, and the classic gothic theme of what is monstrous.

The novel is an exciting and dramatic read, at times quite confronting for its intended audience, and an original reworking of its source material.

I recently read The Diary of a Drug Fiend, written in 1922 by the infamous Aleister Crowley. Although it is not strictly a horror story, it is a horrifying story, and Crowley’s reputation as an occultist means that it may be of interest to other readers here. Not to mention the fact that Crowley is an excellent writer and the story is drawn from his own experiences. Crowley became a heroin and cocaine addict in the early twenties and remained so for the rest of his life. However, the book is not a moralistic tale about drugs and how bad they are. Rather, Crowley examines addiction as a form of thwarted spiritual search. The suffering endured by the main protagonists becomes a kind of extended ‘dark night of the soul’, where they are forced to confront the best and worst of themselves before emerging redeemed at the end of the story. Drugs per se are neither good nor evil, Crowley suggests, but rather, it is our attitude to them and how we use them in our lives, which matters. It is a contentious viewpoint, not one that I would endorse.

The story centres on Sir Peter Pendragon, a wealthy Great War flying hero and his wife, Louise (Lou) Laleham. The story depicts in dreadful detail the couple’s introduction to cocaine, then heroin and the awful effects this has on their lives as they degenerate into addiction. The novel, in this, is truly a horror story: “…before I reached the street I realised with desolate disgust and despair the degree of my degradation, of my damnation; and I hugged desperately my hideous perverse pride in my own frightful fate, and rejoiced as the horrible hunger for heroin made itself known once more, gnawing at my entrails.”  A good literary analogy would be with Stevenson’s Dr Jekyll and Mr Hyde, a book which also portrays harrowing psychological and existential experiences.

Along the way the author provides insights into the mind and behaviour of an addict: “We lie about and look at each other; but we can’t touch, the skin is too painful”. Pendragon is in part based on Crowley himself. The book also presents some of Crowley’s unique views, so that as we follow Laleham and Pendragon we are also offered Crowley’s thoughts on a diverse range of topics. “Sympathy with universal suffering brings one into a certain sombre serenity.” The book contains many reflections of this kind, not merely to create sympathy for the characters but to see their struggles as emblematic of humanity’s spiritual struggles.

The other main character is the magician, King Lamus, who keeps appearing throughout the story, attempting to guide the wayward couple to spiritual fulfilment. He, too, is based on Crowley.

The supernatural element in the story is subtly used. Crowley sees this as a natural part of our lives and our thinking about existence, so is not there to frighten the reader but to encourage the reader’s philosophical thinking: “The Devil, of course, needs a human interpreter if he is to communicate with this world, and so he took possession of Peter”.

It also has to be said that Crowley can be wickedly funny – there are some very humorous comments in the book, and that he is a terrific writer of memorable phrases: “The first of these women was a fat, bold, red-headed slut”. Many scenes in the novel are powerful and dramatic and Crowley’s imagery is often startling. Here he describes Pendragon’s impression of Lou’s hair: “It reminded me of the armature of a dynamo”.

The Diary of a Drug Fiend is highly recommended. It is an intense and gripping read. It also shows, as I try to do in my own writing, that horror is not always frights or gore, but also lurks within the mind, our fellow humans and in the chaotic universe around us.