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Posts Tagged creativity
You may recognise Helen Hollick as a recent guest on The Red Blog, where she stirred up a storm with raging seas and black-hearted doings, all devised with the music of Mike Oldfield, among others. She’s also a bestselling author who’s hit major charts with her pirate novels, so that’s probably a better reason why you might know her.
After she guested for me, she was curious to find out more about how I use music and how I developed the idea of The Undercover Soundtrack into a blog. Especially as it’s been going for more than two years now – and contributors are now lined up into July!
Some of you NYN old-timers might have heard this tale before, but in case you haven’t, or you want a brief intro to my fiction, or you want to see where Helen lives on line, head over to her blog …
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‘I like Nail Your Novel,’ said Lauren Orbison to me on Twitter recently (which was nice). ‘But you now need to write Nail Your Second Novel. It’s tough sometimes to get back to writing after finishing something.’
I understand what she means. First novels are usually written over many years. We might put more time, work and learning into it than we ever dreamed we could put into one project – short of actually rearing the next generation. Then suddenly, the novel’s done, it’s out and we’re wondering: how did I do it?
I’ve certainly felt like this. One minute, I’m stealing time to be with a book that has become as familiar as an old friend, refining to get the depth and finish I want. No other phase for me is so rewarding. I’m understanding my material. I have a book, for sure, at last. It reminds me of when I was at plays at school. In the final rehearsals we’d be adding refinement on refinement, amazing ourselves at how inventive we were being. The shambolic months were behind us.
Then it’s over. On the one hand, my novel is out in the world as a finished piece. Readers might be asking what’s next (bless them). And what have I got? Something much rougher, perhaps – to me – offensively so.
This, I think, is what Lauren is talking about. Some writers find it blocks them completely.
I’ve learned the way to deal with this is to get another novel to a confident state before the mature one sets sail. I know that if I get to the end of The Mountains Novel and I haven’t got a serious contender for Next Novel, I will be severely fretful and will rail at the muses for abandoning me. But The Mountains Novel will need periods of enforced rest after each draft and that’s when I’ll get developing the next one. Could be The Flying Novel, The Venice Novel, or – as I’ve had a few other ideas arrive – Someothernovel entirely.
So far, so good.
But what if you’ve completed the one novel you’ve spent years on, and you haven’t started incubating another? What if that first idea started so long ago that you’ve forgotten how you ever got it?
Or what if you have ideas but they don’t excite you? I have various plots I’ve thought of, but I don’t feel moved to write them. I’m missing the ingredient that will make me want to quarry them – because I haven’t found the theme or idea I want to take to them. They’re clay without a soul.
First of all, if you’re feeling so emptied, you can’t create. Go and stoke your imagination. Your first idea probably came to you out of the blue, while you were following something you were interested in. So read books and do things just because you want to, no ulterior motive of research. You can’t force yourself to have a great idea any more than you can will yourself to fall in love. But you can flirt with things that could bite back (in a good way).
If you’re still frustrated because you’re not actually ‘working on’ something, make this period of exploration into a project. Set yourself a target to read x number of novels, y number of non-fiction books, or have a brief sabbatical at an evening class so that you feel like you’re completing something. Think of it as an appointment with your muse. If you’re really desperate, read something you’re guaranteed not to like. The chances are, you’ll rile yourself so much you’ll be bursting ideas in no time.
And next time, don’t wait until the first novel is over before you work on the second. (There’s plenty more about developing ideas in Nail Your Novel, whether you’re on debut tome or umpteenth…)
Well that’s my method. Have you finished a novel and found it hard to get on with the next? Perhaps you have a steady stream of works in progress… Let’s share in the comments!
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I’m thinking about this because the other day I heard an interview with the British actor Peter Bowles. He explained that much of the time in acting life, he’d try to second-guess the director. When his character seized a sword or opened a letter, he’d be trying to figure out how the director wanted him to do it. Partly this was survival – after all, he wanted to be hired again. And he had a team player’s instinct to collaborate and please. However, he was aware that he was missing a fundamental connection – with the author of the text, and what they wanted.
But, said Bowles, this all changed when he put on a mask. Yep,. he couldn’t see the director any more but that’s not as fatuous as you think. It narrowed his awareness to just him and the text. And then it was as if all doubts vanished; the white noise of other people disappeared and he was suddenly certain of the emotions and truth in a dramatic moment. He knew, from inside, what to do.
It strikes me that writers spend a lot of time second-guessing. We’re surrounded by muddling influences. What’s popular in the market, what our favourite authors recently did. Suggestions from our extended writing family. Even, requests from our readers.
Writing has never been so connected. We can bust out of isolation, join social writing communities and cheer each other through Nanowrimo. As soon as a chapter leaves the brain, we can offer it for comment if we wish. Oh I’m not saying it isn’t fantastic to have support and guidance. If I disapproved, I’d hardly bother you with my weekly volume of bloggery. I love the world wide web of creativity we have. But no one knows a work’s bones as well as its creator. Are we taking enough quiet time to discover its deeper, instinctive truth?
I think there’s a part of writing that cannot be social. It must be done alone, unplugged and in a safe space. That’s how we strike out and find true inspiration – for the direction of a story, the meaning of a setting, the innate humour in a scene. It’s how we develop instincts we can rely on and a voice that’s indubitably our own. It’s how we become original and authentic.
Like those actors, there are times when we need to put on the mask and see what we find.
TINY NEWSFLASH Continuing the theme of creating our own space, I’ve revamped my author website with a new design and some extra pages, including Why I self-publish and a picture tour of my writing process.
Let’s discuss in the comments: Do you take time to retreat with your work? What do you do to cultivate your writer’s instinct?
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I always feel a tad self-conscious when I get asked to write about what I’ve been up to. Post an entire piece without trying to help, inspire, solve problems…? Can’t I turn it into advice, just a teensy bit? No, said Women Writers, just write what you’ve been doing. Once I started, it turned out I had quite a bit to report for the past few months, so here it is….
And since we’re sharing news, tell me … in the past year, have your writing dreams become a step more possible?
PS WordPress informs me this is my 500th post. Which must indicate somethingorother about progress!
authors, creativity, culture, dreams, guest post, guest posts, how to write a novel, literature, My Memories of a Future Life, publishing, Roz Morris, self-publishing, sharing news, tad, update, Women Writers, Women Writers Women Books, Women Writers Women Books blog, writing, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, Depth & Heart
When I was Kobo’s Writer in Residence at the London Book Fair last month, they were fascinated to hear about my series The Undercover Soundtrack. Firstly because they’re keen on fostering innovative ways for writers to get together and make contact with readers. And second, because they were busily scribbling their own novels and were imagining what they’d say was on their soundtracks!
Anyway, they asked me to write an introductory piece for the Kobo Writing Life blog. If you’ve ever wondered what all those red posts are, here’s Undercover Soundtrack 101. I tried to mention as many past posts as possible – so if you’ve been one of my guests, hop over there and see if you’re starring on the Kobo blog…
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My muse is in trouble. I’ve spent too long on facts and analysis. I’ve been longing to tackle the Mountains Novel. Ideas and concepts have been piling up in my files, but now my schedule allows, I can think only of practicalities. My notes look like thin nonsense. I only see the problems, not the potential.
This is what going to press – and e-press – does to your mind. These last weeks have been an orgy of pedantry. Crossing ts and eyes, making an index, hyperlinking cross-references, obeying format rules for the kingdoms of Smashwords, Kobo and Kindle, typesetting the print version, reading onscreen proofs, tweaking bloopers and doing it all again. Oh and I updated the typography in the original NYN too, so that was an extra dose of proofing.
Now, my muse is on strike. I need to win it round. Here’s what I’m doing.
Forgive me if this is the most air-headed post I’ve ever written. I’m blowing away cobwebs.
While finishing the characters book, I’ve been making a list of novels and memoirs that have resonated with themes and ideas I want to explore. There’s nothing like a good book to make me want to write.
Compiling a soundtrack
Of course I’m doing this. I’ve been collecting CDs for the car, tracks for running to. Some of them have come from others’ Undercover Soundtrack posts, especially Andy Harrod, Tom Bradley, Timothy Hallinan and a few that are currently a secret between me and the writers because they’re cued up in my inbox. Thank you, guys, for opening the windows.
Rediscovering the fun in connections
A few things that real-life friends have introduced me to these last few days that reminded me how homo sapiens is an endlessly creative creature.
I have a friend called David Bailey. Yes, like the famous photographer, but not related to him. Though my David Bailey does like taking photographs. And he’s spent much of his life grappling with scornful titters if he wields a camera. Last year, he was recruited for an advertising stunt, where 143 chaps called David Bailey gathered in London, put on black polonecks, were trained to use a whizzy camera and had to spend the day using each other’s middle names.
2 People lying down in Mexico
These foolish things inspire me. There’s something so adorable about found similarity. A brigade of guys called David Bailey, identically dressed and taking pictures. Ten beautifully composed photos where everyone is, curiously, lying down. I could detonate with delight. If I wrote a thousand words I wouldn’t get to the end of why.
Whether your art is visual, written or sonic, so much starts by taking the world and seeing patterns. Repetitions. Connections. One idea boldly takes the hand of another, one character finds another, one event causes another, fractalling on and on. They look as though they should always have been joined. I won’t make the same connections you do, and that’s what makes your art yours and my art mine.
What inspires you?
(Aside: this week, some of the David Bailey pictures are being sold on ebay to raise money for the Marie Curie Cancer Care charity. One of them is by the very famous black polonecked David Bailey; one is by my black polonecked David JW Bailey, who also provided the pics for this post. See if you can tell which is which)
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My guest this week describes his novel as having a subliminal soundtrack that wormed into his head and influenced the period, the tone, characters and the ties that connect them. The novel, Blow Your Kiss Hello, is a mystery and a thriller with a bit of Other too. It’s the story of a man searching beyond the boundaries of here and now in the hope of finding his missing girlfriend. It’s set mostly in the 1990s with threads of 1640, a crossing that becomes apparent as Faithless meets Henry Purcell’s opera Dido and Aenas. He is Andrew James and he’s on the Red Blog with his Undercover Soundtrack.
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How long does it take to write a novel? Years, months, a Nanowrimosecond? I’m riffing on this idea today at Beyondaries, the ezine of Port Yonder Press.
Port Yonder is one of those publishers whose remit I could have written myself. It looks for strong, original crossover books with award-winning potential. In charge is managing editor Chila Woychik, who recruited for her ezine a bunch of writers who like their rules thoroughly bent and kicked.
Among the other contributors is Dan Holloway, who often stops here with a challenging take on whatever I’m talking about. His video is about the music of words. Also at Beyondaries you’ll find Shannon Elizabeth Hardwick talking about finding poetry in the everyday, and Grace Bridges comparing Witi Ihimaera to Doctor Who. And of course, Chila herself on the stubborn, self-driven qualities that mark out a true creative.
If you fancy a trip beyond the usual, pull up at Beyondaries.
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‘Each song helped me see the main character a little more clearly’ – The Undercover Soundtrack, Melissa Foster
My guest this week has always written in the grip of a wide-ranging playlist, but for one particular novel she found herself listening to three pieces intensively, maybe obsessively. In those songs she found her characters’ strengths and their more playful, softer sides, the great challenges they faced and the reserves they drew on to see them through. She is award-winning bestselling author, indie champion and women’s advocate Melissa Foster – and she’s on the Red Blog talking about Chasing Amanda and its Undercover Soundtrack.
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It doesn’t yet have a title, but I know its setting. So until something better comes along I’m calling it The Venice Novel.
I have a main character. He doesn’t yet have a name. I don’t know what he looks like or how old he is, who his friends and family are – except that these people will cause as much conflict as comfort, of course. They can’t be in the story if they don’t. Some of them will change, some will not.
For some reason he’s male because it feels right. This is not the time to interrogate my instincts, so male he shall be. If later he feels insistently feminine, I’ll switch him.
In any case, his gender is insignificant compared to his problem.
This problem is the touch-paper waiting to be lit and I understand it very clearly. At the moment, this simple-but-complicating problem is germinating the whole novel.
It’s too early to write formal scenes yet. I don’t know much of the plot. But certain essential beats have come to me in flashes. I’ve written them in a file called ‘Rushes’. One of them may even be the opening scene. Whether they make it to the final cut or not, they’ve told me a lot about him.
I’m reading other fiction with an altered brain, my invention function in overdrive. I’m second-guessing like mad. I read four short stories the other day and – without even meaning to – invented alternate endings for each one.
While driving, I surf radio channels for random ideas. I do that anyway because I hate being bored, but now I am on a purposeful hunt through the chattering spectrum of songs, interviews, reviews, current affairs and the whacky community radio station that sometimes plays recordings of trains. An undercover soundtrack is taking shape. The latest addition is Howard Jones. (Don’t ask. Yet.)
Today I left the house an hour late, and happened on a programme that gave me a sub-plot. It was a missing link, an extra lens for examining my theme. Less loftily, it’s a welcome source of humour and characters. A chance gift from the ether, because I left the house an hour late.
Where do novels come from? How often are writers asked that?
They come from moments as random and unrepeatable as snowflakes.
Thanks for the girl pic grisha_21
What do you do when you’re gathering ideas for a novel? Share in the comments!
If you’re hatching a novel too and are wondering what to do with all those ideas, you might find my book helpful – Nail Your Novel: Why Writers Abandon Books And How You Can Draft, Fix and Finish With Confidence. Book 2 is in the works!
authors, beginnings, being creative, community radio station, creative writing, creativity, deepen your story, fiction, getting ideas for a novel, how to be more creative, how to get ideas, how to start a novel, how to start writing a novel, how to write a novel, ideas, inspiration, literary fiction, literature, My Memories of a Future Life, new novel, Planning, publishing, random ideas, Roz Morris, self-publishing, starting a novel, The Venice Book, The Venice Novel, Venice, writing, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, Depth & Heart
I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- And then there were three (NYNs)… Do you find plot more difficult than character? Plus the midpoint of Blade Runner December 20, 2014
- ‘Summoning Christmas in July’ – The Undercover Soundtrack, Jan Ruth December 17, 2014
- Living the stuff of novels: the ghostwriter’s lot December 14, 2014
- ‘Harmony from fragments’ – The Undercover Soundtrack, Rochelle Jewel Shapiro December 10, 2014
- Editing seminar snapshots: writing for a blog vs writing for a book December 7, 2014
- Editing seminar snapshots: negative criticism and author control December 5, 2014
- ‘We become readers in our listening’ – The Undercover Soundtrack, EJ Runyon December 3, 2014
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