Not Your Friends

Charlie Brown and Lucy, by Schulz

If I had to give one piece of advice to writers who are just starting out, or to those travelling hopefully in the early stages of the journey, it would be this: many of the people you encounter along the way, agents, publishers, managers, interns, editors, producers, directors, even those who work for agencies charged with funding the arts - remember that they are not your friends.

I have plenty of fellow writers and actors I've worked with, and I would count almost all of them as my friends. We share experiences in common, we sympathise with each other, we may well compete from time to time, but we also look out for each other when the chips are down. And even when we don't see each other for a while, we pick up where we left off when we do meet. That's real friendship.

When I look back over a long career in writing and publishing, I can see that most of the mistakes I've made - and I've made plenty - have involved me misinterpreting a warm professional relationship as genuine friendship. 

It never was. 

This is not a bad thing. We don't, for example, expect our doctors or dentists to be personal friends, as long as the relationship is polite and 'friendly' and mutually beneficial. Ditto our solicitors, accountants, and whatever other professionals we work with. There may be exceptions, but that's usually because the friendship predates the profession, or the professional relationship runs parallel to the personal friendship and has lasted for many years. I think I can count on the fingers of one hand the situations where that was the case and, alas, the people in question are dead. 

Writers are often to be found extolling the 'friendship' they have with their 'wonderful' agent or director  or publisher. I've done it myself more than once. It's hard not to see it as friendship, when there are so many similarities with the real thing: the long, mutually supportive conversations, the praise, the positivity, the helpful suggestions, the promises. 

Unfortunately, and unlike real friendships that can persist through thick and thin, over many years, professional relationships may not. Sometimes they end suddenly and unexpectedly, with a letter or email. Occasionally, just when you thought things were coasting along nicely, you feel the chill wind of disapproval, followed by silence. Sometimes you realise that the person who was once so responsive - the person who made you think 'this time, it will be different!' -  hardly responds at all. You make a hundred excuses for them. To yourself and to other people. I've done this countless times with different people, giving them the benefit of the doubt, shrinking away from the obvious conclusion. Like Schulz's Charlie Brown, you can't resist one more try at kicking that ball. Afterwards, you liken it to those love affairs where you make excuses until no more excuses will do. 

It isn't a love affair at all. It's a professional relationship, no more, no less. 

The cut off is invariably a commercial decision. Mostly, it's that you simply aren't making them enough money. For professionals, the business always comes first. And you know what? That's exactly the way it should be. As long as it cuts both ways. 

It can't be said too often. A professional relationship is not a friendship, no matter how much it might masquerade as one. This is not to say that it can't be polite, congenial, supportive and very good while it lasts. All of that. But when push comes to shove, they are not your friends, and if you begin to believe that they are, you are, I'm afraid, doomed to disappointment. 

The corollary of this should be that you are free to do the same thing. Your career comes first. Look out for yourself.  Don't hang on to a failing business relationship, however cordial, because of misplaced feelings of loyalty. Save that for your real, personal friends. They're the ones who deserve it. Where business is concerned, and writing is a business as well as a vocation, speak softly and carry a big stick. Be nice, be polite, but always be aware of what suits you and your work best. They won't mourn the loss of you at all, if you walk away. Because they really are not your friends.

Bad Advice, Good Advice

 

A few years ago, it struck me that I had probably been given more bad than good advice about writing over the years, all of it from well-meaning 'experts'. I've been known to hand out quite a bit of writing advice myself over the years and sometimes I find myself thinking 'have I done more harm than good?' and not being at all sure of the answer. Although when I have commented on a piece of writing, I do tend to do so with a huge proviso that nobody should ever take anyone's else's opinion as gospel. Not ever. 

One of the most worrying aspects of my time spent as Royal Literary Fund Writing Fellow, at the University of the West of Scotland, where my job was to help students with their academic writing, always came when that academic writing involved some aspect of creative writing. I vividly remember telling one student that she needed to take her script away and 'play with it'. 

She looked horrified. 'But we can't play with it,' she said. 'We have to get it right!' 

How could I possibly explain to her that most professional writers spend hours, days, weeks 'playing' with an idea, trying to find out if it's viable, trying to find out what works and what doesn't. And more to the point, why were her lecturers telling her that there was any one way of 'getting it right'. Bad advice indeed. 

Bad advice I've been given over the years? 

Don't turn this radio play into a stage play. (It was crying out to be turned into a stage play.)

Nobody is interested in the supernatural. (You're kidding me, right?) 

This is a library novel fit only for housewives. Bin it. (You can read that novel here. I still get messages from people telling me how much they like it - but perhaps they're housewives!) 

Listen to your script editor. They have your best interests at heart.  (Some do, some definitely don't. The trick is knowing the difference.) 

Don't self publish. Nobody will ever read it. 

We don't have any development money in the budget. (There is, in fact, a budget. They just decided not to pay the writer.) 

Best advice I've been given over the years? Two gems that have never lost their power to inspire.

Stop watering your Dylan Thomas adjectives and watching them grow 

The only way to learn how to write is to write. And read. A lot.

Which leads me to the unexpectedly worst possible advice I've had. I used to believe it. Hell, I've probably said it myself to emerging writers. 

Write about what you know about.

That way, boredom and madness lies. I know there is some truth in it. If you're writing about - for example - Scotland, it helps to know a bit about the country. If you're setting your novel or story in an unfamiliar city, you'd better find out what you can about it. If your feisty 18th century heroine is doing things that no 18th century woman would ever do, or knowing things that she would never know, you might need to have a rethink. 

But for heaven's sake, don't be afraid to use your imagination. Stretch it. Make some leaps into the dark and see where you land. Even when I was routinely telling people to write about what they knew about, I would always qualify it with 'but you know more than you think.' Not only that, but you can find out almost anything.

Use that knowledge in a million imaginative ways. That's what writers do. 

Writing Classes, Rainbows and Pots of Gold.

 

 

I've just finished reading a book called Negative Capability by Michele Roberts - a memoir of a difficult year in her life. Among the memorable passages was one dealing with writing classes. 

She points out that 'most of the students equated novels with producing marketable commodities. They were obsessed with writing correctly to certain agent identified, agent approved agendas.' A little further on she points out that 'they trusted literature less than self help writing manuals.' Roberts goes on to remark that she can't stop herself from bursting out in 'defence of making art' which cuts no ice with the students.

I found myself highlighting these passages and going back to them with sympathy and recognition. I too have taught writing classes and workshops. Over the years, I've seen the balance shift from the desire to learn about the craft of writing to an obsession with commodity and some hypothetical market - the pot of gold at the end of the writing rainbow. 

I used to teach creative writing for the Workers Educational Association. We lost funding, but eventually, because I was working in what was termed an 'area of social deprivation' (it was certainly that, but the people were the nicest, funniest, most talented bunch I've ever worked with) - the local council offered to supply the deficit. Except that suddenly they wanted an end product. It wasn't enough to encourage people to write in different ways, whether it was prose or poetry or drama - and we had people working on all of these within the group. No, there had to be an outcome. A thing at the end of it. Hence a great many funding applications that involved the production of box ticking anthologies. 

It marked a shift from a perception of the value of doing something for itself alone, to doing something only if there was a tangible result. When the relative impossibility of that tangible outcome became obvious, they decided that health and wellbeing was enough of a thing, so you had to demonstrate that you were prepared to be a cut price and largely untrained mental health professional as well. This is an attitude that is now so deeply and disastrously embedded in the bodies set up to support the creative industries that I doubt if we will ever manage to switch back to valuing participating in the arts purely for its own sake. 

I play the piano because I love doing it. I'm never going to be a concert pianist. I learn to play things because it gives me a bit of a buzz, and I suppose that's a wellbeing outcome of sorts, but frankly, I do it for the sheer enjoyment of playing and that's reason enough. I do it to do it. 

This is why, although I'm happy to give talks about my fiction, about the experience of writing and publishing, and also about the practicalities of research, I'm no longer keen to engage with the highly prescriptive aspects of a writing life, such as all those social media posts about the dos and don'ts of constructing query letters. And as for those agents who post scathing online take downs of terrible-query-letters-I-have-known for a bunch of sycophants to laugh at, in hopes of currying a bit of favour ... don't get me started! 

The harsh truth is that, even if you do manage to land an agent in the net of your perfect query letter, there is no guarantee at all that that agent will find you a publisher. But if you write to the specifications of a string of other people: the agent's reader, the agent, the publisher's reader, the publisher, the editor, I'm not at all sure that what will emerge will have done your development as a writer any good at all. Add to that a clutch of so called beta readers - a term from the video games industry that doesn't mean what people think it means -  before you even start on the long road to finding an agent, all with varied opinions about what you should and shouldn't be writing, and you'd be better to do a whole lot more reading and a whole lot more writing. As Roberts so succinctly puts it, find your own way into 'making art'. 

That's what Stephen King recommends here, and whether you like his books or not, I reckon he's right about this one. 

Which is not to say that a good editor isn't a wonderful thing: one who asks all the right, difficult questions and allows you, the writer, to rework and to learn a lot about your own craft in the process.  But that's a very definite professional skill, and not one usually possessed by an opinionated literature graduate intern working for peanuts for an agency or publishing house. 

The harsh truth is that the pot of gold at the end of the publishing rainbow is as elusive and mobile as the mythical one. And as William Goldman accurately states, in his Adventures in the Screen Trade, 'nobody knows anything'. Unless you're one of that growing band of celebrities in another field deciding that they've always wanted to write a book, the really big hits tend to come quite suddenly, out of left field, unpredicted by the industry itself. Not just unpredicted, but often rejected. Then they all want more of the same, until the next big hit comes along and takes them completely by surprise. If you're ready to ride that new wave - which tends to be a matter of coincidence and luck rather than anything else - good for you. 

Otherwise, write what you love, write what obsesses you - and to hell with the rest. If you don't, you may find yourself missing the beauty of the rainbow, in pursuit of an elusive pot of gold that will probably turn out to contain a few dried leaves. 

Fairy gold, you see. Just can't trust it. 

Researching and Writing Historical Fiction - Ten Tips to Get You Started

The Cottar's Saturday Night

Last week, I was asked to give a talk to the excellent Ayr Writers' Club about researching and writing historical fiction. It strikes me that quite a lot of other people might be interested in this too, whether they want to write novels, short stories or even plays with historical settings and themes. So I've tried to boil it all down into ten points: something to get you started while the year is still reasonably new.

1 Do your research. 

This is the key but just how much you need to do varies with the genre in which you're writing. You can do so much of it online now, that the risk is always that the research will take over, because let’s face it, it’s fascinating, and you can get engrossed in it, following one idea after another down the world wide rabbit warren. It’s important to try to immerse yourself in your chosen time and place, although this doesn’t necessarily mean reading dry academic histories. Think about social and domestic history, how people lived and worked, how they dressed and ate. Read letters too if you can find them. Don't dismiss the novels of the period. When I was writing The Jewel, one of my most useful finds was an early novel by John Galt called The Annals of The Parish, an accurate and at times hilarious account of life in a rural Ayrshire parish at just the right time for my novel. This kind of research will also help you to avoid howlers and anachronisms which will throw your reader right out of the world of the story.

2 Know when to stop. (For a bit) 

Research is its own reward and if you're that way inclined (and I am) you can easily get sidetracked by its endless fascination. Sometimes you have to take a conscious decision to stop researching and start writing.The trick is to do enough research so that you can ‘be’ in the time and place of your novel or story as you are writing it but also to recognise that ...

3 You can't know everything. 

Whatever you don’t know will become obvious as you write. Once you have a first draft under your belt, you will be able to check things, find things out, answer your own questions later on. You don’t know exactly what you don’t know until you realise you don’t know it. And that's fine.

4 Use your imagination. 

The questions writers have to ask themselves are: who, what, when, where, how and why. And what happened next, of course. But the question ‘what did that feel like?’ is the preserve of writers of fiction, mostly. Even biographers tend to be wary of venturing on that one, but novelists can go where angels fear to tread. And historical novelists – especially when they’ve done a lot of research – really have to give themselves permission to tackle the ‘what did that feel like’ aspect of the story, because it’s the biggest thing that will stop the factual research taking over and slowing the novel down. You have to try to treat your research lightly. It's the seasoning, rather than the big indigestible hunk of fat in the soup -  and wondering about feelings is one way of making sure that the story is deliciously readable and recognisable.

5 Allow yourself to make things up. 

When the historical record isn’t clear, you can make good guesses from the evidence before you, and since you’re writing fiction, you’re allowed to make things up. Within the bounds of possibility. You have a lot more freedom than a historian. But you should remember that even when you are making things up about known characters, you must consider what might conceivably have happened. If something seems incredible, then it probably is. And if it seems incredible to the reader it will throw him or her right out of the world of the story.

6 Make timelines and check dates. 

Especially when you’re writing from fact, timelines are invaluable. Find out not just what was going on in the wider world, but in detail. Find out what time of the year something happened. What was the weather like? (There are websites that will tell you this and sites that will tell you what day of the week a certain date fell on.) Knowing when something happened in relation to something else will often tell you a whole lot about the why and the how. If you're writing about real people, consider their ages. Often the extreme youth of certain characters tells you a lot about their behaviour or their relationships. In The Physic Garden, Thomas and William are based on real characters about whom we don't know very much except that there was some connection between them. I started out by thinking that an older professor had taken a very young gardener under his wing, as a professional man will sometimes mentor a younger man. Then I found out that they were of very similar ages, and my whole perception changed. They were friends. And the betrayal of that friendship gave me my story.

7 Choose a point of view. 

Are you telling the story as a first person narrative (as in The Physic Garden) or third person (as in The Jewel) - and if in the third person, are you still in the mind and point of view of one character in particular (The Jewel, Jean) or are you omniscient, the all seeing eye, and do you know how hard this can be to handle? If you are going for omniscient third person – you, as the author, seeing everything - you are going to have to be very careful about when and where you switch points of view. If you do it too abruptly, it disorientates the reader. Whole articles have been written about this and there's plenty of advice online, but it needn't be as complicated as it seems. The story itself will often dictate the persona in which it is told. Consistency is the key. 

8 Choose the language and dialect. 

This is closely related to (7) above. In the Jewel, I decided quite early on that it had to be a third person 'he said/she said' tale, but we are pretty much always with Jean in that novel – so it can be her story, but without too many of the challenges of trying to tackle a first person narrative for a genuine Ayrshire lass. Jean's voice was an 18th century Mauchline voice. In my novel, she uses the words and - largely - the patterns of speech you would expect. But the narrative, the storytelling, helps to make Jean accessible to a 21st century reader. As a writer you want to communicate, and you are always juggling marketability, the wants and needs of your readership, with what you want and need to do to make the characters authentic.   

9 Forge on. 

Get that first draft down, come hell or high water. Do Nanowrimo if you want or invent your own. You may find that - eventually - you can stop to polish along the way, but with a first novel in particular, it's important to get to the end, so that you have something to work on. When you are working, day to day, don't stop at the end of a chapter. Stop at a point where you really want to go on.  That way you'll want to start the next day. Once you have a first draft, however clumsy and unsatisfactory, however bad you think it is, let it lie fallow for a while, do some more research if you have to, and then go back to it and begin the real work of editing, rewriting, polishing. It's always easier to do this on an 'entity' - a whole novel - than on a small part of an unwritten whole. Printing out often helps at that stage. I write onto a PC but I often revise on paper.

10 Use Pinterest. 

I sometimes forget about this when I'm doing talks, but it really is an invaluable resource for writers, just because it contains so many wonderful images of costume, fashions, people, places, things - and often with links back to amazingly informative blog and websites. You can also set up secret boards that only you can see - mood boards for your particular project - where you can gather all sorts of images, add to them, go back to them time and again for inspiration, and eventually make them public if you want. Or delete them if you don't. A great resource. 

Past Life Regression as a Source of Inspiration

From time to time, especially when I think a post may be of wider interest to my readers, I'll reblog one of my monthly contributions to the Authors Electric blog here. This was a popular post and I know a number of people were intrigued by the idea, even if a few others didn't believe a word of it! So here it is, and you can make up your own minds.

Something very old indeed.

A few years ago, one of my relatives, a Reiki practitioner, came to me with a slightly odd request. She was doing a course in ‘past life regression’ (yes – such things are available) and she needed a case study. How would I feel about being her guinea pig? Other people had said they would be too scared or just didn’t believe in it, but I jumped at the chance.

Which is how I found myself in a warm room, all wrapped up in a blanket, listening to her soothing tones as she took me through a set of preliminary relaxation exercises. This kind of session involves mild hypnosis, so I know it wouldn’t be for everyone. It also, I suppose, involves a willing suspension of disbelief – something writers find remarkably easy. At no point did I ever feel out of control or even particularly sleepy, although I certainly felt relaxed – with occasional lurches into inexplicable discomfort best described as a sense of falling, a momentary dizziness.

What happens next is a strange mixture of the extraordinary and the commonplace. She begins by asking me to look down at my feet. What do I see? That’s easy. I’m barefoot. I’m looking down at two small bare feet and I feel cold. The floor is chilly. So are my feet. What am I wearing? A white nightdress. Where am I? I’m in a room - it’s dark with the light filtering in. A plain room with whitewashed walls. It is my bedroom and there is a cat, fast asleep on the bed. (I don't have a cat, don't particularly like them, so have no idea what brought a cat into my head.) She tells me to go to the door, open it and go out. What do I see? I'm in a long corridor with wood panelling. But I suddenly know that it only looks long because I’m small. I feel small. I'm a child. This is a plain house, with white walls and dark wood and not much furniture and it’s my home. Plain but by no means poor. It smells like home. It’s morning and I can see the sunlight filtering in and I’m pattering down the corridor on cold bare feet.

We move on. I’m outside. It’s summer. There’s a huge, spreading tree. I’m sitting beneath it, playing. I have a doll or dolls. Made of wood, I think, but with clothes. My mother and father are watching me, my father in a long dark green coat. I’m still small. Yorkshire. I think we live in Yorkshire. What does my father do? ‘Does he work?’ my interrogator says. 'What is his work?' I feel faintly confused. No, he doesn’t work. Not work. In fact ‘work’ seems like the wrong word. He sees to things. He just comes and goes. Has things to do. Tells people what to do. There’s land, a farm. My mother sits and sews. There are ladies who come and sew with her, and then I have to play on my own but I don’t mind. Roses. I can smell  roses.

Time shifts. In fact time shifts a bit too quickly. I want the whole thing to go on much longer. I want time and space to explore and contemplate these places and people I can see so clearly. But these sessions seem to have a set length. Maybe they’re afraid we’ll get lost in some hypothetical past! I’m older. What kind of shoes am I wearing? I can see them very clearly: yellow satin, with ribbons and little heels. And they are pinching my feet. They are uncomfortable but beautiful. My dress is very stiff. They stitch me into it I say, casually. I know my full name now. I’m Anne Gilbert, I’m seventeen years old, my mother is dead and I’m still living in this plain stone house with my father. I have no siblings. The house smells of lavender, beeswax and roses. There are a lot of books in the house. But they don’t much interest me. The books are dry, sermons, I say. They are full of sermons and I don’t like them. I can read and write but I don’t want to read them. My voice seems a bit odd to me. Oddly detatched from me if that's possible. If I were to try to pin it down, it would be as though somebody else was speaking. Me and not me at the same time.

I have a friend. That’s why I’m dressed like this, in this dress, in these yellow shoes and this stiff dress. She is richer, lives in a bigger house. I go there to visit her. They are different over there. There are celebrations, visitors. We dance. I love dancing but our house is so quiet. Very quiet. In my head, I can hear the silence of the house. It's not unpleasant at all.

We move on again. I’m twenty and I’m married. I think I must have mentioned my husband’s name but I don’t remember it now. She asks me if I met this man at my friend’s house but I find that quite funny. Oh no, I say. Of course not. He came to our house. He only came to see my father. That’s how we met. He’s a scholar. I distinctly remember the way the word scholar pops into my mind and with it the image of a tall, scholarly husband – not old, but scholarly - with reddish hair. He doesn’t care about his appearance or what he wears, he’s a great ‘thinker’ I say, and I know that I love him dearly. He’s gentle, often distracted. I have to remind him of things. I read to him and I write things down for him. We live ‘in another house’ I say. Not my father’s house but not far away either. Another plain house with a lot of books. I have this image in my head of remote countryside with only a few houses and not much else. We have a little boy. He has red hair too and freckles.

In the next image, I’m forty years old and sad. There's a weight of sadness, of loss. I look down at my feet and see boots. My husband has died and I’m sitting in a chilly stone church – very small, a country church - and I’m sad. For the first time, a date pops into my mind. It is the 17th day of October 1696. (Can that be true? Who knows?) It’s after the funeral. I’ve lost track of time, here in this chilly little church. My son? He’s at sea. In the navy. I miss him. There’s a daughter. Her name is Alice and she’s married. She lives close by. I’m happy for her. But I’m tired. I can feel the sadness and fatigue seeping into me, but it’s not really distressing. I’m too removed from it now. Finally, seven years later, I’m ready to move on. It isn’t painful. I’m just ready to leave. I miss my husband and I’m tired and I slip away. Then, slowly and carefully she brings me back to the reality of the room where I’m still snug under my blanket.

Writing about this now, several years later, I can still see it as vividly as though it really had happened. Especially the wood panelled house, the stiff dress, the yellow shoes. But of course I’m a writer. I can see all kinds of things as clearly as if they had actually happened. That’s what I do. Make things up. And what's more, I often write historical fiction. What both I and my relative found intriguing though, was the very ordinariness of it all – a plain, circumscribed and quietly contented life. I think both of us expected more fireworks. A stronger plot. Fame and fortune. But the reality of day to day living probably was very much as I’ve described for most people, barring war, plague and other terrible eventualities. As you can imagine, I’ve done a bit of googling of Anne Gilbert. I certainly have no Gilbert forebears, to my knowledge. But beyond the fact that Gilbert seems to be a Yorkshire surname, there’s nothing. Nor would you really expect it. 

I still don’t know whether it’s all make believe or not. But I would caution anyone thinking of trying it to make sure the person leading you through it knows what he or she is doing. Even with Anne’s quiet life and death, the images conjured are surprisingly powerful. I could imagine under other circumstances that the whole thing might become a bit distressing, that you could have a ‘bad trip’.

Otherwise, well, whether you believe in it or not, it might give you some interesting ideas for fiction.

The Crusader Rose: one of the oldest in cultivation.

I haven't yet written about Anne Gilbert (not much plot there!) but you can find my Scottish historical novel The Physic Garden, published by Saraband, in paperback and as an eBook on various platforms.