Last week I read a blog post from Frances Garrood (http://francesgarrood.blogspot.co.uk/2017/11/farewell-womags_15.html) about her decision to stop writing short stories. It was a short, interesting piece about how she’d arrived at this decision. And it struck me that, when it comes to the business of writing, sometimes you need to accept that it’s time to move on.
There are many reasons why a writer stops writing in a particular genre or for a specific market. Frances wrote about how she used to write lots of short stories for the women’s magazines, but now finds her time is spent focussing on her novels. As a result, she said she now finds writing short stories harder, because she’s more used to writing novels. She’s evolved as a writer.
Covers. They are hugely important but, generally-speaking, not where a writer’s skills lie. Yes, we often know what we like, but that doesn’t mean to say we have the right ideas. Nor does it mean we shouldn’t think about them.
If you write a book that is traditionally published, then your contract will usually contain a clause stating that you will be consulted on the cover. That does not mean you will have the final say. Far from it. It just means that the publisher might approach you and say, “Here are three ideas, which do you prefer: A, B or C?” You might reply that you love B, detest A and are indifferent with C. Your publisher will probably go with A. But it doesn’t matter because you were consulted. They have met their contractual obligations.
Do your journal? I do, and it’s something I’m doing more regularly. Is there a business case for journalling? I think so, because it’s an opportunity to mine your brain for ideas and thoughts. Sometimes journalling helps me to identify a theme, or a connection between ideas, and hone them into shape.
Fellow writer and friend Stephen Wade is celebrating the publication of his latest book: Write Your Self. It’s a guide to making the most of journalling, and explores various themes and techniques for exploring your self, through journalling. By asking the right questions, we can learn more about ourselves generally, as well as ourselves as writers. The contents of those journals then become a huge resource for our creativity.
So this week, I thought I’d offer Stephen an opportunity to tell you more about his book:
Enid Blyton … writing
When you wake up on 11th August, raise a toast to Enid Blyton, who was born that day 120 years ago.
I recently re-read her first Famous Five novel, Five On A Treasure Island, which in itself brought back many happy childhood memories.
We’ve slipped into June and already people are thinking Where’s the year going? Time seems to be flying by and I haven’t done achieved anything yet! It’s not helped by the fact that, here in the northern hemisphere, in a couple of weeks, the nights start drawing in. (The countdown to Christmas has begun!)
I, though, can simply flick back through the pages of my journal for this year to remind myself of what I’ve been doing with my time. That’s because, this year, one of my projects was to journal every day. (Last year’s project was to experience a mindful moment every day and create a ten-second video capturing that moment. (You can see some of them here: http://www.simonwhaley.co.uk/category/mm/)
Ninety years ago, in April 1927, a new publication hit the newsstands: The Countryman. Buy a copy of the April 2017 issue (out now) and you’ll find it comes with a facsimile copy of that first 1927 issue.
Inside this, there’s a request from the editor, which says:
I’ve just come back from a week’s break in the Lake District, and now I’m raring to go (which is good, because I’ve lots to do). But it reminded me of a comment I heard in a podcast by author Joanna Penn, who spoke about Creative Equilibrium.
The idea behind it is a simple one: balance.