Although this is supposed to be a ‘writers blog’ it tends to be a repository for the things I don’t write: the stuff I do when I should be writing. When I do find the time to actually do some writing (for myself), I often find all my brain wants to do is mess about and compose nonsense. I find this incredibly easy and profoundly satisfying.
Really, ‘nonsense’, of the sort that Lewis Carroll and Edward Lear gave us, leaves a much wider space for readers or listeners’ imaginations to play in. It harps upon this beautiful feature of human languages: with syntax, sound and context we are more than half way to understanding meaning. Who the hell needs vocabulary?
Basically, it’s a writer’s pyramid scheme, blog-based chain letter, tasteful tag-fest thing. I’m one of three writers Rob’s asked to answer four questions about writing and the writing process.
It is hoped that this will entendril the blogging writersphere ecosystem with fruitful vines of interconnection, lead readers to discover new and lovely writers and give others an insight into what makes some of us tick.
Not only because Rob’s said nice things about me in his post but also because, in my opinion, he’s “one to watch” as he climbs steadily the ladder of latter-day bards, I really hope you hop back up the vine and check out his writing. I think it speaks for itself in a unique voice and it takes a lot make me think, as I do, “when that book comes out I’m buying it” whether the author is my friend or not.
1) What am I working on?
When I’m not writing for others, I’m mapping the terrain between my subconscious and conscious realities, my dreaming and waking worlds, and dredging up short stories as I go. These are broadcast semi-regularly as a podcast at Stories from the Borders of Sleep. They are stories for hearing rather than reading, so any book that may come from them in the future will be more of a spin-off than a substantial target met.
This is a long-term project. I intend to continue it until the twelfth of never and would be quite happy to let it be my life’s work. It provides a creative discipline through the need to continually bring out new material and is immensely satisfying as I know it goes straight to an audience that, my stats tell me, downloads on average a hundred stories a day.
Alongside that, and not a million miles removed from it, I’m working on a book that probably sits in the ‘self help’ section. Broadly, it’s about using different parts of the body as a way of connecting inner reflection with outward action. If that sounds too wooky, then it could alternatively be described as a book about anthropology and time management.
2) How does my work differ from others of its genre?
I honestly don’t know because, with perhaps one exception, I don’t really read the stuff that might be similar. The exception is that I have derived a lot from the works of George MacDonald. He occupies the high points of mythopoeic romance to which I can only aspire.
To feed myself, I study literary classics, folklore and history, watch TED talks and look for books in brooks and sermons in stones. I should probably be reading Paul Coehlo, Haruki Murakami, Susanna Clarke and Neil Gaiman, but I don’t have time.
3) Why do I write what I do?
It has always been the same motivation for me, that simple line from the screenplay of the film about CS Lewis, Shadowlands:
We read to know we are not alone.
Books have been my greatest comforters and companions in helping me make sense of this way between earth and heaven where we all have the temporary use of a body, a mind and some words. Therefore, put simply, “I write to let others know they are not alone either.”
4) How does my writing process work?
I need to work in long stretches of time so it only really happens when I have a few uninterrupted hours in the dead of night or the wee small hours. Saturday mornings are good, too.
I write standing up because I constantly need to fidget or walk away to calm down or let the kinks work out in my head.
Actually starting something is Mount Everest, everything after that is Cool Runnings (apart from editing, which is K2). Finishing something is a serious hit on my dopamine receptors.
I usually only need one or two ideas, the rest takes shape as I go along. So I might start just knowing I want to write about a couple of trees I saw with intertwined limbs. Then it’s just a case of letting my imagination play out and making sure I take notes and keep up.
That sounds easy but it takes quite a toll on me. I think I write in a trance – it’s a bit like getting drunk. I get elated, then I get hung over. Maybe a better answer to the previous question is just that I’m an addict.
And on to …
This is the bit where I tell you who to hop on to next … I’m still recruiting victims, but here’s my first:
When Justin first appeared in my life, I felt an immediate connection – although I suspect he has a gift for making most people feel like that. In spite of our very different backgrounds, our few conversations have got straight to the heart of the things that most interest me. We’re both multi-instrumentalists and we both love writing. We both see our creative calling as not fitting the box of one particular medium or art form although writing seems to be the brightest thread. We’re both gnawed by the great question of ‘where is home?’ as people who have been geographically adrift among cultures from an early age. We’re both intrigued by Japanese culture – although he has more of an inside track on that. He introduces himself very well and explains why he’s a ‘Vagabond at Peace’ in this blog post.
Justin describes himself as an ‘aspiring author’. That’s brave and honest. The title brackets him with millions of others who ‘hope to write a book some day’. The thing is, I think he just might be one of those who actually does. I dream with him that he’ll one day write the great Japanese novel. In the meantime he shows a flair for flash fiction, writes prolifically in search of his voice, studies English Literature at Durham University, has an eye for well-turned prose and an ear for a lyrical song.
Justin has recently restarted blogging (prompted by this post, in fact), and although there’s not a lot there yet, he’s definitely one to watch. You can literally watch him on YouTube and hear him on SoundCloud – but seriously … check him out!
On the back cover of this book, the Saturday Review states, “Reading Charles Williams is an unforgettable experience.” Its true. Coming away from one of his novels, the world always seems intensified, as mediated through his vision. He gives me a taste of reality that rings true and reawakens my deepest convictions about the way things really are.
I am sure I held my breath for entire paragraphs during the unfolding of this novel, almost afraid to break the spell of the words.
In Descent into Hell, Williams uses a play within a play, within a setting that is itself merely a shadow of the cosmos, to build a story that simultaneously pierces several layers of heaven and earth and pulls them into each other. The characters are recognizable and, as a reader, I was constantly trying to work out which one was me. This had the effect of the best kind of fantasy literature, enabling a vicarious exploration of all the “what ifs” of our possible selves and their choices that is both instructive and therapeutic.
If you like a story that processes your soul and opens your eyes to the darkness of dark and the lightness of light as well as the blueness of blue and the redness of red, dive in.
This is one of those few books I expect to revisit – just after I’ve read everything else he’s written.
So Gillian over at skybluepinkish tagged me in a desperate bid to get me to blog something.
Thank you, Gillian, you have done me a favour!
This tag is part of a global blogfest encouraging writers to let everyone in to their current work in progress. I’m not sure mine is “the next big thing” but I would like to have it done by the end of this year.
Cue the tape … here goes:
What is the working title of your book?
It’s called “The Coat and Ring”, which, in the great tradition of Grimm’s fairy tales, does what it says on the tin – a coat and a ring being major players in the life of the protagonist. Theologians may notice a tenuous reference to the return of the prodigal son in the title, too:
“Bring the best robe and put it on him. Put a ring on his finger and sandals on his feet.”
This wouldn’t be entirely coincidental.
Where did the idea for your book come from?
The whole thing was mapped out in essence in a dream I had while resting on my bed one afternoon about six years ago. I often take a nap in the afternoon and this is a good time for dreaming. Soon after that I used it as a tale to tell friends on long walks. When I came to writing it down (intending a short story) it sort of grew beyond control.
What genre does your book fall under?
Romantic Faerie Phantasy (not romance, fairy or fantasy)
Which actors would you choose to play characters in a movie rendition?
The protagonist is told from the first person. He’s in his 20s and grappling with the transition into adulthood. He’s just a kid, really, who finds himself boxing way above his weight. His origins are a bit mysterious. He needs blue eyes. He is James Mcavoy!
Then there’s the avuncular “Terrence”, an epicurian patriarch who presides over a year-long banquet in his mansions, which are built over an oasis. He is Donald Sutherland.
There’s a merchant turned adventurer called Selwyn.
“His eyes were set deep in a wrinkled, nut-brown face, glowing out at me with a couple of pinpoints of reflected light that nevertheless seemed to come from inside him. The edges of his ragged moustache concealed the corners of his mouth which, by the laughter in his eyes, must have been turned up in a friendly grin – although it was difficult to be sure. Like a man who has been in the sun all day and who through the night gives off the radiance of what he has absorbed, I felt a strong glow from him. It was impossible to tell his age for his skin was well weathered by the elements rather than age and he gave off an air of rude health”.
Finally there’s the girl. She’s descended from a family that made its living from the sea and she is rumoured to have a dash of mermaid blood in her veins. I need someone suitably ethereal, oddly otherworldly. This was tricky but I’m casting Lily Cole:
Next question …
What is the one sentence synopsis of your book?
An inheritance was a blessing, and then a curse, and a blessing once again.
Will your book be self-published or represented by an agency?
For me the arguments weigh in favour of going the indy route.
How long did it take you to write the first draft of your manuscript?
I’m a year in but I don’t think I could call it a first draft just yet.
What other books would you compare this story to within your genre?
Who or what inspired you to write this book (story)?
The authors mentioned above but probably George MacDonald more than anyone else. I spent the best part of 2010 immersed in his work and still feel as if I have only just scratched the surface. He had a comprehensive understanding of the thin veil between our waking reality and the mythopeic unseen that is mediated through our imaginations.
The story has also become a receptacle for a lot of observations and thoughts garnered from my surroundings while I have been out walking the dog so it boils down to GM and my dog, really.
What else about your book might pique the reader’s interest?
If you have ever felt like a doormat, become resentful that others have taken advantage of your generosity and grown fat upon your labours, then this story is for you. If you have gone through life burdened by the magnificence of your family’s good name or the perceived expectations of your parents and forbears then this story is also for you. If you long to throw everything to the wind and start afresh, then it is for you, too. If you have a colourful imagination and can let yourself go into a strange world, then you’ll be ready to read “The Coat and Ring” – just as soon as I finish writing it 😉
This month, I have the joy of working with 300 year five and six pupils from Durham City schools to turn their ideas into One Big Story: an epic and imaginative tale that will be published in paperback in October.
This one of the most exciting things I have done for a while; it ticks about a hundred boxes for the things I love doing: creative writing, stimulating other people’s imaginations and helping them to realise their creative ideas, being able to say the magical word “story” about 50 times a day and share my passion for the written word.
I’m working as part of a team alongside Christina Maiden (Off The Page Drama) and Robyn Trainer (Floral Footsteps), running whole day workshops in primary schools, getting children to invent and develop ideas for stories and working collaboratively to forge them into a coherent narrative.
Remarkably, it turns out to be quite possible to take the ideas of 30-40 children at a time and guide them into creating a story together as long as you think on your feet and prepare yourself for almost anything to happen. Not to give too much away, but we are half way through the project already and have five out of ten chapters mapped out. The children have taken us beyond our own imaginations into their own world where there are a lot of fights involving food and an awful lot of ghoulish characters in which the malevolent and comedic are theatrically blended.
It has been very encouraging to see that literacy is alive and kicking in every school we have visited so far; I’m the one getting educated.
In less than a month, we will be holding the book in our hands and you, too, will be able to read what happens when children create the sort of story that they would like to read … watch this space …
I’m currently reading C.S. Lewis’ Letters to Children – a collection of the personal letters he wrote in reply to numerous young fans who wrote to him between 1944 and 1963. It’s an uncut little gem of a book. I’m struck by the trouble Lewis took over his correspondence. It was a daily discipline that took a few hours every morning after her rose at 7.15. The other thing that strikes me (with my copy editor’s hat on) is Lewis fast and loose approach to grammar. Of course, in letters, one is less careful of grammatical niceties, but these words to a young fan are revealing, too:
… Don’t take any notice of teachers and textbooks in such matters. Nor of logic. It is good to say “more than one passenger was hurt,” although more than one equals at least two and therefore logically the verb ought to be plural were not singular was! What really matters is:–
1. Always try to use the language so as to make quite clear what you mean and make sure your sentence couldn’t mean anything else.
2. Always prefer the plain direct word to the long, vague one. Don’t implement promises, but keep them.
3. Never use abstract nouns when concrete ones will do. If you mean “More people died” don’t say “Mortality rose.”
4. In writing. Don’t use adjectives which merely tell us how you want us to feel about the thing you are describing. I mean, instead of telling us a thing was “terrible,” describe it so that we’ll be terrified. Don’t say it was “delightful”; make us say “delightful” when we’ve read the description. You see, all those words (horrifying, wonderful, hideous, exquisite) are only like saying to your readers, “Please will you do my job for me.”
5. Don’t use words too big for the subject. Don’t say “infinitely” when you mean “very”; otherwise you’ll have no word left when you want to talk about something really infinite.