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On writing away from home and other distractions
Fig. 1 Retreats for You, Sheepwash, Devon
An hour with my tutor yesterday evening. Buzzed, but fell asleep soon after. It was a four hour drive yesterday afternoon/evening and I’d been up since 4.00 am or something. Which is when I woke this morning and rattled off 1 1/2 following guidelines on how to ‘set the scene’.
Armed with a pot of coffee I plan to get another hour in before breakfast.
The goal is to write four completed scenes, each of around 2,500 words this week. I may, a new experience for me, write each of these scenes several times as I try out the approaches I’ve been given.
The premise for my novel got the thumbs up as did my ‘voice’: not so hot were the gaping holes in my scene setting – I leave far too much untold.
By the end of the week I will decide either to give up once and for all, or that there’s a future in it and the boxes of manuscripts, scripts, zip drives, discs and flopping discs, hard drives, notebooks and diaries have served a purpose or should go to the skip.
And I’ll rejoin the family for my birthday.
Writers have the details at their fingertips
|From E-Learning V|
Fig.1 Moon phases in May 1917
Studying with the OU for the last four years it soon become natural to conduct online niche searches for books and papers related to course work. You learn also how to tag, store and gather the information and ideas that you find: this is one answer to that, a blog that serves several purposes, not least as a learning journal and e-portfolio.
Searching for the obscure, that essential detail that forms such a vital part of the sensory palette used by the writer, is as easy to find and just as necessary. This morning I stepped out one May evening in 1917 and wanted some hint of what I’d see, hear and feel: a few searches and I can see a waxing moon at 10.00pm on a cooling evening as the temperature dips below 12 degree C, and the noise, in this instance of thousands of men in Nissen huts around a camp soon giving way to a robin trilling and burbling in the trees and the sound of the sea washing against the Channel Coast.
These details are far more than accessories that overlay character and plot; they are what gives it credibility. Writing on and as the Great War rages requires significant care. The wrong detail will throw a reader, worse I’ll end up in a conversation about my claims. Posting a piece of fiction some years ago an irate reader told me what I’d said was rot and went on to correct me – I had been writing fiction. I’d said that a character called Gustav Hemmel changed his name to George Hepple and fakes his own death – the reality is that he went missing over the English Channel in his plane.
THREE HOURS working on writing fiction, five days a week, is the goal . The OU will have me for TWO hours a day (averaged with longer stints at the weekend). That’s the plan.
On a writing retreat
Fig.1 Another writer on the retreat in Devon
I use an hour glass to count the time I spend ‘at it’ writing.
Five hours pulling together ideas, then three hours writing. 600 words. Which is a multiple of ten less than I’d historically generate. I need to speak to my tutor about what this may or may not have achieved. Progress if I am successfully transplanting images and sounds from my head to hers, otherwise not.
It also feels liberating to be so well looked after; it immediately made me feel like being at home and working for my A’ Levels – at home so that you are fed and watered. All you have to do is to keep your head in one place. Everything is geared around letting us get on with our writing. Fellow writers appear from their rooms at meal times, some might go for a walk or a run, but for most of time we are quietly at our desks in our rooms.
A revelation, but a situation too ideal to repeat.