Kathleen Jowitt writes contemporary literary fiction exploring themes of identity, redemption, integrity, and politics. Her work has been shortlisted for the Exeter Novel Prize and the Selfies Award, and her debut novel, Speak Its Name, was the first ever self-published book to receive a Betty Trask Award.
The name is a little misleading. Oh, it’s the road that takes you into the West Fen, but there’s as much north as there is west in the direction.
I take my life in my hands and cross the A10, and immediately drop down below sea level. This is a low, flat land. At this time of year it’s deep brown or bright green: vast breadths of ploughed soil, and young shoots. The sky above is an inverted bowl of cloud, pearly grey, dull.
It was a Dutchman who drained the marshes. Cornelius Vermuyden. The last time I walked down to the quay there was a paper picture of him in the window of the art gallery, armed with shovel and plans, and staring down Hereward the Wake across a broad drain. Hereward wouldn’t recognise the place. Vermuyden wins. For the moment. The Netherlands aren’t that far away, across the North Sea, but everything’s that far away, these days. In my head, Jacques Brel sings about the towers of Bruges and Ghent, mijn platte land, mijn Vlaanderland. Ahead of me, there’s Coveney church; behind me, the cathedral and St Mary’s.
The road surface is broken again and again by grooves in the tarmac. If I were on a bike, they’d be murder on the wrists; in a car, they’d induce motion sickness; on foot, I only notice them by eye. To my right is a ditch deeper than I am tall. Every now and again I have to hop up onto the verge to show willing when the cars pass. I don’t entirely trust it. On the other side of the road, an intermittent hedge provides some shelter from the wind. It’s hard to judge distance. Those white blobs: swans or sheep?
The tractors are big here. I remarked to a friend who grew up in Devon how big tractors have become; she thinks they were always big here. There’s room for them to be. The fields and roads of my childhood (the Marches, and then the Isle of Wight) wouldn’t fit these monsters.
I get a little closer to the white blobs. Swans. They’re too clean, their edges too well-defined, to be sheep. Big, though. Are the swans bigger here, too?
The road progresses in a series of right angles. Every now and again there’s a farm. Ebenezer (O, the deep, deep love of Jesus – but I can’t remember any more of the words than that, and wander off into Here is love vast as the ocean), Hale Fen Farm, the one that’s marked on the map as Frogs Abbey but which doesn’t have a name board. Tall willow trees, mud-spattered, and a mud-sodden teddy bear abandoned underneath them. I really cannot go rescuing muddy teddy bears from the side of the road, but I’m only just sufficiently hard-hearted to leave it.
It’s only a few days into Lent. I think about the wilderness. No barren land, this; its featurelessness is what makes it such hospitable farmland. Forty days and forty nights. My mind still switches from the harsh fifths of Aus der Tiefe to the gentle thirds and tones of Buckland at verse four, and it’s six years since I’ve been in a choir that had that trick. So shall we have peace divine…
There’s plenty of warning of the sharp steep hill into Coveney: you can see it from miles away, but it calls for some adjustment in pace, effort. Because I’m not on a bike today, I can saunter along the pavement and stop to read the information board. Coveney: Old English: village in the bay. Before all this was fields, the higher ground that Little Downham and Ely and Sutton sit on a ridge in the marsh, a horseshoe-shaped cove, with Coveney an island in the middle of it.
If I were on a bike, I’d go on, follow my nose, follow a drove until it petered out into a sharp-stoned path and I gave up for fear of a puncture, or until it met a main road. As it is, I sit on a bench to eat a couple of ginger biscuits and drink some water before turning back towards home. The daffodils are coming out. Down the hill again, and south-east, or, at least, what averages out to south-east, between all this right-angled corners. From this dead straight road through dead flat fields I suddenly see what the Old English meant. Ely crowns the ridge ahead of me, and there I am in the bay, down on the seabed. Little by little, walk by walk, I’m beginning to get my head around it, this platte land.
That fizzy, smiling-to-yourself, energy that you get when you have a new crush, and you can’t stop thinking about them, and when you’re with them everything is bright and when you’re not with them you’re thinking about the next time you will be with them, or just thinking about them. That.
I said a month ago that I was between books.
Now I’m not.
This is what happened. That post was 12 January. On 18 January I had an idea. A very hypothetical sort of idea, not the sort that demands to be written. Just a ‘if I were writing this story, this is how I’d do it’ sort of idea. A ‘But even assuming it did work, what was meant to happen next?’ kind of idea. I didn’t do anything about it.
On 2 February (Candlemas, and also the fifth anniversary of the publication of Speak Its Name), some time in the morning, I wrote:
Still not feeling like writing anything [fictional], and feeling OK about that. If something marches in demanding to be written, then I expect I’ll write it, but at the moment it just doesn’t feel particularly relevant.
At about eight o’clock in the evening I was mopping the kitchen floor, and found myself thinking quite seriously about an idea I’ve had floating around in my head for years. Another ‘If I were writing this story, this is how I’d do it’ idea, but one that’s been around for quite a lot longer. It’s an intimidating idea: a historical novel; it would take a lot of research, and I have no idea what the plot would be. Still, there I was, thinking about it.
I had the next three days off, and I think this is important. I’d taken those three days off because I was struggling at work, struggling to get anything done, struggling not to snap, struggling not to cry. I hadn’t expected to ‘get anything done’ during them, because, as I say, I wasn’t writing anything. I was intending to nap, and read, and get my head around who I am this year, and maybe unclog the washbasin in the downstairs loo.
Anyway, I was sitting on the floor sometime in the morning of 4 February, writing in my diary or colouring something in or something like that, and I looked up, and there in my line of sight were all the books – no, a lot of the books; I’d need more – that I’d need to read if I were going to write that intimidating historical idea.
And what seemed immediately apparent was that the Ruritanian novel does not like being my main project. It likes to trundle along in the background while I’m working on the serious project.
Well, fine, I thought. That makes sense. And it seemed to be happy for ‘reading all those books’ to count as ‘working on the serious project’. We can do this.
(Mm. So I’m no longer never writing anything again?)
(You know you never were. But you needed to be in that place in order to rest and recover properly from the last one.)
Then something else happened. That evening, the idea from 18 January came back. Boy, did it come back. It brought with it a setting – not an obvious one, but one that made perfect sense given the themes it would have to work with.
It came in with a fluttering retinue of associated ideas. You could do this. You could do that. And this is how you make this work. And this is how you make that work. She’s called Helen. His cousin lost an arm in the War. It kept prodding me for hours after I’d gone to bed.
On 5 February I had things to do, but I got all those points down. On 6 February I started writing. (I also spent a lot of time cursing and refreshing in order to get Speak Its Name onto Smashwords, so it is now available from more ebook stores.) And the ideas keep unspooling, unfurling. I go for a walk and when I come back a whole new scene has written itself in my head. I get a few lines of that down before it evaporates, or I get distracted by another new scene. I look up at the bookcase and realise that of course his name is Julian. But won’t that be confusing? Oh, but then I could slide in Cherry Ripe, and at least one other person would see why. It’s expanding in all directions, and I’d be scared that I couldn’t keep up with it if I didn’t trust that I’ll be able to catch it all later.
I’d forgotten how much fun this stage of a project can be. I know it’ll get more difficult later, when the initial flow dries up and I have to fill in the gaps. I know that whole chunks of this easy wordery will turn out not to fit and have to come out again. Maybe he can’t be called Julian. Maybe I’ll have to ditch the Cherry Ripe allusion. At this stage, I really don’t care. While it lasts, I’ll enjoy it.
I’m very amused by the timing. I’ve known for a while that I’m a seasonal being, but I hadn’t expected a whole new project to come in with a whoosh immediately after the first day of spring. (I’m aware that much of the country is swathed in snow – just frost here, now – but it seems the increasing daylight has more to do with it than the temperature.) I’m amused, too, by the way that making a deliberate decision to step back, to give myself a break, to spend all January watching the skiing and not beat myself up about it, has resulted in this sudden profusion of new words.
Now I’m taking another break. This does not mean that I am any less smitten with this new beautiful project, just that I have a routine and I’m not going to break it. I may be smiling to myself like a teenager, but I’m thirty-five and I have a better idea of how to keep things going. (So we’ll go no more a-roving/So late into the night.) This is, as they say, a marathon and not a sprint. I could show you my browser history from the last couple of days, and you’d see: the songs, the searches, the Wikipedia pages. Even if I’m not putting words on paper (or in pixels, as the case may be) I’m still reading, listening, watching, around the project, chasing clues, following rabbit-holes, finding a thousand things that remind me of the lovely new thing I’m working on.
One of my great comforts this past year has been travel writing: reading it, and visiting in my imagination all the places that I can’t visit in the flesh. But it’s also made me appreciate where I am. And that made me remember that in fact I live in a city that’s a popular tourist spot in ordinary times.
Actually, I don’t believe that’s necessary. No matter where we live, we can approach our streets, gardens, kitchen tables, with a travel writer’s eye (and perhaps an attitude of self-parody, if need be). Take a look at this: Travel and Food Diary: Quarantine Edition.
So, if you’d like to jump in and share your hyperlocal travel writing, please do. (#HyperlocalTravelWriting ought to do it.) We can visit each other virtually, travel the world, see the sights, taste the food, smell the scents, from our computers.
At the same time, it felt a bit like cheating to go straight in with the cathedral and Oliver Cromwell and all the rest of the attractions on my doorstep. They’ll come later, I’m sure. But I thought I’d start with something more ordinary: the path I walk most days.
Start at the north end. Immediately, there’s a choice. Left or right? Left, the path is narrower and the trees are closer. Right, the wider path is split down the middle: red for cycles, grey for pedestrians. They clasp between them a broad green space. There’s probably a dog or two bounding across it: a black labrador, maybe.
Left or right? It doesn’t matter. This wasn’t so much a fork as a spoon, and you started at the very tip of the bowl. If you didn’t dip down to the subway under the main road, drawn by the allure of a takeaway (not, in these times, a film or a swim) at the leisure park, or follow one of the little paths off to the left to find yourself somewhere at the end of a cul-de-sac, you’ll be where the bowl meets the handle. Now the two paths join, split the difference, become a sinuous strip of tarmac self-consciously meandering between the houses on the left and the trees on the right. The cycle track ends, but the cyclists continue: a lad on a paper round, sporty-looking people on mountain bikes, small children wobbling on stabilisers or whizzing off on balance bikes. Scooters, too. Dirt tracks, made by children or dogs, lead off into the trees and emerge again a little further on, for the pleasure of going nowhere in particular.
Beyond the trees, the A10 roars on. Somebody’s going somewhere, even if it isn’t you. South, towards Cambridge and London. North, towards the sea. The birds keep singing regardless. Thrushes, sparrows, pigeons. You might even hear a cockerel.
Now the path dips, loses a couple of metres in height. You notice it, out here in the Fens. The path broadens a little, becomes concrete, passes a small water processing plant, is barred by a gate (easy to walk round, and a particularly good blackberry spot in the autumn), meets the road. Not the main road, but the one that takes the traffic into the city from the north west. The cars (it mostly is cars) coming from the south whose drivers wish to do this veer into the middle lane, slow rapidly, and wait for the southbound lane to be clear. From the north, it’s easier. Meanwhile, the main flow of traffic – cars, white vans, grimy lorries, huge tractors in primary colours, hauling gleaming-bladed implements behind them – keeps on going.
Cross the road, and pause on the other side. Look up the hill. There’s the cathedral, effortlessly imposing. You’d have to climb a bit to get to it, more than you’d think from looking at it from here. You’ll have to climb anyway, following this path.
Again, the planted tree barrier has grown up on the right, recently enough that you can still see the plastic guards around the trunks, long enough ago that some of the trees have swelled enough to push them off. Hazel, silver birch, blackthorn, wild roses, brambles. Even in winter, the rosehips make the hedges bright. The houses are a little further away, but every so often a path branches off to take residents off into the maze that only they have really got their heads around.
Still it continues, an artificial path winding through artificial bumps and mounds, little bridges crossing little drains. Chunky plastic benches are provided at decent intervals. This is a path for people. Keep on climbing, and you come to a wide, open green. Look at the houses, spot which ones have been made to the same pattern as each other. Watch the dogs joyfully chasing balls. There might even be someone with a kite. Some new trees were planted this winter, filling in some more of the space between the path and the road: try to picture what it’ll look like when they’ve grown up. At the top end, there’s another little bridge, and then you’re back on this same climbing, tarmac path, tucked between the houses and the road, except now the road is quite a way beneath you.
At the top of the hill the path gives onto a square of houses with an impressive playground and a majestic horse chestnut tree, older than anything around it. Keep on past it.
If it’s been dry, or very cold, or if you’re not too worried about your shoes, you might as well leave the path and climb up to the top of the little mound which really is as high as you can get. Look down on the road, look west across the fen, look at the morning sky. Follow the hedge line or walk the ridge, sloping down southwards. Or you can keep on along the path, which has its own rewards: huge variegated ivy leaves; snowdrops and crocuses, or, later, cherry blossom; or later still, the orange balls of buddleia globosa, thick with bees; a bush full of opinionated sparrows; a copper beech hedge; a bright-beaked blackbird.
And then you’re at another road. Look left, and there’s the cathedral again; right, the roundabout to sort the Ely traffic from the northbound traffic from the southbound traffic from the westbound traffic and the traffic that wants the filling station or the Travelodge. And straight ahead, a tranquil field, ploughed or green, and another lone chestnut tree, its branches sweeping downwards, hazy in the morning light.
I haven’t yet got my act together to buy, let alone read, Winter’s Orbit by Everina Maxwell. I did, however, read it in its previous incarnation as an original work on Archive Of Our Own, so have been following other people’s reviews with interest. Some of them have been ‘loved it when it was The Course of Honour, love it now.’ Some have been: ‘argh! Miscommunication plot! Why don’t they just TALK to each other?’
Myself, I don’t mind a miscommunication plot. Some of them, of course, are just implausible: the classic example is ‘I saw my young lady embracing another man and I am not going to bother wondering whether it might have been her brother, let alone asking her.’ Sometimes it hits my embarrassment squick and I have to give up, but if I can grit my teeth and get through that, and the miscommunication is because of something that actually makes sense, I have no problem with it.
After all, humans are not all that good at communication. We get stuck in our own assumptions. Last year, for example, I discovered that my husband and I had fundamentally different ideas about the ownership of food in the fridge. And we’ve been together since 2005, and living in the same house as each other since 2004. (That was where the problem arose: I was still operating under university housemate rules, in which you don’t eat it if you didn’t buy it; he’d moved on to couple rules, where if it’s in the fridge it’s there for the eating.)
We’d never talked about it, because why would we? We’d never talked about it, because it had never been a problem until we both started eating lunch at home every day of the week. Once we did talk about it – beginning with a hurt ‘YOU ATE MY HAM!’ – we sorted it out fast.
And OK, maybe in some books the miscommunication plot would be more like fifteen years of inadvertent ham theft on one side and martyred ham-buying and deep sighs on the other. (Though even that might make a running gag in a sitcom.) But more often it’s something that nobody involved has ever thought to question, because why would they, until bam! there it is.
Ham is something that you can JUST talk about. But it might be that the issue is too fraught, too painful, for you to even know where to start talking about it. Some people really didn’t like the Doctor Who episode where we discovered that Amy and Rory had broken up because she couldn’t have children because of ‘what they did to me at Demon’s Run’. It was never made clear whether the whole doppelganger memory bending assassin pregnancy business had left her physically infertile, or had just (‘just’) been so traumatic that she had never been able to face the idea of childbirth again. ‘Why didn’t they just TALK about it?’, people demanded. For me, the fact that they never had was one of the most convincing aspects of the whole series.
Writing the sort of books that I write, I’m always a bit worried about someone coming back with a ‘But why don’t they just TALK to each other?’ I ended up hanging a lampshade on it in the last book:
Why didn’t you tell me you were feeling like this? No, sorry, that’s a stupid question, you’ve only just worked it out. Why did you think you weren’t allowed to feel like this?
I’m not going to tell you what ‘it’ is, because it’s not really good practice to spoil one’s own books, but I can assure you that I put the work in to get us all there. This conversation comes on page 292. And it’s not as if nobody’s been talking up until that point, either.
The Course of Honour worked for me. The assumptions that underpinned the miscommunication were plausible, stemming from one protagonist’s history and the other’s genuine attempt to respect that. Sometimes it was painful, often it was frustrating, but it worked. I expect Winter’s Orbit will work for me too, assuming Maxwell hasn’t changed that element significantly.
So for me, no, they don’t have to talk to each other. Not straight away. In fact, a book about a relationship where every problem was immediately sorted by talking to each other would be boring as well as implausible. Because it’s never JUST talking.
But WHY don’t they just talk to each other? Ah, that’s the interesting question. Answer that question to my satisfaction, and I’m happy to spend 320 pages finding out.
Lurking on Twitter (when I said I wouldn’t be) I came across this thread about inactive protagonists, and this other thread pointing out that it was an extremely Western-centric take. I think that both threads make good points, but the first one offers an extremely limited solution to a genuine problem. (When you have a hammer, etc, etc…) I rather like the way that they’ve both linked to each other, so the conversation rolls round and round forever. And this post isn’t really meant to be an answer to either of them, but more an excursion on my own train of thought.
There are many, many books that aren’t particularly engaging, and that could really do with a good editor, but shoehorning them all into the hero’s journey format isn’t necessarily going to help. In fact, I think a flat novel can be made more engaging by deepening the characterisation as much as by sharpening the plot.
And then in the replies to the second thread, someone linked this list of alternative structures, and that ate some more of my day. There are plenty to choose from, even if one is writing an action hero. I’ve been reading a lot of James Bond novels lately, and it’s really striking how adventurous Ian Fleming is in terms of structure. OK, The Spy Who Loved Me is a complete dog’s breakfast in terms of pacing, and you might argue that From Russia With Love starts a bit slow and ends a bit abruptly, but he isn’t afraid to experiment.
Back to inactive protagonists. In at least two of my novels so far I’ve spent most of the book getting my protagonist out of their own head in order for them to appreciate the world around them and make decisions based on what’s really going on rather than what they think is going on. Is that ‘active’? The author of the second thread talks about ‘radical acceptance’, which I think is an important theme in all my books: being who you are, not who you or anyone else thinks you should be. All of my protagonists could be described, to a greater or lesser extent, as inactive. The closet, depression, disillusionment, prejudice and petty politics provide quite enough of a challenge to be going on with. Sometimes they need to become active. Sometimes they need to make their peace with inaction.
And yes, sometimes during the writing process those books felt sloooooowwww. Sometimes I’ve dealt with that by growling at the entity they call the Inner Critic: what do you want, a car chase? Other times I’ve chopped out scenes, characters, chapters. I’ve added bits elsewhere. I’ve rewritten an entire book to come from a different character’s point of view. I’ve taken literal scissors to a manuscript. And the book has been better for it. An inactive protagonist might very well be a valid choice for the story that needs to be told, but that choice doesn’t exempt anyone from editing. (In fairness, I don’t think I saw anyone suggest that it did!)
I’m fascinated by the way that the individual interacts with the system, but writing about that, for me at least, has meant that those individuals have a limited amount of control. As the author, I can pull a certain number of strings, but I can’t reform student Evangelical Christianity/professional cycling/the Church of England/academia through the actions of one character. I can have them make small changes to improve matters locally. (I’ve pulled an ‘And then everybody on the bus clapped!’ precisely once. If I were writing that book now I’m not sure I’d put it in.) Or I can let them step away on their own terms.
Now I’m trying to write a Ruritanian thriller (well, not at the moment, but you know what I mean) and, while I have a good idea of how the thriller beats ought to fall, I’ve been uncomfortably aware that it’s inevitably a bit… condescending? (And I’ve felt like that since before I read Inventing Ruritania.) I want to keep writing it, because it’s fun, and because I love the genre for all its faults. What keeps tripping me up is that the ‘plucky British youngster single-handedly saves the nation of Ruritania’ narrative does not feel truthful. Even throwing in a second plucky British youngster and her Ruritanian partner hasn’t helped a lot. It may be that I’ve worked for a trade union/been a member of the Church of England/followed sports for too long, but I’m very aware of just how many people it keeps to keep even a moderate-sized organisation going, let alone a nation state. Same with stopping it. Very, very rarely does it hinge on the efforts of just one person.
And that, I think, has given me a way in, a way to save this. I’ve ended up with a structure that’s something like a zoetrope: the thriller narrative is broken up by snapshots of the ordinary people going about their ordinary business. Spin the cylinder fast enough, and you get a moving picture. The horse gallops. The country keeps on running.
Well, it might work. I’ll keep you posted. When I get back into it.
Incidentally, the consequence of lurking on Twitter (when I said I wouldn’t be) was coming across a thread in which someone was asking for recommendations for Christian fiction, and in which nobody had mentioned me. So I sulked, obviously. But then somebody recced me on another thread, so it all worked out. The moral of the story? It doesn’t really make much difference to the rest of the world whether I’m on Twitter or not, but it’s probably better for my state of mind if I’m not.
Something of a departure from the main scope of this series, Inventing Ruritania is, despite the title, about real places. And it’s non-fiction. However, it’s very relevant to the theme. I was very pleased to receive a copy of this for Christmas, and ambled through it a chapter at a time.
I don’t read much academic writing these days, but found this perfectly easy to follow. The main thrust of Vesna Goldsworthy’s argument is that the global understanding of the Balkans has been shaped by Anglophone, primarily British, literature about the region, arguably to the detriment of its standing. The subtitle tells the story: the imperialism of the imagination. Because our primary interaction with the Balkans is in fiction in which the public-school-educated British traveller sorts the country out – or finds the task impossible – we assume that the real thing needs sorting out by us, too. Something that of course rings particularly hollow at the moment, when the public-school-educated British men appear incapable of running their own country.
(I’m paraphrasing severely here. But this is something that I’ve been thinking about a lot as I work – or don’t – on my own Ruritanian effort.)
Goldsworthy’s examples are wide-ranging; she begins with Byron’s account of Greece and progresses through nineteenth century British political interest in Bulgaria before getting to the popular fiction from which she gets her title. The Prisoner of Zenda and Dracula are joined by a whole library’s worth of books that didn’t make it to Penguin Classics. Moving into the twentieth century, we get Buchan and Christie, the ‘comic’ literature of Durrell and Waugh, and the non-fiction of Rebecca West and Patrick Leigh Fermor.
Some of these books set their action in a fictional country that is explicitly located in the Balkans. Some are set in real-life Balkan countries.
While writers all over the world are prone to appropriating other people’s cultures to make an exotic backdrop (nothing that I have heard about Red, White and Royal Blue, for example, persuades me that I would be able to read it without throwing the book at the wall), it’s true that the dominance of the English language puts what one might now call ‘own voices’ Balkan literature at a disadvantage. It’s true, too, that I know embarrassingly little about the region, and much of what I do know comes from English literature. (For years, all I knew of Romania was from Song For A Tattered Flag.) I’ve learned rather more just from reading this book.
‘Ruritania’ is perhaps a bit of a misnomer: as we established a few posts ago, and as Goldsworthy points out herself, going on the evidence that Anthony Hope gives us, the place can’t be any further south than real-life Bohemia. Still, it can’t be denied that when most people say ‘Ruritania’ they mean ‘somewhere in the Balkans’. My own feeling is that many authors, particularly contemporary ones, who use Ruritanian settings, do so to avoid appropriating real-life cultures while still having a government and maybe a monarchy to play with: the number of fictional tiny principalities squeezed in between real-life borders, I would argue, bear me out. Many seem to be borrowing Monaco or Liechtenstein rather than anywhere further south and east. But of course Goldsworthy’s talking about books that explicitly set their action either in named Balkan countries or in countries explicitly stated to be in the Balkan region: in this, the book doesn’t fit quite so well into this blog series after all.
More seriously, I do not have the author’s confidence that ‘the sort of generalised, open condescension [applied to Albanians, Croats, Serbs, Bulgarians and Romanians] would appal [the authors] if applied to Somalis or the peoples of Zaire’. In my experience, white people who are racist about other white people are perfectly capable about being racist about black people too.
However, I can’t truthfully say that either of these nitpicks undermine Goldsworthy’s point to any significant extent, and it’s left me with plenty to think about. And a few more books to add to my reading list.
My Amazon sales for the month of December came through yesterday. While the numbers are nothing to shout about (the profit I make on each copy is somewhere between 6p and 40p) I’m pleased anyway.
There’s something about the concept of print-on-demand that I find absolutely thrilling. Somebody, somewhere, liked the idea of my book enough to bring a whole new copy into being. It’s like my own act of creation, in getting the wretched thing down in words, in miniature. Apart from The Real World sales, there are now two more copies of Speak Its Name (plus one I already knew about) and one more of A Spoke In The Wheel than there were at the end of November. (Incidentally, I’ve just noticed that the latter is down to £8.15 on Amazon.)
Ebook sales don’t feel quite the same, even though it’s the same principle: a person spends money to create a new copy. Even though I make more money off them. Even though I read plenty of ebooks myself. Part of it’s the fact that Smashwords notifies me of purchases immediately – always a delightful surprise, of course, but I also enjoy the anticipation of waiting for the report to come in to see how many paperbacks I’ve sold this month.
Part of it’s a (possibly unfounded) sense that a paperback purchase has a longer tail than an ebook. While it’s arguably easier to share an ebook than a hard copy (all you do is forward the email with the attachment), and while I’ve become more willing to buy books on the strength of seeing a recommendation on the internet, you don’t get that same thing of seeing a book on someone else’s shelves or table, picking it up, flicking through it or devouring it, borrowing it or buying your own…
A paperback copy might end up on a shelf in a charity shop or at a railway station, might be picked up by someone who’s never heard of me. Yes, part of it’s that intoxicating element of chance.
But mostly it’s knowing that several separate people have held in their hands, are perhaps reading at this very moment, books that didn’t physically exist six weeks ago. I hope they’re enjoying them.
If I were to tell you that I’m not writing anything at the moment, it would be an evident falsehood. I mean, here I am, tapping away, writing a post. I spent the afternoon writing things for work. And even when I’ve finished this post I’ll move on to the short story I’m trying to finish for an end of January deadline.
I’m not even not writing a book. Technically.
I have the Ruritanian thing, but that’s something I’m writing for fun, and when it stops being fun I stop writing it. I also stop writing it when real politics makes fictional politics feel either too depressing or too frivolous to write about. There are days when I think I can subvert the trope of the plucky English adventurer fixing other people’s countries, and there are days when it seems too far gone even to be subverted. I think I’ve worked out a way around that, but at present I don’t have the motivation for the plotting and planning and Post-It manoeuvres that it would need. I’ve written about 5000 words on it since Christmas. It’ll get done when it gets done, and if I’m happy with it I’ll publish it.
I have a couple of other semi-active projects – one on writing while keeping the day job, and one very specific and experimental anthology.
I know what comes next for Stancester, but I’m not starting on that for reasons including: a) I don’t know how it finishes; b) it feels a bit heavy; c) [monster story about how everyone who liked the first two will hate it because it won’t be lesfic]; d) I’ve only just been there.
So I’m not not writing, at all. But I am consciously playing with the idea of not writing, of seeing who I am when I’m not writing. I’m playing with the idea of being enough, of being sufficient, when I’m flopped on the sofa watching the skiing, when I’ve slept through my alarm, when I’m writing three words in half an hour, when I’m not writing anything at all. In these times when doing nothing has become the virtue that perhaps it always should have been, I’m giving myself a bit of space, and resisting the temptation to fill that space with work or guilt. Or trying to, anyway.
Perhaps what I really mean is that I’m writing when I feel like it, and writing what I feel like, and giving myself a break from the associated hustle. I am stepping away from Twitter, which (for me) seems to be the highway to fruitless rage and depression. I am dropping my expectations of when the next book will be finished and what it will be. I am going to stop chasing reviews. I might write nothing but short stories. I might write nothing at all. I might abandon the Ruritanian thing entirely, or I might get it out in time for Christmas. I might post here less, or I might post here more. You never know.
I was reading about the Herschels:
Caroline, out on the lawn, catching comets by the tail;
and William, stretching a ruler from star to star.
Across the street, my neighbour
climbed a ladder and gathered an armful of light,
wound round his elbow on invisible thread.
(Viewed with attention, like the Herschels’,
the Pleiades become a sisterhood
more inclusive than first thought.)
To see this for myself, I’d have to go out
in the dark garden, unafraid
of what I might learn, of what might
disrupt my preconceptions, require me
to expand my imagination,
and watch, and wait.
This year Jae is running a Sapphic Reading Challenge: 50 categories, from which you can choose to read 10, 20, 50, or 100 books. There’ll be a big giveaway at the end of the year, although, as Jae says, “real prize, of course, is discovering a lot of awesome books and new favorite authors”.
- Character with a disability or mental illness (7) – depression ended up being a major element of The Real World, though I don’t think I ever actually mentioned the word. I wrote a bit about that here.
- Character is a book lover (8) – Lydia is doing an English Literature in Speak Its Name. By The Real World she’s mostly reading school stories.
- Genre you don’t usually read (15) – well, I don’t know what you usually read, but if you don’t usually read literary fiction with overtly religious characters then these might fit.
- Shy or socially awkward character (27) – Colette. It’s probably more obvious in The Real World, which is told from her point of view.
- Bisexual or pansexual character (37) – Colette, again.
- Part of a series (43) – either one would work, obviously! The Real World makes sense without having read Speak Its Name, but you do learn a couple of major plot points that you can’t then unknow.
- Character works in STEM (48) – Colette’s studying chemistry at undergraduate level in Speak Its Name and working on her PhD in The Real World.
My short story Prima Donna appears in Supposed Crimes’ anthology Upstaged: an anthology of queer women and the performing arts, which would fit Anthology, short story collection, or novella (50).
And of course I might be a new-to-you author (45).
Jae also has a giveaway running now, so if you fancy winning a special journal in which to track your challenge progress, see this post.