In praise of audiobooks

Today is world book day and I’d like to bring up the topic of audiobooks. Life is a learning journey and it is good to have the opportunity to reconsider and sometimes even change our views. I’ve always loved reading – I’m usually stuck to the pages of a book, often multi-tasking, reading while I eat, cook, hoover, travel – anything that doesn’t require an active mind or great dexterity is better with a book on the go, clutched in my hands, my eyes not on the task. However, I’d never really thought about audio books as a choice. Then an artist friend of mine told me she was into audio books in a big way while she worked. A light came on almost immediately. Of course – it is so much easier to do those tasks that have to be done when you are listening to a book. I’d never really thought about audio books before but oh, what a joy they are.

Then another flood of realisation rushed in. Think of all those kids at school, the ones who didn’t like books, those who are dyslexic, those with concentration problems, the ones who’d been switched off reading at an early age, being able to enjoy a good story. And people who don’t see well enough to read print  – how important it is that they can access a library of books through their ears.

As children we love to be read to. We read to our own kids. It often helps us to access sleep – not because a book is boring but because a voice is soothing and safe and we are transported on the wings of our imagination. How nice to go to sleep listening to a story being read to us!

Then A Grand Old Time came out, as a novel and as an audio book, read beautifully by Aoife McMahon. She narrated the story with warmth and humour, bringing out the character of Evie Gallagher perfectly. I was so impressed. And in a review, someone wrote that she’d enjoyed the audio book so much; that the narration was so skilful and Evie’s occasional expletive wasn’t offensive at all, because the voice of the reader was Irish and it sounded so beautiful. That made me smile.

When The Age of Misadventure came out, I listened to Julie Maisey read the audio. I was blown away by her skills, as I was with Aoife McMahon’s. Julie Maisey had a Liverpool accent, not intrusive (although I adore the full-on Scouse voice) but with studied accessibility to all people, including those who might find accents difficult. The characters, action, settings were so well evoked by an actor who, apparently, is asked to achieve the whole thing in virtually one take. What impressive skills these actors have and, to the best of my knowledge, they are rarely known for their performances unless they are a big name.

So here’s my chance: thank you, Aoife and Julie and all the brilliant unsung stars out there that bring a book to life and send it singing into the earplugs of all of us. We who listen to audio books in the gym while pounding the treadmill, while walking coastal paths, while doing mundane domestic tasks and while driving or relaxing in a comfy arm chair with our eyes closed or while imagining the most exciting places and people with our heads on pillows, are truly grateful.

I have realised what a treasure an audio book is. I’m now aware of the skills and thought that go towards producing audio books. Audio books are the ears’ equivalent of block buster films, voices creating powerful visual images, and they are so impactful for so many people, including me now. So thank you, to all those involved in audio books. You are rock and roll. I am looking forward to my next sortie with the hoover, my next thirty mile bike ride in the gym, my next sleepless night when I can wake and in an instant be taken to a thrilling place by a warm and accessible voice.

Of course it’s a personal choice and I will always choose to hold a book, turn the pages, and stare at the words on the page in my own time. But audio books are now important too – they are right up there with all the fiction and non-fiction in my library.

 

 

 

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Celebrating the Age of Misadventure

My new novel, The Age of Misadventure, is out today. I really hope everyone will enjoy it. Grateful thanks to all the people who are with me on this journey – wonderful professionals, family, friends and so many people I am so glad to have come to know through writing novels. I have always wanted to write and I’m living the dream every day. I’ve just finished writing another novel, which I’m really excited about, and I’ve plans to write two more this year. They all contain characters in their golden years along with other characters too, of course. We live in a wonderful, diverse work and, although I want to have a diverse cast, I don’t want to miss out on the opportunity to create an older protagonist or two who have arrived at that age where they care little about what others think and revel in their own capers for the sheer joy of it.

It was for my mum, Irene, that I wrote my previous novel, A Grand Old Time. She loved to read so many books – they helped her to escape the daily routine. She was my Evie Gallagher, or at least, she was the Evie she could have been in another time. I’d have loved it if she’d been able to take off to France in a campervan and have those adventures. She’d have been just as feisty and as mischievous, and I knew exactly how Evie would behave because my mum would have been that way too. I haven’t finished with Evie entirely – she’s irrepressible, and I have a feeling she may be back.

In my new novel, The Age of Misadventure, I wanted to suggest that everyone should have fun, whatever their age. Georgie, at fifty five, has tried to harden her emotions, having been disappointed in love. She reminds me of so many women I know and respect – strong, gritty and independent, tough in order to shield herself from being hurt again but by the end of the novel, she has softened. There is a second chance for her. But it is the character of Nanny Basham that I really hope people will take to their hearts.

I wrote the character of Nanny Basham with my Dad in mind. I lost him a couple of years ago. He’d been living on his own, managing to be independent until the last few years. Then, like Georgie in The Age of Misadventure, it fell to me to cook his meals, do the shopping and sort out most aspects of his life. Many of Nan’s disgruntled words at the beginning of the book are his too. Being old and living by yourself, eating meals for one in front of the TV and not putting on the heating because it’s expensive is no picnic, and it’s often difficult for people in that position to feel positive about life.

So I wanted to allow Nan to have some freedom, and to enjoy herself. Inside the lonely woman living from day to day is a woman who has another life to live – she craves company, fun – she likes to party. And I wanted The Age of Misadventure to be exactly that, Nan’s chance to party.

Of course, a frail older lady now, Nanny Basham has a past and she has loved and lost. Her life is to some extent about memories. But I want my older characters to believe they have a present time to enjoy and in The Age of Misadventure, Nan has the time of her life, both on the road trip and in Sussex. She lives a completely different lifestyle: surrounded by people, she feels pampered, important and she is happy. It is no wonder that, at the end of the novel, she says that she would rather be on the run and in danger and have fun than go back to sitting in front of the TV by herself with a meal in a box.

The Age of Misadventure is a road trip, an adventure, a comedy romp and the story of three generations of women finding out what they want from life. As ever, each day is a lesson and from the difficulties we experience comes learning. Bonnie is a much more likeable character by the end of the novel, when she has learned to be independent and when she discovers who she really is, rather than being content to reflect what her husband wanted her to be. Similarly, when Georgie puts her guard down, she is warm, loyal and funny, and yet she remains a lioness, fiercely protective of those she loves. Jade, still very young,  moves to the next stage of her life, becoming independent and carving out a future with her new partner. Nan relishes being with others, having company, and by the end of the story we hope she will enjoy herself now, living each day in her own riotous way but with a heart of gold.

Having been through an adventure together, all the characters are ready to celebrate life in the present. I believe that we should try to celebrate every moment in our lives whatever age we are and whatever our circumstances. It’s not always easy though, but books can help, as they helped my mum to dream when her life was all about routine. And that is where the older protagonists come in, having characters who misbehave, who enjoy every moment, who – even in their older years – refuse to fade into the background and be quiet. Hopefully we’ll all become older people as life expectancy increases. And perhaps we’ll benefit from characters like Nanny Basham and Evie Gallagher: new role models, older characters in novels who are flawed, who fight against adversity and come through triumphant, perhaps a little scathed, but positive and having learned something important about life.

So I’ll continue to write about fun characters that are in their golden years, as well as some other characters that are not. Perhaps that’s how the world is and should be – it’s about inclusion and celebration. To some extent, Nanny Basham was written for my Dad, Tosh. But really and truly, she is written for all of us. May we all live long enough to enjoy our later years when, like Nan, we have earned the right to be who we are – funny, feisty, a little outrageous and very much ready for some misadventure.

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My top ten reasons why I love writing novels…

I’m an avid reader. I’m the sort of person who will read everything: all genres, crisp packets, adverts on buses. I have my preferences, of course – I love anything by Gerard Manley Hopkins, Shakespeare, Jeanette Winterson, Ian Hancock, Roddy Doyle, Sarah Winman, the Brontë’s, Zola, Turgenev, Cecelia Woloch, Kamila Shamsie and lots more. Reading is fuel for the mind, the imagination and the emotions. I can’t read enough.

Reading also helps me as a writer. I start from the place that someone has written something as a gift and as a reader, I have the joy of unwrapping it. It has taken them a long time and their work has come from a special place in the writer’s creativity. I extract everything I can from it, like a nutritious meal. Mostly I love lots about others’ writing and, if I don’t, I can still learn about the style, the craft. Other people will love a book I don’t get and so I seek to find out what it is about the novel that hits the mark with readers. Very rarely, if I can’t get into it at all, I put it aside, like some people do with Brussel sprouts. It’s not for everybody but it’s not my style to be negative.

Then, of course, writing books has given me so much to be grateful for. I’m learning about the craft and the industry all the time. My next novel The Age of Misadventure is out this month and I’ve just finished writing another novel I have so much love for, so it is a good time to reflect and pick my top ten reasons why I love writing. Putting them into an order has been difficult, and of course, I will find more reasons as time goes by and there may be a top twenty. But here we go. My top ten:

10 Holding the baby. It is a powerful moment when the novel stops being a series of pages on the PC and first takes the form of a book. The writer can actually hold a copy, touch the printed pages, read the familiar first lines and the acknowledgements and think ‘Wow – this is real.’ To be able to take the book in your hands is incredible, turning it over and realising that you did this yourself – (well, not entirely by yourself – more of that later.) Then the book arrives and it’s in German, Czech, Italian, Japanese, Swedish, and the Canadian edition. I’m so grateful to so many people.

9 Being asked to talk about the novel. I’m quite a humble soul really and to be asked about my book is something that triggers a strange reaction. I’m being allowed to talk about something I’ve created and people are really interested in it. It takes some getting used to. I’ve done radio interviews, which I love, and a few signings and talks at book shops and universities. It’s a little bit scary and a little bit surreal when people ask How did you think up that character…? And why did you make this happen at the end..? But I’m overwhelmed that people have invested the time and interest to read and think about my novel. It’s a real honour.

8 The cover. Being shown an artist’s visual interpretation of your novel, and design which an expert believes will encapsulate the story and persuade others to read it is a great experience. My daughter is a talented illustrator and I’m always overwhelmed by people’s artistic talents and interpretation, and the time it takes to create the final piece. It is a joy to reveal a cover, and quite an emotional moment. Then, seeing the way the cover is designed for release in other countries is an experience that takes my breath away.

7 Being outside and being inspired. One of the greatest joys of writing a novel is that I have the freedom to choose how I schedule my working day. I’m quite driven, so I don’t spend lots of time in the bath or gazing at the sheep in the fields but I do make myself stop, in order to think and to recharge. The beach is a favourite place to go for thinking time, or on the moors, where ideas will blow through like clouds and I become clearer about what I want to write. I’m lucky to have a campervan so that I can travel, research my work and just let thoughts move around.

6 Laughing out loud at my own story – and even crying. If my own writing can move me, then it might move a reader. I find myself laughing aloud at what I’m typing sometimes and that’s a good measuring stick. Characters such as Evie Gallagher and Nanny Basham, and the three main characters in my latest novel, have all made me guffaw. When I’m editing and I know the story so well, it is another good time to test the waters. I shed a tear at the end of A Grand Old Time and Nan’s story about her past in The Age of Misadventure made my heart ache. I think the central issue is that I care about the characters – always flawed, dented by life’s experiences but optimistic and feisty, they deserve something special and that’s what I’m aiming for by the end of the novel. Of course, it won’t always be a happy ending for all of them…

5 Starting a new novel. Like a first date or a new love, a new novel grips the writer and you can’t get enough of it. I just want to write all the time, I’m so full of enthusiasm and energy to tell the story. Of course, I have dumped a few novels on the way at 20,000 words. Filed might be a better word. But if I’m not bursting with excitement, then probably the reader won’t be.

4. Waking up at 2 am. I love it when I wake up and characters are sitting at the end of my bed, yelling ‘So, what happens to me next? How do I manage to resolve…?’ and I spend hours working it out. Early morning is active brain time for me but I don’t mind. It’s productive and fun, so I roll with it.

3. Finishing a novel. It’s a great feeling but not a simple one to explain. Finishing a novel goes way beyond ‘Yahoo, I’ve finished – bring out the bubbly.’ There is a feeling of immense satisfaction, because I’m pleased with it and I’ve brought the novel to a conclusion and all the characters have a resolution. I know I need to go through and edit and re-edit, and I enjoy the process of improving what I’ve written. But there’s also a bitter-sweet tinge of sadness. I have to let the characters go now… they move from the smaller place of my life and into the wide world. But like children, you have to let them grow, move on and find their own way…it is a good feeling to have brought them this far.

2. The support. I can’t praise enough the people who help me with writing novels. I know lots of writers advocate self-publishing and I admire their expertise and focus. But I am blessed with the invaluable support of experts. From my wonderful agent to cheerful and skilled editors who are so experienced and helpful, to the exuberant publicist who works non-stop, I am truly lucky. The encouragement and love I receive from friends, neighbours, ex-students from my theatre-teaching days, even people I hardly know, is immense. I’ve had some really touching messages and incredible support from all over the world. It’s mind-blowing and truly wonderful. And then there is the encouragement I get from my family. At the end of The Age of Misadventure, my daughter whooped out loud and cheered at Nanny’s brave actions. My son knows every plot twist and my partner will read a chapter or two of a first draft each night, offering me technical advice about anything that has a motor engine. They are special people, my family, and I can’t thank them enough.

1. Readers. I’ve left readers until last because a book has no purpose without a reader. The readers are in my mind all the way through the writing process…will the reader enjoy this? How can I entertain, move, grip, interest, surprise my reader? It is an honour to be in the position of offering something I’ve created to someone else. And it’s not something I’m anxious about: it’s a privilege. Whoever and wherever the readers are, male or female, new to my books or not, whether they are bloggers, editors, people who’ve picked up a copy in a shop (someone told me they’d bought it on a whim because of the title and had no idea if they’d like it,) whether it features in a reading group or it’s an audio or on kindle or in paperback, I’m so grateful that I have such wonderful readers. It’s what it’s all about, the process, the ideas, the crafting, and the editing. The reader is the prize at the end of the race. So whoever you are, thank you.

 

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What I learned about writing a novel from the TV detective series Luther

As a writer, I try to learn about the craft of writing a novel from every source I can. The obvious source is reading and I try to read all the time. Each day I’m perched on my exercise bike for an hour, devouring anything I can get my hands on, and even if I have no more time for reading that day, at least I’m getting in the literary and physical miles at the same time. My favourite novel last year without a doubt was Kamila Shamsie’s Home Fire, the retelling of the Antigone story. Shamsie is a writer who clearly knows how to craft a clever story.

But I am on a mission to learn and to improve my writing all the time, and that means seeking out all other means of refining my skills. And this brings me to the fifth series of Luther on TV, written brilliantly by Neil Cross. Now it has to be said that Luther is a terrifying programme. That shouldn’t be a problem for me: I was brought up with scary films and books. My mum loved everything from Bram Stoker’s Dracula to Agatha Christie. She loved the thrill of danger. It was escapism. (It has to be said at this point that my dad did not read, nor could he shift his stance from a stubborn belief in only that which he could see and touch at any moment of time, the real, the mundane.)

But since the screening of the Luther episode of the killer in the street wearing the luminous mask, I won’t to go out in the dark to put out the bins. Neil Cross deliberately targets our potential to be afraid and he unleashes the power that lies in our dread and anxiety about the unknown. He said ‘So all of the bad guys are avatars of my fears and anxieties, and once I have isolated that fear – the guy under the be- that’s a shared anxiety with so many of us – once I’ve got that initial spark of anxiety, then I begin to think about the character that could exemplify it… Who is he? Why is he doing what he is doing? What does he want? But that ultimately comes second to the scary stuff. You start with the fear and work backwards.’

Character is always important. Idris Elba’s John Luther is a sex symbol of our time, but more importantly he’s a maverick, a flawed genius who steps outside the rules, a man of the law who sails close to the wind, breaking convention. Other characters shine. Ruth Wilson’s Alice Morgan is brilliantly contrived – a ruthless unpredictable psychopath who turns up unexpectedly and behaves outrageously.

William Faulkner said ‘In writing, you must kill your darlings’ and Cross does exactly that in Luther. Justin Ripley’s death shocked us all, as if we thought someone so loyal, so important and good-natured was exempt from being murdered, and when he was not, we were stunned and we mourned. And then came the demise of Benny, the tech expert – another martyr. Neil Cross underpins my belief that the reader should be surprised by what happens next – no character is safe, no eventuality should be predictable. And the importance of complex likeable central characters with the potential to amaze but who bring empathy and warmth and human vulnerability is not to be overlooked.

An impactful setting is something we all strive to create in our writing. Luther is firstly a visual medium, but it works on the same principle as writing. Whether it is from a camera angle or the written word, whether we are following a victim onto a bus or watching someone take off their shoes from a killer’s viewpoint under the bed, setting can create emotional impact and needs careful consideration. Cross’ work prompts me to ask myself if I can make the setting more powerful, more relevant or can I find an alternative setting that is more surprising and unexpected.

Neil Cross excels at twists and turns in storylines and having several threads unravelling at the same time. He leaves vital questions unanswered, which draws the viewer in, and he misleads us deliberately to add to the surprise at the moment of anagnorisis. My background in both theatre and writing tells me how vital it is to suspend disbelief, to keep the interest of the audience strong but to draw them out of the comfort zone and keep them guessing. In series 5 of Luther, we wonder what will happen to George Cornelius’ kidnapped son, but we don’t expect what Alice does or when and how she’ll do it. We are interested in how new DS Catherine Halliday will fare working with Luther – the signs are mixed, a tentative novice but with a cool head. It could go horribly wrong. And DSU Martin Schenk is on to Luther – he now has real evidence of his dangerous liaison with Alice.

Then there are the murderers – Vivien Lake and her evil, strange husband, Jeremy: the luminous horror mask, the needles, the eyeballs, and that incredible moment where the patient was talked through her impending heart operation by the psychopath doctor and he slipped the shocking phrase ‘diseased whore’ into the professional dialogue, much to the patient’s – and our- revulsion and incredulity. Cross is offering a master class on suspension of disbelief, terrifying the audience, misleading them and keeping them guessing, interweaving threads of characters’ action and contrasting story lines in an intricate way so that the outcome will never be clear until the shocking moments of catharsis.

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I got into Luther late, and scared myself silly by watching all the earlier series in a week. Series five is no exception – it’s horrific, brilliantly contrived, the stories unfolding expertly. Most importantly Neil Cross, like any good writer, knows how to channel and manipulate his audience’s emotions, how to create the dynamic interplay between fear and hope, relief and shock, admiration and sadness and dread. He knows how to pull us in to the plot and keep us there, how to make us take sides and invest in the characters, how to force us to feel sympathy, empathy, antipathy and to steel ourselves against a huge barrage of horror. And he knows how to keep it coming.

There is a lot to be learned about writing a novel from a television series, and in particular, from Neil Cross’ Luther. Series five was excellent, and although the action is often about male killers and female victims, I still focused on the belief that the horror was real and spent a lot of it watching through the gaps in my interwoven fingers. But, like every great novel, it leaves me sad when it’s over and waiting for more, although I’ve no idea what the next series might hold. But I’m looking forward to the superb storytelling and how it can help me to refine my own writing.

Finding inspiration in unexpected places…

Writers look for inspiration everywhere. I have a note pad that declares Be careful – or you may end up in my novel. And there is truth in that statement, although I’d never transpose someone straight from reality into my writing but, on the other hand, we can only write about what we know (and what we can find out.) Recently, I was creating a character with a ’country’ occupation, so I lifted my neighbour’s trade of hedging straight into the novel. And while Evie Gallagher from ‘A Grand Old Time’ isn’t my Mum, she has many of my mum’s traits: she’s feisty, independent, with a strong sense of justice and a wicked humour. In ‘The Age of Misadventure,’ Nanny Basham’s behaviour when she’s alone, dependent and eating frozen meals for one owes a lot to my dad, who responded to being a widower in a similar way: he could be demanding, lonely, and unhappy but he always reacted to day-to- day living with resilience, mischief and warmth. A lot of Nan’s lines to Georgie are his, and I smiled a lot as I wrote them. I heard them resonate somewhere within me.

So many characters are ‘composites’ – real people blended with imaginary people. I’d never move into the taboo realm of characters being based solely on real people or –God forbid – on me. The same is true with the situations I create, the plot. Again, ideas come from the real world and are then shaken, stirred and reformed. I have a friend called Nick who is one of the best storytellers I’ll ever meet, from the oral tradition of captivating an audience and then wowing them with a brilliantly stunning ending. I have a couple of his corking tales fermenting away in the attic of my imagination. One of my lovely neighbours, Jackie, told me a story about something she did that was so evocative, I’m going to reshape it and use it for the end of my current novel. So all the ideas are out there – they must come from somewhere. And often those places are unexpected.

The novel I’m currently writing, which we’ll call ‘BATS’ as a title anagram (for the time being), is about the interplay between three characters. One of them is in her late seventies, single, and I needed a background for her that shows her independence, her background, her career and her attitude to being alone in a time when most women were expected to marry and have children. For a while, the character of Barbara was fermenting away on the screen, waiting for the final ingredient.

Then, this weekend, I went to a ‘Christmas Dinner,’ one of those events I’m invited to, but I don’t really know anyone well and I don’t really want to go. It was a club event, a hobby I’m not really interested in, and I was invited by default. I arrived during a damp mid-day, and I wasn’t looking forward to a three-course meal. My lunch is usually a handful of dried fruit and a mug of green tea. I bought a glass of wine at the bar, decided I’d make the best of it and went over to talk to a few people. Once there, I started to look forward to it a bit more – I knew a couple of people who were there already and they are very nice. When I took my place at the table, I was seated next to people I didn’t know, which always means two things: firstly, they’ll probably never meet me again, so I can misbehave as much as I like, and secondly, it’s an opportunity to research for characters in a novel. I have to admit, I love meeting new people, as long as I can get them to chat with me reciprocally, avoiding them embarking on monologues or offering lengthy episodes of transmission about things I don’t understand. (That scenario does happen to me frequently.)

The lady seated to my left was called Lizzie. She was beautifully dressed, neat and charming, and she told me she was in her early nineties. We started talking before the soup arrived and she told me she had a ‘toy boy in his eighties’ and they went dancing together every week. He was sitting next to her, on her left, smiling and dapper in a dark suit. They were both lovely people. She told me she’d been a secretary in the Royal Airforce in her younger days, a good profession then, in a time when women were not allowed a mortgage except jointly, with their husbands. We had a great chat about her youth, although she never used the phrase ‘in my day.’ These are all Lizzie’s days, the past, the present, the future.

The meal passed quickly and she was delightful company. I was mentally recording her history, her experiences and her attitudes, some of which will find their way into Barbara’s character in the novel I’m currently writing. There was a raffle for fun and she won a panettone. ‘Oh, lovely – I’ll enjoy eating that at Christmas,’ she giggled. It was clear she had an appetite – not just for posh Italian cake but for life. She was living in the present with an eye on the future. What an inspiration.

When we left she hugged me and her friend, the ‘toy boy,’ kissed my cheek and said ‘Thanks for talking to Lizzie.’ I was amazed. I was thankful she’d spoken to me – not just for the research, but for the privilege of meeting such a wonderful woman and having an insight into her life. I wondered for a moment about his thanks: if it was because younger people rarely chatted with older people with such interest. Then her partner whispered in my ear ‘She’s ninety nine, you know.’ Of course I was amazed – Lizzie defied all stereotypes. She was fit, lithe, beautiful, graceful, sharp-witted, humorous, energetic – all those things older people are not supposed to be.

I went home with a smile on my face. Time teaches us lots of lessons – firstly, going to a lunch at any time is a joy, an opportunity for fun. I was lucky to be invited and to have the chance to meet new people. What a waste of my energy it was for me to decide beforehand that I didn’t want to go, that I probably wouldn’t enjoy it. Such prejudgement is more about me being a Christmas curmudgeon than about the event itself. And I also needed to reflect on how society thinks about older people, who are a font of wisdom and a source of great interest. To be thanked for talking to someone who was such a delight seemed at odds with how the world should be. I should have thanked her. Is it really so surprising to want to talk to someone who is so much older than we are? If that’s so, we need to reconsider our attitude to older people. Our most senior citizens aren’t just there for sitting around in Parliament and care homes. They certainly aren’t to be dismissed as just the ‘ageing society.’ They are fascinating people, warm and wonderful, who are a privilege to know. And of course, before too long, we will be older, just like them. If we are lucky.

 

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Why some of my protagonists are older people..

I’ve been asked the question a couple of times in interviews: why do you write about older protagonists?

My first reaction is that I don’t – I write about people, all sorts of people from all sorts of backgrounds. I’m comfortable doing that, as long as I know what I’m writing about. This in itself is part of a debate I’ve heard many times: should writers from one social class or specific background write about people from other groups; should writers create characters of a different gender, sexual orientation, race, background to themselves? Is researching a character’s lifestyle good enough preparation or is a character only valid if the writer has personal life experience? That’s an interesting and complex debate for another time.

There is a woman I know – we were students together – whose academic work I admire, who wanted to write about women’s lives in the sex trade and so she integrated herself within the industry in order to discover what she wanted to write about. Not easy research. It’s a similar concept to the method acting work of performers like Robert De Nero, who worked as a taxi driver in order to give his role in the film an authentic representation. Research and knowledge about the character are important, whatever length an artist goes to in order to understand, but should we, in fact, only write about characters when we have first-hand experience? Certainly, for me, that’s a starting point. My protagonists could, arguably, be said to be composites of many people who have been an influence during my life.

My second reaction is that I write about older protagonists because they are perhaps underrepresented in the genre I write. Older women and men have been, somehow, perceived less interesting, less worthy of empathy, less attractive, less likely to be involved later in life in fascinating escapades, romantic or otherwise: less sexy and somehow less interesting. Of course, now that sixty is the new forty, we know that’s no longer the case and it’s a shame that it has ever been perceived otherwise. Age is just a number: we all know health and happiness are more important.

My third reaction is that writing reflects the world:  novels will contain characters of any age and background and older people are very much a part of the world. But it is true: I do like to create some of my protagonists as people in their golden years. Now they have no daily job, no growing families, no looming responsibilities, it’s time for them to make mischief. I enjoy winding such characters up and letting them go.

In my first novel, ‘A Grand Old Time,’ the central character, Evie, is in her seventies. She is witty, feisty and glamorous; she embarks on a journey of self- discovery which takes her through France in a campervan. She meets a septuagenarian hunk. Jean-Luc, who is difficult and brooding: but he has a private problem that will ultimately affect Evie. So yes, the two older protagonists are central to my story, but so too are the marital difficulties of Evie’s son Brendan and his wife Maura. The four characters have needs and problems, they have to bring about changes in their lives and they find themselves in situations which spark mischief, comedy and bittersweet action. I enjoyed writing about all of them.

Although my novels are perceived as being in the category of romantic or comic women’s fiction, I’m delighted for anyone and everyone to read them. I had a lovely comment from a man who read the novel and said that, although he valued Evie and her fun adventures, for him it was Brendan who struck a deep chord. In a job he dislikes, a loveless marriage and blaming himself for his hapless situation, Brendan is depressed and lonely. The male reader suggested that many men would empathise and he found Brendan’s plight moving. I was moved myself to hear his response and very grateful.

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My second novel, ‘The Age of Misadventure,’ is a story of four women of three generations, who go on the run together. The youngest, Jade, is twenty-four; the oldest, Nanny Basham, is eighty-eight. The other two women are in their fifties. Having the opportunity for the three generations to interact together gave me the chance to create comedy, but also to examine the difference between the lifestyles, attitudes and behaviour of the women. It’s true, most of the comedy comes from Nan, who is outrageous at times, but her character is inspired by the idea that dependent older people might be lonely and Nan’s brusqueness is a coping mechanism for how hard it is to live a solitary life. As Nan says, she’d rather be faced with the danger and death during their experiences on the run than stuck at home in a cold house eating dinners for one.

I’m currently embarking on a new novel. The main characters are two sisters in their seventies and a very bad man of a similar age. I’ll keep the storyline under wraps for now but yes, I’m writing about older protagonists who are interesting, who are not what they first seem, who are full of mischief and who have the opportunity to be a little iconoclastic. But there will be a whole range of other different characters in the novel, of all ages and backgrounds. I’m looking forward to writing this during the autumn and I know if I have a whale of a time creating the characters and the action, then there’s a good chance readers might enjoy the romp too.

The answer to my question, then, is yes –I do write about older protagonists, giving them the opportunity to misbehave and go on adventures, to fulfil their expectations of life. But they can’t do it alone. The world is full of all sorts of people: it’s a rich tapestry of diverse characters. Ideally, that’s how I’d like my novels to be.

 

 

 

 

Why writing novels is the best

Three years ago, I had a job that I loved; a job that I was so passionate about, that I never thought about leaving it. But it was hard work: early starts, never finishing until late into the evening. I didn’t care: I gave it my heart and soul and every day was filled with creativity, fun, friendship and exhaustion. I was happy. But one day, I realised I could keep on doing it until I dropped and then I’d be replaced by someone else who’d do the same. A light came on in my head. I knew I was a person who gave my energies readily and so fervently and was good at what I did. That defined me to some extent. But who else was I? That thought made me take the time to reconsider.

Now I realise the stick that was driving me on was in my own hand: the need to achieve something good every day. Three years ago, being the best I could be was based on external criteria I had little control over. Now, to a much greater extent, I can dictate what I do.

I left my relatively secure job, a role that made me feel appreciated by many and therefore pleased with myself every day, determined to write novels. It was an ‘I will do it and I don’t doubt that I can’ moment. I was sure that I could become a novelist.

Skip forward to finding a fantastic agent whose wisdom and common sense are totally appreciated, an intelligent, forward-thinking publisher, a lively and talented publicist and an amazing, strong team, and to having my first novel published. Fast forward further: radio interviews, press interviews, blog tours, book signings. It couldn’t be more exciting. I wouldn’t look back.

Of course, I’m selling being a novelist in the most positive way. That’s because for me, there are no down sides. As long as writing 100,000 words doesn’t deter you, then editing every word and phrase into the late hours, revising characters and settings,  meeting deadlines, reading reviews, listening to critics. But for me, all of that is part of the excitement, part of the journey and I wouldn’t change any of it.

I can get up when I like, not always at six in the morning. I can work the hours that I like, taking a couple of hours off to go to the gym or for a walk. I can make time to have lunch with friends, take an evening off to go to the theatre or to watch football. And I can work through the evening and into the late hours if I like, which is often therapeutic. I have more autonomy, a lifetsyle I didn’t have before; gone is the treadmill which sped up as the day progressed and the bells that constantly told me it was time to move to the next part of my day.

I am so lucky. Being a novelist is a privilege.

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Then there is the element of research, one of the greatest perqs of beng a writer. For A Grand Old Time, the novel being based on Evie’s journey through France, it was such an opportunity to go back and check the location. My second novel, The Age of Misadventure, is also a journey, beginning in Liverpool, a city I love, and ending in Sussex, where the scenery is wonderful. Being able to pack up the van and take off as part of my location research is a blessing in itself.

I’ve just been to the Loire valley to plan a third novel. It won’t be set there, but I needed an excuse to research one of the character’s background. The setting was beautiful: sunshine, rivers, open roads. While I was travelling, I met some fascinating characters: Marie-Ange who owned a farm, Bernard who gave me the loveliest rosé wine from his vineyard and some of the nicest English people, whose incredible wine- fuelled hospitality until two in the morning will certainly inspire mayhem and fun in future novels. I ate pasta and drank Armagnac under the stars at midnight and slept with the sound of the sea in my ears. Can there be a lifestyle better than that?

It certainly beats the old daily routine. Of course, writing’s not for everyone. I’ve heard all about the down side of being a novelist: writer’s block, carpal tunnel, headaches, deadlines, loneliness, excessive alcohol to fuel the late nights, cramping buttocks on unforgiving swivel chairs. But I’m grateful for every day of writing. As the seasons change and new ideas come and go, I know I’m really fortunate to be able to do what I love every day and to have time and energy to decide how I will do it. I just wish there was a magic wand I could wave where everyone could have a job they’d love and enjoy as much as I enjoy mine.

 

 

 

 

 

Why the World Cup is like a novel

Coverage of major sporting events is difficult to escape: whether it is the World Cup, the Six Nations, Wimbledon or The Tour de France, it is regularly in front of our eyes, on the television and in the newspapers. It is the main talking point in the news, perhaps more than the NHS crisis or halting Brexit negotiations.  Players’ names and faces become familiar; results are publicized far and wide and key events quickly become assimilated in our culture. The tournaments begin with people selecting favourites: a national team, a vital player or a big personality, and then the show begins. For me, it’s like any good novel: there are heroes, villains, injustices, triumphs, laughter and tears. We have underdogs, someone to root for and someone who is dangerous, whom we will fear: the opposition. We hope and pray that things will go the way of our heroes and we hold our collective breath as they set forth on their quest for victory. There will be adversity on the way – offside goals, penalties, red cards – but we hope that it will all end happily ever after for those players we support.

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In terms of the 2018 World Cup football tournament in Russia, the English media and fans are hopeful that their team will make a respectable showing. Fans will never lose sight of the iconic memories of 1966: Bobby Moore hoisted on top of the victorious team of cheering players, his fist clutching the Jules Rimet Trophy. The moment 52 years ago that England last won the World Cup is fixed in the minds of the English fans, whether they are old enough to remember it or not, because it has been so long since England had a football team who could go close to emulating Moore’s men. They long for football to ‘come home’ again.

Of course, there are the football haters who echo Guy Martin’s words: ‘I have nothing against football. It just seems very wasteful losing 2 hours of my life to watch 22 millionaires on TV chasing a bag of wind in their underwear.’ Martin has a point: he is a motor cycle racer turned TV presenter and it must be frustrating to adore and participate in such a thrilling sport where coverage is marginal. Footballers are paid a great deal of money and live a life of luxury. That is the case for many people and we are all aware of the gap between rich and poor. The difference in salary between the Premier League and lower leagues is huge. In the Championship the average salary is between £7.500 and £8.500 a week. The top players in the Championship can earn around £80.000 a week. The average salary in League One is between  £1.700 and £2.500, and in League Two it’s between £1.300 and £1.500. Still above average, but hardly enough for a life of luxury.  Many working class boys around the globe practise football skills from an early age in the hope that they can one day live the dream of being a sporting hero. Few achieve it.

This brings me back to the World Cup. Before this year’s tournament even began, the media machine was underway, thrilling us with episodes from the soap opera which is football. We held our breath wondering whether Mo Salah would start for Egypt, given the arm wrench he received from the dark lord of tackles, Sergio Ramos, in the Champions League final. We witnessed the sacking of Spain’s national coach. England’s Raheem Sterling was criticised over the gun tattoo on his right shooting leg, until it was revealed that  he’d vowed to  ‘never touch a gun’ after his father was shot dead when he was a boy.

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The World Cup has historically had its fair share of memorable controversies. 1986 brought the ‘hand of God’ moment where Diego Maradona, one of the greatest players ever, cheated by handballing a goal. In 2006, English referee Graham Poll booked the same Croatian player three times in match against Australia. (Two yellow cards constitute a red card sending off.) In the same year, Zinedine Zidane of France was sent off in his last-ever match, for butting an Italian player in the chest in retaliation to a verbal provocation, apparently about his mother. 2006 was a red card year for England too: Wayne Rooney was given his marching orders for stamping on a Portuguese player’s foot in the quarter finals, thereby contributing to England’s low chances of progression beyond that stage.

So there’s no shortage of best-seller material – scandal, horror, violence, tragedy, intrigue – but what about the romance, the love interest? I suppose that is where the supporters come in. We see them on the television, throngs of happy singing men with their shirts off, their whole national flag painted over their faces and bodies. Gone are the days of simply waving a rattle – this is full-on passion. And of course, like all mindless passion, it is about the heart ruling the head. When the team win, they are adored, idolised, their names chanted in songs which laud their prowess and promise eternal devotion. And when they lose, they are brought low, deemed flawed, despised, their names dragged through the mud and of course, all fans are technical experts and know what was needed to win, to alter the outcome, to change the game.

Albert Camus said that football is like theatre, and it is. A play in two acts, two halves. The players are centre stage for all to see. Fans live through the comedy and the tragedy, waiting for the final outcome. I think football is also like a novel:  each moment is a page turner, each game another episode leading towards the final game, the denouement where it all kicks off, where the climax happens. And of course, when the novel ends, it may be the best one yet or it may be one of the less satisfactory stories. But there will be more games, the next sequel, and more opportunity to invest emotionally, another chance to watch, to analyse, to give our opinions and offer our own interpretation. We will always continue to hope that our central characters win the day and become the memorable heroes we all aspire for them to be. And when it all becomes completely unpredictable, someone will breathe a sigh of amazement and say ‘You couldn’t write this stuff!’
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Can’t get your novel started? Here are my 12 top tips

I’m lucky to belong to several writers’ groups, including a brilliant local one and an online advice and support group. Before that, my regular writers’ group consisted of a bunch of genius poets and artists back in Devon. Before that, I belonged to an MA writers’ class where everybody was superbly talented. The world is full of great writers.

One day, in the MA group, out tutor sent us away for an hour and told us to write a thousand words on something vaguely associated with what we’d been studying. I went away and bashed happily on a computer and in due course we all reassembled, most students carrying coffee cups from the bar, where they’d been for the last forty five minutes.

‘So,’ our tutor said. ‘Did anyone write over a thousand words?’ I shot up my hand and looked around the room. I was devastated. I was the only one.

‘How many words, Judy?’

I kept my voice low. ‘One thousand seven hundred and …’

The tutor glanced around the class. ‘Anyone else do a thousand?’ Heads went down. He tried again. ‘Over five hundred? No….? Over three hundred? No…?’

Someone had written a hundred. Two people had thrown a paragraph of forty words together. One of our most gifted writers had thrown his three lines in the bin. One student grumbled, ‘I don’t see the point in doing this.’

The point was, apparently, to be able to write on demand, to fulfil a deadline. The point was, the tutor suggested, that so many good writers can’t do it.

Then this morning, in an online group, someone asked for help. ‘I’ve got a great idea for a novel,’ he said with enthusiasm. ‘I’ve designed the front cover. I’ve written the blurb. I just can’t seem to get started on the writing. Please can anyone advise me?’

It seems to be a recurring problem amongst writers: getting started, writing the first words, sustaining the first few chapters, not running out of steam after 20,000 words, avoiding the sagging storyline by the middle of the novel. So here’s some advice in the form of twelve tips. They may not all apply to you, but I hope that they will at least help.

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Tip One: Be honest – know yourself. If you are a procrastinator, a person who loses interest quickly, a person who loses self-belief, factor that in to what will happen when you write, and prepare for it before it happens. You will need to know what you’re dealing with up front. It makes the next steps easier.

Tip Two: If you are happy planning in advance, and it certainly will help you with direction and continuity if you fall into the group above, then get ready to plan for all you’re worth. That means that you cover an entire wall with a huge sheet of paper and start plotting. Work out what will happen in your novel in five sections or acts. The first act sets the premise, tells the reader who the characters are and what they need to change. It throws problems or difficulty into the mix, conflict. The final act creates dénouement, resolution, answers questions from the first act or deliberately doesn’t answer them. The final act can be everything the reader doesn’t expect. Then you plan the acts in-between, what will happen, what will go wrong. At this stage keep it flexible, prepare to change anything and everything. as you go. If your instinct says something isn’t right, scrub it and rethink.

Tip Three: Do research up-front. Decide on your characters. Write your character’s background, time-line, wants and needs, fears and problems. Draw or find a picture of them if you need them to be clearly fixed in your imagination. Work out their foibles and idiosyncrasies, their strengths, their flaws and their Achilles heel. You’ll need all this for your novel. Develop your protagnist and from there, work out what your antagionist is like and why there is conflict. Who are the other characters? If they are bland or they don’t make you interested in them, scrap them and start again.

Tip Four: Use anything for inspiration to find out about your characters and plot in advance. But it’s important to clear your mind first. Rid yourself of any blocks, worries, hurdles, barriers. Go for a run. Discuss your ideas with a friend. Listen to music. Go on holiday. Then research. Impersonate. Inrterpret. Borrow. Whatever it takes.

Tip Five: Don’t worry if someone says ‘It’s been done before.’ I remember being told that Matt Haig’s wonderful novel How to Stop Time was the same story as The Highlander. Who cares? His novel is brilliant because of the way he tells it. The Highlander is a watchable film with a great sound track. Who says we can’t have both? There are only seven ideas anyway, apparently.

Tip Six: When you start to write, tell yourself that you will write for a specific limited time or bash out a limited number of words. Then do it. Two hours. A thousand words – whatever, but don’t stop to edit or read through. That can all come later. Get immersed and put it down on paper or screen.

Tip Seven: Don’t be afraid to walk away, take a few hours off off, but set yourself a strict time when you will come back. After a  reward – a cup of coffee, a walk, a trip to the gym, a visit to a friend, chocolate – all of these together, come back and make yourself write for another set time.

Tip Eight: If you are, like I am, a ‘pantser’, (some people prefer the phrase ‘an intuitive writer’) then forget the part about planning too carefully and just throw the first few chapters down as soon as the idea comes to you. We ‘pantsers’ are the ones who don’t seem to have a hard time getting started because we ‘fly by the seat of our pants.’ I never plan the whole novel before I start. I have an idea, a rough understanding of where I’ll be by the end, and I run with it. Once I realise where I’m going, I imagine a line graph – the rise of the tense parts of the story, conflict, new characters; the dip or contrast of comic moments, tragedies; more hardship, puzzles, unanswered questions, catalysts, more contrasts, more conflict. Then I use the graph to move the action forward and try to surprise myself at every turn. For me, the mental graph works brilliantly to keep the novel varied and balanced.

Tip Nine: I have a 20,000-40,000 word cut-off rule. If by that point, the characters aren’t lodged somewhere in my psyche and don’t keep me awake at night, invisible friends chattering and asking what will happen next, then I scrap the novel, or at least shelve it. If it’s ok at that point, I know I’ll finish it. Didn’t the Bee Gees say it perfectly? It’s only words, and words are all I have to take your heart away. If it doesn’t affect you, as the writer, emotionally, then how will the reader ever become engrossed and moved?

Tip Ten: Keep the negative critics and thoughts away at this stage. There will be high points where you think, ‘I love my novel to bits.’ There will be low points too. ‘Is this working? Does it feel right? Is it total banal rubbish?’ As long as you’re on track with your idea and your protagonist still captivates you, work through the downbeat  moments by keeping on writing in the knowledge that you can edit later. It won’t be perfect. Not yet. Not ever. Even when it’s in print and on the shelves, you’ll think ‘I should have changed this part to…’ So keep the stamina, the energy and the impetus going. Avoid the voice that says ‘You can’t write. You’re no good. You’ll never make it.’ Leave all that to the one lonely person out there whose life-breath it is to give writers one-star reviews on Amazon. But remember that everyone else might like it or even love it: they might be entertained, moved, made to feel happy. They matter most. You will get there.

Tip Eleven: Don’t fret over the idea that J K Rowling’s Harry Potter was turned down lots of times before she found an agent and a publisher and tell yourself you’ve no chance. Focus on where she is now. Of course you’ll need resilience and determination. It will be an interesting journey. But you need to write the novel first. Believe. Give it a go. It’s only words.

Tip Twelve: There will be hard times, times where you need to walk away, take a breath, work things out, come back. A novel is like any other close relationship. You fall in love. You fall out over something silly. You work hard to get things right. You come back together again and then it’s even better. Don’t give up. Don’t ever stop trying. Plan. Don’t plan. Edit as you go, don’t edit as you go. Find the way that suits your personality. But don’t ever stop trying. Keep the words flowing across the screen. Write every day, write most days, and write a lot. Be kind to yourself but strict with your characters and the flow of your novel.

Give it your best shot – nothing is ever perfect, but it can be special. And good luck to you. You’ll get there. Don’t doubt yourself. Believe and it can happen. And you never know – you might even enjoy the journey.

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My Top Tips for Writers’ Block…

I have heard a lot about writers’ block. I’m not entirely sure what it is but I think it means that writers can’t write because something is holding them back – they experience a temporary lack of inspiration or fluidity. The reason I’m not clear about what it means is because I don’t think I’ve ever had it. It might mean that a writer has no fresh ideas. ‘What shall I write my next novel about?’ It might mean that a writer is trying to devise a new episode. ‘My protagonist needs to meet her arch enemy but how am I going to contrive the meeting?’

It might suggest that there will be difficulty creating a solution. ‘Hyppolita is surrounded by zombies. How am I going to get her to safety?’

It might imply that an idea is not working, and may not appeal to the readers. ‘Oops, I shoudn’t have made Dulcie shoot the man of her dreams in chapter two. What shall I do now?’ It might be that the writer can’t get started at all. ‘Feisty, newly single, Imelda works in a newspaper office with six other women and one man. So what?’

For the  sake of this blog post, I’ll just assume that writers’ block could stem from any one or all of these problems. The writer doesn’t know what to write. She or he is ‘stuck.’

I’ve been asked by other writers about how to deal with the problem of writers’ block and I’ve given it some thought. I’m not sure why I have never had it, or whether I might get it at some point, but on reflection, here are five tips which I think might help, based on my own experience. Or my lack of it.

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  1. Don’t worry about writers’ block. Worrying can cause writers’ block or, certainly, make the problem worse. If you think you’re going to get it, you probably will. If you think you won’t be able to shake it off, you probably won’t. It’s just that, a block in your mind which stops creativity and it will fill all the empty space, sort of like concrete,  and stop ideas coming in. If possible, start believing that writers’ block  doesn’t exist. A bit like a ghost. If you don’t invest in it, then it’ll just remain a figment of a fertile imagination.
  2. Avoid sitting in front of a monitor or a blank page, staring at the screen or into the emptiness thinking ‘What shall I write?’ Ted Hughes’ poem ‘Thought Fox’ suggests that, when a writer stare at blankness, like a fox in snow, the prints start to come, but you might just simply get a headache. Walk away. Drink water. Go for a run. Sing and dance. Eat chocolate. Phone a friend. But don’t think about the emptiness and the lack of words. Move your thoughts to a better place.
  3. Read a good book or watch an exciting film. Fill your head with someone else’s words and images.  Play music. Let your mind drift. Then, when you least expect it, an idea will pop in. But you have to let go first. Really let go. Which is why I suggest a walk in the open spaces, the countryside, with the wind blowing through your ears, clearing  the dust which may have settled in the mind. Let new ideas in. Don’t keep the block locked inside – empty the space.
  4. Laugh, chat to friends, family, share a glass of wine, then say ‘I’m writing this novel but I am not sure quite how to enable Jessica to escape from a burning building by herself.’ Or ‘I’m writing a historical fantasy fiction which deals with the problems of loneliness. Any ideas?’ Then write all the suggestions down, walk away again, sleep on them. My ideas often wake me up at three in the morning and start chatting inside my head. New protagonists. Invisible friends…
  5.  Stop writing altogether. Take a week or two off completely and have some fun. Give your crowded thoughts time to become  a big empty space and keep your mind stress-free so that you aren’t worried about your creativity drying up. Be tough on old ideas which aren’t your best ones. Throw away anything which doesn’t really grab you. If it doesn’t excite you, it won’t excite your reader, because your struggle to make it almost work will show through. I filed 20,000 words of a novel away in the bin once because I wasn’t in love with my protagonists enough to justify keeping going. I need characters who will spur me on, make me laugh, keep me awake and make me think about them all the time, consciously or subconsciously. If they don’t do that, I have to shelve them because they aren’t good enough for my readers. So the deal is simple. Be inspired or start again. It’s tough love and relates exactly to Stephen King’s statement about killing your darlings.

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6. Then when you are ready, just write, just go for it. Scribble, bash out words. Be prolific and don’t stop to think too much – you can edit later. Let the ideas rampage over the screen. Enjoy it. Let the action take over. Let the characters riot. The important thing is to write and to believe in yourself as a writer. Hit the page running.

Occasional self-doubt is natural. We writers are tortured artists, creative souls and it’s normal to think ‘What if I can’t ever ..?’ or ‘What if my reader doesn’t like..?’ But don’t let doubt stand in the way for long. There will always need to be revisions, structural rewrites, edits. That’s natural and part of the process, and no reflection on a good writer. It’s how we strive to be the best we can be.

We can’t please everyone either. We should expect the odd negative review amid all the kindness and praise. Our writing is for a specific audience and there will be readers for whom our novels won’t ever work. I read a one-star review of a superb Jeanette Winterson book the other day. ‘My wife hated it…it didn’t make her laugh… ‘ I laughed, I’m afraid. The critic didn’t match the novel, couldn’t understand the genre.  We can’t aim to please everybody, just the people who will enjoy our books. For my part, when I read a novel which isn’t ‘for me’, I either stop reading and leave it for those for whom it’s been written, or put myself into the shoes and eyes  of readers who will like it and try to understand what makes it so successful…

So don’t stunt your creativity with doubt and worry, and especially don’t waste time fretting about writers’ block. Ideas will soon flood in. And if they don’t arrive straight away, nourish yourself with a positive and fulfilling activity which is not writing, but is something completely different. Yoga. Dancing on the beach. Fun and laughter. That way, the good stuff will have chance to flow back. It will come in time. You will  be energised again, enthused, prolific. A two-thousand- word chapter before morning coffee is just a warm-up for the day’s writing.

Unless of course you have looming deadlines, important and unavoidable ones which are bound to stop creativity as quickly as a scrum of screaming otters lining up in a narrow riverbank. Deadlines are something else, guaranteed to make the writer freeze with fear and suddenly become incapable of thinking of the next sentence. But top tips about how to handle deadlines will have to be the subject for another blog post.

For now, remember, fear not the block, for it is just a symptom of a creative brain which needs to stop, recharge and breathe…

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