August 2024

Plus working class writers, and the cats of Porto.

The Duoro River flowing through Porto with the historic port cellars on the left, the Ribeira on the right, and the marine layer coming in from the Atlantic over the Ponte da Arrábida.

The Duoro River flowing through Porto with the historic port cellars on the left, the Ribeira on the right, and the marine layer coming in from the Atlantic over the Ponte da Arrábida.

Hi there,

After a marvellous week off in Porto and a bank holiday yesterday, I’m now back at my desk looking at the apple tree from my office window and thinking about ideas.

Whilst on holiday, I woke up one morning with a fully formed idea for a TV drama, complete with setting, protagonists and some sense of the character arcs. It had sprung from the fragment of a now-forgotten dream, but I wrote it all down and reading it back now, a week later and in the cold light of day, it’s still solid. But, well, will I ever do anything with it?

Ideas are like blossoms on an apple tree: It’s easy for a concept, character or a ‘what if?’ to flower, but only some of them will develop into fruit, and more will fall off the tree before they’re ripe than will end up in your fruit bowl. And that’s OK.

I used to feel a bit bad about all the ideas for books and TV shows that I had, but never properly worked on. Now I just see it as a suite of ideas I can pull from when I next get a gap in my creative schedule. It’s impossible to execute every idea, even every good idea, especially when you’re working a full-time job or running your own business. We’d all be a lot more creative if we had universal basic income, but that’s not currently the world we live in, so all we can do is write as much as we can, when we can.

Pick the apples when they’re ripe and don’t mourn the ones you miss. They all become good compost for next year’s crop.

Opportunity: Galley Beggar’s short story prize

This year’s short story competition from Galley Beggar is now open. With a grand prize of £2,500 and shortlisted entries getting £200, it’s well worth the £11 entry fee. The deadline is midnight, 13 October 2024 (UK time), and they are looking for stories below 6,000 words. The prize is open to published and unpublished writers based anywhere in the world who have a previously unpublished story to enter. (See FAQ for more details.)

Read this: Why now?

Scriptwriter Jack Bernhardt has tackled the question that I suspect all writers dread hearing from a commissioner: Why now?

I’ve always thought it was a stupid question. Why have I written this thing right now, and not, say, last year or next year? Well, largely it’s because it’s the thing that’s in my head right now. The one time I wrote something because I thought it’d be a high-concept, commercial novel, rather than because the story was burning a hole in my brain trying to get out, I ended up writing 110k words about a pandemic just before one actually hit and my MS instantly became unsellable.

But Bernhardt digs into the question from a different and more thoughtful point of view, exploring the interplay between a particular show and the time from which it sprang:

I have to confess, I don’t mind “why now” as a question as much as other writers. There’s something romantic about it, the way it implies that all ideas have their time, that if we could see the expanse of all history every idea could find a year, a month, a day that they could claim as their own.

He goes on to talk about how “why now?” has become degraded as an exploratory question:

The problem with “why now” is that it seems to have morphed into something rigid — it’s no longer a question of how the current era informs one’s idea, but of how one’s idea can encompass everything about the current era. Does this story deal with the key theme of our times (whatever that is)?

Furthermore, culture now changes faster than TV shows can be produced, causing issues for satirical shows and pushing writers to set their shows in the past where they can anchor themselves more solidly to an era.

If you’re wondering “why now”, then now is definitely the time to read this piece!

Read this, two: Working class writers

There was a great conversation yesterday on Bluesky prompted by a post from Ray Newman about his discomfort with calling himself a ‘working class writer’, despite that being what he is.

What I came to realise is that you don’t ever really shed working classness. It’s baked in. It shapes your attitudes to life and your perspective on the world. In the negative sense, the scars are permanent.

[…]

If I experience the slightest financial shock – an unexpected bill, for example – I completely flip out, and revert to being an anxious child. Even if, once I’ve taken a breath and counted to ten, I can easily afford to deal with it.

And there was a second conversation that sprang from a reshare by Ian Martin in which Joel Morris said:

A mate and I came up with the phrase “the chink of departing coin”. You either hear it constantly or you don’t. Telly especially these days is full of characters not driven by it, written by people who’ve never been aware of the chink, which is why they are in a position to write and be on telly.

I watch stuff now and ask “why aren’t these people worried about money?” as almost the first question. Because the audience will be. And they’ll want that reflected on screen. All the best popular stories manage to include it. That noise. Chink chink chink. The meter running down.

Class is a complex thing these days. How you grow up is not always how you live your life, but what you learn as a child can certainly stay with you for life — I’m still picking apart the bad lessons about money that I learnt from my parents.

But, as Joel points out, having money or not is foundational to all of our experiences, and if we’re writing anything based in the real world we really do need to think about how our characters earn a living, and whether they hear the chink of departing coin as loudly as most people do.

Obligatory cat picture

Two cats: A young calico sitting by an open door and a long-haired tabby loafing on a wall.Last week’s trip to Porto was a delight, and I was particularly happy to see two cats just chilling and doing their thing.

I would absolutely recommend a trip to Porto – it’s a fabulous city, full of character, amazing port wine and muscatel, fabulous food and some glorious old buildings many of which are decorated in exquisite tiles both inside and out. But if you do plan to go, get a few weeks of hill repeats in before you fly. Those steep hills brutalised my calves and they still haven’t fully recovered!

Finally, for those of you following Grabbity’s health issues, she’s now largely rejected the second brand of renal kibble, though will eat it under pressure. Copurrnicus, on the other hand, loves it, so I’m constantly trying to feed her on her own, which is easier said than done. So I’m off to the vet’s at lunchtime to see what renal soft food they’ve got.

Overall, she’s a much happier cat now her problem teeth have gone. And once we’ve got her diet settled, we’ll move on to sorting out her arthritis.

Cheers for now!

Suw

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Plus, what Labour can learn from South Korea, Richard Osman and Marina Hyde on the Edinburgh Fringe, and an update on Grabbity’s health.

Hi there,

We’re having another one of those melty days as I write this, so I’ve moved down to the lounge where it is cooler and am now surrounded by cats who think that they ought to be snuggling me. Much as I would love to have a cuddle, it’s 27c down here (I hate to think how hot it is up in my office), I have a wet tea towel cooling my feet, and the the last thing I need are two purring hot water bottles on my lap.

I’m heading into Ada Lovelace Day season and things are getting busy, so I’m going to either shorten the newsletters if I can (this one was supposed to be short, but it’s still clocked in a thousand words or so!), or possibly take some time off, or I’ll perhaps just make the schedule a bit more ad hoc. We’ll see how it goes!

Stop, look, listen: Temporal

Julian Simpson’s latest audio drama, Temporal, has just been release and is available now on Audible.

In the not-too-distant future, a 21-member crew launches from Earth. Their mission: to establish a temporary colony on Mars. Little do they know that colony will become permanent–and the last stand of the human race. Because, without warning, every single person left on Earth simply…vanishes.

Now, a thousand years later, the resources needed to sustain life are running out, and the very existence of the Mars colony is threatened. Humankind has only one option–to return to its home planet.

But is Earth safe? Could the Vanishing happen again?

You might remember, back in Issue 61, that I waxed lyrical about Julian’s Lovecraft Investigations, an HP Lovecraft-inspired audio drama done in the style of a true crime podcast. It’s genuinely one of the best written, acted and produced audio dramas I’ve ever listened to. I am sure that Temporal will be just as good, not least because Julian has once again worked with sound designer David Thomas, and I can’t wait to listen.

And, as a bonus, if you want a peek behind the scenes, Julian has written about the background to the project and how it call came together.

Opportunity: Joel Morris launches comedy course

Comedy writer and dissector of the comedy frog, Joel Morris, is launching a new online course for writers, The Writer’s Room. Joel, who wrote the fantastic Be Funny Or Die and has such a storied career in comedy writing that I can’t even sum it up.

Starting in September and running over 5 weeks every Sunday via Zoom, the course will feature a 45 minute talk from Joel followed by a discussion. You can find more info on his website, where you can also sign up to get the dates and times when those are finalised. The cost will be £350 + VAT.

If you want to be a comedy writer, this really is a must-do course.

Read this: Dave Cohen on the BBC and South Korea

The BBC has been underfunded for years, and as I’ve said before, comedy has been one of the key victims with fewer and fewer comedies being commissioned.

So it’s great to hear that comedy writer Dave Cohen met with policy wonks just after Sir Keir Starmer was elected leader of the opposition to discuss how Labour could “work constructively with the BBC”. Dave has now taken a quick look at what the Labour manifesto has to say about the BBC, and how they could take a leaf out of South Korea’s book to improve both the economy and the arts in the UK:

The reason I’ve become obsessed with South Korea is because a few years ago their government worked out what we Brits had known and successfully followed for decades: a small amount of government funding for the arts brings a massively disproportionate success to the country.

It would be great to see Labour understand that investment in the arts isn’t a ‘nice to have’, it’s essential to their project of national renewal.

Stop, look, listen: The Rest Is Entertainment — Robert Downey Jr & the Death of TV Comedy

About halfway through this episode, Richard Osman and Marina Hyde discuss how the Edinburgh Fringe has lost its role as the best place for comedians to get themselves discovered. Not only putting on a show at the Fringe a horrendously expensive endeavour these days, the loss of TV comedy shows means that there’s no one really looking for new talent.

So what are comedians doing instead? Listen to find out!

Obligatory cat picture

They couldn’t find a vein in one of her legs, so she has shaved patches on both.

You might remember that last time I emailed, Grabbity was due for an X-ray to see what was going on with her teeth. Well, she ended up having two of her lower incisors out — those are the tiny little teeth at the front, in between the fangs.

Unfortunately, the pre-anaesthetic blood tests showed that she has early stage kidney disease, so the poor girl had to stay at the vets overnight whilst they gave her additional fluids. Then she had to have more anaesthetic than usual, so was quite drunk when we got her home. And it was a very, very hot day, so she was panting and generally very put out.

We’re moving her on to a renal diet at the moment, which she is very unhappy about. I have two types of renal kibble, and will be buying a tester pack of renal soft food as well, to see if we can find one she’ll voluntarily eat. Meanwhile, I have a kilo of food she’s rejected.

Dental work isn’t covered by pet insurance, so it’s been an expensive couple of weeks. But it’s worth it for the fact that it uncovered the kidney disease at an early stage when it’s still manageable, and also highlighted that she has arthritis. We can now look after her much more effectively and make sure that she has the treatments she needs to live happily and comfortably.

Right, that’s it for this time round!

All the best,

Suw

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Do you ever get ‘the typies’?

by Suw on August 7, 2024

Gymnasts get the twisties. Golfers get the yips. Can writers get the typies?

In 2021, gymnast Simone Biles pulled out of the Tokyo Olympics saying that she was “having a little bit of the twisties”. Last week, she was back at the Olympics in Paris, once again performing incredible feats of gymnastics and demonstrating the grace and strength that has made her famous.

But what are the twisties, and what do they have to do with golf and writer’s block?

Success in gymnastics, like all sports, requires amazing mental acuity — you need to be able to know, at all times, where your body is in space and how to control its movement so that you land safely. We all have the ability, called proprioception or kinaesthesia, to know where our body is in relation to the world around us. If we didn’t, we wouldn’t be able to walk or type or knit or, in fact, do anything.

But some gymnasts suddenly and unexpectedly lose this sense midair, making it a challenge to land safely. In 2021, when Biles was struck by the twisties, she had to cut a 2.5 rotation down to a 1.5 rotation because she wasn’t sure if she could “make it all the way around”. She described the feeling as being “lost in the air”.

Biles did, ultimately, avoid injury, but other gymnasts have not been so lucky. When former gymnast Christina Myers tried to push through the twisties, she wound up with a spinal stress fracture.

“Imagine skydiving and your parachute won’t open,” she said. “Your body starts adding extra twists and flips to the skill you’re supposed to be doing, and it can affect even the skills that feel as routine as walking to an elite gymnast…

“Your brain wants nothing more than to perform the intended skill correctly, but your body feels like it suddenly has a mind of its own.”

Similar to the twisties, the yips are found in sports like golf, cricket, tennis, and baseball, where the golfer or other sportsperson finds themselves unable to carry out actions that they used to be able to perform without problem. The yips cause a loss of fine motor skills and muscle memory, and affects athletes’ decision-making. Whilst some people do recover after a period of yips, it can also be career-ending.

Tommy Armour, a Scottish golfer who coined the term ‘the yips’, described it as “a brain spasm that impairs the short game.” Johnny Miller had the yips so bad that he couldn’t even look at the ball or the end of his golf club whilst putting, so “placed a dab of red fingernail polish on the grip, below the position of his right thumb, and looked at that instead”, or even putted with his eyes shut.

In June, I wrote about how writer’s block is not a myth, and how researchers have identified four categories of cause:

  • Physiological causes: Stress, anxiety, extreme emotional states such as grief, mental or physical health issues, and exhaustion.
  • Motivational causes: Fear of criticism, performance anxiety, and lack of enjoyment.
  • Cognitive causes: Perfectionism, problems associated with over-planning or under-planning, and rigid thinking, such as forcing a story to move in a certain direction.
  • Behavioural causes: Procrastination, interruptions to writing, and being too busy to write.

But there is, in my experience, a form of writer’s block that is a lot more like the yips or the twisties, which isn’t connected to motivational, cognitive or behavioural causes and doesn’t seem to have a clear physiological cause.

Sometimes, for no apparent reason at all, I do get writer’s yips or twisties — what we could potentially call the typies — wherein I just stop being able to write. Despite knowing that I know how. Despite having ideas. Despite having time. Despite having faced my fears and set them aside. Despite even having a clear plan for what to do next.

Somehow, there’s a mental disconnect that gets in my way. I feel like I just don’t know how to write. It’s not that I literally forget how to type – I can do all sorts of other bits of writing, but I just can’t progress whatever my current big project is.

Although some have speculated that the yips are a form of performance anxiety, the fact that they affect some specific actions and not others indicates a more complex cause. The yips can cause involuntary muscle spasms, which seem to have a neurological aspect. In these cases, the golfers have developed what’s called ‘focal dystonia’:

Dystonia is a movement disorder that causes the muscles to contract. This can cause twisting motions or other movements that happen repeatedly and that aren’t under the person’s control.

Mogigraphia, or writer’s cramp, is possibly the first focal dystonia to have been identified and described, notably by English physician William Gowers in the late 19th century. Gowers also linked it to similar problems suffered by “telegraph operators, seamstresses, knitters, masons, sailors, painters, enamellers, cigarette makers, and musicians”.

Although the typies isn’t writer’s cramp, just as the twisties probably isn’t a form of dystonia (as far as I can tell), it is perhaps from the yips that we can draw inspiration for how to deal with the typies. The New Yorker talks about golf coach Hank Haney, who controlled his yips in a similar way to Miller, by looking at the audience instead of the ball.

[Haney] had noticed that, on the few occasions when he couldn’t avoid demonstrating a shot with his driver, he was able to do so successfully if he looked at his audience, not the ball, while he swung—a feat that impressed his students but for him was an act of desperation. “That was something I discovered by trial and error,” he told me. “Focussing my eyes and my attention on something different—anything to not anticipate the hit, anything to not anticipate the moment of contact with the ball.” In his new swing, he glanced at the ball only briefly, at the very beginning of his routine; during the actual swing, he kept his eyes on the brim of his cap.

When I’ve had* the typies, I’ve generally just waited for it to go away, which can take weeks if not months. It would undoubtedly be better for me to be able to recognise when it’s happening and learn to deal with it by focusing on something different. Instead of looking out for what’s wrong in my writing, I should do a read through and only highlight what’s right. Instead of trying to work out why something isn’t working, look at what is. Instead of waiting, wrap myself in reminders that I am actually a capable writer.

Thankfully, unlike the twisties, the typies is unlikely to result in physical injury. But it is frustrating to lose so much time to this unsatisfyingly vague and difficult to pin down form of writer’s block. At least now I feel like I have tactics to try when it happens again.

 

*I say “had”, but I’m coming out of a six-week bout of the typies right now, and it has not been much fun.

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