Why The Perfect Writing Space Probably Isn't.

Imagine for a moment that you are a rich and famous author. That you've 'made it' already as a writer and you're making enough money from your work to live very comfortably indeed, thank you very much.

(And don't any of you writers out there dare tell me you've never done that, because, quite frankly, I will refuse to believe you. Every writer's done that at least once in their lives, no matter where they are on the ladder.)

Perhaps you’re fantasising about the beautiful big house you’re now living in – or maybe you swap-rent between a few swanky places to grab the best of the seasons (a pad in the Bahamas for summer, a chic beach house in Hawaii for the chilly winter months and a des res near Hollywood for the rest of the year…) Maybe you've got a flash car – heck, maybe a whole fleet of them that you've been collecting like kids collect Pokemons (are they still a ‘thing?’) Or maybe you've been out-Kardashian-ing Kim, with the plastic surgery (sorry I mean ‘all-natural’ beauty enhancements) and style choices that would’ve made Julia Roberts’ character in Pretty Woman go “hmmm, yeah, but it’s not very classy, is it?”

Whatever you’re imagining, at some point I'm willing to bet your attention turned to your Writing Space - that sacred temple where you go to Do Your Thing with the words and the pretend people and stuff. After all, this is the place that helped you get to where you (imaginarily) are right now, so giving that a major makeover as well can only send your success rate soaring even higher, yeah?

Right now, my current Writing Space can best be summed up as ‘small and cluttered.’ My desk area is just under 80cm x 80cm in size when my pull-out keyboard drawer is fully pulled out, and it’s between the doorway to the living room and the cupboard under the stairs, facing the dining room wall. Because said dining room is in the back of a house that is tiny, Victorian and terraced, it doesn't get much natural daylight even in summer; it literally has to be full-on sunshine outside before I can get away with not having some form of artificial lighting to support the glare from my computer monitor as the main source. And because the house has no internal doors on the ground floor except for the one to the downstairs bathroom, in the winter the wind whistles under the back door in the kitchen and chills my feet while I write. (On a good writing day, I only realise this when I finally get up from my desk to get lunch or something and wonder why it suddenly feels like my toes have snapped off.)

Put away those tiny violins please, this isn't my pitch for a Kickstarter appeal. My point is that, while I am perfectly able to do what I do in this space, when it comes to thinking of ways to improve it I'm not exactly short of options. Your writing space might be nicer and more comfortable than mine or it might be even less so, but either way I'm sure you also have plenty of ideas about what you could do to make yours better. Let’s look at some of the most popular fantasy must-haves:

-          Huge, stonking, mahoosive desk usually comes fairly high up the list – the kind you need a wheelie-chair for just to get from one end to the other. Preferably in some sort of posh, shiny wood for that added ‘yeah, I’m doing important shizzle here’-factor.

-          Talking of chairs… gotta look like it means business, which means it needs to be deliciously comfortable, with a good, high back and that all-important ‘twirl action.’ As a general guideline, if it’s good enough for Jean-Luc Picard of the Starship Enterprise, it’s just about serviceable for the average writer, I would say.

-          Windows! No, not the eternally-Frankensteining Microsoft ones – actual ones you can look out of with your eyes. Biiiiiig windows naturally, with the most fabulous views on the other side, so that you can gave upon the loveliness of your environment and be inspired, dahling! (Of course the only snag with this is it may involve moving house to a place that actually has said fabulous views – or if you’re really rich, perhaps you just buy the places and have them relocated to ‘outside the house I’m already living in, please.’)

-          Catering facilities! No more of that ‘toddling to the kitchen for a cup of coffee/tea’ malarkey, the multitasking writer should be able to just lean across her desk-the-size-of-Canada and grab her beverage of choice from her every own tea-and-coffee-making-thingy, right there within easy reach. And why stop there? Why not have a designated ‘snack drawer’ too? Oooh, hey – how about dispensing with that long ol’ walk to the kitchen entirely and have a mini-fridge and a microwave on hand as well? Now you see why you need that mahoosive desk..!

(Just so you know, in the process of writing the above list my eyes went all misty and Louie Armstrong’s What a Wonderful World began playing on the jukebox inside my head.)

As fantasy ‘wants’ for a writer, these are pretty darn good, yeah? But what about in real life? What if, by some miracle, all of these things were achievable for even the most cash-deprived of writers? Well, let’s see…

A mahoosive desk would require a mahoosive house to put it in, for starters. Which would mean more housework, ‘cause bigger spaces to clean and all that. How many of you writers out there love housework? (And I mean, love it when you haven’t hit a writing rough patch?) Mmmm, yeah, me neither. So maybe just ‘big enough’ then. But how do you define ‘big enough?’ I don’t know about you, but give me a space and I’ll fill it, no matter what size it is. Okay, so maybe size isn’t everything (insert your own innuendo here.)

Big windows with a gorgeous view? Sounds amazing in theory… but in practice that would probably be a very bad idea. I’m the kind of person who can be fascinated for a good twenty minutes by the pattern left in the dregs of an empty coffee cup, so add in a glorious vista to gaze upon instead of my usual magnolia-coloured dining room wall… Far from beautiful scenery being ‘inspiring,’ I’ve a feeling most of us would spend more time staring out through those giant picture windows instead, slack-jawed and glassy-eyed – and that sort of nonsense would seriously eat into writing time.

The same could be said of a luxurious chair too. Of course anything cradling your writing bum for long periods of time should be comfortable and supportive – but if it makes spinning around feel like too much fun that’s a potential time-wormhole right there. (Especially if it also generates an irresistible urge to stroke an imaginary cat and say “Mister Bond, I've been expecting you,” in a dodgy accent.)

And while having food and drink within constant easy reach might seem like a massive time-saver in the grand scheme of things… for me at least, the flipside would be ending up the size of a house, with diabetes and fingers too pudgy for my keyboard. As people whose calling in life is to sit down and make stories, opportunities to inject a little non-sedentary activity into our lives – even if it is just walking to the kitchen and back - should be embraced, not minimised.

So… the ideal writing space then? If the one you have now is kind of small, kind of basic and kind of boring… maybe it already is ideal. Maybe it shouldn't feel like a place of wonder and luxury - no matter how rich and famous you become. And maybe a ‘productive’ space is actually one that doesn't pamper you, keep you entertained or boost your ego.

What do you think?

Why Writers Have To Be Their Own Simon Cowell

It's that time of year again - the emotional human cheese-grater that is The X-Factor is back! And yes, I have been following it, but much more for the window on homo sapient psychology than for the actual singing part.

I've heard the Speeches, delivered by wobbly-lipped wannabes accompanied by a backing track of suitably poignant music. With glistening eyes, they tell of how they've been gigging in pubs and clubs for years because singing is their whole life and that's why they've just got to win the X-Factor because if they don't that's it, it's ovah for them! Singing is all they know, so if the X-Factor dream ends for them today they simply can't just go back to the life they had before, which was... um, singing, wasn't it? Yeah, but that was just singing in pubs and clubs, so it doesn't even count, man..!

Yeah okay, I'm being cynical here. I'm also being cynical (probably) when I say that the programme is more about creating ratings-grabbing, reality-tv-stylee dramatics than actual recording artists (it's nice when that happens of course, but I refuse to believe the producers of the show spend much time agonising when it doesn't.) And I'm probably being most cynical of all when I say it's created a whole section of society that totally believes getting yourself on a telly talent show is a giant springboard to instant fame and fortune. Forget all those idiots slowly grafting their way up from the bottom for years and years but still aren't platinum-selling artists yet - that route's for losers, baby! Nah - get yourself on a talent show and you can bypass all that boring hard work rubbish and get straight to the good bit.

And, while we're on that cynical train, you could also argue that the self-publishing revolution enabled by Amazon, Smashwords and the like has generated a society with a similar mindset in the world of writing.

An X-Factor style programme for writers would never work, of course. The Live Shows would be pretty boring, for a start:

"So, what are you going to write for us tonight, Hermione?" "I'm going to write Chapter Sixteen of my Zombie Romance Novel, Simon." "Okay then, off you go - good luck."
*Two hours later*
"Hermione, why did you stop to get a cup of tea in the last half-hour? You could've nailed that last paragraph, but you let yourself get distracted!" "I'm sorry Louis -  please give me another chance, I'll do better in the second draft, I promiiiise!"

Yep, definitely not gripping telly. So writers don't have an equivalent to the instant-springboard-to-stardom promised by reality tv shows. No - because that would just get in the way of the even-more-instant-springboard-to-stardom that upload-and-click-to-publish provides! Heck, compared to that, an X-Factor-style gig would practically slow the whole process down!

And so... y'know all those people you laugh at in the first-stage auditions of those talent shows? The ones who clearly rocked up with no plan, no rehearsals and no idea how utterly terrible they are compared to even the mildly talented people who at least tried to do their best on the day? The writer equivalents of them are pumping out self-pubbed books on an almost hourly basis. 'Novels' that are ten pages long, that have been nowhere near even Word's Spell- or Grammar-Check, never mind an editor, and that the authors are asking you to part with ninety-nine of your actual pence for the 'privilege' of 'reading.' (You can get two litres of milk for ninety-nine pence - and that'll take you a darn sight longer to get through than one of those 'novels.')

That's the downside of the upload-and-click-publish facility of course. Gazillions of people - the same kind of people who think all the pop bands they don't like are 'talentless' and "I can sing better than that" - are publishing their books because they can, without giving a nanosecond's thought as to whether they should. And there's no Simon Cowell around to give them a reality check.

I'm not saying those authors should stop publishing altogether. I appreciate that finding agents and getting traditionally published is devilishly hard these days, and self-publishing is the only way for many cracking good authors to get their work and the recognition they deserve out there. But to those other 'authors' out there - those of the ten-pages-of-badly-spelled-grammatically-mangled-nonsense-pretending-to-be-a-'novel' variety - I'm simply saying the following:

"For the love of all things writerly, make an effort and stop assuming that writing a book is as easy as taking a dump after a hefty portion of bean casserole. See, here's the thing. If it only takes you a week to finish cranking out your latest ten-page masterpiece, y'know what? You could probably afford to spend a little extra time on improving it. Making sure you've spelled everything right for starters, and that the grammar is right. Double-checking your story makes sense and that there are no giant plotholes is another thing you could try, along with making sure your characters don't suddenly change their names, ages or even genders halfway through for no discernible reason. Oh, and by the way - a ten-page book is not, by any stretch of the imagination, a 'novel.' Even a novella - which is the name given to a book considered 'too short' to be a novel - has an average wordcount of 30,000 words, which is about 75-90 pages depending on linespacing and font size used. So... ten pages, a novel? Nah.  Maybe call it a short story instead. Or a 'leaflet.' 'Cause I can walk into a doctor's surgery and get a ten-page leaflet about Managing My Asthma - that'll be grammatically correct and spelled right all the way through - and I won't even have to pay ninety-nine pence for that.

"But most of all - and this is probably the most radical suggestion, so apologies if it blows your mind at first - chew on the notion that the first and only version of the story you write generally isn't the one to just go ahead and publish. I know it looks okay to you, right after you type 'the End' and hit Save - but trust me and a million other writers, it really isn't. If you don't believe me, put your latest aside and don't go near it for a week, and then come back and read it again. I guarantee you'll see places you can make it better - and pick up on mistakes you didn't even know you'd made. Just try it, okay? What's the worst that could happen?

"I know what you guys are thinking (if you're still reading at this point.) "Ha, it's just another one of those jealous 'old-skool' writers getting all angry and defensive 'cause trailblazers like me are rewriting all the rulebooks and they can't deal with the competition!" Well yeah, you're right - we are getting angry and defensive. Here's why. Imagine you're a single person planning to have a night on the town, a good time, maybe even find yourself a hot date. Do you decide not to shower, and grab the grungiest clothes out of the laundry basket to wear - y'know, that top with the two-day-old pizza stain down the front and the pants with the baggy elastic that smell vaguely of wet dog? Do you eat a tin of cold beans and drink a bottle of cheap cola down in one before you go out, so that you can spend the whole of your night out being a human fart-tornado? No you don't. Because you know that will send any potential suitors running, screaming, in the direction of far far away. So you make an effort; you put your best gear on and make sure you present yourself in the best way possible.

"So now imagine this scenario. After you've made an effort, both hygienically and sartorially, and you step out on the town lookin' your best, everywhere you look you can only see pizza-stained, doggy-smelling-baggy-pantsed, fart-tornado people. No clean, tidy, non-farty people at all. "Where are all the nice people, the kind I'd want to meet?" you ask. "Oh, they don't come out here anymore," you are told. "They've got so fed up with only finding skanky, farty people that they've given up and just stay the heck away." "But that's not fair," you cry. "I'm not like that - I've made a proper effort! How am I supposed to meet the nice people if they won't even bother to look for people like me anymore?" And all you get in return is a big, fat shrug.

"That, in a nutshell, is why we're angry and defensive - because we worry about that scenario becoming real someday, but in the world of self-publishing. It scares us - and it should scare you authors of ten-page-non-edited-pretending-to-be-novels too. Because after The Public stop looking for our work anymore, they'll stop looking for yours too, because they'll stop looking completely. Yep, you lose out as well. So doesn't it pay to know how to make the stuff you publish the best quality it can possibly be? Even it means - horror of horrors! - it takes you longer to produce them?

"So take a little time to find out how to do that. Go to a bookstore or a library, look at the books there. See how thick they are, and how many pages they typically have - maybe even read some of them. Hell, read lots of them. Brush up on your spelling and grammar - or if you have problems with that stuff, find someone who'll help you with it. Read about writing; there are so many websites with writing advice, tips and whatnot that there's really no excuse not to take advantage of them. Talk to other writers - if not in person, via online forums. Let those other writers (not just best friends and loving family) read your work and offer you feedback on what you could improve before you publish it - and consider that feedback carefully. And finally, don't just publish the first version of everything you write. If you're as good as you already think you are - and you must think you're pretty damned good if you're happily slapping up your work and asking people to part with real, actual money for it - then waiting a while and polishing it up can only make it better. And that's a good thing for everyone - both writers and readers."

/End rant.

When Statistics Tell You Your Firstborn Will Be Ugly

Don't worry - I'm talking novels here, not beloved children.

Y'see, I've been reading the wise words of many different authors this week, and detected something of a theme going on. Lots of them have talked about how hard it is to become a published author, and that it takes long years of slog and learning at the coalface before you finally get that big break. Writing novels for a living should never be considered a ticket to easy street, they say; even with the advent of e-publishing, it's by no means a get-rich-quick scheme. It's hard, slow, backbreaking work, and you've gotta be in it for the long haul to even have a sniff at winning it...

All of which I... kind of already knew. I read those words nodding my head in agreement and not feeling at all like my dreams had been stomped on. The fact that I'm now forty-mumble (and due to be forty-mumble-and-another-year in about a month from now) is proof enough that I was never destined to be an 'overnight success,' and I've reached the point where I'm reasonably cool with the idea that I'm more of a tortoise than a hare.

But then came the twist in the tale; many of these authors also went on to say that they didn't get the first novel they ever wrote published at all. For many it was their third, fourth or fifth book that became their 'debut' - for some it was more like their eighth or tenth. In short, the general consensus among a wide circle of writers across all the genres was that first novels were simply never good enough to publish; it just didn't happen in the Real World.

Of course I'd heard that said before too - but only once or twice, by a couple of authors I'd never heard of at the time anyway. And that was way before I made a serious, focused commitment to writing novels myself (as opposed to the multitude of half-assed, un-focused attempts in between writing scripts and lyrics that peppered my writing history up until that point.) But now here were enough voices to transform these words from a minority viewpoint into... an actual, measurable statistic.

A statistic that clearly indicates my current work-in-progress, The Renegades, is destined to end up consigned to the Writer's Bottom Drawer of Shame without ever being seen or read by anyone except the publishers and agents who reject it. Yeah, y'know - that novel that's already taken me nearly two years to write, and will probably take me another two years to edit and polish to a standard I'm happy with.

Whoa.

That's how to pee on someone's parade.

While I'm hardly knocking on the door of my local nursing home just yet, I aint no spring chicken either. What if I finish The Renegades, fail to get it published and then promptly die before I can start on the next one? What if inspiration deserts me forever after writing the Renegades, because that's the only book that was in me all along? What if a global apocalypse of some kind hits, transforming the world as we know it into a dystopian nightmare where novels have no use except as kindling for campfires in the rubble of civilization, and novel-writers are hunted down and eaten by starving illiterates... well, okay, that last one probably won't happen, but you know what I mean...

Whenever the going's got tough on The Renegades, one thing I've been telling myself in order to keep making me attach bum to chair and fingers to keyboard is that this novel will be worth completing, and that the more care and attention I lavish on it, the better it will turn out to be in the end. Now, if the words of all these writers are true, I'm supposed to accept that, no matter what I do and how hard I work on it, it will nonetheless be irredeemably unpublishable. And that's before I've even finished it. It's tempting then, isn't it, to ask that fatal question: is it even worth carrying on with it when it's - apparently - a steaming pile of puppy-poo?

I've thought about that question long and hard over the last couple of days. And the conclusion I've reached is: yes, it bloody well is.

For starters, I made a commitment to this novel. Without wanting to sound like a total fruitcake (but probably failing - I can live with that...) now that I've created these characters and put them in this messed-up situation, I kind of owe them the chance to live their way through it and tell their story - if not to Joe Public, then at least to me.

Secondly, a large part of writing this novel has been taken up with learning how to write this novel; I've always been the kind of person who learns by trying, cocking it up and then trying again, rather than just obediently absorbing instructions. This one's already taught me so much, and I'm convinced it's not done with me yet. If I don't finish the coursework, I don't graduate. And I want to graduate.

But even if that wasn't enough to convince me, here's the jam in the doughnut: even if I were to abandon this novel... I'd soon be starting on another one. And then that one would become my new 'first novel' - to be inevitably rejected and unpublished... If publishing a novel is what I want to do (and it is) there's no way of getting out of writing a first novel - any more than I could get out of cutting my first tooth or taking my first steps as a baby. Like cutting my first tooth, it's probably going to hurt - and like taking those first steps, I'm probably going to faceplant a few times. Maybe a lot of times. But if I'd given up on learning to walk I'd be a forty-mumble-year-old lying on her belly on the carpet right now. And that'd be kind of embarrassing.

For all I know, I may never earn the right to call myself a Published Novelist. But as long as I keep on trying I can call myself a writer. And that will always feel good.

Sometimes, A Little Time Apart Is Needed

You know how it is with your nearest and dearest. You love 'em to bits, and even when they drive you mad you'd still walk over burning coals for them - because hey, this is a commitment, dammit, and you're in it for the long haul. But every once in a while, you need a break from each other. A little time apart, so that you can both chill and regroup, learn to miss each other again - and basically just get other stuff done that you can't get done when they're demanding your attention on a regular basis.

Writing a novel is a lot like that too, I've found.

This week I have not written a single word of draft two of The Renegades. I couldn't even write that sentence without twitching. Yes, I too have absorbed the mantra so often preached by Stephen King et al - write every single day, exercise that muscle, use it or lose it... hey, you had me at hello on all that stuff, okay? So now, naturally, I accept that my job is to Feel Bad, like I have Failed and Become Lazy. It could even mean - horror of horrors! I don't actually have what it takes to make it as a writer. Because isn't it supposed to be that Real Writers Never Stop Writing, No Matter What Life Throws At Them?

Well whoever originally sold us that idea must've been someone who had no hand whatsoever in typical family Christmas preparations, for a start. No, I'm sorry - if yours is one of the voices screaming in dissent at that notion right now, allow me to make a random guess here... you are one of the following: a married man, one half of a childless couple or a single person, aren't you? Aren't you? Thank you. Come back when your status changes and see if you can still make your case quite as cast-iron then, matey.

So yeah, this week has, for me, been taken up almost entirely with Christmas shopping, Christmas baking (both for the family and for various school events that rear up at terrifyingly short notice in the last couple of weeks of term) and Christmas present-wrapping. And yeah, that is both my excuse and an excuse simultaneously. Of course I could still have found the time to write as well, if I'd made the effort.

But that's the point. It would have been an effort. I'd have been sitting at my keyboard like a wilting husk, trying to make words come out of my head and onto the page while stressing about all the things I still hadn't done and would need to do tomorrow. And I would have either failed to put down a single word or simply hated every single word I did manage to wring from my frazzled noggin. And that would have made me even more stressed and - most crucially - start to hate working on The Renegades, in the same way as even your most loved of loved ones can really wind you up when you're stressing about a million other things.

So I decided we needed to take a break from each other - just for this week. I'm still writing, of course - this Blog entry is proof of that - but The Renegades and I have not crossed each others' paths since last Sunday, and I don't intend for us to meet up again until the next one. And you know what? I refuse to let myself feel guilty about that. Because I know that, by the time we get back together again, I will be missing it; I'll be desperate to catch up and recreate all the good times again. I know this because I'm kind of feeling it a little bit already. But until Sunday, the focus will remain on visiting distant family members and sorting my Christmas shizzle.

I hear what you're saying, Stephen King and cohorts. If you wanna write 'every single day except Christmas Day and your birthday' that's great - have a ball (whilst I assume - not unreasonably, I feel - that someone else obviously organizes large chunks of your life for you.) But some of us writers really do need the occasional holiday. And if we do, I don't believe it makes us bad writers - although I do believe it stops us becoming bad people.

Fiction Writers: A Special Kind of Crazy People

I hope that title didn't make you nervous. If you've only just started walking along the road to Being a Writer (or you're close to someone who has) it might sound like some kind of ominous warning. "Beware! Becoming a writer will turn you into a lunatic!" Relax. You don't have to wait for that to happen - that's pretty much how you qualified for the club, bwah ha haaaah...

Of course fiction writers are a bit bonkers; they have to be, to do what they do. "Come and play with me in my completely-made-up world, and meet all these people who don't actually exist, but have become my imaginary friends over the past... oooh, months now! Do you know how long it's taken me to invent all this stuff in my head - at the expense of doing so many other things in the actual, real world?"

Let's face facts here, that's not how grown-ups are encouraged to behave. It may go some way to explain why anyone who chooses to be a writer often gets The Look whenever they reveal this information to others. You know The Look I'm talking about. It implies certain words are popping into The Lookers head, like some kind of secret word-association game; words like 'deluded,' 'too lazy to get a proper job,' 'pretentious'... you get the idea. The only way to not get this Look is to be a very famous writer who's made squillions from selling their books and has legions of devoted fans across the globe - in this power and fame-obsessed world we live in, it seems you can be as deluded/lazy/pretentious as you like as long as you're all of those things and loaded. But not many writers get to sit at that highly exclusive table, so the rest of us spend much of our careers - if we're lucky - standing around the edges of the room catching the crumbs that might occasionally get tossed our way. And through it all, getting The Look.

And yet still we keep on walking down that road, which must mean we want to be there very, very much. And not just for the crumbs that fly off the famous writers' table either; if all we were after was food we could get that elsewhere with much less effort. So, if living in a world where not taking the easiest option to rake in the cash and glory is considered crazy... I guess us writers had better order our straitjackets now. Writing is meant to be hard... but secretly, that's obviously how we like it.

And yeah, sometimes we're... not easy to live with. I'll grant you that one.

At least with non-writer people, if you've spent the past half-hour talking to them about something important only to realise they were tuned out and didn't hear a damn word you were saying, it'll be because they were thinking about their more worrying, real-world problems instead. With us writer-types, it's far more likely that we're stewing over people that don't exist in a land we've completely made-up. Non-writers may, for some bizarre reason, believe that such things are not of equal importance to real-world issues - and unfortunately can't be educated to the contrary (don't try, trust me - it rarely ends well.)

Sometimes we can also be inexplicably sad or grumpy - but not because of something the person actually with us in the real world has said or done. No, it's because of something an imaginary person has just pretend-said or done whilst we were skipping through its made-up world! And whilst we accept it's probably a bit irrational... that doesn't help while we're so damn choked up about it, okay? We'll be fine in a bit, don't worry - just pass us another cookie and let us work through this...

And of course there's that most notorious one; the one where we bark at anyone who comes within five feet of us while we're Working "Do NOT disturb me while I'm writing! How am I supposed to get anything done when PEOPLE KEEP INTERRUPTING ME??!" When it's blatantly obvious that we've spent the last two-and-a-half hours alternating between whimpering at a completely blank screen and forlornly checking our emails. And no, in such a situation as this, don't - just don't - ask us "how's it coming along then?" Not a good plan.

But apart from that, I'd say we're pretty low-maintenance on the whole. And, because we embrace our own craziness, we're generally more tolerant of the vast pick'n'mix of craziness exhibited by everyone else. Heck, we're even interested in it. (Admittedly because we could potentially stick it in our next book, but hey -  we're still feeling the compassion - and we'd change the names and everything...)

Writers need to be crazy, so they can travel to the places everyone else is to afraid to go. Embrace your inner crazy - let it take you to your weird and wonderful places that don't exist. Because you are the tour guide for people who'd never get to those Disneylands any other way.

The Second Draft: It's Just The One After The First

I learned a valuable lesson this week - and it's all thanks to Chuck Wendig (whose latest novel, Under The Empryean Sky is out now. Of course I'm going to inform you of that - and not just because I'm grateful, but because I also happen to think it's a ruddy marvellous book, so there.)

As you may have noticed in my previous posts, I have whinged about this Draft Two of my novel-in-progress The Renegades taking much longer and seeming to be much harder than Draft One... ooh, maybe several gazillion times. Anyone still in possession of their World's Smallest Violin has probably long given up on the idea of just playing it at me and moved on to fantasies of smashing it over my whiny little head.

*Shrugs.* Sorr-ee. I'll stop now.

No seriously, I will. I'm sure it was annoying - and now that I've made this amazing little leap I shouldn't need to do it anymore. Much. No - at all, honest! Because now I see why my Draft Two was causing me so much angst - and how changing my attitude to it, even in these last couple of days, has helped me get my Renegades mojo back again.

It started when I wrote my previous post about NaNoWriMo. I believe there was this little statement I made along the lines of 600 words a day being a really productive writing sesh for me, yeah? Well, I'm doing my embarrassed face right now as I admit that was a massive lie.

I get two hours of 'writing time' a day in my life, so I doubt I'm ever gonna be one of those writers who can churn out two novels a year - but there was a time when 600 words a day would've been a piece of cake for me. (Mmmm.... cake...) But I haven't been writing anywhere near 600 words a day for... urrgh, at least a month now. I've been squeaking 300,  maybe 400 at very best  - and even then, only with the aid of PURELY MEDICINAL chocolate supplements. Fun and tasty as that is, I'm not sure chomping my way to Type II Diabetes is a great strategy for raising this novel into a functional, publishable grown-up, so I knew I needed to fix my shizzle. But how?

And then I read Chuck Wendig's blog, where he stated that it took him five years to write his first novel, 'Blackbirds.' Well, heck - if a real, properly famous and successful author is allowed to take five years to write his baby, then surely that means a little ol' 'who?' like me can take that long as well! I'm only on Month 20 since the entire Renegades Process began, so I'm kind of on schedule, if you look at it that way...

Then another thing occurred to me. If he really spent five years on it, then it can't have just been on Draft One, Draft Two and then a final spit and polish for grammar and typos. In other words, he probably had more than just a couple of gos at getting the story part right, before he even got as far as moving on to the technical bits.

And that's why I was struggling so much with my Draft Two!

All this time, I'd been thinking of Draft Two as my final chance to get the story right. After this, all subsequent edits would be purely for trimming and polishing the language and sorting out inconsistencies and the aforementioned grammar and typo bombs. Which meant I was putting my Editor Hat on - and an awful lot of pressure on myself - every time I sat down to work; "This aint no disco - this is Draft Two, Cupcake! (Mmmm... cupcake...) So every word you hammer out had better be freakin' good, if you don't want to prove to the whole world that you're not a good a writer as you like to think you are..!"

I'd lost that mindset of "just write - you can go back and fix it later" and gone headlong into "this has to be right now!" But the truth is, I'm still putting the story together in many areas; now I know all of it, I've realised there are bits in Draft One that don't need to be there, and important stuff missing that definitely does. I can't expect to fix all of that and have it all flow perfectly, first time, as well. So I'm going to need to do a Draft Three for that. And maybe a Draft Four... and Five...

And if I do...*fanfare*... IT DOESN'T MATTER!

It sounds so simple when it's written down, in actual words. But it's taken me a while to see it. So, if there needs to be a Draft Three, and Four, and Eleventy-One... so be it. No-one dies if I cock it up on Draft Two; I just get another go at putting it right. Which feels... kind of good, actually. Yeah.

So if you'll excuse me - I got some more Draft two to write. It'll probably be crappy, but I'm down with that now...

Writers and Depression

...Writers and Depression, go together like a horse and carriage. Apparently. Even if they don't rhyme very well.

Agatha Christie had it. Charles Dickens had it. So did Mark Twain, Will Self, David Foster Wallace and Evelyn Waugh. Sylvia Plath quite obviously had it. And that's just a few random names, off the top of my head.

And, if we're 'outing' members of The Sad Writers' Club here, I may as well add my own name to this list (even if that does make me look like I'm doing the literary equivalent of photobombing the Actually Properly Famous Writers' portrait session.) All of which is pretty compelling evidence that this a Real Thing.

But... does that make it a Necessary Thing?

Like the popular myth that famously drunk writers like Hemingway could not have been the writers they were without also being drunk (something I touched on in this previous post ) there is another popular mode of thinking that, for famously depressed writers, their depression was the source of their creativity - like some magical misery fountain that poured brilliance on some of their greatest works. Some even go so far as to claim that, had these writers been happy little rays of sunshine instead, many of their best works simply could not have been created.

Now, the myth of the drunk writer is pretty easy to disprove (as anyone who's ever sent a 2am text after ten Flaming Sambuca's will tell you - writer or non-writer.)  There are certain practical obstacles to writing when you're utterly wazzered, i.e. trying to hit the right keys on your keyboard when your dribbling face is in the way, for starters.

But the theories about writers with depression? Much harder to dismiss. Because, unlike drunkenness, many writers with depression are not only still able to physically write as competently while depressed as when they're not, but some even become more productive than usual while the Black Cloud is raining on their heads. Which is handy for them - albeit in a way that's less than ideal, obviously - but where does that leave those of us who aren't yet famous but often have to do battle with depression and other mental health issues? It leaves us with a big question, that's what: 'Will recovering from those mental health issues (and subsequently spending more of our lives that bit happier) also kill our creativity stone dead and leave us unable to write anything decent?'

This fear can be so real it even prevents some writers from getting help for their condition; medication might 'block my creative thoughts,' numbing the mental pain might 'stop me feeling anything anymore.' If you do happen to be one of those people who seems to churn out a ton of stuff when you're in the depths of depression compared to when you're not, that fear will seem even more justified. But, speaking as a writer who's also battled some pretty major mental health issues in the past, I'd like to offer some alternative theories.

My reasons for doing so are simple; I know how rotten depression feels, and I hate to think of other writers out there shunning help and continuing to endure that godawful rottenness just because they're worried it's the only way to hold onto their creativity.

If I look at my own past, and the minor successes I've had, it's tempting to believe that being mentally messed up seems to work a strange magic on my own creative mojo. For instance, I wrote the lyrics for a musical that was performed in Washington, Virginia - and received very good reviews - while I was an outpatient in a psychiatric hospital, recovering from a nervous breakdown.

But then I wrote the lyrics to another one which was also performed - and equally well-received - about a year after I'd recovered from that. Apart from the states of mind I was in when I wrote each of them, the other main difference between the two musicals was the weight of the subject matter - the 'mood' if you like. The one written while I was recovering from the breakdown was a retelling of the Cinderella story; it was a light, frothy comedy fairy tale. The second one, written when I'd recovered, told the story of the Russian tsar Peter The Great - a much darker, grittier tale altogether.

When I also took into consideration some of the short stories and plays I'd written that had been published or performed, I noticed a distinct pattern emerging. In the periods when I'd had mental health problems, the works that had done well were all light, whimsical comedy stuff - while all the works that had done well whilst I was well were much more serious and hard-hitting. It's pretty logical when I think about it; writing dark, heavy stuff when feeling emotionally shitty wouldn't do me any favours at all - I'd need to be able to pull myself out of it afterwards, and I could only do that if I wasn't ill. On the other hand, when I'm in the doldrums of depression, it makes sense that I'd prefer to write things to make people laugh and cheer them up (me included.)

So may be that's a more encouraging answer to the conundrum; it's not how much writers who battle depression write, but rather what they write about depending on whether they're currently on the Light or the Dark Side.

If you too are one of those writers, it may be worth looking at your own work to see if there are patterns depending on your own moods - so that you can work with them and keep your writing flowing no matter how low (or high) you feel. It's got to be better than beating yourself up for being 'unproductive' or 'only productive when you're miserable.'

And if things are really bad, and you know in your heart that taking medication or having some kind of therapy would make your life more bearable - happier, even - then for god's sake go and get it. A writer's life is one of suffering, yes - just ripping those words out of your brain and smooshing them onto the page can be torture in itself sometimes - but that's not the whole of your life. And for the parts of your life that aren't to do with writing - i.e. the rest of it - you deserve to be happy. Yes you do.

You can't write if just simply living is hard for you. In fact, if you are emotionally dragging yourself along the floor on your face day after day right now then screw writing - screw it until you fix that shit.

Live first, write second. You deserve it, and so do all the people who care about you.

Wherefore Art My Writing Mojo?

Writing is flippin' hard sometimes.

Admittedly it's not 'hard' in the same way as, say, going to war or working in an A&E department is hard...

(I see you amazing people there... what's that you're holding? Oh - the world's smallest violin. Okay, well, that's fair enough...)

No - writing-flavoured 'hard' is a different kind of challenge altogether. Not least because, when it is hard, it has this magical ability to make you feel like you have suddenly become the most stupid person in the universe.

I started learning to talk from about... ooh, fourteen months old, according to my mum. I've been doing it ever since - maybe not as much as more extrovert people, but even when I was shrinking against the wall trying to be invisible I was still practicing in my head. I started learning to write at about five, when I first started school - and I've been doing that ever since as well. With both of these abilities under my belt, that's a lot of years of using words and stuff to get my point across.

So you'd think, after all that time, I'd have got the hang of it by now. And, for most of the time I believe I function quite ably. But, in those dark periods when Writing Gets Hard, it seems as if something freaky happens to my brain.

I know what I want to say. The movie scene playing in my head is very clear; I can see every detail of the action and hear every word of the dialogue. All I have to do is take what's unfolding in my brain and put it down on the page in front of me, right? Simples.

Except, for some reason, it isn't.

It takes me ten solid minutes of word-wrangling to convert one teeny-tiny aspect of the scene in my head into one sentence - and when it's done that sentence reads like someone whose native tongue is Chinese and they only just started learning English half an hour ago. When I read it back, even I think "What the heck does that mean?" I started writing 'The Renegades' because I thought I actually had the ability to do it - what the gubbins happened to my brain between believing that and now?

I can state with conviction that I didn't have this problem with Draft One. Draft One poured out of my brain in a crazy, uninhibited gush and I just spilled it all over the pages like a kid let loose with the nursery paints. That's because Draft One was my happy-fun-go-nuts-and-CREATE! time, when there were no limits and no 'wrong' way to do anything.

But now I'm about a third of the way through Draft Two - and  Draft Two is the time to put on the Serious Pants and say "Right - let's sort this shit out then." This is the stage where I'm supposed to be rebuilding the story foundations so they'll actually take the weight of the unfolding events, making sure all the pieces fit together and that it doesn't look so bloody awful it'll bring down story property prices for the whole neighbourhood. In Draft Two, it seems, there's a wrong way to do everything - and I seem to be pretty damn good at finding them all.

Everything I write looks messy and repulsive at the moment. I almost wish I could just pull out all the story-stuff dancing around in my brain and squish it onto the pages and say "There you are - ta-dah! Screw words and sentences and all that crap -  that's how it's supposed to look." But I suspect that would just look messy and repulsive in an entirely different way.

I have been assured by many writers that this is normal - indeed, some have even gone so far as to say that it's a necessary part of the Draft Two process. (Oh. Hooray then.) But it's not a fun part, no it surely isn't. Writing like a drunk idiot without the actual fun of first getting drunk and then behaving like an idiot is not good for the self-esteem, it has to be said.

But I made myself a promise with this book; I was going to FINISH IT. Come what may. Even if, at the end of all the hard work and effort, it turns out to be monumentally crap. And I intend to honour that promise. Because, even though I don't like how hard it is to get this thing written at the moment, I still like writing it. Crazy-ass writer-type that I am.

So I'm going to keep turning up, keep on truckin' through it and keep on working through the pain. Apparently (according to my writing friends) by doing that I can eventually come out the other side of this Tunnel Of Crapness and into the light of Yay, I Might Be A Writer After All-ness.

Until then, I may have to get emergency supplies of chocolate shipped in. Dig for Victory, and all that...

Can A Little of What You Fancy Do Your Writing Good?

Writers are creative people, yeah? And creative people are sensitive, requiring a higher degree of stimulation in their daily lives than non-creative people.

(Not in a kinky way, of course. Well, okay, maybe some... s'okay, I won't ask. Not my business after all...)

This is the reasoning behind the popular idea that many writers have vices - which, in spite of messing up their everyday lives on a scale of 'not that much' to 'monumentally,' are also what 'fuels their genius' and 'frees their creativity.' Hemingway, for instance; a man renowned as much for being a great drunk as a great writer. Lots of creative types in other fields are also well-known for having a strong liking for stuff that's not entirely good for them; Keith Richards of The Rolling Stones regularly consumed enough drugs to floor an elephant.

This has led to another popular idea/myth; that, without those hedonistic lifestyles, these people would not have been able to create their masterpieces. The drink/drugs/debauched sex orgies were the oxygen for the raging fire burning within; take away that and there would never even have been a spark, never mind a flame.

Sorry, but I think that's mostly bollocks.

When Hemingway famously said "Write drunk, edit sober" people probably took his words a little too literally because of his obvious liking for the former state. I'm willing to bet that the 'drunk' he was talking about was more to do with shutting out your internal censor, writing without stopping to read over what you're writing - not 'drink Jack Daniels until you're writing in your own drunken drool.' I doubt even he would have got much writing done in that state. All the same, the idea persists that his problem with the falling-down-juice was as much what 'made' him a writer as the fact that he... well, y'know, wrote. Would he never, ever have achieved what he did if he'd just limited himself to a couple of beers a week? Seriously?

Then there's Stephen King; in the earlier years of his writing career he admitted to being a massive coke-head, whacking out bestseller novel after bestseller novel while flying high as a kite on the white stuff. He hasn't touched drugs for over twenty years now, but he's still just as prolific - and as popular - as he ever was. He didn't need the drugs to be great at what he did - he already was.

So no, if you want to become a better writer, taking the kind of 'trip' that doesn't involve some form of transport is not a required part of the process. Sure, some dubious substances make you hallucinate, see wondrous visions, smell colours or simply transform your iPhone into Robert Pattinson's butt-cheeks. That's not your imagination on fire. That's just your brain going funny, and it doesn't just happen for the 'creative types,' it happens for the dunderheads too. Y'know, the kind of people who think The Jeremy Kyle Show is a documentary...

On the other hand... there is another school of thought that's become popular recently to at least preach about, even if it's not necessarily practised. You've probably heard it at least once or twice - feel free to stop me if this sounds familiar...

'A creative mind requires a healthy body; you should eat only healthy food that nourishes you, and take plenty of exercise to keep yourself fit - don't put junk food into your body, you must treat it like a temple in order to be a productive writer... ohmmm... *sound of wind chimes*...'

Sorry, but I think that's bollocks too. Well, just a little bit anyway.

I like chocolate. No, let me put that into better perspective. There are times when I would crawl through fire, acid rain and shards of broken glass for chocolate. Chocolate, however, as all those nutritionist-types and Government Health Officials will tell you, is Bad. Naughty. To add to this, I also have a medical condition similar to diabetes type II which means I have to restrict my sugar intake - bad news if I had any plans to embark on The Chocolate Diet. So I don't eat it as often as I'd like to - along with all other sugar-packed naughties like tomato-based sauces, bread (yes, bread!) and - somewhat surprisingly - an awful lot of diet foods (honestly - check the packets. Who knew, eh?)

But here's my confession... when I'm drying up on the writing front, when nothing's coming and I feel like I have the world's worse case of literary constipation - I eat chocolate. And not just your cheap, everyday bar of chocolate either. I'm talking badass chocolate; the really good-quality stuff with a ridiculously high cocoa content and the ability to make you put on ten pounds just by reading the ingredients on the wrapper. Hey-ell yeah - bring it on, baby!

And you know what? It helps. It always helps. Badass chocolate never lets me down! 'Treat my body like a temple?' Pffft - yeah right - only if it's a chocolate temple! Yes, I know, before you even say it - the effect is psychological rather than because of any magical wonder-substance in Badass Chocolate (why has nobody marketed a product called that? Hell, I'd buy it..!) Don't care. It works.

A little of what you fancy does do your writing good - don't be bullied by the Healthy Body Healthy Mind Brigade! Embrace your chosen vice; chocolate, coffee, cake, pizza, whatever - for those times when your writing soul needs a big hug. (Although I'd still discourage embracing hard drugs as your chosen vice, of course - 'a little of what you fancy that's not illegal and likely to seriously mess you up' is more what I mean.)

Just remember though, that - like a hug - if it goes on too long and with too much enthusiasm it gets restricting and just a little bit creepy.

The Slings and Arrows of Outrageous Book Reviews

Well, a hornet's nest got a right old kicking on the Goodreads site this week, what with the Lauren Howard incident!

It's hard to know exactly what really went on, as even the lady herself has since backtracked on many of her original claims, but the gist seems to be that she felt some bad reviews for her latest book were products of online bullies who were specifically out to get her, rather than being genuine (if extremely negative) opinions about her work.

Regardless of whether she stands by her original statements or not, enough people joined the debate with horror stories of their own to make it clear that this is not an isolated incident; bullying and 'trolling' of authors is a real and ever-growing problem that's not just confined to the Goodreads site.

Of course there are always going to be reviews from the kind of people who secretly fancy themselves as some kind of online stand-up comic, honing their talents tearing into the work of others with the kind of visceral glee that would make Hannibal Lechter say "Whoa, that's a bit harsh..!" Some of those people, even if their approach is cruel and ruthless, do make valid points - albeit hidden beneath the swirling cloak of bitchiness. But for every one of them there's the other kind; the type who treat it as a kind of blood sport, where they are the lion and the hapless recipients of their assessments are the tender, juicy antelope.

In either case, the one thing you can't do is snipe back at them. Or rather, you could - but it won't do you any favours at all. Because, while your potential public can be as nasty and rude about (and in many cases, to) you as they like - because, as the old saying goes "the customer is always right" - if you appear to be even the slightest bit huffy about their damning review of your literary baby you will instantly be perceived as arrogant, pompous and self-deluded. And arrogant, pompous and self-deluded authors tend to sell less books in the long run.

So your best defence against such sharp-clawed attacks seems to be... no defence at all. Smile sweetly and keep your mouth shut. Maybe even thank them for their contribution (but only if it's sincere - any potential brownie points will be thoroughly wiped out if your words are at all sarcasm-flavoured.) Walk away with silent dignity - and wait until the door is firmly shut (and it better be a soundproof one) before you allow yourself to wail/rant/kick stuff/eat ice-cream until you're sick. (Hey, whatever works for you...)

Unfair? Well, maybe... but then a lot of other things in life are like that too. This is the part where I say all that stuff about you being the better person for it - you know the drill...

The other thing you can't do is let them get to you. Even if their attacks are personal and intended to chew your soul into itty-bitty pieces, remember that it's still motivated by something you've created rather than who you are. You have complete permission to ignore anything that attacks your personality/emotional intelligence/morals, because that's something they really can't judge from your book - no matter how much they might believe they can. (Unless, I suppose, you've written a non-fiction how-to book about mass murder or something.. but then you haven't done that, have you? You haven't, right..?)

That doesn't make it hurt any less, granted - but things you've created can be fixed if you decide, on reflection, that the haters might be... sort of right.. about some things.... Anyway, you can still create other stuff; more stuff, new stuff. There's a reason the saying "you can't please all of the people all of the time" got invented - it's because it's true.

Yes, your book is your baby. And saying your book sucks is like being told your baby is ugly. But unlike a real baby, you don't have to love it for what it is. If you end up agreeing with those who've criticised it you can brand it a mistake, analyse its flaws and failings in microscopic detail - even pronounce it the black sheep of the family and disown it - and all without incurring the wrath of Social Services. And if you don't agree with the criticism... well, remember it is just a book - you can write another one without the first one getting upset and saying "You wrote him because I just wasn't good enough for you, didn't you..?!"

When writers write from the heart, they bleed. When they read what others have written about their writing, sometimes they bleed a little more. Yep, there's a lot of bleeding going on when you're a writer.

Best to get to like it then. Or at the very least get used to it.

Fifty Shades of Fifty Shades (Or The E.L. James Effect)

Has there been a book in modern times that's caused quite the furore of the Fifty Shades trilogy?

It caused controversy for obvious reasons - mostly for being full of the sort of sexual shenanigans that would make Samantha Whatserface from Sex & The City come over all Sandra Dee. On the one hand, it gave legions of frustrated suburban women all over the world a kick in the mojo so powerful that their husbands and boyfriends wore either permanent grins or expressions of cross-eyed terror. On the other, it was denounced by many women's' groups (and even BDSM groups) as being degrading and reinforcing dangerous sexist stereotypes.

But the phenomenon of particular interest to writerly types like me was that it divided the world into two distinct camps regarding the quality of the prose. I'm paraphrasing here of course, but the general gist was that it was either a) spectacularly horny in a way no other book could ever make the reader horny, or b) atrociously written, woefully unrealistic and read like the work of a Emo Teen With Issues.

Now let me make my position clear here. I have no beef whatsoever with Ms. E.L. James; regardless of how much of any of the above is true or not, the plain fact is she gave a gazillion trillion people exactly what they wanted from a novel. She got something very, very right, and that's one, solid-gold fact you can't argue with.

What DID wind me up, however, was the angle the media chose to take with the story behind the books - and in particular the way Ms. James and her meteoric success was portrayed. She was touted as the 'shy housewife and mum,' who'd written what was essentially a piece of fanfiction that 'borrowed' heavily from Stephanie Meyer's Twilight novels. It was the very first novel she'd ever written in her life, so - being such a 'shy and prudish housewife' who just happened to have a taste for writing porn - she thought "Hey, what the heck, I'll self-publish it." And then - boom! Instant fame and fortune.

Except of course it's not entirely true, is it? When you picture a 'shy housewife and mum' do you picture someone in an executive position in a television production company? Nope, me neither. But that's what E.L. James was before she stormed into a novelist career. Obviously she would still have been a housewife and mum at the same time - so technically the media weren't lying there. The 'shy' part is pretty much open to interpretation as well. Does someone who's worked their way up to an executive position in a television company and then gone about self-publishing their debut novel - which is, incidentally, all about a BDSM relationship - strike you as the 'shy and prudish' type? Perhaps she said she didn't like dancing in nightclubs in some interview somewhere; that's one kind of 'shy' - albeit not that relevant to the image the media shoved down our throats..

It's all about dressing up the fairytale though, isn't it? Changing the slant on the mundane facts just a teeny bit makes the whole story a little more heart-warming; after all, the public are suckers for a good old-fashioned rags-to-riches story.

All well and good; I like a bit of the old Horatio Alger-ism as much as the next person. But turning someone who is clearly a very astute and business-savvy woman into some sort of literary Cinderella bothers me. I mean, what message does that send out? That writing a novel is easy-peasy, something that anyone who's ever loved a sci-fi or fantasy series can knock out on a fanfiction website and become the biggest-selling author on the planet. All you have to do is take something that's already been done, tweak it here and there, change the names and - voila! Jump on that bandwagon and count the money, baby!

The proof that this message was heard can be seen in any bookstore in the western world. Entire bookshelves are now needed to stock what could quite justifiably be called 'the Fifty Shades Rip-Off' genre. Some pay only the 'subtlest' of homages to the novel that spawned them (Sylvia Day's 'Bared To You' - which proudly screams "If you liked Fifty Shades of Grey' you'll love this!" on the front cover) while others were far less... um, 'covert.' (Seriously - 'Fifty Shades of Green?' That's not even trying!)

All of which just reinforces the idea that becoming a successful novelist is a simple as picking a winning formula and then banging out your own, slightly-adulterated version of it - crank 'em out like strings of sausages from that money-making sausage template. Sure, the chances are pretty high that most of the imitations are cataclysmically rubbish. But they're still sitting on the shelves in bookshops; some publishing company somewhere believed in them enough to take on the people that penned them. Rather than, say, novelists who've been writing for years and honed their skills accordingly... but, unfortunately for them, in genres that aren't the current flavour-of-the-moment...

No, this isn't a sour-grapes rant. It can't be; for starters, Whilst I've had some minor successes in other writing fields, The Renegades is the first novel I've ever got to Completed Draft One stage, so I can't even legitimately call myself a novelist yet. It's just worry, that's all. This is a virus that originated from outside the world of writing, but is now threatening to cross-breed and infect us too.

You've only got to look at programmes like Britain's Got Talent, when some excruciatingly un-talented individual does something godawful in an attempt to 'entertain' and looks utterly shocked and outraged when they're told they're terrible. And then marches offstage, snorting that the judges are idiots and they'll prove them wrong in the end, when they finally get the recognition they deserve and become the superstar they're just born to be..! And they believe it - they believe every word of their own hype. Why? Because they saw Susan Boyle do it. And Paul Potts do it. They saw them step onto that stage, with their bad hairdos and wonky teeth, and blow the world away, in the space of a three-minute audition. Because that's all it took - three minutes...

Except it didn't, of course. Both Paul Potts and Susan Boyle sung for years before their auditions. But telly doesn't show that part - only the three minutes that launched them to superstardom. And now, with this insistence of the media of applying the same, rose-tinted wash to the likes of E.L. James, there's a danger of the same thing happening in the writing world. The quality of published works will suffer for it (while the vanity publishers will make a killing.) Writers with genuine talent but without the abundance of self-confidence required to 'self-publish and be damned' may become disheartened and simply give up on the idea of ever being published altogether.

Veterans of the Performing Arts may laugh bitterly and say 'that's life, kiddo - welcome to the real world.' And I suppose no-one knows that better than them. But that doesn't make it any less sad to me.

If I never get anywhere with my novel-writing, I'd rather it was because I'm simply not quite good enough to make it, or the things I need to write about aren't interesting to anyone but me. Not because I just can't bring myself to sell my soul and crank out touch-up-and-tweak copies of whatever's selling at the time.

Being The Literary Equivalent of Homer Simpson

I wonder what images the above title conjures up... Am I in fact bald with yellow skin? Drinking a Duff Beer and saying 'Doh!' a lot? Or attempting to type this blog with my face and going "Oww! Why does writing hurt so much?"

(Actually the third one is probably closest to the truth. Except for the typing with my face part.)

Still working on Draft Two of The Renegades. If you want a fanfare to go with that statement, you'd best play it on a kazoo, because that's about all it's worth. The good news is of course that I am still writing it, rather than reverting to the strategy I always used in the past (which mainly consisted of going "Sod this for a chocolate chip cookie" and abandoning it for some other project.) The bad news is... it's taking so blimmin' LONG!

Draft One was a blast. Draft One was like freewheeling down a hill on a bike, with just your feet for brakes. Draft Two, so far, has been like trying to walk back up the hill after you've been eating too many doughnuts and sitting at home watching daytime TV until your arse resembles a space hopper...

(Huh! I should be so lucky, to indulge in such luxury..!)

Like the aforementioned Homer Simpson, I am feeling distinctly unfit for this task. My writing pace has slowed to a crawl, and after each daily 'session' I come away from my keyboard feeling like I've been trying to rewrite the Magna flippin' Carta. In Ancient Greek. How can rewriting what I've already written once before make me feel so gosh-darned lazy and STOOPID?

If I were the Big Yellow Guy himself, I would probably be wailing "it's too hard, and it's making my brain unhappy" right about now. And my smart-alec daughter Lisa would probably make some pithy comment about getting in better shape in order to feel like doing more exercise. And then I would tell her to go to her room... but anyway, enough with the Homerisms, there's a point in all of this somewhere. And I think it's that, rather than get hung up on the negative aspect of how much slower the process has become, I should instead focus on the positive aspect - that in spite of the trials and tribulations, I'm still turning up to put in the effort each day.

When it comes to the Metaphorical Olympics of Writing, I am quite obviously going to have to spend some time (okay then - a long time) being Homer Simpson before I can progress to being Usain Bolt. The words are definitely coming slower - but, when I compare my new Draft Two chapters to the old Draft One versions, they are better second time around. And not just a little bit better; a lot better - enough to make me think "Yeah, I'm glad I've done it that way this time around..."

So I think it's worth sticking at it, however long it takes. And that's what I need to remember whenever I get impatient, or frustrated... or hear that doom-heavy voice in my head saying "Y'know what? Maybe the real reason you're finding this so tough is because you're just not any good at writing after all."

I'm hearing that voice a lot recently; I think he's been listening to all the hype surrounding E.L. James and Amanda Hocking and comparing me unfavourably. After all, they both woke up one morning and thought "What shall I do today? Ooh I know - I'll become a best-selling author!" - and then banged out their debut novels in a few months and became instant millionaires, didn't they? 'Cause that's exactly how it works if you're truly talented!

Hmm... I think I may well be exploring that notion for a future post...

Pantsers: Dancers Not Sprinters

Oh lordy lordy lordy. Completing Draft 2 of  'The Renegades' is going to take a LOT longer than my laughably optimistic Schedule is still telling me it will.

It's said there are two types of writers; the Plotters and the Pantsers. If writing this novel has taught me anything, it's that I am pure, crack-cocaine-strength Pantser.

Outline? Pffffttt! What's one of them? I've got a Beginning, a Middle and an End, what more do I need? My brain's filled up to the top with fuel, so I'll just pootle me little old way to each destination in me own sweet time. I might take a few wrong turnings - okay, a lot of wrong turnings - and it might take me a little longer to get to each checkpoint - okay, a flippin' eternity to get to each checkpoint - but hey! I'll be learning all the way! And I won't ever get downhearted, or doubt myself, or even get bored and frustrated that the whole thing's gonna take twice as long as I thought it would. Hell no - ha ha, how could anyone even think such a thing?

What a Grade One prat.

I'm on Chapter Four of Draft 2 now. Yep, Chapter Four. After nearly four months.  That means I've done precisely one chapter a month of what I'd always imagined would be mere editing of existing writing.

Except of course I imagined wrong. This is because, even though I'm still telling the same story, the way I'm telling it has changed dramatically. The bare bones, skeleton-frame of the novel has barely changed at all; the themes, story arcs, character goals and motivations are still as they were in Draft 1. But the perspective has altered radically. Reading Draft 1 back, it seemed as if I were hovering above the action like some sort of all-seeing, all-hearing fly on the wall. For Draft 2, I've realised I have to get down to ground level - get right inside the heads of my two POV characters and experience everything through them. Which means there's lots of new stuff that isn't in there yet and badly needs to be - and lots of stuff that can't stay because it no longer belongs in my new, on-the-frontline view of events. This is beyond even rewriting - this is coming up with brand new events and discarding existing ones... in order to tell the story I've been intending to tell all along. Now I've reached the outlining stage; when I've finally realised what the flippin' heck I'm actually doing with this story. That's the way your cookie crumbles when you're a Pantser, I suppose.

How many of you Plotters are reading this now with that strange, warm glow of smugness-disguised-as-sympathy, nodding and saying "Ah yes, well - that's why it's always best to outline first, you see... I know it might seem tedious, but it saves sooo much time in the long run..."? Well, enjoy that warm, fuzzy feeling, guys. No seriously - pat yourselves on the back, have another cake, whatever. I could wish that I was as organised, as methodical and as forward-thinking as you are, and endeavour to adopt your mindset and outline to within an inch of my life before even typing the words 'Chapter One' - from now on and forever into the future...

Except that my little old brain simply doesn't work like that. Can't work like that. No, I'm not being stubborn, it's Mother Nature, goddammit. And so, rather than beat myself up for not having the kind of Writer's Brain that can predict imaginary futures with the precision of an Excel spreadsheet, I am instead going to accept my Pantser Brain for the undisciplined problem child that it is and try to love it like a proper parent.

I may probably never become one of those authors who can churn out two or three books a year, happily working on my outline for the next book whilst doing a final edit of the current one. Does that make my methods wrong? I don't know. All I do know is that they are the ones that work for me. I may take longer to reach the finish line - but hopefully the end product will be worth the wait.

And now - time to hoik up those pants and carry on with the writing...

When Writing Feels Like Constipation

With a title like that, you'd be forgiven for suspecting that there may be a lot of toilet references in this entry. I will try not to use them gratuitously, but use them I must, as it is the best analogy I can think of for those certain times when the writing is going... not so well.

I know people who are massively preoccupied with their bowel movements. They have decided, a long time ago, exactly how many times a day they 'should' do a Number Two, and even what time of day it 'should' make its presence felt. They hold this view regardless of what they may have eaten, drunk or done during that twenty-four hour period - to the point where, if they have a bowel movement at a time that does not comply with the schedule they immediately decide they must be ill. For such people, a poo arriving without a scheduled appointment is something to be feared - and being stood up by an expected poo comparable to the end of the world.

It's easy for writers to feel the same way about their craft sometimes. Most of us who try to keep to a regular writing schedule gradually develop natural ways of self-tracking our progress. For some it's to write for a certain number of hours each day. Others prefer a word count - "I cannot leave the page until I have written at least a thousand words" for example. Whatever the chosen method, when we hit or exceed the target all is well with our writing world and everything is working as it should. If we miss the target once or twice - well, that's unfortunate, but nothing worth worrying about, because we'll just catch up another day and it'll all work itself out. But if the failure to hit the target runs into days, weeks... well, just as people who dread the thought of constipation worry that the condition will cause their entire bodies to fill up with poo, until they are nothing but a big, fleshy balloon of poo waiting to explode, the writer can worry that they are becoming nothing more than a big bag of literary poo. And that, should they explode all over their work, it will become obvious to the world that, as writers, they're actually... well, 'poo.'

But in the same way that constipation can be caused by blips in a person's normal lifestyle - eating something different, not drinking enough fluids or having a few couch-potato days, for example - Writer's Constipation can be caused by blips in the writing lifestyle. Stress, for example. Unless you're already a successful writer (and in many cases even if you are) the chances are that you have other things to do in your life besides writing; running a house and/or holding down an unrelated day job, for example. Roles like that will occasionally throw curveballs in your direction that demand your attention, be it physical or mental. If those curveballs are big and emotional enough, that can disrupt your natural writing rhythm.

I have been getting to know this feeling very well over the last few weeks. What with family members in hospital, a sick child and various other incidents paying unexpected visits, focusing on getting on with Draft Two of The Renegades seems almost selfish. Today, according to the nifty piece of software I'm using to write it, I had written minus 173 words at the end of my scheduled two hours. Yep, minus.

It's enough to make a girl think she ought to just give up on the whole thing. But if you have genuine constipation in your body you can't just give up on the idea of ever performing a successful dump again; you'd end up in a pretty bad way if you took that approach. You just have to keep going off to the toilet and sitting, and trying, and hoping that eventually there'll be a breakthrough. After all, if you're still putting food in the top end, it all has to come out somewhere eventually, doesn't it? And this, I've decided, is the approach that's needed with my writing. Keep turning up at the page and sitting and trying, because eventually it'll work its way out.

Oh - and in the meantime, try and banish all those mental images of spontaneously exploding in a big shower of literary poo.

Even In A Pretend World, You Need A Map

I've been having a bit of trouble finding my way around lately.

My sense of direction is pretty rubbish at the best of times, but nothing brings out my navigational doofus tendencies like trying to get to various places in a building I've never actually, physically been inside. Partly because said building is located three thousand miles away, on the other side of the Atlantic Ocean. And partly because it only exists in my head.

You guessed it - I'm talking about a location in my Renegades novel. A large underground base hidden in the side of a quarry, to be precise.

In its real-life geographical location in New York state where the novel is set it doesn't actually exist, but some specific infrastructure is really there so that, at some point in the future, it plausibly could. (Yep, I did the research for it - God bless the internet!) So even though I've placed it in a real-world environment, the base itself is pure fantasy - mine to carve out of that hillside however I like.

So if it's just a pretend place, I don't need to know exactly where everything in it is in relation to everything else, do I? I mean, it's my secret base; I invented it, so I can tell the readers whatever I want about it, right?

Well... it turns out that no, I can't. Or, to put it more accurately, I can't tell them whatever I want about it whenever it suits me. If I say there's a gymnasium just down from the dining area in Chapter One, then that's where it always has to be - forever, for the entire life of the story. And I can't just blithely assume that, should I make a geographical slip-up at some point, 'no-one will notice a little detail like that.' Because that's like assuming everyone else possesses navigational skills as dire as mine (and that's a hell of a lot of people I'd be insulting.)

To put it bluntly, fans of science fiction novels are smart cookies who aren't easy to fool; some of these people have actually taught themselves to speak Klingon, for crying out loud. They're gonna pick up on every little detail - even those that seem trivial and insignificant to those of us with smaller brain capacity - and if it's wrong, it will jerk them out of the story and that's a bad thing.

I have a fairly flexible imagination, which enables me to create these places in the first place; unfortunately flexible imaginations tend to come with an equally flexible memory. This results in a brain that enjoys creating things on the fly so much, it rarely mentally files anything away so that it'll be the same every time. But, for the purpose of building a believable story, my world has to be the same every time; it can't change from scene to scene. The only way to ensure constancy then is to set it in stone from the start; design and plan it, the same way an architect designs and plans a real-life building.

So, after several hours of: searching through the text of the entire novel for all mentions of the various rooms in my base, cutting out, fiddling with and glueing bits of squared paper, and then faffing about trying to make Microsoft Excel work like a floor-plan-drawing tool (I'm pleased to report that it can, and the results look surprisingly good) I have now made myself a thoroughly detailed map of my fantasy underground location. I could even tell you where the toilets are - if you really wanted to know.

Boring? Yeah, sometimes. Headache-inducing? Oh, heck yeah! But unnecessarily nit-picky? Not on your life. Because now, not only will the map ensure my characters will always be able to take the right route to reach the places they want to get to - but I can make my descriptions of them more interesting. More real, because now I'm properly 'with' them, following them around like a little spy. I'll know, for example, that they can smell disinfectant as they're walking down a particular corridor, because my map tells me they're passing the medical room. And when you're mentally walking through the same environment as your characters, it makes it so much easier to get inside their heads and know what they're feeling and thinking.

Tolkien famously drew detailed maps of Middle-Earth and wrote vast, sprawling back-histories for all the races inhabiting his mythical lands. J.K Rowling did a lot of the same for her Harry Potter series. I can see now that their reasons for doing so went much deeper than mere nerdish pleasure in creating little extra nuggets of trivia for their fantasy worlds. I guess if I'm going to learn a valuable lesson from anyone, it might as well be from two of the greatest storytellers of them all.

Happy New Year, everybody! Let's make this the year that we Get Stuff Done!

Pesky Life... You're Getting In The Way Of My Fantasy World!

Soooo... how long is it since I last blogged?

No, don't go and actually look, please, I'll just be embarrassed... Yes, that question was hypothetical. I know it's been a while, and there are many reasons for this.

Reason number one is discovering that, for Draft Two of The Renegades, I have to actually write a whole new chapter that fills in a lot of stuff currently missing from Draft One. Which means even when I've finished Draft Two, that chapter will still be a Draft One and suck more than the rest of the book, so I'll have to go back and do the whole stew-and-review process again for just that chapter. Assuming I don't find other moments in the story where I have to add in extra chapters of course... and they in turn don't mess up some structure/facts in any of the other Draft Two chapters...

And there I was thinking pregnancy and childbirth was a long and complicated process (although it has to be said my novel-writing process also seems to involve sitting down a lot and eating weird stuff.)

All of which is a rather weedy way of saying that it aint been flowing easily. Writer's Block? Well, I'm not sure if I should succumb to that kind of thinking (see here for my thoughts on that) so in order to not do precisely that I've been doing other kinds of writing instead, to stop my brain getting flabby and bored. But not a lot of Renegades writing, it has to be said. And because this blog is mainly about the progress made with Renegades, not a lot of blogging here either. (I am doing my ashamed face right now actually.)

Reason number two is a bit more universal; it's that thing called 'life.' That blimmin' thing that gets in the way of so many creative endeavours, because most of the time it just isn't as interesting. (Unless of course you are a fabulously wealthy and maybe even a bit famous person, in which case you could probably buy yourself things that would take the edge off the humdrum. But I'm not, so in my case that doesn't apply.) Christmas, for one thing. I realise I'm massively generalising here, but when you are a man, Christmas generally doesn't appear on your mental radar until... oooh, I don't know - maybe December? It certainly doesn't warrant much practical attention until you realise you've heard Wizzard's 'I Wish It Could Be Christmas Every Day' at least five times in various public places in the last two hours or so. But for the average woman - most especially one with kids - Christmas starts way earlier than that. Planning for it is on a par with organising a war. Presents, food, who's going to who's house on which day, costumes for the school play.... it's okay, I won't go on, because I can hear you all yawning from here. But it eats chunks out of potential writing time, there's no getting away from it.

So there you have it; two potential excuses to choose from for my recent tardiness on Renegade writing. But that's in the past now, I'm glad to say. I'm turning the corner, crossing that bridge now I've come to it (and hopefully not burning it as well) and The Renegades is BACK ON. Hurrah!

So I suppose I'd better get back to it then. As Dory from 'Finding Nemo' says - "Just keep swim-ming, swim-ming, swim-ming..."

Draft Two - Time To Get Real...

Well, my Date With Draft One of my novel The Renegades hit last Saturday, and I've spent the last seven days reading over it in preparation for the Draft Two process. And I have discovered two things:

1 - I'm not as bad a writer as I thought I was!
2 - I'm also not as good a writer as I thought I was.

It's a strange thing, to reach both conclusions at the same time, but then this isn't maths we're dealing with here, where every question only has one right answer (which probably also explains why I'm hopeless at maths. I'm a rubbish conformist.)

I suppose the best way to explain it is to say that the bits of Draft One that were good were... well, actually good, like a real, proper writer wrote them. While the bits that were bad... well, apart from the fact that I found myself guilty of some of the very things I'd been picking at in the writing of other authors, I also found myself at one point thinking "Jeez, this is note 163 - and I haven't even got three-quarters through the book yet!" (And my numbered notes are just the ones detailing changes too big to write as a one-liner on the manuscript... )

So I've learned something new from this exercise - something that, had I been taught it in a writing class or told it by an experienced author, I probably wouldn't have believed it. It's something I've had to learn the hard way - by actually going through the process for real.

Before now, I always thought Draft One was where I'd be doing the bulk of the donkey work. That the long, hard slog of actually getting the story down, from beginning to end, for the very first time, would be the most time-consuming part of the whole project. Everything after that would just be tweaking and polishing all the stuff I've already got down - editing what already exists. That won't take nearly as long to do - it'll be much quicker and easier than Draft One was. Wouldn't it?

I can see now how wrong that idea is. The real, sleeves-up graft is only just beginning.

Draft Two is not just a matter of dusting off Draft One and making it better; it's about upping the game considerably. It's about putting in all the parts of the story that are still missing (and my god, there's a lot more of that than I thought there'd be.) It's about finding and correcting every single plot, character and world mistake (and it pains me to confess there are a lot more of those than I thought there'd be too.) But most of all, it's about making every single part of the whole book better - even the bits that are already pretty good. It's not just an editing exercise - almost every chapter will have to be pretty much completely rewritten.

And that's what I've learned; Draft One is not, as I'd previously thought, the block of marble from which you carve and polish your literary David - it is merely the wireframe on which the whole thing is built. That means it won't look like anything much until I start slapping the clay on top - and that, clearly, doesn't happen until Draft Two, the real donkey work of the novelwriting process.

So... if Draft One was the conception stage, it looks like Draft Two is the pregnancy. I wonder if it causes weird cravings, backache and swollen feet too?

But I'm not downhearted - far from it. It's actually quite exciting, and I'm up for the challenge. Well let's face it - if I'm going to fall at this hurdle I don't have much chance of making it as a bona fide novelist in the future, do I? So bring it on, Renegades Draft Two! Meet me at the computer in ten minutes time -  'cause you and me have an appointment, and I don't like tardiness...

Six Weeks Is Longer Than I Thought

OMG (as I believe people under thirty years old say these days) have I really got three-and-a-half more weeks to go before I can start on 'Renegades' Draft 2? I'm sure weeks weren't this long when I were a little girl...!

I've given up on the kid's comedy novel, by the way. Well no - not given up exactly, just pushed it aside for a future project. Mothballed it, I suppose you could say. Instead I am now working on - another sci-fi novel. Yep, it seems I just can't leave the genre alone, no matter how hard I try, so I decided not to fight it and just go with it. Although I suppose I'd better not get to like this one too much, since I'll have to put it aside again when I start 'Renegades' Draft 2 - and even when that book's fully complete, it's just Part I in a trilogy, so I'm going to have to write the other two before I can go back this new one... Tsk! Get me, with my 'Oooh, I'm writing a trilogy" line - without even knowing if Draft 1 of Book 1 will make the cut yet. Me and my ridiculously lofty future plans!

How on earth do the professonal novelists deal with this? How do they resist the burning temptation to take 'just a little peek' at their simmering Draft One for six whole weeks? Some of them wait even longer. I haven't taken any sneaky peeks yet - but most of my writing thoughts have been consumed with what I remember of it, already debating in my head what I'll probably need to change, cut, add in... Am I allowed to do that? Is that breaking the rules? Ah, Stephen King et al - you give us these rules about 'setting your manuscript aside for a time,' but when we have questions WHERE ARE YOU, eh? EH?