Uncategorized

Andi Says RELAX

 

 

When people ask me what my main strength is, I don’t tend to say writing. I tend to say enthusiasm. I am like a child. Give me a task and I’ll see an adventure. On the right day, I may even jump up and down and clap my hands. I love what I do. I love writing, teaching, reading, editing and helping people learn to harness their gift. But goddamn, it’s exhausting sometimes.

Creative Entrepreneurship teaches us that, as artists, we are likely to get our wages from a variety of income streams. The more strings to your bow, the more you can make. Now, I’m not saying a 9-5 isn’t exhausting, but this whole multiple income streams business makes me look like I’m vibrating on a different frequency. You have to be able to switch between projects pretty quickly, as well as travelling, planning, executing, arranging and looking out for new opportunities whilst making sure you don’t lose the ones you already have. Plus there’s social media, which can’t be ignored. What’s the point of doing all this work if no-one knows about it?

polar bear

I wasn’t this exhausted when I worked a PAYE job, and worked for myself part time. And I got up at 5am most days.

This is the question: Should we do many things, and do them well enough, or do a few and do them brilliantly?

When you split your income stream, you split your focus. If you have to teach to make more money immediately, then the novel gets put on the backburner in order to plan a lesson. Do we end up prioritising away the whole reason for this lifestyle?

When your job splits down into five or six different jobs, and then you consider the average tasks that come with being a human- paying bills, grocery shopping, socialising, doing laundry, going to the bank….how do we ever get stuff done?

I think I’ve found the answer. Or rather, I’ve known the answer all along, I’m just incapable of sticking to it:

CALM THE HELL DOWN.

Frazzled, exhausted minds do not do good work. Unless you’re Hemingway. Or Kerouac.

If we are our own boss, we need to treat ourselves nicely. We need to know when to switch off the laptop, put down the pen, turn off the phone, and STOP WORRYING. We need to sleep well, eat good food, exercise. Spend time thinking about things that aren’t work. Stop thinking that we’re not going to survive if we don’t do it ALL RIGHT NOW. Make plans with friends and stick to them, prioritise them over the chance to make a little more money.

976

 

I’m terrible at this. I’m an overachiever, right until I burn out and spend weeks feeling ill and depressed. And then obviously it’s so much harder to get back to work with that attitude. Balance. That is what we need, and what I’ve been searching for. We all know the basics: Eat well, exercise, work, learn, socialise, have fun, create, sleep.

I used to think the busier I LOOKED, the more successful I was. This isn’t true. You think you’re juggling balls and spinning plates like a pro, when actually you look like a run-down jittery maniac running on coffee and determination. No-one approves of that person, because their work is destroying them. That’s not smart.

never wear socks to the beach - working holiday rules IWH

So, next week I will be on holiday. Problem being I’ve already agreed to do a proofread on a client’s novel and set myself the task of polishing up one of my novels for perusal by an interested publisher. So I’ve pretty much just agreed to sit doing two weeks worth of work in 5 days. Why did I do that? Because I looked at them and thought ‘Ooh, those days are free!’ THAT IS THE WAY THEY’RE MEANT TO STAY. My holiday is usually for reading and writing, but in a non-uniformed, enjoyable and open way. No goals, just fun. And I’m not saying I won’t be sitting there with a cocktail in hand whilst I do it, but the lesson has yet to be learnt.

We need time to ourselves, to heal and reboot and relax. So I hope you can learn from my mistakes!

 

Uncategorized

What the Bloody Hell Am I Writing About? (and other questions from a self-loathing writer)

 

Writing a synopsis is a bitch. Anyone who has had to write one will know this. You’ve written an entire book. Finally, you’ve finished something that doesn’t send you into the corner of your writing room, rocking back and forth in disgust and fear, and now you’ve got to explain what you wrote?

Well, how the bloody hell should I know what I wrote? I just wrote it! Sure, I had themes and ideas and concepts. But none of these turned out exactly the way I thought they would, and as each of my ideas developed and matured, so did my characters and what they meant. And sure, maybe I had a ‘message’ to begin with, but after you’ve edited 60,000 words a good few times, you start to think maybe you had no message, no idea, no clue as to what you were saying, and the characters themselves did all the hard work.

So what does this mean for my work? 

Well, I’ve got to tell you, I’m pretty damn good with spin. You want me to write for advertising, to make something sound amazing. I’m there for you, my friend. You want an outraged letter focused on the school system? I gotcha with the outrage. But selling my own stuff? Oh jeez, well, I just couldn’t! It would be far too much like boasting. And that’s not English at all.

But, we are Creative Entrepreneurs (or trying to be) after all, and selling yourself (no, not like that) is all part of the game. So, sure, if I was to sum up my writing, it’s usually very easy, and I’ve defined it this way many times before:

I write about drugs, love, sex and death. Not always in that order.’

It’s snappy, isn’t it? Except my debut novel Wine Dark, Sea Blue is not just about that. It’s about family connections, and being a different person for your friends and family until you don’t know who the ‘real’ you is at all. It’s about being scared of attraction, of not believing you’re worthy of love. Of being haunted by memories and nostalgia until you’re convinced all you can do is follow in the footsteps of your family, no matter how many mistakes they’ve made. It’s about trusting your friends, believing in strangers and eventually, letting the past go. It’s about things not being perfect or even being fair, but about finding snippets of happiness where you can.

Sounds intense, right? Alternately, it’s about ‘one-night friendships’, how happiness can be chemical, ecstasy and clubbing till the early hours, Camden pubs and Hampstead Heath on Sunday morning. It’s about boys with blue eyes, and best friends who break your heart. It’s about how that person you first loved never really leaves and that terrible moment when you realise that your parents might be flawed people after all. It’s about graduating in a recession, about trying to make art in a world with no funding, when your family think you should get a ‘real’ job. It’s interning for no money, slaving for no reward, and rewarding yourself with a bottle of wine and a joint.

It’s about family and friends, happiness and chaos, drugs and love and sex and death and everything that makes us who we are.

So only one question remains:

How the fuck do I turn that into a synopsis? How do I sell what I created, with the intense complexities of what I think it’s about, versus what it may actually be about? This is where I used to get irritated during English lessons, and in lectures. Someone writes something, and then we sit around talking about his or her intentions, coming up with themes in the book that may never have even been there. We apply a critical view, some theory to how to interpret a text, when really, the author might have just thought it was a good story.

Or, more likely, was cowering in fear in the corner, wondering why anyone agreed to publish them, because they had no message and nothing to say.

I did a terrible thing last week. I read an article where some writer guy said something along the lines of ‘I don’t understand people who get writer’s block. If you’re a writer, get on with it. I have no time for people who sit around and bitch about it.’ (I’m paraphrasing)

My first thought was ‘what a dickhead’. My second was ‘hmm, well, he’s published, maybe he’s got a point. It is better to get on with it rather than be a self-loathing cliche’ and then the next day I did a horrible thing: I said the same thing. To a group of writers and artists. And I felt like a tool.

Because it’s hard, putting your work out there. It’s akin to giving birth and then walking around wondering if someone’s going to walk up to you and say ‘boy, that’s one ugly baby you made there!’ No-one does that with babies. Because they’re people. But they do with books. Especially now that the internet means we can publish our every scathing thought with no regard for what the creator might be feeling.

So there’s my little worry. Encapsulating something big and wondrous that you’re proud of, but simultaneously almost ashamed of, and defining it as something. Something that exists, in the world.

The only thing I can do is turn to the people I trust, and ask what they think I meant. Whether they’re writers, readers, editors or friends- they’ll see the message in the text. Because just as we look down at our newborn baby with the huge ears or crooked nose, we still can’t see anything other than our own egos. But our friends, well, they’ll see the ears and the nose, but still find the beauty somewhere.

 

Note: Also, an advantage of creating a book over a baby is the ability to edit. And that a book isn’t likely to inherit your father’s crazy eyebrows. Win.