Inside the mind of a writer www.scskillman.co.uk

Archive for the ‘Writing’ Category

New Cover Design Coming for Edition 3 of Mystical Circles To Be Published by Luminarie on 31 August 2017

Mystical Circles will be published by Luminarie in a new third edition on 31 August.

Instead of the present cover, it will have a new cover created by the designer behind the cover of A Passionate Spirit.author SC Skillman at booksigning at King Edward VI School Christmas Fair SUA 3 Dec 2016

The cover design will be darker and more mysterious than that for edition 2, in keeping with the tone of the story, and will harmonise with A Passionate Spirit.

Both novels  share themes of psychological tensions, spiritual threat, religious cults, paranormal, and shape-shifters; and both are set in the same Cotswolds manor house. Although each story can be read and enjoyed as a stand-alone, the second does follow on from the first, and draws through a couple of the characters who appeared before. So to demonstrate more clearly the connection between the two, a thematic relationship will be seen in the two cover designs.

More later when I’ll be able to give the cover reveal!

In addition my book of encouraging  tips, insights and reminders for writers, Perilous Path: A Writer’s Journey, will be published in a second edition with Luminarie, on the same date – 31 August 2017.

The new edition of each of the above books will be available as a paperback and as an ebook. Mystical Circles paperback will be priced at £8.99 to bring it into line with A Passionate Spirit, and Perilous Path will be available for £4.99.

Meanwhile I’ve reached 70,581 words in my third novel, Director’s Cut. This will continue the themes of my first two novels, with a strong emphasis on modern Gothic. I know the way the story is to end – but my main antagonist is more frightening, subtle and cunning than those in my first two novels, and the power struggle with the chief protagonist is nearing that ‘black moment’ when it seems all is lost. I still don’t know how she is to survive or to prosper, through the things she will learn from this encounter.Expectations (2)  Perhaps that’s the best way for it to be, when creating a first draft; to maintain a dynamic relationship with the characters and their inner worlds, there must be a strong element of uncertainty. If the author is to defeat the reader’s expectations, she must first defeat her own!

 

 

Find Me on the Authors Stand at the UK Games Expo 2017 in Birmingham

From 2nd to 4th June 2017 logo for UK Games Expothere will be a big event for games players and lovers of fantasy, thrillers and roleplay at the NEC Birmingham.

There’ll be four authors at the Expo, of whom I am one. Click here to find out more about the authors Jonathan Green, Richard Denning, Gareth Baker and myself.

You’ll find us on Stand F11.

We’d love to see you at this exciting event! Click here to find out more about the show and how to book tickets.

Joan of Arc: Mystical Experiences and Empowerment

The other day I saw an encore screening of George Bernard Shaw’s play “St Joan” from National Theatre Live.St Joan National Theatre Live I studied this play at university. Then, as in my recent viewing, I was entranced by the character of Joan herself, and by the words Shaw puts into her mouth.

Joan has  special resonance for me because when I was young, as a member of a children’s choir, I sang in a performance of Honneger’s “Joan of Arc at the Stake” – an oratorio with words by Paul Claudel, a Catholic poet. The performance was at the Royal Albert Hall; Mia Farrow played Joan, and Andre Previn conducted the London Symphony Orchestra. We sang the part of the children of Lorraine.

The character of Joan had a strong impact upon me. I remember several words from “Joan of Arc at the Stake” and they are largely from Joan herself, in which she described her visions and her mystical inspiration, in terms that totally encompassed their reality.

To me the central thing about Joan of Arc was “empowerment”.

Joan was an illiterate peasant girl who claimed she heard a trio of saints speaking to her; and on the basis of this she believed God wanted her to lead the French army to fight and defeat the English, and place Charles II on the throne of France. In 1431, when she was nineteen years old, the English led by the Earl of Warwick tried her on numerous charges, one of which was blasphemy, and sentenced her to be burnt at the stake. The part of the saints were sung by soloists in the music drama; and I felt that Paul Claudel  handled the whole work from the viewpoint that Joan’s experiences were real.  The work has been accused by critics of being several things, including weird, bizarre, sentimental and heavily Roman Catholic, but I loved it, just as I love Elgar’s “The Dream of Gerontius”, another musical work which has in the past had the same accusations levelled against it.

When I reflect upon Joan and the fascination she holds for me, I see her as someone who was marginalised, who had religious experiences which empowered her, and who refused to be controlled by her circumstances:

  1. Whether or not a postmodern assessment concludes that her ‘voices’ may be accounted for by mental illness – perhaps schizophrenia, or psychosis –  she definitely had profound religious experiences.
  2. She acted upon these experiences.
  3. She derived from them courage, strength and vision to prevail again huge male-dominated interests in Church, State and Army. Both Shaw and Claudel show her as clear sighted, strong and single minded against her powerful interrogators.

I think of similar cases of young girls and women who have had profound religious experiences which then impact the future course of their lives and the lives of many others:  Bernadette of Lourdes, St Therese of Lisieux and Julian of Norwich.

Part of the fascination of these individuals to me is that between them they usually demonstrate one of a number of recurring features, which tend to marginalise: these elements include being young, female, poor / of peasant background or illiterate; and suffering from serious illness, whether bodily or mental. Another element that often appears is the gift of healing. There are many other examples, of whom a good proportion have had visions or extraordinary powers of insight, on the basis of which they have gained enormous influence, and have captured the imagination of future generations.

What do you think? Can you offer other examples of young female visionaries who have had a big impact on the world and may have captured your imagination?

 

The Laborious Art of Book Writing

I love this post by Lucy Mills and it echoes my own thoughts about the process of writing a book. Lucy is writing an inspirational book, not a novel, but she describes an experience common to all those who throw themselves heart and soul into writing a full-length work for publication. Lucy refers to the revision process; but I can testify that even getting that first draft written presents the same challenges. It can be compared to an artist, covering the canvas before they can begin to work on the details. Do read and comment on Lucy’s post.

Lucy Mills

“Reading through…I think it’s OK…so hard to tell when have seen it so much…but it might be OK, after all…If I can fix a few things and fill a few holes, I might even be pleased, in the end…”

I wrote those words on a recent Instagram post.

I’m still writing the book, balancing it with other editing work, which is proving an exercise in drawing lines, even more so than I already do.  Deadlines do have a tendency to congregate and with every new demand in my editing job, I have to take a deep breath and not panic.

Panic is the worst thing for creativity, for me, at least.

Undivided Heart is developing its personality and it won’t be taken lightly, taking me into deep questions of identity and meaning. I only hope it manages to balance the ‘depth’ with readability.  I continue to plug away at it…

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Whatever Happened to Small is Beautiful?

In 1993, E.F. Schmacher published a book entitled Small is Beautiful: A Study of Economics as if People Mattered. Small-Is-Beautiful-CoverIt was well received, and promised a potential revolution in ideas for capitalism and for the consumer society.

Recently I saw a plea from a Christian charity for us to invest in poor (“small” in economic terms) countries and help them develop their economies within their own culture. The benefits of this will radiate out to encompass all of us. The truth behind this is one that philosophers have clearly seen and expressed (in particular John Ruskin) yet it continually seems to bypass the greedy, the corporate, the leviathans of our consumer society.

I found myself relating it to the situation of the “indie” author.  Our society does not yet fully honour the idea that it is good to invest in small indie writers and help them in their businesses (comparable to “cottage industries”) and to develop within the ethos of their own culture. Instead “indie” writers are often made to feel that the only way they can ever progress in a meaningful way in their literary careers and move forward and make a breakthrough is by gaining the support of someone big, i.e. to link up with and/or become subsumed by one of the “Big Five” publishing houses. It’s all about empowerment.

I’d love to know your views on this. If you run a small business or if you are self-employed, either as an author or otherwise, how do you feel?  what is your experience of ‘small is  beautiful’?

What do the Secrets of the Australian Swagman Have to Say to Creative Writers?

“Ashes are much hotter than flames”.Picture of an Australian swagman by George Washington Lambert - Sheoak Sam, 1898This is an observation I heard online a few months ago, and you’d think, OK, what does that have to do with creative writers?  Well, let me take you to the Australian Outback to explain.

The ‘swagman’ of Waltzing Matilda fame traditionally goes walkabout through the Outback of Australia with only 3 basic foodstuffs in his tucker bag: onions, flour and golden syrup.  That’s so he can bake the essential carbs portion of his diet, damper, in the ashes of his fire, (to eat later with syrup) and also the onion, an indispensable companion to the ‘jumbuck’ that he’s poached from whichever sheep-station he happens to be passing through.

Here is the process of making damper, demonstrated by a honorary ‘bushman’ / exponent of bush-craft (alias a friend of my sister’s then living in a caravan in Stanthorpe, Queensland), a process which my daughter Abigail photographed while we were in Australia in 2007:

So what does this have to say to creative writers?

Simply this: writing a novel can be like making damper from scratch in the Australian bush. You gather together your basic requirements; wood for a fire, pot to make your damper in, flour and water, and off you go.  Your fire must be just right; no more flames, but nice hot ashes, ready for the cooking. The pan is placed on the ashes and heated up ready to take the mixture, and for the lid to go on. Then the pan is covered with hot ashes and left to cook. the hot ashes are later swept away with a sprig of greenery. Every stage of the process requires careful attendance and skill. And finally you have your delicious result, ready to be devoured. But first you make it more palatable by putting golden syrup on it.IMGP0807 eat and enjoy!

Just so do you gather your raw material for a novel in your mind, your life experiences and observations, your characters, their life-histories, your plot, your skill with words, and then you go about mixing them all together, through several drafts, each stage  carefully attended to, so that your end result is just golden brown, and not burnt nor soggy. And then even when it’s perfect, it may be it needs that extra touch, with the syrup on top ie. the final polish.

 

 

 

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.

 

 

 

 

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