Writing: how to improve your focus

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Samuel Johnson in close focus

It’s commonly mentioned by writers as a problem: keeping focus on the book you’re currently writing. It isn’t just the intrusion of other writing or everyday chores. More than ever, writers blame the ingress of social media caused by two pressures: firstly the attraction of seeing friends’ and family’s daily activities, with consequent need to like, comment, or even worse, engage in a to and fro dialogue; secondly, the constant emphasis on the importance of social media for marketing the books we write.

There is only one way round this problem. Limitation. In the same way that we curtail, if not curb, our pleasure in food and drink in order to escape obesity, we can avoid gluttonous social media activity.

Easiest to restrict family/friends to a time of day assigned to relaxation. Just best not to open those Facebook etc at other times. There’ll always be something to divert you. For marketing, wisest to schedule a set day and time for such work and avoid it at all other times.

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I wonder if Pasternak was having trouble focussing in this picture, or was tormented in sympathy with his characters?

Keeping focus on the book in process does not mean never doing anything else until it’s finished, however. You can take off for a break somewhere entirely different and yet keep your focus on your characters. Keep them and their problems in mind and relate what you hear and see to their situation.

For instance, working on my WWII trilogy, A Relative Invasion, I realised that my protagonist, Billy, had not been punished by his adversary, cousin Kenneth, for a well-meaning interference. Manipulative Kenneth would surely not let Billy get away scot free.  Taking time away from the computer, I set off to wander round an arboretum and get some fresh air (and fresh ideas). On the way, I listened to a radio programme about printing and book binding. The word ‘pigskin’ made me sit up. Of course! The pigs Billy loved and fed daily had been taken to the abattoir to Billy’s great distress. Kenneth could punish by giving Billy a pigskin wallet for Christmas.

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Van Gogh

The arboretum itself made me realise that I hadn’t included much description of the boys’ surroundings beyond the initial one. How would they react to the countryside when evacuated away from the blackened buildings of London?

I listened to an interchange between some children nearby. The running and quarrelling suddenly stopped when one of them saw a squirrel burying nuts. It was vigorously stamping its feet, or that’s how it seemed to the younger child. She turned to her mother, ‘It’s having a tantrum!’  The other child laughed. A lovely moment, and one I could work at for hostility between my two boy characters.

There were other ideas, too, that came from this outing. These could be called ‘writing refreshments.’

I could have taken a break and thought of other things, but keeping my focus on my book didn’t stop me benefiting from this time away from the computer. In fact, I wrote more rapidly once I got home, all the new ideas fresh in my mind. As is often the way, one new idea helped others so that the narrative moved along.

Have any of you gained unexpected ideas through taking a break away from your desk?

Writing/painting: pollination

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baldwin.mykansaslibrary.org

Some writers complain of writers’ block. Perhaps they are due for pollination from other sources.

I’ve written before about how cross-fertilization within the arts is something to seek out and to treasure. A writer, performing artist, teacher, does him/herself no good by constantly giving out and never feeding the self. Exposure to other art forms stimulates unexpected associations that would not otherwise occur.  Learning the techniques involved in these arts achieves even more than just appreciating the painting, dance, acting or exposition. You can imagine the reception of new stimuli neurologically: neural pathways highlighted and speeding like electric sparks across the cortex. For a writer, new associations, especially unexpected ones, enrich the language that later emerges under the pen.

This post results from participation in a wonderful watercolour workshop arranged by Pelisande courses near Stroud.

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A small section of the participants at work

An original idea for a botanical painting workshop, Bugs and Botanical provided two outstanding tutors with complementary skills to tutor on the topical subject of pollination. 15 participants learned from RHS gold medal-winning botanical artist Julia Trickey (plants) and Cath Hodsman, ASB, Natural History Museum wildlife artist (insects).

The two artists chose aquilegia as the flower to examine and paint because of its unique method of pollination. The nectar lies in the tip of the curled spurs, coyly tucked away at the furthest point from the seductively displayed pollen on the pistils. labelled aquilegia

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Julia Trickey painted in session

Aquilegia, a beast to paint, is like an unfaithful wife. It can be approached for its nectar from the front (by humming hawkmoth) and from the rear (by bumble bee). The hawkmoth zooms into the front entrance legitimately, showing off its tremendously long proboscis (as long as its body). The aquilegia meanly keeps its nectar as far away from its front entrance as can be, but the hawkmoth can reach it, hovering humming-bird style at the flower’s mouth.

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Cath Hodsman

Here is Cath’s painting, showing the hovering wings and proboscis’ tell-tale golden cache, post-visit, held away from its body.

Under the microscope the fluffy body is more like a loofah, quite rough in texture. The wing has minute overlapping segments like the  tessellation of a Roman mosaic.

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Cath Hodsman

Not to be outdone by the moth’s super-long proboscis, the bumblebee, displaying no shame about its lesser member, flies straight to the back of the flower and drills through the tube, filling its sac with nectar. This means it gathers no pollen on its furry body, a job carried out unwittingly by the moth. For its efficient pollination work on most other flowers, the bee is the ultimate in hairiness, even its eyes have hairs.

Under the powerful microscopes, the worthy bee, post nectar-gathering, is weighed down by its enormous load, carried like panniers either side of its thorax. Its complex eye has a surface like a fine metal grille. Not enough to say ‘I have eyes in the back of my head’ it has enormous eyes, comparable to the cheeks on a pig, plus three simple eyes, in the middle and either side of the top of its head. It must never stop looking.

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Cath demonstrated her technique for painting every detail in the microscopic accuracy for which she is acclaimed, and is used by Kew Gardens as scientific illustrator. Her painting is a matter of many painstaking layers, very fine brushes, a steady hand and tiny movements: dots for the bee and dashes for the moth. Her drawings are the amazing result of reproducing what is seen when enlarged very many times. When a writer can portray a character or setting in that detail, readers can feel they are truly entering the lives of those in the narrative.

It was a privilege to listen to Cath’s extensive knowledge of wildlife, and equally to watch the exquisite painting of flowers by Julia. Under her hand the complex form of the aquilegia came to life, petal by petal and not just with great attention to accuracy but with incomparable interpretation. Before painting, Julia examines the plant in detail so that its structure is as clear as the light and shade on its form.

JuliaTPainting wet on wet, Julia’s not so small brush delivers a touch of colour that slithers into place, The brush comes away leaving a perfect petal behind it, immaculate edges, veins, light, shade and shape. Note the plate beside her. It indicates how little paint she uses; she uses the cloth in front of her as often. Julia has videos of her techniques, as well as her beautifully illustrated books so that those who attend her courses can follow her techniques at home.  http://tiny.cc/76n1yx

During the 2 1/2 day course, participants worked intensively on their own attempts at both flower and insect, straining their eyes to capture the details that make the difference between a cursory and an informed detailed illustration. Fortunately, Pelisande courses include delicious food. Participants went home enriched in mind and body, if cross-eyed.

The humming hawkmoth pollinates jasmine, honeysuckle, gardenia, pittosporum, plumeria, oleander, star-jasmine and flowering tobacco amongst others. Writers would love to think that their words were that widely imbibed.

Among most species that breed in water, the males and females each shed their sex cells into the water and external fertilization takes place.  Ideas and images in our environment are cast out in different artistic forms. They are absorbed, then mentally reworked into the receiver’s mental system. In the case of fiction writers, a story emerges mostly many years later.

Among terrestrial breeders, fertilization is internal, and the parallel for the writer might be the unconscious adoption of behavioural tendencies that can come from early relationships. These then enrich the development of characters in the writer’s stories.

In reproduction, by recombining genetic material from two parents, a greater range of variability for natural selection to act upon, increases a species’ capacity to adapt to environmental change. So in writing, by reworking imageries from different art forms, something new can emerge that has greater meaning to readers than the unpollinated material that went before.

 

 

© Copyright 2015 Rosalind Minett

 

Where do your words come from?

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Where do your words come from? Here’s the tree showing the main roots. When you eventually find the little twig that is English, it’s the sort of twig size that might be chopped off by the gardener to encourage strength in more viable branches. So English is quite a little victor in the fight to receive the most oxygen.

Such a diagram helps enormously to conceptualise the place of one language in comparison with another and the relationship between apparently unlike languages. I found this diagram from bing images. Later, I found ethnologue.com, a site full of rich information.

However, I didn’t just come upon these randomly. This is why I love Stumbleupon. It is a serendipity resources. It is full of such excellent information and illustration (provided you make full use of the thumbs up and thumbs down).  After listing your categories of interest – mine are diverse – you are offered pages fairly randomly within those categories. According to whether you give them thumbs up or not, your preferences are further refined by the site. Warning, don’t do this too much or you may miss items that you had not realised were within your interest.

You see a page that sparks your interest, and off you go on another research journey that might, at some time, come in useful for one of your books.

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I originally saw a page from Vox with a wonderful chart by Minna Sundberg (which I can’t legally reproduce here). This led me to research out the further sources.

See Sundberg and her chart:

The origins of English  —–        Minna Sundberg

Where English comes from

English, like more than 400 other languages, is part of the Indo-European language family, sharing common roots not just with German and French but with Russian, Hindi, Punjabi, and Persian. This beautiful chart by Minna Sundberg, a Finnish-Swedish comic artist, shows some of English’s closest cousins, like French and German, but also its more distant relationships with languages originally spoken far from the British Isles such as Farsi and Greek.

When readers ask ‘Where do you get your ideas from?’ The answer is often ‘from reading’.  And then that reading leads to more reading . . .

And for the writer, to richer writing!

 

 

Starting a Novel – 10 points

 

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Are you starting to write a novel? Yes, it’s hard. Really, it’s best just to press on with it rather than tell people about it. There will be time for that when you’re finished.

Here are 10 points to consider. You can waste so much time in the early stages of starting a novel when you should be just getting that important first draft down. Before listing these, one thing that will help you above all others, is to buy Scrivener. At around £45.00 it’s the best purchase I’ve ever made and if I’d had it years ago, I would have had a longer life and lived more of it! It organizes all your writing and avoids all those hours searching for previous drafts, short notes you’d made on a character or setting and so on. It will considerably help your structure. You can even trial it free.

Let’s say you’re well past the ‘thinking about writing a novel.’ You have the germ of the plot and have written enough to imagine the finished work in your hand. Download the trial of Scrivener and start building your chapters, or scenes within the chapters. (iTunes has how-to videos).

Now consider these ten points.

1. Write your target quota each day before entering any social media site. Social media diverts you, it is time-consuming and will seriously cut in to your allotted writing time.  Scrivener provides a progress signpost, showing how well you are meeting your target.

2.  Write from your instinct before reading any writing advice on style. This is to ensure it is your voice that emerges on the page. Texts on the craft of writing are best read before or between writing novels. The analytical task is best kept separate from the creative one of starting to write a novel.

3.  Similarly, only seek feedback when you have planned and written a substantial section. It is your novel from your imagination and experience. Others’ views and suggestions when you are writing the first draft will confuse that first push to get the story down.

4.  Only seek feedback from other writers. Readers’ views are wonderful, but only when your novel is published or ready to publish.

5.  Stop and decide where the plot is going one third of the way through. You might write the end at this point.

6.  Lie in bed and hear your characters’ voices clearly. Feel their conflicts and listen in to their conversations.

7.   When you are ready to read your first draft, print it out. Highlight the sections you’re unhappy with in blue. Scrivener allows for you to mark your chapters or scenes with colours according to how near they are to ‘finished.’

8.   Beyond halfway, read the first and last lines of every chapter. This is a way of seeing a ‘want to read on’ for your future readers.

9.   Your own voice and writing style will be uppermost in your mind.  Read a highly rated novel – with a very different plot from yours – while you take a break. High quality writing is privilege to read. Each such work has some impact on your own developing skill.

10.   Care about your characters and write their future… and above all, get on with your writing NOW

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