Sometimes when the muse isn’t with me and wringing anything sensible from my frazzled brain is a real effort, I wonder why I’m doing this. Writing, I mean. Why do I write? Who is it for?
Jean Paul Sartre maintained that ‘Hell is other people’ and I have a certain sympathy with that sentiment, but if anyone were to ask me what form my particular hell would take, I would answer immediately, without any thought at all: Hell is having nothing to read. I would qualify this to include the inability to read.
If I couldn’t read, for whatever reason, I’d go nuts, simple as that; I may as well shoot myself. Continue reading →
Writing is quite a solitary experience. Even when you’re writing in a library or crowded coffee shop you’re not exactly inviting people to sit down and chat. You don’t want to be interrupted, torn from your story and required to make conversation; all you want to do is explore that really important plot development you’ve just thought up. The folk on your wavelength give you a wide berth, appreciating your need to be alone. And you’re grateful for the solitude.
So why is it that after a long day with only the notebook or keyboard for company, you feel exhausted, intellectually drained, fit only for an evening vegetating in front of the television? Continue reading →
I was recently on holiday in Northern Ireland, where we visited the Giant’s Causeway on a wet and windy day. I was intrigued to see that the car park was laid with a hexagonal brick-weave, reflecting the basalt columns that make up the Causeway. I don’t think I’ve ever noticed a car park surface before. It’s only when we go on holiday, take a walk in unfamiliar territory, move to a new neighbourhood, that we actually take a note of our surroundings. We don’t realise how little we notice our immediate environment until we change it. And this can have a big impact on our writing. Continue reading →
Writing realistic dialogue is tricky. It’s a skill that comes naturally to those lucky people who have an ear for convincing dialogue and can produce it effortlessly, but most of us have to practice, listen, then practice some more. This is a common problem for new writers (and some more experienced ones, too) who want to produce natural and lifelike exchanges between characters without sounding clunky, over-dramatic or plain wooden. I’ve talked about this before but some things bear repetition, so a revisit might be useful. Continue reading →
Recently I was prompted to revisit the start of my otherwise completed second novel. I am indebted to Cate Hogan http://bit.ly/1QIYuhd for her insights into creating interesting characters, which brought about this reassessment. It made me think that the introductory chapters of the novel should be more dynamic. I was reminded of some writerly advice along the lines of, if the story doesn’t get going until chapter three, that’s where you should start. The week before submission, I decided the beginning of the novel needed a complete overhaul. Continue reading →
Conscious that this writing lark is not very conducive to maintaining a decent level of fitness, I recently started swimming again. Now I don’t have a pool of my own, so when I was invited to join some friends in their time-share slot at a local private establishment, I jumped at the chance to use a pool that I didn’t have to share with the world and his wife (and their children). Even better, the next week none of my friends could go, so I went on my own.
Brilliant, I thought. I’ll have the pool to myself; I’ll get that all-important exercise, and I’ll be able to devote some serious thinking time to the development of my new novel, unhindered. That’s the good thing about swimming: the very mindlessness of ploughing up and down frees your brain to wander. You can concentrate on nothing but the number of lengths you’ve covered, but if you’re a true daydreamer, you can use the time much more effectively.
Or that’s what I thought. Swimming alone turned out to be a very spooky experience indeed. Continue reading →