INTERVIEW: Col Buchanan

One common trait that you tend to find with writers is an absolute need to create. Whether it be in journals, in notepads or even on walls theres always a place for them to put thier creativity.

So it probably comes as no surprise to discover that Col Buchanan is exactly the same. Here we chatted to him about his debut novel, the freedom of expression and trumping in bed...

Falcata Times: Writing is said to be something that people are afflicted with rather than gifted and that it's something you have to do rather than want. What is your opinion of this statement and how true is it to you?

Col Buchannan: Absolutely true, yes. Many times in the past it’s felt like an affliction or an obsession more than anything else. I’ve thrown my hands in the air and thought ‘enough is enough’. Yet still, you find yourself jotting down ideas, and being drawn back into the need to tell a story, to express yourself in some way.


FT: When did you realise that you wanted to be a writer?

CB: Probably when I was ten and wrote my first novel. It was all of eleven pages long, and bound with a cardboard cover. It was about a children’s mutiny at school. (They ended up flooding the building and pirating through the waters on upturned desks).


FT: It is often said that if you can write a short story you can write anything. How true do you think this is and what have you written that either proves or disproves this POV?

CB: I’d have to disagree with that one. Some writers are truly gifted at short stories yet seem to run out of steam when they approach longer form fiction. I think it’s more true when it’s said that some people are better at short stories than novels, and some are better at novels than short stories, and few are gifted at both.


FT: If someone were to enter a bookshop, how would you persuade them to try your novel over someone else's and how would you define it?

CB: I’d probably ask them to read the first page to see if it bit them. Just the first page. And then if they flicked to page 2, I’d leave them to it.


FT: How would you "sell" your book in 20 words or less?

CB: I’m terrible at selling myself. There’s 6 words gone already… A thrilling, fast-paced adventure story with spirit and style.


FT: Who is a must have on your bookshelf and whose latest release will find you on the bookshops doorstep waiting for it to open?

CB: Cormac McCarthy, Iain Banks, Kim Stanley Robinson, Neil Stephenson.

I’d have to say though that these days I’m more excited by non-fiction arrivals than fiction (unless it’s by one of the above). People like Charlie Brooker or Jon Ronson. I don’t get as excited with novels as much as I used to. That’s one of the reasons I wrote Farlander. We need more intelligent adventure stories, stories that grip you fast and don’t let go.


FT: When you sit down and write do you know how the story will end or do you just let the pen take you? ie Do you develop character profiles and outlines for your novels before writing them or do you let your idea's develop as you write?

CB: I always know how it will end, yes. And I usually have a rough idea of the overall structure. Beyond this I just brainstorm a lot, and keep lots of loose notes, and go with the flow of it.


FT: What is your guiltiest pleasure that few know about?

CB: Probably farting in bed when my wife’s not in it.


FT: Lots of writers tend to have pets. What do you have and what are their key traits (and do they appear in your novel in certain character attributes?)

CB: We have a massively fluffy cat called Jazz. When she lies on the floor with her tail curled out, she looks like a musical note. She has an immensely cool character. I often imagine her wearing shades.


FT: Which character within your latest book was the most fun to write and why?

CB: Ash, most definitely. His spirit is free and playful yet he carries his burdens, so I felt I could really play with him while maintaining depth.


FT: How similar to your principle protagonist are you?

CB: I’m as similar to Ash as I am to Nico. I’m still only in my mid-thirties, but I’m very much a sensitive boy and a grouchy old man rolled into one.


FT: Do you ever encounter writers block and if so how do you overcome it?

CB: No, I can’t say I ever have. Fingers crossed though, not tempting fate and all that.

I would say that if you can’t write for whatever reason then don’t write. Relax. Go and invest your energies elsewhere for a while. Recharge the batteries. Let it happen naturally.


FT: Certain authors are renowned for writing at what many would call uncivilised times. When do you write and how do the others in your household feel about it?

CB: I’m a natural recluse, and most recluses are night owls too. I guess we feel most relaxed when the rest of the immediate world around us has gone to bed.

I try to stay disciplined though. I’ll do the hard graft during the days. Nights I leave for brainstorming and any sections I’m having real fun with.


FT: Sometimes pieces of music seem to influence certain scenes within novels, do you have a soundtrack for your tale or is it a case of writing in silence with perhaps the odd musical break in-between scenes?

CB: Silence, classical, or instrumental music like Sigur Ros.


FT: What misconceptions, if any, did you have about the writing and publishing field when you were first getting started?

CB: I like to think not many. I came into the publishing field pretty well versed on the pitfalls and the hardships and the business realities of the life.


FT: If music be the food of love, what do you think writing is and please explain your answer?

CB: I think writing is like laughter, like that instant communication you have with a person when you laugh with them. Laughter shortens the distance between people. When a reader connects with an author’s work, the same thing happens.


FT: What can you tell us about the next novel?

CB: I can say that it’s a story of revenge. And that it has another twist in its tail.


FT: Did you ever take any writing classes or specific instructions to learn the craft? If so please let us know which ones.

CB: I studied for a Creative Writing degree while writing Farlander. To be truthful about this though, I didn’t study Creative Writing to learn about writing. I did a degree so I could have three years rest from the ‘real world’ in which to write a decent book.

I don’t believe writing can be taught. Perhaps it can be guided to some small extent in terms of craft. But really, you need to learn it the hard way, by graft and error, so that it’s in your bones, and you’re not thinking of writing as you write, you’re just doing it.


FT: How did you get past the initial barriers of criticism and rejection?

CB: I didn’t. I carried them with me as extra fuel until I could prove them all wrong. The bastards. :-)


FT: In your opinion, what are the best and worst aspects of writing for a living?

CB: PR is the worst aspect if you’re not comfortable with it. I don’t particularly enjoy the idea of live appearances that much. But other than that, for myself, there are no real bad sides to this life. It’s my dream, my life ambition. I’m doing what feels most right for me, and so any pressures or difficulties are just stones on the path.