Hi, Sarah here. If you think writing is easy, think again!
Yes, an author might have a burst of creativity, ideas may come thick and fast, but translating those scenes in one’s head into a publishable book can be tortuous. Sometimes anything seems a better option than actually putting words on the page.
Recently, Liz Fielding and I sat down to discuss the problem of procrastination. Then we were distracted!
I’ve been on quite a few writing retreats. And as you read this blog, I’m probably off on another one. If you’re reading this blog after 20th March, though, you’re too late. I’m back 😉
This post is about writing retreats in general, and what I’m hoping to get out of this particular one. I’m also looking at some of the benefits of writing retreats and — sorry, but I won’t lie to you here — the pitfalls.
Writing retreats : what are they? what do writers do there?
This isn’t the first time that the Libertà Hive has pondered the advice to writers to “murder your darlings.”
Indeed, Joanna got seriously confessional about doing exactly that a few months ago. Actually, in her case, it wasn’t so much wilful murder as a contract killing. Editors can be ruthless.
WHO WANTS YOU TO MURDER YOUR DARLINGS?
Well, Stephen King does a pretty good job of it in his On Writing: A Memoir of the Craft. “Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings.” He was following William Faulkner. But even Faulkner wasn’t the originator.
It turns out to be Sir Arthur Quiller-Couch — that’s the Victorian Arthur Double-Barrelled who was NOT the author of Sherlock Holmes. He did write novels, lots of ’em, signing himself “Q”. But I’ve never read one. (Hmm. Maybe this year?)
But he was also a serious critic and anthologist. And from 1912 to his death in 1944 he was the King Edward VII Professor of English Literature at Cambridge. I’ve always thought that he pretty much invented Lit Crit, in fact. Continue reading →
By temperament, I’m one of nature’s collaborators. Show me a team and I’m spitting on my hands and doing my bit. With enthusiasm.
In my various day jobs, I’ve loved the sense of shared enterprise. OK, I could get a bit testy when we had meetings about meetings. But mostly interaction with other people buoyed me up when I was tired, focused me when I was floundering and made laugh a lot.
And I work a whole lot better than I do on my own.
Language is a writer’s basic toolkit. Writers — novelists, playwrights, poets, lyricists, and all the rest — use words to trigger emotional responses or to paint pictures in the minds of their readers and listeners.
How can we fail to see layers of meaning in creations like these?
the wine-dark sea (Homer, Ancient Greece)
sleep that knits up the ravelled sleave of care (Shakespeare: Macbeth, 1606)
nursing her wrath to keep it warm (Robert Burns: Tam O’Shanter, 1790)
moonless night in the small town, starless and bible-black (Dylan Thomas: Under Milk Wood, 1954)
Sadly, today is the last of our series on research. But we’re finishing with a bang!
In delectable medieval York.
Today, we welcome Pamela Hartshorne, a York specialist. Her credentials are beyond doubt — she has a PhD in medieval studies — but she manages to wear her research very lightly. She has written dozens of books for Mills & Boon, a publisher that definitely doesn’t want dry background material to get in the way of the love story between hero and heroine.
Every time someone asked whether she’d use her research in a book, her answer was always no.
Until, one day …
One day, no finally became yes. Pamela turned to writing historical novels set in her beloved York, where she’d done her academic research. Was she taking a risk? Could she make the jump from Mills & Boon romance to mainstream timeslip? Here’s her story . . .
Research may be useful … or not
John Speed’s late 16th century map of York
By the time I sat down to write a historical novel, I was feeling pretty confident. I’d already written over 50 books for Mills & Boon, so I figured I knew something about storytelling. Continue reading →
Two weeks ago, we had Katie Fforde digging in the dirt — with and without Ray Mears! — in order to write about life in the here-and-now. This week, we welcome Jean Fullerton who writes award-winning historical sagas about the not-so-very-long-ago.
It can seem worlds away from where we are now, even though some readers will have lived through the periods of Jean’s stories and experienced exactly the kind of gritty reality she describes. And if you enjoy Call the Midwife, you’ll love Jean Fullerton’s books.
Read on to find out more about the lengths an author goes to in order to get it right…
Jean Fullerton, East London Author
District nurse Jean wasn’t quite like this!
I was born in East London where my family have lived since the 1820s.
I’ve written ten novels set in East London (published by Orion) and am just putting the finishing touches to my eleventh. This one is set during the Second World War, and also in East London. I’m now a full-time writer but I was a District Nurse in East London for over 25 years. These days, I live with my hero just outside London. Continue reading →