Advice for Writers – Myth or Magik?

Who am I to pose this question? I have been offering advice to writers – in person or in print – for twenty years. That is five years less than I have been publishing.

But now advice to writers has blossomed and boomed into an industry powered by the internet and the social media embedded in it. Does it promote the myth or engender the magik?

Writers I know are being encouraged – nay instructed – to get out there with the blogging and twittering to back up (more probably replace) the publisher’s press department in their attempts to get the book known.

Even well known writers are put on the talks/appearance/literary festival trail (unescorted) to do promotion not just for their book but for their publisher *  The writer often performs at festivals for nothing, supporting the festival’s profits and funding huge fees for celebrity speakers – Bill Clinton for instance. Ah, you say, the publicity for the individual writer is their payment. It seems to me not.

And now there has evolved a tribe of travelling writers – some of whom are shy creatures only happy when they are on their own hunched over a keyboard or a notebook – dragged blinking into the limelight for the delectation of  festival groupie audiences sometimes more interested in celebrity that the reading of books.

(Scroll back for my  blog post on Howard Jacobson’s Zoo Time for his witty tale on the ubiquitous literary festival.)

That brings me to outcomes. When I was teaching educational research we were always careful to point out that aspirations and objectives are not outcomes. There have to be some measures in place which demonstrate true outcomes – positive and negative – from any project. For me in the case of writers a positive outcome should be a general rise in sales, not just a cluster of sales at the event itself. Or the rosy glow of feeling famous. I would like to hear evidence, or even discussion, on the matter of outcomes from these performances.

And what about the as-yet unpublished writers – often writers of talent who have been unrecognized by the behemoth publishing industry? For them the internet and social media have been seen quite rightly as a vehicle where their writing can be showcased, where an audience can be nurtured, and publication can be achieved through Kindle and other outlets without the destructive intervention of nay-sayers of the publishing trade.

I think this is a wonderful evolution. It has had its starry successes of course – writers who have become best sellers through this means. These, one has to say, are exceptional cases among thousands. But the benefits to lesser selling writers are still manifest – their book is out there to be read and appreciated by strangers; they have taken it up to its best form and the good ones becomes a valid part of a writer’s showcase. And in the case of Kindle there are inbuilt outcome measures in the sales visible to the writer. Even a trickle of ten books in a month tells the writer of strangers who have read their work. Over a year or ten this becomes a significant number and is indeed part of that writer’s showcase.

Of course this open process does mean  that also out there are some publications that  have missed the filter of the publisher’s front desk and have also  missed the sharp pencil of a literate editor. To this I say so what? There have always been dubious, ill-written books on the market. We only remember the good ones. The rest were quite rightly pulped.

The internet has also spawned quite flourishing peer writer support networks which like any peer review set-ups are only as good as the peers involved. The art of critiquing and nurturing creative work is subtle and complex and should not be approached lightly. Crude criticism or unbounded praise should not come into this process but it often does.

We need to be careful. Sometimes there groups take up so much energy that there’s little time for ongoing solid, personal and progressive writing.

But it is all kindly meant and can give support and nurture development outside the umbrella of mainstream publishing.  

More widely there is lots of advice out there. On the internet

One way to cut down a tree...

Lots of  ‘Ways’ out there - eg:.

1. Five ways to beat the writer’s block
2. Five ways to get the attention of an agent
3. Five ways to find what a publisher needs
4. Five ways to create a believable hero or heroine
5. Five ways to make your novel a best seller

I have to say if it were as easy as that just anybody could be a successful writer.

So, in this world of advice here are my Five Ways to Develop Your Writing

1        Evaluate any advice you are offered. Does the adviser have a successful record in the writing field rather than the advice-giving industry? Is adviser a successful and seasoned writer?

2        Write at least a page every single day. (One year makes 365 pages) Bibles for this approach are Dorothea Brande’s On becoming a Writer and Julia Cameron’s A Writer’s Way. You could take a look at my On Being a Writer

3        Give yourself short term targets for positive outcomes. Competitions are great for this. Sign up for Avril Joy’s (www.avriljoy.com) Newsletter. She is great and very informed on the benefits of competitions. Of course this  befits this year’s  Costa Short \story Prizewinner who has thus proved her theory. Even so, regularly entering  competitions should not be about winning. Remember every entry is a five finger exercise in your development as a writer. And this valid form of writing also builds up your body of work and develops your sense of audience – a very subtle aspect of a writer’s skill.

4        Write what you really want to write, what in your deepest heart you feel impelled to write, not what some egregious expert says the market wants at this time. They are always three years behind, any way, copying trends rather than creating them...

5        Let people know what you do. Talk about your project with affection and information.   Blog posts too can be five finger exercises in expressing thoughts, ideas and work in progress – a coherent expression of your writing self. Twittering can be a more casual notice board  to express an occasional spurt of joy and inspiration and to let a wider group of people know what you’re up to. Some people make an art form of this (not me) showing distilled wit and real character.  

6         Most importantly don’t do any of this a) if someone has instructed you to do it. b) if it is a chore(that will show!). Or c) if it is instead of doing your proper writing: your ongoing work must be a priority.

In answer to my own question Advice for Writers – Myth or Magik? -

It remains a myth if you don’t sort out that good advice from the weak and self serving. It becomes magik if it helps you to your transform your own writing to a point where you know it is  good and worth publishing, whatever form that publishing takes,

Happy writing

w

Making them live – Peopling your novel

I think perhaps you have reached the end of the beginning of your novel. I don’t know about you but I begin a novel with three things – a time, a place, a person. My feeling is that they all come at once, although I could be wrong. I have written here about  the place which is my present obsession with my  invented map of a particular place. The time is unambiguous: the year 383AD. Research for this involves many umpteenth-hand stories, only marginal written evidence and many objects. Not easy but in the spaces in between there is luminous space for inspired fiction.

But before all this there was always the person, lets call her H. Now after these months working on the beginning she breathes; she talks; she is fully clad in clothing that suits her time and her place. Much of the story is told from her point of view. The more I write about her the more she lives.

So I can think about her in a non-literal way I have drawn her at the centre of a web. Spiraling out from her at the centre are the other characters in the novel: the great and the small and small. Some of them I know almost nothing about, except that they touch her life and influence her fate. Others I am beginning to know much better - both through her eyes and by flexing the well flexed muscle of my imagination.

Now I have five characters whose voice I hear and whom I can see when I close my eyes.

Top tip for you: In your notebook but not in your narrative write a top-to-toe detailed description of a character first in physical terms – height, weight, face, hands, feet, stance, expressions, speech style, expressions. Secondly write a psychological profile – personal history, attitudes, pains, pleasures. (You will discover much about them in this process.) Now write a paragraph from their point of view of how they see another character in your story. And one line of speech. Then he or she should be there in your head, available to act and react in your story. Almost none of your description should actually be there in your narrative. However they will influence your writing and will be bedded down underneath the surface of your story.

Work in Progress extract from my beginning:  

... I look up, water streaming into my eyes and down my face. I flick my plait out of the pool, creating an arc of water that fragments and glitters in the sun. The man walks out of the  green glow of the forest,  leaving his horse with the other man, the dog skulking at his feet.  He says some words in Latin, telling them to stay back.

I focus now on a wind bronzed face under thick black hair threaded through with silver. He’s quite old, perhaps as much as forty years.  He’s as tall as Konan but more thickset. He wears his hair forward in the imperial way, held in place by the thinnest of golden bands. His thick black brows almost meet over a thin finely arched nose. His eyes are bright and blue as cornflowers.

When I first meet him I notice everything about him. But of course he’ll never realise this. Not now and not later...

Happy writing!

Stop Press Avril Joy and Hilary Mantel

So delighted that Hilary Mantel won the Costa Book of the Year award for Bring Down The Bodies. I was rooting for her as you will note from my last post (scroll down).

She now has such an excellent and significant body of work. Surely they should be considering her for something bigger - perhaps the Nobel prize for Literature?

But if it's possible I am  even more delighted to say that yesterday at the awards alongside Hilary was my good writing friend Avril Joy who won the inaugural Costa Short Story competition out of an entry of nearly two  thousand.

The cream always rises to the top, be it Hilary or Avril.

Writer’s Notes 3: Hilary Mantel’s Bring up the Bodies

Bookies William Hill have declared novelist Hilary Mantel, winner of the Costa Novel Award with Bring Up the Bodies, (her sequel to Wolf Hall) , as odds-on favourite at 5-4..Having won the Costa prize for fiction, she is in line to win the Costa overall book of the year. Very good luck to her.

The media will be vibrating this week with informed comments about and reviews of this book.

But in this highly personal series here on Life Twice Tasted Bring Up The Bodies  happens to be one of the books which I listened to when ill after Christmas in unabridged audio form. 

My present project is to embark on a series of Writers’ Notes inspired by a focused audio-reading of these books. I have posted Writers’ Notes on earlier books (see below).

Here are my notes on Bring Up The Bodies.

Research;

Inevitably one must comment on the wide-ranging deeply investgated research that underpins this novel. She has absorbed the complex research in an all-ecompassing fashion, almost magically transforming it into flowing prose.

Style

Every paragraph densely - sometimes poetically - worked to a point of transparency with the aim of giving us access to a formidable clever, self-consciously powerful man. Evident familiarity with the documents, literature and linguistic rhythms of Tudor history renders the prose authentic and peculiarly modern at the same time. This shows a touch of genius. The speech –extensive use of diaplogue p renders the reality.

Point of View

Mantel very cleverly manages to tell the story in the first person dressed up in the third persom. Working from the inside of his mind she refers to Thomas Cromwell as he, or he – Cromwell.  It is an intimate and very subjective characterisation dressed up as an objective account by the use of he. So very clever.

Character

I read somewhere an opinion that this writer was in love with her subject. To me it is rather she is her subject and that is why the continuous narrative rendered through the mind of Cromwell works so well. Her affection for the dour Cromwell sings gracefully out of every line, every page. The writer expresses the subtle politics of the court, the continent of Europe and those times. 

So we are treated to Cromwell’s own subtle take on his obstinate loyalty to the selfish, quixotic Henry the Eighth, his cold passion, his political and psychological insight into court politics, his high intelligence, his puppeteer’s control over the objects of  his power – particularly Henry’s current and future Queens Anne Boleyn and her family  and Anne Seymour and the Seymours.

His battle with, and ultimate revenge on, the manipulative Boleyn (formerly his ally) is the dramatic thread in the narrative. Mantel’s  account through Cromwell’s mind of the imprisonment and execution of Anne Boleyn is the most gruesome piece of writing I have ever read.

So, it seems we should dislike Thomas, but the quality of the imagination and the writing here ensures rather that we understand, even like him. We get to see him as a dour but honest man, pragmatic with regard to the power of his role. But his dourness is shot through with a sense of irony. Witty asides demonstrate his insight into the machinations of those around him. His coolness is balanced with his clear fondness for his much milder and quieter son and for his political protégé  Ralph Sadler whose house (shared with his wife Helen, also one of Thomas’s protégées, is wonderfully and intricately rendered here – a kind of loving evocation of a life which contrasts with his own lonely home life.

Thoman is no cold shallow man. We feel with as he mourns for his wife and two little daughters. And we share with him his anger at the cruel execution of his mentor Cardinal Wolsey. The expiation of this anger, and vengeance on those who plotted his death, is another strong strand in this narrative.

 Some prose gems among hundreds – read the book again to re-discover them::

He treats doors as an enemy.

He slides his hands into his sleeves

Passage where an old knight advises to the young about jousting Very detailed. and full of pathetic tragic commitment

What have I learned from this book?

• An exhaustively researched, beautifully written and constructed novel set in a certain time space does not have to be lumped into a genre called The Historical Novel. It does not ‘date’.
• The rich possibiloties of in depth use of that very close third person
• The possibility of showing unlikeable characteristics in a likeable way
    
• Showing power positions through well conceived dialogue
• Best to challenge oneself and be ambitious and not ‘serve’ the market.

Last note; Don't care for the cover - dour and unexciting. Other editions have better covers, But does the cover really matter?

Writer’s Note 2: Thrilled by David Baldacci’s The Forgotten

Recovering from a virus after Christmas I had to resort to my audiobook file for restful reading. By accident I lighted on The Forgotten by David Baldacci. It had been a book chosen at random on a one line description.

To remind you. What follows is a highly personal excercise. It is not a review; it is my note  on elements that impress me as a writer and ways in which I - as a writer - can learn something  from this book. 

 I am ambivalent about  thrillers and sometimes think they are better on the silver screen than the pristine page. But this novel made me think again. I enjoyed it.

Writer’s Notes

Style

-Pacy writing. Crisp, effective prose. Every word a bullet. Very precise energy and balance of often short sentences. Careful and unfussy choice of words.

- Very tight plotting. Two main points of view. One dominant. Well woven together.

Place 

- Surprisingly excellent sense of place: The Emerald. Coast of Florida. The ocean. The power of a storm, The heat. The place called Paradise.

- Occasional change of pace to establish place with lyrical evocation, intense description. - Good use of senses.

Characters

- Characters are very clear to the eye and the ear.

- Recogniseable army disciplined hero.

-Feisty female one star general as collaborating heroine,

- Predictable villains with some good surprises.

- Very tight description ensures we know their body shape and style. We hear individual tones, dialects and accents They are clearly defined for us so we follow them through the twists and turns of the carefully woven plot.

Climax

- Several well staged shootouts at the end climax were more filmic but still well written, They do, after all go with this genre,

Themes

- Baldacci tackles various powerful  themes of modern life which emerge in the narrative  quite seamlessly,

• The lucrative modern Slavery trade People as commodities (the slimy villain calles the people he traffics product) 
• Identity.Army., Family, identity. Loyalty.
•  Courage and Survival.
• Physical strength.
• Gender.politics.

What have I learned  from David  Baldacci

- It is possible to write well and to tackle major themes within the thriller or any other genre

- The need to evoke a great sense of place to allow the reader to suspend her disbelief and stay with an occasionally fantastic narrative.

 - Tight, occasionally staccato prose enhances pace in a narrative.

Next: Bring up the Bodies by Hilary Mantel

Writer’s Note 1: Howard Jacobson’s Zoo Time

Following from my last post about the intensity of listening to books on audio this is my Writer’s Note  on the first of these books. This is a highly personal excercise. It is not a review; it is my note  on elements that impress me as a writer and ways in which I - as a writer - can learn something  from this book. 

Here we go!

The writer. Hard not to believe this is not highly autobiographical. But one can trace this with all good writers. Enhanced by being narrated in Abelson’s first person point of view. Whatever the the fact fiction allows witty exaggerations in all directions and makes the novel unique.

The writing. Highly literary even when it is being scatological. Tight complex use of syntax to support the changes of pace and the mood of the narrator. Lots of word-play and syntactical play showing off how the cleverness of Guy Ableman. Extremely comples writing made trasparent making the book both human and accessible.

Central character: Guy Ableman. Probably like Jacobson, Ableman has a disputatious mind. Abelman is highly self aware and in his narration shows us a peculiar combination of arrogance and intellectual passive aggression. Timid on the one hand and, on the other a writer of impious disturbance.(His own term). He is often his own target – using full on sexual assertions and innuendo like a naughty boy.  The central theme of the story is his obsession with both his wife and her mother:  a very original triangle.

Targets

Publishing and the writer’s life. Hilariously sharp, insightful observation of the publishing trade – writers, editors, agents, literary festivals all fall to his forensic wit. (Found myself saying Yes! Yes!) Has no time for people who make a habit of being cultured, declaring that if you ‘keep people away from art and judgement they are good.’

Religion

‘Belief contains its own parody.’ – wish I’d said that!

Complex and evolving assertions the impact of religion on identity – particularly the Jewish identity – trickle right through the whole text, enriching it and giving it true savour.

Women

Like Jacobso , Ableman is often seen as mysogynistic – he has a witty take on this view of his work – he observes women closely with over-focused adoration laced with fear. His apparent humility masks a kind of amazed suspicion. It is a unique, not a mysogynistic view. Jacobson’s subtle prose demonstrates Ableman’s affection for and fascination with the women in his life. But, as Abelman  says. ‘Tenderness is a fine thing but it is not understanding.’

I have learned a lot. I think there are elements of humour in my novels but  sustaining this level of true, meaningful comedy throughout what is essentially a serious novel takes a special gift.

2. 
   

Next David Baldacci: The Forgotten.

Me and Stephen King and the Attraction of the Audiobook.

 Being - for the last fortnight - unable to read or write properly or do anything requiring energy I resorted to listening to audio-books. I don’t often resort to this as I like words on the page, be it paper or Kindle screen.

However the concentration for pure reading deserted me alongside my appetite and my energy. So, by means of the audio-books in the last week I have ‘read’ three books: The Forgotten by David Baldacci; Zoo Time by Howard  Jacobson; Standing in Another Man’s Grave by Ian Rankin. Waiting for me to enjoy are ring Up the Bodies by Hilary Mantel; Where There’s a Will by John Mortimer and Victorian London by Lisa Picard. I have also managed to read on the paper page The Examined Life: How We Lose and Find Ourself by Stephen Grosz.

(Should you be interested -  my next post here will be my personal notes on these individual books…)  

But I have to say that this experience has made me reflect on the audio-process. First, how wonderful that these texts were unabridged. When I think of the care that we writers put into every word, every paragraph of a novel it seems some kind of heresy to abridge it to make it fit into a required audio timescale. So the audio-time is anywhere upwards of ten or eleven hours.

Also, being read by accomplished readers, the rhythms and nuances of the prose enhance the meaning - perhaps more than the echoes in the head that emerge from reading on the page.

It certainly improved my line by line attention as I have to confess, as a lifetime reader, to a well entrenched and somewhat destructive habit of speed-reading and skipping. With audio books you can’t skip; you have to let the story unfold at the author’s designated pace.

It could be the euphoria of the illness but I would swear that I have enjoyed these books much more intensely than usual. As I come back to life and writing and work I’m certain I’ll use this form of reading into my book habit more   regularly in the future.

And then I suddenly remember I’m not alone. In his exceptionally good book On Writing author Stephen King urges all writers to read widely, wisely and well for their own self education. He lists the books he read in a single year. His list is enormous. Then he tells us that he had read a great proportion of this list by audio-book.

I suppose I could declare an interest here. All my books are now on Kindle - just got the stats – they’re trickling out very well there (except for Family Ties. Do give it a try. One of my best, I think) . But as well as thise= they are also out there in audio-book form. An Englishwoman in France looks very fine in its audio-book packaging. They’re available through libraries to order borrow and download. Or through companies like Audible.

And now I’ve had my own valuable and enlightening audio experience I treasure the thought of my own readers enjoying my novels in this steady appreciative pace, read by the brilliant actresses who give them their voice

NEXT: Tomorrow my appreciative notes on the audio books I have read this week. By David Baldacci, Howard Jacobson, Ian Rankin, Hilary Mantel, John Mortimer   Lisa Picard, Stephen Grosz.

Click: My novel set in North London

Meeting in Cambridge:The Lithuanian Girl:

Recently in a Cambridge gastropub beside a blazing fireAvril and I met a young Lithuanian woman callrd Karolina, who was waiting tables with charm, enthusiasm and efficiency. As we went through the ritual of paying we discovered her homeland and her ambitions. It seemed that she had just finished her first degree and was now saving money to pay for her master’s degree in Chinese.

‘Here in Cambridge?’ I ask.

‘No,’ she says, ‘In China. In Shanghai.’

We applaud  this, excited at the thought that there was such adventure still in the world. We talk of how her skill in Mandarin would open so many doors of opportunity in the China-driven world of the 21^st Century.

She demonstrates her familiarity with Chinese by showing us ho the tonality of the world ma had three different meanings – ma – MA – ma.

I ask whether she could study for an Master’s Degree in Chinese here in the Uk,

‘Oh yes!’ she says, smiling. ‘There are several good courses. But it is much cheaper in China – only £10,000 instead of twice as much here. And of course it will be better for me, as it will be there in the streets. I will learn it in the proper context.’

I find myself telling her about the Chinese girl I met in prison Xioa Xioa who was a wonderful writer and had one of the short stories she wrote with me broadcast on the BBC.

I don’t tell her about the Lithuanian woman whom I met in the same place who was in for a nasty offence to do with the trafficking of other women.That wouldn’t be polite.

Needless to say her English was perfect and we emerged from the pub warm from the fire and the wine, feeling a rare pleasure at the state of the world. Perhaps next time we hear of her she will be the Lithuanian ambassador to China or – perhaps more importantly – to Washington.

Just a thought, Such encounters as this  in my life bed down in the subconcious and become a resource and an inspiration for my fiction. This is often and accidental rather than a deliberate process.This novel - now on Kindle as well as in paperback - has a Chinese-French character at its centre.  

Spells, Good Intentions and Good Wishes for 2013

I would like to wish a creative, fulfilling and satisfying New Year to all the gentle people who land on this page and take an interest in which particular bit of my writing life I taste for the second time.  In 2012 Lifetwicetasted struck a chord with some lovely people who took the trouble to let me know this. It's so nice to know you care. 

       Being a bit of a Pagan I tend to like the New Year’s Celebration more than the more cosy shores of Christmas. The Winters Solstice, the turn of the year has a resonance outside organised religion and custom: we experience the end of the dark days and a glimpse of brighter days to come. Now we can draw a line under the previous year with its challenges and its disappointments – even its successes and delights. A new day dawns and it seems up to ourselves to make the year work for us – or to work to make the year the best it can be.

       So making ‘New Year Resolutions’ – in Pagan terms casting some spells for the New Year – can be part of this process can’t it? It's one way of summing up your hopes and dreams for the year to come and getting into the right frame of mind to make them come true.  

       So I thought I would share with you ten of my resolutions, wishes or spells for 2013.

1.     I will keep in better touch with my friends. (Not good at this.)

2.     I will make a very big push early in the year to get a proper handle on this new novel. (Sometimes I get lost in and distracted by the fascinating research.)

3.     I will walk outside in the light every day. (I tend to burrow away too much.)

4.     I will have a stab at another set of short stories. This is a lovely diversion from long fiction and allows the flexing of other literary muscles. (Looking forward to seeing my  two sets out in the spring with Audiogo.)

5.     I will meditate once a day every day not just as and when. (I can be erratic about this very positive process.)

6.     I will read more poetry and tackle some five finger exercises in this form. (I'm not a poet but have always enjoyed this kind of play. Have done it less in this last year.)

7.     I will try and be a bit more businesslike about my books on Kindle. There must be a way to do this although I’m uncomfortable with advice that tells you to sell yourself at very opportunity.  I think it could be counterproductive as I myself get irritated by people shouting up their titles all the time. There must be a civilised way to tackle this.

8.     I will put more comments on blogs that I enjoy. I tend to think the writers will not be interested in my opinion, but then I remember how delighted I am if someone posts a positive comment on my blog.

9.     I will go to Wales – crucial and should have an impact on my take on for book research.

10. I will cast a spell for my family that they will grow in health, wisdom and self esteem 

Well there you are! Do you have any spells you wish to cast on 2013?

wx

Literary discipline with Francine Rose: the significance of sentences.

Apart from the Sarah Lund Sweater from the beloved, one of my favourite  presents - from my ever perspicacious  friend Gillian - was Reading Like a Writer  by the aptly named Francine Prose. I  have referred to her ideas here before but my Boxing day treat has been to sit by the roaring fire and  read this book wrapped for me like a Christmas prose present.

      Francine Prose is a great advocate of the very close reading of great writers, both to enhance our pleasure as readers and enhance our skills as writers.

    She clearly  real problems with academic approaches to the teaching of  literature. She dropped out of her PhD programme after realising that ‘literary academia had split into warring camps of deconstructionists, Marxists feminists and so forth, all battling to tellthe readers they were reading “Texts” in which ideas and politics trumped what the writer had  actually written.’ *

     Later she says of her students  ‘…They had been instructed to prosecute and defend these authors, as if in a court of law, on charges having to do with the writer’s origins, their racial, cultural, and class backgrounds.’

      Here, using as her authorities the work of such writers as Katherine Mansfield, Alice Munro, James Baldwin, Checkov, Heinrich von Kleist,and Virginia Woolf - Francine Prose returns to the fundamental disciplines of the word, the sentence and the paragraph  to illustrate the genius of such great writers before proceeding to their take on the familiar aspects of dialogue, character and narration.

     She focuses on examples of genius in a writer’s choice of a particular word to steer complex meaning in the right direction.  She showcases the way the structure of long sentences in some writers’ work delivers meaning and consequence in one beautiful flowing package.  Her examples of this process make me think of how one element in my own editing  is to shorten my sentences, make them crisper, more powerful. This is the modern way but listening to Francine Rose I will reconsider this instinct more thoughtfully in the future.

See for yourself:  on long sentences Francine Prose quotes the opening sentences of Stanley Elkin’s ' The Making of Ashenden:

' “All my adult life I have been a guest in other people’s houses, following the sun and seasons like a migratory bird, an instinct in me, the rich man’s cunning feel for ripeness, some oyster-in-and-r-month notion working there which knows without reference to anything outside itself when to pack the tennis racket, when to bring along the German field classes to look at a friend’s birds, the telescope to stare at his stars, the wet suit to swim beneath his waters when the exotic fish are running. It is not in the Times when the black dinner jacket comes off and the white goes on; it’s something surer, subtler, the delicate guidance system of the privileged, my playboy astronomy…” '

     Naturally she quotes Ernest Hemingway and further comments:

‘ Hemingway was not only thinking about the good and true and beautiful sentence but using it as sustenance – as a goal to focus on, as a way of  keeping himself going. And though it’s obvious that times have changed, that what was true of Hemingway’s era may not be true today, the fact remains that Hemingway not only cared about sentences, not only told his publishers that they mattered to him, but told his readers and told the world.

       The young would-be writers of great sentences can perhaps take comfort in the fact that Hemingway’s interest in sentences did not appear to have hurt his career...’

         And worth noting is that Francine's last chapter is entitled Reading For Courage.That appeals,. To be a writer today certainly needs courage,.

Now!  I must eat another mince pie and go away and take a good, hard look at my own sentences. That will be another Boxing Day joy.

A good way to use your Christmas Book Tokens, perhaps?
WX

*Is one of the problems with some current Creative Writing degrees at all levels that they are staffed by academics stultified by this tradition?

Christmas Always Makes Me Nervous

Hooray! The tree is up. I’d done my holly and ivy pagan decoration (see below) but had to wait for the arrival of the very special Boy Who Likes Chocolate (from univ. via London ) to tackle the tree. He’s been Involved with The Tree for the last nineteen years. For the last five years he has been In Charge of The Tree. As you see, it is room height and features his signature red/gold/white bands.

Christmas always makes me nervous: the urgent need to Enjoy Oneself; the worry about whether the present will work for this or that loved one; the need for the food to be extra special, the house beautiful. And then in the wider world we have the TV streaming models of joy and affluence impossible to equal, set alongside the shadenfreudic, often pompous, commentaries about debt and poverty homelessness and family conflict endemic in this season..

In older age one becodmes quite good at self-analysis. Despite the fact that our present day family Christmasses are sweet and seem to work out well, I know my deeply worried attitude springs from the far-from-idyllic Christmasses in my childhood. In fact it is symptomatic that – apart from reading A Christmas Carol - I can’t remember Christmasses between the ages of nine and eighteen.

But here we have TBWLC decorating a tall tree underpinned with bright shiny presents and t a kitchen charged with quite lovely promise for today and tomorrow. And - wonderfully - the Licked Spoon Entourage, complete with Barney the dog, arrives on Thursday. (With cookies - see her exquisite  Christmas blogs)

And all this I’m beginning to feel, will make a very memorable Christmas. As Tiny Tim says, ‘God Bless us Every One.’

So to you, very gentle reader, I wish a very peaceful, happy and memorable Christmas Eve, Christmas Day & Christmas season.

Wendyx

Spooky Paganism in the House?

The Holly Reflection

All this year I've been researching the lives of pre-Christian communities for my new novel and have become very sympathetic with the Pagan outlook.
So when G brought in whole swathes of holly and ivy from the garden and I started to decorate the house for Christmas I was visited by a very spooky feeling that echoed down to me through two millennia: the feeling of having lived other lives.

Bodes well for the book?

The Holly and the Ivy

"THE custom of decking houses and churches with ever-greens, towards the close of the year, appears to be of very ancient date ; it being, in fact, one of those remnants of Paganism, which, although forbidden by the councils of the early Christian Church, had obtained too strong a hold on the prejudices of the people to be readily relinquished, as its transmission down to the present day serves to prove..."

 From A Garland of Christmas Carols, Ancient and Modern Including Some Never Before Given In Any Collection. Joshua Sylvester, Edited, With Notes. (London: John Camden Hotten, 1861).

I would like to wish a Happy Winter Soltice to all the gentle people across the world

 who take their precious time to visit me at Life twice Tasted

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Playing Truant in Cambridge

My view over the Master's Gerden

So close to Christmas it seems like playing truant to make a getaway to Cambridge with my writing friend Avril but we went without guilt. We stayed at Sydney Sussex College and my room overlooked the Master’s Garden. We ate hearty college breakfasts, had two decent dinners and otherwise dipped into Sainsbury’s – a mere step away – to make sure that we didn’t starve or go thirsty as we worked.

And work we did. We drafted, transcribed, discussed  then read out to try our writing in the air. I think we both achieved more than we would have at home in the domestic pre-Christmas flurry. 

Avril worked on completing a set of short stories with a very original format, reflecting her success in this field this year.  We have had many interesting discussions about the form and function of the modern short story. (I have a new collection coming out in the  Spring. 

But in Cambridge I was in the middle of that big heave of beginning a novel which sits in a particular historical time. This involves a kaleidoscope of research, thinking, imagining and transforming. My truant time in Cambridge has certainly made more clear for me the ambiguous, inchoate mass which is the foundation of this novel. Now it seems that I have made the great leap and think I may have the novel before me – not just that crucial first 20,000 words but in these four days of concentration the superstructure of the novel has emerged for me from the Celtic mists. 

No, we didn’t see ourselves as tourists. But yes I did notice the exquisite city of Cambridge. Its very fabric exuded the history, literature, philosophy and science which has formed the intellectual background for my auto-didactic generation, educated as it was in small colleges and institutions a world away from these exquisite temples of privilege.

My favourite building in this ancient city was the oldest church – a small church called the Round Church on the main road which leads to the Cam. I was excited about this, as - for this novel -  I’ve been   researching the round houses the so-called Pagan people of late antiquity before, during and after the Roman occupation. The fact that the road this church stands on was originally the Roman Road was the cherry on my research cake. I understand the design of the church was based on the Church of the Holy Sepulchre in Jerusalem. 

But for me – my mind fertilised by all this research - the atmosphere in the round structure of this church carried much deeper meaning and one way or another will have its impact on my novel.

As for playing truant - I returned home energised and guilt-free to embrace the delights of preparing for a family Christmas. I recommend playing truant to any dedicated writer. 

Two posts to come (also emerging from the Cambridge Getaway)

1. The Lithuanian girl on her way to China

2   Peopling Your Novel

Literary Snobbery, Stan Barstow and John from Glasgow

One of the joys of posting here on Life Twice Tasted is the response that comes by many means and  from unexpected places. It is always good to see - as I can on my blogsite  - the way that readers range around the site and take a look at other, earlier posts as their interest is piqued.

So this week I spot three new brilliant sequential comments from John Haggerty of Glasgow on a post I wrote in August 2011 called Stan Barstow my Dad and Gregory Peck,  Click there if you want the full story including John's comments…

 Part of my discussion on this post was about literary snobbery. Among other things I said... ' ...These mean,  mistaken and ill conceived  phrases manage to combine the regional. literary, linguistic and class snobbery that still has a stranglehold on the British literary world. As a writer of some ‘regional literary novels’ myself I too have encountered this same frustrating prejudice . American literature celebrates fiction from its non-metropolitan regions and is much more deep, rich and  substantial for it...'

In his comments John Haggerty extends the discussion and,  among other insightful things, moves onto the field of music :

'....The Northern folk music scene has given us musicians as diverse as Anne Briggs and Kathryn Tickell. Kathryn's album, NORTHUMBRIAN VOICES, is a living testimony to that rich tradition. Anne has become part of British folklore. Is it possible to contextualise Barstow's work against this wider setting? Perhaps we need to rethink our notion of regionalism in the light of writers such as Ted Hughes, Alan Garner and Shelagh Delaney. It may be helpful to look at American (South and North) and Commonwealth writers. Maurice Gee, the New Zealand novelist, has put his own region on the world map. Dunedin, Wellington, Auckland are all very much Maurice Gee country. Gee's place-haunted novel GOING WEST is the kind of work any Barstow reader would relish....'

If your interest is piqued, go to the page and read it in full complete with John Haggerty’s comments. Click Stan Barstow my Dad and Gregory Peck,  You might even add your own comments!

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Creating, Drafting and Transcribing a Novel. The notebook story.

Too many notebooks. Maybe

People often ask me how I write. What is the process?
After saying very carefully that all writers evolve their own  idiosyncratic method I admit that I write my first draft by hand. These days this is met by a degree of disbelief and a kind of pity that one feels for a bag lady in the road.
'I would have thought computers would have been a Godsend for you! Make things easier.' Then (add in kind tone of voice) 'They're very easy to use you know,'
Well, I do know,. I love my  computer(s).They are brilliant for instant researching, for blogging and Facebooking. I was a pioneer in that field.  I remember the joy of my first wordprocesser, an Amstrad 9512 - such a brilliant improvement from my electric typewriter and my bottles of SnoPake.  I shudder at the thought of the state of my original manuscripts - which were accepted by publishers . Never mind. Daphne du Maurier sent her publishers scribbled hand scripted drafts.

I like to write in ink pen

I now have and use an office computer, a standard laptop and a notebook computer as well as, more recently a tablet, So nowadays my transcribed drafts go out in that immaculate computer written form that I recommend to all my students.
I have experimented with drafting straight onto the screen and have found it very limiting, Staring at a blank screen hinders the creativity, the imagination. As the pages build up on the screen they are too finished too complete, too self referring, insufficiently open. They have too much authority and too little vulnerability.

Maps are the current obsession...

The only way for me to write the first draft of a novel is in a notebook (NOT loose pages) with an ink pen.
I normally (but see below) write in bound hardback A4 notebooks. (Cheap from Rymans...) I only write on the right hand side of the page leaving the left hand space for insertions, scribbled self-instructions and amendments.

I often customise the cover with drawings. paintings and collages to make them particular to these stories. And after so many novels the notebooks give a shape to this and I know that the currency is this: three fully drafted notebooks equal one full length novel of about a hundred thousand words. Give or take.

But with this new novel when I embark on the first lot of transcription, (About 20 thousand words in) I find that I have scenes and scraps, brainstorms and locations in five different notebooks. I can blame that on my habit of writing on trains, in cafes, pubs and parks on whatever is to hand. So the transcribing of this first part of the novel has been something of a  challenge as I spent time hunting down scenes out of sequence.

So I have given myself a good talking to and created a new A5 (ie handbag friendly) notebooks as  a prototype into which ALL the new drafting for this new novel must go. Here it is. I hope it works.

Just a thought. Writing whole books is hard work. But unless you make the process creative, satisfying and fun it becomes just another job instead of just more joy.