Literary Smorgasbord: Anthony Neil Smith

I hate almost everything in my Twitter feed. I mostly go there just to annoy myself when there’s not enough anger in my day already, but every so often a wee gem crops up in the form of a particularly amusing tweet, a great pic of a shark, or an interesting new connection. Anthony Neil Smith was one such connection. We share a publisher in Bastei Entertainment and, as I discovered in the course of this interview, we have the same scalpel-sharp editor, Allan Guthrie. I know most of my Smorgasbord guests in real life and I look forward to meeting Neil the next time he comes to the Highlands.

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Hi Neil, after I invited you to take part in the Smorgasbord, I discovered that you are the author of Sin-crazed Psycho Killer! Dive, Dive, Dive! I couldn’t resist a title like that and downloaded it to my Kindle straight away. Was it as fun to write as it was to read?

Yes, incredibly fun to write. I think I stole a lot from Event Horizon, but that was the fun of it. War is Hell, after all. The title was inspired by men’s magazines of the 50s and 60s, before Playboy. Most of them had tough guy war stories in them. The only real issue is that I wrote it so fast and loose that it has a major error in it (I won’t tell you what it is) and lots of smaller ones. True pulp.

I picked up on a couple but it was such a fast and entertaining read that it didn’t matter. Let’s get serious for a moment. Tell me about the evolution of the author, Anthony Neil Smith.

It started with the Hardy Boys in second grade. The librarian let me read it because I wanted to check it out so badly, even though I was a bit young. Then I discovered The Three Investigators series, even better than the Hardy Boys, and I knew I wanted to write. Between then and college, I swerved between wanting to be a lawyer, a computer geek, a comic book artist and writer, a rock star…but I eventually came back to my first love, sending out my first short stories when I was 19. Then I read James Ellroy’s White Jazz and was blown away. I didn’t realize you could do that in a crime novel. So I focused on creative writing classes, then grad school, where I received a PhD in creative writing, and now I’m a professor and a cult crime writer.

Having written noir crime, dystopian, post-apocalyptic, and now, unexpectedly, historical fiction, I’m all over the book shelf. I think I’m correct in saying that you have specialised in dark crime books, but have you ever been tempted to cross genres? Is there a romantic comedy lurking in the heart of ANS?

I don’t think there’s a romantic comedy in me, no. Mainly, I think plotting is my weak spot, so it helps to have the crime or investigation aspect to centre on. I am interested in making sure each book feels different from the last, even if they are all dark crime. I also don’t think I’ll ever write fantasy or sci-fi.

Your latest book, The Cyclist, features a Scottish character. What’s your connection to Scotland?

I love Scotland, have been there twice, and I want to go again. I’ve long admired Scottish writers, made friends with quite a few crime writers of there, and I love the land and history as well. The beer, the haddock, the Highlands, the accents, all of it has had a big impact on me. I had a Scotsman, Allan Guthrie, as my agent, who then became my publisher for five books, and is now my editor at BE. He’s been my anchor in this business for a long time.

How would you describe your writing style?

Broken. One professor once said it felt like my sentences had been splintered apart and then nailed back together in a weird way. I just want it to be as “voicey” as possible, so that it flows in someone’s mind better than it does on the page.

What’s the hardest thing about writing?

For me, it’s the fact that it takes a long time. I get impatient. I always do the math and think, I should be able to write a book in three or four months. But it always takes eight to ten.

And the easiest?

Not “easy” easy, but I think first chapters are not as hard as some people make them out to be. I love writing first chapters. It’s a new world, new characters, new possibilities, and I’m ready to let them all live in my head for a long time. I like the challenge of coming up with a great first line and last line for that first impression. All The Young Warriors is my best first chapter, I think. Everything worked, and it was a great hook for the story.

What were you like at school?

Like, middle school and high school? Awkward. Never comfortable in my own skin. College was a little better. It wasn’t until grad school that I felt I’d found my place.

But earlier, I at least think I was funny. I was always drawing, which impressed a lot of other students, but I never had a lot of friends. Always shy, with a close circle of them. And now I teach in front of full classrooms and read in auditoriums just fine, but I still hate calling people on the phone.

What are you working on right now?

I took a long time off after The Cyclist (five or six months) but finally rediscovered a story, based on true events, of someone I knew back in my church days – a guy who seemed like he’d turned his life around for good, but who later killed a man and chopped him into little pieces to get rid of the evidence. I found a way to get into that story as a novel (because I just can’t do it as true crime. That’s not me), and it’s coming along well, I think.

That sounds interesting. What has been your best writing moment so far?

The entire process of writing All The Young Warriors was a blast. From the outlines to the final product, everything was right. I really had high hopes for that one as far as finding a larger publisher, but we had a couple of close calls only. One editor originally wanted it, then changed his mind three weeks later (which was the WORST moment of my writing career). So instead, Allan began a digital publisher called Blasted Heath, and I decided to take a chance with them.

Do you have any advice for aspiring authors?

Don’t do it. There are already too many of us.

Kidding, kidding. The best advice is to read a lot of stuff you love to read, then try some literary fiction from the last fifty years, then read Chekov’s short stories. Find people who will give you a good read, usually other writers. Grow a very thick skin so that criticism doesn’t get to you as much (because it will always get to you a little bit), and be prepared to wait.

If you could go back in time, what advice would you give to the young ANS?

That’s a tough question. Probably to not get so anxious about the future. Take things a little easier.

Who would play ANS in the film of your life?

He’s older than me, but I’d still go with Sam Rockwell. He is also who I would want to play my series character Billy Lafitte (with Johnny Knoxville a close second).

If there was one person – contemporary, historical or fictional – you could spend a day with, who would you choose and why?  How would you spend the day?

My dad. He died when I was ten, and he was larger than life. Always smiling, always laughing. He missed out on the path I took in life, and if he had lived, I think I would’ve gone a different direction. I would like to hear what he thinks of me now – a professor and writer. We’d spend the day cruising the coast in his old Chevy van, listening to seventies rock bands.

Nice. A few short questions to finish. Favourite book:

White Jazz by James Ellroy. Wouldn’t be here without it.

Author:

Very tough one. But this week, it’s Walter Mosley.

Food:

Mexican. Tacos and burritos. Very spicy.

Drink:

Mexican beer.

Film:

Pulp Fiction. I saw it the same year I read White Jazz, and together, those cemented my choice to be a crime writer.

TV show:

The Shield.

Music:

Sammy Hagar.

What are you reading right now?

The Cuckoo Wood by M. Sean Coleman, and The Room of White Fire by T. Jefferson Parker.

Thanks Neil, it’s been a blast.

Follow Anthony Neil Smith on Twitter.

The Cyclist by Anthony Neil Smith was published by Bastei Entertainment on 8 May 2018.

Books by LG Thomson are available from Amazon and from bookshops in Ullapool. Writing as Lorraine Thomson, the Dark Times dystopian trilogy, published by Bastei Entertainment, is available online.

Find out about the Isle Martin Writing Retreats 2018 here.

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Literary Smorgasbord: Calum Colvin

The Literary Smorgasbord is primarily about writers, but there’s more than one way to tell a story and for this most recent set of interviews I have invited a handful of visual artists to take part. I met Calum Colvin when we were students at Duncan of Jordanstone College of Art. Though he’s long since become a well-established artist, I still get a kick every time I see one of his creations hanging in a gallery.

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Your work has a strong narrative feel, with images layered upon images, and stories hidden within stories. How does that process begin? 

I suppose there is an element of storytelling in there. I begin with an image, or an idea gleaned from a book, or simply a title. Then there are the ‘objects’ or props which inhabit the set and provide a framework for the picture. It kind of spirals from there!

 My work tries to evoke the worlds of the painter, the sculptor and the photographer. The combination of ‘fact’ and ‘fiction’ are what interests me and (I believe) constructed photography is a particularly apt way of exploring this. The objects in the photographs are ‘real’, they have their own history which interacts with the narrative of the painted element, which often has it’s own historical resonance (given that it is often a re-interpretation of an existing artwork/painting). I pursue themes and ideas in my photographs that very often relate directly to issues of ‘identity’, fine art practice, popular culture, crypto-political connections, and every variety of arcane symbolism meet in a collision of ideas and associations such that a kind of kaleidoscopic’ vision is created.

Do you have a clear image of how the finished piece will look, or does the picture emerge as you work?

I think the final image is a kind of accommodation between myself and the camera – we reach an impasse, or maybe a truce! The camera lens does not see the world in the same way as the human eye does. I try to make what I have in my mind fit what the camera sees, and we usually meet somewhere in the middle.

Themes of Scottish history and identity run through your work. Was that a conscious decision or natural evolution?

See above. I lived in London for a decade or so from the mid 80s during the Thatcher years, and this certainly made me aware of a growing political gulf in the UK. However I was reminded on a fairly regular basis of my linguistic ‘otherness’. There is a sense of an evolution in these concerns in my work specifically: simply because, like most people, my opinions and views have been shaped by experience of the political climate and by an increasing engagement with Scottish culture over the decades.

How much of yourself do you expose in your work?

Often artists both reveal themselves and hide within their work. In that respect I am no different from the rest, except sometimes I am physically present in the work – although always in the shadows and sometimes in disguise!

Have you ever been deeply into a piece only to realise that it isn’t working?

Not that I’ve been prepared to admit! I am nothing if not persistent!

How do you know when a piece is finished?

When I decide I can’t make it any better, or I run out of time, or puff.

Is there any piece you are particularly happy with?

No. I think the next one might be better.

We first met as art students in Dundee. I have a particularly vivid memory of you, me and Andy Crummy huddled around the fire in Andy’s basement flat, eating slices of cheese from a block of cheap cheddar. Oh, the glamour. I think it was the only thing any of us had to eat that day. You are now a Professor of Fine Art Photography at Dundee University and Andy has created the Great Tapestry of Scotland – changed days indeed. Looking back, what does the journey from student to professor look like?

I don’t think about life journeys and such too much. I tend to be too busy dreaming up the next wheeze. I’m still partial to a bit of cheddar.

What, if any, are the differences between art students then and now?

I think it is all a bit more professional now. Teaching is much more sober and structured, for better or for worse. Interdisciplinarity is encouraged in a way that was never before, and I would like to think I have been a part of that change. Students work very hard, and I am very proud of their achievements at Duncan of Jordanstone, which is now part of the University of Dundee. I went to the same institution at the age of seventeen and see the similarities and transformations most days.

What are you working on at the moment?

As ever, I’m juggling half a dozen or so short term and long term projects. Some of them will go by the wayside, and some will evolve. We’ll see.

I’m definitely making a commission for the British Academy in London. A group portrait of eight Honorary Academicians, past and present. A big job.

What advice would you give the young Calum Colvin?

None. I wouldn’t have listened.

If you could spend a day hanging out with any one person, past or present, who would you choose and why? How would you spend the day?

Robert Burns. A walk in the country, a meal, a drink.

Who would play Calum Colvin in the film of your life?

I’ve no idea. I wouldn’t watch it. Maybe Jacques Tati?

A few short questions to finish. Favourite book:

Poems, chiefly in the Scottish Dialect, by Robert Burns 1786.

Author:

Philip Roth

Drink:

Malt Whisky – any. I’ll play the field.

Food:

Cheese. Unless it’s Andy’s Cheddar.

Film:

It’s a Wonderful Life

TV show:

Mad Men

Music:

Elvis Costello

Artist:

Diego Velasquez

Work of art:

Las Meninas

Thanks, Calum. It’s been a real pleasure having you on the Smorgasbord.

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Burns Country by Calum Colvin

You can find out more about Calum Colvin at his website, on Facebook, and on Twitter.

Books by LG Thomson are available from Amazon and from bookshops in Ullapool. Writing as Lorraine Thomson, the Dark Times dystopian trilogy, published by Bastei Lübbe, is available online.

Find out about the Isle Martin Writing Retreats 2018 here.

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Literary Smorgasbord: Jan Patience

In June 2015, I was invited to take part in the launch event of Scotland’s leading creative industries festival, XpoNorth. I hadn’t realised quite how much swearing was in Boyle’s Law until I prepared to read a chapter of it in public for the first time. There was so much cursing and it ran so fluently that I couldn’t edit it out, and so I decided to go for it big time and deliver. I rehearsed the hell out of that reading and my reward was a room full of people shaking the rafters with laughter.

The next day, I was nursing an almighty red wine hangover when a woman approached me in the street to tell me how much she’d enjoyed my reading the night before. I remembered her because she arrived too late for a seat and had to perch on a window sill. Also, she had red hair and wore a Breton top and I’m a sucker for both. That woman turned out to be the very lovely Jan Patience. One day I’ll draw a Venn Diagram of all the people I’ve met through XpoNorth. In the meantime, please do enjoy this fab interview with Jan.

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How did you get started in your career as a journalist?

I left Aberdeen University in 1986 and applied for post-grad journalism courses in Preston, Cardiff and London. I didn’t get into any of them even though I had worked on – and edited – the university newspaper. My problem was that I froze in the interviews and came across like a gibbering wreck.

Unable to think of anything else, I kept applying for jobs in journalism. In these days that meant scouring media situations vacant in The Guardian on a Monday and pouring over small ads in The Glasgow Herald. After a few months I was offered a job working for a husband and wife who ran a magazine for the lingerie trade from their home office in the west end of Glasgow (I know what you’re thinking. It sounds well dodgy… but it was legit. I think!) I quit my job as a waitress in The Cue Ball nightclub in Aberdeen and moved home to rural Ayrshire to live with my parents for the first time in four years.

The job lasted less than two weeks. Half was spent at a lingerie trade fair in Harrogate, talking to women wandering around a draughty exhibition hall in bra and pants while I teetered in black patent stilettos and black and white dog-tooth Margaret Thatcher-style power suit from M&S which my mum, bless ‘er, had bought me. It was the 1980s, what can I say? Mum was always horrified at my sloppy garb and insisted that was how people dressed for “proper” work. I went to work on the Monday after returning from Harrogate and my boss asked me to go and research the history of hosiery in Hillhead Library. The next day I was told they couldn’t afford to keep me on.

My first proper job in journalism, was with a magazine called Business Scotland published by a small Glasgow-based company called Peebles Publishing. I wasn’t the only young would-be journalist searching for a job. The first two weeks was spent working alongside another recent graduate. We were told by the boss, an ex-sports reporter who had worked on the Glasgow Evening Citizen, that he would choose between us after a two week trial. I got the job. To celebrate, he took me up to a pub in Byres Road for a drink. It wouldn’t happen today.

How did your expectations of the job match up to the reality?

Well, it wasn’t the stuff of Lou Grant, the US television set in busy newsroom, which I watched as a teenager. In my head I was  Mary Tyler Moore. At Business Scotland, I was a newsroom of one and I had to fill an entire magazine using native guile every month.

Business Scotland, which was mailed out free to subscribers, relied completely on advertising. It was a mix of advertorial (paid-for content before it was called ‘content’) and interviews with businessmen. I say businessmen because it was actually mostly men I interviewed.

The company also produced a bunch of other publications; The Johnny Walker News, The Rangers News and the Celtic View, Packaging Scotland and the Licensed Trade Guardian. All the reporters were around my age and we sat together in a damp, cramped basement room. To keep ourselves amused, we used to phone companies we knew had funny-sounding receptionists answering the phone and put them on speaker-phone. The packaging giant, Metal Box, had a particularly hilarious receptionist, I recall. We also produced a weekly spoof newspaper called The Peebles News which was hidden from the bosses’ prying eyes. We laughed till our bellies ached every time we added a story, each more anarchic than the last. I used to do impressions of all the bosses and once, the production editor, a lovely woman who was from London and a wee bit Sloaney, walked in when I was in the middle of impersonating her. I still feel bad about that. One of my proudest moments in the three years I worked there was making sure a woman won the Businessman of the Year Award which we set up. Her name was Christine Latta and she ran an engineering company in Glasgow. She taught me a lot about what women could achieve against the odds.

I knew nothing about business but it taught me a lot about the gentle art of asking open questions with a smile. In other words bluffing like mad. One day I’d be writing 2000 words about scrap metal, the next interviewing the chief executive of The Royal Bank of Scotland.

After a year (because there was no-one else to do the job), I became the youngest editor in Scotland, aged 23. At the time I thought I hated the job because it was so boring and so poorly paid but looking back, it was fun.

You are a well-known arts journalist, how did that come about?

Like most things in my life I fell into writing about art. After spells on the staff of The Daily Record and a daily business newspaper (which went to the wall after a couple of years), I went freelance after I had my son in 2001. My daughter followed in 2003 so I juggled writing with being a mum and carer to my ailing parents. It was the tail-end of the days when newspapers had money to commission freelances to work on reasonable-sized projects and around 2006 I was asked to co-write a magazine spread on 50 Scottish artists to invest in. I threw myself into it and it re-ignited my interest in art which had always been there, but had somehow been placed on a back-burner.

Following on from the 50 artists feature, which caused a stir in the art world (of which I knew very little), I was asked to contribute to a regular art column in The Herald, writing about artists and exhibitions which were happening around Scotland. It was like a crash course in learning about the Scottish art scene. I never described myself as an art critic but it’s a label people are familiar with so it seems to stick. I always say I write stories about art and artists. Occasionally, I get into an almost meditative state when I am describing art and it pours out with the greatest of ease. I have become quite the expert at picking my way through the thickets of art speak, which art schools seem to put high up on the agenda. If you can’t say a thing simply, I say, don’t bother.

What were you like at school?

A mixed bag; funny, self-conscious and a wee bit geeky. I used to wear a badge on my duffel coat which said, “A woman without a man is like a fish without a bicycle.” It was a tough school and our year was HUGE. You had to fight your corner. Either that, or make people laugh. I chose the latter path! My dad was a minister, which put me into the ‘snobby’ category among certain peers so I started talking like Mary Doll in Rab C Nesbitt for a while, which didn’t go down well with mum.

I loved art and English and I was also in every choir the music department ran. And they ran loads! I was even in a wee girls’ choir which did Burns’ Suppers all round Ayrshire. We had quite the reputation but it did mean listening to lots of sexist jokes in Toasts to the Lassies’ speeches. I was into drama and loved being part of a drama group run by my English teacher, Mr Stott. I usually played the “character” who was old and eccentric. My first taste of journalism happened when I was in sixth year and part of the school magazine and I loved being part of it.

I was once told that every journalist harbours a secret desire to be a novelist.  The person who told me this was a newsman-turned-novelist.  How much truth do you think is in that statement?  

Show me the journalist who doesn’t want to write a novel and I will show you a big fat fibber. We are natural storytellers and embellishers. I get secretly irritated when I see yet another ex-colleague produce a novel. My husband always says: “Where’s your novel then?” which he knows will annoy me even more.

Have you ever written any kind of fiction?

I have an unfinished novel three chapters in sitting in my laptop and I’ve also written short stories. When I moved back from London to Scotland in the late 1990s I attended a week-long course in novel writing at Moniak Mhor, near Beauly. The tutors were Janice Galloway and Geoff Dyer. I went straight to the course from an interview with the owner of a randy dog who was terrorising the town of Tain for Take A Break magazine. Most of the participants were women and fans of Janice Galloway. The protagonist of her novel, The Trick is to Keep Breathing, struggles with mental illness and some of the would-be novelists were obviously drawn to that side of Janice’s work. I’d say several were teetering on the edge. By the end of the week, everyone seemed to be menstruating at the same time. Even the men.

I am a bit of a poetry nerd and in 2012 I wrote a haiku a day for a whole year. I used to walk about counting out 5-7-5 syllables out on my fingers when I was out walking with the dog or driving the car. The kids used to know when I was composing a haiku because I’d drum out syllables on the steering wheel.

How did the George Wyllie book come about?

I met George’s daughter, Louise Wyllie, in 2011 through a mutual friend, a journalist called Fiona Black. At the time George was living in a care home in Greenock and suffering from dementia. Louise was trying to stimulate him and to make him feel like his life’s work as an artist hadn’t been in vain. I think he thought everyone had forgotten him. I vividly recalled seeing his big ambitious “social sculptures”, the Straw Locomotive and the Paper Boat in Glasgow in the late 1980s and I couldn’t believe that he thought he had been forgotten. There was something playful and serious about his work which I loved. It wasn’t rarified art. It was art which connected with ordinary people at a deep level.

I got friendly with Louise and she roped me into helping on a committee called The Friends of George Wyllie. We ended up organising a year-long festival called The Whysman Festival in 2012. Just as the announcement was made that it was going to be happening, George died, which added a poignancy to the proceedings.

Louise is an inspiring person, even though she would laugh at me saying that. Like her dad, she is a naturally creative organiser who thinks big and the Whysman Festival was a resounding success. We even won a Creative Scotland Award.

As part of the festival, we staged a huge retrospective exhibition in Glasgow’s Mitchell Library and produced a book of George’s poetry, which I edited. There was also an education initiative which saw his work reaching out to a whole new generation of young people.

Louise jokes that she simply tipped out her dad’s house into the Mitchell Library space but it was astonishing to me that an artist who started working as a serious artist late in life had produced so much. It was clear looking around that exhibition that from the moment George Ralston Wyllie made his entrance into the world on Hogmanay 1921, he was a creative force to be reckoned with.

I said to Louise we should write a book about him and to cut a very long story short, that is how Arrivals and Sailings: The Making of George Wyllie came about.

What have been your worst moments as a journalist?

Where to start? There’s been a lot of highs but probably my worst moments came when I worked on tabloids. I often found myself in situations in which I asked myself, “how did I get here?” On housing estates being chased by angry relatives after asking for a picture of a recently-deceased loved one (the dreaded death-knock) or standing crying in an en-suite bathroom belonging to an AIDS victim in a hospice in Edinburgh after having prised his sad story out of him.

And your best?

My best moments were also on tabloids. The crazy camaraderie of day-to-day life on a tabloid at the fag end of the glory days of newspapers can’t be downplayed. It was a case of one for all and all for one. When I worked as a reporter at The Sunday Mail in the early 1990s, I was known to my mostly male, older colleagues as “the wean”. I learned a lot from these world-weary hacks. They worked hard and played hard and were incredibly generous with their time and their expertise. Once, I was struggling with writing a news story and a favourite colleague, Alex Scotland, read through my efforts. He pushed his specs up his nose and said: “Jan, get angry! You’re not angry enough… !” I became the Sunday Mail’s “Culture correspondent” in 1990 during Glasgow’s reign as European City of Culture and I broke a few big news stories which made the coveted front page. I had a knack of coming up with good shorthand handles for tabloid stories. One, The Casanova Conman, even found his way into criminal history.

Have you ever felt intimidated by anyone you have interviewed? 

I interviewed a few criminals during my time at the Sunday Mail. Pre-internet, there wasn’t many outlets for jailbirds and along with other female reporters I regularly received heavily censored letters from prisoners. Presumably, they saw our bylines and had a lot of time on their hands.

I visited the famous Barlinnie Special Unit with my friend, the paper’s resident astrologer, Darling (Rita Madhok). That was an experience and a half. We went on a boiling hot day in summer and we all sat on the exercise yard watching the pet rabbits run amok. It was like a metaphor for confinement. One of the prisoners constantly canoodled with his posh young girlfriend during our visit and it turned out he was planning to marry her. Fast-forward six months and I am sitting waiting outside the gates of Barlinnie looking out for famous visitors such as ex-Special Unit inmate, Jimmy Boyle, sweep past in his Jag. I met Boyle a few months later outside Saughton Prison when he was campaigning for the release of one the inmates there and he was charm personified. “Don’t get dazzled,” my friend Alex advised… always remember what these guys did to get in the jail in the first place.”

On that note, probably the most intimidating one-to-one interview I did was with a man called James Nelson. He was a convicted murderer who killed his mother and on his release, became a minister of the Church of Scotland. My dad was a minister and he was a delegate at the General Assembly in 1984 when the Kirk debated whether or not Nelson should be allowed to be ordained. I recall the case clearly as it prompted much debate in our home. I interviewed him in the mid-1990s in Rogano in Glasgow for a woman’s magazine. He clearly enjoyed my discomfort in his presence and I was unusually tongue-tied. Intimidated, even.

What advice would you give to the young Jan Patience?

Don’t be such a feartie and trust your gut instinct. Also, you know a lot more than you think you know. Don’t give up. There’s always a way – you just need to find it.

Who inspires you?

People who keep on being creative despite all the barriers which spring up along the way. George Wyllie continues to be an inspiration. He became a full-time artist aged 58. That keeps me going! I have an artist friend called Annette Edgar and she is in her 70s and has faced a lot of ill-health and problems but she has an unquenchable thirst for creating art and a poetic spirit.

What are you working on just now?

I’d like to say I am writing my novel and cracking on with that factual book which everyone I talk to about it says is A Good Idea. But mostly, I footer about on Facebook, Twitter et al. That needs to change.

If you could spend a day hanging out with any one person, past or present, who would you choose and why? How would you spend the day?

You ask some hard questions, Lorraine!! I’d like to have just one day and night with my late mum and dad. My brother and I would take them to The Coffee Club in Kilmarnock and dad would have lemon meringue pie and we’d all tease him about it. We’d probably bicker but that’s fine.

Who would play Jan Patience in the film of your life?

I’d like to think Nicole Kidman but in reality it would be someone far less glamorous. Janette Krankie maybe?

A few short questions to finish. Favourite book

The Prime of Miss Jean Brodie by Muriel Spark. I’ve re-read it several times but with all the Muriel Spark at 100 celebrations in the news (she was born on 1 February 1918), I’ve been thinking that I’ll re-read all 22 of her novels. She is so tart and spare in her storytelling and with her language.

Author

Anne Tyler

 Drink

Champagne – but not too much as I get very silly with it.

Food

A really well-made risotto.

Film

Butch Cassidy and the Sundance Kid

Music

I am known for my love of moaney women singer songwriters with the queen of all moany women singer songwriters being Joni Mitchell in my eyes. I also love Carole King, Nanci Griffiths, KD Laing and Björk. I’d like It’s Oh So Quiet by Björk to be played at my funeral. I like to think it sums me up. Seemingly quiet but then… Zing boom!

I’ve also recently joined the Glasgow School of Art Choir, which is the nearest I’ve ever got to going to art school. It’s led by the charismatic, energetic and oh-so-young Jamie Sansbury. We’re going to be singing a Sir James MacMillan composition inside the GSofA’s Mack Building, closed since the fire in 2014 when is reopens. I love singing in a choir again.

What are you reading right now?

Moonwalker: Adventures of a Midnight Mountaineer by Alan Rowan. Alan is a former colleague from The Daily Record. His first book is a well-written meander through his long-running obsession with running up mountains in the dead of night after he’d put in a long shift on Record sports desk.

Thanks, Jan. Great interview.

You can follow Jan on Twitter, Facebook and Instagram           

Books by LG Thomson are available from Amazon and from bookshops in Ullapool. Writing as Lorraine Thomson, the Dark Times dystopian trilogy, published by Bastei Lübbe, is available online.

Find out about the Isle Martin Writing Retreats 2018 here.

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Literary Smorgasbord: Andrew Crummy

When I was at art school in the 1980s, the world was a very different place. Thatcher was in power, the miners were striking, Reagan was in the White House, punk was dead and the soul had been ripped out of the city of Dundee, but the time I spent there was to echo through the rest of my life in ways that I could not imagine. Art school is the gift that keeps on giving, and one of the things it has given me is the many friendships that have endured and flourished throughout the intervening years. It’s been a thing of wondrous beauty to see the many paths taken by my contemporaries but it’s been a particular joy to witness the success of my friend, Andy Crummy.  (Andy also wins the award for world’s scariest selfie of a nice guy.)

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Hi Andy, thank you for agreeing to take part in the Smorgasbord. I’m going to plunge right in with The Great Tapestry of Scotland, a hugely ambitious project which has been described as a Masterpiece. The Great Tapestry is a major work by anyone’s standards: what impact has it had on your life?

It has had a huge impact, I am often now called “the Tapestry man”!  Looking back, I suppose it was the culmination of my involvement in community arts over many years and my own artistic skills. What was a surprise to me, was the interest in my drawing and design skills. What was amazing was not only the skill and creativity the thousands of stitchers, but all the other people who volunteered to help in its creation and its touring and exhibitions. The Great Tapestry of Scotland, The Scottish Diaspora Tapestry, Battle of Prestonpans Tapestry and the others have now been seen by over 700,000 visitors.

Although I am central to these projects, it is not about one person, it is about all these people coming together and being creative. When all these ladies start being creative with their stitching it is a very humbling experience. Of course, it is still evolving and growing. We are not at the end of the story.

What were you like at school?

I was really just a not very confident, quiet wee soul who looked rather depressed most of the time. I did not know what I wanted to do. My careers advisor at the time thought I should be a printer. The only thing I was good at was drawing and chess. I ended up going to Art College because it was the only thing I could do.

Tell me about the evolution of Andrew Crummy, the artist?

It was really when I got to Duncan of Jordanstone College of Art that I suddenly found myself with lots of other people who were like me. I really enjoyed my time at Dundee. Of course, that is were we met all those years ago. I think we were all very lucky because everyone was so friendly, even to this day, as a group we keep in contact.

As an artist I just love drawing and painting and I just wanted to keep to it. It is really that simple. It is just the joy of being creative. I do not view myself as anything special, but I have had a lot of practice.

Community arts and collaborative work are important to you; what would your ideal project look like?

I was brought up in a community arts atmosphere through my mother and The Craigmillar Festival Society. But as a typical teenager rejected most of what my parents said, it was not  until well into my thirties when I realised that my mother was right, if you involve people in our own creative process, it opens many new doors.

Community Arts can be a very powerful movement, when many people come together through the arts to deal with issues within our society. The best example I have ever seen was The Craigmillar Festival Society, where it used the arts to help deal with the issues of poverty and inequality. It was a very clever model of working and I am still learning much from it.

I don’t know if you’ll remember this, but many years ago you told me you were planning on writing a book inspired, I think, by a box of old photographs. Did anything ever come of that?

I think that is one of many projects that never got anywhere.

You have created murals, drawings, paintings and illustrations, experimenting in many different styles and media. How do you decide which route to take for a project?

I think the important thing is to keep learning and trying new things, there is still so much to learn and look into. I don’t mind failure because it is through this you learn more. Throughout my life I have been fortunate that at certain points opportunities have come along, but I was always happy to take the plunge and give it a go.

Have you ever surprised yourself by what you have revealed in your art?

Some of the images I just don’t know where they come from, or what they reveal about myself.  I really don’t understand where they come from. I usually just enjoy the challenge.

I think over the years, learning the craft of drawing and painting is such a constant tussle. I often hear writers and artist talking about this. Sometimes you produce some thing and you think that is fab, then you come back to it a few days later and change it again. Then you think, I wish I had never changed it.

Which artists inspire you?

Well there are so many, in so many art forms. I was at the National Gallery recently and some of the paintings are like old friends. Over the years they become part of your life, and your relationship with them changes. I am a bit of a art groupie, I just love so many artworks. For drawing and painting I am very traditional in admiring Rembrandt, Leonardo da Vinci, Caravaggio, etc. In a Scottish context John Byrne, Joan Eardley and of course John Bellany, but I am loathe to pick out only a few as I admire so many. John Quinton Pringle is another, James Cowie….. the list goes on and on. Music is a big inspiration for me, I remember you like Devo…….gosh that whole period of music and beyond. The other art forms….. I could be here all night!

Best art-related moment so far?

For my own work. Standing in the two hour queue with my daughter to see The Great Tapestry of Scotland in the Scottish Parliament. I just wanted to experience people queuing to see my work. It will never happen again.

Any unrealised artistic ambitions?

Far too many to mention.

What are you working on at the moment?

More tapestries, book illustrations, paintings and venturing into sculpture and ceramics.

What advice would you give the young Andrew Crummy?

Be more confident, more ambitious.

If you could spend a day hanging out with any one person, past or present, who would you choose and why? How would you spend the day?

With Rembrandt or Turner, in their studio. I would learn so much.

Who would play Andrew Crummy in the film of your life?

Spud from Trainspotting, as he went to the same school as me.

A few short questions to finish. Favourite book?

Or what am I reading at the moment. I tend to read factual books like: Scotland, A History from Earliest Times by Alistair Moffat, Come out of the Wilderness by Bruce Kendrick, Inglorious Empire by Shashi Tharoor.

Author

George Orwell.

Drink

A flat white

Film

Cinema Paradiso

TV show

Come Dine With Me

Music

Family, Undertones, Karine Polwart, Stevie Wonder, Debussy, etc.

Artist

Rembrandt, Ben Nicholson

Painting

A Group Portrait, James Cowie

The Box Meeting,  John Bellany

Thanks Andy, it’s been a pleasure.

Find out more about Andy at his website.

Books by LG Thomson are available from Amazon and from bookshops in Ullapool. Writing as Lorraine Thomson, the Dark Times dystopian trilogy, published by Bastei Lübbe, is available online.

Find out about the Isle Martin Writing Retreats 2018 here.

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Literary Smorgasbord: Beth Robertson Fiddes

There are many ways to tell a story and, arguably,  one of the earliest was through pictures. When I recently visited Beth Robertson Fiddes in her studio, I was struck by how much of her experience as an artist I could relate to as a writer and I was inspired to invite her to take part in the Smorgasbord. She agreed, and so I am delighted to introduce the Smorgasbord’s first (but not last) visual artist.

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Hi Beth, thank you for agreeing to take part in the Smorgasbord. I’ll kick off with one of my favourite questions: what were you like at school?

Quiet mostly. I have nice memories of early primary on Tiree and I had a spell at school in Kansas which was interesting although maybe a bit overwhelming. I was fine in the school itself but used to literally get lost in the car park, too many buses, all yellow.

Later school years I enjoyed less. I did work hard, depending on the subject, and there were some good teachers there but I’m glad those days are over. I spent a lot of time on my own outside which was just fine. My report cards mainly focussed on whether or not I had shown signs of coming out of my shell or retreating back into my shell like some sort of indecisive snail. One teacher commented that she was unaware that I was in her class.

When did you realise you had creative ability?

I don’t think I had a conscious realisation of that. I think all children start out creative and that sometimes that is lost somewhere along the line. I just kept going. Everyone around me when I was young was making something, painting or drawing, it was a natural thing for me to continue.

What has been the evolution of Beth Robertson Fiddes, the artist?

I think as far as my evolution as an artist is concerned I have reached the stage of a hopeful sea sponge. I have always felt I was just beginning and I still do, I think that feeling is helpful in a way. I often forget how much work was involved and how long it has taken to get to actually just do this everyday.

What makes you paint?

I’ve always been driven to draw and paint. There’s a wealth of inspiration in the surrounding landscape and coast here. It’s memory and a sense of place I try to capture but maybe with subtle alterations. My work has been described on occasion as otherworldly and there is a sense of escapism both in the process of painting and in the finished piece. It is a way of transporting myself to a different world and time and if I’m away from it too long I feel uncomfortable. So that’s what makes me paint

How much of yourself do you expose?

I am not aware of myself while painting. I really do escape from myself and anything that’s going on around me. I’m not intentionally trying to reveal any particular aspect of myself but inevitably it’s a form of communication and it’s my individual view point so I guess there must be something of me in all of them.

Are you ever surprised by what is revealed on the canvas?

Thanks Beth, it’s been a real pleasure (and glad to meet a fellow loather of The Cone Gatherers). Find out more about Beth at her website, on Facebook and on Instagram.

Books by LG Thomson are available from Amazon and from bookshops in Ullapool. Writing as Lorraine Thomson, the Dark Times dystopian trilogy is also available from Amazon.

Find out about the Isle Martin Writing Retreats 2018 here.

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Isle Martin Writing Retreats 2018

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A strange thing happened when I tried to write about the retreats I’ll be running on Isle Martin this year. As though possessed by the twin spirits of Brigadoon and the Scottish Tourist Board, I began waxing lyrical about the islands off the west coast of Scotland, using overcooked descriptions like the iconic whale-bone outline of the Outer Hebrides, and the haunting beauty of St Kilda, last outpost before the vastness of the Atlantic.

A soundtrack of evocative Celtic music played in my head as I wrote, and I swear I could smell the peat burning on the fire. As if that wasn’t enough, when I read it back to myself, it came out in Mel Gibson’s Braveheart accent. When I realised the spirits had me in their tartan-clad grip, I had a word with myself before I broke into the Skye Boat Song or worse, Donald Where’s Your Troosers?

Here’s the real deal. Last year, I ran Isle Martin’s first writing retreat and I enjoyed it so much, I’m doing it twice over in 2018. Isle Martin is stunning, the island is brimming with history and atmosphere, and it’s exciting getting in a boat and going to an island, especially one that’s off-grid, but here’s the really important bit:  amid all this breathtaking stunning magnificence, we’ll have a great time. There will be writing, lots of writing, but there will be laughter too, and plenty of it. And as if that’s not enough, Em’s food is fantastic and there’s a constant supply of cake.

Check out the links below for more details, and if you’re interested in joining me on a remote island for a weekend of writing, laughter, cake, and maybe a dram or two, email me at lgt@thrillerswithattitude.co.uk

I look forward to seeing you there.

Midsummer Write 22 – 24 June 2018 £210pp*

Above the Strandline 14 – 16 September 2018 £220pp*

*Price per person for the weekend, includes shared accommodation, meals, workshops, cake, and return boat trip.

Isle Martin is a community-owned island off the north-west coast of Scotland, approx. 3 miles north of Ullapool, run by the Isle Martin Trust. The amenities are simple, the island beautiful, the welcome warm. With over 18 hours between sunrise and sunset, great food, and inspiring company, Midsummer Write is the perfect opportunity to devote time to your writing. There will be workshops to help get you started and to keep you going, and an opportunity for one-to-one mentoring, otherwise you will be free to immerse yourself in your work. Above the Strandline will feature a mix of tutored workshops and free writing time For both retreats, you will have the option of a short 1-to-1 mentoring session. There is no electricity, on the island so leave your laptops and tablets behind and bring pens, paper and a sense of adventure. There is no hot running water so bring a flannel for a wash-down. We will however, have the luxury of flushing toilets, a warming fire and delicious meals cooked on the island using local produce.

Books by LG Thomson are available from Amazon and from bookshops in Ullapool. Writing as Lorraine Thomson, the Dark Times trilogy is available from Amazon.

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Literary Smorgasbord: Gayle Anderson

Jackie is a magazine so iconic, there’s even a musical about it. Some scars in life run deep and I still recall the bitter disappointment of going to the local shop one Thursday afternoon in the mid 1970s to collect my regular order, only to be told that they had sold every single copy of the magazine during a lunch-time stampede of teenage girls from the local high school. I wasn’t even all that bothered about the 8-page Osmonds pull-out special – it was the words I missed. I absorbed them all; everything from the Dear Sam letters page, to the tampon adverts where you could order free samples from Sister Anne*.  But without a doubt, my favourite part of Jackie was the Cathy & Claire problem page, and so you will understand that although I am hopelessly devoted to each and every one of my Smorgasbord guests, I am particularly excited this week to be interviewing the real, actual, Cathy & Claire

*Disclaimer: My memory fails me – I can’t remember what she was called, but despite having no connection to the Catholic church, I do remember thinking she was a nun and thought it was strange that a nun was giving away free tampons. It didn’t occur to me until an embarrassing number of years later that the Sister was supposed to be a nurse.

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Hi Gayle, thanks for agreeing to take part in the Smorgasbord. I’m fascinated by all my Smorgasbord guests, but as I was an avid Jackie reader back in the day, I’m particularly excited to be interviewing you.

Aww, shucks, thank you. It was a genuine privilege to work on and subsequently edit Jackie. It was a magical place. Like being at an eternal sleep-over party with your friends. Such fun! Such shenanigans!

Without a doubt, my favourite section of Jackie was the Cathy & Claire problem page. I remember one particular problem from the late 70s when a bride-to-be was worried about being overweight. The advice from Cathy & Claire was to imagine the wedding guests humming here comes the bride, forty inches wide, as she walked down the aisle.  Were you ever as caustic in handing out advice?

Ooh, that is horrendously harsh. I was definitely never as caustic. My stint as C&C was in the early 80’s. These were different times and PC as a term only applied to the local constabulary – but I would contend that your memory is quite a rare example of harshness. That is perhaps why you remember it so clearly. We tended to speak to readers as if they were our younger sisters. That’s really how we regarded them. We were answering these letters as youngsters ourselves. Often newly left home, in our first flats, coming from small towns all over the country. We understood how they felt as we’d just been through it. We understood about loneliness, not fitting in, the fear of love bites! We had a team of more mature freelance advisors to help answer the more complicated problems, pre-written advice sheets for the most common ones, and a doctor for the medical issues. I recently visited the wonderful Jackie archives at D C Thomson for research on a Cathy & Claire talk a former colleague and I gave at last year’s Dundee Book Festival . I was utterly delighted to discover that the vast majority of replies  given over the years – from the 60’s onwards -were warm and supportive and full of common-sense. Even on the most difficult of subjects, racism, sexuality, misogyny, they were in the main, answers I would happy to see given to young readers today.

What was the most unusual problem you dealt with?

Ooooh, that would be the half pence coin letter. I was sitting at my desk on Monday morning opening letters when a half pence fell out. I picked it up and began playing with it as I read the accompanying letter. It said, ‘Dear Cathy & Claire, I have a vaginal wart. I measured it with this half pence.’ Cue made dash to the toilets to wash my hands in the frantic style of Lady Macbeth…

Howling with laughter here. Did you have regular advice-seekers?

A few, but not nearly as many as you’d probably imagine. It was mostly different readers writing in every week. Girls didn’t talk to their friends about their worries in those days and in general  they most definitely didn’t discuss  emotional issues with their parents. There was no social media. No Google. We were their Google. Talking of repeat letters, I did like the fact when going through the archives that the Cathy & Claire page had the honesty to print a letter from a reader who hadn’t agreed with or liked the reply she’d been given! How many publications would do that today?

How many problems came in every week?

At Jackie’s peak, Cathy & Claire received up to 500 letters each week.  To seem hip and cool, we gave our Fleet Street address. The sack loads of letters were then transported by DC Thomson’s own lorries overnight up to our main offices in Dundee where we all worked.

Did you ever feel the weight of responsibility when dealing with the problems of a generation?

You most definitely felt a sense of responsibility. That was part of the fabric on Jackie. Our readers meant everything to us. I think they understood that and that goes a long way to explaining the magazine’ s incredible success. We understood the importance of being Cathy & Claire and we took the job extremely seriously. We were proud of the fact that every single letter that came with an accompanying address was answered. There was real job satisfaction in that.

You went from being Cathy & Claire to pop editor to editor of Jackie in a few short years – how did you get your start with the iconic magazine and what was it like to progress so quickly?

I started in Jackie as a junior doing the letters page and the horoscopes in 1981. It was general practice on magazines at that to start off writing the horoscopes. You could always tell what sign the junior was as she gave herself the best predictions! I then moved on to Cathy & Claire for a spell before becoming pop editor in 1983. It was always the job I wanted and I absolutely loved it. It was like a dream come true. From there, I went on to become Blue Jeans editor before becoming Jackie editor in 1989. In those days, there were wonderful opportunities to work hard and show your creativity and use your initiative. We were pretty much given free rein. Our only training was on the job. You were thrown in at the deep end and  learned your craft from the amazing staff around you. Some incredible women (and a few men too!) I feel incredibly sorry for young people trying to break into media today. There are so few opportunities to get in at ground level.  It’s all unpaid internships which is morally so wrong. Unless you have rich parents you will never be able to support yourself. My story of a wee Dundee girl from a council estate who ends up editing Jackie just wouldn’t happen today and that’s wrong. Oh, stop me before I go into full rant mode…

As Jackie’s pop editor, you met some of the biggest names from the 1980s music scene. Was there anyone who surprised you?

Listen in the world of 80’s pop – NOTHING surprised you! That was the secret to it all – expect the unexpected! I suppose I was most surprised by Andrew Ridgely of Wham! He was number 1 in the charts but still living at home with his mum and dad in his teenage bedroom. He invited me round and we watched Blackadder and ate Mr Men biscuits! He even posted me on look-out while he had a cigarette at the back door  – he may have been a pop icon but he was petrified that his mum would catch him!

Morrissey surprised me too. I thought he would be difficult but he was lovely – especially with a reader we took to meet him. He really got into the spirit of things and had her feeding him grapes in the photo-shoot.

Who did you particularly like?

I liked George Michael – a wonderful, generous and sensitive man. A real family man. The Spandau boys were always up for a bit of a wild night out and a laugh as were Bananarama and Jason Donovan always remembered you.

Was there anyone you didn’t like?

Let’s see…generally, everyone was  lovely  but I do remember  leaping on stage at Nick Kershaw’s soundcheck  at The Playhouse in Edinburgh and having a few words because he was being sniffy about a pre-arranged meet and greet with a Jackie reader. Again, it was all about the reader. She was crying and I lost my cool! I also found Paula Yates difficult.

What was your strangest and/or funniest encounter?

Interviewing Simon Le Bon whilst he was in his bath ranks right up there. Luckily, there were a lot of bubbles. He greeted me by shouting, ‘Captain Invincible!’

What were you like at school?

I was, much  like I am now,  a bit of a rebel,  a non-conformist.  I attended a Catholic academy and it was pretty strict. I was constantly being sent home for trying to wear cheesecloth shirts and no tie or non-regulation hippy clogs instead of sensible shoes.  I was a bit of a secret swot too though and stayed on until sixth year. I particularly loved English and the debating society which was run by Sister Mary Bernadette. She was a giant Irish nun who cruised the corridors like a scary black battleship, clipping wrong-doers around the lugs as she passed. She and I really got on. She had a deliciously dry sense of humour.  I remember   I was debating at the rather posh Morrison’s Academy in Crieff when my opponent  completely lost his temper and called me a, ‘communist bastard’.

Sister Mary Bernadette came  up to me after our win put her hand on my shoulder and said, ‘ Sure, he got that wrong, Gayle…..you’re definitely not a  communist…’ There was definitely a twinkle in her eye as she said it.

What advice would you give to the young Gayle Anderson?

I’d say,  ‘ Be bold, be brave and enjoy every single second. Oh, and always remember to stick your taxi fare in your shoe before a night out.’

Who inspires you?

Strong, talented women inspire me . Arundhati Roy, Maya Angelou, Oprah Winfrey, Kathy Burke,  Dorothy Parker, Jeanette Winterson, Toni Morrison,  Audre Lorde, Carol Ann Duffy, Joan Eardley, Frida Kahlo, Joni Mitchell to name but a few.

What are you working on just now?

At the moment I’m working on my autobiography – here’s a bit of blurb about what to expect…

“I learnt the true meaning of ‘beards’ and ‘handbags’ as a naïve 19-year-old pop editor partying with George Michael. Before that, as Jackie’s iconic agony aunts, Cathy & Claire, I’d  helped thousands of  teenage girls deal with love bites, loneliness and medical queries that all too often involved sending me their scabs stuck to Sellotape. But  it was many more years before I faced up to my own issues, addressed my shed-loads of secrets and lies and finally admit that I was gay. Join me on a riotously funny and at times painfully raw road trip to the end of my rainbow. You’ll discover that it’s never too late to  come out, or to wear double denim. Warning: an embarrassingly high level of name-dropping will be involved in the telling of this story.”

Can’t wait for the name-dropping. You write stand-up reviews, Gayle. Gary Little has been a Smorgasbord guest and I have an interview with another stand-up lined up – I wondered if you have ever considered taking to the stage?

No, never – I know as a reviewer just how incredibly difficult it is! I admire stand -up comedians  so much. Baring their souls on stage night after night – they are brave, talented people. I do love being a bit of a pub raconteur though and I would love to write comedy – either for TV or radio. I’m working on a  treatment for a six part female led comedy series. I’ve also appeared  on a few radio comedy quiz shows.

If you could spend a day hanging out with any one person, past or present, who would you choose and why? How would you spend the day?

It would be Maya Angelou – my heroine. We’d probably kick back in Barbados  at a beachside bar drinking rum with her reading her poetry to me and me reading Rabbie Burns to her. She loved Burns. I met her once after a poetry reading in Glasgow in the 1980s. She was charm itself. A 6ft vision in a gold lame frock…… and that voice!!

Who would play Gayle Anderson in the film of your life?

It would have to be Frances McDormand – especially like she is in 3 Billboards Outside Ebbing Missouri.  Small, feisty, determined and allergic to bullshit.. Scary on the outside but a softy underneath.  A ball breaker par excellence!

A few short questions to finish. Favourite book:

The God of Small Things, Arundhati Roy or The Elegance of The Hedgehog by Muriel Barbery.

Author:

Margaret Atwood

Drink:

Mount Gaye Barbados rum.

Film:

Some Like It Hot

Music:

Billie Holliday, Lauryn Hill, Joni Mitchell, Leonard Cohen,  Bob Marley, Massive Attack,  George Michael, Curtis Mayfield. A mixture of hip and hippy!

TV show:

New comedy show  by Roisin Conarty – it’s a breath of fresh sit-com air. All time favourite show – The Wire.

1980s pop icon

Gotta be Debbie Harry.

What are you reading right now?

I’m reading The Ministry of Utmost Happiness by Arundhati Roy. I got a signed copy as a Christmas present from my partner.

Where can readers find out more about you?

Oh, it would be great to hear from fellow Jackie fans. No problems letters though, I’m a bit rusty!! Good to hear from  other lovers of the arts and comedy too.

Twitter : @puffedtweet

Instagram: gayleandersonx

Thanks, Gayle. It’s been a real pleasure having you on the Smorgasbord.

You’re most welcome –  I’ve had fun on your posh Pick ‘N’ Mix!

Books by LG Thomson are available from Amazon and from bookshops in Ullapool. Writing as Lorraine Thomson, the Dark Times trilogy is also available from Amazon.

Find out more about LG Thomson at Thrillers With Attitude.

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