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For a word lover the Auckland Writers Festival is about as close to christmas as you can get. One brilliant mind after another, speaking to hoards of wide-eyed readers, flat-white in one hand, moleskin notebook in the other.

For me it began on Friday as I watched Noelle McCarthy, John Boyne, and Irish poet Paul Muldoon describe Ireland’s uprising in ‘From 1916 to Here.’ The mature lady next to me, shoes already off and pen at the ready, asked if I might be able to ‘give her a nudge if she nodded off.’ She did nod off, but I felt mean robbing her of sleep.

Later that day Elanor Catton spoke with Edward Carey, author of the Iremonger Trilogy, where its inhabitants live in Heaps, a vast sea of lost and discarded items collected from all over London. Edward’s illustrations are dark, gloomy, cold, depressing and brilliant. Cha-ching went the till.

There was a Michael Grant talk, Tom Gates author Liz Pichon, a tribute to Vincent O’Sullivan and a lively Bill Oddie telling a packed house why he threw Jesus out and kept Elvis. Long story.

In the VIP lounge I met Petina Gappah, the charming and hilarious Zimbabwean-Genevan lawyer turned novelist. What a mind! I was introduced to Michel Faber and we talked music. He likes to be challenged when he’s writing, nothing nostalgic, something gripping, like Coil or Current 93. Then I discovered his latest work ‘The Book of Strange New Things.’ Cha-ching went the till.

The Herald Theatre is a beautiful space in which to talk. I spoke on Sunday afternoon, but why was I so nervous? Didn’t I do school talks often? Yes, but this was a theatre. 30 minutes flew by, thanks to a hilarious crowd of kids, happy to turn bananas into penguins, tea towels into chickens, each clutching a copy of ‘Shot, Boom, Score!’ which I was more than happy to sign.

Festival staff: 10/10. Keeping 65,000 people happy can’t be easy.

What a bugger. Having to wait another year and all…

 

Pixar movie Up

The team at Pixar often spend years on a single script. This is heartening for any writer who has wondered whether their story carries any weight. Here are my top 5 picks from their 22 storytelling tips which I refer to when diving into a new plot for a children’s novel. Essential reading, I reckon.

#5: You admire a character for trying more than for their successes.

#4: Keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer.

#3: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

#2: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

#1: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

Happy Monday.

Justin/

Back in the day I used to be a stand-up comic. The love affair lasted seven years. I performed around my home country of New Zealand, in London, and Johannesburg when I was backing packing and ran out of money.

Talk to any comic and the topic of worst gigs always comes up. Mine? Engelbert Humperdink at The Michael Fowler Centre in Wellington. It was so dire I wrote about it in my book UK on a G String.

Three of the hardest things I’ve ever had to do:

1. Do the opening act for Engelbert Humperdinck.
2. Sell my Mini even though I knew the lights weren’t working.
3. Door-to-door busk my way around the UK in the middle of winter.

THE FIRST HAPPENED on a cold night in Wellington, New Zealand. I had been asked to do 15 minutes of stand-up comedy before the great Engelbert came out on stage. This is my break, I thought. This is the big time. Just me and Engelbert. I’m even staying in the same hotel; only he’s on the eleventh floor and I’m on the first, looking at the back of a butcher’s shop.

But that doesn’t matter. I’ve got a mini bar and nice little chocolates on the bed, just like Engelbert. And I’ve got a room-service menu and Sky TV in my room, just like Engelbert.

Then the panic set in. All the material I normally use on stage is targeted at young, drunk people on a Thursday night. As I looked around the Michael Fowler Centre there wouldn’t have been a human under the age of 86; this was to be my downfall.

I was devastated when I found out they were sober.

Most were ladies with purple hair, their sons by their sides looking at me as if to say, ‘You’d better be funny and you better not offend my mum. I paid $80 for this ticket.’ After singing my first song, entitled ‘Kentucky Fried Kitten’, I could see that I had indeed offended his mum and most of the audience. I’m sure if they weren’t asleep the complaints desk would have been inundated.

Before the gig started I had great visions of Engelbert and me touring the country together, playing golf, drinking, and singing songs other than ‘Please Release Me’. Instead, I never met him. The next morning I was just glad to be alive. It was as if I had been thrown into the comedy equivalent of going over the top of the trenches. I lay in the bath, eating chocolates and watching ‘The Karate Kid’.

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[Englerbert Humperdink. Without the author. Who he never met. Nor played golf with.]