About Scott K. Andrews

I am Scott Keegan Andrews, this is my website. I write books, plays, articles and reviews. I am represented by Oliver Munson at A. M. Heath.

I began writing professionally in my 30th year. I am writing this in my 40th year. I work on the perhaps optimistic principle that I will die or lose interest in working somewhere around my 80th year.  This means I am about 10 years into a 50-year career. I reckon I'm doing okay so far, given that I'm not even a quarter done yet.

At any rate, this is what I mutter to myself whenever I consider how young Buddy Holly, Mozart and James Dean were when they died.

There is a wikipedia page about me. It has many omissions and contains much that is apocryphal, or at least wildly inaccurate. If you wish to amend it, feel free. I never edit it myself, feeling that somehow it would be egotistical to do so. Instead I have devoted an entire website to myself. This is not egotistical at all. Really.

I have a Facebook account, but please don't be offended if I refuse your friend request. I like to keep my Facebook account for family and close friends. I resisted setting up a fan page on Facebook for a long time, feeling that somehow it would be egotistical to do so, but eventually I caved - My Facebook Page.

I have a Twitter account via which I humbly offer my thoughts to the world. This is not egotistical at all. Honest.

I look like this:

Me

Posting photos of myself is also not egotistical. Fact.

I have a private life, which I like to keep private, however when politely pressed I will admit to being a husband and a father to two offspring. When impolitely pressed I will whip out photos of my wife and kids and bore you for hours about how awesome they are.

I will write for money. I will also write for free, but only if you make a donation to the bank account of my choice (hint: mine). Call me crazy, but I prefer to feed my kids with food I have paid for with money I have earned, rather than with the air generated by repeated use of the phrase 'but it'll be great publicity!'.

I am unfailingly kind and patient to small children and animals. I make no promises in respect of my conduct towards adults and monsters.

I very occasionally blog about my day job. Sorry. When I do this, please bear in mind that none of the views published here necessarily reflect the views of my employers, publishers, family, friends, pets, children et al. I mean, they might do, I haven't asked them, but best take it as read that they disagree violently and think me, frankly, a bit of an embarrassment. It'll be safer for everyone that way.

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The Paps, in their own words

The Paps, in their own words

Picture the scene… I’m standing in Trafalgar Square watching them film the Doctor Who 50th Anniversary Special. I’m standing behind a barrier watching Matt Smith and Jenna-Louise Coleman filming a scene. There are other members of the public here taking pics and a good-natured, smiley guard on the opposite side of the barrier to make sure we don’t get in the way. One of the crew comes up to the guard and tells him that some paparazzi are being aggressive to members of the public by the steps to The National Gallery. Smiley guard goes  with police officer to tell them off – there are children here, after all. Result: the paps come and stand on either side of me. They talk over my head. Here is an exact transcript of their conversation, with no addition or embellishment: Pap 1: Thing is, I f***ing hate Doctor Who. F***ing rubbish. Wouldn’t f***ing watch it if you f***ing paid me. Pap 2: The bird’s nice looking though. Pap1: Yeah. (Pointing at smiley guard) He’s a funny c*** inne. Pap 2: Yeah, weird c***. Pap 1: (Addressing smiley guard) Oi! You shouldn’t let this lot in here (indicates public). Should just be paps. Smiley guard: (Smiling) Well, your photos aren’t gonna be worth nothing once this lot have put theirs up on Twitter. (Wanders off smiling). One-nil to smiley guard, I reckon. Meanwhile, in front of us, Matt Smith earned his wages like nobody’s business. Don’t believe me? Check this out!...

Rage fatigue and professionalism

So Margaret Thatcher died. For those who don’t know who she was, she was British Prime Minister during my youth and did a lot of things that were extremely controversial. And that’s all I’m saying about it. Why? Two reasons. First, I work for the Government in my 9-5 job at the moment, so I’m not really allowed to say anything overtly political – it could get me fired. I really can’t afford to get fired. But more importantly, I try very hard to use my online presence to only put out positivity. And engaging with Thatcher’s legacy in any way shape or form is going to offend at least half of my potential readership a whole heck of a lot. Not that I’m unwilling to offend. Sometimes I think it’s very necessary. But most of the time, what would be the point? Increasingly I tend towards the view that people only read articles that they expect will reflect their views. Very few people are willing – or able – to seek out viewpoints that differ from their basic kneejerk reactions, consider them carefully and thoughtfully, and decide to either reject them anew or, perhaps, to amend their views somewhat if they were persuaded. So those who hated her and everything she stood for have articles like Russell Brand’s piece on Thatcher to read. And those who loved what she stood for and cherish her memory can enjoy David Cameron’s eulogy. I have very strong opinions indeed about her. VERY strong. My close friends know what I think. But I don’t for one second flatter myself that anybody else is interested. And even if...
Iain Banks and deferred pleasures

Iain Banks and deferred pleasures

The first Iain Banks book I read was The Wasp Factory. I knew I was going to enjoy it, so I put it aside as a reward for finishing my finals at University. It sat on my shelf, a deferred pleasure. I remember the circumstances of reading it vividly – I had been to our graduation ball and, unable to sleep after a very drunken, flirty evening, I collapsed on my bed and picked up the book. I didn’t sleep that night at all. I devoured that story and, still awake at 6am, I went for a walk in the early morning mists, my head swimming with excitement about my future, and the strange, dislocated sense of formless dread that Banks had conjured in me. “Come outside,” the book seemed to say, “the world is far, far weirder than you could possibly imagine…” Looking back on that moment of transition, it feels almost as if it was Banks himself who ushered me out of adolescence into the wider world with a warm but slightly ghoulish grin of amused invitation. I read The Crow Road in one sitting, too, in an attic bedsit in Brussels where I hid from the menagerie of freaks who shared the house with me – the mad, snaggle-toothed landlady, her grotesquely fat son who read books about nineteenth century post codes, the alcoholic Aussie tennis coach, and the Irish girl across the hall, who I loved with a fervent, unrequited passion – they swim in and out of Gallanach in my muddled memories, no more real than Uncle Rory, Prentice, Ashley and the rest. Two...
From the archives: Robert Palmer

From the archives: Robert Palmer

In December 2002 I was working for the BBC’s Top of The Pops website. Mostly I wrote silly pieces of content, like Top 5 Most Depressing Depeche Mode Lyrics, or the three news stories that the site used to publish every day. But then I was asked if I’d like to do some interviews, and I jumped at the chance. My first interviewee was Robert Palmer.  I knew who he was, of course, but I wasn’t a particular fan or an expert, so I was not only worried about stuffing up the interview technique, but also about being revealed as a know-nothing charlatan. So I did my research. I spent a whole day tracking down and reading every single profile, article and interview I could find online and making lots of notes. I noticed one thing – the interviewers rarely asked him about music. Fashion, videos, the industry, his career, his private life – but rarely ever music. And the one or two times a musical question slipped through the net I thought I sensed flickers of interest from Palmer that the rest of the interviews lacked. So I decided I would make music the focus of my interview. It felt like a gamble, but it seemed logical to me. I presented myself at the Landmark Hotel in Marylebone – a very upmarket hotel that was kind of intimidating to me. Mr Palmer arrived with a spin of PR folks. I was his first interview in a day set aside solely for him to talk to the press. It was clearly going to be long day for him – he was professional...

Make / Let

I’m beginning to see a theme emerging in the various discussions taking place about the future – specifically, the changing nature of the interaction between individuals and organisations, be they commercial or social. Two TED talks I have watched in the last week both articulate the same thought, and bring the theme into sharp relief. Both are very worth your time. Sugata Mitra: Build a School in the Cloud A brilliant, funny, inspiring mashup of history, science and pedagogy. “It’s not about making learning happen, it’s about letting it happen” Amanda Palmer: The art of asking I backed her Kickstarter, and although I remain agnostic in some respects, her contribution to the conversation is invaluable. Plus, crucially, her album kicks ass. “I think people have been obsessed with the wrong question, which is how do we make people pay for music. What if we started asking, how do we let people pay for...