I have been pondering the new novel with more than a little enthusiasm. I have been trying to get going on something new for far too long and indeed have made many long and involved attempts, only to dislike the resulting chapters so much that I have shelved them and started all over again. Not just one novel, but two (and I don't mean the Corncrake - I mean something completely new.) Anyway - at some point in the last day or so, it all came together, and I saw the whole thing, not just the story, but how it should be written, and whose voice it should be told in, and how he might tell it and for the first time in a very long time I am anxious to get going and find myself scribbling words on odd bits of paper, or waking in the night with an insistent voice in my head, this man who is trying to get his story out. I even dreamed about him.
The problem with this story, which has been lurking at the back of my mind for a very long time, was that although the characters and the situation, the time and place were all there, I couldn't see where it was all going. Well, I could see where it was going, but not how or why it got there. It was a strange and sometimes uncanny feeling for me - I could hear and see these people, three of them - but even when I gradually realised who was telling this tale, I didn't know exactly what had happened to him. I didn't know the why of it all. I knew bits of it, but none of it seemed important enough or powerful enough to explain later events. And then, all of a sudden, as though my narrator had been reluctant to get it out, even to me - as though the character himself had buried it - there it was. It shocked me. Am I tantalising you, or just myself? Watch this space.
I'll let you know how it goes!
The Urban Crow Considers Burns an a' that
This is posted by special request. Here in South Ayrshire, the birthplace of Robert Burns, we have an annual festival called 'Burns an a' that'. It's supposed to be a festival of 'poetry, music and song' celebrating the life and work of our national poet although poetry never looms very large on the official programme. Somebody who works in marketing once said to me 'Burns doesn't sell' and it's all too obvious that our local council is of much the same mind. The 'a' that' usually eclipses any tiny mention of Burns.
The headline act at 'Burns an a' that' this year was Status Quo, and there was a Harley rally as well. Excellent entertainment - but all suggestions of a 'literary' nature as part of the officially funded festival seem to have been turned down flat. Next year, a HUGE anniversary, 250 years since Rantin Rovin Robin was born, looks all set to have the same omissions. Rab would have recognised the attitude. All of which is background.
Here's the poem!
The urban crow watches television through a shop window
and wonders why a band of ageing rockers
called Status Quo are heading up a festival
named for Scotland’s national poet.
The band seem to be wondering the same thing.
The festival director who looks as though poetry is as
foreign to him as ploughing is declaring
how much Rab would have loved the Quo.
The crow is sceptical, reflects on
how folk invariably presume to
know what somebody would have done or wanted
when attempting to defend the indefensible.
The crow knows nothing for sure
although he decides that a poet who celebrated mice
and sheep but not to the crow’s knowledge
corbies - might nevertheless have
liked to go rockin all over the world.
The Urban Crow Worries Woodpigeons
Two doos are sitting on a wire.
Who, they say.
Who was it? Who was it?
It was I, says the crow.
I cannot tell a lie.
It was I.
What did you do?
What did you do?
I killed cock robin
with my bow and arrow
says the crow.
Let us fly,
say the doos
and they go.
Credulous bastards
says the crow.
The Urban Crow Looks for a Job.
There's a swear word in this poem. Apologies in advance to anyone likely to be shocked. I couldn't help it. It has to be there. For overseas readers, you should know that wheelie bins and refuse disposal and the precise regulations for the arrangement of rubbish are a weekly feature of our news in the UK at present. Some poor soul down in England was even threatened with imprisonment over his refusal to pay a fine for infringing the rules.
The city council is advertising for refuse collection operatives.
I could do that, thinks the urban crow.
He goes online and notes that big plastic wheelie bins are
environmentally friendly and convenient and
will be emptied on a weekly basis.
On the day of collection, the wheelie bin
should be placed at the kerbside
so that the handles are towards the street.
After the bin has been emptied, the householder must
ensure the return of the bin to their property
unless some wee nyaff has tipped it in the canal first.
All refuse must be contained within the bin.
Any refuse placed at the side of the bin
will not be collected
Not even dead cats asks the crow?
It is important that no heavy items
are put in the wheelie bin
due to the potential risk of the bin
falling from the vehicle’s lifting gear and
flattening the refuse collection operative
particularly if he is a bird.
If at any time the bin is considered to be overloaded
a sticker will be placed on the lid with appropriate instructions
like your fucking bin’s too full get it sorted.
Although the wheelie bin is made of high quality
environmentally friendly plastic,
corrosive substances should not be placed in it.
If you find you cannot manoevre your bin because of age
or infirmity, (or wings, thinks the crow)
and there is no one available to help you, due to your
thankless family having buggered off to Australia then
please contact the Council for assistance.
The crow decides not to bother.
He’s a pretty mean waste disposal machine
himself but.
Paying the Writer
Last week a journalist acquaintance from the Times phoned me up to ask me what I thought about SPT's (Strathclyde Partnership for Transport) advertisement for a Poet in Residence to write and source poems for the Glasgow Subway. I said - for I could not tell a lie - that I thought the project itself sounded absolutely brilliant, and something I would love to have been involved in myself, but the pay was appalling. They weren't looking for a student or trainee. They wanted an experienced writer with a considerable body of published work to source poems, set up and run a writing and a reading group in a local library and throw in a series of workshops in a primary school for good measure. All this was based on a nominal 40 hours week, for 9 months of which half (ie 20 hours a week) was meant to be spent on the writer's own work. Quite apart from the fact that the job as described would definitely take longer than the 20 hours allowed - workshops demand preparation - the remuneration is £13500. Now if you do the arithmetic, you will see that this comes out at something like the minimum wage.
SPT are looking for an experienced professional consultant, for which they are planning to pay call centre wages. Their executives told the Times that the project would be a 'showcase' for the poet's work. But as the redoubtable Harlan Ellison points out in no uncertain terms such showcasing does little or nothing to help the writer. I've been married to an artist-woodcarver for many years now and if I had a pound for every time somebody has asked him to work for little or nothing 'because it will be a good showcase for you' we would be a wealthy couple. When did you last hear of a time served and experienced electrician being asked to work for the minimum wage 'because it'll be a good advert for your services'? And before anyone tells me that artists and writers are expendable while electricians are not, when did you ever hear of a specialist arts administration consultant working for the minimum wage in order to advertise their services?
Money. I'm hugely well qualified, experienced, committed. When I'm employed, I work hard. In return I expect a fair day's pay for a fair day's work.
SPT are looking for an experienced professional consultant, for which they are planning to pay call centre wages. Their executives told the Times that the project would be a 'showcase' for the poet's work. But as the redoubtable Harlan Ellison points out in no uncertain terms such showcasing does little or nothing to help the writer. I've been married to an artist-woodcarver for many years now and if I had a pound for every time somebody has asked him to work for little or nothing 'because it will be a good showcase for you' we would be a wealthy couple. When did you last hear of a time served and experienced electrician being asked to work for the minimum wage 'because it'll be a good advert for your services'? And before anyone tells me that artists and writers are expendable while electricians are not, when did you ever hear of a specialist arts administration consultant working for the minimum wage in order to advertise their services?
Money. I'm hugely well qualified, experienced, committed. When I'm employed, I work hard. In return I expect a fair day's pay for a fair day's work.
The Urban Crow Plays in Traffic
The urban crow sits on some stone hero’s head
watching folk pass below.
He briefly contemplates tweaking off a pair of specs
or alighting on a bald patch or
dicing with death among cars where
a drunk has dropped a takeaway
but decides it would be more prudent to
make for the park where there will be
kids with ice cream cones or popcorn.
He can con popcorn from an infant nae bother
with a wee stare from his beady eye
but he treads carefully.
See they buses, says the urban crow,
watching folk pass below.
He briefly contemplates tweaking off a pair of specs
or alighting on a bald patch or
dicing with death among cars where
a drunk has dropped a takeaway
but decides it would be more prudent to
make for the park where there will be
kids with ice cream cones or popcorn.
He can con popcorn from an infant nae bother
with a wee stare from his beady eye
but he treads carefully.
See they buses, says the urban crow,
they’d run you down as soon as look at you.
Introducing the Urban Crow
So there I was, a few weeks ago, walking about Glasgow, when I spotted a large black bird, wandering in and out of the parked cars, as though deep in thought.
That was the start of it. I came home and wrote a poem called The Urban Crow.
Then - about a week later - I saw the crow (Was it the same crow? Who can say!) sitting with his mate in a cherry tree.
And later still, I spotted my crow perched on one of those big open waste bins, examining the contents.
There are six or seven Urban Crow poems now, with another one coming roughly every week. I'm growing ever more fond of him. He's nothing like his elemental alter ego - Ted Hughes' wonderful, savage and highly intellectual beast - although I'm beginning to think he has certain aspirations in that direction.
No - he's a bit more craven, and equivocal: an urban crow, who casts a wry and beady eye on the goings-on round about him. I've tried out some of these poems at poetry readings and the crow invariably gets his own little round of applause. He seems to appreciate the attention, because (uncannily) I've started to see him all over the place. Only today, I caught a glimpse of him sifting carefully through cut grass outside the Burrell Collection in Pollock Park....
Tune in regularly, to find out what the Urban Crow might be reflecting on next.
The Intellectuals and the Masses
I've been meaning to read this book for a long time, but finally managed to get my hands on a copy. It is subtitled 'Pride and Prejudice among the Literary Intelligentsia, 1880 - 1939'. Having read John Carey's 'What Good Are the Arts?' some time ago, and found myself agreeing with just about everything in it, I wanted to find out what he had made of Lawrence, Woolf and the rest. Now - about half way through - I find that it's one of those rare books that I am reading VERY SLOWLY in an effort to prolong the sheer pleasure. It's witty, sharp, intelligent and full of profoundly disturbing insights - but written in the most elegant prose imaginable. Beware though. You may never feel the same about certain parts of the literary canon again.
Just to give you a flavour of the whole, here's Carey writing about sculptor and designer Eric Gill and others like him who - keener on the cult of the peasant than they were on the great 'mass' of humanity, which they persistently tried to dehumanise - pretended 'to be peasants themselves.' Gill, seemingly, wore a variety of 'peasant' costume, including a 'belted smock and, in winter, loose scarlet silk under drawers.' But all the same, he wasn't too keen on the idea that everyone should be taught to read and 'hoped that a bomb would fall on Selfridges.'
This is a clever and entertaining assault on the founders of modern culture. It was first published (to establishment consternation) in 1992. Wish I'd read it sooner: the kind of book that you want to shout 'Yes!' and applaud after every chapter. Not only that, but I began to see disturbing parallels between this and so much of what passes for commentary on 'mass' culture nowadays. I was amused, though, to find a Louis MacNeice quote, about hospital nurses spending their savings on 'cosmetics, cigarettes and expensive underclothes.' His snobbery and sexism were strangely echoed in a letter which I received only a few years ago from somebody in a position of authority within a major literary organisation. When I had said that I simply couldn't afford the fees (this was nothing less than the truth) he - it had to be a he - accused me of spending my earnings on lunches, cosmetics and the like instead. A true inheritor of MacNeice's prejudices!
Just to give you a flavour of the whole, here's Carey writing about sculptor and designer Eric Gill and others like him who - keener on the cult of the peasant than they were on the great 'mass' of humanity, which they persistently tried to dehumanise - pretended 'to be peasants themselves.' Gill, seemingly, wore a variety of 'peasant' costume, including a 'belted smock and, in winter, loose scarlet silk under drawers.' But all the same, he wasn't too keen on the idea that everyone should be taught to read and 'hoped that a bomb would fall on Selfridges.'
This is a clever and entertaining assault on the founders of modern culture. It was first published (to establishment consternation) in 1992. Wish I'd read it sooner: the kind of book that you want to shout 'Yes!' and applaud after every chapter. Not only that, but I began to see disturbing parallels between this and so much of what passes for commentary on 'mass' culture nowadays. I was amused, though, to find a Louis MacNeice quote, about hospital nurses spending their savings on 'cosmetics, cigarettes and expensive underclothes.' His snobbery and sexism were strangely echoed in a letter which I received only a few years ago from somebody in a position of authority within a major literary organisation. When I had said that I simply couldn't afford the fees (this was nothing less than the truth) he - it had to be a he - accused me of spending my earnings on lunches, cosmetics and the like instead. A true inheritor of MacNeice's prejudices!
Poetry and Other Things
Recently, I've been talking to several other people, artists of all sorts, about collaboration and wondering where all these ideas are coming from. Not that I'm giving the game away about the exact ideas on here - well not just yet, although when any of these potential projects get off the ground then I may well be blogging about the process. But it's the ideas, and the novelty of them that is engaging me right now. I don't necessarily mean originality here, although I do think that at least some of what's in the air for me is original. But I've been meditating about why I've suddenly been possessed by a number of creative ideas that seem to bear little relation to anything I've written for some time.
I think it's partly because I've been working with media studies students and their excitement about their own projects has proved inspirational. I had forgotten how wonderful it could be to engage with a piece of work simply for its own sake.
The best way of explaining it is maybe to relate something that happened to me in the past.
Once upon a time, I studied a long, ancient and mysterious poem, as part of a university course. And no, I'm not saying what it is, because I have a feeling that somewhere down the line, I'm going to want to go back to it! But it's the process that interests me. I laboured over this difficult piece of work for weeks, until I was bleary eyed and confused. And then suddenly, it was as if some strange correspondence between the words, their meaning, and the shape of the poem on the page slotted into place, and I understood it and its implications all at once. It made me dizzy, like looking at an infinite panorama or up into some great dome. And of course, it may simply have been fatigue! But that doesn't invalidate what in retrospect was one of the key experiences of my life.
Well, it faded. Other things took its place. Until recently when some of that excitement seems to have come back. I'm not sure why. Perhaps I've given myself permission to take myself seriously as a writer again. I don't mean that I'm going to write relentlessly joyless stuff - but I do mean that I'm going to try to write with a real sense of experimentation.
I think it's partly because I've been working with media studies students and their excitement about their own projects has proved inspirational. I had forgotten how wonderful it could be to engage with a piece of work simply for its own sake.
The best way of explaining it is maybe to relate something that happened to me in the past.
Once upon a time, I studied a long, ancient and mysterious poem, as part of a university course. And no, I'm not saying what it is, because I have a feeling that somewhere down the line, I'm going to want to go back to it! But it's the process that interests me. I laboured over this difficult piece of work for weeks, until I was bleary eyed and confused. And then suddenly, it was as if some strange correspondence between the words, their meaning, and the shape of the poem on the page slotted into place, and I understood it and its implications all at once. It made me dizzy, like looking at an infinite panorama or up into some great dome. And of course, it may simply have been fatigue! But that doesn't invalidate what in retrospect was one of the key experiences of my life.
Well, it faded. Other things took its place. Until recently when some of that excitement seems to have come back. I'm not sure why. Perhaps I've given myself permission to take myself seriously as a writer again. I don't mean that I'm going to write relentlessly joyless stuff - but I do mean that I'm going to try to write with a real sense of experimentation.
On the Need to Invent and Reinvent
I've spent a lot of time recently thinking about the process of writing, in a personal sense, of course. I can't make judgements for other people, only myself. And - you know - I increasingly feel that the online world tries to do just that. It's relentlessly judgemental - full of people, often spectacularly unsuccessful themselves - who are all too anxious to make sets of rules for other people to follow. I've been tempted down that route myself from time to time although frankly I've always been a bit of an anarchist.
I spend one day a week helping students with their academic writing but that is completely (and blissfully) different from dictating how people ought to write creatively. With so many years of experience in so many different areas of writing, I can look at a piece of academic work in a discipline I know nothing about and still make helpful suggestions. Often it's because I know very little about the subject under discussion that I can see the wood for the trees, and suggest what seem to me to be minor structural changes which - so people tell me - are often immensely helpful.
But creative writing? Well, I find myself increasingly reluctant to say anything about anybody else's work. I have a handful of writer friends - less than a handful, to be strictly accurate - for whom I do the odd bit of reading - as they do for me. I trust them, I hope they trust me. But I'm never really criticising what they do in the sense of judging it. I may interrogate the work itself and them from time to time, to give them a sense of how what they've written comes across to a friendly reader. I may reinforce their own doubts about certain aspects of the work with the occasional gentle query. (We always have doubts. I was going to say, even seasoned professionals. But I think they -we? - have more doubts than most. We all know enough to know what we don't know!) I will be scrupulously honest and as observant as I can be. And I often find myself praising what is genuinely wonderful in the hope that my feedback will help balance those doubts which do beset all writers from time to time. I like to think that I can be of some help - but I'm too busy wrestling with my own creative angels to be judgemental about anybody else's!
So over the past year, I have spent rather a lot of time thinking about what I write myself, and why. How I feel about it. How I want to feel about it. And why - over the past year - I seem to have ground inexorably to a halt in some aspects of my writing, while in others I am so full of ideas and experiments and insights that I hardly know where to begin. As writers we are naturally inventive. 'Where do you get your ideas from?' is an incomprehensible question to most writers. We are usually full of ideas and we neither know nor care where they come from. That's never the problem. The problem is all too often the translation of those thrilling ideas into words on the page. Because sometimes, you look at them and they seem so pedestrian. What soared in the mind limps along on the page.
Which leads me to the idea of reinvention. But it's late. And I'll save that for another post.
I spend one day a week helping students with their academic writing but that is completely (and blissfully) different from dictating how people ought to write creatively. With so many years of experience in so many different areas of writing, I can look at a piece of academic work in a discipline I know nothing about and still make helpful suggestions. Often it's because I know very little about the subject under discussion that I can see the wood for the trees, and suggest what seem to me to be minor structural changes which - so people tell me - are often immensely helpful.
But creative writing? Well, I find myself increasingly reluctant to say anything about anybody else's work. I have a handful of writer friends - less than a handful, to be strictly accurate - for whom I do the odd bit of reading - as they do for me. I trust them, I hope they trust me. But I'm never really criticising what they do in the sense of judging it. I may interrogate the work itself and them from time to time, to give them a sense of how what they've written comes across to a friendly reader. I may reinforce their own doubts about certain aspects of the work with the occasional gentle query. (We always have doubts. I was going to say, even seasoned professionals. But I think they -we? - have more doubts than most. We all know enough to know what we don't know!) I will be scrupulously honest and as observant as I can be. And I often find myself praising what is genuinely wonderful in the hope that my feedback will help balance those doubts which do beset all writers from time to time. I like to think that I can be of some help - but I'm too busy wrestling with my own creative angels to be judgemental about anybody else's!
So over the past year, I have spent rather a lot of time thinking about what I write myself, and why. How I feel about it. How I want to feel about it. And why - over the past year - I seem to have ground inexorably to a halt in some aspects of my writing, while in others I am so full of ideas and experiments and insights that I hardly know where to begin. As writers we are naturally inventive. 'Where do you get your ideas from?' is an incomprehensible question to most writers. We are usually full of ideas and we neither know nor care where they come from. That's never the problem. The problem is all too often the translation of those thrilling ideas into words on the page. Because sometimes, you look at them and they seem so pedestrian. What soared in the mind limps along on the page.
Which leads me to the idea of reinvention. But it's late. And I'll save that for another post.
Politicians
Woke up this morning, and switched on the radio to hear a Labour politician pontificating in the teeth of the 10p Income Tax row. This - for those of you who may be reading this blog from elsewhere - involves our Labour Government which is supposed to look out for those on low incomes (one of the reasons why I, for one, voted for them) suddenly deciding to hit a significant cross section of low earners with increased taxes, while handing a few hundred pounds a year more to those who don't really need it. It has caused predictable ructions among back benchers. What really struck me about the interview though, was its uncanny similarity to a whole series of interviews with Tory politicians before their eventual debacle all those years ago. I remember them well. Not only would they never admit to being wrong, but in those peculiarly plumptious, moralising and deeply enraging tones which politicians always assume when they have become blinkered by power, they would tell us that we simply didn't understand what they were trying to do, ie we were thick, they knew best and if they could only speak slowly, loudly and clearly, so that we could get our poor little heads around it, we would be persuaded that they had been right all along.
This morning it was Labour's turn to assume that familiar, condescending, hectoring tone. I'm sure I heard somebody saying not that they might have got this one wrong (they sure have) but that they needed to 'explain their policies more clearly to the electorate'. Or some such guff.
Well here's some news. We don't need an explanation. We understand all too well, just as we understood back then. It may come as a surprise, but we just don't agree with you. You can explain till you're blue in the face, but it won't make a blind bit of difference. And - this being a democracy - you know what follows, fellows.
This morning it was Labour's turn to assume that familiar, condescending, hectoring tone. I'm sure I heard somebody saying not that they might have got this one wrong (they sure have) but that they needed to 'explain their policies more clearly to the electorate'. Or some such guff.
Well here's some news. We don't need an explanation. We understand all too well, just as we understood back then. It may come as a surprise, but we just don't agree with you. You can explain till you're blue in the face, but it won't make a blind bit of difference. And - this being a democracy - you know what follows, fellows.
Journalists versus Creative Writers
Not, of course, that there is - on the whole - that much difference between us. Most so called 'creative writers' I know have done, still do some journalism- as I do myself. Many novelists began their working lives as journalists. Many journalists become novelists, write stories or poems. But having just spent an interesting, and pleasurable day in the company of a group of full time journalists, I found myself realising that there is a big (and perhaps growing) difference between the ways in which our minds work.
My fellows on what was an informative and busy trip, aimed at allowing us to gather information about a particular event and write about it afterwards, were a mixed group of 7 or 8 more or less full time journalists from the US, London, Ireland and Germany. Several were involved in online magazines (in a couple of cases their own ventures). And at some point in the day it struck me that they have a completely different attitude from those friends and colleagues who are wholly involved in creative writing. It's more than confidence. I think they expect to be treated as valued professionals and guess what? Everyone round about them seems to live up to those expectations. I had to keep mentally pinching myself. I was with a group of writers who were discussing a booming business, and not how awful things were!
It got me thinking about how so often we, at the creative end, devalue ourselves. We constantly 'talk' failure, and don't seem to have the confidence of our own professionalism. Just as an example, last year, when I was commissioned to write about the wonderful Drovers' Inn on Loch Lomondside for a magazine, it never even occurred to me to tell the management what I was doing. Any of these (in some cases much younger) people would have set the whole thing up in advance, been well treated, and paid out not a bean. And why not, if they are going to be using their expertise in the service of one business to promote another? Consultants, even in the strapped for cash arts, get very handsomely rewarded for their services!
I know of course that many forms of writing are undertaken purely for pleasure, or in a spirit of exploration, and those are never going to pay well. But - perhaps because we spend so much of our time on those aspects of our work - we forget that there is a business end of the market. And when we are involved in it, we forget or perhaps are too timid to value ourselves and what we do, so it should come as no surprise when other people take us at our own valuation, and treat us accordingly. Some years ago, I was asked to attend a script meeting about a BBC radio production, in Edinburgh. There was, said the producer, 'no money in the kitty' to pay for travel expenses. So I went at my own expense. Any one of those young journalists would have said 'sorry, but no money, no meeting'. Not only would they have been right, but you can bet that the cash would have miraculously appeared from somewhere. It is high time that we changed our perspectives.
My fellows on what was an informative and busy trip, aimed at allowing us to gather information about a particular event and write about it afterwards, were a mixed group of 7 or 8 more or less full time journalists from the US, London, Ireland and Germany. Several were involved in online magazines (in a couple of cases their own ventures). And at some point in the day it struck me that they have a completely different attitude from those friends and colleagues who are wholly involved in creative writing. It's more than confidence. I think they expect to be treated as valued professionals and guess what? Everyone round about them seems to live up to those expectations. I had to keep mentally pinching myself. I was with a group of writers who were discussing a booming business, and not how awful things were!
It got me thinking about how so often we, at the creative end, devalue ourselves. We constantly 'talk' failure, and don't seem to have the confidence of our own professionalism. Just as an example, last year, when I was commissioned to write about the wonderful Drovers' Inn on Loch Lomondside for a magazine, it never even occurred to me to tell the management what I was doing. Any of these (in some cases much younger) people would have set the whole thing up in advance, been well treated, and paid out not a bean. And why not, if they are going to be using their expertise in the service of one business to promote another? Consultants, even in the strapped for cash arts, get very handsomely rewarded for their services!
I know of course that many forms of writing are undertaken purely for pleasure, or in a spirit of exploration, and those are never going to pay well. But - perhaps because we spend so much of our time on those aspects of our work - we forget that there is a business end of the market. And when we are involved in it, we forget or perhaps are too timid to value ourselves and what we do, so it should come as no surprise when other people take us at our own valuation, and treat us accordingly. Some years ago, I was asked to attend a script meeting about a BBC radio production, in Edinburgh. There was, said the producer, 'no money in the kitty' to pay for travel expenses. So I went at my own expense. Any one of those young journalists would have said 'sorry, but no money, no meeting'. Not only would they have been right, but you can bet that the cash would have miraculously appeared from somewhere. It is high time that we changed our perspectives.
Writing - Five Ways to Get Started
By which I mean 'get started in the morning or afternoon or evening' - whenever you write, in fact. But I don't mean 'get started' in general. To write, you really have to want to write. You have to have ideas, to live with people and places milling about your head, to see as a writer sees and hear as a writer hears, and have that essential desire to communicate. But all the same, sometimes it can be hard just to 'get going'. The blank screen is as bad as the blank page in that respect. You can spend plenty of time planning and plotting, even more time researching - particularly now that you can browse online. But sooner or later, you have to get down to it, and write something. And in my years of experience of running workshops, that can be the most difficult thing for people to do. It's a problem I have myself sometimes - now for instance - although for me it comes and goes a bit. And sooner or later, I know that I can bite the bullet and get down to it. But here are some of my own favourite ways to get started. All reasonable contributions welcome!
1 - Post to a blog. There is something about blogging that - for me at any rate - primes the pump, gets the words flowing. To be used with care though. All too easy to think that - having posted to your blog - you've actually achieved something. Well you have. You've achieved a blog post.
2 - Drink a mug of strong - real - coffee. Alcohol makes me think that I can write all kinds of brilliant things. I no longer believe it. Not, you understand, that I'm against it in principle. Just that it's deceptive. If you write under the influence of any mind altering substance, you'll soon realise that when you read back what you've written you'll be doomed to disappointment. But strong coffee - that always works for me.
3 - Stop while you are in mid creative flow. This is a really useful piece of advice and I can't remember who first gave it to me, so if I'm infringing anyone's copyright I apologise in advance, and will post a proper attribution! Do not stop at the end of a scene, or chapter. If you can bring yourself to do it, stop while you still want to go on rather than when you feel you are winding down. That way there's a chance that some of the magic will still be there when you resume the following day.
4 - Go for a long walk first. Not always possible I know, and not advice which I follow half enough myself, but there is something inspirational about walking, something that seems to lift the pressure and make you want to get started.
5 - Fall in love. I owe this rather startling piece of advice to Scottish poet Robert Burns who in a letter to Maria Riddell said that he had to be in love himself before he could write a really good love poem - or words to that effect. He had, let's face it, another agenda. But he was right in this as in so much else. Being in love - as I remember it - can be pretty inspirational - so long as you can control a certain disastrous tendency to write only about the object of your affections.
1 - Post to a blog. There is something about blogging that - for me at any rate - primes the pump, gets the words flowing. To be used with care though. All too easy to think that - having posted to your blog - you've actually achieved something. Well you have. You've achieved a blog post.
2 - Drink a mug of strong - real - coffee. Alcohol makes me think that I can write all kinds of brilliant things. I no longer believe it. Not, you understand, that I'm against it in principle. Just that it's deceptive. If you write under the influence of any mind altering substance, you'll soon realise that when you read back what you've written you'll be doomed to disappointment. But strong coffee - that always works for me.
3 - Stop while you are in mid creative flow. This is a really useful piece of advice and I can't remember who first gave it to me, so if I'm infringing anyone's copyright I apologise in advance, and will post a proper attribution! Do not stop at the end of a scene, or chapter. If you can bring yourself to do it, stop while you still want to go on rather than when you feel you are winding down. That way there's a chance that some of the magic will still be there when you resume the following day.
4 - Go for a long walk first. Not always possible I know, and not advice which I follow half enough myself, but there is something inspirational about walking, something that seems to lift the pressure and make you want to get started.
5 - Fall in love. I owe this rather startling piece of advice to Scottish poet Robert Burns who in a letter to Maria Riddell said that he had to be in love himself before he could write a really good love poem - or words to that effect. He had, let's face it, another agenda. But he was right in this as in so much else. Being in love - as I remember it - can be pretty inspirational - so long as you can control a certain disastrous tendency to write only about the object of your affections.
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