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My latest book published in December 2020 is called Elisant’s Gift.
I’m a retired RN after forty-five years in the hospital front lines of the UK, Holland, and the USA.

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Oh my fine fat furry friends, this time last week, I was stuck. The door to my Shed of Ideas was jammed and I couldn’t lay my hands on a crowbar, or even a flat-bladed screwdriver and a dab of oil.

And this week? The door has been flying open in the wind. There are ideas – dusty but beautiful – lying all over the floor, spilling off the shelves, getting tangled up in twine and squashing the seedlings.

There is enough stuff here that I already know what I want to tell you next week and maybe even the week after that.

But, for now, one little bit of housekeeping:

Because Covid is a pest and because lockdowns are boring
Because we got lovely feedback on my live self-editing webinar a few weeks back (one that was open to JW members only)
Because we love each and every one of you, not just the wise souls who pay us money,
Because self-editing is the only sure and certain pathway to a book as beautiful as you want it to be,
To offer a live self-editing webinar to everyone.
*** For free ***
 You just have to pitch up.
It is on 19 November at 19.00 GMT

What we’re going to do is take chunks of YOUR work (see the PSes for more about that) and edit it live on screen. I’ll show you exactly how I would change the text, if it were my own piece of work, and I’ll talk you through my thought process as I do it.

You lot, meanwhile, can use the live chat to pour scorn on everything I do, offer suggestions of your own and generally participate.

The webinar page is here. Remember that although the event is free, you do have to register, because otherwise the system doesn’t know who to admit. Registration is sweet and simple. You’ll get emails telling you exactly what to do. All you need is a computer and an internet connection. More details in the PSes if you need it.


The Shed of Ideas.

Last week, I told you that you don’t have to be good at everything. That’s true if you only think about marketing. That’s true if you think about writing. It’s most certainly true if you consider yourself as an author in the round.

That was – to judge from the responses I got – a useful, bracing, encouraging message. It permits you to be a bit shit at certain things and still to feel OK about yourself. It matters more that you have genuine dazzle in one or two respects, than that you can handle every aspect of an author’s craft with real competence.

OK. Good. But even knowing this, it’s still easy for us to get stuck.

In my Life Before Kids, I used to do a bit of mountaineering, and I remember one time in the Alps where my buddy and I were descending a mountain. The ascent had been a bit more scary and painful than we’d expected and we were tired and very much wanting to get down to somewhere warm and with hot food.

We were following a ridge that we thought would take us all the way down to the valley, only then – our nice little ridge turned into a 250-foot cliff. There was no way we were going to down-climb that, so we had to abseil off, belaying halfway on a crappy little ledge that wasn’t built to Switzerland’s normal excellent standards.

I’m not scared of abseiling in general, but I do remember being afraid this time. I was cold and tired. I knew that cold, tired descents is where most climbing accidents occur. There was just something about that long, wet drop which I still don’t like to think about. I remember tying a knot at the bottom of the rope to make sure that I couldn’t just abseil accidentally off the end. That’s not something I normally do, but I was scared of my own dulled reflexes.

Anyway. It all turned out fine. The crappy little ledge halfway down already had a bit of climbing tat fixed to the rock, so we hadn’t been the only climbers to have chosen the wrong way down. We got down to the valley. Got warm. Got fed.

But – that fear.

That’s something we all know, isn’t it?

We’re 60,000 words into a manuscript. We know the start of the story, because it’s written. We sort of know the ending (because the thought of it has been keeping us going for that long middle-of-book slog.) Only then, we hit an unexpected plot obstacle. A wet 250-foot cliff that faces north and whose granite has a tendency to come away in your hands.

The fear halts us.

And, OK, your plot obstacle may come earlier in your book, or later. And the metaphor you might choose to describe it might be different from this one. But this I bet is true:

You avoid contact with the obstacle because you’re afraid of it.

Instead of tackling the problem directly, you engage in any kind of displacement activity. You re-edit the stuff you’ve already written. You follow idiots on Twitter. You walk the dog. You hoover the floor. You (ahem) waste your time reading this email.

But you need to tackle the problem directly. You need to take that rope off your back and throw it down that dirty, wet cliff and do what needs to be done.

In plainer language, you just need to write. Don’t know what the next chapter is going to be? You don’t have to know. Write the next sentence. Any sentence. Just get it down. Then write the next sentence.

The trick is to force your character into motion. Force yourself into motion. Yes, it’s possible that a chapter you write in this way is rubbish, but even the act of writing a rubbish chapter will show you the way need to go.

“Inspiration exists, but it has to find you working.”

That’s a Picasso quote that one of you sent me a few weeks back.

And damn the man – he’s right. With plotting problems more than anything else, m’lady Muse will only solve your problems if you put a shift in.

Here’s another thing: it may not be fun.

Abseiling down that cliff was not fun. It did a job and delivered an outcome. (The blessed, blessed valley floor!)

We mostly think of inspiration as joyous, but that thought can be a blocking one in its own right. Sometimes, the right thing just isn’t going to be entertaining as well.

So, if you are facing a problem that you don’t know how to fix, just say to yourself:

  • This isn’t going to be fun
  • I don’t have an answer
  • The chapter I write now may be rubbish and have to be deleted
  • But in doing these awkward and unpleasant things, I get myself closer to the valley floor and the full joy and happiness of writing my lovely denouement.
  • What’s more, the gifts of invention and understanding will only return to me if I get stuck in. If I move my character and story along.
  • The best solutions are always specific, which means they mostly come when you are working at very specific issues. (Not, “where should the book go next?” but “What paragraph follows this one?”)

And heck. My self-editing style means I edit as I go. I hate leaving crappy chapters in my book and want to scrape them free of barnacles before I proceed. But that’s me.

If you want, just write your bad chapter – your wet, dark, dirty abseil chapter – and move on. Leave it. Finish the book.

When you come back to that place as you edit, you come to it from a place where you know everything else about your story. Exactly what happens and when and how and why. And if the chapter still feels wrong, it’ll be a hundred times easier to fix, because you know so much more and because that sense of fear will have left you. Worst case scenario? You have a couple of dodgy chapters in an otherwise good book.

And so what? We’ve all written a dodgy chapter or two.

We’re not perfect and don’t have to be.

Has anyone tried Query

I want to add subtext to my dialogue. Any suggestions?

Today, I deleted my self-published books on Amazon, their sales at zero currently, in case the agents I'm applying to find my 'less than' work. Anyone else done that?

My thoughts are tending toward a form of Gestalt, in which she talks to "an empty chair" imagining her Mom sitting there. I worked in psychiatry for several years and watched this therapy in action. There would be no actual conversation, as such, except in the protagonist's head.

This is my fourth novel and the toughest to write but my finest writing. Yet another snag in the flow of the story with my wondering how my heroine can communicate with her Mom in a coma in the hospital. A dream? A letter written before Mom's illness? An apparition of Mom's spirit? Via another method or person? Fantasy is a thread in this thriller/mystery so what other method could they exchange information?

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