Stories – Nastasya Parker

Asserting Authority

This Week’s Bit of String: A new monarch in town

“How do you spell author?”

“A-U-T-H-O-R,” I obliged the boy. My family was providing childcare for another family from church. Their oldest was maybe 8 at the time, not quite a decade younger than I was. I always had a soft spot for him, found him gentle and reflective.

We were at my parents’ kitchen table, colouring. The boy had decided to make a picture book. I was probably doing homework, and wandered off after a while on other pursuits.

*Me with the crown they gave me (ok, not just me) at Goodrich Castle*

Later on, my brother told me our young guest had written his book. It was a kingly tale of Arthur and his knights. Only, when I’d assumed the little boy wanted to spell author so he could do a little “About the Author” page, he was actually asking me how to spell Arthur.

I had caused him to create an entire picture book about King Author and his glorious feats of derring-do.

This made me giggle, and it’s resurfaced in my memory as I plan my next novel. In a way, is an author a monarch? Do we rule over the kingdom (queendom, perhaps) of our imagination?

Uneasy Lies the Crown

Writing, as with any truly driving creative endeavour, is a tough gig. You want to express yourself genuinely, but you want to be widely accepted and received. It’s emotionally bruising.

But what I really struggle with sometimes is making decisions, then forging on alone. It’s up to me to invent an entire story, develop intriguing, complex characters, then come up with plausible trajectories. In the words of King George III as portrayed in Hamilton, “You’re on your own…” There are certainly times when I imagine I’d like to have democracy, some sort of constituents to steer me.

*My very own fritillary, growing in the front garden*

The etymological root of the word author is ‘one who causes to grow.’ In fact, it has the same root as actor: a doer, a performer, an initiator. However, no one really does this solo. An actor takes direction and usually works with an ensemble. A gardener doesn’t cause a seed to grow all on her own; there’s sunlight and water involved. That’s why, as writers, we are constantly developing our ideas under the glow of other literature and art and the hydration of feedback.

In our writing, we also have characters to keep us company. While perhaps not as vocal and irascible as human voters in a democracy, they’re still more volatile than planted seedlings. You don’t always know what you’ll end up with, nor should you. At work, our Art students are heavily cautioned against deciding too soon after receiving their exam brief what their finished product will be. It’s called “design fixation” and it would lower their grade. Instead, they need to show evidence they’ve explored a range of ideas, researched various artists, and grown through the process.

Wrestling with Authority

So our creative work draws from all sorts of sources, and can evolve. We’re not creating free of influence, far from it. But it’s up to us to get things moving and keep them moving. We’re pretty important. It’s obvious, but worth noting that the word author also links strongly with authority.

For a lot of us, assuming authority goes against our nature. We might particularly shy from it when watching it run amok in current administrations with distinctly authoritarian leanings. (The term authoritarian was coined in the late 1850s, early 1860s–I wonder if it started in the US, and whether it was the South or the North first using it?)

In my job, I have to inspire respect from my students, but as a teaching assistant rather than a teacher, I can be friendly and nurturing too. There’s an added dimension this year. We have so many special needs students, we require quite the company of teaching assistants, too many now for the few medium-paid TAs to line manage.

That’s why at the beginning of this year, I became a line manager on half the pay grade required to manage staff.

The head of our department framed this development as potentially forcing the administration’s hand. Maybe one day, they’ll realise they have to pay us more. Seems unlikely; if they’ve got us doing it now, why change?

She told us: “I will do my best to make you believe this is worth your while.”

Those semantic gymnastics impressed me. I remain skeptical that there will be any financial value to the endeavour, but it showed me that even those with authority aren’t always comfortable with it. If she’d been confident about what she was initiating, would my head of department have twisted her language so tortuously?

Several months into being a line manager, I’m getting better at navigating the computer programme required and meeting the deadlines. The person I’m managing has valuable working experience and a masters degree, so my role isn’t to boss her around, it’s to help channel her tremendous strengths in support of our students and team.

That’s more like what we do with our creative ideas. We serve as conduits, not just despots. How do you exercise authority over creative endeavours?

A Creative Start

This Week’s Bit of String: “What shall we make?”

In our first year of married life, my husband started a Saturday morning pancake-making tradition with our little kiddo. While I hiked the hills, they’d make pancakes from a Jamie Oliver recipe, my husband fluffing up the eggs with a hand-cranked beater. Our preschooler helped measure and mix.

Despite them doing it almost every week, it stirred in our little Bear an almost unspeakable excitement. Early on a Saturday morning, they would plonk next to their dad in our bed and ask, wide-eyed, almost vibrating with elation:

“What shall WE make?”

The correct answer, of course, was pancakes. But it was as if it couldn’t mean nearly as much if Bear asked directly for them. They had to be Daddy’s suggestion, every time.

My husband would draw out the game. “Mandrakes? Bran flakes?” Until at last: “Pancakes!”

I often think of this when I’m starting a new project. That relish, that possibility. What shall WE make, I ask myself, summoning some semblance of youthful vigour.

Whose Idea is It, Anyway?

There’s a perennial hope, too, that the idea I work with may appear from an external source. I mean, to an extent, all ideas do. But as creatives we must at least invite them, if not invent them. We have to wake the muse from her blissful weekend sleep and badger her until she divulges something. When she’s sleeping extra tight, we must remind ourselves, perhaps, that we’ve known what we want all along.

Funnily, a lot of my story ideas materialise in the night. Sometimes between dreams and sleep, sometimes when I’m trying and failing to relax into slumber, a line pops into my head. What on earth does it mean? What sort of a person would think this? What happens next?

“My sister devoured the whole of history.”

“In the boys’ minds you left so fast, you didn’t bother wearing shoes. Just ran barefoot down the dirt road.”

“As a boy, Tom believed every grandpa came with a matching grandfather clock.”

It is possible, when interrogating a line or an idea, to over-beat it. I devise so much backstory, I lose sight of which bit I might zoom in on to convey the pivotal moment that is a short story. At the moment, I’m trying to find my way through that predicament with my third random short story of the year.

Traps and Tricks

Similar to making their dad suggest pancakes anew every single week, our Bear had other funny, roundabout ways. When we went on walks, they’d try to make my husband chase them. They’d stick goosegrass on his clothes or sneak up and tickle him.

Then our kiddo would say, “Do you want to catch me? Do you have any traps for me?”

They’d be hopping in place, not wanting to run away because they loved the game of being tackled and tickled, or dangled upside down.

That’s another great challenge when concocting something new. It must be exciting, but we can’t force the stakes. Sometimes an idea remains just a concept because I can’t work out how to nudge it toward a plausible, engaging crisis. Embarrassingly, I’ve developed and drafted whole novels only to feel the climax falls flat. Does that happen to other creatives? Or do they have more exciting imaginations?

Maybe I need to add more ingredients. More dark secrets, a love triangle, a dragon? But not necessarily. I might just need to be bolder, to more fearlessly mine the ideas I have, and to get messy with them. Currently planning a new novel, I’ve got my characters’ flaws in mind from the beginning. Sometimes I like them so much I’m determined to keep them blameless–not this time.

Creative habits are hard-won. I’m proud that I sit down at the end of a long day and push myself, wearily, to make up stuff. But it needs to be fresh, too, and that’s one reason why I like remembering our family tan-snakes…scran-bakes… PANCAKES tradition.

What makes you smile as you craft chaos into order?

Enduring Power

This Week’s Bit of String: A pleasant surprise

Sometimes it’s hard to remember in the chilly grey exhaustion of January, but my family had a great Christmas. My husband and I decorated the house all cosy, I cooked many yummy things, and we welcomed our kiddo and their partner for an extended visit from the US. We spent relaxed, happy days together, which became even lovelier when they got engaged.

I didn’t see it coming. They look after each other and live together, but somehow I did not expect an engagement, even when they’ve been a couple for years. I suppose this naivete was largely down to my own self-perception: Hang on, I’m old enough to have an engaged kid?

The surprise has faded a little, but I’m still tremendously excited that my little family is slated to officially grow. Whenever I see someone who knew my kiddo when they were at school, for example, I update them with relish. And I’m not the least bit tired of it yet.

I’ve written before about the worry that a memory’s power might get used up or worn out. And I am thinking about this again, wondering whether I should guard the engagement news to keep it feeling shiny. Right now, I still get sharp pangs missing the kids when I walk past their empty room. Maybe that will fade, but does that mean the happiness about the times we had will too?

Keeping News New

This relates not just to the stories we want to pass on, but to what we take in. As an alarming presidential term begins in my native country, I’m wrestling with how much to let this consume me. Twitter is a mess of partisans either hyperventilating over or ogling Trump, very little use, whereas mainstream media talking about him like he’s normal nauseates me.

This man lacking empathy, intelligence, and morals was elected president, partly due to a lack of information getting to people about him… or indifference of those people to the information that did reach them. When a leader seems constantly to be making things worse for somebody, often for one minority or another, it’s difficult to keep impressing that upon others who have the privilege of just getting on with their lives.

By definition, we can’t be shocked by the same thing in perpetuity. We all know a person or two who’s a last story freak; who always has a prevailing trauma or a story that tops all others. As a storyteller myself, I’m liable to fight fire with fire and hyperbole with hyperbole. Telling stories becomes a bit of an arms race.

My plan for not getting caught up in it when actual current events feel like they’re escalating is to stick with the facts. Let’s monitor and respond to the ruling party’s actions, not their pervasive rhetoric.

Capacity for Astonishment

Recognising that even a glimpse of the inauguration would be intolerable, I sorted myself some alternative programming for Monday after work. I watched one of my absolute favourite films: Spielberg’s Lincoln. It has a Tony Kushner script and a massive cast of incredible actors immersing you in 1865, when Lincoln decided it was time to amend the Constitution to ban slavery–even if it prolonged the horrific Civil War.

*Different from the 13th Amendment, but still very cool. From the British Library.*

“Is this a hopeful film to watch today?” my husband asked.

“Well, it shows that even when our history was cruel and selfish, some people managed to overcome it.”

Although I’ve watched this film at least annually for a decade, it still moves me to tears several times over. From the first scene when a defiant David Oyelowo repeats the Gettysburg Address, to Tommy Lee Jones taking the freshly-passed 13th Amendment home to share with his partner, to the final departure of Lincoln from the White House. Watching this again, I know that sometimes, a retelling actually grows in potency thanks to our anticipation of the best bits. A passion for something can spiral, heightening enjoyment still more.

It also gives me another tip for keeping a story fresh: broaden the cast. The more voices we allow to speak about something, the stronger a story is.

What stories do you love to repeat? How do you maintain their power?

New Pleasures Prove

This Week’s Bit of String: Tale of two benches

Last Saturday night we went on a date. We got dinner from the chippy and sat in the rare clear evening on a bench above the car park.

“Like two yoofs,” my husband said as we popped open our cans of Rio tropical drink. “But without the cheeky ciggy.”

After our chips, we did a cultural about-face at the town cinema watching a broadcast of the National Theatre’s excellent The Motive and the Cue. Based on diaries from when John Gielgud directed Richard Burton in Hamlet, it made us want to see the actual 1964 production. It was my kind of nerdiness and luckily, my husband was all for it.

I remembered when we first moved to the town, new to the area (in my case, new to the whole nation) and unsure how to entertain our 3-year-old. We wandered up to a school playground on a typical cloudy afternoon. A plain, plasticky bench had a slightly rusting plaque: “In memory…” and a person’s name.

“Not the most flattering tribute,” said my husband.

“Well, it doesn’t say ‘In loving memory’ or anything,” I pointed out.

That made him laugh, and I felt smart and seen for a minute. That didn’t often happen in the first months as an immigrant and wife.

This week is our 20th anniversary. We’d used a John Donne quote from “The Bait” on our wedding invitations.

“Come live with me, and be my love, And we will some new pleasures prove…”

I didn’t really have an idea what those pleasures would look like (does anybody?), and it took us a while to find the confidence and freedom–and economic stability–to come up with the successful melding of tastes like we had last week.

If That’s All We Have

It took time. Two decades ago, our wedding song was Louis Armstrong’s “We Have All the Time in the World,” from the James Bond film On Her Majesty’s Secret Service. That is my husband’s type of nerdiness: gadgetry and fast cars and also outer space.

When we met and I was nearly 20, I was keen to lose myself. The movies we watched were ones he thought I should see, and I was thrilled to be trusted with them. We had 20 days together—weird how this number keeps popping up today—between meeting and my return from Old England to New. At some point in that mad rush, he played “We Have All the Time in the World” for me, and I was moved to the point of no return.

I’ve written about time before, though. It can be more romantic when you don’t have much of it, in the same way we sometimes use it better when we know it’s scarce.

When we said our wedding vows and I eventually sorted the paperwork for our kiddo and me to emigrate, the dream of being together became a promise. One of those takes more work than the other!

*Poses like these! New Orleans, New Years 2024*

The effort has been amply rewarded. My husband is a musician, so in addition to being immersed in James Bond and Star Trek, I get to be a jazz band groupie. I would never have imagined that my cautious British physicist would turn out to be a star poser for photos, or that he’d come along to Shakespeare performances.

Sticking with it for the amount of time that change requires is a small miracle. Other times, we swoop to each other’s rescue in an instant. That’s another miracle: when one vulnerable person reveals their desperation and their partner responds with care, no matter how lost and alone they too may feel.

Suddenly You Flare in My Sight

If a story equals character plus event plus time, there are infinite combinations. I come up with fiction ideas by asking “What if…?” sometimes about real-life situations, but not usually about my personal ones. Lately, though, I imagine alternative realities which would have unspooled had I made different choices.

We often liked to tell people, if they asked how we met, that we never would have if he’d been a moment later heading back to his uni, and had missed the train. But what if we’d met seven years ago, or ten, instead of twenty-three? If we met the same way, as students with no assets swiftly adding a child to the mix—we’d never have been able to live together as a family. The immigration laws are so tight now, they keep increasing the amount a British citizen must have in the bank to earn the right to bring an international spouse home. I ache for the people kept apart because of this, because of meeting each other a decade too late.

This helps me appreciate what we have, and I track our moments of delight in my daily scribbles. As favours we gave all our wedding guests copies of Wendell Berry’s poem “The Wild Rose.” He compares his longtime partner to a wild rose blooming… “where yesterday there was only shade, and once more I am blessed, choosing again what I chose before.”

There are so many twists in life which we can’t control, and always a fair few choices to regret. It’s nice to remember the ones we’re more than satisfied with, even—dare I say it—proud of. What surprising choices would you make all over again?

Trouble of Our Own Making

This Week’s Bit of String: Saturday morning movies

One of our family traditions was letting Mom stay in bed on Saturday mornings, and we’d watch a movie. This sounds simple, but we had to choose from our videotapes, mostly random stuff recorded from basic cable, plus Disney feature cartoons. I’m the oldest of four kids, with five years between myself and my youngest sister. Certain parties objected to anything in black and white, and it couldn’t be too “mushy,” and one gets creeped out by films with talking animals.

Whenever I vetoed a movie, my siblings would roll their eyes and admit annoyed defeat. “Oh sure, because they get in trouble.”

*This movie’s still a nope from me. But the local vet’s window display was very cute!*

It’s true, I was super sensitive about misunderstood characters in kids’ films, from Anne of Green Gables to Pete’s Dragon. Lady and the Tramp—I couldn’t bear that one (plus, it had talking animals so it was out anyway). It was the same with books: Curious George, for example.

I was petrified of getting in trouble for something I didn’t do, or even worse for something I did. I was the oldest child in a religious family, sensitive by nature, also traumatised by abuse. My dread of getting in trouble was so severe I couldn’t read or watch things where that occurred.

Causation vs Correlation

Lucky for me, in quite a few children’s films, things just happen. We ended up watching Peter Pan a lot (not the cartoon, but a slightly fuzzy tape of Mary Martin performing the lead in the Broadway musical). Plenty happens in that without the characters necessarily causing it.

It’s different as you get older. Characters must be autonomous, reflecting our quest for independence. This means everything that happens stems from protagonists’ decisions, overreaches, and failures.

Every crime-busting film from Miss Congeniality to Hannibal starts with the heroic detective disgracing themselves, and they must salvage their reputation. Every superhero film first establishes them as fallible; their powers are their only shot at redemption.

*We love wonky, flawed characters. But do we have to make them responsible for everything?*

Recently while I finished retyping my entire novel with new edits, I streamed Paddington and Paddington 2 to get through the copying. When I mentioned it to my youngest sister, she was like, “Wait, how do you watch those? Paddington gets in trouble all the time!”

Yeah, I kind of got over that. I had to, or else I’d never read or watch anything. Nor would I be working on my current novel, about possibly the most famous Character Who Gets in Trouble of all time: Eve, the original sinner.

As I edit the book, I’ve been reading about story structure. John Yorke in Into the Woods presents the prototypical story structure as a process of awakening. Initially, the protagonist does not deal well with revelations and things continue going wrong. I just finished Nikesh Shukla’s Your Story Matters, in which he emphasises the importance of causality: the plot springs from a main character’s action or deliberate inaction when faced with new knowledge.

In other words, the main character is SUPPOSED to make it all happen. It’s all their fault. They have to fall a long way in order to teach us how to get back up. Every protagonist, in a sense, is the author’s sacrifice.

Agency vs… Real Life?

Now that I recognise how it works, it’s stressing me out and reviving my aversion to characters getting in trouble. I put a film on and wait for the character to completely blow it. I’m anxious while reading because I know the protagonist is destined to screw things up.

*There are a lot of things bigger than our characters and us.*

I do like a domino plot, though, where each detail causes another; the way John Irving or Margaret Atwood spin massive tales of intricate characters and everything’s interconnected by the end.

As I go through my Eve book yet again, I’m wondering how to cohere the trajectory, Eve’s actions (or inactions) and their consequences. This is a myth retelling, so not everything is strictly in Eve’s control. She has God, Lucifer, and most chaotically, other humans to deal with. Plus, part of my reason for writing this is to repudiate millennia of condemnation. Maybe bucking the traditional structure is acceptable, or am I a bad writer if Eve doesn’t trigger every consequence herself?

I noticed that in Dune 2, the protagonist never fails at any new trick he tries. The developments in the plot are not of his own making—different from a Marvel film. Indeed, Nikesh Shukla notes that the character-triggered consequence story structure is a Western tradition. It makes sense, I guess, that main characters from other, more faith-based cultures have less agency to affect the plot.

We Westerners are obsessed with individuality—the downside being we can be persuaded that any trouble is our fault. In real life, it’s not. Not every time. How tightly do you like your plots linked to your character’s actions? Does it ever cause you anxiety, knowing a character is destined to get in trouble?

The Wind-Up and the Pitch

This Week’s Bit of String: Playground tales

My kid had quite a flair for tales with a twist. Only, I don’t think they meant to be suspenseful; stories just developed that way.

Once, after a solo trip to the playground, they weren’t very forthcoming as I asked about what they did. They didn’t get to climb much, or have a kickaround. It took a bit more questioning before they said, “I didn’t have time to do any of those things… because H was holding my head down on the pavement.”

Now, that’s a statement that will hook a parental audience.

Eventually, my little Bear explained that while they were climbing and swinging, one of their classmates and his big brother H thought Bear said something rude, and the boys tackled them. My kiddo ended up with a rather large local knucklehead sitting on their back.

Why the delayed reveal? Not for melodramatic reasons in this instance, but probably because Bear wasn’t sure what to make of the whole thing, and needed time before they could articulate such a shocking escalation.

Withholding Information

Deep into novel edits and following research into story structure, I’m still thinking about the most engaging way to develop the plot and the character trajectories. I attended an event a few years ago where the speaker said every story must have a twist, and that disconcerted me. I am not a mystery writer.

But this could be a twist of fate, a turn of events. There are so many types of suspense: suspense for the welfare of a beloved character, tension that an innocent may be misunderstood or that a character with baggage will trip themselves up into yet another mistake.

And there are reveals. Using first-person narration for myth retelling, in The Gospel of Eve the plot follows Eve trying to assert herself to her descendants without turning them against her. There are flashbacks interspersed throughout, building to her memories of taking the forbidden fruit, and essentially, losing two sons. I’ve saved the most well-known, pivotal moments for later in the book, hoping to build trust in the narration and suspicion that there’s a lot more to what we’ve been told before.

But it’s not just me stalling and building up. Eve isn’t ready to talk about it. It takes generations (people lived a long time back then, according to Genesis) for her to fully revisit what she remembers of Cain killing Abel. As with Marilynne Robinson’s Gilead, or other stories like Elinor Oliphant is Completely Fine, the speaker takes time to face up to things, and often events force them to as darkness comes to light.

Scaling Down

The balance between revelation and suspense becomes more confusing in extra tasks like crafting a pitch. At the start of February, I worked on a new, longer synopsis for a submission. A synopsis fully outlines the plot for agents/ publishers, so they know how it develops. It’s tricky working out which events to include and how to inject character instead of a dry summary.

A pitch is different: it’s shorter and you aren’t supposed to reveal everything. You want to hook an agent’s interest, persuade them to want more. (Why do we use the term “hook?” When a fish gets hooked, I doubt it wants to repeat the experience.)

Anyway, I spent the end of February working on a 100-word pitch. It needs to convey the character’s journey, establish the genre and setting, maybe include other titles for comparison, and preferably should all be done in line with the character’s voice.

Again, rather tricky. Ideas played through my mind, even as I did housework while listening to political podcasts. On an “Offline” episode, Jon Favreau (not the cinema Jon Favreau) talked about crafting difficult speeches for Obama. Sometimes, nothing seemed to work, so they’d rip everything up and restart from: “What are the truths we want to tell? Even if we can’t say it for political reasons, what are the truths?”

So I said to myself, “What do I MOST want to tell people about my book?” It took me a few tries, and it’s probably not totally there yet. But I kind of like it! Here’s the opening:

Fruit, fratricide, and feminism: Eve and her oldest daughter Ana retell the creation myth.
Think parenting is hard? Eve plots maternal interventions when at best, empowering her children could lead them to condemn her. At worst, her children will kill each other.

I’m not revealing anything that isn’t common knowledge. Hopefully I’m giving it fresh relevance, though. The fun thing with any story we start to read or to write is that we can never be sure where it will end up.

Do you have preferences over what gets revealed when?

Balancing the Dark

This Week’s Bit of String: Planet Buoy

On a rainy Saturday morning in St Ives, I’m shepherding 7 teens on a 2-mile walk with a seasoned photographer. We are nearing the end of our school Art residential; I’ve spent half my half-term supporting 3 very different students with autism.

The youngest one is only 14 and prefers to draw comic stories or animals in pencil, so through most activities, he’s put his headphones on and played games on his phone. That’s what he did through the photographer’s introductory talk.

The photographer has worked here in St Ives for 45 years. He says its popularity with artists comes from the “pure, North light.” Standing on a beach he tells me, “The sand in St Ives has a sheerness, and reflects that light.”

Just then, the youngest fellow patters over murmuring, “Miss, I took pictures of the beach.” With his iPhone, he’s captured the effect the photographer talked about. The reflections of the squished-together buildings across the bay appear over the sand in his photo. I compliment him heartily, and he’s off.

He creeps toward gulls, grinning, asking, “Scuse me, can I take your picture?” He aims his phone camera through holes in stone walls that no one else has noticed, sticks it into pier crevices to capture puddle reflections. One of my older students, herself a photographer with autism, is inspired by what he’s finding and so am I.

He finds a buoy, pulled up and stashed on top of lobster cages. I join him to capture its weathering with my iPhone. It’s like a planet, with rust crops and barnacle mountains. This young artist is showing what I’ve always found, that once we start looking around with a photographer’s eye, we pick up on so much more.

Balance

It’s like that with stories sometimes too. If we get into ideas mode, we find them everywhere. When I’m out and about, I take pictures partly to remind myself of strands of description for my journal later. Waves blooming around boulders, rust-fall streaming down the lighthouse, Planet Buoy.

*Pure light: View toward Chapel of St Nicholas*

The photographer we worked with, Chris Webber, makes me contemplate other similarities or counterpoints between the arts of photography and writing. He tells the students: “Your camera has a lot of dials and buttons, but at its heart, photography is about balancing the light. Don’t be intimidated by the camera. You control it. You decide what to shoot.”

It’s a mixed blessing to remember that amid the vast structures of a story, with so many interplaying elements we’re meant to orchestrate—we are the ones who control the pen (or keyboard). It is, ultimately, up to us.

I also wonder if a story, at its heart, might be as simple as balancing certain elements. Except that a story is balancing the dark. As storytellers we wield light and seek to not obliterate dark (because then a story might be dull or saccharine), but to balance it.

Letting in the Light

I read more about story structure and trajectory before my latest novel edits. John Yorke in Into the Woods frames this as a trajectory of knowledge (which suits my creation story retelling, since Eve allegedly plunged us all into sin by gaining knowledge). A protagonist is awakened to something, they experience doubt, they reluctantly accept, they experiment, it backfires, until ultimately there is a reconciliation of the new knowledge: a reawakening and a total mastery.

*Weaving: lobster nets on Smeatons Pier*

None of this happens without light, and the light would be ineffective if dark didn’t precede it. Presumably, God would never have said, “Let there be light,” if They’d already had all the light They wanted. As creators, we first shine light into a character’s situation so they have to recognise the dark they’re living in. They may react by being overwhelmed; they’re not used to this illumination. Ultimately, we mould the light into hope.

*Wishing you a torrent of creativity this week.*

Depending on the story, we’ll allow a pinpoint or a whole widening arc of light/ hope. Also, depending on the type of writing, we’ll show the whole landscape or do a macro shot. Chris Webber does dawn photo shoots and landscapes but also food shoots, for catering outlets. He showed my students a picture he took of a sorbet scoop: “Sometimes you don’t want your viewer to paddle, you want them to dive in.”

I’ll definitely keep that in mind while editing. Which bits are especially important for readers to plunge into? How do we direct the light while also bringing out the exciting details?

Seven Wanders of 2023

Hiking around and seeing new places inspire me as much as reading other writers’ work. I don’t necessarily end up writing new stories about the places I see, but glimpses of the spectacular keep some spark alive inside me when the rest of life seems a great stack of to-do lists.

Feeling like an adventurer in the real world can’t hurt our creative life, right? Here are some of my favourite explorations, why they ignited my imagination, and a smattering of my photos.

See also previous years’ top wanders: 2019, 2020, 2021, and 2022.

Festive Cirencester, Cotswolds UK

We gave ourselves a couple hours’ break between getting COVID in December and finishing work and sorting out Christmas and travel preparations. Cirencester is fairly local and its alleys and Cotswolds stone lend themselves well to the festive season.

A wander, the purchase of a jungly fern from a back alley shop overflowing with plants, and cups of hot chocolate at a specialty chocolatier renewed the season’s sparkle.

*Black Jack Mews, back alley plant shop, wreath of pine cone kernels and moss*

Widworthy Barton, South Devon UK

While staying near the Jurassic Coast in Southern England, I went out for exercise and discovered a fascinating little story as well. Uphill from the thatched farmhouse we’d rented, I came across an even smaller hamlet and a square-towered stone church with its graveyard.

A lustrous black gravestone memorialised the village’s matriarch and her husband. He was a holocaust survivor and popularised the Rubik’s cube, and she bought the local manor house and revitalised the community, abseiling down the church tower in her 70s to raise money for roof repairs.

*The Widworthy Barton church, the Kremer graves, and the fields and hills of South Devon*

Dovedale Stepping Stones, Peak District UK

In late September we had a rather cold, frequently wet camping trip and finally explored a Peak District destination I’d wanted to see for some time. We were lucky to have a sunny morning at the Stepping Stones, casting a sharp, bright contrast between peaks.

The stones are set firm and flat in the river like molars, and after crossing, we followed the path under trees and past sparkling reflections. There was a good climb up smooth-worn stone steps laid by Italian prisoners of war during WWII, and then a further walk along the river with pale bluffs on our other side, rising up like mighty ship hulls with dark bird barnacles. We later did a longer, more rugged walk to reach the Chee Dale Stepping Stones–those are quite scenic, too.

*Dovedale Stepping Stones, fossils in one of the stones close up, Thorpe Cloud*

Newfound Lake, New Hampshire USA

For me, summer is most blissful at a New England lake. This summer we had a few days with the entire family at Newfound Lake. It’s the third biggest lake in the state and the deepest, reaching 183 feet deep. It’s thought to be one of the cleanest in the world, and the sunsets over low-slung mountains off in a corner were spectacular, the reflections pristine.

We had the trilling cry of the loons at night and that cool lake smell in the mornings. Woods of oak and pine separated the holiday houses, but we got a glimpse when we were out on our kayaks. One house even had its own massive inflatable waterslide tower out in the water, with “No trespassing” painted all over its base.

*Sunset over Newfound, mushrooms in the woods, little free library: Slow down, enjoy life*

Portobello Road and Notting Hill, London

I don’t know if it’s hard for places like this to keep living up to their reputation. Do the streets made famous in Disney songs and late 90s films want a break sometimes, want to drop the facade? Well, we took a good walk along here and enjoyed the mix of shabby and cheesy and pushing the boundaries.

We perused stalls and shops selling everything from wool berets to sequined jackets, to prints made from photos of your iris, to last minute pumpkins for Halloween the next day, and we had lunch at a place called Egg Slut–absolutely delicious. Then we did a further loop through the posh neighbourhoods of Notting Hill, with big, pastel townhouses dripping with gauze webs and jack o’lanterns for the holiday. Imagine trick or treating here!

*Portobello Road street market, painted door, decorated Notting Hill Halloween*

Brecon Beacons Four Waterfalls Walk, Wales UK

Another hike I’d been sizing up for a few years, this too proved well worth it. It was cloudy, but the falls are still quite spectacular. I guess we can thank the rather wet year for that.

Because it’s quite a popular destination, we couldn’t always get close to the cascades, or behind them. Still, I love seeing how torrents slice through rock, and all the greenery that scales the damp cliff face around and behind the water. One waterfall had dozens if not hundreds of little rock cairns built in the stream below.

To save backtracking the long, muddy, crowded access path at the last fall, we found a vague trail up the bank and did some rugged scaling. This earned us extra waterfall views from the top and made us feel quite intrepid.

*Falls and cairns. Note fallen tree in first photo and tent on the left in the third photo for scale*

City Park, New Orleans Museum of Art Sculpture Garden, Esplanade Avenue, and St Louis Cemetery #3–Louisiana, USA

Did something completely different over the Christmas holidays and visited America’s deep South . We met up with our kiddo in Houston, then my husband and I roadtripped along the Gulf of Mexico and the bayou, and spent New Year’s in New Orleans.

Staying in the French Quarter, we had the experience you might hope for: strolling out for morning beignets under wrought-iron balconies trailing ferns, pausing to hear jazz bands in the street. Later, we stopped at City Park, a massive public space half again as big as NYC’s Central Park.

*City Park ibises, The Ptolemecist sculpture and live oak, St Louis Cemetery*

We were greeted by long-beaked ibises when we got out of the hired car, and we ambled through the Besthoff Sculpture Garden beneath live oaks dangling Spanish moss and resurrection ferns (ferns that go grey and curl, allowing themselves to survive losing over 70% of their moisture in dry spells). The statues combined cultural elements of the city’s past: a Rodin, a ghostly dress with a solar system model for a head, a conquistador helmet turned to a snail with a little boy riding its back, a glorious African woman, her garment a series of impeccably formed coils.

From there we walked down Esplanade Avenue, with pretty pillared houses and more live oaks, the trees so mighty they were busting up sidewalks and weighing down overhead electric cables. We came back through one of New Orleans’s famous cemeteries, with aboveground vaults since you can’t dig graves below sea level. Some vaults have lots of cupboards in them for family remains, and one had a small ornate frame fixed to it with a photo of the occupants behind a convex lens, like a locket, so you could see the faces of the African-American couple who passed away in the 1980s. It seemed a privilege to actually see what they looked like, and I wish that idea might catch on.

*Esplanade Avenue house, decorated post, and bougainvillea*

What were your favourite visits and meanders this year? How did you keep your spark alight?

Reading for Fun

This Week’s Bit of String: Greeks and gods, geeks and goofs

Over the smell of rained-on teen boy and Haribo (the essential sweets of bribery), I host small group reading interventions. In lower set classes, everything is read to the students. But in this group, everyone gets a turn reading, even if it takes time (and essential sweets of bribery).

I never know how things will end up; one session had me googling Jamaican swears to confirm for one boy that hey, if you think it might be a curse, don’t go round using it. I now know an extra way to say “arsewipe.” The most challenging student once threatened me.

“Miss, I hope someday you wake up and one of your toes is gone.”

Now, that made me laugh. I retorted, “If that ever happens, me and my nine remaining toes are coming after YOU.” So he left laughing as well.

*Our school, like most, has geeks and bullies and exams, but also has these trees–and particularly awesome people*.

We’ve been reading Anthony McGowan’s I Am the Minotaur, in dyslexia-friendly format. It’s about a teen boy who struggles at school with bullying and at home with his mum’s depression-induced neglect. He goes on a quest to win the heart of a popular girl at school, Ariadne.

The students can tell me about a few Greek myths they learned in junior school. A couple remember the Minotaur in the Labyrinth. Something about the myths, or about the fun, hands-on way they’re taught in primary school, remains with the students several years later.

What they really love, though, is the protagonist’s’ descriptions of his school. Kids giggle reading terms like “goths” and “geeks” and “pissed off.” Here’s a sample line: “Some big lump the size of a fridge might come up to you and then steal your phone and stamp on your face while his mates laugh like hyenas.”

My students never knew you could find those words in books.

Teaching Methods

If kids really struggle to read, they don’t experience many books. When it’s super hard for them, they don’t even get to that Magic Key series in the primary school reading scheme. They start secondary school and there aren’t many basic books, at least within my school’s budget, telling stories in which these kids recognise their lives. And there certainly isn’t time for teachers to introduce books, just for fun.

I could read at a very young age and I enjoyed it, but I didn’t become an avid reader until I was 8. It was a tough year, we’d moved to a new area and school; maybe that drove me to take solace in books. But the big change was discovering The Baby-Sitters Club. Reading about girls a few years older than me, in lives I might aspire to, was such fun.

Any other BSC fans here? The range of protagonists (and their different handwriting!) and plots in Anne M. Martin’s books, and the cool links between the baby-sitter’s mini life crisis in each volume and her latest baby-sat client were brilliant. Sometimes when I can’t sleep I still try listing the titles in order.

I wonder if I would have loved books so much without contemporary, relatable fiction. I was already writing before then too, quite derivative adventure stories, but without books like the Baby-Sitters Club, would I have accessed ideas that really grabbed my heart?

Relatability Versus Empathy

Of course it’s important to stretch ourselves and our students, to key them into stories about people and cultures far beyond themselves. I’m not arguing that students shouldn’t read Shakespeare or I guess (she said begrudgingly…) Golding. But when that’s all they have time to read because we’re teaching exclusively to exams, we’re downright robbing students.

*The most challenging student rated the book 9 out of 10. Could it be the beginning of a beautiful friendship? Or was it the essential sweets of bribery…*

Just as it’s crucial that students of colour and LGBTQIA+ students see themselves represented in our curriculum, there should be KIDS reflected in the reading material. I’m sure there are plenty of well-written books about recent youth. Patrick Ness maybe? And I won’t tolerate arguments that they’re not literary enough. We’ve got Blood Brothers on the GCSE Literature syllabus, for crying out loud, and A Christmas Carol and Doctor Jekyll and Mr. Hyde. Not exactly subtle, nuanced works.

To engage students we have to first meet them where they are, then stretch. Reading a book about recognisable characters and setting has enabled us to have lively discussions. The kids ask me what clique I’d assume they were in, and they ask if when I was growing up I had a “Stinky Mog” (Anthony McGowan’s bullied main character) at my American elementary school. We talk about the seriousness of Stinky Mog’s mum’s depression (“Depression can kill,” two different boys point out in their respective groups) and we dissect how the bullied can end up passing that cruelty down to those they perceive as weaker.

I’ve really valued those talks and I’ve liked normalising reading with kids who rarely do it. But even our Special Needs intervention groups fall prey to exam mentality; department heads have complained about students missing lessons (to practise reading!) and we’re being given less time and fewer students we’re allowed to work with. Next term, to respond to these challenges, we’ll be resorting to comprehension workbooks with brightly-coloured, cartoony covers. It saddens me thinking how slighted and demotivated our students will feel when they set eyes on them. I doubt the workbooks will encourage a love of reading but hey, maybe they’ll help the students pass their exams.

What books made you fall in love with reading and writing? What kind of reading do you feel is most important?

Stuff of Legends

This Week’s Bit of String: A new political slogan?

I work with some amazing students and love my job, but the start of the school year is hard. Somehow there are always vast new tasks to train ourselves in, you know, during our spare time. Plodding to work in the mornings, a mental run-through of the day’s requirements almost overwhelms me.

Then I remember something that makes me smile: “Lying dog-faced pony soldier.”

I know this is ridiculous. It’s not an ideal phrase for the President of the United States to be spouting, even if it’s a movie quote. President Biden including it in a rambling answer about climate change in Hanoi recently probably didn’t advance the cause. (I’m linking to the entire press conference transcript because most of it was on-topic and coherent. I mean, you should hear the other guy.)

But it gets stuck in my head! Is that a writer thing, that words not even sung can repeat relentlessly in our minds?

*Siblings are such an influence–here’s all of us recreating a childhood photo*

And it’s so random, it makes me laugh. Biden says his brother liked to say “lying dog-faced pony soldier” when quoting a John Wayne film, that it was an insult a Native American character hurled at a cowboy or something. Seems like this alleged movie line gets stuck in the President’s head, too.

It’s weirdly inspiring that a random detail can live on, lodged in the minds of people who never saw the original source. It’s a little different from how the written word lingers in our minds. There’s something special about the oral tradition. I don’t know if we can capture it in our writing, but it’s worth celebrating in its own right.

Family Lore

This is extra strong in families. Maybe it’s because of our deep fondness for each other, and our affinity to one another’s voices, plus shared source material. When someone we grew up with, for example a sibling, tells a story, we can picture especially vividly its setting and characters.

While creating resources on persuasive techniques this week, I learned that the word anecdote basically comes from the Greek roots “not for publication.” (See more on the word’s origins here.) These are little stories that are either too biting, or would lose too much of their aural charm were they printed.

A lot of our favourite family references and legends become so because of how they sound when spoken. We didn’t even have to be there when it happened, we just love hearing about it. Humour’s always a hit, as well as special oral characteristics.

Rhythm: When my sister worked at the town recreational summer camp, she later recounted one boy’s plans for the rest of the day. Imitating his weary exasperation, she recited: “All I want to do/ Is go home/ and eat my sandwich/ and go outside/ and look for salamanders. But I never FIND any salamanders!” Punctuated with sighs, it’s almost like a poem. Sometimes I find myself planning my day to a similar rhythm.

Intonation: On a trip to Naples once, my brother went to the opera. There was a poorly older woman sitting nearby who kept unwrapping cough sweets during the show. This provoked the wrath of a German man in the audience. My brother quoted the man as he complained to the frail woman during the interval. ‘When you go to open up your BONBON… it is AWFUL!”

Transferring the Magic

Just within the last month, I found myself telling someone the bonbon anecdote—in my dreams. It’s that integrated in my subconscious, and I was never even there. I wonder if it sticks with any of the friends I might have mentioned it to in real life.

Sometimes, a little story weaves itself so inextricably into our fibre, we think it is ours. A secretary at my old job back in the U.S. told me one of the company’s engineers once submitted a receipt from a vegetarian meal with his travel expense report. He’d had a delicious mushroom—but the receipt was truncated so instead of asking to be reimbursed for shiitake, he was passing on a charge for “one large shit.”

My husband got such a kick out of this story, he came to believe it was a secretary at his company, across the ocean, who told him the story about one of their engineers. There my husband was, animatedly sharing it at some gathering, and I couldn’t help capping it off, somewhat mystified: “But that’s my story.”

That was only shock talking, though. The tale did not originate with me, and obviously I never intended it to end there either. I think it’s clear that stories, particularly when they’re passed on orally, get absorbed and possessed by all listeners. Isn’t that quite magical?

Are there special anecdotes you’ve heard that become living legends?