Excellent Events and a Wee Bit About Payment

Book Fair at the Carrick Lodge Hotel,
organised by the ever excellent Ayr Writers. 

This year, I've been snowed under with book events, and I've loved every minute of it, loved talking about Jean, and chatting to readers and signing books. Some events have been purely promotional, launching the Jewel at various venues, while others have come under the category of paid work, talks at excellent book festivals, workshops and visits to writing groups.The latest - the Pentlands Book Festival in Juniper Green - was a model of how to organise such things and a pleasure from start to finish. (Very many thanks to my hosts for their hospitality.)

I'm aware that I'm lucky and that many writers just starting out would be glad of the opportunity. But as a freelance writer married to a freelance artist, I've been trying to balance event payment with promotional value for years now. This has also been something that the Society of Authors has been tackling on behalf of all its members, although it has to be said that Scottish book festivals are extremely good at paying their writers.

So here are some general thoughts, ending with one plea in particular.

The vast majority of writers do not earn large sums of money from their writing.
Book events of all kinds are excellent promotional tools. We build our readership one satisfied reader at a time, hoping that they will tell somebody else if they've enjoyed a book.
Book events are, on the whole, extremely enjoyable.
Book events are also hard work!

The truth is that most writers are happy to do a limited number of free events in any one year, especially local events, so there's no harm in asking. Personally speaking, I'll do bookshop events when I can, especially with a new book, and I'll also do a number of freebies for local book groups, or even local non commercial organisations such as the WRI (although in my experience they are scrupulous in paying travel expenses and offering hospitality.) I'll also happily do some book events where - for example - travel and accommodation are paid by a proactive and enthusiastic host. There are no hard and fast rules. But out of sheer practicality the paid events and the actual writing will have to take precedence. If you take a look at the News and Events Page on my website, you'll find more details.

Many groups in Scotland can and do apply for writer funding under the Scottish Book Trust's excellent Live Literature Scotland scheme, and that's good for all concerned. The host organisation is funded, the writer is funded, and everyone's happy.

But when funding of various kinds is applied for and obtained or when it's offered by a festival, some starry writers (there are a few!) or perhaps even writers who have another and more lucrative profession, will waive their fees.
Which is very nice of them, but I wish they wouldn't.
The problem is that the cash may actually be ring fenced, so can't be used for anything else. But even more of a problem is that it sets a precedent, while most of us - however much we would like to be able to do the same - simply can't afford to do too many free events.

So my plea to the handful of rich writers out there is - please, for the sake of the rest of us, accept what's offered, and then if you really don't need or want the money, donate it to whatever worthy cause you choose - your local school library or one of a number of excellent book charities that help children all over the world to obtain books. Many of us would love to be able to do the same. One day, some of us will be able to.

Female Desire

Of all the feedback I've had about The Jewel - and people have said and written some very nice things about it, which is a great relief, because when you send your baby out into the world, you never know what the response will be  - I think the judgment that I found most gratifying was from a bookseller. Almost casually, she remarked 'You write female desire very well.'

I hope so but it was nice to have it confirmed by another woman. It got me thinking though. I'd be the first to say that women can write successfully about men, just as men can write successfully about women. But not always. Like all kinds of writing, it demands the ability to step outside yourself, crawl inside somebody else's mind, make yourself comfortable (or uncomfortable, depending on the character) and write from their point of view. Which is hard to do. So just as we have women writing impossibly romantic male characters, we have men writing women who gaze at themselves in a succession of mirrors, thinking thoughts that no woman I have ever known would think. Or - and this is a topic for another post - people write only about themselves, seemingly unable to see beyond the fascination of their own lives.

I found the 'female desire' remark so pleasing because that is one of the things I set out to do when I wrote The Jewel: to tell the story of why and how an otherwise sensible young woman might fall for and continue to love (but clearly not always like) an unsuitable man against all the careful counselling of family and friends. What is it all about: this web of connections and attractions, the pain of rejection, the physical and mental fascination verging on madness?

Unfortunately, any woman writing about female desire, even as part of something much larger, will be misunderstood by the literary establishment. No matter how well crafted the book, no matter how 'true' the depictions of said desire, a love story will seldom be taken seriously. Except of course by readers.

Fortunately, they're the ones who matter.

NaNoWriMo

It's national November novel writing month again. I'm not really taking part, even though I do have a new novel to write - well, actually, I have three - and I'll certainly be hustling to get that first draft of the first book onto the PC before Christmas.

If you're doing it, good luck. You're more than a quarter of the way through. If you're flagging, pick yourself up, dust yourself off and keep going.

I was thinking about this last weekend at a small gathering of friends, most of whom also happen to be writers. One of them asked me if I was disciplined and wrote at a set time each day.  To which the answer is, no, I don't. But I do try to write almost every day. And if I'm not writing, I'm thinking about writing, plotting and planning and getting to know my characters. But the truth is that some days, all kinds of other things get in the way. I find deadlines help. And when I have a fixed deadline, I find that my work rate escalates so that I might be writing for many hours in a day and half the night as well. Just not at the beginning. It all spirals upwards!

So why is this relevant to NaNoWriMo? Well, if you can do it, and stick to it, you'll get over the significant hurdle of the first draft, the horror of the blank screen. All writers work differently. Some of us are plotters and some pantsers - we write by the seat of our pants. That's me, more or less. I know the beginning and often the end, but a lot of the time I don't know how to get there. I write to find out. That's where the fascination lies. It's as though the characters have to tell me their story. On the few occasions where I've been persuaded to write more than two or three pages of a synopsis, I get bored and find myself writing something else. But not everyone works that way, and it's fine. We're all different.

However, I've tutored a lot of writers over the years and the single biggest problem for most them when it comes to making the leap from short fiction to novels, from one act plays to full scale dramas - seems to be in finishing the first draft of something so dauntingly long. The temptation to stop, revise, rewrite, change your mind, is almost overwhelming.

That's where something like NaNoWriMo comes in. My advice to most people starting out on a big project such as a novel, has always been to forge on. Don't worry if you find you have to leave gaps, miss out chapters, realise that there are gaping holes in the plot. Don't worry if you find yourself writing passages of what seems like gobbledegook. Just keep going, tell the story, get to the end. Nobody else is going to see this draft, warts and all unless you want them to. Nobody but me ever sees my first drafts.

But it's so much easier to revise and restructure a draft, however rough and ready, than it is to face the blank screen.

A couple of other useful tips.
Stop each day at a point where you really want to go on.  I wish I could remember who first told me this, because I bless them. That way, when you come back to the project the next day, and reread the last few pages, you'll get into the story a lot more quickly and easily than if you've stopped at a nice neat chapter ending.
The second thing to remember is that novels, like bread and beer and gardening, need time. Once you've got your first rough draft done, set it aside, don't be tempted to go back to it for several weeks. It's another reason why November is a good month for a first draft. You can enjoy Christmas with a clear conscience, and then get back to some serious editing in the New Year.

Good luck. And if you've any questions, add them to the comments and I'll do my best to answer them.

Remember Remember ...

 Last night we had our annual village bonfire and fireworks display. It's always well attended - especially since every year there seem to be fewer of the big municipal displays in the nearby towns. Ours is organised by the community - a lot of work. It's free, but we sell hamburgers and glow sticks and collect donations which go towards next year's event.

I love it, love the fireworks, love the primitive and enticing quality of the fire. It always has a feeling of something that has been going on for hundreds of years as of course it has, not always on 5th November but always around this time of year when people even now feel the need to fend off the encroaching cold and dark.

These last few years, though, it has felt just a little sad for me too. There are ghosts:  my dear late mum and dad, who always used to come - my dad just loved a bonfire and fireworks. Lots of other lovely people who lived in the village and are no longer with us but are always remembered. They're all missed, but at this time of year, you can almost see them and certainly feel them, drawn to the warmth of our fire, and the joy of the people watching.

And then, of course, there are all the grown up children. Some have come back especially for Bonfire Night, some are far away,  their places taken by lots more wee kids, scooting about, full of excitement. But if you look long and hard enough, I swear you can see all of them, all these people, as they once were, caught in the light for a brief moment in time.

New Projects

I'm on the cusp of starting a new novel, and it's always a strange feeling. I know what I'm going to write and have even worked on the first few chapters. I've done the research, done the planning, know where it starts and where it's going - although I don't plot meticulously or in any great detail. I have an outline, but I'm the kind of writer who may know the beginning and the end, but not precisely how we get there. I write to find out - otherwise I'd get bored.

The other thing I do is forge on to the bitter end, even if it all goes to hell in the middle. The main thing is to get through it all. If I kept stopping to rewrite, I would never finish anything. That's another reason why I put off starting. Once I really get going, I don't much want to stop, no matter what. My current plan is to finish this first ragged draft by Christmas. Then I'll have a bit of time off for parties and celebrations (and - OK - maybe a bit of work on something else, another project very dear to my heart!)

Once the first draft has lain fallow for a few weeks, I'll go back to it, probably in February, and then start to work on it steadily through the spring and early summer, polishing away. It's the first novel in what I'm hoping will turn into a series. But that's all I'm saying about it right now. Most writers know that if you talk about a project too soon, it all dissolves, disappearing as certainly as fairy gold, leaving you with a few dead leaves!

A New Look for November

Just back from a flying visit to our beloved Isle of Gigha. I'd been asked to do a book event about The Jewel for the Tarbert (Loch Fyne) Book Festival which meant that we were so close that it seemed a pity not to carry on as far as our favourite island. The ferry at Tayinloan is only eighteen miles along the road. The festival, incidentally, was a real pleasure - a very positive audience, asking lots of interesting questions. I hope they invite me back some time!

The long drive from Ayrshire to the Kintyre peninsula is spectacularly beautiful at this time of year, so vivid, so dazzling, that it seems impossible to choose any single photograph. We generally take the car ferry from Gourock to Dunoon, and then drive along the side of Loch Eck, heading for Loch Fyne and Inveraray. This is a route pretty much lined with trees: birches and all kinds of conifers, so you can imagine the sheer beauty of the autumnal colours.

Along the way, we generally stop off at The Tree Shop, next to the Loch Fyne Oyster Bar. There's an excellent cafe (great cakes!) and a garden centre specialising in conifers and other trees, so it's well worth a visit. Frankly, whenever I browse there, I imagine myself moving to Argyll and planting a hillside garden. Well, I can dream, can't I?

You'll have noticed that I've been playing about with the look of this blog. Partly it's to cheer myself - and you - up because November tends to be my least favourite month, although the sun is shining brilliantly, as I type this. But here in Scotland it does 'get late early' as a friend used to say - soon darkness will be falling by four o'clock in the afternoon. We have to pay for all those long light summer nights.

Partly, though, it's because I plan to do more, shorter posts. I want to keep readers and friends up to date with all my new projects. And because I'm tired of seeing so much writing advice online that seems to me to be both discouraging and not particularly helpful I'll be including an occasional short post with a few professional hints and tips. I've been writing full time for the past 40+ years, more or less successfully, although I've switched from poetry to fiction and non fiction, to plays and then back again to fiction during that time. The truth is that you're always learning. But I quite often see dogmatic writing advice that I find debatable, and even dangerous for anyone starting out. The one absolute rule is that there are no absolute rules.

More as it happens.

The Bookmark, Grantown - a Bookshop in a Million

As usual, I'm talking with my hands!

Last month, I was invited to speak about my new novel, The Jewel, to a group in Grantown on Spey. To my shame, I'd never been to Grantown before but it's such a jewel of a little town in itself that I really hope to be back. The visit was organised by Marjory Marshall who runs the Bookmark, a fabulous independent bookshop in the centre of town. My husband came along for the trip - it was a mini East Coast book tour with more events planned in Dundee and St Andrews - and he did the driving, leaving me free to concentrate on my talks while admiring the scenery.

We had been booked into the Garth Hotel - a lovely traditional Scottish hotel only a stone's throw from the shop - and Marjory had told us that the event would also be held in the hotel, because the shop would be too small. Once we had checked in, Alan put his feet up in the comfortable room, with a cup of tea, and I wandered along the main street in search of the Bookmark. Grantown is exactly what a small town should be with lots of wonderful small shops, real shops selling everything you could need, plus cafes, pubs and hotels. It has a prosperous and well kept air, a pretty town too, and it must be a very good place to live.

The shop, for a bookaholic like me, was paradise: small, for sure, but absolutely crammed with all kinds of books you really want to read. Marjory - a small bundle of energy - was instantly friendly and welcoming. I could have spent ages browsing in there, and immediately vowed to go back when I can spend longer.

When the time came for the event, I looked at the (large) size of the room and the number of chairs and couldn't believe that so many people would turn out to listen to me. But, as you can see from the pictures, people did. Marjory runs three book groups and most of them came, plus a few more. 'I'm very persuasive,' she remarked, and she certainly is! A lovely lady played the celtic harp and sang Burns songs beautifully, to get us all in the right mood. I chatted about Jean and all the research that had gone into the book, answered the excellent questions, signed copies, drank wine, ate nibbles and was buzzing from the event all night and most of the next day. In the morning, after a very good breakfast, we managed to spend a bit more time in the Bookmark. Then I browsed the charity shop, the antique shop and the hardware store before we - rather reluctantly - headed off to Dundee. I love old fashioned hardware stores almost as much as I love bookshops, and Grantown's is wonderful. There's even a dedicated shortbread shop, as well.

I'd go back again in a heartbeat. Meanwhile, if you're interested in Crime Fiction, they are holding a
Wee crime festival  at the end of this month and more Saraband authors will be involved. I'll be heading the other way, to the Tarbert Book Festival and thence to my beloved Gigha, weather permitting, but if you're anywhere near Grantown, go along. You won't be disappointed. And if you're anywhere near Tarbert, you could come along and see me instead!

National Poetry Day: Aliens

Me and the alien.

Happy National Poetry Day!

Years ago, I wrote more poetry than anything else. Did readings in Edinburgh and various other places. Even had a couple of collections published. Then I started to write fiction and plays and found myself writing fewer and fewer poems.

I've very occasionally gone back to poetry, so over the years I've found myself with a collection of poems, some of which have hardly seen the light of day. But mostly, all the impulse that went into writing poems seems to have gone into fiction and plays, although I'm sure it informs a lot of what I write, which critics occasionally tell me is 'lyrical' whatever that means.

Anyway, here's a poem I wrote some years ago, but it seems peculiarly apt today when I feel that I no longer recognise England as the place that gave shelter to my dad at the end of the war. My grandad was from a Yorkshire Dales family - 18th century lead miners in Swaledale - and had probably come over with the Vikings. My nana was Leeds Irish. Dad reckoned there was some Hungarian in the family tree as well. So, I'm a citizen of Europe, if not the world.


ALIENS

I am small in springtime
on my father’s shoulders.
I can see everything even the
bald patches on the
heads of passing men,
a precarious and thrilling position.


My father’s hair is coal black and curly,
Polish hair as foreign as he is.
The word refugee is as familiar
to me as my own name.
I hold his ears for balance,
while he trots with me aloft.


My father’s papers proclaim him alien
which makes me half alien too.
Poland might as well be Pluto but
the iron curtain is real.
I see it sweeping across Europe
made of polished metal,
dividing kin from kin,
as unfathomable as space.


Small and safe on his shoulders
his hands steadying me,
I grip his ears and laugh.
We are what we will always be
to one another:
complicit and loving
alien invaders of
a mystifying new world.

Book Events Galore

Last week, I did three book events in quick succession, all of them enjoyable. But the first one, in Grantown on Spey, organised by the wonderful Marjory Marshall of the Bookmark, a splendid independent bookshop in the town, was extraordinary.

The shop is small, crammed with the kind of books you really want to read - if I lived there, I'd be in there three or four times a week - so the event was held in the Garth Hotel, just along the road, which was also where we were staying. It's a comfortable, typically Highland hotel and we'd go back in a heartbeat.

The audience, especially given that Grantown in reasonably small, was massive - the room in the hotel was crammed with people. Some had even travelled from Inverness. ('I'm very persuasive,' said Marjory, with a smile.) There was a singer too, a beautiful singer who accompanied herself on a Celtic harp and gave us all an idea of what Jean herself must have sounded like. Marjory runs three book groups connected to the shop, which means that there is an excellent baseline group of enthusiastic people to attend any events she organises. Grantown itself is wonderful, a neat little town, 'the kind of town where people seem to care about the place' as my husband pointed out, with lots of interesting little shops, real shops of the kind that disappeared from many lowland high streets a long time ago.

Our next stop was the Apex Hotel at the City Quay, in Dundee - a place we've visited many times, and love. It always feels like coming home, except that home doesn't have a spa, with a pool, a hot tub, and a sauna. And we don't have such a massive bed with fresh, cool cotton sheets, feather pillows. Oh, and a bedroom with a fabulous view. And another nice little duck to take away with us.

My events were in Waterstones, St Andrews - friendly and welcoming. The Jewel has been selling very well to tourists over the summer. And the following night, with lovely Peggy Hughes in the excellent Verdant Works museum in Dundee - a place that should be on any visitor's must-see list. All in all, it was a thoroughly enjoyable trip, and I would do it all again in a heartbeat. Sales of the book are going well too!

Tomorrow, (Friday 23rd)  I'm heading off to Wigtown, to the book festival, to discuss Jean with Lee Randall, over tea and cakes - and then on Sunday, I'll be going to Irvine - closer to home - to take part in the Tidelines Book Festival at the Harbour Arts Centre.

After that, I'm a bit relieved to have a break before the next event! I have a big new project to work on, of which more in due course. But I should be able to get a good month's intensive writing done, before we head off to the Tarbert Book Festival at the end of October. Late November brings a clutch of events to mark Book Week Scotland, but not before I've visited Melrose Writers to talk about drama. A busy autumn ahead!

On Cleanliness

The author, back in the fifties. I look quite clean. 

We have been without a shower for three weeks and counting. (Mega building work in the bathroom) It has taken me right back to the fifties in industrial Yorkshire, when you had a bath every week (whether you needed it or not) and a lick and a promise at the sink for the rest of the week. I don't remember that we felt either dirty or smelly, and our clothes were certainly kept very clean, but we have got so used to the daily shower that if we don't have it we begin to feel incredibly downhearted.

God bless our lovely neighbours who have been letting us use theirs. What would we do without our friends?

New Projects and Old Houses

I have a couple of new projects on the go, one of them at least involving plenty of research and plenty of writing.

Truth to tell, I can't wait. I'm at that stage of enchantment where I'm living with my characters and where I just want to leap right in, but I know that I'll need time, peace and a certain amount of quiet to devote to it all. And at present that's in short supply.

There are various reasons. I'm involved with a great many events, here there and everywhere, for The Jewel, and I'm certainly not complaining about that. Lots of people want to know all about Jean Armour and that's fine by me. If you check the events listing on the home page of my website you'll see exactly what I mean.

The other problem is that we've been having some work done on this old house. It's a lovely house, we've lived here for years and we love it to bits, but truth to tell, we could do with somewhere just a little bit easier to manage and with a slightly smaller garden. But there's work to be done and a massive decluttering exercise to be undertaken before we can even think of putting it on the market. I've already taken out four large boxes of books and guess what? I seem to have exactly the same shelf space as before.

Anyway, the net result is that I'm desperate to get started, and have set aside pretty much the whole of October so that I can make big inroads into the work. After that, I've a few more book events lined up throughout the winter, but I should be able to work steadily, all being well, through the dark days. I always feel better once I get the first draft of a new novel down. Then I can leave it to lie fallow for a little while before starting the long but - for me anyway - pleasurable process of editing and rewriting through the spring of 2017.

There will be a couple more publications from me in January and February of next year as well. Can't wait to spill the beans, but as soon as I'm allowed, I'll tell all. Meanwhile, the picture at the top of this post is a small clue.

Writing and Speaking

The Secret Commonwealth, my last stage play. 

Many years ago, when I first started out on this switchback of a writing career, I made the decision to try out all kinds of things to see what suited me best.

Back in the 1970s I wrote poetry and did quite well with it, having a couple of collections published and being invited to do various readings. I also wrote radio drama which was a reasonable way to make a living once you had learned your craft. I wrote original plays but also did dramatisations of classics. And because it was hard to say 'no' to paid work, I also did some writing for schools radio and television, wrote a young adult television series and then wrote a novel (called Shadow of the Stone) to go with the series.

After a while, though, I realised that it wasn't what I wanted to pursue. This isn't any kind of value judgment, incidentally - but we all have our own aptitudes and interests and this wasn't mine. So I moved on, still writing radio drama, but beginning to explore other options in fiction, as well as writing for the stage.

Then it struck me that I was still being asked to talk to writing groups about 'writing for children' even though I hadn't written for children for about a decade. I had to gently and politely suggest that I might be of more use in talking about radio drama, since it was a hungry medium that was willing to engage with beginners and help them to learn a very specific craft.

Cue forward another ten years and I found myself writing less and less for radio, and more for theatre, while - at the same time - starting to spend even more time on fiction, long and short. But by then, I was being asked to speak almost exclusively about radio writing. Since most writers are delighted to be asked to speak about anything, especially when being paid, I carried on doing occasional workshops but tried to point out that my radio knowledge was somewhat out of date, although I still knew quite a bit about writing for the stage. It worried me that I could be giving people the wrong advice, which is often worse than no advice at all. The whole submission and rejection process had changed out of all recognition in the intervening years.

Now, for the past ten or fifteen years, I've concentrated almost wholly on fiction, especially novels, with a some historical non-fiction thrown in for good measure. I divide my time between historical and contemporary fiction. I've had several well reviewed novels published, the last two by the same excellent independent publisher (Saraband) with a third novel due to be published by them later this year and another one in progress even as I write this.

But I'm still sometimes being asked to speak about writing drama. Well, I can do that. But the truth is that I haven't written a stage play for years now. Haven't even tried. It has become incredibly difficult to get any kind of professional production unless you're willing to stage one yourself, with all the time and expense involved. And it strikes me that writing groups would get better value from a working playwright, if that's what they want to know about.

Of course, I'm generally very happy to speak to writing and book groups so this isn't a complaint. It's just that for some years now, I've been working exclusively on fiction. You never say never in this line of work and if somebody, somewhere wanted me to dramatise one of my own novels I'd definitely consider it. I still have those essential skills. But I'm much better value as a speaker if you ask me to talk about historical research for fiction - how much you need to do and when to stop - or the current state of publishing or getting to the end of your novel, or writing convincing dialogue, or using your family history as a source of fiction or 18th century Scotland or Robert  Burns and Jean Armour or using social media or ... well, you get my drift. Any or all of those and more.

Given that many writing groups will be starting their new programmes soon, it's worth thinking about what you want from a visiting writer, and what might be genuinely useful for your members. Sometimes it's our own fault as writers. We move on but forget to 'brand' ourselves in the new way, forget that we need to tell people what we are doing now. Most writers have websites these days or are listed with arts organisations. It's worth checking up on your potential visitor to see what he or she is working on. You're looking for an enthusiastic speaker, somebody to talk about what's obsessing them right now, somebody to communicate not just their skills and their excitement, but also the current state of play in that particular aspect of writing.

A few years ago, I remember hearing a successful television writer delivering a brisk 45 minute talk + question and answer session to a writing group. Afterwards, somebody said to me 'I learned more from that talk than from any book I've ever read on the subject.' She was right. The speaker knew exactly what he was talking about because that's what he was engaged with there and then and it showed.

The Poet's Funeral

Yesterday was the day on which, in 1796, Robert Burns was buried in Dumfries, in a simple grave in St Michael's churchyard. The big, ostentatious monument only came later. The funeral was far from simple. Invitations were sent out in Robbie, the poet's eldest son's name, as was the custom. The night before was showery but the day of the funeral turned out to be sunny, just in time for the grand procession. The weather this week, here in the West of Scotland, has been much the same. All those fine people who had crossed the street to avoid Rab a little while before, when the adulation had changed to small town disapproval, came out to show how much they had loved the great bard. And in spite of his wishes to the contrary, the 'awkward squad', the Dumfries Volunteers, not very efficient or soldierly, did indeed fire over him.

Jean was at home, giving birth to his last child, a son called Maxwell. The night after the funeral, Jean's husband came home, briefly. That's what she recounted later. And here's my version of it.

'The whole house was quiet, Maxwell swaddled in her arms, She had been singing to the new wean until he slept and she saw Rab coming into the room. He was as bold and clear as though he had still been in life and, she thought, rather more healthy than the last time she had laid eyes on him, a gleam in his eye and a flush of sunlight on his cheek. 
She was not afraid.
When had she ever been afraid of him? Rather she felt the wee bubble of laughter, even in the most serious of situations, at the general absurdity of everything, even the worst of things. She looked up at him while he gazed down at her and, in particular she thought, at the baby. Well, why not? He had aye loved the weans best, loved the curve of their cheeks, the soft, vulnerable place at the back of the neck, their perfect wee fingers and toes. Then he shook his head sadly, as though regretting that he could not stay, and disappeared, so suddenly that it seemed like a snowflake, melting away in your hand.'