SHADES OF VIOLET
When I interview authors on my blog https://leslietate.com/ I want to find out what lies behind their latest book. So I avoid exchanges about sales or promotion, asking them instead about the process of writing. One of the questions I ask is, âCan you tell me about the beginning, growth and development your book?â Applying the same question to âVioletâ, my latest novel, I came up with the following three-part answer.
BEGINNINGS
I donât plan my novels. Iâve never felt able to find an anecdote that translates neatly into a finished story. So I set off writing âVioletâ knowing only that it was about a late-life love affair. Iâd a picture in my head of meeting my wife, Sue Hampton, in a West End restaurant, and I used that as my guide. I wanted to capture the fragile immediacy of our first encounter, how important it was, and how quickly it all happened. Beth and James are not like us, so their words and acts were largely imagined, but the feelings they experience were based on ours.
My first few pages are usually the most autobiographical. After that the characters take over and the âmeâ in the story narrows down to a few borrowed details.
So here are a few examples of real-life borrowings, taken from âVioletâ:
- Before our meeting, Sue and I exchanged numerous letters and talked for hours on the phone.
- On the day I had difficulty finding the restaurant.
- Like Beth in the book, Sue turned up very early.
But the 3Âœ hours of intense table talk that followed between us wasnât going to work in a novel. It was too static and far too long-winded. Even cut, it wouldnât hold the reader. So I said goodbye to Sue and Leslie and allowed Beth and James to take over.
But I did want to capture the power of the experience. This was the story of two experienced adults diving in and going through a sea change. Translated into fiction, that meant taking risks. So James oversteps the mark, drinking from a glass smeared with Bethâs lipstick, plays mime games, and invites Beth, in the middle of the restaurant, to dance.
You can read this section of the book, together with a commentary describing how it was written, at https://leslietate.com/2018/01/5265/
I was aware that I was pushing it in the restaurant scene. Of course Beth and James have already had contact, making them more open, but for weeks after writing it I kept revising and re-reading to check for plausibility. In the end it seemed to work, mainly, I believe, because the mind in the act of reading takes things for granted and often jumps ahead.
As an author, I use the selective nature of the novel to foreshorten time and work the changes. The remote is in my hands and I can press âholdâ, ârewindâ or âfast forwardâ. I can also change channels. So the restaurant scene moves quickly from the nervous reality of a conventional first meeting to a loverâs dream. And the dialogue is twofold, mixing short and meaningful quips with going in deep. Everything is imagined: so Beth and James come out with things weâd all like to say but usually keep shtum, while the reported conversations blend author-talk with voices in the head. The aim is to surprise and take a view on life, but not to break the spell.
- GROWTH
Once I have a start, the discoveries begin. Mostly I find my direction by writing it, but I also have a long-term feel for what Iâd like to happen. If the two are at odds, then the short-term wins. So starting âVioletâ with Beth and James meeting at 50 meant I had to find a way to tell their full stories. Iâd thought I might be able to flashback during the restaurant scene but found, in the end, I needed to give them separate treatment. And that meant, in Jamesâs case, telling his backstory through his letters to Beth. In her case I began from birth in close third person, using her own juvenile stories to show how sheâd changed.
So the book became layered, moving back and forth between present-day romance and Bethâs failed marriage to a born-again minister. At the same time I had an underlying feeling that the story was developing in a direction I had to followâŠ
- DEVELOPMENT
Two things happened when Iâd finished the book:
- a) Despite my resistance, the old, old tale that unconditional love has no place in an uncaring world took over.
- b) My wife and author, Sue Hampton, had already noticed that three of the main characters in the trilogy had traits in common. So during the writing of âBlueâ (the novel before âViolet) we drew up a family tree. This required me to write in passages connecting Matthew Lavender in âPurpleâ to Richard Lavender in âBlueâ and to James in âVioletâ.
These changes were structural. They showed me that a book is never finished. And of course thereâs a ripple effect, every minor change has its repercussions, and itâs always possible to add in links and connections to improve the flow.
In the end, a novel is complex. It has to be so since people and the world canât be easily summed up. In âVioletâ I tried to reflect that complexity by writing in both third and first person and by including letters, stories and Bethâs diary. But the central idea is simple: boy meets girl in later life, they fall for each other, but have to cope with misfortune. In the words of the blurb: âThe passionate, late-life love of Beth and James begins in 2003 on a blind date in a London restaurant. Attracted by Jamesâs openness, Beth feels an immediate, deep connection between his honesty and her own romantic faith. From then on they bond, exchanging love-texts, exploring sea walks and gardens and sharing their past lives with flashbacks to Bethâs rural childhood and her marriage to a dark, charismatic minister.
Telling stories runs in Bethâs family, so she keeps up with her friends, following their efforts to find love in a soulless, materialistic world. But Bethâs own passion for giving and commitment is pushed to the limit as she and James struggle with her divorce problems, each otherâs children, and life-threatening illness. In the end, tested by pain, they discover something larger than themselves that goes beyond suffering and lossâŠâ
- Anne Williams March 16th http://beinganne.com/?s=Leslie+Tate
WHATâS IN A GENRE?
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Books are sold in packages. On the outside they are shiny shop windows; inside theyâre arranged in sections with signs and labels pointing the way. If the shopâs online then unseen assistants are steering you to the ârightâ department where the products are neatly set out to help you âknow what youâre looking forâ. So the book shop browser is looking for the titles she/he has heard of, the nerdfighter wants TV books to act as badges, the book group choose from the competition shortlists, and weâre all conditioned to believe that we know what we want and kept safe and happy under the umbrella of brand and genre.
My new novel âVioletâ isnât so easily labelled. If I had to pigeonhole it, Iâd call it literary, meaning that itâs cross-genre, character-driven and language-led, with its own distinctive style. It begins with a story written by my main character Beth when she was eight, called âThe Girl Who Began Againâ, before switching to her meeting, at 50, with teacher and garden designer, James Lavender. From then on, Bethâs backstory alternates with her wildly romantic love affair with James. In the words of the blurb: âThe passionate, late-life love of Beth and James begins in 2003 on a blind date in a London restaurant. Attracted by Jamesâs openness, Beth feels an immediate, deep connection between his honesty and her own romantic faith. From then on they bond, exchanging love-texts, exploring sea walks and gardens and sharing their past lives with flashbacks to Bethâs rural childhood and her marriage to a dark, charismatic ministerâŠâ
So is it Romance? Not really. It doesnât have a HEA (happily ever after), strong males, glamour or unexpected plot twists. Yes, there is a dark prince, Bethâs ex, whose lurking presence inspires Bethâs Bluebeardâs-Castle-type story, âA Housekeeperâs Taleâ; and thereâs a teen-talk story, full of vampires and dysfunctional American families, written by Hannah, Bethâs step-daughter. But if âVioletâ does belong to a category, perhaps itâs lyrical realism, mainly because the novel is written in close third person, examining the intimate detail of a modern relationship. On the other hand, the book also contains sub-genre writing, including texting between lovers, a parent-teen dialogue set out as a play, dream sequences and sixty pages of Bethâs diary in the second part of the book when sheâs ill.
An elegy to Beth wasnât what Iâd intended when I began writing. A doomed loversâ tale felt like a something out of the past, but in the end it forced itself on me. Thatâs probably because fiction has its own conventions and adds to life rather than mirroring it. And the âoverheardâ style of a diary allowed me to enter Bethâs mind, mixing memories with reflections, making it more about a state of being than its physical manifestations.
The final part of the book begins with Jamesâs heartfelt, self-questioning, and ultimately therapeutic letter to his dead wife; continuing with tributes to her from old school friends, work colleagues and fellow-spirits.
But the ending, when it came, surprised me, transcending genre and passing through to the âother sideâ, where Beth sees all the characters from outside and inside, embracing even Conrad, her evangelical ex, with an authorâs stereoscopic view. In afterlife she retells her fatherâs story, âThe Girl Who Didnât Like Her Nameâ, writes a valedictory letter to James and ends with Hannahâs picture-book âThe little boy looked up at the grey skyâ, written for Beth and echoing her own story that started the book, âThe Girl Who Began Againâ.
So the story is driven by the characters passing through extreme states, the vehicle is language in all its hybrid forms, and if âVioletâ has a genre itâs Relationships.
- Susan Hampson March 20th https://booksfromdusktilldawn.blog/2018/03/20/violet-by-leslie-tate-guestpost-lstateauthor/
VIOLET â ROUNDING IT OUT
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I began the third novel in my trilogy, âVioletâ, on a University of East Anglia writing course. At that time the working title was âBethâ. Iâd chosen that name for my protagonist because it had several shortened forms, but in the end I only used two: Elizabeth and Beth. When I started the course I had the first chapter written where Beth meets James, but no idea what might happen next, except that the book was about a late-life relationship.
Novels are versions of life where we donât declare our sources. So the beginning of âVioletâ drew upon my first meeting with my wife Sue Hampton in a West End restaurant. Like Beth and James weâd exchanged letters and talked for hours on the phone, but what we shared openly â Sueâs alopecia and my cross-dressing â plays no part in the book. I wanted to write about older people in love, and these issues would get in the way. In any case, according to âstory theoryâ, key information like that has to be held back for a later ârevealâ â raising the question whether plot-driven novels falsify experience. Because in life, Sue and I knew that it was better to be completely modern, declare our secrets and risk rejection, rather than end up trying to make it work against the odds.
So fact is stranger than fiction, and hidden secrets return to haunt you.
Of course, books have their conventions, but they need to be relevant. So one of the challenges to the modern novelist is that we no longer have extended courtships where the characters can be introduced gradually. âBed first, talk laterâ leaves the reader with little to discover and nothing to look forward to. The action has all happened and the author is left picking up the pieces â which often translates to a voyeuristic focus on loveless relationships.
I donât buy that way of viewing people because itâs narrow and predictable, and Iâm more interested in what E.M. Foster called âround charactersâ, rather than âflat charactersâ. So âVioletâ mixes light and shade, shifting between Bethâs passionate, crazy relationship with James and her dark past with Conrad, an evangelical minister; Beth and Jamesâs children develop during the story, and Bethâs relationship with her parents deepens â even if her friends Amy and Rachael become âflatâ materialists and Conrad, at times, turns into a one-dimensional horror stereotype.
The group on my UEA course met weekly to comment on each otherâs writing. Although weâd seen advance copy â an improvement on writersâ groups critiquing pieces theyâve only heard once â I found the discussion limited by the belief that novels must be pacey, always look forward, and intrigue, disturb, impress or thrill. It seemed to me a narrow view, suitable for some genre, but lacking the reflective qualities to be found in character-based and language-led work.
There was, perhaps, another reason for this approach. It could have been a way of preparing us for the rigours of the marketplace. Because writing today is all about marketing. An army of agents, editors, promotional gurus and creative writing tutors filter âthe productâ to fit the latest fad â leaving the authors to âread my lipsâ and deliver. So the book trade wants action-filled page-turners where the reader is kept in the dark, and most creative writing courses privilege minimalism, post-modern trickiness, and non-disclosure. I prefer Kurt Vonnegutâs version of writing: âGive your readers as much information as possible as soon as possible. To hell with suspense. Readers should have such a complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.â
So writing âVioletâ was about fleshing out everything about my two late-life lovers, including their upbringing, letters, telephone conversations and texts; it also meant following them through a series of wild outings, doing the things lovers do, without ending in clichĂ©. In the words of the blurb: âThe passionate, late-life love of Beth and James begins in 2003 on a blind date in a London restaurant. Attracted by Jamesâs openness, Beth feels an immediate, deep connection between his honesty and her own romantic faith. From then on they bond, exchanging love-texts, exploring sea walks and gardens and sharing their past lives with flashbacks to Bethâs rural childhood and her marriage to a dark, charismatic ministerâŠâ
And the story developed from there, going where it had to and alternating past and future to reveal unexpected sides of the characters â including Conrad.
To quote E.M. Foster: âThe test of a round character is whether it is capable of surprising in a convincing way. If it never surprises it is flat. Flat characters … in their purest form … are constructed round a single idea or quality; when there is more than one factor to them, we get the beginning of the curve toward the round.â
My aim with âVioletâ was to flesh out those curves.
ABOUT VIOLET:
In the UK you can buy signed copies of âVioletâ at https://leslietate.com/shop/violet/
You can buy âVioletâ on Amazon USA at https://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=leslie+tate+violet&rh=i%3Aaps%2Ck%3Aleslie+tate+violet
You can buy âVioletâ on Amazon UK at https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=leslie+tate+violet
Reviews:
âViolet is a captivating novel narrated through letters, diary entries, instant messages, poems, and other writings that create a multi-textured depth to the storyline. Leslie Tate’s fluid, musical sentence structure, vivid use of imagery and description, and skilful storytelling bring to life a memorable protagonist in the character of Beth Jarvis, an imaginative and sensitive woman. A pleasure to read!â – Beth Copeland, Pushcart Prize nominated poet & winner of the Dogfish Head Poetry Prize
âLeslie Tate has a beautiful turn of phrase and this work is threaded with elegant descriptive passages. The central characters are instantly likeable, and the reader has a quick and affectionate bond that hooks right from the opening pages.â â Dawn Finch Trustee, Chartered Institute of Library and Information Professionals (CILIP) Children’s Writer & Librarian.
ABOUT ALL OF LESLIEâS BOOKS:
Leslie Tateâs Author Page on Amazon USA is at https://www.amazon.com/Leslie-Tate/e/B07BL5L23B/ref=dp_byline_cont_ebooks_1
Leslie Tateâs Author Page on Amazon UK is at https://www.amazon.co.uk/Leslie-Tate/e/B07BL5L23B/ref=sr_ntt_srch_lnk_1?qid=1522493711&sr=1-1
In the UK, you can buy:
- signed copies of the first novel in the trilogy, âPurpleâ, at: https://leslietate.com/shop/purple/
- signed copies of the second novel, Blue, at https://leslietate.com/shop/blue/
- signed copies of his trans memoir âHeavenâs Rageâ at https://leslietate.com/shop/heavens-rage/
Leslieâs website is https://leslietate.com/
Bio:
Leslie Tate studied Creative Writing at the University of East Anglia and has been shortlisted for the Bridport, Geoff Stevens and Wivenhoe Prizes. Heâs the author of the trilogy of novels âPurpleâ, âBlueâ and âVioletâ, as well as his trans memoir âHeavenâs Rageâ, which has been turned into a film. Leslie runs a mixed arts show in Berkhamsted, UK, where he lives with his wife, multi-talented author Sue Hampton. On his website he posts up weekly creative interviews and guest blogs showing how people use their imagination in life, in many different ways.
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