A history

One of those days in England.
One of those days in England.

 

Every time I try to write this story it spins away from me. It started off simply enough. An old man in a pub was having an argument with a fat British skinhead and I heard the words ‘Nazi’ and ‘Hitler Youth’ and thought the old man was attacking the younger one for using the words. I was only half right. It’s happened before. He was, but only insofar as the old man resented being called a Nazi. He’d been in the Hitler Youth, like every other German boy of his age, because they were all conscripted on their thirteenth birthday. And it was great, he said. He really enjoyed it. They went on camps, they had big flags to fly and songs to sing and they lived in the golden summer in the open air and it was a dream come true in a time when most of the dreams had starved to death.

The elderly language teacher in Mr Norris Changes

I was fourteen when I saw these for sale in a shop in Carmarthen. I think they were £12. I didn't have £12.
I was fourteen when I saw these for sale in a shop in Carmarthen. I think they were £12. I didn’t have £12.

Trains wasn’t skeletal because he was on a diet. But these boys had food and campfires and singing and hope and even better, if you’re thirteen, pistols to shoot and grenades to throw. They even got a special knife, the blade inscribed with Blut und Ehre, blood and honour. Free.

On the last day of his war the SS came to his village and marched all of the Hitler Jungend up to a field where they scrubbed around in the grass until they found a hatchway that nobody in the village knew was there, opening up a bunker that held brand new machine guns and more grenades and steel helmets. They issued the boys all of this gleaming kit and told them to defend the village, the fatherland and their honour while they, the SS, had some urgent business to attend to in the opposite direction to the one the Americans were arriving from. In about an hour.

The SS left, the boys grabbed as many guns as they could and their schoolmaster, when he saw them, as the leader of their Hitler Youth troop beat them up, made them throw all the guns in the ditch and sent them home crying.

Every time I try to write it it gets jumbled up with other stories I’ve heard first hand from the same time, the stories that are spinning away now, with so few left to tell them.

I heard from an American pilot who at the same time, April 1945 had to walk back from a dance, 22 miles, because he’d missed his transport, out shagging in Ipswich and a mission to fly to Czechoslovakia the next day, eight hours there and back five miles high. I heard at second hand of a Wermacht surgeon who the same month decided enough was enough, and walked home to Bremen from Czechoslovakia to surrender to the British, who once they’d emptied his pockets told him as he lived literally around the corner to piss off home.

Except they didn’t empty his pockets completely. I’ve held in my own hands the field surgery kit that lived in his pocket for five years, the green cloth roll holding the small forceps, the massively thick suture needles thicker than the ones sail makers use, the curved and the straight scalpel, the little sharpening stone. They let him keep them. Or maybe he went home first and emptied his pockets there, before he went out to surrender. I’ll never know the answer to that now because of time.

It was the fiftieth anniversary of D-Day in 1994. I remember the Battle of Britain Flight Lancaster flying over my house. I remember a curious dream where I could see an armada of ships stretched out to England and the horizon as the dawn broke grey across the water and knowing more and more ships would come and I would die.

I drank a lot back then. Maybe that’s why this picture fascinates me. I found it on the web by accident, yet another cat picture, but for me it’s more than that.

It’s England. It’s summer, with friends and food and wine and a funny cat off doing the things that cats do while we laugh and talk to each other and drink and we’re not going to have to go and fight in any wars, ever, and the green hills hold us close while behind us, ignored and always there, there’s the war, waiting. The England of Kate Bush’s Lionheart. My England and yours, where it’s been  such a beautiful day and everything’s fine and yes, I  will have another glass of wine, thank-you, and maybe some cheese. This red, sorry, what were you saying?

The triangular things the cat jumps between are dragon’s teeth. That’s what they were called back then. They stop tanks. They’re too big to drive over and too solid to blow up quickly, which is why they’re still there.

I don’t know who these happily drunk girls were that afternoon nearly twenty years ago. I think that’s when it was because of the colours of the picture. Because this is my history too. I don’t know what happened to them or whether they’re still happy now. But I know the stop lines across England were peppered with these concrete blocks and pillboxes from East Anglia to Wales, to hold the German advance when the invasion came. They were in the fields where the rivers meet at Tellisford, where I used to fish when I was a boy. The past is a different country and besides so many wenches are dead now and the young men too who should have met them. But at the same time the past is still here, just behind your shoulder, the thing your cat’s jumping off. And while we have their stories, so are they.

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Dealing with rejection

Despite the fact that it’s St Valentine’s Day and once again, I am officially Less Attractive Than Hitler (Hitler had a girlfriend), the kind of rejection I was thinking of or at least I was until I had to think about that was the kind of rejection that goes like this:

Not in my schloss.
He was right up her strasse, apparently.

We received nearly 2900 scripts, (Why do so many people send us all this crap? I mean, honestly!)

and our team of readers have been working intensively to sift through all submissions. Like rarely, thanks for nothing, yah? We very nearly missed something interesting to do, rather than what we’re paid for every month.

Our readers were asked to consider what the opening of each script demonstrated about the writer’s voice and originality, their understanding of medium, form, genre and tone, and the strength of the world, story, characters and dialogue. Yours was obviously unoriginal and your world frankly isn‘t as good as ours. 

Unfortunately, your script did not progress beyond the first 10-page sift which was the case with 85% of all submissions we received. Your unoriginal derivative pile of identikit characters, seen-it-before stories and less-than-credible dialogue was dumped along with all the stuff from all the other losers on the first read through .This means that your script will therefore not be considered further and will not receive any other feedback. This means your script was crap.

We hope you will not be too disappointed or discouraged; we appreciate it will be frustrating not to receive specific feedback. This does not mean that your script has no potential – rather, that the standard of the work that did progress was very high, yours wasn’t and we can only focus on the necessarily small proportion of work that most captured our attention and imagination. Maybe you could read it out at a village fete or something. Or a childrens party, so long as they’re not too old or discriminating. 

It’s a rejection slip, or a rejection e-mail, anyway.

Compared to some of the non-Valentine rejections I’ve had in the past, quite mild. No throwing stuff. No slammed doors. No going around with that bloke I always had an idea about half an hour later. Nobody’s relations on the phone, no screamy phone calls and no silent weeping, on either side. In comparison there’s almost a thread of logic there, which is a refreshing change given the usual lack of anything apart from the central no-part-of-your-body-is-welcome-in-or-frankly-all-that-near-any-part-of-mine-notwithstanding-any-prior-events logic that accompanies the non-Valentine-type rejection. In my experience, anyway.

This one was from the BBC. I won the BBC Writers Room Screenplay competition last year (M/f as we used to say in journalist college. It means More Follows. I think you’re confusing it with something with more letters.) so I thought I’d send them No Batteries Required, written for radio.

It’s actually really rather good. Even people who take a very let’s say “objective” view of my charm, wit and sophistication say that. At volume, sometimes. The bits about my CW&S, at least.

But the BBC don’t want it. But they want submissions for The Show What You Wrote, their new BBC Radio 4’s comedy sketch show – written by you. Free, obviously.

“This is an opportunity for you to get involved in creating a show that sounds different from any other sketch show out there. The Show What You Wrote is open for anyone to enter, whatever your level of experience. If you have a good idea then write it up and send it to us.
The themes for each episode are:
1) Science and Nature
2) Geography
3) Art and Literature
4) Sport and Leisure

 

I would. I really would, but this rejection thing has made me wonder. I mean, the BBC comedy bar is set pretty high. It’s going to be pretty hard to beat the Today programme, putting Lord Lawson, whose scientific credentials include being a reporter for the Financial Times and er, that’s it really,  against actual climate change scientists and saying that makes the programme balanced. It makes it the fat bloke in the subsidised bar four pints in against someone who actually knows what they’re talking about. Although to be fair, while he doesn’t know any more about what makes it blow than anyone else, like a true Thatcherite daughter of her father Nigella Lawson certainly knows how much blow costs. And suddenly, I don’t mind that particular rejection at all.

The Less Attractive Than Hitler thing, that I do mind. Still. Shower, shave and get out there to do another open mic and another one on Sunday. It might work. Worth a shot, anyway.

 

Oh and the red type? That was revealed using my patented iMean™ app. I use it regularly. Want to borrow it?

 

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Year End

IMG_1648A bit like the end of term round-up, this post. If I was marking up 2013 though, I’d have to have a word with its parents and note ‘must try harder’ on its report.

What did I do this year? Some of the things I set out to do. Got rid of my house. Re-homed most of the chickens. Won the BBC Writers Room competition. Did I mention that? Oh. Ok. Well, actually, I won the BBC Writers Room competition.

With a screenplay based on my book, Not Your Heart Away, which I also finished and published this past year.

Wrote some poems.  Got a radio show. Wrote No Batteries Required, about a bankrupt chicken farmer who decides to kidnap a celebrity chef the same day the Prime Minister he was at school with goes to offer him a job as Minister of Food.

Anything else? Quite a lot. Tried to help. Lost my heart. Found it again. Put it in trust for someone who might appreciate it. Tried to stop acting like an arse quite as much as I managed to do for several months this year. Vowed to listen more and decide less. Walked a lot. I liked that. Took some decent photos. Got a new house to live in, that I think is nicer than the one I moved out of. Saw some old friends, made some old friends (no, not like that), caught up with some old friends and realised how fantastically valuable they are when you need them.

Tried to write School Lane, a story that started in Not Your Heart Away, a story about an old man who had been a young boy when he was conscripted into the Hitler Youth, like almost every other small boy in Germany. And I couldn’t do it. Maybe I can next year. It became too complex, too involved, too much about Janni Schenck, the boy whose teacher beat him and his classmates up to stop them being killed by the American patrol coming to their village. Janni’s story expanded to include the Edelweiss Pirates, which meant I had to get him from Hamburg where they hung out to a small village in the mountains, where the real story, the one I heard from an old man in a pub long ago now was set, which was a story in itself.

And alarmingly, bought an electro-acoustic ukelele to do an open-mic 1940s crooner set comprising Fools Rush In, The Nearness of You and either Ain’t Nobody Here But Us Chickens or How Much Do I Love You. Maybe. Or April Played The Fiddle. That bit might need some work. Like learning the ukelele for a start. And it’s sung impossibly high for me. I could do it fine when I was fourteen. Can’t do it now.

So this year coming, 2014 is a new start. New house. A new heart and some new friends.  See you there.

 

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The backstory

The screenplay of Not Your Heart Away went off to a proper, professional script-editor a few weeks ago. For flattering but still unknown reasons despite doing this all of a very long day for a living she wanted to have a look at my attempt at a screenplay to see if Ben’s longing for Claire’s jeans and their contents might be visualised in a format conducive to people paying £10 to eat popcorn in the dark.

Several people have said the beginning of the book is confusing. So did the script-doctor. Not because it was, in a Donnie Darko sense. (Come on, that whole film was confusing). But because unlike the book, you don’t get any time to explain things. You can’t say what a character thinks, unless he says it or sees it, so you can hear it or see it too. A picture might be worth a thousand words, but only if you know what you’re looking at. So the backstory needs filling in.

Where are we now?

Why is Claire where she is? I think that’s explained as the film unwinds, but why is Ben the way he is? And Liz? And Pete? And Poppy? Again, Poppy, being essentially anyone (yes, as in anyone would do, and if they’re funny and into Ben then so much the better, but let’s not kid ourselves about him. He might be the romantic lead but he’s not a romantic hero. He’s 19, for heaven’s sake. What were you expecting, Lord Byron in Levis?) she doesn’t need so much explanation, but the three main characters, they certainly do if we’re ever going to find out why they act like that.

Only one person reviewing the book has commented on Liz’s love for Ben, which I certainly intended to show when I wrote it but no-one has picked up on at all, save one of the most forthright reviewers. So even there, in book form, the backstory isn’t complete.

I’m finding the same with a new screenplay I’m trying to write, (School Lane) about a German boy who I met in a pub when he was an old man. Every time I start writing it I get the first scene down and then think: ‘that’s not the first scene. We need a first scene before the first scene, to see how they got there.’ That’s four times, so far and I don’t think it’s any nearer being the first scene yet.

Maybe that’s the secret. Start at the end and work backwards. Then at least I’ll know how it turns out.

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