Diving In: Writing and How to Get Started

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I read so many pieces of writing advice about planning your work, plotting and figuring out each chapter before you begin but I would like to propose just diving in. Some of my best work has been a blind journey into a world where there is no clear plot or outcome from the beginning, and in many ways it provides a freedom to explore and to let a story unfold.

E.B. White in an interview with The Paris Review on writing once said that,

“A writer who waits for ideal conditions under which to work will die without putting a word on paper.”

I think he had a point in that we often wait, procrastinate, ponder, ruminate. Add any other word that fits and you have a writer who is too afraid to begin. The problem is that time is short and every day that passes is an opportunity for you to delve into a new world of words. I say this to encourage rather that to thwart the plans of those who truly like to plan. But I know that there are those who also wonder whether they can write if they don’t have a plan, an MA in Creative Writing, a bestseller to their name or any other reason to add to the list. Diving in can bring with it a freedom from the confines of your own expectations.

Imagine diving into a huge pile of leaves. There is something in us as adults that stops us, tells us it’s not the done thing and that it’s for children. Imagine the freedom of just plunging onto a freshly swept pile of autumn leaves. Then imagine putting fingers to the keys or pen to paper and writing one word at a time until you find yourself in a world entirely unexpected and intriguing, a world where the rules have changed and where new characters appear. For me this is part of the excitement of writing, and part of the freedom.

Dive in!

Photo: miquilter.blogspot.com

Writers and Their Creative Spaces

Some of you may have noticed the blog header change. It is a photograph I took of  W. H. Auden’s desk and typewriter at his summer house in Kirchstetten, Austria, not so far from where I live. The previous header was an image of his bookshelves which are upstairs in his study. I visited Auden’s summer house last Autumn, just as Take Me to the Castle was about to be released and just as I began to creep into the world of social media as a writer. If you searched for F. C. Malby prior to September 2012, you would not have found a thing.

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W. H. Auden’s study in the upper rooms of his summer house – Kirchstetten, Austria.

I have been interested in writing spaces for a while for several reasons:

They form the inspiration for the work of each writer, whether the space is a small desk in the corner of a room, a pocket of a cafe, a library, or a large wood desk in a grander room. Writers are natural sponges of their immediate surroundings – the views, the conversations, small objects or buildings. All of these things help to form the ideas which swirl around in our minds.

They are a slice of history. Visiting this beautiful house in a remote village, where Auden penned gems such as Stop all the Clocks, I felt a sense of anticipation as I scanned his bookshelves, coffee pots, vodka bottles, memorabilia, even his slippers left by the chair. It was almost as though he could have walked into the room at any moment. Everything he read and used has been left as it was and turned into a small museum. I sat in the chair by the desk and looked out of the window wondering what he might have thought as he looked out towards the woods.

The books say much about the author. Auden had a small selection of his own books in amongst shelves of writers such as Wodehouse, Shakespeare, Twain, Waugh, Keats and Golding, as well as a collection of atlases and books on psychology and philosophy. I looked at the books closely because I believe that what each writer reads will influence his or her writing and style to a great extent.

I have been to the Isle of Jura on the West coast of Scotland but have yet to visit the rented house where Orwell penned Nineteen Eighty Four.  He apparently worked without electricity or running water on a remote end of the isle.

If you are interested in finding out more about writers and their creative spaces, I have a board on Pinterest of well known writers, with many in their work environment.

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Agatha Christie’s study

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Sebastian Faulks’ garden work space

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 Jane Austin’s tiny walnut table

Agatha Christie surrounded herself with art. I also find art galleries a source of inspiration for some of my writing.

Beatrix Potter surrounded herself with animals as she wrote and illustrated her famous Peter Rabbit books.

E. B. White worked in a boathouse. Imagine the waves lapping against the boathouse walls as he wrote and a view into a horizon where the ocean meets the sky.

Sylvia Plath took her typewriter in the great outdoors, sitting on a stone wall with her typewriter balanced on her lap.

Louise de Bernieres writes in a shed in the garden over looking a vegetable patch with a view of pheasants, listening to music.

Sebastian Faulks uses a small room fifteen minutes from his house. He has a small cameo of Tolstoy that he bought in his house in Moscow and a bronze relief of Dickens. For each book he invokes a sort of patron saint. For A Week in December it was George Orwell.

Jane Austin worked on a fragile 12-sided piece of walnut on a single tripod, which must be the smallest table ever used by a writer. She established herself as a writer whilst working here after a long period of silence. Her early novels had been written upstairs in her father’s Hampshire rectory.