A Day of Two Halves

I hesitated outside the venue, sweat beading on my brow, nervous about what would await me inside.

I stepped over the threshold, walked into the bar, checking the place out – fairly empty, a mix of tourists and ale drinkers — not the gang I was gunning for. After all, it was a pub that was well known for its beer – but it wasn’t a need for anything alcoholic that I’d made the journey up to London. (If I’d have wanted beer I wouldn’t have passed up the invitation I’d been offered to visit a brewery on this very day. Isn’t that what real men did at the weekend?)  I was looking for novelists – romantic novelists – mean, hard-scribbling people.

They must be upstairs, holed-up in the function room already, the inner sanctum, doing whatever a group of women do in a place where, I guessed, no men dared to tread. I climbed fearfully up the staircase. Would I have to knock or would I stand there in the doorway, faced by heads turning faster and faster revealing stares of incredulity and shock. ‘What is he  doing here?’ 

And then I woke up . It was still Saturday morning. I could change my mind — and go to the brewery visit instead — not the London Chapter of the Romantic Novelists Association as I’d planned. I’ve blogged before (and on the RNA’s own blog) about the perceived gender issues associated with the romantic genre — and how, in reality, I’ve discovered there not to be any problems at all. But it’s one thing sending in a manuscript or e-mailing a blog post remotely and another actually meeting people face-to-face.

So deciding to go along to the London Chapter meeting of the RNA at the end of April did take a bit of courage — and maybe the thought of a little of the Dutch sort was quite appealing as the meeting was held above the Lamb pub in Lamb’s Conduit Street. Like most people, I expect most of my trepidation was because I’d be walking into a meeting not knowing anyone while anticipating that everyone else would have been friends for years. But there was still an element of anxiety at being male and walking into what was likely to be an overwhelmingly female meeting, if not exclusively.

But, I rationalise, that’s a good experience for a writer — there must be many occasions when women feel ‘different’ walking into a predominantly male gathering — and the feeling of being ‘other’ must, by definition, be common for people from minority backgrounds.

In the event, I was sweating uncomfortably when I did walk into the room but this was less to do with any nervousness at arriving at the meeting and more connected with having walked all the way from the Euston Road on a humid day.

Needless to say, I was actually made to feel extremely welcome by the organisers and, among the twenty-five or so attendees, there were two other men — one a husband of a member and another a writer. There were also a few other first-timers, including a very pleasant woman writer, whose husband had a job that almost cries out for novel treatment itself. He is Elvis. Or at least an Elvis tribute who is so popular overseas that he takes a whole touring show out to places like China. He apparently started off in a karaoke competition in a pub and it took off to the extent it eclipsed his day job and he went to being Elvis full-time. It shows how careers can grow out of  hobbies.

While it was a very sociable occasion, I was struck by hard-headed attitude of many of the established writers. This wasn’t a meeting that was the sort of exaggerated stereotype that some might imagine — of sighs over Christian Grey or discussion on Mr Darcy. It was the opposite — it was as business-like as any other conference or trade association meeting I’ve been to. For the more established writers, romantic fiction is a very much a business — one that provides an enjoyable and fulfilling livelihood.

This theme was emphasised by the guest speaker, Victoria Connelly, who gave a fascinating and very informative talk about how she juggles both traditional and self-published routes to market. As Victoria’s website shows, she’s written a very impressive back catalogue of books and her choice in publishing and marketing many of these titles herself (also employing her husband to help her) shows that once an author builds a market and readership then the self-publishing option can be as financially viable as traditional routes and allows much more independence for the author.

After the meeting I felt encouraged and invigorated by spending time with a group of writers who were not only friendly and welcoming but great examples of people who approach writing practically and successfully.

As mentioned in a previous post, I was also in London on that day to hear one of my short stories being read to an audience. Fay and Sabina, organisers of Studio 189′s Spring Ball, had heard Alex Woodhall’s excellent reading of Do You Dare Me To Cross the Line? at Liars’ League last year and when they had the idea of ‘something literary’ to entertain their guests on the evening, wondered if a repeat performance could be arranged.

Alex Woodhall Reading Do You Dare Me to Cross the Line? at Studio 189's Spring Ball
Alex Woodhall Reading Do You Dare Me to Cross the Line? at Studio 189’s Spring Ball

I was flattered to have been asked and fortunately Alex was free to repeat his performance. Studio 189 has a wonderful secluded garden, which where the Spring Ball’s entertainment had been planned — we’d earlier had a spectacular performance from an opera singer. However, the heavens opened and Alex had to do the reading inside. This meant grabbing the attention of the whole party for the duration of the story (there was nowhere to escape but into the rain).

It’s testimony to the effectiveness of Alex’s performance that the audience remained captivated by the reading for the full fifteen minutes or so of the story — with no audible side-conversations or distracted chat. And it was a big audience. Apparently over a hundred guests were at the party. It’s an exhilarating and addictive feeling to hear the words you’ve written providing pleasure and entertainment. Reading the expressions on the audience’s faces is much more immediate feedback on your writing than comments made a reader’s had some time to reflect (as happens with written work).

The Audience Listening to My Story (Me on the Extreme Right Possibly Suffering the Effects of the White Wine)
The Audience Listening to My Story (Me on the Extreme Right Possibly Suffering the Effects of the White Wine)

Oddly enough, it had been well over a year since I’d written the story and, perhaps I’d had too much wine, but I’d forgotten some of the details and some of the writing actually surprised me!

So thanks to Alex (who recently read another Liars’ League story in London) and Fay and Sabina who are organising several other intriguing events at Studio 189 — the latest being a sushi school and a comedy night.

It’s taken me a while to write it up (and apologies for the cryptic placeholder message that’s been on this site for a week or so) but that Saturday in April demonstrated several facets of the writers’ life — that, for most, it’s a business that needs hard work and a commercial focus but that knowing people enjoy something that you’ve created is immensely rewarding and fulfilling in a way that many other professions aren’t.

I’ll be going to the RNA Conference in July and look forward to meeting many other friendly and professionals writers there — and with much less trepidation.

Don’t forget that Do You Dare Me to Cross the Line? is still available to download as a Kindle book from Amazon along with three other Liars’ League stories of mine. I’m afraid the free promotional days have been used up for the time being and it’s currently £1.99 — but that’s still less than the price of even a Prêt coffee.

How I Fell In Love with the Romantic Novelists’ Association New Writers’ Scheme

I revealed, rather coyly, in this blog post earlier in the year that I’d been accepted on the Romantic Novelists’ Association New Writers’ Scheme. When I mention this to people in conversation I occasionally receive the polite astonishment that I imagine a woman bricklayer might experience or a female pest-controller.

Seeing as a woman once climbed around my loft removing a wasps’ nest quickly and efficiently why should it be strange that a man might be a member of a Romantic Novelists’ Association scheme? Nevertheless, I’m subliminally tempted to add ‘No, I’m not planning to change gender or anything else. I’m still male’ – and during last week being able to point to the temporary beard I was forced to grow a beard after I fell over while out running — cutting my chin and breaking my thumb!

Entering a world popularly associated with the opposite gender is an illuminating experience — and valuable for a writer. Not that I’ve encountered any sexism at all through my membership of the scheme. The Romantic Novelists’ Association (RNA) appears extremely keen to be inclusive towards men, as I’m sure it towards everyone, and there are men who are full members of the RNA. I found a couple by Googling, although one writes under a female pseudonym and another specialises in male-male fiction and I’m doing neither of those. (I must point out that I can’t be a full member of the RNA myself until I have a suitable book published.)

Nevertheless, there are cultural perceptions about how men’s ability or desire to write romantic fiction. I’ve been reminded a few times of the discussion earlier this year on the Today programme between Jojo Moyes and Cathy Kelly on whether ‘men can make good romantic fiction writers’.

That’s an interesting question to think about while I’m writing today – the publication date of David Nicholls’s new novel Us – which brings up all sorts of issues about gender stereotyping of marketing and covers and reviews and so on, which could occupy a whole different blog post, maybe after I’ve read it. (I was surprised to read so many positive reviews of the novel in the weekend broadsheets after all the sniffiness about its Booker longlisting.)

However, any ribbing in the pub will be, ahem, small beer compared to the brilliant benefits of my membership of the RNA New Writers’ Scheme (NWS), which have surpassed all my expectations.

For those who haven’t yet discovered it, the RNA NWS allows all its members to take part in RNA activities but offers the invaluable service of using the expertise of one of a panel of 50 established authors to review each member’s full length novel manuscript.

Unsurprisingly the scheme is very heavily oversubscribed and reaches capacity within minutes when applications open each January. I tried and failed to join a couple of years ago but this year had better luck. The deadline for submitting a manuscript is the end of August, although well-organised writers submit theirs well in advance to avoid the last minute rush.

Of course I wasn’t one of them. Mine was sent in around 29th August. Given the manuscript’s substantial size I wasn’t expecting to get a response for several weeks. So I was stunned by its amazingly quick turnaround – within about three weeks. And I was taken aback by the wonderfully detailed and insightful report that I received from my reader (as the scheme is run anonymously all I know about her is that she is, indeed, a she).

While the scheme is intended for ‘romantic fiction’ this definition can include novels that might also be thought to belong in other genres provided it meets the criteria that ‘romantic content and love interest are integral to the story’. I’d like to think of my novel as ‘accessible literary fiction’, perhaps the sort of book in the intersection between mass-market and ‘literariness’ that reading groups often choose (my wild optimism is creeping in here).

While the novel’s narrative is anchored against the relationships between the two chief protagonists, it’s also full of content that I wouldn’t have expected to crop up in traditional romantic fiction — as a glance at some posts on this blog might suggest (spray painting street art, tapping and spiling barrels in pub cellars, TV cookery shows, German modernist artists, dodgy photos, ancient monuments and so on).

Therefore, when I received the manuscript back I was a little worried that perhaps the reason for its remarkably quick turnaround would be that only the first few chapters had been read and ‘Wrong Genre’ would be written on the title page in huge red letters.

It wasn’t — which was a huge relief and maybe showed up some preconceptions on my part about romantic fiction — preconceptions that were completely blown away when I started to scan the comprehensive reader’s report which started with the reader saying she enjoyed reading it. Phew!

The reader’s skill and experience clearly identified the conflict that propels the narrative — where two people meet, begin to realise how desperately they need each other but have to overcome huge obstacles in their way — and obstacles that they may not surmount. And if deciding who’s the person you want to spend the rest of your life with — and then trying to make it happen — isn’t a question worthy of a romantic novel then I’m not sure what is.

I needn’t have worried about the content either – my reader wasn’t at all shocked or surprised or puzzled by what was in the novel. All her comments were constructive – and, in the spirit of the best feedback, considered the writing on the terms of what it was trying to achieve rather than through any subjective personal preferences. That said, all feedback was made with the experienced critical eye of an author who was focused on how to get a manuscript into commercially publishable shape.

I can only go on my experience of what I received back from my reader but it consisted of a lengthy report on the whole novel – and she’d gone through the manuscript and noted typos and formatting issues in pencil. This was the result of the investment of a considerable amount of time – so I’m glad she said she enjoyed reading the novel.

I mentioned in a covering letter that the novel had been workshopped through the MA and City University courses and workshopped with coursemates and tutors – and my reader was generous enough to say that ‘it showed’ (I’m interpreting that as a compliment!) I’m sure the RNA NWS readers wouldn’t hold back out of politeness if a manuscript was technically flawed or was full of poorly-written prose. However, one of the most valuable aspects of the report for me was that it casts a fresh eye over the whole novel from the perspective of a new reader — and, as the report carefully pointed out — the type of reader who’d most likely be the commercial target audience for the novel.

This brings an entirely different viewpoint to feedback received on a creative writing course from a tutor or fellow students – people who’ve provided expert, generous and vital feedback but who’ve also become familiar with the book’s evolution over an extended period — and have read it in three- or five-thousand word extracts over a long period.

Both approaches are, of course, extremely useful and complementary but the RNA NWS reader was in a position to focus on points that I’d begun to lose sight of through familiarity and through the way the novel has changed over time. She was able to remind me about bringing to the fore the aspects of a character or plot that a reader might instinctively root for (or be less engaged by) — and where to place the events that motor plot forward (and where to relax the pace).

Principles of narrative technique and structure are taught on creative writing courses but, given the limited size of extracts that can be workshopped in a course environment, they’re necessarily difficult to assess over a novel-length work — and unless your course lasts forever they’re impossible to work on as exercises.

While the reader commented from a perspective of commercial marketability, she certainly didn’t do so from a ‘dumbed-down’ perspective. Obviously a well-read book-lover outside as well she referred me to a book translated from Dutch which proves that as well as being an authority on romance that she’s also well-read outside the genre.

The report was crammed with so much useful comment that I was prompted to write my own response to it where I took all the points and listed most of them out in ‘to-do’ list fashion – and I’ve been ticking them off.

There are also points that I’m going to need to reflect on carefully. The report picks up some elements in the novel that are deliberately subversive and individual and, while I want the writing to work as well as possible, I want to ensure I preserve everything that might make the novel quirky and original (a word used approvingly by the reader about the heroine).

Nevertheless, the recommendations for change are about aspects of the novel that can are easily fixable — essentially honing and tweaking the writing incrementally — rather than having to address major flaws. The report was sprinkled with some very complementary words — reading these made my week. I won’t repeat them here but they provided encouragement to get on and put the revisions into the manuscript. Having received this extremely useful feedback from the RNA NWS, I’m relieved that I’m still yet to properly start the submission process to agents in earnest. Once I’ve worked through the feedback through the novel can’t fail to be stronger.

I’d imagine the RNA NWS offers something different to the various manuscript assessment services available because it’s an initiative that aims to help writers become eligible for its professional membership (and I’d love to go along to the RNA events, although I admit I’d be a little hesitant before walking through the door.) Based on my own experience (an admittedly small sample of one) I’d wholeheartedly recommend the RNA NWS to anyone whose novel fulfils the acceptance criteria (see above and the RNA website).

I’d like to thank the organiser, Melanie Hilton, for finding me such a suitable, knowledgeable and diligent reader who, though anonymous, knows via Melanie that I’ve passed on my deep gratitude.

Click on the following link to find the Romantic Novelists’ Association New Writers Scheme website.

Behind Closed Doors

In W.H.Smiths in Marylebone Station I recently spotted a new novel by Lucy Kellaway, the FT’s management correspondent, whose debunking of management theory codswallop is always entertaining. Her last novel ‘Martin Lukes: Who Moved My Blackberry’ was my holiday reading a few years ago (if you don’t understand the joke in the title then you’re happily innocent of one of the more ludicrous management bestsellers of the past few years).

However, it was in the ‘Buy 1 Get 1 Half Price’ offer and, of course, the fallibility of my mind to marketing psychology meant I scanned around for the ‘bargain’ book to accompany ”In Office Hours‘ and succumbed to the temptation of a book I’d seen partially serialised in The Times a few weeks ago: ‘The Sex Diaries Project’ edited by Arianne Cohen.

(Curiously, this book has a relatively high sales ranking on Amazon and is number one in its niche category in the health, family and lifestyle section but no-one has posted a review so far — which is odd.)

The book is formed of around fifty diaries kept by British people in which the diarists recorded their sexual activities and thoughts — although most diaries spend more time reflecting on relationships than recording the mechanics of sex. Perhaps calling the book ‘The Relationships Diaries Project’ would have been less commercial but a third of the diarists record no sex at all (for various reasons) during their week. The diaries aren’t, of course, a representative survey of the population — there are probably a few too many ‘unusual’ diaries for that — but there’s a very varied spread of gender, age and sexual orientation.

It’s not particularly salacious or erotic — it’s tame enough to have been discussed on ‘Woman’s Hour’ on Radio 4 — I found an interview with Arianne Cohen on the BBC website. (It was quite amusing to hear Jenni Murray finely navigate the line between being over-euphemistic and speaking too frankly.)

I’d argue (honestly!) that this book is a very valuable resource for anyone writing a novel which emphasises the development of any intimate relationship between its characters. These are frank accounts of behaviour between real people written in the language they genuinely use. Almost by definition these activities are private — they’re not the kind of things a novelist can sit and wryly observe from a coffee shop. The diaries are published anonymously (although Cohen does a lot of checking to ensure they are not hoaxes) and, like diaries of the more conventional sort, the writers commit to paper much that they would never speak out loud to anyone else.

One assertion that Arianne Cohen makes in the interview, which is re-assuring to writers but also perhaps surprising given the tone of much of the debate on gender, is she believes that the male and female diarists ‘experience relationships in a very similar way’ and in terms of ‘minute-by-minute thoughts men and women are quite similar’.

Where the difference lies is that men express this experience somewhat differently — usually in a more explicitly sexual way. However, the female diarists are certainly just as capable of commenting explicitly on the sexual attractiveness of others. Maybe to emphasise the point, the gender of each diarist is printed in very small type. It’s sometimes easy to forget whether it’s a man or woman writing the diary.

Jenni Murray said she detected an undercurrent of misogyny in some of the male entries and Arianne Cohen agreed that around 15% of the male diaries showed a disturbing objectification of women. This might be summed up by the serial adulterer who also visited a prostitute almost every week and who seemed to believe his attitude to women was shared by most men. (It isn’t.)

On the other hand, it’s misleading and self-deluding to assume (as was possibly implied in the Woman’s Hour discussion) that infidelity is automatically linked to misogyny. In anything but the shortest flings, there are usually two people involved in the deception — in the case of (straight) male  infidelity it’s the despised ‘other woman’.  While the man may indeed be objectifying and using both women in a shallow way, it’s also equally true that his actions may be driven by passion and emotion — not a dislike of women at all.

This leads to the question of whether women can easily be categorised, as maybe they are in soap operas,  into the likes of predatory husband-snatchers or faithful home-makers. I’d guess it’s not so simple and there’s a continuum of behaviour that suggests, depending on circumstances and many other factors, that the majority of people could end up being either the ‘guilty’ or ‘innocent’ party in an episode of unfaithfulness.  I hope so as this is one of the main dilemmas for the characters in my novel.

The honesty and accuracy of the diary entries is perhaps vouched for by the frequency of the occasions where the diarists record masturbation. There really isn’t much kudos to be gained by an individual to record that they’ve masturbated — the nature of the activity itself means that anyone can do it and independently of any relationship. That people masturbate such a lot might be simultaneously the most enlightening and least surprising finding in the whole book — precisely because it’s an activity that is very rarely discussed or written about and only often in abstract, de-personalised, self-help terms.

But it’s the near ubiquity of the activity which is quite striking: it’s recorded at a similar sort of intensity by men and women, people who are single or in relationships, young or old (although not the very oldest). There are a couple of oddly touching anecdotes on the subject — one the man in his 60s who is unhappily resigned to the physiological challenges involved at his age and the pregnant woman who debates whether her unborn baby is technically a witness — and, if so, what does this mean ethically (she decides it’s OK).

The last point also stresses the privacy (usually) required. If the diarist is in a relationship, almost every incidence of what  is euphemistically called ‘self-love’ is kept hidden: people are aware that their partners probably do masturbate but the where and the when aren’t really considered, apart from one particular entry that stood out as the exception that proved the rule. (I was startled to read of some of the diarists nipping away from their work desks for the purpose.)

This revelation of the inevitable must be interesting to fiction writers — this is something your characters are pretty likely to do and it may reveal something of their inner-lives, unlike involuntary bodily functions that everyone does but don’t normally appear in novels. On the other hand, a solitary act of (another euphemism coming up — no pun intended) self-relief is almost, by definition, lacking in the drama that occurs when a sexual act is part of a relationship. I can see why masturbation is not a common event in fiction but the candour with which these diarists record it makes me wonder whether writers tend to shying away from using a fairly universal experience.

If every aspect of the book that’s fascinating to writers was discussed in detail  then this would be an even longer post than it already is (and I think it’s already the longest one on the blog — more of an essay than a posting). There follows a list of a few points that were particularly thought-provoking. Some are seemingly obvious and intuitive but that may lend credibility to the implication that the more apparently deviant attitudes are more common than might be generally supposed. Again, there’s no science to this list — it’s what struck me while reading the selection of  diaries.

  1. Ex-lovers feature a lot — both in people’s thoughts and in physical encounters. Many, many diarists long for a previous partner — and sadly many of these people are in other relationships with people they prefer less. This is often in spite (or because) of a recognition that any lasting relationship with that person is emotionally impossible (such as the newly-divorced woman pining for her ex-husband). Many report that sexual encounters with ex-partners continued on a sporadic basis long after the relationship finished. The ability to impulsively hook up with an ex has become much easier with new technology: mobile phone ‘sexting’ is another example of the greater intimacy and audacity people use with the written word. (I’m convinced that people tend to favour texting due to its privacy and asynchronous nature. There are a number of examples of where the utter simplicity of a text saying something like ‘Come over — I want to fuck you’ works very effectively for all parties and this brevity and directness is a lesson to writers.) The internet is another obvious tool (and Facebook is mentioned a lot in the book) for ex-partners to keep in casual contact. People tend not to talk about exes to their current partner — so again this is good, private, fertile ground for the writer.
  2. Many of the straight women describe an aspiration for sexual experimentation with another woman. This seems to be borne out of inquisitiveness and curiosity about whether this would be a different, maybe more sympathetic, sort of sensual experience than with a man. This was often acknowledged to be something that would remain in the realm of private fantasy although some expressed regret at having lost the opportunity to try it.  Straight male diarists seemed to have no interest in other men (except perhaps as an unavoidable consequence of group sex).
  3. When the respondents were interested in sex then there was little gender difference in the levels of desire recorded. However, it seemed in committed relationships that men were more likely view other people in terms of sexual attraction. Women, by contrast, tended to comment on others mainly when they were dissatisfied with their current partner.
  4. Traditional (or even stereotypical) roles seem to be preferred. To use a parallel from the dancing world (is it just tango?): it’s expected that the man takes the lead. This shouldn’t be misinterpreted as a green light for blatant sexism. It’s not — women want caring relationships with people who pull their weight domestically. However, effete ‘metrosexuals’ aren’t popular (there are various approving references to men behaving ‘like men’). Passive, indecisive, wimpy men appear to be held in almost universal contempt. (One woman complains she always ends up with docile partners which means that she ‘always seems to be the man’ in relationships.)
  5. Self-esteem is very closely linked to behaviour in relationships — sometimes directly when a person is suspicious of anyone treating him or her well because they don’t feel they have earned it or deserve it and sometimes people enjoy an inversion of status and control during which all their choice and self-determination is denied — something they curiously find empowering. The most bizarre entries are ‘dom/subs’ where the word ‘I’ is symbolically written in lower case by the submissives with their ‘Masters’ or ‘Mistresses’ referred to as He or She.
  6. Physical intimacy (feelings being safe, wanted, cared for) is perhaps more valuable to people than sex — particularly to those who have lost a partner through death or a traumatic split. However, there is powerful evidence of the beneficial effects to relationships of hormones like oxytoxcin or dopamine released during sex. Some diarists report deep frustration at their partner’s perceived withholding of sex over periods of days which ultimately comes across as near-loathing. Yet when they’re put out of their misery and have sex it’s a joyous experience and suddenly they record they love their partner very much. How long this effect lasts is questionable — I’d guess that anyone who internalises that their partner is using the restriction of affection perhaps as a power game is going to remain unhappy most of the time and that the humiliation of sexual rejection, whether deliberately or accidentally inflicted, probably contributes more to infidelity than any inherent predisposition.
  7. Availability often outweighs attractiveness: as the diarists are anonymous and there are no photos there’s no way of gaining an impression of their physical attractiveness but people’s own perceptions are hinted at widely, unsurprisingly women being self-critical about their weight and so on. While stunningly attractive people are often remarked on, sometimes people are far less selective about the choice of  the level of attractiveness of a potential partner than might be imagined — and this is not just men wearing ‘beer goggles’. One young woman, who would appear to consider herself attractive, describes her frustration that men appear to be wary of approaching her for fear of rejection. She correlates the increasing acceptability of potential partners with the length of time it was since she was last in a relationship and even makes an explicit plea via the diary for men to to be less reticent — saying that they would be shocked at the extent that ‘we can sometimes lower our standards’. This relates back to the point about exes and there are also plenty of examples where diarists describe incidents in their past when sex has often occurred spontaneously with an unexpected person.
  8. Volatility: people’s attitudes towards their partners are incredibly volatile. Two diary entries a few minutes apart can swing between radiant optimism and black despair or switch between profound love and vituperation — often as a result of a text, e-mail, casual remark or, sometimes, just personal contemplation. I’m not sure this comes across in a lot of fiction. Much creative writing workshop discussion focuses on rationally trying to examine the credibility of characters’ motives and actions — almost as if constructing some sort of probability decision tree. In reality people do not act impassively and deliberately — particularly not in emotional matters.
  9. There are more instances of  agreed ‘open’ relationships than I’d expected — both in the traditional ‘swinger’ style and those where partners were happy to allow each other to have independent sexual relationships (both casual and regular) with other people. Sometimes these were to accommodate bisexuality. This is the area where the editor says she was most surprised — and is happy to say she has reflected her discoveries in her own private life. However, I do suspect whether this is an area where the selection of the diarists has been a little skewed — but then I might be viewing this through my own moral conditioning?

The diaries encourage people to reflect on their lives in ways that are sometimes quite self-revelatory — re-appraising relationships. There’s also some speculation that’s quite thought-provoking about how one’s sexual experiences may affects one’s wider perception of the world.  A woman in her 20s who describes herself as bisexual and a masochist says: ‘I have a pet theory that much of the way men and women relate to each other, and hence how society is structured, comes from the psychological difference between penetrating and being penetrated.’ It might be physically fundamental but this may be at the root of many attitudes: I’d suggest that the vast majority of straight men aren’t able to even imagine the physical or psychological experience of being penetrated. This might make the fact that the experience can be extremely pleasurable for women quite mysterious and fascinating.

This relates, albeit anatomically rather than psychologically, back to an earlier post I wrote based on Graeme A. Thomson’s perceptive interpretation of Kate Bush’s work — the perhaps impossible desire to understand and experience what it is to be the other person in a relationship. Maybe a way for a woman to appreciate what her partner feels in being with her is to imagine how she herself might be touched by another woman?  Maybe? Who knows what goes on in other people’s heads and it’s why this book is so illuminating — revealing a few glimpses, albeit perhaps unrepresentative ones.

From a practical writing perspective, fiction writers would do well to study the diction used in the diaries. These are real people choosing their own words to describe their sexual experience. The editor believes that her British diarists are far more creatively verbose than their US equivalents — something that any reader would pick up from the styles of two publications I regularly read: Time and The Economist. (It’s also another reason why Stephen King’s views on brevity and adverbs don’t necessarily transfer without some refinement across the Atlantic.)

Nevertheless, there’s a refreshing absence of the sort of convoluted, obfuscatory prose that many writers might be tempted to use. People overwhelmingly describe their experiences as ‘we had sex’ (naughty passive voice there) or simply ‘we fucked’. Again, this is instructive for a novelist because, while people in polite conversation (for example at creative writing workshops) don’t generally talk in terms of ‘fucking’, these diaries show that’s the term that people most frequently commit to the page and, by extension, it probably indicates way that most people use in the privacy of their own minds. And, after all, filled also with all its hidden lusts and insecurities, one’s mind and imagination are the places where readers also engage with novels.

Running Up That Hill

It’s quite a surprise to have  what seems an innate appreciation of an artist (in the general sense of the word) explained by reading some analysis that explains possible reasons behind a latent, unconscious bonding  – or at least have light cast upon it. On holiday I read Graeme Thomson’s recent biography of Kate Bush – ‘Under the Ivy’  (Omnibus Press) – which bills itself as ‘the first ever in-depth study of one of the world’s most enigmatic artists’.

It’s a curious book – mostly biography gleaned from interviews with figures relatively peripheral to Kate Bush’s life and from press interviews with Kate Bush herself. She’s certainly a fascinating and enigmatic subject but what lifts the book above the levels of most music biographies is Thomson’s critical interpretation of her music, somewhat in the vein of Ian MacDonald’s classic about The Beatles, ‘Revolution in the Head’.

There were a few passages of analysis in the book which suddenly grabbed me and made me think ‘that concept is similar to what I’ve been trying to get over in my writing’.

One trait I have is to tend to throw in all sorts of cultural references and allusions, which is what Kate Bush tended to do in her lyrics – almost to the level of self-parody in ‘Them Heavy People’ but there’s far more – think of Molly Bloom’s speech from ‘Ulysses’ in ‘The Sensual World’ (my favourite Kate Bush track of the lot), or the obvious ‘Wuthering Heights’.

Yet Thomson points out that these cultural references are a paradox and something of a deliberate obfuscation because her work is impossible to fully appreciate solely by academic analysis:

‘Bush’s music takes us somewhere else, somewhere deeper…It’s a very inquisitive, giving quixotic thing…there is no need to join every dot, or explain every reference. That is a game for those who can’t trust their own responses without first looking for an intellectual hook on which to hang it. Kate Bush is all about emotion: the things she uses to get to those emotions aren’t necessarily important. You either hear it and feel it – and trust what you’re hearing or feeling – or you don’t.’

I particularly like the last sentence: you’re either the sort of person who trusts your emotional reaction or you aren’t. This ties in with some current debate about writing, especially of the more literary genre – does it work on an emotional level or does it solely exist to perform intellectual gymnastics?

No-one who’s seriously listened to Kate Bush’s music can underestimate its sensuality. The candid attitude towards sex, even in songs released in the 1970s, is quite revelatory and far more insightful than many of her female successors (think of the relatively crude shock-tactics of the likes of Madonna or Lady GaGa). However, even knowing the song for 25 years I hadn’t fully realised (shows how closely I read the lyrics) what she was trying to suggest in one of her most well known singles, ‘Running Up That Hill’. To quote Thomson:

‘Originally called “A Deal With God”, the song spoke passionately of Bush’s impossible wish to become her lover, and he her, in order that they could finally know what the other felt and desired. It was a sobering comment on misfiring communication and the impossibility of men and women ever really understanding one another, and yet – in capturing the basic human need to strive for compatibility – it was not without hope nor optimism.’

I’d say that many novelists also try to set out to achieve this ‘impossible’ ambition (trying to fully understand the experience of the other gender) – to know ‘what the other felt and desired’. It’s certainly something I’m fascinated with – as I have a novel that switches between male and female POVs in a putative relationship.

It’s pretty evident that these songs have lodged themselves quite deep in my psyche and bits of them seem to come out when I’m writing. I had a playlist of ‘quiet stuff’ on my laptop which featured a lot of Kate Bush songs and I have listened to this over the past few years at very low volume as I fell asleep in work trips in various hotel rooms around Europe.

There’s another aspect to Kate Bush’s work that makes it more approachable from a male point of view which I’d never realised until reading this book – and yet it’s so obvious. She likes men. Thomson says of one of Kate Bush’s most touching songs:

‘Aside from its luminous melody and swooping chorus, “The Man With the Child In His Eyes” is one of the first example of the extraordinarily positive ways in which Bush views men. She is surely unique among female songwriters in that her canon contains not a single song that puts down, castigates or generally gives men the brush off. She has been feminist in the bluntest sense – she wants to preserve and embrace the differences between the sexes and understand the male of the species. Many songs display a desire to experience fully what it is to be a man; she invests them with a power, beauty and a kind of mystical attraction which is incredibly generous. “It’s not such an open thing for a woman to be physically attracted to the male body and fantasise about it” she once said. “I can’t understand that because to me the male body is absolutely beautiful.”’

I knew that Kate Bush had a large gay (male) following but it was only after reading the above interview quotation that I the penny finally dropped. On a similar vein I’m wondering about buying ‘Adventures in Kate Bush and Theory’ which is full of analysis (as it says in the publisher’s press release) ‘written by a queer woman in her late 20s, its answers are delivered in a unique way…showing that theory can be sordid, funny and irreverent’. I wouldn’t mind too much if those three adjectives were applied to my novel, at least in part.

Fascinating Lessons in Writing and POV

We had a visit from another published course alumnus last night — Penny Rudge, author of ‘Foolish Lessons in Life and Love’, as mentioned in a previous post.

I’ll blog later at more length about what she said about the publishing process in general. I was quite relieved that her book deal didn’t follow as a consequence of the end-of-course reading.

I’m quite inspired by the book and our session yesterday. I was encouraged that she had a similar background to me and, curiously, the style of her novel is probably closer to how I’ve been writing than mine is to anyone else currently on the course — contemporary setting, humorous, lots of dialogue, other gender POV, European leading character (s), etc.

I’m quite gratified that ‘Foolish Lessons in Life and Love’ has probably a higher literary breast count (and other intimate body parts) than my work in progress could be projected to have — there are scenes in a strip club and seedy strippers’ pub.  These descriptions are very well done — very witty and frank but never over-graphic, anatomical or crude. I think I’ll  keep the book handy for my own inspiration — seeing as I’m frequently reminded how sex-obsessed my male character is (wait until Monday’s reading).  Penny’s use of the male point of view in these scenes is also very accurate, at least from my own observation, so maybe there’s hope for me to use POV the other way.

Perhaps it’s because Penny also has a background as a computer programmer. I think I may have blogged on this before but I was a programmer for about 12 years, have worked in IT since and am now doing a dissertation for an MSc. in Software Development. I asked her a question about how she organised the files on the computer, as a writer, and she enthusiastically answered.

Perhaps IT workers are one of those professions, journalism being the most obvious one, that equips people with certain skills — being able to use a keyboard quickly is one but also in novelistic terms, putting together a novel with its themes and planning probably draws a lot on the analytical skills required to put together big systems. And the revision process is similar in that one small change can have very big knock-on consequences throughout the system or novel (name, setting, chronology changes, etc.).

‘Sweat Me Garlicky’

We had to take along a published poem (by someone else) to Metroland Poets last night on the theme of ‘Poems to Read Aloud’. There was a very varied and entertaining selection ranging from ballads by Walter Scott to Edwin Morgan’s famous ‘Loch Ness Monster’s Song’.

I made a choice in about five minutes flat but was quite pleased with the poem that came to mind. It’s ‘Cooking with Blood’ by Linda France, which is featured, along with an interview with the poet, in the Open University’s ‘Creative Writing’ course (A215). Click on this link for the poem and an opportunity to hear her read it out.

Again there’s a link with The Angel as it’s all about cooking (in the section I’m workshopping on Monday James tells Kim about his passion for food). It’s also dedicated to Delia Smith in a way. Delia is someone I’ve loved even more since her famously tired and emotional appearance on the pitch at half time at a Norwich City game.

I get the feeling she’s far less prim and proper than supposed ‘edgier’ cooks like Nigella and Jamie Oliver (who I think, to use Kim’s vocabulary, is a bit of a tw*t).

‘Cooking with Blood’ was inspired when Linda France was looking through the index of a cookery book, probably Delia’s, and found all kinds of exotic names for dishes and techniques. What people found quite remarkable when I read the poem was the amazing use of these names as verbs in the poem. ‘Wouldn’t we sausage lots of little quichelets’, ‘She played en papilotte/for just long enough to sweat me garlicky’, ‘I’ve stroganoffed with too many of them’, ‘[I] triped
myself into a carcass’.

Making imaginative use of verbs (and, in fact creating new verbs like this) is something that I don’t really do enough of in my own writing — probably because I do it too quickly. I’ve got the opportunity to experiment a little in this way in my next chapter when I get James and Kim completely plastered. I’d like to try and hint at their altered states of consciousness by attempting to play with language in the same sort of way.

The poem also appeals to me as it’s very sensual. There’s clearly a link between food and sex in the poem (even as far as talking about procreation) but it’s amusing and thought-provoking: ‘After I’d peppered her liver, stuffed her goose/
and dogfished her tender loins, she was paté/in my hands’ and ‘We danced the ossobuco;/her belly kedgeree, her breasts prosciutto.’ I think this poem must have tapped into my subconscious quite deeply as I tend to return to similar elements in my writing: people say it’s quite physical. I tend to write a lot about what people do with their hands and their body appearance.On Monday in the workshop I’m sure it will be noted that James is something of a compulsive breast watcher (well, he’s done it twice once with each of the women). I’ve played this up deliberately for mild amusement but I’m starting on the journey to finding my writing ‘voice’ and I think I’m always going to have a theme of the physical and sensuous. I’ve done the same in ‘Burying Bad News’ with Frances imagining herself and other people with physical attributes of grape varities. It’s interesting as I’m not a touchy-feely type person in normal life at all — I just seem to write about it.

One of the women poets was surprised that ‘Cooking with Blood’ was written by a woman as she thought its tone was quite male. Perhaps that’s down to the physicality of its approach as opposed to the more metaphysical, spiritual tone she might have expected in a poem with a similar message written from a more conventionally ‘female’ point of view. I’m not so sure there really is such a gender bias in reality between male and female writers. At least three of the male novelists on the course are writing from female points of view and Eileen writes in a very convincingly masculine voice in her novel extracts. However, there’s no doubt that many readers form expectations about reading a novel just by reading the gender of the author. That, famously, is why J.K.Rowling is known by her initials — the publishers didn’t think their initial market of teen boys would want to read a book written by someone called Joanne.