The Rights & Wrongs of Writing

January 20, 2016

Keep old diaries

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Keep old diaries

Having got my plot lines more or less in order, I turn my attention to the vexed question of times of year.

Inescapably, whenever I am writing, I gaze out of the window next to my desk for inspiration, and my stories take on the timbre and feel of that season. If I see daffodils, I think of spring, if the room is baking hot and I can hear children playing tennis outside, it’s got to be summer, when the leaves are everywhere, my thoughts drift to autumn, and if there is snow on the ground, my plot will invariably feature a cave bear coming out of hibernation.

Robin_in_the_snow_3_(4250400943)

But that won’t do, for writing longer narratives. I first met my latest MC, Lisa, when she was reading a magazine (which featured a holly and berry motif on the cover) in March. So, planted in March, there Lisa has to stay, even though my year moves on – and they do move forward with startling rapidity, these days. A host of details depends on staying faithful to the original intention. So, if when I next visit Lisa, I am thinking of the long vacation, I have to remember to go back to where I planted her in early Spring and she is faithfully waiting for me.

Windswept - by John William Waterhouse

I could of course, move the original planting forward, to Summer, where Lisa will doubtless be warmer and recovering from her SAD. But that is cheating, and raises the spectre that I would continue to move her as the novel progresses, a wobbly notion that lacks conviction. I have decided that however inconvenient to me, I mean to go on as I start, and leave the beginning alone. Of course Lisa can move forward, and often does, thankfully. I don’t expect the entire narrative to be concluded in a single season….

My solution? I found an old diary which I have been filling with Lisa’s dates and appointments. It works well, both to anchor the time of year, and to make Lisa and all the other characters more real to me. So now, as well as having my own life and running the diaries of our family, I run the diaries of my fictional characters.

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January 18, 2016

Writing Synopses

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Writing synopses.

(Almost) every agency and publisher who accepts submissions from Joe Public says, ‘send a synopsis and first three chapters with a cover letter to us at….’ and it’s taken me a very long time to work out what I think that means. The ‘three chapters’ is relatively easy – it means, the first three chapters (assuming they are less than fifty pages); or no more than fifty pages (and if your first three chapters are more than fifty pages, you might want to edit them down. Who is going to want to read half a chapter?)

Fewer and fewer publishers take submissions from unrepresented writers, but a trawl of the usual sources does throw up a good handful; and the agencies are always on the look-out for new talent. So it’s worth knowing roughly what to do when you are asked to write a synopsis. No submission is perfect, of course, and there is some wriggle room for differences of style and presentation, so please don’t take me too literally.

The first sentence of a synopsis will often be a summary of the whole plot, giving a quick taste and flavour of the writing and the genre. The next two or three paragraphs will give a deft outline of the main plot developments, and will include mention of what happens at the end. The synopsis is not the blurb, so you don’t want to leave the publisher/agent thinking, ‘Yes, but I’m not buying the book, I only want to know if you can give me a plot that works.’ (And I haven’t got very long, so best keep it to one or two pages).

I always try to aim for one page, just because that is easier to read.

 

Vermeer,_Johannes_-_Woman_reading_a_letter_-_ca__1662-1663

The synopsis is, according to Nicola Morgan, my current guru on such matters, the least important part of any submission package, which makes sense. The first thing any reader sees is your covering letter, and the only thing he wants to read is good material, so the synopsis comes home a clear third. But, everything helps, and my guess is that a well-written synopsis helps the writer as much as the publisher/agent.

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January 15, 2016

It is incredibly difficult to write fiction

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It is incredibly difficult to write fiction. Yes, I know, people have been saying that for eons, but well, it is. First, you have to find characters you can bear to live with for a whole 80,000 words. Then, you have to give them enough to do, to make it work for all that time. And – gulp! – your plotting (and all the details) have to be internally consistent. Browsing blogs on the internet yesterday, I was reminded of the importance of research, details and writing about what you know.

So, I started a new tradition and went into town today to do some research. Yes, I am really enjoying what Rumpole might call, visiting the locus in quo, the place in question. As I watched people scurrying across icy streets in their lunch hour, I was free, in the business of my work, to meander and observe, casting my gaze up at balustrades, down at cellar cafes and sideways at the tramlines and traffic lights.

Hermann Fenner-Behmer - 'What to write?'
Hermann Fenner-Behmer – ‘What to write?’

(Perhaps, one day, I might include in my research, such wonderful pastimes as lunch and socialising) …..Noticing details, at a distance from the desk, I remembered – horrors! – that if my MC has just driven into work along the majestic Western Approach Road, she can hardly be living in a bijoux flat near her west-end office, can she?

I went home hastily, and spent the rest of the afternoon tidying up text. To give a more obvious example, if the MC is reading a magazine in March, she won’t be going on a romantic break in chilly autumn any time soon.

The writing is going very well at the moment, with three proposals being prepared and submitted. Synopses, I’ve written a few, but then again, too few to mention….synopses are the subject of my next post.

Thanks for reading.

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December 15, 2015

Please post a review for Christmas

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I would be so happy if anyone who has read Trapped and who has not yet posted a review, would do so. Any review, of any complexion. I have got over the obsessive checking of ratings, comments and tables, but all reviews help to promote and to raise my profile, and I am grateful for each and every comment (Yes, even the less than flattering ones!). People pay attention to reviews, and it helps to increase our readership and credibility.

Paul Delaroche - Portrait of Son, Joseph Carle
Paul Delaroche – Portrait of Son, Joseph Carle

I enjoy posting reviews on Amazon.com, Amazon.co.uk and on Goodreads. If you could tell me how to post reviews on Barnes & Noble and on Waterstones and Blackwell’s websites, I would be grateful. There are also all the other book marketing sites, such as the Book Depository, Lovereading, The Book People. I have recently signed up to a number of these – my password list is ridiculously long – but they are fun, keep me up to date with publishing trends and offer lots of ideas for presents, at any time of year.

 

'Girl Reading' Jean-Baptiste Camille Corot
‘Girl Reading’ Jean-Baptiste Camille Corot

 

Writing continues apace, with several projects that will tide me over nicely to the New Year. Thanks for all your help this year, for your company and for all your encouragement. If there is ever any way I can repay any of the multitude of favours that I have been blessed with, I hope you will let me know!

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July 6, 2015

More Writing of the Radio Play

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During this balmy summer, with thunderstorms aplenty, I am unexpectedly gifted days here and there in which to write peacefully. There is always more writing of the radio play to set down, and so, I press on, feeling that I am up against a deadline, which suggests I want to get the structure and main plot lines in place by the end of August. (I wonder how much of my current word count consists of story, and how much is mere direction and instruction.)  

In small ways, I continually prevaricate, not because there is nothing to write, but because the medium of the spoken word takes me back to times, places and events I can hardly have anticipated, re-awakening feelings of surprise, and vulnerability. I prevaricate because it is difficult to bring myself to explore intimate weaknesses, not merely because it is a technical challenge.

'The reading Girl' by Repin
‘The reading Girl’ by Repin

There is unexpected joy here too, though, which keeps me focussed and determined. I mine my memories and they reward me with long-forgotten reminiscence. Other writers in this genre must surely find that while writing, nudges from the past feel the relief of being expressed, again. It interests and delights me to see how the process flows.

Despite the holidays, and the countless other things I could be doing, this current project seems to claim my attention, and so this is what I focus on. The focus comes in fits and starts, but slowly, we fill the lines with meaning.

Thanks for reading.

 

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May 12, 2015

Writing the radio play of the book

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I’ve written the book, so I thought that writing the radio play of the book would be straightforward. In a typical response that would make Eddie laugh, I discover that it is, and it isn’t. It is about events and scenarios that have been thoroughly rehearsed; and it isn’t like anything I’ve done before.

Adolf Holzel - Der Liebesbrief
Adolf Holzel – Der Liebesbrief

My attempts at research suggest that conventions around How to Write a Radio Play of a Book are flexible, and as variable as the people who write them. Though clear presentation is obviously important, to help those who will be called upon to breathe life into words at the mike, it is the less obvious aspects of dramatic reconstruction that are more difficult, especially as I rarely venture into writing plays: editing three scenes into one to add impact; being flexible with timelines so that the story unfolds interestingly; adding dialogue that you remember, which is necessary for continuity in an aural medium but which you would not need to include in a book, where pictures are built differently; and pace, which dictates that although dialogue is obviously key, it should be illuminating and to the point….

It is tiring, this venture, but I seem to be collecting my own set of conventions, all of which help to make the process smoother and more enjoyable. I am remembering, reflecting and learning all the time, and in the process I hope my writing improves. Only time will tell.

Thanks for reading

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May 5, 2015

What Writing Means to Me

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Recently, I have been reflecting on what writing means to me, and whether my time is well spent. I mean, seriously, what is it all about? Why have I put myself through five of the most difficult, emotionally draining and – let’s face it – financially unrewarding years of my life? If I was an outsider, considering pros and cons, on the surface, I would conclude that Fran Macilvey is peculiarly driven: driven to work all-nighters while her family sleeps; driven to continue with the next project, the next hope, despite setbacks, illness and puzzlement from those more sober and grounded citizens of my acquaintance who really would prefer that I would apply my energies to a proper, reasonable, sensible and obvious job. Why, for goodness’ sake, must I always be different?

Because I am, is all. I make that sound nonchalant, easy to say. But if my life has taught me anything, it is the total futility of trying to keep up with other ‘ordinary’ people who have ‘ordinary’ jobs. I’ve tried that – really, I have – and it has only led to heartbreak and loss of a different kind.

In the old days, the pain was about not belonging, never fitting in, and never really understanding what was going on; I had that sinking feeling which made it plain that I never would understand, no matter how hard I might try. Nowadays, though there have been a few disappointments and false starts, I am more certain that I understand the basics and will continue to make progress. On my present path, every difficulty lends itself to a purpose, for a reason. It is easier to notice the ways in which unexpected outcomes serve a longer-term goal.

And above all, I write so that I may share my experiences with others. I can write, and so I should. I can explain, and so I do, in the hope that those who may read my pieces know that I understand something of their loneliness, their anger, even their desolation. It is not unusual to have these feelings, it is not peculiar or suspicious. They are just part of life.

Gradually, writing had revealed that our ‘bad’ experiences often complement the ‘good’, making our lives a tapestry which, when we look back at it, hopefully fills us with gratitude and optimism. That is how I see myself making the best of life’s knots, at any rate.

Thanks for reading.

 

 

 

 

 

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April 29, 2015

Taking a chance on Life

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I’ve had occasion to ponder what would have happened, if I had never decided to write Trapped. If I had never made the effort, gone the extra mile and stayed up countless nights crafting, editing and refining what I wanted to say, what difference would it have made? My muse is always whispering Go on, life is for taking a chance on Life.  But I could easily – oh, so easily! – just have told that beguiling, soft, gentle, persistent voice to shut up and leave me alone, and what would have happened then?

Nothing.

No-one would have suspected that my sitting quietly and being good was growing more despairing by the minute. My immediate family would probably have borne the brunt of my frustration, and lost the chance to see a kinder, gentler person in that woman seated by the window. But, I would have felt my loss, and I would have said nothing about it and taken no action.

After all, as the world of realism will tell you, there are so many reasons why writing is not practical: it is anti-social; I also tend to work late at night when I should be sleeping; when I write, my body cramps up and I skimp on exercise; I use my life as writing fodder and there may come a time when my friends are loath to speak to me, in case their latest stories end up in my books; I cannot, if I am writing, and parenting etc, also go out and get a paying job.

But there are more subtle, urgent reasons which make writing essential. These include progress, learning what matters, awareness and empathy, connection with others, (some of whom may be feeling lost, alone and adrift in a world where expectations are complex and conflicting); the importance of personal power and responsibility: to understand oneself better and to learn what we are capable of. To feel joy that has its foundation in the decisions we take. To look back and say, ‘See what you can do, with just a pinch of courage!’ Writing and all that goes with it, has taught me about what matters, and has gifted me the confidence – at last! – to go looking for adventure in a spirit of optimism and determination.

Alfred Stevens - The Letter
Alfred Stevens – The Letter

I say that is a lot to gain.

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April 12, 2015

Writing is a funny business

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Writing is a funny business.

I’ve just come back from the most wonderful holiday time, spent with my family. We went up North to be with my sister and her husband and son, and while we were there, our brother and his three kids came too. We have a rather extended family, and we are now living in different places, different continents, even, so to meet up is a rare and truly wonderful treat.

The three kids are like their dad: thoughtful, clever and so quick. They made me smile and laugh with their antics and their way of seeing the world. I like kids because they show me thing I have generally forgotten about. In the business of writing, playfulness is often overlooked, yet it sheds light on what truly matters: joy, peace and sharing love. I truly love my brother too, and am grateful to be reminded just how much his joy means to me. In some ways he has had a tough life, and I was so pleased to see him smiling and happy.

A_beautiful_flower_in_Sikkim_01

While I’ve been away Susan Finlay has kindly published my short article, ‘Writing is a Funny Business’ on her blog.  I hope you will have a read of it, and some of the other articles in the series. Thank you, Susan, for your thoughtful support, over many years. It means a lot to me.

 

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March 30, 2015

Writing a radio play of Trapped

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I thought I had enough to do, what with holidays round the corner, and books to edit and finish, and talks to write and writes to talk….but apparently, I am also writing a radio play of Trapped.

A very different experience this is turning out to be. I am a very visual person, so having to write lots of dialogue and background information in a way that can be conveyed with a voice is rather like writing with the eyes shut. Not uncomfortable, but an interesting and very revealing challenge.

What to include and what to leave out will also depend not only on what is within my knowledge to recount, but also what will work, on radio. For obvious reasons, I am using the book as a template for the draft. I can add lots of interesting dialogue which had no place in the book, but I have a feeling the radio play will turn out very differently.

My friend Lucinda E Clarke is an expert with dialogue and has sent me part of a radio play she has written which she says is unfinished. Thanks for your help, Lucinda. I think you could finish that play…

Brox Sisters, Radio Teddy Bear
Brox Sisters, Radio Teddy Bear

 

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