A Tragic Anniversary

 



I'm reblogging this on my own blog, from my publisher's website. You can read more about my new book  here. 

As the anniversary of Russia’s invasion of Ukraine approaches, I find myself thinking about a remote family member, one I rediscovered when I was researching The Last Lancer. Jerzy, living in Lviv with his wife, was no longer young. He was the son of my grandfather’s stepfather Jan, by his second marriage, After my great grandmother Anna died, her second husband remarried. Complicated relationships.

When I began to write The Last Lancer in earnest, and dug out the mass of research I had done over many years, I found an old letter from Jerzy, hand written in Polish. It had arrived during a time of family illness and bereavement, when I had temporarily shelved my research. I had never had it translated but had filed it away and – unforgivably – forgotten about it. In any case, there was no return address, no internet searches back then, no way of finding out where he lived.

Then, early in Covid lockdown, a Polish friend translated it for me and pointed out that this lovely man had once known my grandfather, when he himself was a child. My grandfather, Wladyslaw, the Last Lancer of my book, a kindly young father at that time, had given him lifts in his fancy Chrysler Open Top Tourer, to the village where his family lived, something that he still remembered all those years later. Jerzy had been so fond of Wladyslaw that he had named his own son after him.

A few years later, my grandfather had found himself in a Russian prison, followed by a Gulag and then, in 1942, trekking east after Stalin changed sides, had died, probably of amoebic dysentry, at the age of 38. He is buried near Bukhara on the Silk Road. Jerzy and his family had spent many years in a Gulag too, which explained why he had married and had his own children rather late. His had been a life interrupted. LinkedIn miraculously allowed me to get in touch with his daughter, and she said that her father, in his nineties and rather frail, was nevertheless excited at the thought of writing to me about that side of our family history and seeing if he still had any photographs and documents.

Very soon after that, Putin made his move.

With two young children herself, Jerzy’s daughter fled to Poland, where she had already spent time working, but her parents refused to move. Russian invasion, occupation and extreme brutality had disrupted Jerzy’s life once before and he wasn’t going to allow it to happen again. We seize whatever agency we can in such situations. Soon after Christmas 2022, his daughter messaged me to say that he had died. Peacefully in the end. He should have been able to get palliative care, except that the hospitals, even in Lviv, are full of wounded soldiers, so he had to make do without.

I find myself occasionally having to fend off over-confident pronouncements from friends here in the west who think they understand the realities of occupation. They don’t. Frankly, I don’t either. But I know more than they do. And when anyone tries to tell me what Ukraine should and shouldn’t do in these circumstances, I find myself thinking of this man, with his fine, ordinary, precious, cheerful life interrupted yet again by the deluded dreams of a dictator. There is no excuse, no possible justification for a foreign regime to inflict such horrors on the innocent and there never will be.




Bad Advice, Good Advice

 


A few years ago, it struck me that I had probably been given more bad than good advice about writing over the years, all of it from well-meaning 'experts'. I've been known to hand out quite a bit of writing advice myself over the years and sometimes I find myself thinking 'have I done more harm than good?' and not being at all sure of the answer. Although when I have commented on a piece of writing, I do tend to do so with a huge proviso that nobody should ever take anyone's else's opinion as gospel. Not ever. 

One of the most worrying aspects of my time spent as Royal Literary Fund Writing Fellow, at the University of the West of Scotland, where my job was to help students with their academic writing, always came when that academic writing involved some aspect of creative writing. I vividly remember telling one student that she needed to take her script away and 'play with it'. 

She looked horrified. 'But we can't play with it,' she said. 'We have to get it right!' 

How could I possibly explain to her that most professional writers spend hours, days, weeks 'playing' with an idea, trying to find out if it's viable, trying to find out what works and what doesn't. And more to the point, why were her lecturers telling her that there was any one way of 'getting it right'. Bad advice indeed. 

Bad advice I've been given over the years? 

Don't turn this radio play into a stage play. (It was crying out to be turned into a stage play.)

Nobody is interested in the supernatural. (You're kidding me, right?) 

This is a library novel fit only for housewives. Bin it. (You can read that novel here. I still get messages from people telling me how much they like it - but perhaps they're housewives!) 

Listen to your script editor. They have your best interests at heart.  (Some do, some definitely don't. The trick is knowing the difference.) 

Don't self publish. Nobody will ever read it. 

We don't have any development money in the budget. (There is, in fact, a budget. They just decided not to pay the writer.) 

Best advice I've been given over the years? Two gems that have never lost their power to inspire.

Stop watering your Dylan Thomas adjectives and watching them grow 

The only way to learn how to write is to write. And read. A lot.

Which leads me to the unexpectedly worst possible advice I've had. I used to believe it. Hell, I've probably said it myself to emerging writers. 

Write about what you know about.

That way, boredom and madness lies. I know there is some truth in it. If you're writing about - for example - Scotland, it helps to know a bit about the country. If you're setting your novel or story in an unfamiliar city, you'd better find out what you can about it. If your feisty 18th century heroine is doing things that no 18th century woman would ever do, or knowing things that she would never know, you might need to have a rethink. 

But for heaven's sake, don't be afraid to use your imagination. Stretch it. Make some leaps into the dark and see where you land. Even when I was routinely telling people to write about what they knew about, I would always qualify it with 'but you know more than you think.' Not only that, but you can find out almost anything.

Use that knowledge in a million imaginative ways. That's what writers do.