Hi Dougie, I’ve had a look at your manuscript. We both know that it’s hard trying to get anything published when we write about people like us, using the language we speak—Scottish dialect. Remember all that fuss when James Kelman, for example, wrote in stream- of-consciousness, working-class dialect and a judge ofThe Booker Prize winner 1994, a Rabbi, no less, resigned because she (it might have been a he) thought How Late It Was, How Late was shite? Dialect in your manuscript isn’t as combative as Kelman’s and runs light touch as, for example, William McIlvanney. You’re far more likely to pick up readers and have far more chance of finding a publisher because of this.
The trick is to be consistent. And I must admit you did a great job. I only spotted two slippages and both were the same (you were consistent in that too, which is a good sign). When the narrator leads with ‘It got her goat’, when, for example Agnes Bain questions her son, Shuggie, while living in Pithead, ‘Are you calling me a liar?’ I think you mean: It got on her goat. He got on her goat. Not he got a goat. Small things, but you might want to look at that again.
Your debut novel will never win the The Booker Prize, but if you’re looking for a publisher most people that write books offering writing advice tell you to never start with mood music or the weather.
‘The day was flat.’
Do you need this?
The day was flat. That morning his Shuggie’s mind had abandoned him and left his body wondering down below. The His empty body went listlessly through his routine, pale and vacant-eyed under the fluorescent strip lights, as his soul floated above the aisles and thought only of tomorrow. Tomorrow was something to look forward to.
That’s an intriguing opening paragraph to your manuscript. And it leaves the reader with a question, why is tomorrow different from today? Your book begins and ends in the same place: Glasgow, The South Side 1992. The titular Shuggie Bain, fifteen, going on sixteen, going out into his past and coming back to himself. Time doesn’t stands still. He bears witness to his mum, Agnes Bain’s passing.
But Shuggie is not the sole narrator. That would tie your book to his life experience. And when you take the reader back to Sighthill, 1981, Shuggie’s experience as a boy aged four going on five isn’t enough to carry a book. He’s not old enough to know what marks him out as being different from other wee boys, as being shunned, bullied, spat upon. Different in a way that his brother, Alexander, aged 15 and nicknamed Leek is different, able to retreat somewhere inside himself. Or the way his eldest sister Catherine, aged 17, is different but the same, as the other women at the Friday night card school in Agnes’s mum and dad’s high-rise flat. By giving yourself an omniscient narrator you give license to travel through time and follow your characters to where the story takes you. This works well, in your circular narrative journey, but like any superpower it must be used cautiously.
Agnes Bain, telling, not showing, since the novel is mostly about her being an alky, is a good place to start.
‘To be thirty-nine and have her husband and her three children, two of them nearly grown, all crammed together in her mammy’s flat, gave her a feeling of failure. Him, her man, who when he shared her bed, now seemed to lie on the very edge, made her feel angry with the littered promises of better things.’
Shug Bain raping his second wife, Agnes, beating and humiliating her on a trip to Blackpool worked great. It showed exactly the kind of psychopathic narcissist he remains in an aging body with is sweep-over bald head. His holy of holies was his hole. The father of fourteen children, none were loved, but some like Shuggie were an embarrassment, not a chip off the old block and best jettisoned. If Shug Bain was born a rich American he might well have been elected 45th President. But in telling, not showing, his true vindictiveness finds an art form. When he takes Agnes and his children from the relative safety of Sighthill and her mum and da’s house to Pithead, it had been a test to see if she would follow him to the gates of hell.
‘She had loved him, and he needed to break her completely to leave her for good. Agnes Bain was too rare a thing to let someone else love. It wouldn’t do to leave pieces for another man to collect and repair later.’
Crawling around the warped logic of his psyche works well. But the constant mirroring shift in point of view from one character to another can be overdone.
Catherine looking at her half-cousin Donald Bain, who she marries to escape her mum’s alcoholism and back again, to show what the other is wearing, or how they feel, is a neat trick, but could be classified as overwriting. A shift from Agnes’s lover and potential saviour in Pithead, Eugene’s point of view, for example, back to Shuggie’s in the following paragraph tells the reader little we need to know.
‘For a while Eugene said nothing. The strange little boy had stunned him to silence. ‘You know son, maybe it’s time you thought more about yourself. Leave your mommy for a while.’
Here again we have someone looking queerly at Shuggie. We get it at that point. No need to over-emphasise and over-write.
‘The secondary school was bigger than any he had seen. He had waited and cautiously followed a boy that lived on the landing downstairs. The boy was tanned and the colour of summer holidays. At the street corners he turned around and with big brown eyes he looked suspiciously at the little boy who followed him like a stray.’
‘Following like a stray,’ is clichéd. And I’m not sure you need a change in point of view.
For example, a simple tweak such as: at street corners he turned and his big brown eyes glanced in my direction. You retain your (Shuggie’s) point of view, which carries on into the following paragraphs and his experience of disappointment and alienation the East End school that he felt in Pithead. Dreams of a new start—dashed.
These are only suggestions. As the author you are omniscient, but also omnipotent. It’s your shout. Your characterisation stays the right side of caricature. Most debut novelists when trying to decide whose story it is, for good reasons such as they lack a more mature writer’s experience of life and what it takes to write a book, go to narrow. Agnes Bain is the focal point of your book. Shuggie Bain whose name is on the cover is the most consistent, but you go wide. Other characters get to tell their story.
Agnes is brutally raped by her husband, and another taxi driver. She’s also found with her tights ripped off at a party under a pile of coats. She’s diddled into sex by Big Jamie and countless others. She’s beaten and demeaned. But by going wide in your characterisation you highlight an episode even more chilling, and give your novel greater resonance and stickability with readers.
When Little Lizzie, Agnes’s god-fearing mother, somehow finds herself pregnant by the greengrocer she owes tick-money, while her husband, Wullie, is away fighting in the second world war, the reader fears the worst when he comes home. Agnes is still a baby, daddy loves and coos over. Little Lizzie doesn’t get it in the neck as we’d expect. Wullie understanding and soothing. He reassures her even after she admits to have done everything she could to get rid of the child before it was born. He takes the bastard child out for a walk in the pram, but comes back without the child or the pram. He no longer wants to talk about Little Lizzie’s mistake. He’s dealt with it. This sub-plot or story within a larger narrative helps set the background tone to the world Agnes lives in. Poverty isn’t just about money, it’s about circumstances and choices, who gets to say what. A mother can’t even mention the child she held and lost, because that wouldn’t be right, isn’t a fiction, and had the ring of a world-weary truth.
Poverty is the living coffin. Being an alky the nails in the coffin for Agnes and her dependents. Every generation writes its own epitaph. You got it with your sign spray-painted outside the pit in Pithead. ‘No Coal, No Soul, Only Dole’. In particular, you nail what it’s like to be dependent on the Monday book, followed by the Tuesday book of £8.50. No waffle. No generalisations. Being explicit ties you in with so many other great writers from Kerry Hudson, Tony Hogan Bought Me An Ice Cream Float Before He Stole My Ma (2012) Lowborn: Growing Up, Getting Away and Returning to Britain’s Poorest Towns (2019) to Charles Dickens, Jane Austen and writers like Emile Zola that know the price of everything, especially failure.
I was brought up with the Provie man and Radio Rental for our telly. I imagine you stretching it a bit here. I thought renting tellys—paying 50p for programmes—went out in the seventies. But I bow to your judgement. Diddling the gas meter or electricity meter, well, that’s still an ongoing story. But I imagine it’s more difficult, if not impossible, now.
There’s a caveat I just don’t get. No milk in the fridge. No food on the table. No electric fire to turn on. Everything that can be pawned or sold is gone. Yet, Agnes is always on the phone. Where I came from, phones cost money. There was a waiting list for them to get installed and it cost (roughly) £110. That doesn’t include rental charges or call charges. When Agnes moves to Pithead, she’s immediately on the phone. When she moves to The East End, she’s on the phone—for taxis she can’t pay for—yet still on the phone. She even sends a phone cut off at the wire to Leek, like a severed head, emphasising their relationship was done. Yet, again, she’s on the phone afterwards. I suggest you look at that again.
Agnes’s relationship with her phonebook is part of who she thinks she is. Her relationship with the drink curdles the soul. I recognise the symptoms and you’ve caught them in flight.
‘Well, you get a little bit stronger every day, but the drink is always there waiting. Doesn’t matter if you want to run from it, it’s still right behind you like a shadow. The trick is not to forget’.
We know what’s at stake. And we care enough about your characters knowing they’ll fail, but we can’t just look away. That’s page-turning power.
I hope my suggestions make sense. And I wish you well with your debut novel. I’d a similar novel set in Clydebank in the early ninety-seventies and nobody wanted to publish it. Maybe it just wasn’t good enough. But I hope you do better. Don’t let the bastards grind you down. Your novel is great. If in doubt, write another, better, novel. Send me it, I’ll have a look. Writers write, reading always.