The plot was beginning to take shape, its long chronological lines appearing, dare I say, quite gracefully in my mind’s eye. But my writer’s tale is not one of romantic poverty or greats arcs of streaming consciousness liberated between bar jobs and waiting tables.
Writing ... and writing
I’d like to dedicate this post to my father, Geoffrey, who died on Friday.
The plot was beginning to take shape, its long chronological lines appearing, dare I say, quite gracefully in my mind’s eye. But my writer’s tale is not one of romantic poverty or greats arcs of streaming consciousness liberated between bar jobs and waiting tables.
I had been a senior(ish) executive who’d done such glamorous jobs as running Robert Maxwell’s law publisher or managing ad campaigns for dialysis machines and chemicals.
Sadly, none of that had provided financial security so I turned to writing and advising businesses on communications. And thus I found myself churning out speeches, brochures, websites, in fact the whole panoply of message-carriers, in fractured parallel to composing the novel.
The main lesson I learned was discipline and compartmentalisation. If I’d been earning all day, don’t touch Grosse Fugue. Creating a complex corporate communications is the antithesis of literature. That’s not to say, it can’t be satisfying, only that it’s a completely different writing experience. If during periods of high endeavour, the itch needed scratching, go back to the book but only for background reading. If business was slack, get stuck in.
It didn’t exactly make for smooth progress! I was dimly aware of professional novelists who had a strict regimen of preparing, writing, relaxing. But that, to me, was the stuff of paradise, where a career was on an even keel and both accommodated and demanded structure. It seemed – and seems – a luxury resort way beyond my current horizon (albeit lusted after in great gobbets of desire).
And that really set the pattern for the intervening years. It was staccato progress, interspersed with earning money, prolonged crises of confidence and marvellous moments of self-belief.
I kept beat to that wonderful line by Fernando Pessoa on the glories of actually writing: “When I am at the wheel, I am greater than myself.”
But it wasn’t only writing. My imagination doesn’t stretch to conjuring whole worlds from nothing. It has to be rooted in historical reality, so there was at times more reading than writing as I immersed myself in factual accounts of the times I sought to recreate. My next post will look at this part of the process.
Ian Phillips is a freelance writer for businesses whose first novel, Grosse Fugue, will be published by Alliance Publishing Press on April 3rd. He’s tweeting developments @Ian_at_theWord.
Sorry to hear about your father Ian. It was, as I expected, another great blog. I too would like to be able to write without other ventures getting in the way. I do read some historical fiction but seem to have fallen into other genres with my writing; all of which seems to be for young adults; I didn't do it on purpose I just fell into writing for young adults. I now have two plotlines ready and waiting to go. One a murder\mystery and one a fantasy. I'm still sitting on the fence as to which one to go with first. This doesn't help with actually getting any work done however. I'm hoping I'll make up for it when I finally decide which one I'm going to go with first
In my first post it should have read E M Forster, not Forste's.
My first novel is progressing nicely, after four years, but my biggest mistake was not planning properly. I wasted two years before going back to the drawing board. In the beginning, I had a sketchy outline and a million ideas. In my eagerness I ploughed ahead. When I should have thoroughly outlined my novel. It is much easier, and quicker writing to a plan. However, it was a good learning experience. I won't make the same mistakes in subsequent novels.
Ian, I believe reading is crucial. Would be writers should do whatever research is necessary regarding their genre. Authors should be ruthless in what they read. What is the point of reading a great work if the settings are different to what you want to write about. I believe the most important thing to research is the settings for a novel, which should be few. Then there is the culture for the period. I have done very little research regarding my plot, sub-plot, storyline, culture and underlying theme for my novel. The majority of a novel should be imagined. Personal experience, and knowledge are an invaluable source of information to me.
Many thanks, Adrian.
What I meant by a strict regimen being paradise was that it meant one's writing was sufficiently lucrative that one could dedicate oneself to the activity full-time to the exclusion of other earning ventures. I didn't for one minute wish to imply that it was easy!
And, of course, you're completely right to say that it's a very individual matter to find the best routine, as each of our circumstances will vary.
I admire your commitment to reading in and around our 'trade'. I hope that the various ideas and tips have stood you in good stead. From your previous comments to earlier posts, yours is clearly a major undertaking.