Tag Archives: Feel The Fear and Write Anyway

This week I've been trying to explain to my creative writing students the concept of head-hopping and why it isn't usually  a good idea.

Usually, it isn't something they've thought about before, although its use may well have played a part at some stage in their not enjoying a book without them even being aware of the fact.

So what is head-hopping? And why is it such a no-no?

Put simply, it's when from we move quickly from one character's view of the world and events to another character's view of the world and events within a scene.

It's probably best to illustrate it with an example. Here's an extract from my novel The Goddess Workshop, rewritten to include head-hopping.

‘He’s got no clothes on!’ Janet hissed to Estelle and Kate as the man continued to pose and smile, obviously under the impression that he was giving her a treat.

Reenie puffed to her side. Didn’t Janet know anything about the area? ‘This part of the beach is for nudists, love,’ she said.

‘Goodness!’ said Janet, still not moving.

‘Come on,’ said Kate, giving her a little shove. She was getting impatient with them, standing around the way they were. ‘Let’s get away from here before I lose my lunch.’

Janet responded to the shove, and they wandered on towards the sea. When Estelle and Reenie began to giggle, it was difficult not to smile.

Reenie smiled. Janet was starting to get some colour back into her cheeks, thank goodness. ‘Feeling better now, love?’ she asked, and Janet nodded.

‘A bit, yes thanks,’ she said, and it was true, she was. She had only known these three women for a short time, but they were all so dear to her. In a funny kind of a way, they were almost like a second family.

‘Well,’ Estelle was saying, grinning at them all, ‘I can think of something to cheer us all up,’ she said. ‘Not to mention Droopy over there!’ and with that she threw her bag down onto the sand, kicked off her shoes and began to strip. To hell with it! Life was for living.

Phew! In all, we get to discover the thoughts and feelings of FOUR different characters in this extract, and that's a lot to take in.

While the scene might still entertain the reader, it makes us feel a bit jittery and on edge. Let's face it, in real life we just can't know exactly what anyone else is thinking or feeling. To do so, we might need to wear something a bit like this:

The Goddess Workshop is told from all four women's viewpoints, but at different times, not all at the same time. Each time I wrote a scene, I deliberately decided whose viewpoint it would be best for it to told in. Sometimes this was just a question of balance for the story - maybe I hadn't had Kate's viewpoint for a while, for example. But usually, it was because the scene would work best from a particular character's viewpoint to advance the story or to show that character's development. In this case, I chose to tell the scene from Janet's point of view, because it's an important moment for her - the moment she fully commits to making a change in her life and to shedding inhibitions and old habits that are draining her self-confidence.

Nude on beach self-confidence confidence

Here's the scene as I originally wrote it.

‘He’s got no clothes on!’ Janet hissed to Estelle and Kate as the man continued to pose and smile, obviously under the impression that he was giving her a treat.

‘This part of the beach is for nudists, love,’ Reenie told her, puffing up to her side.

‘Goodness!’ said Janet, still not moving.

‘Come on,’ said Kate, giving her a little shove. ‘Let’s get away from here before I lose my lunch.’

Janet responded to the shove, and they wandered on towards the sea. When Estelle and Reenie began to giggle, it was difficult not to smile.

‘Feeling better now, love?’ Reenie asked her kindly, and Janet nodded.

‘A bit, yes thanks,’ she said, and it was true, she was. She had only known these three women for a short time, but they were all so dear to her. In a funny kind of a way, they were almost like a second family.

‘Well,’ Estelle was saying, grinning at them all, ‘I can think of something to cheer us all up,’ she said. ‘Not to mention Droopy over there!’ and with that she threw her bag down onto the sand, kicked off her shoes and began to strip.

If you don't tell your story from one viewpoint at a time, the writing becomes clunky, and the reader doesn't truly have the chance to engage with your characters. And I don't know about you, but I really want my readers to do that. I want the reader to care about my characters and to root for them. Maybe even to feel as if they are them, or at least to be able to empathisize with them.

It's all a part of the glorious experience of an absorbing read.

The Goddess Workshop - four women on a quest to become sensual.

Happy New Year, I hope you had a good Christmas, and a very warm welcome to anyone who’s new to my blog.

I read two extremely inspiring books over the Christmas period – Bird by Bird: Some Instructions on Writing and Life by Anne Lamott, and Big Magic by Elizabeth Gilbert. They are quite different books, but they are both about the creative process – what it’s like and how we can get the most pleasure and fulfilment from it. I loved both books, and they were an excellent reminder of why I write and why I’m passionate about helping others to write – because they're such amazing, life-affirming things to do.

It’s difficult to pick one thing out to share with you from them, but I particularly liked Elizabeth Gilbert’s advice in Big Magic to treat your creativity as if you are having an affair with it! Gilbert points out that when people are having a passionate affair, they make time to meet up with the object of their desire, no matter how busy they are, and even if it’s only for a snatched – but passionate – fifteen minutes. She advises us to fall in love with our creativity like that and to see what happens. “Stop treating your creativity as if it’s a tired, unhappy marriage,” she says, “and start regarding it with the fresh eyes of a passionate lover. Sneak off and have an affair with your most passionate self.”

It certainly sounds like fun to me!

While we’re on the subject of fire and sparks, I’ve just released a new e-course called Story Ignitor. It’s a highly practical course based on material I’ve used in my successful day-long workshops. I believe in learning by doing, so you’ll fuel your creativity and start to spark ideas for stories by creating a three-dimensional character and using an innovative technique to help you to plan a story. You’ll also learn about story themes – ways to choose one that resonates with you, and how they can make writing easier. I’m offering the course for an introductory price of £49 (that’s about $60), and all of my students are entitled to join my WriteUP Course Café Facebook group. This is a place to connect with other writers and to find out about writing opportunities as I learn about them. Here’s the link to find out more about the course, or to enrol: http://storyignitor.strikingly.com/

story ignitor - a course to help you find ideas for writing
ENROLLING NOW! CLICK FOR MORE INFORMATION.

 

 

 

 

 

If you’re Norfolk-based, I’m also offering some new face-to-face courses this term. Here are the links to find out more about those.

 

I love the start of the year – it’s a wonderful clean slate, just ready to be filled with exciting opportunities. I intend to really get stuck into my writing this year. How about you?

Until next time.

All the best.

Margaret

Fans of the Great British Bake-Off will know that participants are often rushing around trying to get things finished at the last minute, before the time runs out.

Sometimes they will be seen squatting in front of their ovens, looking through the glass and willing their cakes or loaves to bake faster.  Even though they always seem to be having fun on the show, there's usually a bit of a frenetic atmosphere in that GBBO tent.

But sometimes they just have to accept that there is nothing for them to do but wait. Their dough is in the proving cupboard, and it just has to stay there to rise before anything else can be done with it.

It's always a good idea to leave a first draft of your novel in a 'proving cupboard' for a while, just as you need to allow bread dough to rise before you can do anything with it.

 

This week, I'm celebrating reaching the end of the first draft of my new novel. Notice I say "reaching the end of", not finished. Experience tells me that I will have seriously rushed my ending, and that I will also have to add more scenes and move others around.  I've written previously about the raw material of a first draft - you can read that post here.

Experience also tells me that the days or weeks when I've just finished writing is not the time for me to be able to see all these things clearly. So, The Self-Help Angel is in the proving cupboard, and I won't take it out again for several weeks. With Christmas rapidly approaching, it might even be a month before I look at it again. Then, when I do take it out, I'll be able to see it properly.

 

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One thing that really helps me to maintain momentum when I'm writing, and to get that 'dough' into the proving cupboard is not to number my chapters.

At the start of a new chapter, I just type the word Chapter, then start writing. It might seem like a small thing, but it gives me mental permission to change things around at a later date, and, perhaps more importantly, it removes the pressure of feeling I've got to get it completely right first time. It also seems to make me feel I can write whatever scene happens to be demanding my attention at that particular moment, instead of thinking 'I can't write that because it doesn't come next.'

Anything that helps you to keep your momentum going when you're writing is valuable, because momentum is your best friend. Momentum creates - and maintains - a writing habit. A writing habit means a word count that steadily grows. It also means results, and when you can see the results of your labours, you start to feel you are achieving something. Because you are! And that's more than half the battle.

So, what am I going to be doing while The Self-Help Angel is in the proving cupboard? I'm going to be working on some exciting new courses. Watch this space!

Have a great week.

Margaret

 

 

As I write my first draft of my new novel, my characters are forever doing things like putting their hands into their bags to find their car keys, moving forward to take people into their arms, or crossing the room to look out of the window at the rain.

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Sometimes it seems as if they are never still.

I see them doing these things in my imagination, so I describe them doing it all. But it doesn't always make for fascinating reading, and this is something I have to be aware of when I come to rewrite and to edit.

Of course, what a character has in their hand bag, and whether their bag is tidy or not, can tell us a lot about character.

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So can the way they hunt for their car keys. Do they up-end their bag? Throw it across the room when it doesn't come up with the goods? Search calmly and methodically? Talk to themselves while they're looking? Shout at the dog? Kick the cat? Scream at the kids?

 

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All these reactions are clues to character, or an insight into the mood of a scene, adding tension or making us laugh.

But sometimes, in fiction, as in life, we just need to get our characters out to the flipping car without all the phaffing around. If they urgently need to head off in pursuit of a villain, then just get them out there. Unless their tendency to lose their keys is going to play a key (apologies for the pun) part in the action .... Hmm, good idea.

Happy writing!

Until next time.

Margaret

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Sometimes my writing flows smoothly, like a stream along well-worn channels, curving around obstacles, intent on its course.

Sometimes my writing flows smoothly, like a stream along well-worn channels, curving around obstacles, intent on its course.

 

At other times, my ideas are like ants in a disturbed ants' nest, scattering in a hundred different directions.

Sometimes my ideas are like ants in a disturbed next, scattering in a hundred different directions.

 

Sometimes my images come out almost as a list on the page:

  • a glint of a gold tooth

  • the rhythmic rocking of the boat

  • red and gold fabrics, gleaming in the midday sunshine

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I take what I get, and use it any way I can, pushing aside thoughts of

should be

should do

the right way

the wrong way

 

There is only what there is, and it helps me to remember that:

Streams flow to the sea.

Every ant has a designated role in the colony.

Lists help you to remember.

This past week has been a disrupted one for me. It can be difficult enough to deal with self-inflicted disruptions to our writing - a tendency to get distracted by social media, or to put our own dreams and priorities last.

But sometimes Life just happens. A two-day headache that divorces you from your imagination. A phone call from the school asking you to collect your poorly son.

That's why I've learnt to take writing - especially the writing I do for a first draft - as it comes, whether it's in the form of streams, scattered ants or lists. However it comes, it  accumulates and gets stuffed together. After a while it coagulates and becomes part of something bigger.

A book, with a life and an identity of its own.

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How wonderful!

Until next time,

Margaret

 

1 Comment

Hello, everyone

I hope you've had a great week. Last time, I told you I was going to be plunging into my new novel this week. Well, I put my diving gear on, and I jumped over the side of the boat. I can hear voices inside my head as my characters speak to each other. I am in the writing zone.

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But I'm just emerging for a while to share my thoughts about first drafts with you. Hint - they're the gloop in this message title!

 

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When I first started to write, I didn't know about first drafts. I thought you just sat down to write - and write - until you typed those magical words THE END, and then that was that. You sent your book off to a publisher and you then you waited with baited breath to hear from them.

 

writing fiction, typing the end

 

After receiving the inevitable rejection, I learnt that typically, writers write several drafts of their novel before they submit in anywhere. I was dismayed. What? Do that, all over again? Surely not!

But gradually, I came to realise the freedom of working in this way. Once you accept that your first draft is your raw material - your modelling clay, if you like - it takes the pressure off writing. If your first draft is your raw material that you will lovingly model and carve into something, it doesn't have to be perfect straight away. It just has to be out there.

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I'm writing quickly at the moment, because I want to get my ideas out there as they come to me. I have a loose plan, but past experience tells me that when I read back over what I've written, my characters are likely to be speaking to each other in a kind of a vacuum, and the reader won't be able to fully imagine where things are happening, or what characters are doing. But that's fine, because I can go back and add action, description and details that show character and set the mood of my scenes. I can engage my readers' emotions more fully. I can restructure my book, chop it about, add clues and create suspense. What's more, I will enjoy doing these things.

So, if you're writing a first draft at the moment, take the pressure off yourself. Decide not to worry about it being perfect, and enjoy the process of writing and the sheer pleasure of getting your story out there.

Go for it!

Until the next time, and wishing you joy in your creativity,

Margaret

Hello, everyone! I'm getting very excited, because I'm about to spend a concentrated period of time writing my new novel! It's a sort of sequel to my novel The Goddess Workshop. I say "sort of sequel", because it has a big twist to it, but it's a sequel in that I'll be continuing to write about the fortunes of some of my favourite characters from the book, and I can't wait! I left them with the world at their feet, but things have changed, and they're about to change still futher - more than any of them can possibly imagine...

Four very different women have an embarassing problem they're determined to put right! "I laughed out loud and missed my bus stop."
Four very different women have an embarassing problem they're determined to put right!
"I laughed out loud and missed my bus stop."

The Goddess Workshop started life as a stage play which was performed for three incredible nights at the Cambridge Drama Centre. Later, I attempted a screenplay of it, and finally, I wrote it as a novel, which allowed me to do so much more with it. With so many versions of the story, I lived with the characters for a long time - laughing with them, caring about them, and experiencing their challenges, heartaches and triumphs. I loved that group of friends. I heard their conversations inside my head as I walked the dog, and I missed them so much after I'd finished the book. So I'm thrilled to be about to plunge into their worlds again, and to spend time with old friends.

I wonder if any of you are about to plunge into some writing? To travel to that place where you're so submerged that magic happens frequently inside your head - plot points clicking together, story strands joining up satisfyingly, characters acting in ways you'd never even thought of, but which are so very right for your story.

This is the writing zone, where there is no procrastination, no trouble using every available piece of time to write, no worry about what others will think about your words. A place where your inner critic can be ignored. A glowing place of creativity and self-fulfilment. It's where I hope to be for the rest of the year, and it's where I hope you will be too, if you want to write.

But if you're finding it difficult to imagine yourself there, or you're trying to reach that place but it isn't working for you,why not enrol for my course FEEL THE FEAR AND WRITE ANYWAY, which I designed to help you to overcome blocks to your writing, to boost your writerly self-confidence and to help you really move forward with your writing goals. You can find out more and enrol HERE.

Happy writing! I'm off to a Sacred Crocodile pool in The Gambia.

crocodile-pool
Until next time!

Margaret

When my son was younger, I used to read picture books from the That’s Not My… series to him.

If you’re not familiar with them, there are hundreds of books in the series – That’s Not My Truck, That’s Not My Robot, That’s Not My Monster, even That’s Not My Cow! The format is always the same – they start off with several pages of, That’s not my… for example, That’s not my monster, it’s eyebrows are too hairy. Then they finish on a triumphant That’s my… That’s my monster, his spines are so prickly. (Or whatever it is).

thats-not-my-monster

With my new course Feel The Fear and Write Anyway coming out soon, I’ve been thinking about author fears a lot lately, and in particular, about how people might not always think they have any fears about writing.

But if you’re:

  • procrastinating, and rarely getting any writing done,
  • constantly putting other people’s demands before your desire to write, or
  • you never finish anything, and you’ve got a drawer full of unfinished stories,

Then fear is probably at work somewhere, whether it’s a fear about what people will think of what you write, or an insecurity about everything you feel you don’t know about writing, or, quite simply, the strongest fear of all, a fear of failure.

Sometimes, recognising our monster – in this case, what lies behind our self-limiting fear – can help us to deal with it and move on.

After all, nobody wants to keep a monster for a pet, do they? Even if it does have a very fetching pair of horns!

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If you'd like to know more about Feel The Fear and Write Anyway, you can check out the course website or sign up to my FREE WEBINAR on Thursday 20th October, at 2pm GMT.

Cheers!

Margaret

 

2 Comments

Let me introduce you to Emma. She’s fun to be around, enthusiastic about writing and very talented. These days she has established a writing routine that works for her, and she writes regularly, despite having four young children and a tendency to drop everything to go to music festivals.

emma-cropped

But it wasn’t always like that. Emma’s enthusiasm and talent for writing were always there, but the writing routine was non-existent, and whenever she thought about writing, she felt fed up and blocked.

This was all because of a bad experience she had at a writing class, where she received very unhelpful feedback on her work. Far from highlighting Emma’s achievements and constructively suggesting areas for further development, the tutor for this (somehow) sought-after course, slated Emma’s work. He pulled it apart so thoroughly that her self-esteem – and virtually her will to live – were in tatters.

I might never have met Emma at all. She might have decided to give up on her writing dreams at that point. But a few years later two of her friends told her about my courses, AND she had a link to the enrolment page pop up on her Facebook timeline. Fortunately for me, Emma decided to view this as fate at work, because Emma came along to one of my courses, and she’s a joy to have in a class. Not only is she talented, but she’s so helpful to other group members.

When Emma first told me about her ordeal, and how it had stopped her from writing for several years, I was furious. How dare that tutor treat Emma’s precious writing dreams like that?

Emma explained to me that she was writing science fiction, which was far removed from the literary fiction the tutor had published, but this was no excuse at all, as far as I was concerned. Published writers – no matter how successful – should never forget how vulnerable people can feel when they first start sharing their words. I know I certainly haven’t.

When I first started writing, I was ridiculously sensitive! I remember the first time I read out a story at a writer’s circle, and I described a woman’s face ‘turning a colour somewhere between green and purple’ (with embarrassment and horror). OK, I realise now that it’s not a sentence from a great work of literature, but at the time I was pleased with it, and was quite taken aback when one of the group members stated quite abruptly that it wasn’t possible to have a colour between green and purple, and that I should use the word puce. Puce. I wasn’t even sure what the colour was, and I had to go home and look it up. And it was such a horrid word, sounding as it did, remarkably like…well, sick. My story was light-hearted and fun, with no pretensions to be anything else. Puce just didn’t fit. I felt discouraged, and never returned to the writer’s circle. (I told you I was sensitive in those days!)

As I’ve gained in experience and had many novels published, my self-confidence has grown to the point where I’m able to sift through feedback and make a judgement about whether it’s relevant and helpful or not. (If it’s from an editor, I’ve also learnt to be tactful if I don’t think so!) I always make a point in my writing classes of helping my students to develop the highly useful skill of giving and receiving constructive feedback. It’s such an important part of a writer’s development, because you can learn so much from it.

When I began teaching my creative writing classes, I encountered that vulnerability and that fear of exposure over and over again, and decided that my classes had to include an element of confidence-building in order to be of use to people.

As for Emma, she very kindly took part in the pilot version of my course Feel The Fear and Write Anyway – Self-Confidence For Authors, which opens for enrolment very soon. I asked Emma and other recent students to try it out and to give me feedback, so that I could make it as useful as possible. The power of feedback, see? I’m happy to say that all their suggestions were really helpful – and constructive!

I’m so excited that by creating an online course designed to boost writers’ self-confidence while they’re developing essential writing skills and habits, I’m going to be able to help people I might not otherwise have been able to reach. People who want to take that first step towards realising their writing dreams. Or, if they’re like Emma, people who want to recover from a set-back to move on towards their goal of completing a novel.

I can’t wait!

Enrolling soon!
Enrolling soon!
Sign up for the FREE Fear-Busting Challenge for Authors here.
Sign up for the FREE Fear-Busting Challenge for Authors here.

 

 

 

 

When we want to write, a fear of what other people think about us can really hold us back from:

  • Writing the way we want to write
  • Showing our writing to others (and therefore missing out on potentially valuable feedback, or even publication).
  • Writing at all!

I suppose, as human beings, we usually want to be accepted and approved of, even if it’s only because it’s much easier than feeling out of kilter and unaccepted.

So sometimes we hide who we really are in an attempt to fit in better.

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You can watch a video of this blog post, or carry on reading!

For many years, while I was building my career as a writer, there were times when I wished with all my heart that I wasn’t a creative person. Yes, really!

I was working thirty-seven hours a week in a college of further education at the time – I’d started there as a temporary typist, then worked my way up to the heady heights of Central Admissions Officer, dealing with hundreds of applications to the college within an office of Examinations Officers.

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I expect you get the picture. I was bored out of my mind. Frustrated that I had to work in a job I disliked so much, when all I wanted to do was to write my novels.

I was a fish-out-of-water, and I didn’t want be a fish-out-of-water.

 

fish-out-of-water

I longed to belong, the way everyone else seemed to belong. I didn’t want to be viewed as a single, ex-art-college oddity, even if that was exactly what I was.

I wanted to be:

  • A relaxed receptionist.

  • An elated examinations officer.

  • A contented catering assistant.

I was convinced that people who didn’t experience a compelling need to produce art or literature found life amuch simpler. That they didn’t feel constantly torn and dissatisfied the way I did, and that it was much easier for them to feel contended.

I thought they could just be in a way I often couldn’t. (Even at my father’s funeral, there was a part of me – the writer part – that stood at a distance from events, observing everything and everyone. I loathed it, but was powerless to stop it.)

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Back then, I thought everyone but me was content to live in the moment, without constantly wanting to submerge themselves in make-believe or to use their experiences to produce something. That they just were.

I also believed they were critical of me because I wasn't like them.

It was complete rubbish, of course.

I imagine the rest of the college staff mostly fitted in better than I did because they made more effort that I did. That at work, their creativity, or their focus, went into doing a good job, and not into getting by grudgingly until five o’clock.

And far from being judgemental or critical about little old self-conscious me and my way of life, I don't suppose they gave me very much thought at all!

I didn’t really stop worrying about what people thought of me until I was older, and had learnt to accept myself.

And getting consistently published was a large part of that, because with several books under my belt, at least I could think to myself, OK, I may be different, but at least I’m getting paid for it. People are buying my books. Enjoying them too, hopefully.

But the point is, if I’d allowed my fear of what other people thought of me - or in my case perhaps what I thought people thought of me - to completely destroy my spirit, then I might never have written my books. Or, even if I had written them, I may never have found the courage to show them to anybody. Or to take the initiative to ask for opportunities, or to pitch ideas, or any of the other things that can lead to success as an author.

When we first set out on our writing journey, the company and encouragement of other writers and would-be writers who understand can be a vital boost to our self-confidence.

As we start to trust other writers, we feel able to take that first frightening step of letting them read our work. And as with anything that’s frightening or challenging, every time you share your writing with other people, it gets easier to do. Your comfort zone expands, almost without you being aware of it doing so.

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So, if you're holding back from writing or showing your writing out of a fear of what other people will think of you, try to take some action to break through that barrier, a little at a time.

Small steps.

  • Write exactly as you want to write.

  • Do something that could lead to you finding someone to share your writing with, like joining a writing group, class or forum.

  • And gradually, gradually, start to belive in yourself and your dreams.

As you do so, your horizons will expand almost without you realising it.

Good luck!

Join my FREE 10-Day Fear-Busting Challenge For Authors and conquer your fears about writing!
Join my FREE 10-Day Fear-Busting Challenge For Authors and conquer your fears about writing!

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