Immediacy Now!

This Week’s Bit of String: I’m real, you’re real…we’re all real here.

When he was eleven my son philosophised, ‘Sometimes I wonder if I’m the only one who exists, and everyone else is just in my head. But then I think, everyone else must wonder the same thing too!’

I think we’ve all wondered that, particularly at the pre-pubescent and adolescent stages. Some, I suspect, never fully grow out of it. It’s hard to fully acknowledge the reality, the depth and immediacy of other human beings. While we strive to make our actual selves acknowledged in real life, how can we ensure our fiction comes across as real, too?

Making the Impossible Possible

I’ve been jousting with my novel lately. I gallop backward, take a dramatic tilt at it, assess the damage, then try again to strengthen it, shove it into a more powerful form.

Books are wondrous. Consider this quote from Erin Morgenstern’s The Night Circus: ‘You may tell a tale that takes up residence in someone’s soul, becomes their blood and self and purpose. That tale will move them and drive them and who knows what they might do because of your words… There are many kinds of magic, after all.’

Sculpture, 'Some Days are Like That'
‘Some Days are Like That.’ Sometimes art encapsulates reality and makes it easier to swallow.

A book’s power, to teach, transform, or enable escape, all derives from one source: its believability. We must first believe. Readers should think they’re there, not just in the story’s setting, but in the main characters’ heads. So once I’ve made a first pass through the rough draft, tightening the plot while clarifying the story arc, then I go through aiming to eliminate distance between story and reader.

Rejecting the Passive

We’ve all been told to purge passive verbs as much as possible, to help our readers feel they’re in the midst of the action. ‘He walked’ replaces ‘he was walking;’ ‘she lay awake’ might replace ‘she couldn’t sleep.’

Apart from these usual suspects, I cull ‘flagging’ words: to think, to feel, to realise, to see… I say flagging words since they cause the narrative to flag a little, plus they mark the distance between character and reader. But they’re commonly known as filter words, and there are some good posts about why/ how to avoid them.

I’m writing in third person limited point of view, so the character dominating each chapter is clear. Any thought shown belongs to him or her, without specification.

We also have to be careful with point of view because a character is unlikely to describe their own facial expression to give clues to their feelings. Instead, I put in the visceral details of that emotion. (Here’s another article about conveying emotion more vividly.)

For example,

Draft 2: Placing the incriminating photo face down on her desk, Phoebe frowned at it and tapped her foot. It made her feel a bit sick.

Draft 3: Phoebe placed the incriminating photo face down on her desk. She fidgeted her hands in her hoodie sleeves, the cuff seams rough against her wrists, her stomach squirming too.

Don’t ask me about Draft 1.

This round of edits makes the difference between reading someone’s thoughts, rather than just reading about someone thinking.

Immediacy vs Serenity

Almost twenty years on, I see the Seinfeld mantra ‘Serenity now!’ appear sometimes on social media. When I’m editing (or writing), I don’t want serenity. We write and edit to shake things up, to jolt people awake with an extra dose of reality. The phrase sticking in my head while I work is, ‘Immediacy now!’

Southern View from the Empire State Building, including the Freedom Tower
All I kept telling myself at the top of the Empire State Building a couple of years ago: The millions of people down there are as real as I am…

Why immediacy? Immediate means ‘without delay.’ The story shoots into the reader’s bloodstream. It means ‘very close’, e.g. your immediate family; the story provides a direct connection.

The Latin origins of the word Immediate can be interpreted a couple of ways. There’s the root medium, meaning ‘middle’, so it means putting something in the middle. It also breaks down to mean ‘not intervening,’ using the prefix im as not, and the root mediate: to intervene or negotiate. Making our work immediate makes it uncompromising, clear, smack dab in the middle of the reader’s path.

As Wallace Stegner’s somewhat autobiographical main character toasts at an impromptu picnic in Crossing to Safety: ‘Let us be unignorable.’

It takes a lot to achieve believability. I’ve outlined my method later in the process. Do you have any tricks to share? Do you have different priorities altogether when editing?

My son summed up his musings on reality thus: ‘The only person who can prove your existence is YOU. But you can only really prove it to yourself.’

The first part of his concluding statement reminds us how high the stakes are. The second part… well, as writers, we have to believe that isn’t strictly true. We have to think we can work magic.

Inclusion Versus Appropriation

This Week’s Bit of String: A thriving literature festival in a tiny Cotswolds town.

Hawkesbury Upton hosted its third annual literature festival last week, featuring among many other events a panel on ‘Writing About Difference.’ I went along to hear seven people who had written about firsthand experiences with disability or chronic illness. They were carers or had disabilities themselves, writing in fiction or nonfiction, poetry or prose, for children or adults.

The Inevitable Appropriation Question

Someone asked the panel how they feel about other writers with less personal experiences, writing about characters who have disabilities or illnesses. Concerns over appropriation and mainstream publishers’ sidelining of ‘Own Voices’ are prominent, particularly following Lionel Shriver’s controversial speech at Brisbane Writers Festival last year.

The panel generally responded that it’s necessary to have some knowledge. If you don’t have it, get it. If you’re not sure, ask someone to check. Moderator Dan Holloway emphasised the importance of sensitivity. ‘If you see no risk that you will offend, then you’re not the right person to write this.’

House up for auction in Hawkesbury Upton
I couldn’t resist taking a few photos while in Hawkesbury Upton.

We need to be aware of our characters and the resonances they carry. We may think we’re being grand and inclusive, but assuming that we’re portraying something correctly could be arrogant. If we’re taking the time to fully consider what our characters have gone through, if we’re getting to know and love them as we should, we’ll be aware of the risks and take precautions to avoid them.

A couple panelists seemed dazed by the question, and it occurred to me that in a way, making this an issue is selfish of us. Some of the speakers care for children with disabilities and parents with dementia, and spouses with mental illness, all at once. They don’t have time to assuage our artsy worries. We must ensure we don’t see them as potential plot devices, existing only to provide feedback on what we write about their difficulties.

‘Help us…’

The Hawkesbury Upton session got awkward when a prim older woman in the front row posed directed a question Jo Allmond and her grown up daughter Jess Hiles. Jess writes children’s stories based on her experiences living with learning disabilities, and gives educational talks. Despite these achievements, Jo had just told us that sometimes when she accompanies Jess to appointments, the professional will take one look at Jess, assume she can’t communicate, and speak solely to her mother.

‘But why shouldn’t they assume she can’t communicate?’ the front row woman asked. ‘She looks different, you’ve said as much yourself. If I were to approach any of you others on the panel,’ she addressed Dan and Thomas Shepherd, who’s written a novel called Mr. Tumnall and also happens to have Aspergers, ‘and speak to you as if you were normal, you’d take offence, even though you look normal. It seems to me that people in your situations almost want to be offended. Obviously we can’t expect you to wear a label informing us of your capacities, but how can you expect us to know them? Help us, we need you to help us.’

Rustlings from the audience, fixed smiles from the panel. I immediately detected the acute, uniquely English fear behind the woman’s question: For the love of God, don’t let me embarrass myself by offending somebody. I felt for her a little bit. I know people enslaved to that fear.

However, she neglected to think, even in the presence of these exceptional people facing terrible struggles, that worse fates can befall someone than embarrassment. In obsessing over her desire not to be perceived as offensive, she was genuinely offensive.

Tulips in Hawkesbury Upton
Tulips in Hawkesbury Upton.

While the speakers reassured her that basic, respectful communication (Good morning, isn’t the sunshine lovely today?) probably won’t bother anyone, the woman decided her point hadn’t been fully made. She wasn’t getting the help she wanted.

‘But you’re communicating for your daughter right now!’ she informed Jo. ‘She’s clearly not able to respond without you.’

Now, that’s crossing a line. I could see where the first question came from, misguided though it may have been. But how can someone insist that a person right in front of them is unresponsive, after being told that’s disrespectful and untrue? Jo and Jess had been answering in tandem, and let’s not forget that there are nonverbal means of communication.

‘Everyone’s Disabled’

So there was more backlash to that one. The panel kept impressively cool. Another lady in the audience, pink-cheeked and breathlessly earnest, stated, ‘I would like to suggest that we’re all disabled, we’re all restricted in some way.’

The audience liked this, and murmured assent. I wish I’d caught the panel’s faces at that moment, because the well-intentioned sentiment bothered me, and I imagined it might have bothered them.

Certainly, we all have problems. That’s why we need empathy! But a disability or chronic illness is a specific type of challenge. We wouldn’t say to a widow or widower, ‘Well, we’ve all lost somebody.’ We wouldn’t tell a refugee, ‘Well, we all have to relocate at some point.’ Okay, a few people might. But I don’t think that lovely woman would say those things.

So let’s not appropriate other people’s problems in perhaps an effort to diffuse our embarrassment or sense of survivor’s guilt.

How Can We Actually Help?

Buy and read books from all sorts of writers and listen to their Own Voices. Jo Allmond worked with another of the speakers, Joy Thomas, to publish Silent Voices, a wonderful volume of poetry from often overlooked people coping with disability. Thomas Shepherd’s book Mr. Tumnall sounds clever and intriguing. Check out Dan Jeffries’ memoir of coping with a rare medical condition, and don’t miss the children’s series Jess Hiles created, Jess the Goth Fairy. Follow Dan Holloway’s incredible Dandelion Project. Read Debbie Young‘s blog and books to see how a talented writer with first-hand experience depicts the journey of her family members with Type 1 Diabetes.

Stone pig statue and milk bottle outside Hawkesbury Upton door
A small town still life outside a Hawkesbury Upton door.

And as always, when we write let’s use well-rounded characters, and let them drive the story rather than be single-issue flagposts. LISTEN, observe, research. We should be doing that anyway, with any issue.

In my stories a few people happen to have mental illness or disability. Those are just parts of them; they have completely unrelated experiences that delight and move them. Because I’ve spent so much of my working life close to amazing people who cope with these challenges, it’s inevitable they’ll appear in my writing.

In The Wrong Ten Seconds, for example, the main character’s wife, Harriet, is paralysed and speechless after a stroke. He and his daughter struggle to care for Harriet’s physical needs while treating her mentally if nothing has changed. It’s a difficult balance, and one that writers about difference try to carry out. As the daughter says: ‘If we keep pretending Mum’s not in the state she’s in, don’t we risk minimising what she’s going through?’

Finally, let’s not seek a simple answer or a quick reassurance on this issue. Disabilities are tough–thankfully, the people who cope with them are often tougher. The balance between including diverse characters and appropriating those experiences from diverse writers never should get easy, so we need to maintain high sensitivity, and keep listening.

 

Liberal Arts: Where Do All the Bleeding Hearts Go?

This Week’s Bit of String: Crosses made of sliced cheese

For Easter when I was in kindergarten, my mother cut slices of processed cheese and bologna into crosses, chicks, and egg shapes to share with my class. The school found this contribution offensive. I remember her crying over it, as she hung up laundry. We lived in a very small, seemingly homogenous New England town, but it couldn’t accommodate her humble gesture of religious expression.

As writers, we hate feeling voiceless, we hate for minorities to feel voiceless, and we should hate for religious communities to feel voiceless. I’m not endorsing the narrative of the American ‘War on Christianity.’ There’s no comparison to what a lot of BAME or LGBT people have suffered. But have you noticed a dearth of well-rounded religious characters in literature? Could this absence be feeding the fear we ‘liberals’ have of conservatives? Could it be curtailing our empathy?

Perpetuating Literary Stereotypes
Notre Dame Cathedral
Notre Dame Cathedral, October 2015

I’d like to see characters like my mother in literature. Someone with unparalleled patience, raising the four children she gave birth to in five years, and working for over two decades with special needs students, often at least sixty hours a week—while dutifully living out beliefs some might view as intolerant. Someone who believes abortion is murder but who was devastated by Christian leaders’ support of a racist President who condoned sexual assault.

Instead, it feels as if religious characters in fiction are generally incarnations of Archdeacon Frollo in The Hunchback of Notre Dame. Hugo’s villain, tormented by hidden lusts, was probably a shocking revelation at the time. I’m not sure the prototype still is. In films and books, do we not at this point expect the Republicans and evangelicals to be baddies?

Admittedly, there have been appalling religious figures throughout history. One can understand the rage against clergy in, for example, Irish fiction such as The Glorious Heresies, or The Secret Scriptures. And in America especially, Christian culture, perhaps partly out of a sense it’s not welcome in the mainstream, has isolated itself to produce its own books on its own presses.

This isolation becomes cyclic. The church is the kid on the playground who has to keep his clothes clean, so he doesn’t join in football. The other kids assume he doesn’t want to play anyway—especially if he tells them they’re getting too dirty—and he resents them carrying on without him, and the gulf widens. So mainstream literature and heavily conservative, Christian literature may seem to prefer the separation. But if we consider ourselves liberal, should we ignore a whole subset of our culture?

Studies on Liberalism Versus Conservatism

Before justifying the alienation by saying Republicans are ignorant, are overly attached to their beliefs, and probably hate us too much to engage, consider these intriguing studies.

Research shows that conservative minds are more attuned to fear. Is this a cause or a symptom of conservatism? Scientific American describes how mounting scientific evidence of conservative risk awareness could explain their stereotypical attachment to rules and even nationalism.

St. Cyr's Church on Stroudwater Canal
St. Cyr’s Church on Stroudwater Canal, Palm Sunday 2017

It also explains their tendency toward idea-driven storytelling. While some conservative commentators like this one on The American Conservative website remind their fellows that using literature to mould public morals ‘leads to art becoming a mere tool, a means to an end, rather than an end in itself,’ a group will find that irrelevant when they perceive themselves under threat. Republicans (who got eighty percent of evangelical support in the presidential election) are completely in control of the American government, but fundamentalist Christians believe in Heaven and Hell. The majority of people they meet are eternally damned. If they have any compassion, they’ll try and save them with everything they do, every word they write. How could they care about trivial things like character development and artistic expression?

Here’s another surprise from a wonderful study described in The Guardian, in which literature professors researched thousands of Goodreads profiles and found over four hundred books which conservative and liberal readers frequently liked in common. Encouraging, but when they looked at the reviews, they found conservative readers were ‘more generous’ and used ‘less negative or hateful language’ than many of the liberal reviewers. We liberals can be snobby and cynical—who would have thought?

In Twitter discussion, science fiction writer Grace Crandall observes that we tend to detect biases against us: liberals see conservative bias, while conservatives see liberal bias. We’d all rather be wronged than in the wrong. But we have to rise above that as artists, and try to understand each other, as she suggests.

What is Conservatism, Really?
Church and phone booth
Juxtaposition in Dursley, Christmas 2016

Everyone’s conservative about some things, and liberal about others. We all have things we don’t want to change, and things we seek to explore and improve. Micah Mattix, in the American Conservative article, reminds us genuine conservatism is ‘deeper than a political orientation; it is a temperament, one that looks to the past with reverence and the future with trepidation, and which believes that human nature is not easily changed or improved.’ Skepticism of contemporary culture is not exclusive to Republican-leaning authors.

Indeed, when we write we should examine any stereotype, even the idea that Republicans are always grouchy old white men. We write to conquer fear, perhaps our own fear of being voiceless, and it’s always worth finding characters to give voice to. There are Republicans and/ or evangelicals who strive valiantly to live up to their own standards, even if these standards manifest themselves in ways that look strange to us. In my book Artefacts, two of the protagonists are Christians, trying to establish friendships outside the church despite being convinced their acquaintances are hellbound. Religious characters don’t always have to be so dramatic; I liked the pastor and the churchgoing protagonist in Richard Russo’s Empire Falls. They were portrayed as normal people, with normal family and livelihood struggles, who happened to have a bit of faith. That’s incredibly rare in a current book, and why should it be? We’re writers. We can take on anything.

How to Write a Classic

This Week’s Bit of String: Risky book rescue

Induction week at my new job. We’re told to introduce ourselves with quirky facts.

A woman who immigrated from Russia once ran into a burning building to rescue a book. It was a rare, century-old encyclopaedia of horses.

Of course, my quirky fact is that I’ve written a novel (or two or three…). I practise my elevator pitch on them. The youngest newbie among us, who’s apparently won baton-twirling competitions, says, ‘I’d definitely read that.’ I assure them it’s worth saving from an inferno.

There’s a man in the group who’s never seen a single Star Wars film. I wonder if he feels left out because of the constant references to it. I’ve been wondering the same about people who have never read the classics. Is foundational knowledge of literary classics worthwhile? Does it help one better appreciate other arts and literature? What does it mean to be a classic, anyway, and might we write one ourselves?

Defining Classics

With help from Merriam-Websters, we can construe classics broadly if we choose. A classic sets a high standard in a particular form—any form. Therefore, Star Wars might not be a classic like Citizen Kane or Casablanca, but it can be a classic Sci-Fi film, and books from any genre can be classics, too.

Brighton hotel on the site of Dickens' favourite inn.
I’m the sort of classics nerd who photographed this monstrous Brighton hotel just because its Blue Plaque told me Charles Dickens enjoyed staying on this site.

The strictest definition applies to literature of ancient Greece. These works influenced Shakespeare, who arguably enabled the evolution of most fiction. They are more pervasive than some might realise, frequently revived in cinema and even young adult books, plus forming the basis of our vocabulary with phrases such as siren, Oedipal complex, and Achilles heel.

In the Twittersphere, Leslie Scott gave me this wonderful definition: ‘If I instantly think “I want my kid to read this” … it’s a classic. There has to be a life lesson I need to share with my child.’ This allows classics a personal nature: we choose our own individual canon.

It also brings up another necessary quality: Classic literature conveys, often with impressive (if intimidating) scope, its originating time period. The Iliad tells us about political and religious alliances of ancient Greece. Bleak House portrays socioeconomic Victorian issues, even lampooning religious charities, and depicting the plight of women to an extent.

When contemplating which books we want out children to read, we also consider what we want them to learn from the times in which we’ve lived.

Updating Classics

So what books do we read today that might become classics of the future? Claire King, while admitting classic literature can be interesting from an ‘art history perspective,’ feels contemporary literature is more resonant. I agree there is a more accessible, sincere vein in today’s literature (including Claire’s gorgeous book The Night Rainbow). But do they resonate only with our contemporaries, or humanity throughout the ages?

With an increasing push for literature to be inclusive of social class, sexual preference, and ethnicity, today’s great works could have more staying power. The lack of diversity in some classics makes them seem ‘dull and patriarchal,’ Rita Gould tweets. Classics should be broad enough to at least acknowledge all aspects of a society.

Classic Features:

Characters: The protagonist should be particularly memorable, strong, and the perfect messenger. Elizabeth Bennett, Harry Potter, even flawed Miss Havisham or Macbeth are unforgettable because their roots are clearly mapped, forcing us to wonder if we, too, could be swayed.

'Nevermore' Jack o'Lantern inspired by Poe's The Raven
I’ve also been known to nerdily base jack o’lanterns on classics.

Setting: A classic boldly recreates its location. It will devote pages, almost give the setting its own voice. The Congolese jungles of The Poisonwood Bible; Arundhati Roy’s portrayal of Kerala in The God of Small Things, shown through children’s eyes without glossing over political unrest.

Message: It’s tricky to balance with character, and is perhaps what puts people off the original classics. A classic must convey an idea. In my opinion, Romeo and Juliet’s characterisation suffers for being idea-driven, but the message about love’s (or infatuation’s) power lives on. More contemporary writers like Ian McEwan, Margaret Atwood, etc, better strike the balance.

Scope: We may groan at their size, but classics use their heft to diligently represent their culture. It enables Tolstoy to follow up on characters of various social status in Anna Karenina (although I’m still miffed he barely bothered mentioning the eponymous heroine in the last section). It enables Michael Chabon to interweave characters of diverse races and proclivities in Telegraph Avenue.

Detail: While covering broad topics and sweeping settings, a classic also offers telescopic detail rendering its populace and landscape vivid—including cultural landscape. Contemporary writers aren’t shy about teasing references to society’s peculiarities, and nor were traditional ones.

A bit of string: Most classics take their great shape from the slightest twist. Modern examples—the discovery of an unsent letter in Byatt’s Possession, the demise of a cheeky parrot in Love in the Time of Cholera—are slimmed proportions of ancient Greek ones: Paris falling for Helen, Jocasta heeding a prophecy about her infant son.

There are more options for defining classics, as listed in this excellent New York Review of Books article. Put together, by writers of any time period, they make books we hope our children will cherish, books worth saving from the ravages of time—and fire. What are the classics of your life?

 

Writers with Day Jobs, Part 3: Goodbye, Post Office

This Week’s Bit of String: Letters to Putin

If you were a cultivator of stories, working in a post office, would you find yourself quite curious about what you were helping people send? I’ve always been quite numb to the letters and parcels—professional or perhaps just zombified—but sometimes my curiosity is truly piqued.

‘I need to send this letter to Russia.’ The soft-spoken piano teacher puts the envelope on my weighing scales. His thick, square glasses glint in the fluorescent lights.

I stamp the letter. It’s meticulously addressed to the Minister of Justice in Moscow. ‘I keep seeing these today,’ I tell the piano teacher. ‘What’s going on?’

Letterbox near Park Gardens in Stroud
Letterbox near Park Gardens in Stroud

He informs me Russia has begun proceedings to label Jehovah’s Witnesses as extremists. So the steady stream of polite, earnest customers posting letters to Russia’s Foreign Minister, Prime Minister, Justice Minister, and even President Putin himself—are attempts to reason with the enormous state.

I had no idea. And that’s just one thing I’ve learned working at the post office. I shall take my leave with a little mess of weird but possible story threads.

Grief, Observed

A pale old man collects his pension from the post office every Monday, his fingers trembling as he tries to remember his PIN. One week he told me his wife had cardiopulmonary disease, and a bad car accident a couple months before while returning from a hospital appointment certainly didn’t help. But he smiled as he said, ‘I know all about being a woman now, since my wife’s laid up. Running about doing all the work! Tell you what, if I have to come back as something when I die, I hope it’s not a woman.’

Monday comes around again. ‘It’s beautiful out today.’ The man says as his fingers jitter, uncertain, an inch above the card reader’s keypad. ‘The sun was so warm in our garden.’

I ask how his wife is doing.

‘She passed away yesterday morning. Sixty-three years we were together. I used to call her my little ray of sunshine…’ His voice is hoarse.

I’m nearly moved to tears myself. I’ve worked in a nursing home; I’ve seen bereavement and death before. But it’s different seeing it ‘in the real world,’ watching someone stricken so recently go through the necessary motions. At the post office, I’ve had to tell relatives we can’t ship human ashes to distant loved ones (apparently it’s a fire hazard). I’ve certified copies of death certificates, and helped bereaved parents close their late daughter’s bank account—the mother quietly explaining what she needed, the father sitting in the waiting area staring straight ahead.

Stories aren’t just big moments; they’re little ones. They’re how we drag huge burdens through each tiny step.

Beyond School Doors

Likewise, I’ve seen disability before. I’ve supported secondary school students with all kinds of difficulties, who worked tremendously hard to get through the schoolday. Once again, the post office showed me a different perspective.

Village Post Office and shop
This is not the Post Office I worked in. But I wonder if their mini-dramas would be so different from ours.

A girl in her late teens or early twenties comes to my counter, taps her ear, and utters ‘Deaf.’ She slips a note under the heavy glass partition of my ‘Fortress’ (that’s literally the Post Office terminology for the secure cubicle). She needs a box for posting a jacket to the USA, the note explains. I take her to the stationery and show her what the shop offers for packaging. We communicate with hand motions and the odd inarticulate noise. She seems pleased with the selection.

I think about how it must feel, forced to introduce oneself in such a way; to be immediately distinguished by what some might perceive as a deficiency. What bravery and resourcefulness surround us, and we barely even realise.

My previous jobs have inspired a great deal in my stories, as I’ve gotten to know students, colleagues, and nursing home residents very well. In the post office, interactions are fleeting, but still colourful and informative. It’s a lesson in efficiency. If my imagination can be so fuelled by a two-minute encounter, maybe I could shoehorn my observations into a flash fiction piece. My notebooks bristle with label-backs and till roll fragments scrawled with funny place names: Bald Knob Ridge, North Carolina. Thistley Hey Road, Liverpool. Runaway Heights, Jamaica. Thanks to these, I could still feel, despite being locked alone in a ‘Fortress’ at the back of a perishing shop in a town classed as a ‘Rural Area of Deprivation,’ that the world was at my fingertips. Not just geography, but the realm of words, with its truly infinite possibilities.

What windows does your job allow on the wider world?

Writers with Day Jobs: Survival Tips

This Week’s Bit of String: Astringent in a contacts case

What’s the craziest thing tiredness made you do? Mine was filling my contact lens case with facial astringent when I worked twelve-hour shifts at a nursing home, and my son was younger. The job I’m starting next week shouldn’t be quite as taxing, but even while employed at the nursing home, I managed to write several stories, including my second Bristol Short Story Prize shortlister.

Last week I wrote about the advantages and disadvantages of writers having day jobs. I alluded to this Huffington Post piece about famous authors and their occupations, noting that these are mostly men.

Steps and stile
Another inspirational photo from the walking commute…

Boldly generalising, I’d say at least in the eras during which these male authors operated, men have been lucky. They would be free as soon as they clocked out of their day jobs for the evening, to shut themselves in their mysteriously cleaned home offices while meals appeared magically before them and their offspring were entertained elsewhere. Not necessarily the case for women.

It’s different in many households now, but in mine I am still principally responsible for housework and offspring management, for a variety of reasons (the time it would take to change that, for example). But this means I’m used to planning far ahead, and juggling various commitments. In a way, women have unique experience at making do.

From across the ocean, my mum worries over the phone as I prepare to reenter full-time work, ‘I’m afraid you won’t have time to write.’

I dismiss her kind concern. ‘No, no, it’s fine. I’ll figure it out.’

But how?

‘Why do you write like you’re running out of time?’

I brought up the subject on Twitter, and my main respondents about writers with day jobs were women. Freya Morris recommends lots of caffeine and offered tough but necessary talk. ‘Friends and family take the hit. But I chose my priorities. Writing first. Mostly.’ She also notes that full-time work makes it difficult to carry out the required ‘immersion’ for bigger projects like novels.

Ríona Judge McCormack just quit her job for a temporary writing break, since she felt split in two by her paid work and her need to create. She details her decision, a rather appealing strategy, on her blog.

It was lovely, too, to hear from Poppy O’Neill, who works part time in a job that is apparently stress-free! Having a flexible schedule and minimal work baggage helps her get writing done, not surprisingly.

Finally, some thoughts from Emily Royal, who also works full-time but utilises ‘snatched, focused writing bursts—’ I love that phrase—and of course, self-discipline.

‘You get nothing if you wait for it, wait for it, wait…’

My tips as I prepare myself for the transition from 20 weekly working hours to 37.5:

Writing nook
My writing corner, in the laundry room since I’m there so often anyway.

Notebooks: Always keep one handy. I have one on each floor of my house, plus one that travels. My TA planners from when I worked in a secondary school are crisscrossed with scribbled threads. This keeps those interesting observations, those bits of string, from blowing away in a busy whirlwind.

Tiredness: Use it. If I come home from work and my brain feels too fried to write, I do housework instead. It takes a lot less mental energy to clean, cook, and iron, than to create, and this way I’ve got those pesky chores done so I can sit and write early the next morning. If I’m too tired even to clean, I read. That counts as work for writers!

Music and Images: Use visual and musical aides representing your work-in-progress to switch on that elusive immersion. While walking home from work, I listen to songs echoing my characters’ feelings so I can dive into them once I’ve got the chance. I also have a writing corner stocked with images to keep me in the right mindset. Lately, the Hamilton soundtrack keeps me fired up, as evidenced in the sub-headings.

Routine: Obviously. We need to keep good habits. Just as our working hours are fairly inflexible, we need to brutally delineate writing times and stick to them. I’m not saying it’s easy. But often, neither are our jobs and we do them anyway. I’m hoping if I sit down in my self-assigned writing time having perhaps already jotted down thoughts and plans in my notebook while out of the house, completed household tasks the previous night, and maybe got my brain going with some carefully selected songs and pictures, I might be able to keep up.

Next week, I will conclude this series on Working Writers (for now) with a farewell to the post office, featuring various bits of string I’ve gathered there and at previous jobs.

 

 

Writers with Day Jobs, Part 1: What I’m Doing Here

This Week’s Bit of String: Teeth in the mail

A nice lady from the dentist’s office up the street stops in at our post office almost daily, smiling in her spring-green scrubs. She requires certificates of posting for pre-paid parcels of dental samples. Am I sending people’s teeth? Gum tissue? I’ve posted a crocodile’s foot for someone before, but that’s another story.

Today we chatted and I mentioned that I’d had a couple stories published. Her eyes widened behind her glasses. ‘Fantastic! But what are you doing HERE?’

Have you encountered this misconception that writers belong in ivory towers where we do nothing but create? Lovely as it sounds, we writerly folk know it’s not feasible.

The primary answer to what I’m doing working in a post office at the back of an ailing convenience store is, of course: earning money. But there’s more to it.

For most of us writers, maintaining our finances entails more than ‘just’ wringing our hearts and brains out onto a page. (Seriously, isn’t that what it feels like sometimes?) I’ve worked in customer service, education, catering, and healthcare. Each has unleashed stampedes of What Ifs in my mind, but depending on the job, I’m sometimes too exhausted to corral them into anything useful.

Anti-urinating notice in post office window
In the window of my work. Couldn’t make this up.

Incorporating work experiences into fiction is essential, however, to create a range of meaningful pieces. There’s increasing concern about literary fiction’s underrepresentation of, and consequent lack of appeal to, working class people. Many established authors write what they know; often featuring academics or artists and writers. Those of us stuck in jobs further toward the bottom of society’s ladder have, in that case, a duty to represent it.

What am I doing here? Collecting ground intelligence that will ultimately infiltrate the upper echelons of literature.

We have other moral obligations as writers. Our talents involve empathy and eloquence, which, when paired together, hopefully add up to diplomacy: useful skills in any profession. An ability to assess others’ needs and to thoughtfully address them is as important whether assisting elderly patients to the toilet, supporting SEN students in lessons, or helping a man close his deceased parent’s pension account.

What am I doing here? Possibly doing you a favour by weighing my responses more carefully than others would.

Can you tell I’ve been toiling over job applications lately? I’m getting good at talking myself up. But as I wrote before about writers’ potential shortcomings as parents, I wonder too if there are drawbacks to having us on a payroll. Apart from the risk that I’ll savage versions of tricky clients and employers in my stories, I might be preoccupied now and then. It’s hard to shut down the characters and plot twists in our minds. Writers in day jobs have to compartmentalise. We want occupations we don’t have to take home with us.

View of sunburst and hills
A scenic walking commute is an ideal bridge between the day job and the writing life.

But I don’t always compartmentalise my writing. It seems silly to lock ideas in a mental box to be opened only during lunchtime, because I might scrawl a few lines between customers. This has been one of the only jobs in which I’ve managed to do so, and I am utterly unrepentant.

What am I doing here? Occasionally engaging in an activity outside the job description.

I’m not the first to write while I work. Here’s a fun round-up of famous writers and their jobs, in which we learn that James Joyce could sing, and Kafka worked at an ‘industrial injury institute—’does that sound Kafkaesque, or what? Maybe I should emulate Bram Stoker and kiss up to someone who can be my wealthy patron.

(Note: The above article mainly features men. I’ll definitely be revisiting the topic to explore potential added complications for women writers, so do share any thoughts in anticipation of that topic!)

Would these writers have had as much to write about without their day jobs? My work experience colours much of my writing. In The Wrong Ten Seconds, for example, one protagonist works in a supermarket on a zero-hours contract, while another works in a nursing home.

‘The corridor lights were dimmed as per management orders, to save on electricity. With its expectant hush and artificial-looking attempts to induce sleepiness, the nursing home at evening time reminded Lydia of an overnight flight. They were all barreling toward the same destination, a strangely relaxing thought.’

What am I doing here? Gathering string, weaving new story ideas, corralling the What Ifs, and plotting my next move.

Do your working and writing worlds sometimes collide? Have you found ways to make each complement the other?

Next week, Part 2: Work Balancing and Story Bribery

Let’s Write About Sex, Baby

This Week’s Bit of String: What circumference and cucumbers have in common

The first literacy group I led consisted of four fairly proficient Year Seven readers. In one task, they had to construct vocabulary words out of individual sound chunks. ‘Circumference’ was one of those words.

The second syllable drew giggles from the boy with the most tumultuous home life. I informed him, ‘That’s a very important sound chunk. Just think, without “cum” in our cucumbers, we’d only have cubers!’

He literally fell off his chair laughing.

Hopefully with that one remark I communicated four things: It’s okay to acknowledge sex, it’s okay to laugh about sex, we can even be fairly clever with it, but we don’t have to go on about it forever.

Perhaps sex scenes in literature should follow similar guidelines. We all know that sex scenes are notoriously easy to do badly. But it’s such an important part of life, it figures in almost every story, whether in the background or upfront. How much should it be detailed? Do graphic scenes enhance or detract from literature?

Sex as a Genre
Reading in Stokes Croft
Reading in Stokes Croft

This past weekend I had a terrific time reading at a Stokes Croft Writers event in Bristol, built around the theme of ‘bad erotica.’

Now, I don’t actually read erotica, much less write it. But I’d written a piece called ‘The Hornet,’ which dripped with innuendo. So, that worked. A few of the others were more explicit, and they were all engaging and often quite funny, clearly written by talented humorists and wordsmiths.

It’s a privilege to laugh about sex, and to laugh about it together in a room full of people. To me, it felt like an intellectual release, if not a physical one.

Some of the descriptions were a bit cheesy, or a bit gross. But let’s face it, sex can be too. Right? I admire people, in any genre, who take on this, erm, sticky subject.

Sex in the Classics

Going back a century or two, you don’t find many explicit sexual scenes in literature, for obvious societal reasons. But where would many of those classic stories be without such escapades going on in the background? Bleak House, Hunchback of Notre Dame, Anna Karenina, even Pride and Prejudice.

It makes sense that as twentieth century literature pushed towards greater honesty with the reader, sex became featured more bluntly.

However, there’s also an emphasis in contemporary literature on showing rather than telling; on pared descriptions and enhanced subtlety. In a way, that might serve to cloak lengthy, open sexual scenes.

I’m okay with that personally, since my aims in reading are much broader than satisfying any physical desire. But it interests me how the dichotomy between honesty (including a wilfulness to shock) and sparsity affect our ability to write about sex.

Crafting Sex Scenes

Writing about sex needs to be approached like any other aspect of a story: fearlessly but thoughtfully.

Books on shelves
‘Of course I shouldn’t tell you this, but…She advocates dirty books!’

Surely the key to creating sex scenes that aren’t hopelessly daft is to stay in character. Continue using language the character would use. Include only details that further the plot and the message the character wants to convey.

An article in Lit Hub provides an interesting survey of writers who pen effective sex scenes. ‘Many great novels portray sexual encounters as an inseparable part of the extraordinary ordinariness of daily life….as bodily, emotional experiences that inform each character’s unique sense of what it means to be alive.’

Contrasting scenes in Isabel Allende’s House of Spirits, Andrea Levy’s Small Island, or Louis de Bernieres’ The War of Don Emmanuel’s Nether Parts (that mango scene!), each give sexual encounters from different points of view and/ or at different stages in a character’s timeline. Those differences are marked in the tone and the coverage of the encounter.

One somewhat explicit scene I’ve written is told by an adolescent boy annoyed with his older stepbrother’s noisy nighttime antics on the sofa and determined to stop it. He encounters the scene:

There had to be more to sex than this. Piggy grunts. Flab dangling, limbs twitching, glowing orangey-pink in the light of the last lamp standing. Weren’t they getting sliced by old potato chip pieces? No, those chips must be soggy now.’

With that point of view, I’m freed from having to dwell long on the subject, but at the same time, I get to tell it like it is. Hopefully I’ve managed to strike that balance between leaving some to the imagination, and realistically, fully portraying my character.

How have you addressed writing about sex? Are there any writers you feel are particularly good at it?

 

 

Welcome to Dystopia?

This Week’s Bit of String: The students are revolting

I used to support a class of Year 8s who rebelled Hunger Games-style during lessons. A teacher might be talking them through French prepositions or long division, when one after the other, the students would slowly, dramatically raise their hands and whistle the three notes of the mockingjay’s song, until the group was giggling and thoroughly disrupted.

As revolutionary causes go, I wasn’t impressed with theirs. The education they objected to was nowhere near as oppressive as the government from Susan Collins’ fictional Capital, nor as ruthless as many real-life governments around the world and throughout history.

You’ve probably noticed the ever surging interest in dystopian literature,  evidenced this week by increased sales of George Orwell’s classic, 1984. I find books like this fascinating, but I also wonder whether this attraction to dystopian fiction is constructive at a time like this. Are we just sensationalising our peril?

The Appeal of Dystopian Fiction

Leaving aside the amazing narrative talents of George Orwell, Margaret Atwood, Lois Lowry, Patrick Ness, Cormac McCarthy, and other authors of great dystopian tales, what do we get from these stories?

Abandoned cabin in New Hampshire
Then there’s the mysterious beauty of contemplating ruined things…

The Huffington Post published an  essay on the sub-genre’s merits. These stories warn us about the insidious ways governments and/ or technology could usurp our rights. Certainly that must have been Orwell’s intent. With Winston’s experiences at the hands of the unfeeling, super-controlling Big Brother and the Thought Police, Orwell warned not only against fascists like Hitler’s and Franco (Orwell fought in the Spanish insurgency), but also against hyper-ideological dictators like Stalin. After all, according to this BBC New Magazine article, Orwell saw his comrades in Spain killed by rival pro-Communist groups as well as by Franco’s soldiers.

Dystopian fiction arms us. It shows us scenarios in which protagonists’ survival skills are tested to the maximum, forcing us to ask, albeit with stakes much lower than those the characters face, whether we ourselves would be up to the same job.

Current Relevance

To me, it seems a bit late to be brushing up on totalitarian governments with the help of 1984. Shouldn’t people have done that before voting? And—SPOILER ALERT—it doesn’t carry a message of hope, so it’s possibly not an ideal choice to galvanise a resistance movement.

I also worry that dystopian fiction skews our perspective. Our world hasn’t gone completely mad…yet. Places like Syria and the refugee camps, and the many areas worldwide that have been corrupt and impoverished for centuries—those are dystopias.

Those aren’t reasons to stop reading the genre, though (especially since there are so many gripping stories on offer; I love the sound of John Joseph Adams’ dystopian anthology Brave New Worlds, as described at the end of this Kirkus Reviews essay). It just means we need to read it for the right reasons. We should read with vigilance and appreciation, and with enough spirit to go implement the messages given.

Statue of 1555 Gloucester Martyr John Hooper
Gloucester statue commemorating Protestant John Hooper,  killed in 1555 under Catholic Queen Mary. Let’s not go back to religion-ruled dystopias, please.

With 1984 in particular, I think a striking lesson is this: the regime in that book wants to be loved. It wants to control every thought. And as anyone who’s ever been a teenager will attest, the need to be loved can drive one to dangerous lengths. The current leader of the free world, with his obsession over crowd (and hand) size and his compulsive tweets, shows some of those traits. How do we combat that uncontrollable insatiability?

Writing Dystopia

Even while realising that hell hasn’t fully broken loose yet, some of us find ourselves writing in the dystopian sub-genre more. I’ve written three dystopian short stories in my life, including The Apocalypse Alphabet, and they were all products of the last six months.

I checked with other writers on Twitter to see how they feel about dystopian literature. Rita Gould shares my concern that immersion in it may ‘feed the fear.’ Megan Manzano extols its ability to kindle emotion. ‘They make us sad, hopeful. They anger us. These books show us what we can do. If 17yr olds can create change, why can’t we?’  M.K. Anders notes,  ‘Seeing it portrayed is validating, even if the good guy loses.’

All very good points. When the world seems dark, we can’t deny our artistic urge to create something, hyperbolic or not, out of it. This may involve feeling more scared for a time, while we confront worst-case-scenarios burning in our imaginations. But then we locate what makes the characters keep going, like Hannah’s love for her son Jack in The Apocalypse Alphabet, and that helps in real life.

“‘Close your eyes and imagine fireworks,’ Hannah whispers, and Jack obeys, his fingers woven together in front of his shins, his eyelids almost translucent, spidered with delicate veins.”

I emerge from writing and reading these with fresh determination. We’re not alone. People have survived worse. We have a lot worth fighting for. Right, people?

Writing, With Children

This Week’s Bit of String: Eight thousand trombones and a dinosaur

When my son was in infant school, he had a dream about a circus act featuring eight thousand trombones and a dinosaur—a brachiosaurus or apatosaurus.

Naturally, I purloined this dream as a title for a short story.

Stealing dream titles is probably the least of my parental shortcomings. As a writer, I have always feared that being consumed in stories diminishes my ability to be genuinely present in my son’s life. I have wondered if writers are suited to be parents, easily distracted and somewhat moody as we can be.

Star Wars Halloween costumes
My Bear and me, using the Force and our imaginations a few Halloweens back.

I suppose, though, that those particular flaws aren’t exclusive to creative/ artistic types. And there must be ways in which our gifts actually help our children, right?

Have you ever been shaken by those concerns?

Irish Times Furor

Last autumn, seventy-year-old author John Banville, who sometimes wrote under the name Benjamin Black, confessed to being a terrible father in an interview with The Irish Times. He speculated that most writers are bad parents, due to an unquenchable thirst to be heard.

This created a storm of feedback from other writers, such as in this Irish Times follow up. It’s quite interesting to read their thoughts (I particularly enjoyed Joseph O’Connor’s hyperbolic script). Most of them disagree, on the whole, that writing and parenting are mutually exclusive endeavours.

I don’t  look at the dilemma between the two as a question of How does parenting affect my writing, but more as How does writing affect my parenting? Because my son has been the most important part of my world.

Potential Negative Effects
Frosty leaf
Inspecting a frost-guilded leaf together

I’ve pointed various times to writers being particularly empathetic. Surely the bits of string I’m constantly grabbing at might have led me to be a fun and supportive mother? But I worry I might have conflated his childhood experiences and expressions as fodder for anecdotes, new seedlings for my imagination.

Besides, I’m not sure empathy has an off switch. I’m fairly indiscriminate with it. As much as I adore my son and enjoy spending time with him, when I’ve reached a point where my characters are suffering particularly, I get wrapped up in them too. That’s why I particularly like The Walrus’s commentary on Banville’s controversy: literary critic Michael LaPointe countered the notion that ‘writers distinguish between art and reality, material and life, when very few do, or even desire to.’

Guilty as charged.

Lakeside thinking
Philosophizing by a New Hampshire lake

I also feel a degree of self-consciousness, of guilt even, if I write something that features children. Sometimes we let bad things happen to the children in our stories (it’s the way it goes, man) and I worry: does it make me an unfit parent that I can imagine this stuff happening? If he reads this when he grows up, what will he think of me? Will he see these stories as rivals?

Potential Positive Effects

So, I’m coming clean about my concerns as a writer-parent. It seems not a lot of other writers share these. In fact, it sounds as if quite a few people do a damn good job at both. I enjoyed Twitter discussions with other writer-mums, who shared happy stories about writing with their children, showing them that creating art takes hard work and practice (thanks to Melissa Graves). It hones our time management skills, forcing us to take advantage of what little free time we get (thanks, Erika F Rose). And getting to know our own children can reinvigorate us, putting more ‘spark and buzz’ into our work (thank you, Eleanor Nicolas).

Meanwhile, my son is fifteen now and pretty much likes to be left alone. He’s already composed an orchestra piece for sixty-four instruments. He studies Philosophy and Ethics and shares some very interesting thoughts, such as, ‘Sometimes I wonder if I’m the only one who exists, and everyone else is just in my head. But then I think, everyone else must wonder the same thing too!’

Again, guilty as charged.