Last night was my third reading in a week, returning to Verbalise in the Brewery Arts Centre in Kendal. It was a quieter night, after a couple of busy ones, but I enjoyed it. I read from The Hollows for the first time – a draft piece about exploring something like a haunted house, which was a lot of fun to read. I also brought out a couple of older pieces for the first time. Books Like Grains Of Sand and Tank Trap are both flash stories in Marrow. I’ve never read them before, as I’ve always thought they were too weird, too abstract for performance. But after what happened with Dora and The Sea Tiger this week, I also wanted to draw a line in the sand for myself – to remember that magic and wonder is why I write. I’m not going to be scared of reading those pieces anymore. And in the end, I think they went better than I’d dared to hope. I’ve felt just slightly off the boil with my last few readings, but I enjoyed last night a lot. Dora’s given me courage.
I also sold three copies of Marrow, which was lovely – I now have fewer than ten copies for sale, so if you want one, get amongst it while you can.
Next gig is at the end of the month in Lancaster – Working Title in The Three Mariners – be great to see some of you hobbitses there.
Last night, I had the second of three gigs this week, supporting Joan Shelley at Penrith’s Old Fire Station for Eden Arts and New Writing Cumbria. I rattled through new stories, Marrow stories and selkie stories from The Visitors. I think it went OK. I always misplace my critical faculties while reading. I simply have no sense of how it’s gone across, whether people have liked it, hated it, how long I was reading for – nothing. But I think, I hope, it went well. Here’s the space and me wittering on about something:
The headline act was just fantastic. Joan Shelley’s low-key, heart-rending folk and country songs were absolutely wonderful, at once crystalline and compelling, delicate and beautifully raw. She was joined by multi-instrumentalist Colm O’Herlihy for a few pieces, bringing new depths into the sound. Banjos and guitars, foot taps, a box of harmonic tones. It was mesmerising.
Have a listen here:
It was an honour and a privilege to share a stage with Joan and Colm, as well as a reminder to keep striving, to keep aiming high.
We drove to Penrith in dusk. On the way past Shap, we passed right beneath a gigantic murmuration of starlings – perhaps the biggest I’ve seen firsthand – curving and ballooning in twilight, speckles of black against the blue. We drove back beneath a full moon, trees silhouetted against the night, clouds above in grey and silver, an ocean lapping at the shores of the horizon. The mornings are beginning to bloom.
I should have written about this sooner, but the month since we returned from Thailand has been a blur of college, film and writing. In short, I’m honoured beyond measure that The Visitors has been February’s Book of the Month for Waterstones Scotland. It’s been incredible – my excellent friends in Scotland have been sending me pictures of the book for sale in Dundee, Edinburgh, Glasgow and beyond, and some of the window displays have been absolutely breathtaking. I’m a very lucky writer.
The good people at Quercus asked if I could pop up to Scotland to sign some books and do a reading – which fortunately fell over half term. Cue a manic two days on the road with my wife – first dropping off Dora with her grandparents, then staying with my aunt and uncle in Edinburgh, stopping off at Waterstones stores in Edinburgh Princes Street and George Street, then Falkirk, on to Glasgow Argyle Street and Sauchiehall Street, and finishing up at the Braehead shopping centre. It was a real whistle-stop thing, calling in long enough to sign a stack of books, chat to the staff, and push on again.
I’m delighted to report that it seems to have been doing well – aided in no small part, I’m sure, by Leo Nickolls‘ stunning cover. Some stores only had a couple of copies left, and it had made the charts in others. It’s also been cropping up in Blackwells, W.H.Smiths, and Waterstones south of the border.
While we were in Glasgow Sauchiehall Street, I read a few chapters from The Visitors. I’ve read from it before at spoken word nights, but this was the first time I’d done anything like a proper talk on the book. I read three chapters. Having been so immersed in The Hollows, it was even a little strange to be back on Bancree and inside Flora’s head, but I enjoyed it. The reading was followed by some excellent questions from the audience, then catching up with old friends. Within 48 hours, we were back on the road to Cumbria.
I’ve been lucky. I know I’ve been lucky. I’m incredibly grateful to Quercus, and to Sue at Conville & Walsh, and to Waterstones, for showing this much faith in my work. I hope I won’t ever take that for granted, because I want to write until the day I drop. I’m still rising early to chip away at The Hollows. I’m finding that it doesn’t really matter how much I write in these dawn sessions, as blackbirds squabble in the garden and the radiators creak into life; whether I write 100 words or 500 words, it’s much more about keeping in touch the story, tagging in every day. Last year, I had to spend months at a time without writing at all, and I fell away from the manuscript. There were times I returned to it and couldn’t remember a word of what I’d written previously. Even if, or when, I get that busy again, I’m going to try to keep going with these little sessions every day – they mean that when I have a full writing day, I can hit the ground running. I’ve written more good material this February alone than all of last year put together. That gives me courage.
It’s that time again. Last year, I cribbed together some resolutions. Looking back at them now, I’m quite pleased. The Hollows didn’t go according to plan, sure, but I’ve already talked about that, made my peace and moved on. I finished both Marrow and The Year Of the Whale, and I performed at Verbalise, Sprint Mill, Dreamfired, Bad Language and the Flashtag Short Short Story Slam. The only thing I didn’t tackle at all was writing and submitting more short stories. There simply wasn’t enough time on top of the chaos of everything else. Indeed, 2014 actually marked the first year since I started that I didn’t write a single short story, but that’s OK. I’ve been kinda busy.
People can be pretty disparaging about resolutions, but I’m coming to quite enjoy the process of making and sharing the things I’d like to do. Writing them out makes them more tangible, and leaving a record of what I’d like to do makes it more achievable. So here are some resolutions for 2015.
I kept last year’s resolution, and started climbing again. Not all that often, I suppose, but more often than never. I’d like to do more of the same this year. I’ve started going for a few hours on Monday afternoons, after I’ve finished work, and that’s been a perfect fit with my week. My fingers are slowly beginning to toughen up, week on week, and those little successes feed into each other. I’ll take my climbing shoes to Thailand to do a little bouldering on the beaches, and I hope to get out on some Lakeland rock this summer – the Langdale boulders won’t exactly be quaking with fear, but they give me plenty to aim for.
Yup. Again. It doesn’t stop, does it? This year, my writing ambitions are twofold. Even then, the first part is for fun: I want to release another flash fiction collection, which will possibly be called Real Life. I’ve been doing a night class in graphic design, and that’s really helped with the various processes involved. Making books is fun, and it’s addictive. A lot of the stories are ready, but my flash fiction took a back seat in the second half of 2014, and I want to tighten up the whole collection. Even then, though, I mostly want to direct my flash fiction for reading aloud, which is where it works the best – there are dates in my diary for 2015, and I’m already looking forward to stomping my way through some stories.
The second thing is bigger. I’d like to finish a first draft of The Hollows. I had the same ambition last year, and it didn’t happen for a bunch of reasons I’ve moaned about already. But this year is different. I’ve cleared most of my film jobs, I’m not going to work on other big writing projects (unless someone pays me a lot of money, which seems unlikely) and that gives me the space to be a bit more structured with my writing time. In the unlikely event that everything goes to plan, then I’ll get a solid two days a week from February to start finding my way again.
The Hollows is proving exactly as tricky to navigate as the swamp I initially wanted to write about. My head is a zoetrope of ideas, all glass pots and ghosts, ashes and blackened timbers, lost keys and tarot. Mon and I are going on honeymoon this year – we’re going to Thailand with Dora – and I’ll be taking my notebook and my fountain pen. Spending some time away from the internet, away from screens, away from everything except the people I love best, will give me space to work it out with pen and paper. At the moment, I’m not even sure if I’m dealing with one book or two. I’m orbiting the right story, peering down between the clouds, catching glimpses of what it’s going to be… but I still don’t know what it is.
I use a lot of metaphors for talking about writing. The weaving of a tapestry, the nurturing of some unknown seed, the orbiting of a strange moon, the navigation of a swamp. It consistently amuses and baffles me how I find it easier to clarify my thoughts on writing using almost anything other than writing itself. The act of making marks, in ink or pixels, is excruciatingly simple. But getting them in the right order? Damn. That bit is hard.
Dora is learning to write. She knows her letters, and she’s trying to form them all the time, trying to construct a sense of meaning. She can write her name, and if I help, she’ll try her hand at anything. The other day, she wanted to write ‘moose’ against her picture of a moose. I spelled it out for her – M – O – O – S – E – but she ran out of room, so went back to the beginning for the last letter, so the final word looked like ’emoos’. I tried to show her the correct way to spell it, but she wasn’t interested.
There’s probably a metaphor for writing in there, too, but I can’t make that out either.
Resolutions, like word counts and climbing grades, only matter to the person who makes them. And – like word counts, like climbing grades – they only matter if you push yourself within them. That means weaving a tapestry – nursing a seed – orbiting a moon – navigating a swamp – or, sometimes – making a mark that matters to you, even if you get it wrong.
Happy New Year, folks.
This year has been both breathtakingly excellent and occasionally extraordinarily hard. I’m focusing on the good stuff though, because we’re all spinning through the mind-boggling vastness of space on a giant oxygen machine and really, when you think about it, where’s the sense in dwelling on the rough?
So here we go; in no particular order:
1. The Visitors being published
The culmination of two years’ work and the start of an awful lot more to come; in June, the wonderful folks at Quercus Books were kind enough to publish The Visitors. I wrote about the publication here, and it kept on running. Somehow, people keep enjoying it. I’ve summed up the reviews here, and there are reviews from actual real life readers on Goodreads and You-Know-Where. Writing was hard, editing was very hard, and now it’s out there in the wild – it doesn’t need me any more, if it ever did. I haven’t really come to terms with the book being published, other than it makes me scared, humble and really, really happy. Writing is all I want to do, but sometimes every step feels like the first step.
2. The Hollows
In the twelve months – to the day, madly – since I started, I’ve probably written about half The Hollows. Unfortunately, for reasons like this and especially this, I’ve had to cut gigantic chunks of it; so much, in fact, that I’ll basically have to start again next year, and crib the pieces I can still use from the manuscript. This would be a very bad thing, were it not for how excited I am about those pieces that are left. It’s been bruising, definitely, but the process is now beginning to tip me in positive directions I probably wouldn’t have gone by myself, and that’s terrific.
3. Flashtag short short story slam
Over the last two years, I’ve been trying to read more of my work aloud; I pushed myself further this year by entering a story slam in Manchester. I memorised my three stories so I could concentrate on performing them, rather than reading them, and I was lucky enough to win. That was great, and I was delighted, but what really blew my mind was the culture of live literature I witnessed in Manchester. It’s raw, it’s funny, it’s friendly, it’s immediate. It’s everything short stories and poetry and flash fiction should be about, and it completely affirmed the value of storytelling as an act of community. Stories are a thousand things, and one of those things is churches.
Way back in February, I attended a clowning workshop run by Belgian storytelling maestro Fred Versonnen. This is the best £25 I’ve ever spent, and it’s true to say that my life hasn’t been quite the same ever since. I see things differently now – I write differently now.
5. The Year Of The Whale
I started this novella more than five years ago. Getting it finished was a thrill – I surged through the final chapters, and I’m pleased with it. It still needs redrafting, but I’m not quite ready to get back into it. It’s waited five years – it can wait a little longer.
6. Marrow/Cerys Matthews reading Circle Stone
Finishing Marrow was another big deal in my writing year. I haven’t written as much flash fiction this year, because I’ve been mentally wasted from work, and that kinda gets in the way, but I did, finally, finish and self-publish a flash fiction collection called Marrow. Of the hundred I printed, I have about twenty copies left, and people seem to like it, which is a source of constant wonder. I wrote about my decision to self publish here. I sent a copy to the excellent Cerys Matthews, and because she’s absolutely awesome, she read out one of the stories on her BBC6 Music show. This is, and will always be, the coolest thing that ever happened to me.
7. Gruff Rhys at Kendal Library
Gig of the year, hands-down. I wrote about it here, but in summary, Gruff was majestic, wise and funny.
One of my favourite ever holidays. A week of sunshine, warm evenings, seashores, swimming and the boundless comedy available on tap from my daughter Dora. We had a fantastic time: ruins, eagles, Mythos and pizza. I love holidays because I’m with my favourite people, I get to read a lot, and I get to think a lot. It went like this.
It’s been another good year for my friends. Iain Maloney published First Time Solo, his excellent debut novel, with Freight Books; also with Freight, Anneliese Mackintosh’s debut novel/story collection/autobiography Any Other Mouth was released to stupendous acclaim, going on to win the Green Carnation Prize; Salt published one of my books of the year, The Rental Heart by Kirsty Logan; Kirstin Innes landed an agent and then a publishing deal for her debut novel Fishnet; and I was lucky enough to read a draft of Ali Shaw’s new novel, The Trees, which is simply scintillating. I’m delighted that Bloomsbury are going to publish it, because Ali is a wonderful human being, an outstanding writer and a great friend.
10. Getting married
Just amazing. We did damn near all of it ourselves, and when I say ‘us’, I mean that I did 10% after I’d finished work, and my tireless, hilarious, wonderful, perfect new wife Mon did the rest. It was a lot of work to pull it all together, but we basically hosted a mini-festival in a back garden with a marquee, a stage, a band, a PA, scores of hay bales, lighting and decoration. We then partied till the following morning with our wonderful friends. My brother gave what was widely considered to be the best best man’s speech anyone had heard, and local legends Seven Seals played their very finest. It was phenomenal. What a day – a thousand thanks to everyone who brought it all together.
Mon is my everything, and I’m beyond proud to call her my wife.
So there we go. It’s been a good one, despite the harder stuff. Some of the things that have knocked me hard – like the Hollows, like the Scottish independence referendum – will come around again, and next time we will get them right. And other things – like working too hard – will change, because they have to.
Dora’s gone to bed. This is the first year she’s been old enough to really understand what’s going on. We helped her write a letter to Santa, which she signed herself, then made sure to leave a whiskey for Santa. (Jura, in case you’re asking. Santa’s quite particular about that.) I read her Where The Wild Things Are, and we roared our terrible roars, and gnashed our terrible teeth, and she asked me what the words mean: “…and …it …was …still …hot.”
These are the moments we’re working for.
Happy Christmas, folks.
Just a quick note to say that I’ve added an events page to the top of the blog. Hoping to keep this ticking over – I’ve really enjoyed spending so much time this year with Flashtag, Bad Language, Verbalise, Dreamfired and book groups. Good peoples, one and all.
A few months ago, I was asked by my friends in the Sprintmilling art collective to run a spoken word evening as part of their exhibition for the excellent C-Art open studio trail. My first instinct was to say no, because I’m so constantly swamped with work that I’m barely writing anything of my own. But on reflection, I decided to go ahead and give it everything I had. I’ve never organised or hosted a spoken word event, and Sprint Mill is a very special place to me. What swung it for me was a request of mill owner Edward Acland, who wondered if the performers might be interested in writing a piece or two inspired by the mill. I was so intrigued by this idea that I decided to take it on. I called the night In The Flow, and set about inviting writers I knew would do it justice.
In the end, we had a stellar line-up, including the slam-winning poetry dynamo that is Joy France; Guardian weekly pick BigCharlie Poet; Poet Laureate of the Tripe Marketing Board, Jonathan Humble; journalist, poet and painter Helen Perkins; poet of internal, external and emotional landscapes, Harriet Fraser; the frighteningly talented young Turk of the macabre, Luke Brown; Edward Acland himself; and me.
All the writers rose to Edward’s challenge, and all attended the mill at various points for inspiration and ideas. The place is soaked in stories. Sprint Mill is a wonder. It is both serene and madcap, combining perfect sense with complete bamboozlement. Over three floors, scores of chests, cabinets and workbenches line the walls, all laden with jars, boxes and objects. It’s no less than a portal into another time. The ceiling is lined with skis and 1950s shop signs. The windows gather dust, discarded toys, wood swarf and cobwebs in rafts. Military buttons sit beside bradawls and buckets of rusty nails. Washing machine parts are pinned in loops to a heavy magnet – an apothecary cabinet groans with esoteric contents, all neatly labelled: barbershop equipment, bird eggs, lightbulbs. The mill is a bipolar rabbithole of wonder and nonsense. Every time I visit, I find myself caught between poles of melancholy and childish joy. It’s a tangible place, and it’s a dream.
I didn’t hear or read any of the writers’ responses to the mill until the night. Somehow, between introducing the acts and reading a piece from The Hollows for the first ever time, I managed to film them at work. Here are the performances in order of appearance. Enjoy…
Edward Acland distills his decades of collecting into The Jars:
Jonathan Humble reads bombastic ballads of tripe, Daleks, and reckless rhubarb:
Helen Perkins performs three pieces, finishing with the utterly enthralling Edward’s Gunshop, which is one of the best poems I’ve heard for a long time:
Luke Brown reads a brilliant (untitled) short story of chaos, catastrophe and common sense. Fans of Roald Dahl and Jeremy Dyson in particular will devour this:
Harriet Fraser charts the life of a seedling, considers cagmagery and takes us into the nether regions of a sheep:
BigCharlie Poet delivers mouses, houses, foxes, and his Guardian pick-of-the-week, It’s The Grit That Makes The Pearl:
Joy France finishes the night with a wonderful sequence of poems touching on memory, loss, joy, patchouli oil and fracking:
There were more than thirty of us crammed into a smaller section of the mill, ruddy with stovelight and beer. We sat on hand-carved chairs and recovered benches, and dust crawled in columns from the ceiling. We laughed, we talked, we drank and we told each other stories. I’ve said it before, and I’ll say it again, but words mean nothing without the folk to hear them.