ESSENTIAL DIVERSIONS by Penny Dolan

One thing I’ve learned, when my writing worries weigh too heavily, is that getting away from my own wretched words really lifts my spirits.

An escape can be as simple as a walk through a green landscape: there are plenty of writers who consider a daily walk part of their routine, especially those living in lovely landscapes. Galleries and museums and other interesting places can be useful too, but one of my favourite ways of escaping is hearing other artists talk about their work and worlds. However, even as I pretend I’m simply out a-visiting, the old writing engine still runs on in the back of my head, eager for answers and similarities and ideas.

As the talk continues, I hear or see something and think“Aha, yes, that’s it! That explains it! It’s not just me, all alone!” And that, I find, is a cheering thought when one is wallowing, stumbling or inching a way through an awkward work in progress.

So, in this post, I’m sharing a few recent “Aha!” moments although, as some were scribbled down in the dark, please consider these notes rather than perfect quotes.

 

Posy Simmons, illustrator,

speaking at a retrospective exhibition at our local art gallery.

Posy Simmonds works at making her characters visually believable. She uses sketches, personal photographs and other sources to develop exactly the right stance, gesture and facial expressions of each character. The face, she said, was important because it showed a character’s intentions and reactions. Interestingly, an A3 sheet in display showed how sketches of Princess Diana’s photograph had developed into the seductive sideways glance of Gemma Bovary: I recall recognising the meaning behind the look but not where I’d seen the glance before.

- Going back to my writing, I have resolved to see if my characters do make strong enough visual pictures and also if they have been given more than “one recognisable key gesture per person” model. (Don’t ask.)

- I also admired the freedom that large pads of paper allow for scribbling and drawing and dialogue: well worth trying more than I do.

There was also 

 

Charlotte Graham, press journalist photographer,

speaking at the local Photographic Society.

“My photographs aren’t perfect, but the editor knows I’ll get the picture to them fast.”

- Sometimes, we worry about creating the perfect manuscript when what’s needed is to get the idea out into the world.

“Look for where the light is going to fall.”

- Or, as I heard it, when visualising a scene, to think of the light within that space, to make more of the mood and atmosphere and focus of the written scene.

“You need sharp elbows to get to the shot.”

- The book world is crowded so look for opportunities, and get yourself going after you’ve had a setback.

“And they rang and asked “Can we use that picture for free? We are a Charity, you know.” So I said to her “Are you paid a salary? Well, then . . . ” 

- So many artists will recognise this stand-up-for-yourself moment.

https://www.charlottegraham.photography/

 and finally

Sir Ian McKellen, actor,

during the NTLive screening of King Lear.

At the end of his brief, beautiful introduction to camera, McKellen spoke:

“You, the audience, are the people who write the play. The actors just present the words for you . . .”  which reminded me that though we writers present the words, it is the reader who makes the book live.  

Besides, there was the wonderful sense that McKellen is conscious that he is telling you a story, that he and the other actors are speaking this story together. 

An additional joy was the casting of Sinead Cusack as the loyal Kent, usually played by a big, bluff man.  She brought a warmth to what's often a blustery role and gave the play a fine new perspective. Time to look at exactly how I've cast my story, perhaps?

Such moments tell me things I already know: they are also things that, from staring too long at the WIP all by myself, I may have forgotten.

Such gaddings-about are, in fact, essential diversions.

Penny Dolan