Creating a Writing Tribe

If you’re a writer, it’s likely that you spend a lot of time by yourself. While you can talk about your writing process, current WIP or latest bout of writers’ block with your friends and family, it is a vastly different experience to have those conversations with other writers because they actually understand what you’re saying!

A writing tribe has many benefits, both creatively and professionally. Depending on the level of experience held by each member of your group, a writing tribe can support you through the editing and revising of your novel, offer encouragement or suggestions when issues arise during the writing or publishing stages, and they can even introduce you to other writers or professionals in the publishing industry.

Typically, writers are a friendly bunch—despite our preference for isolation!

Most writers are happy to help others and to provide advice from their own lived experience. If you don’t have an existing writing club in your community, you can always make one. Most libraries are happy to provide a space for a writing club to host their meetings. You could post an ad on your local community Facebook page, gumtree or you could create a group page on the site ‘Meet Up’ to see if there are any other writers in your area interested in creating a club.

There is also a host of online communities you can join via Facebook, Tumblr, Youtube and Instagram.

However, building real-life relationships with writers in your own town and region is far more powerful and rewarding.

Attending workshops hosted by your state’s Writing Centre is another great way to meet people, same goes for attending writing festivals and conferences. Being on a budget is no excuse as most of these events are desperate for volunteers. Volunteering at a conference and festival is not only a great way to give back to your community and support the organisation running the event, but it is also a great way to meet other volunteers, committee members, staff and guests. The bonus here is that you all have something in common: a deep love for writing and reading.

As a writer and lover of books, you may consider yourself an introvert and therefore incapable of introducing yourself to a stranger.

Dear friend, if you are at a writing festival, workshop or conference, you are already among your people.

You are surrounded by introverts who are just as nervous, anxious, and worried about saying something weird/stupid/foolish as you are. Also, everyone attending such as event expects to be approached by strangers. That is the whole damn point! To make new friends and contacts. So, don’t be shy. If you need a few introductory phrases to break the ice, here are some conversation starters to get the ball rolling:

  • Are you a writer? What are you working on right now?

  • What are you reading at the moment?

  • Are there any speakers you’re looking forward to seeing?

  • Is this the first time you have volunteered? Are you enjoying it?

Part of being a writer is spending a lot of time alone.

The gift of creating a writing tribe is that you can meet other people who also express their inner thoughts, their observations about the world and the bizarreness of our human lives through the act of storytelling.

Writers need time alone, but we also need to be around other writers.

Interview with Crime Writer Gregory James

I first met Greg three years ago when we enrolled in the same Creative Writing course. Though our writing paths have since taken different directions, our mutual obsession for reading and writing crime fiction has remained the same. I had the good fortunate of reading an early draft of Bordertown when Greg enlisted me as one of his beta-readers. A good plot is an essential element to every crime novel, but it was Detective Robert “Bo” Campbell that kept me turning the pages.

Bordertown follows Detective Bo after he accidentally shoots and kills his best friend and partner during a bungled inner-city drug raid. Exiled to a remote post on the border until his troubles blow over, Bo finds himself in the middle of a cover-up as the corrupt police force conceal the fact that half a dozen indigenous women have gone missing. Bo has to ask himself whether he is willing to risk everything in order to save this broken border community.

  1. Was your earlier career as a Detective the reason why you chose to write a crime novel or were you always a fan of the genre?

Not necessarily, but obviously I have an interest (even now) in crime. I still love watching it, reading about it and even listening to it (podcasts) even though I’ve lived it for the last 25 odd years! Back in my teenage years, I loved an author by the name of Robert G Barrett. His protagonist, Les Norton, was an anti-hero and was largely on the other side of the law. These days, I can’t get enough of Michael Connelly and his character Harry Bosch.

  1. Did your experience as a Detective make writing Bo’s story easier or harder because you are so familiar with this job? Did you find that you needed to do much research?

I think that it made it easier in a sense because I knew the police procedure. I have a pretty good idea of how things work, obviously, and how things are generally done. This is an area where some crime fiction writers can get it wrong. I always tell those authors to visit their local detective. You might need to get past the grumpy ones and find one that will help! But Bordertown is set in the early 1980s, a time when I was still at school. So, yes, I had to do quite a bit of research about what was happening in those days; the uniforms, appointments, vehicles and the like were all different. The political climate was different. In my view, it’s important to get these things right.

  1. How long did it take you to write Bordertown and how does the finished novel compare to your initial ideas/drafts?

I started Bordertown in 2013 when I was in the process of learning the craft of fiction writing. And, it is a craft. I often hear people say that they’d “like to write a book” and “should write a book” which is great. But one has to learn the craft of formulating a novel. You’d be a freak if you could just do it without any knowledge! I know that I spend many years doing courses (online and in class), going to conferences, talking to published authors and reading/researching the craft of writing. I learnt along the way, and the result was the first draft of Bordertown. Not much of a novel at that point, but a draft nonetheless.

The finished product is quite different from early drafts, although the basic premise is the same. A large amount was cut, at least one major character was deleted completely (on the advice of a publisher) and many, many changes made. This was the hardest part of the process for me. Re-writing and re-writing. Moulding and massaging the story. Changing dialogue, tightening the plot and changing direction. Looking back on it, writing the first draft was definitely the easy part!

I launched Bordertown in March 2019, so six years from start to finish is a good estimate. But being an author, much time was spent on other projects, work and life and the story sat idle for some time. I also spent at least 18 months trying to get a publisher.

Greg 1

  1. Do you have a writing routine, if so, can you tell us about it?

The short answer is no. When Bordertown was crafted I had a fair bit of time on my hands, not so much anymore. I used to write when I got into the “zone” and keep writing. Into the future, I hope to dedicate a day to a day and half a week on the next novel. I don’t write every day like the guru’s recommend. I’d love to, but it’s not practical.

  1. What do you know now about writing a novel that you wish you had known in the beginning?

Just how bloody hard it was going to be! But how proud I am of myself to see my written work in print, and to have people enjoy the story. Again though, if you want to write a good novel you need to know how. There are plenty of courses out there to help you.

  1. What advice do you have for other writers interested in self-publishing specifically or publishing in general?

These days, anyone can write a book and self-publish it. My advice is; just do it! Get that book written first though, and get it to a standard that is the same as published books. It’s not going to be cheap, but it will be worth it. Editing (structural and line editing), book design and printing cost a lot of money, but the end result will be something you are proud of. There are also quite a few people to hold your hand through the process (at a price of course). You need to decide whether you need this or will go it alone. In any case, get advice.

One last piece of advice: write the story you want to write. Not what might sell. Not what is popular. Not what publishing agencies are suggesting. Write a story you want to read. You’ll find others want to as well.

~*~

To order a copy of Bordertown, or to find out more about Greg, please visit the links below:

Bordertown Purchase Link

Website: https://gregoryjamesauthor.com

Twitter: @GJames_Author

Facebook: @gjamesauthor

Desires vs Goals

(Note: The video version of this blog can be found here)

As writers, we all want to write amazing novels. We want to write the kind of novels that readers can’t put down. Novels that take readers on epic journeys far away from their everyday life and that allow them to experience the world through another’s eyes. Novels that challenge readers, that teach them something, that inform them about important issues or that move them in some profound way.

As writers, we want to get agents, sign deals and see our books in stores. We want to go on a book tour and do interviews with smart journalists. We want our online platforms to explode along with our sales. We want readers to send us fan art or emails detailing what our book meant to them.

These secret desires can be rocket fuel on days when inspiration is running thin. Be warned though, these same desires can quickly lead to disappointment and apathy. When these thrilling futures fail to materialise, we may wind up asking, ‘Why hasn’t it happened yet? What’s the point in trying anymore?’ or worse, ‘Maybe I’m no good at this.’

Dreaming about hitting the New York Times Best Seller List or winning a prestigious award can be a fun way to occupy your time while waiting in a doctor’s office or lazily drinking tea on a Sunday afternoon, but there is a big difference between desires and goals.

Getting an agent, a book deal, winning a literary award or experiencing skyrocketing sales are desires. You have absolutely no control (or very little) over any of these events becoming a reality. However, you are fully in charge when it comes to goals.

Goals are specific, measurable and they have deadlines.

Getting an agent is a desire. Querying five agents in the first quarter of the year is a goal. The former is ambiguous and disempowering, the latter is exact and empowering. Goals are specific and measurable. In the case of the above example, you have set the goal to email five agents, and the self-imposed deadline will help keep you on track and focused.

Of course, some goals will involve others, but it’s important that you continue to recognise the difference between a goal and a desire.

Desire: The proofreader will find all the typos in my manuscript.

Goal: The proofreader and I will complete the final round of edits by October.

While it’s fun to imagine the future our current WIP may one day experience, it’s important that we keep our feet firmly on the ground. After all, that shiny ‘one-day’ future will never happen if you don’t do the work.

When working on a project, there is tremendous value in setting goals. However, setting vague goals like “Write a Book” can lead to overwhelm and procrastination. It’s just too damn BIG! Plus, it will be a long time before you experience the satisfaction of crossing that item off your goal list. Instead, it’s much more productive to break that one massive goal into much smaller goals.

Remember: A goal is something you are in charge of.

Instead of setting “Write a Book” as a goal, consider the steps involved in that process. This one goal could easily be broken down into something like this:

  1. Read a craft book such as Save the Cat by Jessica Brody
  2. Spend one week creating character profiles
  3. Spend one week outline the novel using the Save the Cat principles
  4. Write 500-1000 words a day, five days a week. Hit 80,000 words by July 12.
  5. Re-read manuscript in one/two sittings while making note of any large structural issues or plot holes
  6. Spend one week creating a plan on how to revise initial draft
  7. Spend one-two hours, five days a week, revising
  8. Spend 2-3 weeks re-read the revised draft and make any final adjustments
  9. Ask five friends to become beta-readers
  10. Drink copious amounts of whiskey while waiting for beta-reader feedback.

Of course, some of these goals could be broken down further, but you get the idea. For instance, I prefer to complete step ten while clutching my battered copy of Stephen King’s On Writing and crying.

Desires can be inspiring, motivating and energising, but they can lead to dissatisfaction. Goals may be less thrilling, but what they lack in shimmer they make up for in pragmatism. Please, do not underestimate the energy and motivation that comes from real progress. It may not be the Ra-Ra excitement you experience when imagining hitting the New York Times Best Seller List, but those big exciting moment won’t ever happen if you don’t first build the habit of setting realistic and achievable goals.

So, what are you waiting for? Get to it!

Writing and Music

Like good literature, music can invoke powerful emotions, imagery and even inspire spontaneous insights. A bad day can be turned around, even if only temporarily, by listening to an upbeat song or by reading an inspired piece of writing; whether that be poetry, prose or non-fiction.

Whenever a group of writers get together, there’s a series of questions and topics that inevitably come up. One such question is ‘Do you listen to music when you write?’

Authors such as Ted Hughes, Jack Kerouac, Haruki Murakami and William Faulkner have all commented on the influence music has had on their writing. Kerouac told the Paris Review that jazz influenced his poetry to such an extent that he used the size of his notebooks to govern the length of each line of poetry the way musical bars determine the structure of jazz composition. Murakami also cites music as a powerful influence, stating that the chords, melodies and rhythm of blues music help him during the writing process.

Early in his career, Stephen King stated that he always had pop music playing in the background while he wrote and that the rhythm of the music influenced the pace of the plot. In more recent interviews, he is quoted as only playing music during the re-reading and editing stage and not during the initial draft.

Jenna Moreci, a self-published author with over 100, 000 followers on YouTube, has made several videos that document the influence music has had on her most recent publication. When Moreci listened to music, she sees her characters acting out a scene as though she were watching a music video. The unfolding of certain scenes is so closely inspired by particular songs that Moreci can describe the exact moment a dramatic action or gesture links up with a line of dialogue, time signature change or crescendo.

YA authors such as Veronica Roth and Cassandra Clare make public playlists on their websites. These playlists include songs that inspired the writing of particular scenes, that have a similar mood to the book or are personal favourites of the authors. This trend is limited to YA novels and has quickly become a clever marketing strategy as it assists in the building of the authors’ online community.

When I was completing my undergraduate degree ten years ago, I used to listen to music (metal?!) while writing assignments and studying for exams. These days, I prefer the less invasive melodies of classical music or white noise (ambient-mixer.com – you’re welcome!).

In researching for this blog, I found that most literary writers prefer to work in silence. Dani Shapiro, Zadie Smith, Ann Patchett and Elizabeth Stout work at libraries (Smith) or in their home offices – preferably when no-one is home. When it comes to genre writing, especially horror, fantasy and science fiction, it was hard to find a writer that didn’t listen to music! Jay Kristoff, Deborah Harkness, Neil Gaiman, Stephen King and Terry Pratchett are all quoted as writing while listening to music.

Perhaps this trend is not all that surprising. To speak generally, literary work is concerned with exploring internal space while genre novels are concerned with story-telling. Genre narratives tend to have a more visual focus, so it is little wonder that the emotions and imagery invoked by music compliment this form of literature better. To add a small disclaimer, I read literary fiction and genre fiction and I see this division as a marketing strategy and not as a means for determining quality.

Whether or not music forms a part of an authors’ writing process is beside the point. The only thing that matter is that each author discovers for themselves a routine and process that works for them and their project. Now, over to you. Does music influence your writing process? Do you listen to music when you write? If so, what kind of music?

 

 

 

A World Worth Writing For

Unfortunately, writers guilt is all too common. When we are working on a project, we feel guilty that we aren’t doing something more practical or useful – even if that task is nothing more than basic domestic chores. Ironically, as soon as we leave our desk to carry out said useful task, we feel guilty for abandoning our project. “I should be writing!” is the familiar, tedious mantra that plays in every writers’ mind.

Lately, though, I’ve been struck by the other type of guilt creatives suffer from. Perhaps you are familiar with it? The “Is my art doing anything?” guilt.

Part of me believes in art for art’s sake. With so much ugliness and helplessness in the world, I believe there is a place for aesthetically pleasing art. What harm can come from admiring something that is beautiful? What’s wrong with reading fun, frivolous fiction and indulging in the escapism it offers? Then there is the other part of me. The part of me that scorns this irresponsible reader. This placid person who chooses to read the latest bestseller while soaking in a tub of Epson salt as the world burns outside their window.

A vision that spurs the question: how can reading and writing contribute to solutions?

The “civilised” world has never been perfect. For better or for worse, technology’s omnipresence means we can no longer remain ignorant of our imperfection. In the face of these serious and urgent global issues, how can writers contribute to the crafting of solutions? Do their story-telling and communication skills offer anything of value?

Some argue that the publication of books reflecting current global issues is vital. Of course, these people tend to be authors. Ann Patchett (author) recently stated that she has moved away from reading classic literature in favour of contemporary texts. She believes that the accountability and challenging themes presented in recent works have once again made reading a political act.

To contradict Patchett’s point, I recently started reading Sylvia Plath’s ‘The Bell Jar’ and I have been shocked by the timeliness of the commentary. Many of Esther existential concern remain relevant today.

“I felt now that all the uncomfortable suspicions I had about myself were coming true, and I couldn’t hide the truth much longer.” (31)

“A million years of evolution […] and what are we? Animals?” (87)

This modern classic was published in 1971. A fact that saddens me slightly, as it illustrated how little we have evolved in the last 47 years. As an aside, I bought my copy of ‘The Bell Jar’ from a second-hand bookstore. The previous owner had unlined the above passages (and others) in pencil.

I wondered why someone who loved a book enough to read it with a pencil in hand would ever part with said book. This question was immediately followed by the thought, “Maybe they died?” Given the sombre tenor of these passages/the whole book and the former reader’s obvious identification with them, I hope their ending was happier than Esther/Sylvia’s … That being said, I was constantly impressed by Plath’s ability to clearly articulate what depression felt like. I’ve never experienced depression (though the evening news does test me…) but Plath’s considered descriptions of Esther’s mental state bridged that divide. I got it.

If nothing else, this is what writers can do. They can communicate ideas. They can shape messy and complex emotions into tidy sentences. They can shatter binaries and expose hidden nuance. They can repackage complex problems into comprehensible forms. But. Is this the only irrefutable claim that writers can make? That they can present readers with information?

As the saying goes, if information was the solution, we’d all be happy millionaires with ripped abs.

You can write about the issues that trouble you, but you can’t make people read your work and you definitely can’t make them do something. While the publication of cli-fi and other challenging literary works are appearing more and more, the market isn’t exactly flooded. (No pun intended).

In a recent episode of The Garrett Podcast, Jennifer Mills, author and literary editor of Overland said that while the magazine has been successful in the publishing of marginal voices, few submissions address our present-day issues like the Anthropocene (humans impact on non-humans). Instead, most of the submissions received are concerned with relationship dynamics.

Is this because readers want escapism or because writers do?

Mills, who has published her own Anthropogenic work, Dyschronia, says that she intentionally constructed a plot that offered little in the way of solutions or action because that is what she sees in society: passivity. An observation that is no doubt reinforced by the submissions she vets.

Information is key. Without it, people may not understand the depth of a problem or how to fix it. Historically, the publication of good writing has played a vital role in the mobilizing of populations and the igniting of revolutions. Within our current culture, the problem is not a lack of information but our passivity and denial in the face of it.

Perhaps this is where our writerly self-consciousness stems from. Words are the tools wielded by skilful writers, but are we simply hiding behind our profession? Perhaps we should accept the fact that the gap between information and action is too wide? That our culture is passive. That a challenging book is likely to achieve little more than a 3.5 star rating on Good Reads. That it is time to close our laptops, start a biodynamic farm, become vegan and trade our cars for bicycles…I’m not being facetious; sincerity rests in this hyperbole.

It is true that the grandiosity of the world’s problems is overwhelming, but none of these issues occurred in isolation. We are all driving cars, drinking takeaway coffees, shutting our mouths instead of speaking up, lying to our kids about where the steak on their plate came from and buying caged eggs because they’re a dollar cheaper.

We need to do better. We need to do something.

Writers can offer solutions in their weekly columns and fiction. They can encourage readers to re-evaluate their opinions and behaviours by holding up a mirror. While a single blog post cannot change the world, our combined voices do have the power to shift culture.

Together, we can aspire to create a new culture. A culture that carries re-useable cups, that walks to works and eats ethical, sustainable food. A culture that votes. A culture that allows minorities to have space without slipping into fear that they are ‘taking over.’ A culture that questions why education hasn’t changed in 150 years. A culture that swivels its gaze away from the individual to focus on the collective. A world that is less about stuff and more about substance.

That, my friends, is a world worth writing for.

Why You Should Reread Books

I love re-watching movies. Well…to clarify, I love re-watching movies that I love. Unsurprisingly, I also love rereading books that I love. Though, to be honest, rereading a beloved book from start to finish is a rare event. I certainly have done this – ‘Pride and Prejudice’ and ‘Heart of Darkness’ have both had three complete read-throughs –  but I am far more likely to reread a favourite scene or to follow a story thread through multiple chapters.

Similarly, I don’t always re-watch movies from start to finish, but since movies are typically 2-3 hours long whereas a novel can take 6-30 hours to read, depending on word count and complexity, the time required to watch a movie is far less.

Part of the value of re-watching a film is that you will notice things you missed the first time. Given that film is a visual medium, there is so much information contained within each and every shot. The first time you watch a movie, your attention will be on the foreground action, but by re-watching a film you can choose to pay closer attention to dialogue, character mannerism, the set, background action and so on. For example, a character may make a seemingly through-away comment and it is only through re-watching that you realise it was actually clever foreshadowing.

This is what re-watching offers, the ability to see all of the small details that the creators have both intentionally and perhaps unintentionally placed within the narrative. Of course, this same witnessing and pleasure also occurs when rereading, however, the effect is slightly different. There will inevitably be occasions when you zone out while reading or you miss a snippet of information, but when you’re reading, your attention is solely on the text itself. Of course, in the same way that film contains multiple levels of action, so do books. Beneath the foreground action and story beats lie layers of foreshadowing, theme, double meanings, concealed information and character motivations.

You don’t have to look beneath the hood, you can enjoy the trip from A to B, but it is through the process of close reading and critical thinking that a book will ignite. If you give a book the attention and consideration it deserves, then it will last you a lifetime.

You may not realise this, but books and films are time travel devices.

Temporal narratives are a genre all their own, but I would argue that all books and films are time machines. Whether you consume this content for the second, third or umpteenth time, the story remains the same. As you may be aware, time travel is not possible – yet! – but revisiting a beloved movie or book is a type of time travel.

I can never go back and re-experience the first time I met my partner, but I can read about Elizabeth and Mr. Darcy’s first encounter whenever I want.

I will never again pass through the chain-link fence of my high school (not that I’d want to…), but I can reread the prom scene from ‘Carrie’.

There are two ways in which movies and books act as time travel devices.

The first is that they can transport you to times and places you would otherwise not be able to access. I can cross the Tudor court while reading ‘Wolf Hall’ or dive into a WWI trench while reading ‘Fall of Giants’. Historical novels allow me to travel into the past and to access the knowledge that only comes with personally lived experience. I can travel into the far future by reading science fiction or travel to another dimension or world by reading fantasy.

Books and movies have the power to turn your couch into a time machine. They allow you to step out of linear time and into other spaces and places, but they also provide the opportunity to re-experience a moment, in real time, exactly as it first occurred.

There are a handful of days in my own life that I’d do just about anything to re-live. Yes, it’s true that you can attempt to re-experience a memory but returning to the physical place with the same people, but time has passed and you aren’t the same. You can close your eyes and recall the memory. You can pretend to feel the Californian sun, to hear the crackle of leaves and to smell the Malibu spray mingling with fresh cut chips and chardonnay, but it’s not real. You can never authentically re-experience a moment from your past, but books and movies are different. The way a character’s life unfolds, the adventures they go on and how they feel about those experiences never changes.

Though your opinion of the art may change over time, though you may sometimes feel disconnected from the story or bored by its familiarity, the story itself hasn’t changed. Sometimes though, when the stars aligned and you are in the exact right mood and the craving for a particular experience hits, you can crack back the cover of a book or hit the play button and know that the story will meet your expectations exactly. And that feeling is pretty sublime.

It is true that you can only read a book for the first time once, but you can re-experience the story again and again, whenever you want and for as long as you want. It’s a small, humble pleasure yes, but it’s a relief to know that while I cannot go back to that Californian day, I can cross the moorlands and visit Wuthering Heights, I can feel the weight of stone in Jack Builders hand, and the sting of Alma Whittaker’s heartbreak. I can experience these memories in all their authenticity, any damn time I please.