Sunday, December 20, 2015

The Conceptualist: An Excerpt



My novel The Conceptualist is one of my faves, and scheduled for release in 2016. 
Set in the near future, the story is split between two perspectives: that of Grey, the famous Conceptualist struggling to hold onto her sanity while navigating a shifting cultural landscape on the brink of war, and Byre, the charismatic son of the President who lives to party, has a clone bodyguard, and enjoys twin lovers. At least, that's the persona he cultivates.
I won't ramble on about the concept (bound to happen next year) but I will leave this sample here, lifted from Byre's first chapter.

...Nearly falling, it takes my tired mind a split second to deal with the derailing. Across the room Jarred sits up almost on cue, metallic pupils glinting in the dim light.
“Heard you were somewhere on the left side.” He slides out of input phase and the gaming vision folds back from each iris, returning his eyes to their standard blue.
“Grav levels?” I wade across the room, my breath on the security panel of the cupboard almost a sigh. Grabbing clean threads, I turn around to face the latest issue on a long list.
“Any second, info freak. Conceptual kick?”
“Scape sounds.” My head’s cracking from fast flights, too many thoughts, and a serious lack of sleep.
“Where?” He gets up off the floor, pausing for balance. “Glacier? Volcano? Or will it filter through later?"
“Don’t remember.”
"Not surprising." Wired tight, it’s obvious he’s been hooked in for a while. 
I head for the sonic, moving faster now the gravity’s balancing.
“Trying to make this scene play a little smoother?” The mild tone is laced with a whisper of tension he can’t quite subdue.
“Are you holding?”
“What are you wanting?”
“Nutrients, maybe a low adrenaline. Alert, but not-”
“-So she can tell you needed a helping hand?” He throws a few slips across. “Kind of clear from the clothes you picked. They’re a little muted.” Moving to his setup he slides into the chair. “Besides, you’ve got that look you always get before you’re reeled in. Hail the conquered hero. Jaz is back, by the way.”
I pause mid-step. “Why?”
“Lives here, doesn’t she?”
The words are gently mocking, but I’m not in the mood for games. “And?” Leaning against the wall, I slide one slip under my tongue, another under the nail. “Is she here?”
A quick scan of the premises doesn’t read anything. He kicks the system on, and streaming visuals fill the air. From what I can decipher, he’s lining up status reviews for pre-submersion.
“Jaz was here this morning, but she’s out now.” The clipped sentence say a lot, but not enough.
“She’s meant to be on a high velocity tour for at least three more rotations.”
“Well, things change.”
“Not a scaled tour. Takes a lot to get out of that kind of contract.”
“Yes, it does.” Suddenly my features float across a dozen different holoscreens, alongside another face. “Source the transience, hey?” Haunting eyes hover at face level, over and over.
I try to control my reaction because that’s one thing he’s always monitoring. “It’s not what you think,” is all I have—the truth. I'm too tired to come up with a lie shaded in enough facts.
“You know what I’m thinking?” An ironic twist of his mouth almost becomes a smile. “Interesting how the pattern’s unfolding. Odd, actually.” He spins to face me, expression unreadable. “But I’m just a rich gamer who doesn’t like to think too much, especially in dangerous directions.” The images disappear.
“Probably best,” I manage.
“But Jaz panicked. Because for her, there really is only the surface.”
‘It’s her beauty,” I feel compelled to point out. “If you don’t see the depths, you can’t see the shadows.”
“She panicked because?”
I sigh. “Because she thinks she understands me.”
“A little,” he agrees. “But she has no idea, does she?”
The flood of visuals light up again, back to flowing unintelligible graphics, droning gamer stats, and analytic streams of code. Haloed by the information, he spins, attention split between the complication in the room and the neural seduction of the game.
 “Let me guess: she was worried she wouldn’t get to read me, but Legal had to be in person.”
And since I’m here…” He leaves the rest unsaid.
“She’ll get a clear contract. Or at the very least, a delay.” A reprieve is the best I can offer, because it’s all I can offer, and we both know it.
“You‘re going to be late.” He turns his head to meet my eyes. The tone tries for mellow, but the look is cold.
“Glacier,” I point out distractedly. “It was a glacier.”
Locked in that gaze, it’s like her pain is here in the room. My heart feels seared by it.
“Can’t believe I thought the whole emotive connection you two transmit was a kick.” I shrug, trying to shake off the wild, uncontrolled feed.
A lazy grin spreads across his face. “It’s all hers?”
Too much already, I can’t help thinking. I need a break.
“So do I.”
He scores a dirty look for that illegal read. “Got to clean up.”
Not that he offers to join me, but I slam the door anyway. Fucking telepaths.


Sunday, November 29, 2015

So What Did I Listen To While Writing Sound?


Note: This blog was first published online September 20th, 2014. Sound (by Gil Liane) is available on Amazon Kindle. 

I love being enveloped in music, especially when working on my stories. Often I listen before I begin writing, to get my mind in the right place. Music can be the best guide, helping you find your way to a certain mood, or feeling, or something even more nebulous than that… A sensation? A state of grace, or (dis)grace, even? Who knows. Sometimes language isn’t large enough.

In my novel Sound I wrote that music is a spirit animal, the kind shamans used to talk about. Prowling the borders of your mind, seductive and elusive. Tapping into the eternal river of chaos just beyond the eye line.

So what did I listen to while writing Sound?

For anyone curious, here’s a track per chapter listing. I’ve referenced (relatively) new clips, most of which should be available to purchase somewhere online, if you’re interested. (Consider being interested, they’re magnifique x)
Chapter 1. Future Sound of London – Amoeba

Mellow but alive, aural feed for the budding concepts hanging out in my head. I love F.S.O.L.,for years I've listened to their albums when painting or writing. Perfect beginnings.

Chapter 2. Mink Mussel Creek – They Dated Steadily

Wild/sexy/edgy, which seems apt for the scene with more feeding, and eventually, the introduction of the character Michael. Encapsulates the mood I was chasing with my sentences.

Chapter 3. Fait – Surrender To (Be warned, there are flashing lights.)

Fait started releasing material when I was finishing the manuscript (meaning rewrites). Hypnotic, beautiful, unique tune. Creates an atmosphere that gets my head in the right space. Definitely one of my faves.
Chapter 4. Felicity Groom – Finders and Keepers

Brings to mind the color and art in Sound. Think moments a little less ominous. Threads of community, friendly encounters with smiles and conversation. A nice balance.



Chapter 5. Joe McKee – Flightless Bird/Lunar Sea

When working on emotionally intricate scenes, you need music that’s been carefully, beautifully shaped; a reminder that lines of words carrying the heavy weight of complex ideas require a similarly delicate touch.

Chapter 6. Suede/ The Tears – The Asphalt World/Apollo 13

A throwback to the all-consuming passion you feel discovering a band as a teen. Eloquently melancholic. (Anyone lucky enough to catch Apollo 13 at a festival got a taste of the Bernard/Butler magic, albeit in another form.)



Chapter 7. Rising Appalachia – Scale Down

Even though Rising Appalachia makes me think of the Ceruleans in my book, I’ve allocated the song to chapter seven. Text that lets you slow down a little, step back, and breathe.


Chapter 8. Will Stoker & The Embers – Five Beds For Bitsy/Don’t Ever Tell Me

A moody and ominous song. Don’t Ever Tell Me is so different, but both feel like truths. Combined they create a multifaceted impression of the band, which I find inspiring.



Chapter 9. Tame Impala – Half Full Glass of Wine

My favorite band to play in a writing emergency, ie when a chapter just won’t gel together. Slides inside your mind and helps the right ideas find their way out. (I put this track here ecause I think it suits the desert scene.)



Chapter 10. Ben Frost – A U R O R A album (Watch out, there are flashing lights.)

Frost’s soundscapes (for want of a better word) take your mind somewhere else. Or maybe they just take you further inside yourself? Who can tell. The effect is hard to articulate. Listen, and you’ll see what I mean.

Chapter 11. The Dead Weather – I Cut Like a Buffalo/Rocking Horse

Two Dead Weather favorites. Live footage of Jack and Allison playing Rocking Horse bristles with wild, wild energy (google the clip). I love JW in this band, all the pieces seem to fit.




Chapter 12. EivĂžr – TrĂžllabundin

A Faroese singer who channels primal energies (no other way to describe it). These sounds reach deep inside and touch your soul. I always feel like a sleeping part of my brain stirs whenever I listen. (This track wouldn't embed so please take a look on EivĂžr's Youtube channel.)


Chapter 13. Lykke Li – Sadness Is A Blessing

This video is more like a short film, with the magnificent Stellan SkarsgÄrd. Absolutely perfect listening material for the ending of Sound. (I Follow Rivers also resonated.)



*If adding in Prologue and Epilogue tracks, I’d break my own rule and go old school. Jefferson Airplane’s White Rabbit (Prologue) and Malvina Reynolds What Have They Done To The Rain? (Epilogue). Maybe slide a mention of Soft Machine in there somewhere…

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The Allure Of The Unreliable Narrator (& Why I Couldn't Resist)


Note: This blog was first posted on March 28th, 2015.
Everyone has a moment when the world breaks. At its core, life is about perception. Veils lift, and an accepted truth transforms into nothing more than illusion. Those times are chaotic, even brutal, but in a way, freeing. Fiction-wise, a truly great unreliable narrator evokes a similar sensation in the reader.
Life is full of liars (even unwitting ones). Who hasn’t listened to a fabricated version of events from a friend who forgot you were at the party/dinner they’re describing? Narrative distortion, textually or otherwise, is endlessly fascinating. I’m not the only one who thinks so: #unreliablenarrator appeared on my social media feed repeatedly while this blog was coming together.
For those unfamiliar with the idea, at its core an unreliable narrator is pretty much what it sounds like: a narrator who, by the end of the novel, you realize cannot be trusted in some way. And it seems, in the fictional world at least, we’ll never tire of people who can’t be trusted.
What makes the unreliable narrator such a powerful tool is our tendency to blindly trust in the perspective of the storyteller; readers invariably become invested in the protagonist (who is more often than not the unreliable narrator). Not even consciously choosing to place our faith in said character, we just assume the person steering the story is telling the truth. In a way, on some level, the narrator and the reader merge: after all, they’re our gateway to the experience. Who else would we trust?
Gone Girl is a recent example of this type of storytelling, as is Life of Pi. For many, Fight Club was a one-two knockout introduction to the wonder of an unreliable narrator. My eye-opening (or should that be mind-opening?) reading experience was A Scanner Darkly by Philip K. Dick.
To say I was blown away by the reveal in that book would be an understatement. (Maybe I should say spoiler alert, but come on, ASD was written in the seventies!) The novel reveals drug user Bob Archer is also Agent Fred working undercover in narcotics. Substance D has screwed with his brain so badly he’s completely unaware he’s living a double life, to the point where the protagonist investigates himself without knowing it.
For me, Bob/Fred will always be the ultimate unreliable narrator.
Before A Scanner Darkly, manipulating conventional literary expectations to mess with the reader had never occurred to me. The novel opened my mind to the possibilities fiction offers when you’re both (narratively) brave, and clever enough to pull off a wild idea. Challengingly left of field, the novel imprinted deeply on my psyche, forcing me to re-evaluate my entire understanding of fiction, and  inspiring a lifelong hunt for “unusual” novels that would expand my (mental) horizons.
Safe to say, as a teenage reader, it changed the fiction I was exposed to, and as a writer, it changed the direction/style of my prose. Looking back, I don’t think it’s a coincidence my favorite Charles De Lint novel at university was Memory and Dream: once again, a story with a beautifully conceived unreliable narrator at the centre.
No surprise, then, that my novel Sound has an unreliable narrator. I’m proud of the book, and glad I tackled a literary trope that has always enthralled me, but creating the lead character was harder than expected. Turns out, from the other end of the spectrum (writer rather than reader), the unreliable narrator messes with your head just as effectively.
Think about it: you’re writing a story with knowledge about the narrator the reader doesn’t have, and isn’t supposed to have, until late in the game. The character has to feel true, but post-reveal, in retrospect, the inferred “truth” has to feel believably unreliable. No simple task.
Some would argue the best way to work this trope is to use a storyline that seems obvious (in some sense) from the outset. I didn’t do this. Fiction in a futuristic setting that sweeps the reader along and isn’t overly expositional is my preference, but that’s a stylistic choice; whether it works in conjunction with an unreliable narrator, well that’s the reader’s call.
To compensate, I did plant a smattering of clues throughout, ensuring the narrator (and therefore the reader) was imbued with a growing sense of unease. I think it’s important the person following the story is already a little unsettled when the unreliable narrator element becomes obvious. I played with a distorted perception of reality in more ways than one in my novel, which probably adds to the jarring impact; maybe that’s ambitious, but it’s the kind of fiction I like.*
To segue: Finishing a blog with tunes I’ve been listening to while writing is my favorite way to sign off. New artist Ty is my current musical preference. Tracks of electronic origin that feel organic, lyrics that feel like poetry. You sense layers and emotions, shadows and slivers of light; music sourced internally that makes my own potential wake up and flow onto the page (in word form). This is a demo, with the album still to come, but the track Bubbleguns is my go-to song so far. http://www.tysmusic.com/
*On a side note: If you’re into novels with an unreliable narrator, I recommend Memoirs OF A Master Forger. The author is listed as William Heaney, the name of the protagonist, but it’s actually written by Graham Joyce. One of the few novels I’ve read in the last couple of years that managed to echo the sudden sense of confusion I felt when reading A Scanner Darkly. The character of Heaney isn’t as extreme an example as Archer, but you still feel sucker punched in that moment where it’s revealed what you believe to be true is in fact a misrepresentation, and it’s beautifully done.

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Saturday, November 28, 2015

It Takes Two To Tango


Note: This blog was originally published Febrary 15th, 2015. 
Writing more than one novel at a time might sound odd but the process is surprisingly helpful, in terms of keeping the words flowing in a relatively steady stream.
I’ve been jumping between The Conceptualist (cover pictured below) and The Studio (no cover design yet). Maybe a hop, step and a jump would be a more accurate description; one book is speculative fiction, the other general fiction (although the short story extracts in The Studio probably qualify as slipstream), and it takes a change of mental gears to redirect my thoughts.
The biggest benefit? Your mind doesn’t get stuck. If a section isn’t working, instead of fretting, you bypass the whole issue by focusing on a different project. It’s like walking from one room to another inside your head. The good news is your subconscious keeps working in the other room, getting the ideas to line up in sentences and behave themselves before you get back.
When both rooms are throwing a party? That’s a problem. The brain wants to to simultaneously soak up the happening scenes, and it just isn’t possible. But I figure an inability to focus on one project because two are screaming in your mind is a lot better than the infamous writer’s block everyone keeps talking about.
My brain is more prone to trying to write too many things at once, leaving me cross-eyed thanks to a confusing mishmash of sentences from multiple projects streaming through my skull. Those are the days I feel like I’m meditating in one room while trying to ignore the sounds of a fantastic get together next door…
On a side note, yesterday was Valentines Day, and I went to see Peter Bibby play at Bar 459 at the Rosemount Hotel, in the Blokes In Coats ensemble. Was a lot of fun, but it also made me think about The Studio (which focuses on a group of charismatic artists), because I believe a strong stage presence like Bibby’s is its own form of charisma. Or maybe you could say, a projection, or channeling, of charisma?

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Ebooks Galore



Note: This blog was originally posted January 17th, 2015.
My first novel Optimate is also now available as an ebook on Amazon (2015 rerelease edition).
This time the book is listed as New Adult. I’m interested to see what impact that label will have, in terms of exposure and sales. Marketing tools are weird creatures.
Sound is also an ebook on Amazon, so that’s two live novels on the list. Optimate is quite straightforward, full of tech (and fashion). Sound is much more complex; I consider the book my raison d’ĂȘtre.
Well… so far.
I’m currently working on my tv pilot pitch Gateway (that’s all I can say, these lips are sealed). Being so aware of time while tweaking narrative and dialogue is distracting, and very different to novel writing. You have to be constantly conscious of how the story will translate into screen time. It’s like having a metronome in the room.
Aside from that, still rewriting the final section of my novel The Conceptualist, expanding on a few ideas that I felt weren’t explored/addressed enough, especially in the closing moments. And for A Charismatic Man I’ve been thinking about the nuances of performance art (I know that’s vague, but it’s a heavy topic!).
Right now though, I’m celebrating having both Sound and Optimate up on Amazon Kindle and available for download. The section of my brain that worked on them is vacationing as we speak (most probably somewhere that doesn’t involve making sentences).
Also, if you’d like to follow me on twitter or instagram, I’m @gil_e_liane on both of them x
Finally, I’ll leave this clip from FKA twigs here. I love this, for many reasons, including these:
-A blue that isn’t as cold as you’d expect.
-The odd moments of editing that suggest something stilted.
-The way it’s primal but controlled.
-The choreography, or to be exact, the implied messages in the sum of the movement (and the use of the walls).
-Cinematography that tries on different camera angles. It’s like everything is held back, except this, which is unusual. Why the lack of restraint there?
-The absence of vocals. And the sunlight that can’t really get in. And the poles. And the loneliness.
-Nobody is connecting, not really. It feels like they’re all alive, but asleep.

Who Says The Holiday Season Isn't Productive?


Note: This blog originally appeared online December 26th, 2014.

Last night I started writing a story about a man who (somehow) created sculptures with his thoughts; he would stand in front of a space, and the piece would grow from the wall or floor. The more he made, the deeper he dug into his own psyche, and the more unpredictable each creation became.


Artists often talk about the gap between visualization and actualization. What the audience sees rarely satisfies the artist because what they manage to get out into the world is a culled down version of the concept in their head. And by culled, I mean so much of the emotion and thought that goes into each work of art (the more ephemeral elements) often fall by the wayside when the idea is manifested in physical form.

I love the notion of sculptures coming straight from the mind, because it implies a certain purity to the translation of an artist’s vision. But then I liked the follow-on idea/realization that artists often subconsciously shape, even censor, their own work; sculptures coming from the mind to the physical world without filtering would cause problems for the artist in an entirely new way.

A novel idea with so much narrative potential, I’m going to let it swim around in my subconscious for a while!

This is my rough sketch reminder, so I can go back to the text at a later date and finish it off. (But at least the seeds, roots and maybe a few sprouts are already in place.)

2015 will be the Year of Stories for me. Merry Christmas and a Happy New Year x

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Working On The Studio

Note: This blog was originally posted on December 11th, 2014.

Every now and again I feel like a break from creating an entire future for my characters to live in. For a change I switch to The Studio, a novel set for 2015 release, that takes place in the everyday world.
Yes, my first manuscript that isn’t a genre outing. (General/literary fiction books will publish under Gil E. Liane the same way Iain Banks used Iain M. Banks to verify styles.)
The flow is completely different and I’m appreciating that. I wanted to stretch my mind a little. Give the sentences a different kind of workout.
For starters, the core themes. Speculative fiction and science fiction look at societal concerns as much as personal issues. Many different elements are wrapped together; you have to craft them carefully and work toward a whole that doesn’t jar.
With general fiction, slightly less world building is involved, in the sense you can use the outline of a society already in place.
In regards to these two novels, there is less responsibility in terms of social commentary, when working on The Studio, than there was when working on Sound, making this outing a totally different process to wrap my head around.
The Studio focuses more on people, on connections and communication. And of course, creativity: art, music, writing. And maybe the creativity involved when building relationships between people? That’s an art unto itself…
Sound had different things to say. The Studio is the result of a day spent thinking about the power of charisma. How it changes our responses, and our behavior.
Beauty is one thing, and as a culture we celebrate the power of aesthetics (and the associated pitfalls).
Charisma is different. More difficult to define yet its impact has shaped lives, even history. Charisma is a drug that our souls often succumb to, a drug in the form of a person.
But to be clear, this story isn’t “large”; it’s more intimate. One woman amidst a sea of charismatic characters. I really like that idea. I like the idea of a protagonist trying to hold firm against the sway of charisma in multiple forms. Watching it swirl and shimmer between people, or a clique, affecting so many threads and shaping so many lives.
I want the story to be locked in one building, the same way it’s locked into a group of people. The feel I’m aiming for is intimate; closed off, even. And of course, throw some chaos in the mix, because chaos and charisma often go hand in hand.
Here is an excerpt that I like (in a vey rough form, mind you).
“Sometimes you have to laugh otherwise you’ll go mad with the beauty of life. Not from it, with it.” He reaches across to tap my skull. The slither of fabric and the scent of cigarettes cross more than space; my idea of him slips and slides. Threatens to change shape.
“The beauty of life will reach inside your head.” His hand waves, a strange, extravagant gesture somewhere between a hesitant flutter and a graceful glide. “Spin your mind. Endless directions, till something breaks. That’s the point.”
A wisp of my hair is drawn into flight, drifting between his fingers. “Why?”
“Why?” The question seems to throw him, and the strands float free. “So it can play with the pretty fragments.”
Watching him sip vodka in the candlelight, I have to ask, “Is that what you’re afraid of? Falling for the beauty of life?”
“No, we broke up,” he says, laughing, and in the wild sound I hear shattered pieces that spun free a long time ago.
…That’s my thoughts for today, and me back to the keyboard x

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Novel Collage



Note: This blog was originally published October 12.
My novel Sound has flown away (by which I mean through the wires) to be printed. In celebration, I’ve created a collage that encapsulates the story in my head.
Collage is a fantastic medium; an art form that doesn’t cost anything other than time. To make mine I use old magazines, a glue stick, scissors, and a secondhand poetry book.
The best bit is the way you can’t really plan the final result. Obviously a rough sketch/outline is the first step, but from there, chaos kind of takes over.
I love seeing different moods and emotions creep in. I love how beautifully organic, and tactile, the process can be. I love that you end up awash in a sea of paper.
All my collages are full of symbols that make the artwork personal. In this case I’ve included symbols that represent elements from the novel.
Obviously the visual will make more sense after reading Sound, but references to aspects of the story include:
mask/woman/dome/stars/twins
curly hair/heart/tattoo
flowers/water/ fruit/apple
kaleidoscope/sparkling disks/diamonds
music symbols (musician, speaker, cables, instrument)
bird/cage/frame/feathers
architecture/cubes/broken fence/street/
blue/yellow/gray
clinical lights/street light/starlight/red lights
lots & lots of word…
xxx

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