The Writing Process – Nastasya Parker

Pest Control

This Week’s Bit of String: A pestilence of Shoulds

Do you ever imagine your abstract stresses as actual creatures? I find it makes them more grapple-able.

Lately, the word should is plaguing me. If it came to life, I think it would be a multi-legged trudger, low to the ground with clinging claws. It would blast out barks: Should! Should! and be a right pest.

My mind gets infested by Shoulds, particularly in the summer. During term-time, there’s little question about what I have to do. There’s work, there’s squeezing in chores and writing deadlines and exercise and family commitments around that. But if I get time to myself, I’m overrun with quarrelling Shoulds. The guilt of leaving things undone becomes weightier, because what excuse do I have?

*I’m no artist but… I’m thinking stout caterpillar body, claws of a sloth, and stubborn pug face.*

You should be writing, a voice in my head says quite frequently. Editing my novel, inventing a whole new book, polishing and submitting short stories, putting effort into a Twitter presence—I should be working on all those things.

But there’s also the cluttered house, and my garden in a riotous bid for attention, and the thought that there’s no time like the present to get extra exercise and stretches in, should I be attempting some sort of social life, and actually, what if I caught up on sleep and reading; shouldn’t that benefit me in the school year?

If I created a word cloud based on my thoughts, the biggest word in it might be should—apart from family member’s names maybe, and definitely the cat and probably, embarrassingly, peanut butter (the latter accompanied by the phrase “should absolutely not eat anymore of it today…”)

‘Tis the Season

For most of my summer, I go to my family overseas. There are wonderful little vacations encased in this, but home time has a serious intensity to it so that I bristle if it’s called a holiday.

*Up at sunrise during the summer to seize every moment*

As an immigrant, my herd of Shoulds has extra directions to pull me in. And the limits of time give their claws an extra sharpness. It’s super important to me that I help out my parents and siblings and child while I can see them, but that we also make fun memories, and keep my husband entertained since it is, in fact, his vacation, and that I get moments to feast my senses on the mountains and lakes and rivers of home—all while keeping up with writing and exercise. So the Shoulds run rampant.

Without my teaching assistant job playing the alpha role among the Should herd, it’s hard to figure out which Should is in charge. Each seems quite as demanding as the others. Yes, I should dig into writing, but think how bad the weeds will be if I leave the garden any longer. And have I really recovered my strength enough for a new term—maybe I should spend an afternoon lying around reading.

The Long Game

The word should is rooted in debt and guilt. Any argument I come up with against one therefore sounds like an excuse to shirk. Which Shoulds can we allow ourselves to ignore?

I’ve tentatively decided one thing. I’m not ready for another deep edit of my Eve novel yet. I’m too frustrated now. I’d have her jumping up and down by the third paragraph shouting “Read me, fools!” like she’s Maleficent or something. I need time to think before the next edit and submission rounds. Maybe I’ll have mulled it enough by next weekend, maybe I’ll leave it for half-term or even next summer.

You know what I ended up spending lots of time on for the end of my break? Foraging. I turned myself into a scrappy little squirrel to combat my scruffy little Should flock. I walked the lanes for hours picking blackberries and elderberries, and cooked them together into jam. With its murky elder depths, I’m hoping it will ward off winter colds. Nothing leaves you helpless at the stubby, plodding feet of a Should herd the way illness does! So maybe I’ve played my priorities right. We’ll see.

What do you do when pestered by Shoulds?

Waiting for Applause

This Week’s Bit of String: Ghosts and earwax

Last Wednesday I went back to summer camp to do story-making activities with 5- to 11-year-olds. “Do we have to write?” some asked as they came in with oversized tie dye shirts and baseball caps.

“We’re just going to have fun.”

I always start them off silly, with Mad Libs, so we can create wacky stories. I brought outrageous hats borrowed from my sister: a plaid fedora full of nouns, a cowboy sheriff hat full of verbs, a blue-haired pointy witch hat with adjectives. Kids carry on with Mad Libs, or sketch their own versions of video or board games, or make comics around the stickers I have on offer—some just plaster anything and everything with stickers. In each group, a few want to work with me to write a story together.

So we end up with adventures about pig princes, and about a cowboy fighting a banana. With one group we based our protagonists on some very cool stickers from my other sister—a red panda in a turquoise tux and an alligator in polka dot shorts. The kids embellished these even further; the alligator has a ghost named Shawn riding on his back, and they find a haunted castle where a ghost king is having a trampoline party.

While I wrote this out on a big scroll of rolling paper, I overheard a little boy to my right say to his neighbour, “I don’t want your earwax. Just keep your earwax.”

Right! Into the story with that line. The red panda and the alligator with Shawn offer their earwax as a birthday present to the ghost king but are rejected, because he wants a Pikachu instead.

Keeping It Fun

The small fellow who refused the earwax drew a red-curtained stage on his piece of paper, and wrote in the stage space: Once upon a time. The end. I am waiting for applause.

Then he came round to show it to us, his grin riddled with missing baby teeth. Considering how his story lacked plot, the applause demand was a surprise twist.

Not that I’m about to judge. I didn’t have a lot of time to prepare my workshops this year, once the busy school term was finally over. I ended up just pulling together the same resources and activities we did last year, and hoping these would still inspire.

I kind of got away with it because the kids remember what they like and I remember what works. I offered more specific suggestions to help get them started. Most people are unprepared to be told, “Sit down and write whatever you want.” Heck, even we writers struggle with that.

Hence the stickers, the Mad Libs, and the hats full of prompts. And why not celebrate the shortcuts, the tricks that make things slightly easier? Yes, even the fun things that aren’t proper stories. Let’s applaud ourselves for actually stopping to have fun and explore what we want to once in a while.

A Personal Pirate

In my final session, a tiny girl with a blond ponytail asked me to tape papers together so she had lots of pages. She used Disney princess stickers and drew a sad pirate on a ship in her book called The Love. The pirate gets to the princesses’ castle, and asks Sleeping Beauty if he can be her pirate.

“How do you spell yes?” the little girl asked. She put it in a speech balloon above the princess.

Who wouldn’t want their own pirate to go and fetch treasure? I believe actual royalty have had them before. This princess wasn’t pining for a prince; it was a pirate she wanted! It would be like having a personal shopper, but way cheaper.

*Personally, if I had a pirate I’d send them to search here for stories.*

When we’re writing, I think we have to remember not to hold out for princes. A single, heroic solution to our plot holes or character conundrums is probably not going to come charging to the rescue on a metaphorical white horse.

We have more need of pirates, I think. Writing requires a bit of plunder, at least sometimes to get us started or re-started. The nice thing about working with kids is that it reminds me of the basics. Keep things fun and don’t be ashamed of keeping them simple. There’s nothing wrong with raiding the classic tropes for inspiration, or even with being a bit shameless in our quest for positive feedback.

What have you learned in your writing journey this summer? Have you found pirate treasure, or that ever-elusive applause?

Capturing Castles

This Week’s Bit of String: A budding writer at the gate

Quite out of breath, I arrived to the gate of my connecting flight to see my family. The airline was, as ever, playing dicey with delays, and I’d almost resigned myself to being stuck in Dublin yet again. But I’d made it through the airport against the odds, and I waited for the imminent boarding a few chairs from a girl and her father.

The girl couldn’t have been more than ten years old. She wore a massive University Roma hoodie, and rainbow-splodged Crocs imitating a tie-dye effect. Giggling, she pointed out to her dad that across and along from us, four men in a row sat the exact same way, right leg crossed over left.

*Airport inspiration in all varieties: this “Rocket Man” piano is at Birmingham Airport.*

She was right, and justifiably giddy with pride at catching this detail. Then she picked up a magazine and started reading an article about the author Andy Weir, her mouth meticulously forming each word. I felt I was watching a junior author myself, someone who knew that to be one, she needed to take notice of her surroundings, and read up on other writers.

For me, the airport is great for people-watching and inspiration. I wrote down this anecdote immediately, sitting in the gate. Because I scribble every day, and I had many hours of travel to get through, I wasn’t pressuring myself to watch and record everything—just a few key observations.

Places for Writing

Apart from scribbling in my notebook, I spent a lot of time reading while in transit. I’d taken out Dodie Smith’s I Capture the Castle from the library at work, and enjoyed it tremendously. It opens with the young, hungrily observant narrator sitting with her feet in the kitchen sink, starting her diary by the last daylight.

*Okay, this isn’t exactly an original suggestion, but I would love to sit journalling on the front porch.*

She writes, “I have found that sitting in a place where you have never sat before can be inspiring.”

I love that line on page one. I want to try that this summer: going out of my way to sit in new places and crack open my notebook. Would anyone else like to join me? I may create a writing sampler at the end of the fleeting six weeks, featuring my favourite observations and inspirations.

Now I just need to find some unique places and move out of my comfort zone, which at the moment is the reclining end of my parents’ sofa, in front of a fan. It is challenging how in order to find inspiration, we first have to come up with an original way to put ourselves in its path.

Memories Versus Inspiration

As usual, I planned this post in my head during a morning walk. I was crossing a bridge just downriver from a ruined mill. I stopped and watched a tall grey heron standing perfectly still on a rock. There’s been a lot of rain here in New England, and this river is rushing but not too high.

I remembered that for 11th grade Biology, we were supposed to find a spot outside and visit it regularly throughout the year to record natural changes. I chose the river, coming to the foundation blocks of an old house that once sat high on the bank by the railroad tracks. I stowed a composition notebook and some sketching materials in a plastic bag between the blocks. I sat there and noted which trees changed colour first. But later in the year, severe storms swept my things away. Writing in new places can be quite an adventure.

*Aforementioned heron. He did not wish to commune.*

I considered climbing up and sticking my feet in the kitchen sink here, at the house my parents have lived in more than 30 years. Just thinking about it, memories spout like the tap’s turned on: stowing my kiddo under my arm after each meal, piloting them over to the sink and splashing off the baby food, then carrying them through to the breezeway to play with the wind chimes hanging there. “Bell” became one of their first words.

Or there’s the bathroom sink. The bathroom has a built-in storage unit, with a deep countertop separating us from the mirror, so we used to climb up on it to get a good look. And just because we could. My sister and I would be on and off the counter quite a bit while we brushed our teeth, until Dad got fed up of us thumping down from it and came in to show us how to set ourselves down lightly, “being dignified.” He climbed up himself and disembarked, making dramatically prissy faces for us all the while.

I’m taking care to include memories like this in my daily scribbles, since we can’t assume we’ll keep them forever. But I don’t want to get lost in them either. My New Writing Place Summer Challenge is about noticing the unexpected and finding new ideas. I don’t know if it will work, but I do intend to shake things up a little.

What writing locations can you try? Do you think it makes a difference?

Artefacts of a Story

This Week’s Bit of String: Milkweed cradles and postage stamp paintings

As a kid, I never threw away a pencil. Each had its own personality, as I used them up to lengths which would correspond with their ages. From assigning names and ages to pencil fragments and little boxy erasers in first grade, I progressed to grouping them in families.

By the time I got my own room at age eleven, I was ready with cardboard shelves and my entire top drawer. I made a town for my pencil families. They had scrap blankets and I would put plastic sheets from envelope windows to serve as windows cut in the cardboard. I saved milkweed pods as cradles for the shortest pencil nubs, and padded the bottoms with satiny milkweed tassels. I peeled stamps off letters and stuck them up as paintings in the pencils’ houses, reflecting the residents’ professions and talents.

*A more recent artefact. It’s very rough but this mansion WILL have two libraries.*

Naturally, you don’t grow a whole town in your bedroom without the relevant paperwork and a whole lot of backstory. My town was populated by people fleeing the nazis; it was hidden in the Polish woods. In seventh grade, I wrote a few hundred pages on the refugees’ adventures.

I tracked names and ages on an extra-long sheet of yellow legal paper: my census. I remember misplacing it one evening and wandering through the house saying, “I lost my census!” It was easily misheard as me losing my senses.

I’ve always loved a book with a map or a cast list at the beginning. Any visible evidence for the world I’m about to enter is most welcome. We had a poster map of Narnia up in our house when I was little. Did you find supplemental artefacts for any of your favourite stories?

Distraction or Inspiration

Creating meticulous artefacts to go along with our works in progress can be an essential step in story-writing. I often curate a soundtrack of theme songs to keep me going. For my Eve novel, I wrote out genealogies and calculated the exponential growth of the population as generations progressed.

In the early stages of writing a new novel, I’ve been creating detailed character profiles, and an aristocratic family history as well as highlights of a contemporary artist’s catalogue. I think the novel will take place in a half-finished gothic mansion, so I am inventing the history of the house as well as sketching a sort of floor plan. I’ve never done this before and it’s quite fun. How big shall I make the library? What view shall I give it?

*I visited Woodchester Mansion, a local unfinished gothic estate, for inspiration.*

I need to know how things look and where everyone is within the house in order to chart the action, so these things are important. They’re also, in a way, a bit easier than studying the character profiles and considering how they might extend into novel-length trajectories. For me, the hardest part of writing a novel is ensuring there’s a clear, engagingly-paced beginning, middle, and end. Making extra planning documents and visual representations puts off that moment when I have to figure out whether this idea really has the stuff of books.

Useful Daydreams

As writers, we can be prone to fantasies which we’ll never bother writing down. It may sound indulgent to spend time on bits and pieces which will remain in the background. Maybe they’re just decorations for the more integral structure of the plot.

But writing a novel is very hard work. It might go better if we like our characters and scenes enough to while away hours imagining them. We’ll be spending a lot of time with them anyway.

For me, the supplementary bits I do become more than planning tools. The soundtracks I piece together, for example, catapult me at an accelerated rate into my character’s mindset and the mood of a scene. I haven’t developed a soundtrack yet for my upcoming work-in-progress and I’m looking forward to listening and experimenting with what might fit.

As for the paper artefacts, the blueprints and maps and family trees, these ground me in the story rather than just in the plot. In the adult world we still desperately need those fragments which bring the imaginary to life. These are the threads we can snatch–little baby pencil stubs, fantastical maps, fraught genealogies–to connect us to new worlds.

What kinds of artefacts do you use to accompany your creations?

Persuading

This Week’s Bit of String: A particularly arduous apple pie

Who doesn’t like apple pie? My Year 10 student who was supposed to bake one for Hospitality and Catering, that’s who–or so he claimed. Much of the time, practical work is a fight with him, sometimes even more so than written work. Last week, we made pastry without too much bother, but he refused to make the filling and construct the pie the next day.

I tried impressing him by peeling one of the Bramleys in a mindblowingly long snake–must have been nearly two feet of apple peel. I pointed out that everyone else is doing the work, and he must do it too. I threatened him with workbook pages, and with his keyworker in all her high-heeled, jewelry-spangled, Welsh-accented glory.

He in turn employed the persuasive techniques of emotive language, hyperbole, and sheer high-decibel whining. “I never get to do what I want! You can make me do this but I won’t enjoy it! You’re forcing me to do this, and now I guess I just won’t eat anything tonight.”

“What are you talking about? You’ll still get your dinner.”

*Obie the kitten attempts to be persuasive about rummaging through bags of groceries*

“Apple pie is so disgusting, I’ll lose my appetite forever!”

He realised I wouldn’t give in, so he helped chop the apples and then poured the sugar on and stirred. Then… “Miss, do you think I could taste one of those?”

Of course. He popped a bit of sugared, spiced apple in his mouth. The tension retreated from between his brows, and the corners of his mouth rose slightly. “Mmm!”

Every time, every bloody time. We fight, he finally does the thing, and then finds he likes the thing.

Effort, Innit?

I have to do a lot of convincing while at work. It often feels futile, fighting apathy with logic. “Yes, I know you’re tired. But we’re all tired and we’re all still here and the trick is not to expect that you won’t be tired, but to know how to keep going anyway.”

“It’s effort though.”

Secondary school students are taught persuasive techniques and even examined on them at the end of GCSEs. Some of them can rattle off HADAFOREST quite well (if you know, you know) but the linguistic devices don’t necessarily serve them as methods for getting out of work.

I worry that one day my strength for the constant battling will dry up. One can hardly have an inexhaustible store of enthusiasm in the face of supreme reluctance–not that all my students are reluctant, nor that any one student is reluctant about everything. There are so many factors.

But it can be draining, and then to come home and try to do writing work… Sometimes my mind starts sounding like one of the kids: “A synopsis, seriously? Ugh, that’s effort. I can’t be bothered.”

I do bother, of course. I love my book and I’ve worked so hard on it, I’m ready to start querying agents and I don’t want to back down now. I have synopses (longer version and shorter version depending on submission guidelines) which I don’t hate, in fact I even kinda like them (let’s not get carried away lest I overthink and question the whole thing). The Gospel of Eve is brilliant and funny and heartbreaking, and the pitch for my cover letters is fricking awesome.

Winning Hearts and Minds

Retelling the creation story from Eve’s point of view. I tell people what I’ve written and they say the pitch writes itself. There are plenty who want to hear fresh angles and to consider unheard motives. Retold myths is practically a whole genre now, with Jessie Burton’s Medusa on the Carnegie Award shortlist, and Madeline Miller’s Circe a massive hit from a few years ago. Natalie Haynes is an expert in this field, while Margaret Atwood and AS Byatt tried it out too.

*Even without fruit, trees are so inviting…*

Comparative titles for my cover letter: boom! Done.

It’s been handy to have widely-known source material to cite, but I can’t assume everyone knows about the Tree of Knowledge of Good and Evil, or about Cain and Abel. All those things will be revealed in the flow of the plot, but my main focus is relationships, and reimagining the first ones.

What would it be like the first time a baby was born, the first time people argued, the first glimpse at disability, the first non-heterosexual union?

That’s a lot of weight pressing down on one human. I’ve gone for a spirited, perhaps anachronistic tone though, with pithy observations and selection of detail that shows the light side of life as well. Eve has to persuade people all her long life, and humour is a great device. This is the story of her persuading her family to keep loving each other no matter what, and given that one of her first persuasive acts was inviting Adam to join her eating forbidden fruit, people aren’t always inclined to listen!

First woman, wife, mother, and sinner–supposedly. However, given that even a stroppy adolescent can’t resist tasting a bit of apple he claimed to despise… Mightn’t any one of us humans have stepped out of line if we were given the first opportunity to do so?

What persuasive devices do you use, on yourself or on others?

Looking the Part

This Week’s Bit of String: Ewoks and hippies

For the first Literature class I took at university, my professor resembled an ewok. He was gentle and diminutive, with a pointed snowy beard in place of a neck, and he would pace the room in a curved trajectory as he delivered lectures on Early English Literature or Science Fiction. Soft-spoken but passionate about his subject, he would pause when he’d gone over something significant, and tilt his head, his black eyes twinkling, and say “Hmm?” as he gave the sleepy morning classroom a moment to consider.

Another Literature professor paired silk scarves with sweatsuits, and when she felt she’d offered a particularly profound insight, she’d raise her hands palms up and intone: “Mmmmm!” as if she were a medium for divine inspiration. And I took a British Victorian Poetry class from a woman in her twenties who insisted, with poor reception, that we write “womin” instead of “woman” and “womyn” instead of “women.” She was brittly nervous and read us Sonnets from the Portuguese with her arms clasped across her chest.

At university I relished the quirks of our instructors. There wasn’t a uniform vibe about them; they were quite individually eccentric. I’d had an idea that all writerly folk would be like the storyteller who used to visit my elementary school. She was a hippie type, with loose printed clothes and glasses and long fingers. She liked to sit us in a circle, lights dimmed, and always began by telling us how when people listen to a story, their heartbeats synchronise into a united rhythm.

It’s reassuring to think we can be spectacularly unique yet somehow fit in with a class of creative people. I say reassuring because I sometimes get dispirited by the headshots and bios in hit novels. Young faces with perfect hair. Masters degrees from top-tier universities. A lot of us are slogging through the working world and life overtakes us.

Props and Costumes

How then do we identify ourselves and others as writers, when there’s room for so many types? I doubt my students look at me and think I’m a writer at heart, apart from when I subject them to some dorky etymological or literary tidbit. I don’t have a caffeine or fancy pen addiction, so action figure Mrs. Parker does not come with cute travel mug and posh stationery.

The writing life is partly about accessories. We hoard notebooks and probably have strong opinions about pens versus pencils (the latter for me!) Mugs and hot drinks, window views and scented candles or essential oils, Twitter handles, background music and feline companions join the Generic Writing Starter Pack.

We may have to dress warm, lest the cold in our Bohemian writing garret doesn’t sicken us. Or dress fashionably for writing in a cafe. If I’m writing out of the house, I’ll be hiking there so my outfit will include muddy trainers, a hoodie, and earbuds. If I’m in the house, it’s probably really early morning and I’m in my pyjamas and again, a hoodie. It’s not glamourous, but there is a thrill in having something so important to say, it can’t wait till the world wakes up.

Looking honestly at it though, I work best when I’m properly sat up at the dining room table and dressed to feel awake. I’m best if I’ve eliminated the possibility of going back to bed for a catnap at 9, when I’ve been up at 5. A hot drink is good, and a candle with a stiff refreshing scent–I love something woodsy.

More Than a Feeling

These things sound trivial when stories need telling; these trappings of clothing and seating and utensils. But it’s worth a lot to feel like a writer. Our solitude can be pervasive, and successes sporadic. We are storytellers and we need to first convince ourselves that our voices are significant. Weaving some sort of authorish aura around ourselves is our first essential persuasive task.

*One of my favourite candleholders: the Snowball, from Sweden.*

I imagine being the classy sort of writer who drinks earl grey tea and can write for hours in a cafe wearing stylish blouses and boots without the need to curl up somewhere quiet with a brownie. Wouldn’t I be cool? Then again, being a hoodie-type writer suits me because it connects me to so much outside my writing: my busy Teaching Assistant work, my family, my love of walking and exploring. Those inspire my writing and I’m proud to be tethered to that reality.

Of course, we don’t want to be overly dependent on our image, even if we think we’re cultivating it for our own sakes. A great story can be told as well on a beat-up laptop as in a leather-bound notebook. Our writerly props may motivate and inspire us, but without them we can still bring stories into being.

Feeling present in ourselves and in our writing is perhaps the best accessory we can acquire as writers, whether we wear blouses or sweatsuits or snowy beards. I say being present instead of being confident because who among us will always be confident? We can use insecurity and anxiety in our creative process to convey those aspects of the world, we just need to face them honestly.

Do you have writerly accessories that feel essential? What’s their story?

What’s in a Name?

This Week’s Bit of String: A little baby cat

We got a 4-month-old kitten a few days ago. I will try not to go on about him too much–the photos should speak for themselves–but I’m smitten.

Getting him relatively early means we can rename him. Goodness knows if he’ll respond to it; how powerful can a verbal moniker be compared to Dreamies and feather toys, cardboard boxes and head rubs? But the process of choosing a name was exciting and also, in a way, revealing.

I viewed this as acquiring a new family member. So the name had to fit with our family culture. That’s not something I actively think about, and this caused me to consider it.

Naturally, our family traditions and favourites are a transatlantic mashup of American and British. Should I call the cat something to connect him with my home country? I liked the name Cricket, since he is black like the crickets in New England whose song I associate with home. And as he finds his voice, Kitty McKittenFace has revealed himself to have a crickety little chirp. But the name didn’t fully suit him.

I didn’t want a conventional black cat name, not even Inky or something with writerly implications. A literary name, that would do. A Shakespearean one even, given we just had a grand time in Stratford-Upon-Avon and the Royal Shakespeare Company theatre. No one with a tragic fate though–that eliminates a fair few of the Bard’s characters.

We settled on Oberon. The cat has a royal bearing, I think. We can shorten it to Obie, and link it to Star Wars as well if we see fit. Our Obie does have quite a stare; you’d think he was trying to use the Force on us in order to get his food bowl filled. (Scifi and adventure films are another part of our family culture.) And if he turns out a bit standoffish–which so far he is not, much to my excitement–we can call him ObeRon Swanson, for one of our favourite Parks and Recreation characters.

Character Names

Finding a title for a story can be loathsome. Nothing seems quite right… But naming characters is more painless, even enjoyable. There are so many connections you can make with a name, so many clues for readers. For example:

What: What does the name mean? Courage, humility, purity, illumination–lots of names have meanings like these and they can give a hopeful note to a character’s trajectory. I used to attach importance to this as an adolescent writer, but on the other hand everyone is brave, humble, pure, and illuminating at times, so we can’t lock ourselves or a character into any one attribute.

When: What does the name say about the contemporary events of the story? Is it a trendy name given by up-to-date parents, or a name that reflects indifference to fads? On the 2nd of November, 2016, we bought our last pets before this one–a pair of guinea pig brothers who took up residence in our lounge for the next 5 years. With the [now infamous] American election a couple days away, my husband and I wanted to name them Barry and Bernie, but our kiddo chose Fred and George instead. Mischief managed!

Where: Where is the name from? My name is Russian because my dad loves Russian literature. I have no Russian heritage. But it says something about the family who raised me, and introduced me to all sorts of art and literature. As I’m looking into my next project, I want one of my main characters to be an immigrant with a name that gets shortened to Nil, drawing inane comments now that she lives in the UK. I haven’t found a name that fits these particulars yet. Would it be culturally insensitive if I made one up? It’s funny, the notions we get stuck in our heads.

Who: Who else has this name? Often names come from a family history, but they might link to other figures also. I have a draft of a dark comedy story where some celebrity parents name their kids Ursula and Gaston, after Disney villains to shock people with how enlightened they are.

Why: Why was this name given to them–not by you as the writer, but by whoever named them? Writing my novel about Eve, I kept reading the Genesis account of creation. She’s only called “the woman” until after Eden. That’s not as outrageously disrespectful as it sounds though, since all Adam’s name ever meant was “the man.” If they were the first humans on earth, their species and gender would need no further specification.

How: How do others react to the name, and how does the character feel they are living up to it? I don’t usually give characters unusual names, because I have one and it complicates things. How people respond to my name reveals something about them. They might force it into something they know, like Natasha. They might immediately forget it rather than attempt pronunciation. Or they might say, “How unique. I’ll definitely remember that.” It makes things interesting… Maybe I will use such observations in a story one day.

What’s your strategy for naming characters? Are there any character names you’re particularly proud of?

Transferring Power

This Week’s Bit of String: Exclamation points and everything

Disappointment stirs among some of the A-Level Creative Media students. One of their teachers has been unwell for several weeks, and they miss her.

“She’s STILL not back!” This statement greeted me on Monday morning. Wide-eyed, the Year 12 girl explains, “And we sent her a get well card last week, so it’s just rude not to mind it. We put an exclamation point on and everything. That makes it a COMMAND.”

She’s half-joking, but I suspect they did hope their greeting would have strong restorative powers. It made me think a bit about power dynamics. When we ask someone–or even tell someone–to do something, we may think we’re wielding control, but in a way we are giving it away because we rely on the other person to comply.

Back to the Roots

Interestingly, the word “command” is rooted in Latin for to order, but also to entrust. That’s reflected, I suppose, in our English phrasing: To give a command. We extend an order to another party, but it’s then up to them if they take it. The power is not entirely with the person giving the commands.

This sort of control exchange is on my mind because… it’s submission time again. I only have a limited number of short stories, and I’ve thrillingly just had one accepted. (It’s super fun and you can read it here!) My semi-depraved brain only rejoiced in this for a few hours before starting to panic that this means I don’t have anything currently in the Out on Submission column of my writing spreadsheet.

It’s time to start all over again: researching publications and competitions, editing and wondering if I’m going in the right direction at all, amending format to the exact requirements, drafting cover letters, etc. And then, waiting, very possibly getting rejected, and then repeating the whole process.

You know the drill.

Putting the “Mission” in Submission

To psych myself up for this (and maybe I can psych some of you other writers up in the process!), I looked into the etymology of the word “submit.” There are a lot of connotations to this word: religious, marital, and so on. Indeed, the Latin root means just what you might respect: “to yield, lower, let down, put under, reduce.” It does feel sometimes as if, when we submit our work in hopes of publication, we are prostrating ourselves before an almighty authority.

But separating out the sub- (under) from the -mit gives the idea more nuance. We forget sometimes how that second half of the word means to send out, to release, to bestow. While submitting our work does leave us vulnerable, it’s the primary route available in order to share our gifts with the world.

Sure, it would be nice if acceptance were guaranteed. I remember finding it really tough to convey when my child was little that just because they used their newly-learned manners, it didn’t mean they’d get what they asked for each time. “But I said please!” they might insist, when a request to stay up later or to have more “clockit” (chocolate) was refused. As John Green wrote in The Fault in Our Stars, “The world is not a wish-granting factory.”

As writers and artists, often particularly sensitive and empathetic people, our mission tends to be deeper than getting recognition for ourselves (although given the hard work we put in, that’s definitely part of it). Maybe we want to illuminate darkness, amplify silenced voices, add beauty to the world, or make readers laugh. That’s the mission, it’s why we send forth our work into the world, and our successes are worth the many failures.

How do you encourage yourself when it’s submission time?

Lost Darlings

This Week’s Bit of String: The adventures of Bugs and Daffy

Bugs Bunny and Daffy Duck have it easy these days. They lie about in a languid knot near the pillows of my kid’s empty bed. In years past, they were subjected to all sorts of wrestling matches. They even had a go at cheese rolling; after a family outing to this inimitable Gloucestershire tradition, our Bear was inspired to throw a Baby Bel cheese down the stairs, and toss stuffed animals such as Bugs and Daffy after it, keeping score of who got closest.

When Bear started secondary school, and we reorganised their bedroom, I asked if we should thin out the crowd of stuffies huddling at the foot of their bed. “But they’re my friends!” objected Bear.

This didn’t last forever of course, and for the latter teen years, there were only three stuffies on the bed. Bugs, Daffy, and an old one of mine, Barney T. Moose (the T stands for “the,” of course). When Bear moved across the ocean, Barney went with them. Bugs and Daffy are holding down the fort, so to speak, and the other “friends” are in a very close-knit, backroom box-dwelling community.

*Boxed up! Treasure trunk in a charity shop window.*

Great emotional upheaval precedes a clear-out. I don’t know if it’s actual grief for previous incarnations of my little Bear, or if it’s the anxiety that grief will come. But I always end up so busy that after each massive overhaul, whatever I’ve boxed up does not prey on my mind. I don’t step into their vacant room and mourn the fact that Brown Puppy and Big Baby aren’t still on the bed. Not most days. I accept that life moves on.

Ruthless

These are the sorts of things I tell myself when another editing session looms. Bits I’m fond of will get boxed away. I’ll feel anxious as I cut and paste lines I like from my manuscript into my Rejected Quotes file.

But when I go into this file, I see segments pared from the last edited piece, a year or two ago. I’ve never developed them further. I forgot they existed. Yes, they’re good lines, but by now the story’s already made it into a magazine or anthology without them.

For me, preserving cut lines doesn’t actually benefit future work. It just enables me to feel ok about removing them from the current one. It’s like a little security teddy to cling to while I do the scary revision.

Have you ever turned cut lines or ideas from one story into a whole new project? Maybe I’m just not organised enough.

We are told to “kill our darlings” when editing. Don’t get too attached to passages you crafted, because they might not turn out to be relevant to your story’s core. Simply being well-written and liked by the author doesn’t justify being in a story. I’ve written recently about making writing fun, about throwing things in like a library scene or a favourite snack or song… those things can help keep us writing, but we can’t necessarily keep them in our writing. Sometimes temporary aids or fixes are an essential but impermanent part of the work.

It’s like growing up, isn’t it? The threadbare stuffed animals, the books read down to raggedness, the forays into sports or music. For a while we think we couldn’t live without them, but they may be less vital as we discover who we ultimately are.

Balance

I’m currently editing my manuscript for The Gospel of Eve. It’s hard to put a number on the edits because there are certain parts that I’ve gone over and adjusted countless times. As a whole, it’s the fourth comprehensive, planned revision.

*This statue in Malmo, Sweden is called “Mother.”*

Usually with my first big edit, I have an eye on the word count. I can’t help it. I get so worried about excess weight, I’m seeing what I can cut. With the second, I firm up characters’ trajectories. Then I have to go through again and see if it makes sense, given everything I’ve trimmed out. This time, I am again checking it coalesces around a theme.

I seem to swing from trying to cut, then needing to add… And all the while I’m wishing someone would tell me what’s right. Am I overexplaining, or being too cryptic? Introducing too many characters too fast in my rush to kick off the action? It can be so lonely, trying to get it right with no guide.

Rather like parenting. Not that books are where near as important as people, but the creation process has its similarities to parenting. How much do we push and lead, how much do we let our kids take their time and figure things out on their own? This happens to be a central issue of my book. Eve, as the first mother with only a sometimes-terrifying God as parental model, tries to discern how much freedom to allow her children, unsure how much she really has herself.

How do you go about editing, and capturing nothing more or less than the most important part of the story?

Character Interrogations

This Week’s Bit of String: Practising Descriptions

It’s a cover lesson for our neediest Year 10 English class, and on a Friday afternoon no less. They’re supposed to practise personification and metaphors, and build descriptive skills. By the very end, I manage to wrangle a dictation out of one of the boys at the back for a paragraph describing a beautiful woman.

Me: “What’s she wearing?”

Student: “Uh, she was wearing a thin layer of duvet.”

Me: “…You do know what a duvet is?”

Student: “Yeah, like a thing women put on when they get out of bed.”

Me, suspecting he means negligee or some such but not really wanting to get into it: “Okay, erm, so what are her clothes doing? Do they flow when she moves? What do they flow like?”

Student: “Like a, like a bowling ball.”

*Could the sun be rising on a beautiful friendship with your characters?*

So we have a beautiful lady wearing a heavy quilt that flows like a bowling ball. At least she was clothed. Another boy kept begging me, “Can’t she just be nude?” Nope!

It’s not easy introducing characters: describing them, engaging readers with them, not oversharing. But when you’re just coming up with them, before you have to make them presentable to anyone else—that’s quite fun, don’t you think?

Starting Points

I used to start my project planning by delving into the most dramatic details of the protagonists’ backgrounds. I would use a three-pronged Harry Potter-based method: Boggarts, Dementors, and Patronuses. In other words, what was the character’s deepest fear, their worst memory, and their most happy memory.

Very important things to know. But as pivotal as those things are, they don’t control every waking moment of our lives. We’re a lot more than whatever traumatises us or even whatever gives us hope. Of course we add in interests, goals, family ties… But I think too, what reveals a lot about a character is their Default Setting.

What do they think about when they have nothing to do? Is there a daydream world they go to? Do they get caught up obsessing over past mistakes, or planning the rest of their day down to the minute? Do they play music for themselves in their minds, or play back favourite stories? That’s quite relevant to how a character presents themselves.

Rounding It Out

Thinking about it, a woman rolling out of bed dragging her duvet and it feeling like a bowling ball is pretty darn relatable. I might tune out if my student started droning on about a fabulous woman in an evening gown. When we’re creating characters, quirks count for a lot. A flaw can be so much more interesting than heroism.

Since I’ve been indulging in pages of possible character backstories and tastes and foibles lately, I keep thinking of two things. Firstly, there’s a wonderful speech in American Gods by Neil Gaiman, in which a young woman reels off a random list of things she believes, from firm opinions to preferences to faiths (full quote here). Secondly, and very differently, the quirky mini-bios created by Hercule, a Pet Portrait artist on Facebook. I know that sounds weird. But trust me, have a look and have a laugh.

*I wonder what Hercule would have made of these floofy potatoes.*

How do your characters like their herring? Hercule often makes sure we know whether the pets he sketches prefer their herring Goth or elasticated (?!). What can your characters absolutely not stop themselves from doing when the opportunity arises? What beliefs resonate with the deepest fibres of their beings?

Planning for a potential long project like a novel, it helps if I really like my characters. Or at least, if I find them fascinating. We’re going to be spending a lot of time together; I want to make it as enjoyable and motivating as I can. Yes, my characters will go through hard times and at some point, inevitably, disappoint each other or themselves. But if I’m going to list the random things I believe in, my characters had better be included.

So, if we’re trying to make our writing fun, I suggest treating your characters like friends. Sit them down and ask questions that might not have anything to do with your plot, but could have everything to do with your relationship, and your passion for continued writing.

What would their favourite childhood books have been? The songs or artists that helped them survive their teen years, the movies or shows that recharge them in adulthood? What’s the kindest thing someone ever did for them, and the cruelest thing? What’s their favourite way to eat cheese, and how do they like their chocolate? Do they have a favourite thunderstorm memory? A favourite seaside one? Who would be their ideal animal sidekick, what would they most like to be famous for?

I hope you have a great time with your characters this week!