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Creative Artists: In the Minority, and On the Outside Looking In

Today on Radio 4, whilst stuck in slow-moving traffic due to an accident on the M40,  I listened to the Midweek programme, in which Libby Purves interviewed four guests – Diana Moran, fitness expert; Jack Thorne, playwright; Dashni Morad, singer and presenter; and finally Omid Djalili, comedian and actor. For the purposes of today’s blog post, I was particularly interested in what Omid Djalili had to say.Omid Djalili

Talking about his own development into a highly successful comedian and actor,  he made the point that throughout his life he has always felt, on every level, part of a minority within another minority… and so on. That has informed his comedy.

I loved him in the film The Infidel when he explored questions of identity as well as the boundaries and prejudices between two major world faiths, Islam and Judaism. He was brilliant in his role of a man who had been brought up an East End Muslim then discovered he was adopted, and really a Jew.

The point he was making in the Radio 4 programme related to the topic of one of the chapters in my new book Perilous Path: A Writer’s Journey, in which I explore the feelings of someone else highly successful in the arts; this time, a bestselling author. And I feel there is a close connection between being in the minority in a minority, and feeling as if you’re always on the outside looking in.

The author in question is Howard Jacobson and he made his remarks in another radio interview, just after he’d won the Man Booker Prize.Howard Jacobson

Here’s that chapter, a taster from my new book:

ALWAYS ON THE OUTSIDE LOOKING IN: WHAT DOES A BESTSELLING NOVELIST HAVE TO TEACH ASPIRING WRITERS?

I was listening to a bestselling novelist (Howard Jacobson) speaking on the radio about his success in winning a major book award. Among the many things he said which touched and amused me, I was most impressed by the answer he gave to this question:

 “Now you’ve won this prestigious award, do you feel you’ve arrived? Do you now feel you’re on the inside?”

And he replied,  “No. I have always felt myself to be on the outside of everything, looking in.”

What a wonderful response the interviewer received to this question! And it seemed to me an authentic writer’s response. As observers of human life, this is what creative writers spend their lives doing. Often whilst researching for novels, we are on the outside looking in. We do not necessarily wish to ‘get involved’ or ‘drawn in’, although there are times when we must ‘come alongside’ those we observe, in order to truly understand.

This is especially true of those on spiritual journeys. To be a traveller on this path, you need an open mind and an open heart, and must be prepared to go anywhere and come in on anything. This does mean exploring other spiritual outlooks, other worldviews. This should be no contradiction to a spiritual traveller, whatever religion they belong to. As Rabbi Lionel Blue discovered, ‘my religion is my spiritual home not my spiritual prison’.

The great mystics have transcended religious boundaries in order to experience the presence of God beyond them all. So, how can we always be outsiders looking in? Or is it sometimes necessary to get involved, and come alongside? I believe both can co-exist simultaneously. There is, in fact, never a time when a writer is so fully involved, he or she cannot at some future time stand back and write it. Every experience, no matter how negative or difficult, can prove raw material for a writer because in the act of writing a story you are often drawing upon unconscious material. Novelist Margaret Drabble remarked that fiction writers are good at ‘turning personal humiliations and losses into stories … they recycle and sell their shames, they turn grit into pearls’.

I am particularly fascinated by group dynamics. And in order to learn about those you have to participate. But you can also observe. The truth lies in paradox. Thus the most successful creative people can literally be, in the eyes of the world, on the inside. Of course they have arrived! And yet they can still feel they are always on the outside looking in.

 

 

 

 

My New Book ‘Perilous Path: A Writer’s Journey’ Out Now

I’m delighted to announced that my new book is out now and available to buy on Amazon, both as a paperback and as an ebook.front-cover-only

Perilous Path: A Writer’s Journey is a short informative and encouraging book of 126 pages, giving an insight into the writer’s life. It will appeal to aspiring writers, keen readers fascinated by the subject of literary inspiration and creativity, and anyone interested in how fiction writers get their ideas and go about creating full-length novels.

How do you find courage and motivation when your novel sinks in the middle?

How do you stay focused as a writer through success and disappointment?

How can great artists, musicians and psychologists give you inspiration?

You’ll find the answers to these questions and many others in this book.

Each chapter is a short article based on original material I’ve previously published online in answer to FAQs aspiring writers type into search engines.

And I can certainly say that before I get back to completing my new novel ‘Director’s Cut’, I’ll read through ‘Perilous Path’ myself paying close attention, because I need to take my own advice!

Beta readers have said this about the book:

I found it fascinating to read how one new writer began to write,  and continued to self-motivate in her determination to achieve her goals – and how her faith provides example and inspiration.

Some of the articles contain ideas about writing that I haven’t considered previously; some of them are more like friendly reminders of things I already know, or focus on interests that (like many readers and writers, I imagine) I share with the author.

Reading the book felt like having a “friend in the room” giving advice and sharing her experience of the writing process.

 

‘It’s written in a simple and engaging style. It doesn’t go in depth into theoretical techniques but seems like an encouragement, even if you have writer’s block, and a reminder of things, some of which I already know. Other authors might have gone into a lot of detail, on many of these subjects, going on for 20 pages on one particular theory or technique – and I wouldn’t be interested in reading that. But SC Skillman has written this in such a way as you feel you have a friendly guide on your shoulder.’

The book costs £4.74 for the paperback and £2.42 to download on your Kindle.

And if you do read and enjoy it please remember to leave a review on Amazon!

 

 

 

 

Cover Reveal of My New Book ‘Perilous Path: a Writer’s Journey’

I’m delighted to reveal the cover design of my new book which is due out soon:final-cover-design-jpgThe cover was created by graphic designer Annabelle Bradford.

Perilous Path: a writer’s journey is a short non-fiction book (106 pages) which will be available both as a paperback and also as a Kindle ebook.

It’s in the Self-Help / Creativity category and it’s for aspiring writers, keen fiction readers fascinated by the subject of literary inspiration and creativity, and anyone interested in how fiction writers get their ideas and go about creating full-length novels.

Here’s the blurb:

How do you find courage and motivation when your novel sinks in the middle?

How do you stay focused as a writer despite all the setbacks and disappointments?

How can great artists, musicians and psychologists give you inspiration?

You’ll find the answer to these questions and many others in this book. SC Skillman offers deep insight into the faith and hope that is vital for one who walks the perilous path into the ‘promised land’ of the writing profession.

Every chapter is an article previously published on the author’s blog Inside the mind of a writer, in answer to FAQs aspiring writers type into search engines.

For a sneak preview of the book, you can read one of the chapters in full here.

 

I Have a New Book Coming Out Soon

I’m pleased to announce I have a new book coming out soon, this time non-fiction.aps-on-bookshelf-at-kenilworth-books-13-feb-2016

It will be a short one, 100 pages, and  will be available in paperback as well as an ebook.

I’ve written it for all those who’d love to know  about the process of writing novels: whether they be aspiring writers, or simply keen readers who are curious about how novelists think up their ideas and go about creating fiction from them.

Here’s a taste of some of the topics I’ll cover in the course of the book:

  1. Universal themes in fiction
  2. Strategies to develop creative and imaginative writing
  3. How to create a novel that your readers won’t want to put down
  4. Three tips for creative works of realistic fiction
  5. How to know which point of view to use in a story
  6. How to develop villainous characteristic traits in your writing
  7. How can Carl Jung’s theory of archetypes help you in your creative writing?
  8. Inspiration for creative writers from artists
  9. Suggestions for writing the end of a novel
  10. Always on the outside looking in – does a bestselling novelist have a lesson to teach aspiring writers?

Each topic has a chapter to itself, and the book contains 33 chapters.

 

Here’s the blurb to whet your appetite:

How do you find courage and motivation when your novel sinks in the middle?

How do you stay focused as a writer despite all the setbacks and disappointments?

How can great artists, musicians and psychologists give you inspiration?

You’ll find the answer to these questions and many others in this book. SC Skillman offers deep insight into the faith and hope that is vital for one who walks the perilous path into the ‘promised land’ of the writing profession.

More soon when I’ll let you know the title and give you the cover reveal!

 

 

 

 

 

 

 

 

What the Tide at Lindisfarne Has To Teach a Creative Writer

During my visit to The Holy Island of Lindisfarne last year, I sat on the shore by the Lindisfarne Causeway and watched the tide come in and cover the road.20160821_150524

Here are my insights – and a few images – from that experience.

Sitting at the end of the causeway and watching the tide come in is one of the activities suggested for you here Give Yourself a Retreat on Holy Island by Ray Simpson.  It has many benefits and can be quite amusing as you watch cars driving along the road well outside the safe crossing time, and wonder whether they’ll soon be floating away. This too can be a good prompt to reflect upon the quality of patience.20160821_151028

It’s also a challenge to your ability to sit quietly for an extended length of time and meditate; to some it can become boring. We sat with several other people, some of who left early, but we stayed till the water was surging across the road.

I found myself thinking of the High Tide of God; sometimes it comes flooding in over the road and then you may not pass. At other times, it is out, and your way along the road is free.20160821_165105

Of course, you can interpret the tide differently, reversing the meaning.It all depends upon the viewpoint you take; whether you see yourself sitting on the shore, or whether you see yourself as a boat, or as a bird skimming the waves.  Instead of equating the tide with a signal that you must patiently wait, you can equate it with a time for fruitful action. That is how Shakespeare interpreted it when he wrote:  There is a tide in the affairs of men which taken at the flood leads on to fortune. 20160821_165650

So even non religious people can sit here at the end of the causeway and take from this their own reflections on life.

Whichever way you view it, the whole experience is full of symbolic meaning, which you can also explore in this book: Sacred Spaces by Margaret Silf.20160821_170245

My personal reflections for my own life, work equally well when applied to the current world scene.

I believe, with Tolstoy (see my previous blog post here) that “the times produce the man”; and currently, those who voted Trump in as President hold the moral responsibility for elevating him into a major role in their society. The tide in the affairs of men, that Shakespeare referred to, has thrown up this situation… and though many hold different views, perhaps we must just wait for the tide to recede, taking with it all the flotsam and jetsam.20160821_172909.jpg

Curiously, you can apply this principle to the writing of novels too. Sometimes you find you have a major character in a minor role, and vice versa.  This can underlie problems with story-writing when you get stuck, and perhaps you can’t initially work out what you’re doing wrong.

And also you can equate creativity with the tide; the high tide of ideas. As the tide surges in, so can our ideas – but only if we get to work.

And lastly we, as writers, can see the tide as Shakespeare did: a tide of fortune. Are we boats, or birds, or perhaps merely foam on the crest of the waves? We may be a beautiful beached fish, just waiting for the tide to sweep us up again.  However we see it, we can learn many things from sitting patiently at the end of the causeway, and waiting and gazing.

 

Staying Focused as a Writer: Learning From Leo Tolstoy

Leo Tolstoy, the author of the novel widely regarded as one of the world’s greatest, War and Peace,  not only crafted characters we love and  care about – Pierre, Natasha, Anna Karenina, and many others – but was also fond of sideways excursions into his theory of history during the course of a novel. war-and-peace-bookSo during War and Peace he gives us his theory of the rise of Napoleon on the world scene.

Some may read War and Peace and skip those passages but when I read the novel as a teenager not only did I love and identify with Pierre, and become emotionally engaged with his hopes and longings, his mistakes and wrong choices, but I eagerly devoured those passages of historical and philosophical theory.

In one of them Tolstoy, writing about Napoleon, states that the times produce the man. This observation, incidentally, is borne out by the situation  we find right now; the times have produced the man, Donald Trump, to lead the so-called ‘free world’ – as it is currently known, but may not be for much longer. Individuals may choose to be outraged that the American public has voted a man of Trump’s moral character to be their leader. But they are discounting the tide of history, and the spirit of the times. However my purpose here isn’t to discuss politics but to discuss Tolstoy’s impact on me as a writer and to show how this applies universally to writers.

Tolstoy takes as an example our inability to sense earth’s motion. He wrote that on learning of and accepting the laws that govern the movement of the planets in space,  we had to say, “True, we are not conscious of the movement of the earth but if we were to allow that it is stationary we should arrive at an absurdity, whereas if we admit the motion we arrive at laws.” Likewise in history we must say “True, we are not conscious of our dependence but if we were to allow that we are free we arrive at an absurdity, whereas by admitting our dependence on the external world, on time and on causality, we arrive at laws.”

Just as we have had to “surmount the sensation of an unreal immobility in space” and “recognise a motion we did not feel, …. so in history the obstacle in the way of recognizing the subjection of the individual to laws of space and time and causality lies in the difficulty of renouncing one’s personal impression of being independent of those laws.”

So with the tide of events in human affairs, and in our lives,  it is similarly necessary to “renounce a freedom that does not exist, and recognise a dependence of which we are not personally conscious.”

I first read those words as a teenager which was when I first read War and Peace, and they have stayed with me over the years, as words from a truly great writer do.

I think they apply specifically to the writing life and also to life in general. We may feel very isolated as writers, especially “indie” writers; and yet every so often we recognise that we are not alone, and instead are part of something much bigger. I believe individual freedom is a concept much abused and misunderstood; we are dependent on a tide of events in the world.  (I’ll come back to this subject in at least two later blog posts, when I’ll consider the concept of Small is Beautiful, and when I reflect upon the tide at Lindisfarne sweeping in to cover the causeway).

Meanwhile, may I encourage you to read War and Peace if you haven’t already, and not to skip the passages when Tolstoy reflects upon the tide of history.

The Gatiss/Moffatt Post-StoryTelling World of Sherlock

We’re familiar with the phrase postmodern and more recently with the notion of post-truth. benedict-cumberbatch-as-sherlockBut now I think, for writers, it is true that there is a post-storytelling phenomenon – which moves beyond and over-turns current rules. And it’s illustrated in the scripts that Steven Moffatt  and Mark Gatiss create for their TV drama series Sherlock.

It is now becoming more and more acceptable for audiences, on first viewing, to be confused by a story, but to stick with it for the sake of their love of the characters. This is certainly true of the most recently aired Sherlock episode: The Final Problem  which presented a great challenge to the brilliant acting skills of Benedict Cumberbatch, Martin Freeman and Mark Gatiss.  Clues as to what is or might be going on are planted in the current or the previous episodes, and because audiences can now view the episode many times, story-tellers are exploring new territory to take advantage of this.

Moving seamlessly between what’s in the mind and what’s actually happening in the physical world, Moffat and Gatiss break genre expectations (for which I here use the word rules – for so long as they can be deemed to exist) to involve their characters in events in the physical world whilst they remain free of the natural consequences, by some means which is not clear – other than through the clues I mention above. The popularity of the story of the modern Sherlock Holmes and John Watson itself seems to justify the transgression of the rules – or the pushing of these rules to their extremes – just like the characters themselves.

We saw Moffatt and Gatiss work brilliantly with a terrifying metaphor – a little girl the sole conscious person on board an aeroplane in mid-flight, needing to be talked into landing the craft. This was very archetypal and the stuff of nightmare, and a powerful metaphor for a small child under stress. But it’s not clear until the very end that this scenario is not happening in the physical world, but it is a metaphor, and in the mind.

However in one respect the story-telling remains strictly true to the original Conan Doyle stories – Sherlock’s ability to take things to an extreme pitch of personal danger to himself and to those closest to him, and then to emerge from it calm, self-possessed and in control. He does that in Conan Doyle’s original story The Adventure of the Dying Detective, where Watson is convinced Holmes is dying from a dreadful Asian disease, but when Holmes has secured the villain’s confession, and Inspector G. Lestrade has walked in, the “dying” Holmes suddenly transforms to his normal self and says, “All is in order, and this is your man.”

I remember well how I felt when I read that story – I was every bit as gripped by that as by watching the latest Sherlock episode on TV. So the Moffatt-Gatiss Sherlock is true to the original in this respect. Moffatt and Gatiss are replicating this factor using very impressionistic stylistic techniques made possible by today’s film/TV technology.

The very essence of Sherlock Holmes’ intellectual genius is his ability to make cool, measured calculations based on reason, whilst in a situation where the majority of people would be undermined by tumultous emotions. But right at the centre of The Final Problem, is Sherlock’s discovery not of his intellectual genius, but of his heart. The appearance of Lestrade at the end and John in the blanket is so reassuring and comforting – “order is restored, John’s in a blanket just as Sherlock was in the very first episode of all,  A Study in Pink…. and Sherlock has saved him through supreme reasoning powers allied to his loyalty – and he has told Molly he loves her (twice, and sounding genuine).” So Sherlock has a heart. If he had a choice to live without John’s friendship and loyalty, or to live without Mycroft’s power and intellect, he would choose the second; and when no words could be used to communicate with his profoundly damaged sister Eurus, he alone communicated with her – using his violin.

I read a very telling admission in an interview with the two writers: they say of their character Sherlock “everything he has worked towards, everything he has tried to get away from in himself and deny about himself, is what makes him strongest.”

All in all – on first viewing we are confused, but still electrified – and we love and care for the characters more than ever.

 

 

 

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