if I don’t paint I can’t write, in fact if I don’t paint I lose the plot . . . it takes a while, months, sometimes longer, but here it comes again . . . sorry, got to go and paint . . . if anything decent comes out of my forthcoming painting session I’ll post it here, you’ll be the first to know . . . back in a bit . . . . . . it’s later . . . well, that didn’t go very far, there was a fair bit of tidying up and sorting out paints and brushes and canvases, not to mention collecting all the other stuff that had accumulated in the shed and putting it out of the way . . . then it was too hot to paint in there so very little got done (painting-wise) . . . then there was cooking and generally mooching about and just being unfocused . . . and now . . . here’s the result . . .
EDIT: It’s here and will be launched Mon June 3rd – Details here
I’m very happy to say that my next novel will be published by the end of May.
The manuscript is in the final stages of proofreading. Here’s the completed front cover
It’s the early 1990’s in the large town of Elchurch on the South Wales coast. Family man Dylan D’arcy, a struggling businessman, is on the verge of going bust – again. Out of the blue, successful local entrepreneur Kevin Brown walks into his office and offers him a lifeline in the form of a lucrative contract to develop a computer system for his new venture, an ambitious mail-order operation.
Everything falls into place and within weeks Dylan and his family are reaping the rewards and looking forward to a prosperous future. At the same time there is an upsurge in drugs-related crime in the town and the antics of local underworld figure Arthur Roberts cast a dark shadow over Dylan and his family business.
Busted is the latest in a series of Elchurch Tales by Derec Jones.
Check out the author’s website for more information: www.derecjones.com
‘Busted’ is a story about a struggling businessman and his family who get involved with some serious criminals. Set in the large coastal town of Elchurch in the 1990’s Busted is a straightforward story and a satisfying read.
I actually wrote this story in the 1990’s but basically shoved it in a drawer (well on various data backup devices). Then, recently, because I’m late finishing ‘Beats’, the second in the Bums, Beats and Bones trilogy of stories featuring Detective Inspector Frank Lee, I dug ‘Busted’ out and decided to publish it, come what may.
To be honest I’m still not sure it’s wise to publish it, but what the hell that’s what’s happening at the end of May / beginning of June 2019. That gives me a couple of weeks to do some serious proofreading and copy-editing.
Anyway, more info soon. In the meantime here’s an idea for the cover.
(This is a personal note to myself – please ignore.)
I’m a writer. There’s no doubt about that, as you would see if you bothered to explore my website. It’s mostly about writing and most of it has been written – by me of course. Problem is ‘writer’ is too wide a term to be meaningful to anyone who doesn’t identify as a ‘writer’. I mean, what am I? I write blog posts like this, and . . . well . . . here’s a list of the other things I write:
Plays for the theatre
But if I was forced to define more finely what it is that makes me a writer then I would say: “Call me a novelist”. I would say this even though I have not published a new novel for three years because there is something divine about writing a novel, something that takes a direct line to the absolute essence of my being – it is an experience, or a conglomeration of experiences, that means everything, forever.
Extract from Work in Progress novel – The Flying Boy
You. You.You. It’s all about you isn’t it? Yes of course, you think. Who else is it going to be about? There is only you, in your life anyway. Is that sociopathic? Or some kind of pathic? You only know about yourself. You can’t know about anyone else – only what you are allowed to know by whatever this universe is. Ah – there it is, it’s about a u-niverse, so, yes, it is all about you.
But you still have to breathe air, share, and even you admit you don’t know everything. In fact you know hardly anything, possibly nothing. For example you tell people you are writing meta fiction but you don’t even know what meta fiction is until you look it up in the great big dictionary in the sky, just to check that you aren’t talking crap and could be called out by a first year literature student. But you are talking crap aren’t you? You are talking crap because for one thing the great dictionary told you that what you think is meta fiction probably isn’t – for one thing it seems to be spelled metafiction as one word, and the rest of it, well, there’s too many subtleties in the definitions of the word and not many come close to the sort of thing you’re writing. So yeah, you are writing something that is probably not metafiction, but you’re not sure – maybe it’s meta fiction or even meta-fiction.
So what. You’re not writing according to some spurious literary rule. You are writing the truth. You don’t know who Jill is. This is important. Because Jill is . . . Jill is what? Hmm. You can’t deal with all this now. You have bigger fish to fry, or maybe you would if you fried fish. But you don’t fry fish; you don’t do anything with or to fish except look at them now and again in a friend’s pond or dead on the slabs of a fishmonger in the market.
There was that time, maybe thirty years ago, when you were involved with fish more than you wanted to be, more than you should have been. It was an actual fishing competition organised by your brother. He was a fisherman. Not a professional fisherman. He didn’t sell them or anything, though he no doubt traded the odd fish for some other advantage because that’s the sort of person he was, but he had a boat and loads of tackle, and he organised a sea fishing competition. You helped him by creating and managing a little computer database to record the details of the fish the competitors brought back to the weigh-in.
Stop! Pardon. Pause at least. OK.
When you’re writing like this it’s like applying the first daubs/splodges/lines of paint of an abstract painting on a canvas. You step back to look and at first it’s just random marks, random colours, random shapes and textures. Then you catch a hint of form. It starts to mean something and you start to realise that that meaning was there all along, it possessed your hands, your eyes, your brain. It used you to express itself. This is a divine thing – its form and its meaning will reveal themselves.
(Martin Amis is your inspiration. Is he? Yes. Every time you read something about him or by him or see his name on a book cover you find yourself writing seconds later. Is that true? You’re doing it now. Ah! OK.)
Now really restart, resume maybe.
So helping your brother out at the fishing competition means sitting in a damp portakabin behind a makeshift desk, typing bits of information into a computer database. Things like contestant name and number, boat name, time of weigh, species of fish weighed, weight of fish.
Each species of fish has a specimen weight attached to it. So, a sardine say, has a specimen weight of a few grams, while a great white shark has a specimen weight of almost two tonnes or whatever. Not that you weigh any sardines or great white sharks, though there is a shark the size of a spaniel dog and some kind of flatfish with the circumference of a saucer.
At the end of the day there is a winner, the person whose fish is bigger than its species’ specimen weight by the largest factor. The spaniel-sized shark doesn’t win but the saucer sized flatfish might do. You can’t remember. You don’t want to remember.
All that must have been around the same time , late 80s, early 90s, that you read the book London Fields by Martin Amis, coincidentally, you’ve just read an interview with him in the Guardian (online) about the film that has just been released based on that book – London Fields (the film is rubbish apparently). Maybe that’s the reason you’re thinking about your brother’s fishing competition, some feint connection from three decades ago.
So yeah, maybe you have to admit that Martin Amis is your inspiration, your muse perhaps? I wonder what he would think about that? Being a muse for an also-ran novelist. You know what he is. He’s not a muse, he’s the sort of arrogant male artist who employs muses, uses them at least. He’s as much a muse as a jockey is a horse or a fish is bait.
But there you are, there he is, each in your respective universes, and there you will remain. Though Mr Amis does remind you of a dope-smoking friend you had for a while as a dope-smoking teenager. That friend was called Martin as well. He was not a tall person and used to walk around in a thick woollen coat that was too big for him.
Your Martin used to knock around with Jill. Hold on. You’d better stop there to think about it. Jill? Even that far back? Half a century? Is that possible? Are your memories real?
How do you choose which bits of your life to focus on when you write or attempt to write some kind of autobiography like this? What are the criteria? Hmm. I suppose it depends on who you are writing to – yes – because when you write, or at least when I write, I have a ‘reader’ in mind, even if that reader is just an abstract notion of myself – my future self. Like a diary I suppose.
But so much happens in just one day, one hour, one second even, if you drill down into the depths of your psyche and think out to the expanse of the universe(s). Continue reading →
I was sitting in the studio staring at the walls, feeling despondent. There was nothing there. No inspiration – no focus – no purpose. The universe was empty. All I had was some dregs of acrylic paint and 5 or 6 old failed canvases that had been painted in some form of pseudo-abstract meaningless squiggles and splodges.
In desperation I squeezed random bits of paint on the canvases and pushed them about with a brush until they each one was completely painted over in whatever colour emerged from the random scraps.
I left the studio for a couple of hours and distracted myself by eating, feeling even more miserable, and trying to catch up on some sleep. When I returned I picked up the same brush and the same dregs of paint and looked for some form. I chose one of the blanked out canvases and traced the shape of a head on the ridges of dried acrylic and found its features.
Thus Dani Girl emerged and the universe wasn’t empty any more.