Turkey: Setting matters, right?

Are you off to Turkey for your summer holiday this year? Then you’re in for a treat.  With the holiday season fast upon us, I thought I’d explain why I set my novel in Turkey, and share a few of my impressions of this amazing, exotic country.

The iconic Celcus Library at Ephesus
The iconic Celcus Library at Ephesus

Regular readers of this blog will know that Singled Out is set on a singles holiday on Turkey’s Lycian coastline. It’s a place to which I’ve returned many times over the years for my summer holidays. Having decided to set the tale on a singles holiday, the location options for which I could capitalise on my own experiences narrowed: The Greek islands Crete or Kalymnos, or the Turkish coastline. All have the climate, the heritage and the beaches. But Turkey had the edge for me, with its exotic blend of east and west, mystical and commercial. Turkey has an elemental essence that’s hard to describe. It won my heart the very first time I visited.

A haunting sunrise at Kekova - recognise the pic from anywhere?
A haunting sunrise at Kekova – recognise the pic from anywhere?

I remember a friend first going to Turkey for a summer holiday in the mid 1980’s and commenting that it was beautiful but raw; that the power went off all the time and you couldn’t get hot water for more than an hour or so a day. As for air conditioning – no hotel possessed such a luxury! In those days, Turkey was still experimenting with the holiday tourist trade and to be fair, the holiday companies were treading carefully too.

But with enterprise and commercial endeavour in their DNA, the Turkish people recognised and grasped an opportunity and set about developing their spectacular Mediterranean and Aegean coastlines into holiday destinations with added natural and historic value. Late to the party, they noted the mistakes that had been made along the Spanish coastline, today overwhelmed with tower block hotels and stripped of much of its original beauty. Laws were passed limiting hotels to four storeys high – a masterful decision which doubtless had as much to do with the fact the holiday coastline is a region accustomed to mild earthquakes, as it had with aesthetics. Good governance ensured growth was gradual and not at the expense of natural beauty and heritage, and infrastructure kept pace.

Turkish Gulet - 1995
Gulet holiday, 1995 (me, third from left – won’t see 35 again)

My first visit to Turkey was in 1994, on a two-centre singles holiday. I spent a week in what was then the small town of Kuşadasi, and a week in a more rural area. Two hotels; the first, Villa Konak – still operating in a Kuşadasi backstreet (bigger than it was) – originally a coaching inn; the other a more traditional villa style hotel bedecked with purple bougainvillea set around a welcoming swimming pool. Today Kuşadasi is a sizable and thriving town. It boasts a walled Byzantine castle and its port is large enough to cope with frequent visits from cruise ships. Just a few miles from Ephesus, it’s the perfect place for the day visitors to dock, nip on a coach to one of the most spectacular ancient sites in the world, pick up a leather jacket in the market, sample some apple tea and be back on-board in time for dinner. That’s one way to do it, I guess.

Like other larger towns – Bodrum and Marmaris for example – Kuşadasi has warmly embraced the youth holiday culture based around all-night clubs and bars. That’s ok if you like that sort of thing, but it’s turned Kusadasi into the sort of place I personally, as a moochy 50-something looking for peace and tranquillity, wouldn’t look to stay in today. But that’s not to decry the town, which, like the other bigger destinations, has carved its own profitable path with its eyes wide open.

How could you not love this?
How could you not love a place like this?

After that, I stuck to smaller towns and villages, of which there are still very many lovely ones, along the craggy Lycian coastline. I remember places, but not years: Torba and Türkbükü on the Bodrum Peninsula; the exquisite Bordubet – technically by Marmaris but in truth, in the blissful middle of nowhere at all; Hisarönü above Ölüdeniz (when it was still a quirky hillside village); and a favourite, to which I returned more than once – the pretty town of Turunç, close (but not too close) by Marmaris. In 2013 after a break of several years, I went again to Turkey to gather photos and sensory impressions for Singled Out, and I stayed in a hotel on Şövalye, a tiny harbour island with no cars, a few hundred yards off Fethiye by ferry boat.

Turkish Gulet, on its way out for the day
Turkish Gulet chugging off for a day at sea

But if you really want to get away from everything, you need to clamber aboard a gulet. Just as I described them in my story, these are twin or three-masted wooden sailing boats which serve anything from a half-dozen to 20 or so guests on day trips or, as I preferred, week-long get-away-from-it-all journeys around the craggy coastline. In truth, they run on engines for much of the time, but will put up the sails when the wind justifies it. In a week’s trip, there’s a single overnight stay in port somewhere, so the gulet can re-stock. Otherwise fresh food is prepared on-board or on the beach, or occasionally in hideaway locantas. You won’t need shoes or anything very much, except an appreciation of the beauty of an ancient coastline, a sky full of stars, the gentle slapping of water against hull and the bliss of having nothing to do and nowhere to go. Occasionally during the day, there will be other gulets around, but the week-long cruise affords the crew enough time to get away from the day boats, and when they do, it is paradise.

Pine forested peninsulas, shady inlets, peaceful coves, rocky outcrops, hidden beaches – this is the stuff of the Turkey I love. I know, I haven’t even scratched the surface – I’m ashamed to admit I’ve not yet visited Istanbul or travelled further east than Fethiye. Mea culpa. I’m a boutique hotel girl, not a backpacker.

The Great Theatre, Ephesus
The Great Theatre, Ephesus

But I can’t end this post without reference to the country’s ancient history. The coastline is crammed with evidence of Turkey’s commercial and religious heritage and the ebb and flow of empires, but I want specifically to raise a flag for Ephesus. I know it’s a tourist money-spinner. In the twenty years between my first and second visits, I noticed the explosion of ‘retail opportunities’ around the entrances. But even that’s not a criticism. The little avenue of shops is hardly overwhelming – and useful if you’ve forgotten your water, sunglasses or sunhat, all essentials when rambling about the ruins. I walked Ephesus and took hundreds of photos to jog my memory for writing the chapter in Singled Out where my characters visit this remarkable site. It’s sensitively preserved – there is much to see, most of it right up-close-and-personal. In its Roman heyday, Ephesus was a thriving port, though the landscape has since shifted, putting some 5 miles between the ruins and the sea. There are amphitheatres (yes, two), avenues to wander, carvings and mosaics to admire and the magnificent Celsus Library. If you can bear a few hours away from the beach, this, of all of Turkey’s magnificent man-made and natural sights, is right at the top of the list of places you need to see.

The Ephesus retail experience
The Ephesus retail experience

A word now, on something that makes any visit to Turkey particularly special; it’s the hospitality. Whether hotelier, restaurateur, bar owner, shopkeeper, carpet-seller, or gulet captain – you will enjoy warmth, friendly hospitality and service of the highest order. The Turks who work the tourist coastline understand the business they’re in. Make no mistake, there’ll be hard-selling and up-selling aplenty, but it will be executed in such a cordial and charming manner, you’ll hardly realise it’s happening! It’s all part of the experience and the pleasure.

And one last thing… of course I would say this, wouldn’t I? If you should happen to be visiting Turkey this year for your holidays, why not take a copy of Singled Out to the beach with you.  😉

You said it! A first-quarter review of reviews

singledout_kindle_656x1000pxReviews are the life-blood of any novel. Readers… don’t ever underestimate the power you have at your fingertips, when you write a review.

15 weeks… 15 reviews… 76 stars

From the moment I clicked publish and saw my novel appear on Amazon on a real page, just like real books, where real people could click and really, actually buy it, I’ve been holding my breath. That’s what writers do, you see, as they wait to see what people make of their… baby.

But (so far…) whilst it’s been emotional, it’s been alright too.  In fact, it’s been pretty amazing.

It’s 15 weeks since Singled Out was published on Amazon (Kindle and paperback) and my first novel/baby has been fortunate in garnering a total of 15 reviews (so far…). That’s 11 reviews on Amazon.co.uk (four 4-star and seven 5-star) and five 5-star reviews on Amazon.com. Yes, that makes 16 in total, but I can’t double-count the review my big-hearted blogging buddy Dylan Hearn was kind enough to upload to both Amazon.co.uk and Amazon.com.

Whilst sales of any self-published debut novel are inevitably modest – and Singled Out has, ah me, been no exception (so far…) – the kind words in those reviews have been exciting, heartening, and above all, humbling.

Presentation1So this 15/15 moment seems a good point to stop and thank everyone who has taken the time and trouble to read Singled Out – I hope you have all enjoyed it, and felt it rewarded you for those few hours of your time. And I want especially to thank those of you who then went on and uploaded your reviews to Amazon – and Goodreads.

Will you permit me to share some of the reviewers’ observations with you?

I know it feels suspiciously like self-promotion and, oh, it is. But no self-published author can survive without a little of this every now and again. So here, just in case you’re looking for your next read or something to take on your holidays, is a little reader feedback from those reviews on Amazon:

“From the first short chapter I was hooked! The story swings from gritty and tense to beautifully described locations that transported me right into the midst of a singles holiday…”

“With Brenda Bouverie the author has created a wonderful protagonist, very different from anybody I’ve read before. She’s a wonderful combination of the sensuous, with her love of food and drink; the steely, but with an underlying vulnerability that makes her a very special character indeed.”

“This is a scrumptious book for every sense! Mouth watering descriptions that evoke sights, smells and tastes so that you really feel you have been taken on holiday with everyone else to Turkey.”

“With well-drawn characters and a complex protagonist, this was a really enjoyable read that kept me guessing and gave me something to think about.”

“The writing in this debut novel is impressive with descriptions so rich, you’ll feel like you’re touring, sunbathing, and feasting on delicious meals in Turkey yourself. Mystery cloaks every page…”

“An impressive debut novel for fans of psychological suspense.”

“Excellently creepy.”

“Highly recommended.”

“An excellent blend of literary fiction and psychological thriller.”

“A definite page turner, I completed it in a couple of days.”

“I couldn’t put it down!! Gritty and compelling reading.”

“An enjoyable page turner. It’s got character, location, sex, drugs — but above all the writing is captivating.”

“Wonderful story from this author. Well-crafted, believable characters, great plot line, and a description of Turkey that makes you want to take your next vacation there.”

“Overall, I would recommend this to anyone who enjoys their thrillers to be a little dark and edgy, but with some warmth thrown in. Oh, and foodies. This is a great book for food lovers.”

“I highly recommend this book to anyone who enjoys a good mystery.”

“If you’re going on a beach holiday and you’re a lover of creepy, psychological thrillers, then this is the book for you.”

Are you still with me?

Okay, then it’s worth highlighting a few things people have said about the dark underbelly to this story, because it’s undeniably gritty, morally ambivalent and, for some, unsettling. In the interests of full disclosure:

“This is not, however, a book for the faint-hearted. The assault scenes in particular, while very well written, don’t pull any punches. But for me that’s as it should be. Horrible things should be portrayed as horrible. And it makes you all the more engaged in the search for who’s responsible.”

“But a caution to sensitive readers–the subject matter deals with sexual assault (that’s not a spoiler as the opening scene depicts this) and misogyny, sometimes in quite graphic detail. Normally I would shy away from material like that, but I felt comfortable in the author’s hands given the strong female lead who carries the novel, and the important message that’s unveiled.”

“Be warned ….there is a dark undertone to this story that can make one feel slightly uncomfortable (and it’s meant to), but the author deals with these scenes admirably, giving you enough to make you feel uneasy but not too much so that you want to stop reading – cleverly done.”

“I particularly enjoyed the ending – even when the ‘bad guy’ is discovered, there is still a dilemma to be faced. I’m not sure what I’d have done, put in Brenda’s place.”

“Pick it as a good read, but don’t be surprised if it also challenges and makes you think twice.”

There, now you’ve got the full picture.

In case it’s piqued your curiosity, you can find out more about Singled Out on this website here, and throughout my blog.  And of course, Singled Out is available to purchase on these and all other regional Amazon sites:

Blog posts coming soon(ish)…

  • Making a start on Novel Number Two – I need your help!
  • Marketing Muse: Promoting your book as holiday read.
  • Happy Endings: Should every story be tied up with a ribbon?

Ten Top Tips to Instantly Improve Your Writing

pencil-sharpener-390609_1280 - 2A ‘Happy Sunday’ quickie – and a chance to catch some old posts too. A few ideas on sharpening up your writing – great tips and snippets of advice I’ve received over the last four years.

  1. Learn how apostrophes work; and semi-colons.
  2. Well, it’s really rather important that you just do this. Run search and delete on every instance of the following words: really, just, quite, rather, very, oh, so, well and suddenly. Check out my post ‘One Word At A Time’ for this and other editing tips.
  3. Practise Show vs Tell the Anton Chekhov way: Don’t tell me the moon is shining; show me the glint of light on broken glass.
  4. Take a chunk of back-story or exposition and rewrite it into a dialogue. Then repeat. Then repeat again. Dialogue is much more engaging than flat-text exposition and a page of conversation is easier to read than a thumping boulder of a paragraph.
  5. Focus on sensory detail. Not just sight, but sound, taste, touch and smell. It will enrich your reader’s experience. I blogged here about using all the senses.
  6. Every time you see two clever, descriptive adjectives side-by-side, delete at least one of them. Yes, every time. Writers can publish with excess of adjectives, but only once they’ve sold a gazillion books and are unassailable. (If you doubt me, check out J.K. Rowling/Robert Galbraith – but then go and delete half your adjectives, because you won’t so easily get away with it.)
  7. Review your work for any not-so-perfect tenses (past perfect, past continuous and past perfect continuous) and opt for something more immediate. I blogged about how this works here.
  8. Delete the first paragraph of every chapter. There’s no need for foreplay, dive straight to the action. Hmmm, personally, I appreciate literary foreplay, so I’m not sold on this tip – but better writers than me will endorse it.
  9. Delete the last paragraph of every chapter. Don’t hang about after the action. Get out, fast. This, I can vouch for.
  10. Clichés – avoid them like the plague… Yes, you guessed it, I blogged! This one might actually hit the mark (doh!)

Seven Quick-Fire Ways to use Food to Enrich a Novel

Exc1A quickie post for today as I continue to count down towards my Big Day on 1st February (oh, you know what I mean by now, don’t you?).

I use food and mealtimes quite a bit in Singled Out. Here are just a few thoughts on what food related scenes can do for a story.

  1. A social/sociable meal involving two or more people: At home, in a hotel or restaurant, on a picnic, at a barbecue; useful in showing the nature of relationships and the dynamics between various characters. Caution though – this does need quite a bit of dialogue.
  2. Someone eating alone: Reveal character through how they prepare food, what they choose to eat, how they eat and what they do whilst they’re eating.
  3. During a sexual scene: Add a luscious dimension that takes your scene beyond the turgid ‘he touched this, she stroked that…’ zone. Adds sensuality, deploys all the senses without focusing on the obvious.
  4. How someone responds to food: Reveal character through how someone reacts to new or unusual food, or to eating with their fingers or unfamiliar implements. Are they adventurous or narrow-minded, sensual or constrained? Useful in demonstrating how someone’s attitude or demeanour changes over time too.
  5. For nostalgia: The flavours and and aromas of long-forgotten foods, sweets and treats from childhood, school dinners and nursery favourites are all wonderful tools to evoke a mood or nostalgia, or to segue to a flashback/past-times.
  6. In the kitchen: A great location to deploy all the senses – sights, sounds, smells, touches and taste; can be a place of danger (knives, open flames) or comfort (cosy family setting).
  7. A particular single item of food: There are so many different ways of eating, say, an ice-cream, a slice of cake, a plate of wings or ribs, spaghetti, or almost anything else you can think of; can highlight the differences between people, display greed, gluttony, shyness or sensuality.

If you have any favourites that aren’t on this off-the-top-of-my-head list, please do share them.

“Thought Verbs” – Another side of “Show not Tell”

Thought Verbs Show Not TellAuthor and Journalist Chuck Palahniuk wrote this essay on “Thought Verbs” just over a year ago. It has been reposted many times, but, like me, you may have missed it. I recently came across it via a link which led to another link and another – you know how the internet works. It is excellent advice, for every writer seeking to master the “Show not Tell” challenge.

The link to what I believe is the original article is here, and the full piece is reproduced below, with every credit to the original essayist, Chuck Palahniuk.

In six seconds, you’ll hate me.

But in six months, you’ll be a better writer.

From this point forward – at least for the next half year – you may not use “thought” verbs.  These include:  Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.

The list should also include:  Loves and Hates.

And it should include:  Is and Has, but we’ll get to those, later.

Until some time around Christmas, you can’t write:  Kenny wondered if Monica didn’t like him going out at night…”

Thinking is abstract.  Knowing and believing are intangible.  Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing.  And loving and hating.

Instead, you’ll have to Un-pack that to something like:  “The mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave.  Never his.”

Instead of characters knowing anything, you must now present the details that allow the reader to know them.  Instead of a character wanting something, you must now describe the thing so that the reader wants it.

Instead of saying:  “Adam knew Gwen liked him.”

You’ll have to say:  “Between classes, Gwen was always leaned on his locker when he’d go to open it.  She’d roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume.  The combination lock would still be warm from her ass.  And the next break, Gwen would be leaned there, again.”

In short, no more short-cuts.  Only specific sensory detail: action, smell, taste, sound, and feeling.

Typically, writers use these “thought” verbs at the beginning of a paragraph  (In this form, you can call them “Thesis Statements” and I’ll rail against those, later)  In a way, they state the intention of the paragraph.  And what follows, illustrates them.

For example:

“Brenda knew she’d never make the deadline.  Traffic was backed up from the bridge, past the first eight or nine exits.  Her cell phone battery was dead.  At home, the dogs would need to go out, or there would be a mess to clean up.  Plus, she’d promised to water the plants for her neighbor…”

Do you see how the opening “thesis statement” steals the thunder of what follows?  Don’t do it.

If nothing else, cut the opening sentence and place it after all the others.  Better yet, transplant it and change it to:  Brenda would never make the deadline.

Thinking is abstract.  Knowing and believing are intangible.  Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing.  And loving and hating.

Don’t tell your reader:  “Lisa hated Tom.”

Instead, make your case like a lawyer in court, detail by detail.  Present each piece of evidence.  For example:

“During role call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout: ‘Butt Wipe,” just as Tom was saying, ‘Here’.”

One of the most-common mistakes that beginning writers make is leaving their characters alone.  Writing, you may be alone.  Reading, your audience may be alone.  But your character should spend very, very little time alone.  Because a solitary character starts thinking or worrying or wondering.

For example:  Waiting for the bus, Mark started to worry about how long the trip would take..”

A better break-down might be:  “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57.  You could see all the way down the road, as far as the Mall, and not see a bus.  No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap.  The driver was kicked back, asleep, and Mark was going to be late.  Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”

A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.

Oh, and you can just forget about using the verbs forget and remember.

No more transitions such as:  “Wanda remember how Nelson used to brush her hair.”

Instead:  “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”

Again, Un-pack.  Don’t take short-cuts.

Better yet, get your character with another character, fast.  Get them together and get the action started.  Let their actions and words show their thoughts.  You — stay out of  their heads.

And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”

One of the most-common mistakes that beginning writers make is leaving their characters alone.

For example:

“Ann’s eyes are blue.”

“Ann has blue eyes.”

Versus:

“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”

Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures.  At its most basic, this is showing your story instead of telling it.

And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for:  “Jim sat beside the telephone, wondering why Amanda didn’t call.”

Please.  For now, hate me all you want, but don’t use “thought” verbs.  After Christmas, go crazy, but I’d bet money you won’t.

Author: Chuck Palahniuk (Aug 13)

We need to talk about… Sex

Note on a tree in a forestBlogging is generally good fun, but with so many blogs seeking an audience it can, even on a good day, be likened to pinning a note to a tree in a forest.  And if that’s the case, then posting on a Friday afternoon is like writing that note in invisible ink. Whatever the world at large was getting up to on Friday afternoon (and the sunny Saturday and Sunday that followed for that matter), you weren’t reading blog posts, were you?

Yes, I committed a social media faux pas when I posted my latest blog last Friday afternoon.  It was the one headed Precision detail in a novel – not just any place but this place about how I used notes and photographs to help me recall places and senses and inject precision detail into my writing.  I’ve been trying different days and times for posting and last week I plumbed the depths – a Friday afternoon ahead of a weekend that teased (the UK at least) with the promise of a little sunshine. Not only that, but I might allow that it wasn’t the most compelling of posts – interesting for some, but hardly challenging, contentious or amusing in the way a properly engaging blog post needs to be.   A double-whammy, for sure. I’m sorry, ok. Mea culpa and all that.

So last Friday afternoon it hit the water with a barely perceptible splash, before sinking without trace over the weekend, with hits in numbingly modest numbers and just one kind soul commenting; a dead body of a post, leaden and dull. Yesterday’s thoughts already half a mile down your blog reader, never to surface.

A few weeks ago, I penned a post on the challenges of writing sex into stories (Marmite Moments: Writing good sex). Strangely (who knew?), it was my most read and commented post of the last year. To be fair, a substantial dose of the credit for that is due to WordPress for offering me a second slot on Freshly Pressed – thanks, Ben! But it did get a few people going and it garnered some great comments and a whole host of new bloggers to connect with – and after all, that’s what makes blogging fun, isn’t it?

So clearly, I need to go back to writing about Marmite.

Or maybe… Sex.

That’s it. Not Marmite. Sex.

So I’ll see what I can do over the next few days, and I’ll be back soon with something to get properly hot around the collar, as it were, about.  Don’t get too excited though – this is still a blog about writing, not a blog about sex. But with the creative juices flowing, I imagine I can find a way to slip in a few sneakily salacious musings.

All in the best possible taste, of course.

Precision detail in a novel – not just any place, but this place

I’ve been asked to share how I capture a sense of place in my novel. For example, what research do I do, how do I take notes, are photographs involved, and so on. So here goes…

SINGLED OUT is set on a singles holiday on Turkey’s beautiful Lycian Coast. I’ve visited this area many times over the last 20 years and I love its striking landscape and laid-back, exotic atmosphere. Whilst my story is essentially a dark psychological one, I wanted the sense of place to be very strong; my intention is for the reader to feel as if they’re on the holiday with my characters.

This writer's notepad - illegible scrawl from Turkey, May 2013
This writer’s notepad: illegible scrawl, Turkey, May 2013

Last year after a gap of 6 years I returned to Turkey specifically to gather that sensory detail for my novel. Memories fade over the years, especially the minuscule details of sight, sound and smell which are essential to anchoring the setting or a scene in a novel precisely and bringing it to life for readers. I wanted to fill a notepad with images and sensory detail to inject into my story. I got more than I could possibly have expected from the experience, as I first wrote about in my post It Makes Sense:

I realised as I filled its pages, how inert ones memories of a place can become. It’s easy enough to pick up an old photograph and see what a raggedy coastline looks like, or a market, or an ancient ruin. But when you’re there, you smell the pine and the citrus, the sweat and cigarettes; you see the gnarly knuckles and the stained aprons; you hear the wail of the muezzin’s prayer and watch the sun radiate from the golden dome of a mosque; you feel the sting of perspiration as it trickles into your eye and savour sweet green peppers and succulent tomatoes under a canopy of twisted vines. Oh, I could go on… and on…

I don’t want you imagining my story is awash with descriptive detail at the expense of plot and character. But there are one or two places where I’ve gone to town a bit on the setting, using my photographs and notes to develop a strong sense of place. Of course these may all go, if and when a real editor gets to work on the draft. But for the time being, I’m getting away with it.

Ephesus

My characters take a trip to Ephesus, so I did too. I’d last been there 20 years ago and I imagined that whilst two thousand year old ruins are two thousand year old ruins, the tourist business of Ephesus and its surroundings must have changed over the years – and I was right.

I was fortunate to have a guide all to myself for the day and I explained to her the main purpose of my visit. I was able to wander at will, ask endless questions and take dozens of photographs. Knowing why I was there, she didn’t question that I photographed odd things; the stalls outside the entrance, the entrance barriers, other groups of tourists, odd rocks and stones, cats and trees, pavements and signposts, as well as those breathtaking ancient ruins.

Stalls at the entrance to Ephesus
Stalls at the entrance to Ephesus
The only shade there is at Ephesus
The only shade at Ephesus
Warm bodies and a cloudless sky at Ephesus
Warm bodies and a cloudless sky at Ephesus

I couldn’t easily take notes as we walked around the site, but I caught up as soon as we stopped for lunch; a combination of my guide’s historical knowledge, my sense of the place and how I’d felt as I walked its streets.  You think you’ll remember these things, but let me tell you, you won’t.  Notepads are a vital tool – however illegible (as mine often are), their pages will take you right back to a precise place or moment, months or even years later.

But I had to keep reminding myself, SINGLED OUT is a novel not a travel book. An earlier draft contained far too much historical detail from that Ephesus trip and much of it has since come out. It’s enough to have done the research and deployed elements of detail where they’re needed to enrich; but there’s no need to show off how much you know.

So you can see how it worked for me, here’s a paragraph from that fictional trip to Ephesus:

Around them tour guides spoke in English, French, German, Swedish and Japanese to visitors unbalanced by loaded backpacks, while others brandished sticks to aid their movement or umbrellas to shield them from the sun. They stopped randomly and without warning for photographs. At every point where Fatima drew the group close, James and Veronica listened with rapt attention – and Brenda rummaged in her bag for water, a fan, a facial spritz or a wad of tissues. All the while, the heat came at them not only from above, but from beneath their feet and all around. It rose in waves from the flagstone avenues and radiated off the columns and walls. Brenda was slow-roasting in the Ephesus noonday oven.

Market Day

Two of my characters browse a local market together one day. I’d gone to markets in Turkey before and had some lovely old photographs (from the days before digital). Then I went to the market in Fethiye on my trip last year, armed with my trusty notepad – and my eyes and nose. Here’s an excerpt which uses my recollections and notes from all those Turkish markets combined.

The area where the weekly market took place lay behind the shopping street and away from the beach. It would be generous to call it a marketplace, since for six days a week this area of gravel and clay lay fallow; carved here and there by tyre tracks from the few trucks that needed somewhere to turn around before speeding away.

On the seventh day, it teemed with life from before dawn until late afternoon. Farmers came from the villages and hamlets in the hills, their pick-ups laden with fresh produce of all shapes and mis-shapes, a riot of colour and a testament to the industry and enterprise out of sight of the tourist coastline. Traders moved from town to town, market day to market day, bringing truckloads of goods to sell; t-shirts and trousers, bags and belts, pashminas and pendants, sandals and sunhats all manufactured in anonymous factories far away from the coast or most likely in China. Packets of candy, nuts and aromatic spices sat alongside jars of glistening local honey and blocks of cheese; everything was available to buy from dusty trestle tables and rails, all under cover of flapping white awnings – giving the impression the whole market was a trading ship about to set sail.

The two women passed an enjoyable couple of hours wandering the length and breadth of the market. They flirted with the crusty, moustachioed farmers behind their piles of wooden boxes laden with curly runner beans, torpedo aubergines, red and white onions, peppers and courgettes, oranges, lemons, strawberries and giant watermelons; they breathed in the aromas of citronella and cinnamon, fruit teas and fresh herbs, beaten leather, crushed straw, workaday sweat and cigarettes; they bartered with stall-holders over beaded necklaces, embroidered purses and gaudily embellished flip-flops; they cooed over a pile of crates crammed with baby chicks, their fluffy down every shade from creamy gold-top through honey roast to dark chocolate brown, and they sympathised with a brace of rabbits whose fate was obvious and more immediate. Brenda stocked up on candied fruits and sugared almonds and Siobhan found a fake henna kit she couldn’t live without. Then, with carrier bags brimming with tourist trinkets, they made for the line of beachfront bars and the yellow awning, for lunch.

The Gulet Trip

Turkish Gulet - a fine sight, even without its sails
Turkish Gulet

My characters take an overnight trip on one of Turkey’s ubiquitous gulets. I’ve spent weeks at a time on gulets before – it’s a blissful experience, to bob about on the ocean for a few days with no shoes on and nothing to do but sunbathe and read books. This time I took a day trip to refresh my memories of the sights, sounds and odours. I took photographs of the coastline and odd corners of the boat. I noted the way the motion affected my balance, the sounds of the boat and the water, the smells coming up from the sea – and the kitchen; I registered what the sunlight did to the chrome, the woodwork and the sails. Here’s a snapshot of my impressions which made it into the story:

The deck-hands unrolled the jib over the bow and the sail on the second mast and high above them squally gusts took hold. The trio of sails ballooned with the strengthening wind of open water; they fought and whipped about, tugging at their fastenings, lifting and plunging the boat forward, cutting into the water and venting fine salty spray into the air and across the deck. The restaurant on the beach became a speck against a panorama of grey-green scrub and rocky slopes, the bay zoomed away into the distance. The industrial grinding of the diesel engine was replaced by a sublime, organic symphony; a blustery flapping of sails, the steady swish-swash of waves, the metallic pounding of the rigging and the cawing of a seabird. Breathless and eyes wide, Henry lay on his back staring up towards the tip of the mast and beyond into the cloudless sky. Surely life couldn’t get better than this.

Most of the detail from my scruffy notepads made it into the story one way or another – a few words here, a sentence there – which is mostly all you need. It’s only when you want to anchor the reader more specifically in a given place or moment, that it’s perhaps permissible to layer the detail a little more. But that’s just my feeling, and, as a novice and yet-to-be-published writer, I may find my layers of sights, sounds and smells are pared down in the final edit. So please don’t take my word for it that this is the right approach. It’s just the thing I did – whether it adds substance to my story, or gets in the way of the plot, someone with more experience than I may yet be the judge of this.