See the Whirligig page for news of the forthcoming book release.
Richard Buxton is a multi-award winning author. On this site he will talk about his writing, his current and future projects.
He'll try not to bang on about his novel, Whirligig, and it's upcoming release, except of course on the Whirligig page.
He will, on the My Writing page, list in shameless detail his writing credits.
On his blog he will share his experiences and realisations and invite you to pass comment.
Richard's writes both historical fiction and stories set in the here and now, though his inclination is strongly towards the former. His time spent at university in upstate New York has imbued him with a lifelong interest in the story of America, in particular the schism and after effects of the American Civil War. He travels there as often as he can for inspiration and research.
Richard's first novel, Whirligig, set in Tennessee in the pivotal Civil War year of 1863, will be released in the spring of 2017. He is also compiling a collection of short stories that explore the long shadow of the Civil War. Many of his stories have won awards or have been published. His story Battle Town won the 2015 Exeter Story Prize and Roller Coaster won the 2015 Bedford International Writing Competition. Most recently The Bread Man won the Fabula Press Nivalis 2016 Short Story Competition.
Last week was Christmas; at least it was for me. I had a UPS package number and I wasn’t afraid to use it. It was like Christmas Eve when you can go on-line and follow Santa’s flight around the world. I’d ordered the first proof copy of my novel, Whirligig, and was tracking it as the internet god that we all are these days.
It’s only through writing (quite a lot of it) that it’s been possible for me to find out what sort of writer I am. I guess that makes sense. If you equate it to painting, you would be forced early on to decide if you wanted to paint landscapes or people; if you preferred to work in rich detail or dwell more in the abstract. But there comes a point where you have to take a step back and consider what you’ve produced.
While I love writing in my study, it’s easy to get stale looking out over the same garden every day, so this Saturday I attended a short story masterclass run by the wonderful Melanie Whipman at her home in the Surrey Hills. What always amazes me about attending masterclasses, book readings or workshops is how easy it is to quickly find something that resonates with your own work in progress.
As I see it, there are two principal reasons to study the past: for the safe, godlike pleasure derived from immersing yourself in another time, and to learn lessons that might inform us in the present. Particularly in respect of the latter, any representation of the past therefore needs to be approached with care.
A tutor of mine at Chichester University, where I was studying for a mid-life M.A. in Creative Writing, used to bang on about time: how even the past has a past and we need to feel that depth; how memory isn’t linear in our inner world; how places themselves have different qualities of time, different relationships with time. She encouraged us to think of settings where time has special meaning, such as museums, a library perhaps.