Vincent van Gogh and Experimental Writing

As you may have seen on a Twitter post from me recently I was lucky enough to visit the Vincent van Gogh Immersive Experience in Shoreditch and see for myself what all the excitement was about. And exciting it was.

I can’t honestly say I’m a fangirl of ol’ Vincent’s, but I do love a bit of art. Any art. The exhibition covered his life and premature death, his friendship with artist Paul Gauguin and the love of his brother. Did you know van Gogh originally wanted to be a priest? Me neither. You could say lucky for us that he failed in that respect.

The use of colour in Gogh’s work has often been discussed by those who discuss such things, and reading from the information sheets at the exhibition it seems that the conclusion drawn is that van Gogh may have suffered from xanthopsia, a condition which causes the sufferer to see in yellow more than any other colour. It’s not until you see so many of his hundreds of paintings together that you realise how much he loved his yellow. Think you know his sunflowers? Think again! He painted over 500 images of sunflowers, some of which you’ve probably never seen or even knew existed. It’s those big blousy ones in the vase that get all the attention. Drama queens.

Much of his work seemed to my untrained eyes very experimental – but then I’m no artist so what do I know – but according to the exhibition he had been told by one who knew so little, not to bother painting. He ignored such ill-founded advice and forged ahead.

Many of his preliminary sketches were on display and they put me in mind of a writer producing that scrappy first draft – you know the one – all puff and fluff, ideas and inspiration rather than proper prose and sentence structure.

How many times have you started with the puff and fluff, the idea and inspiration, to get fifteen minutes in declare it rubbish? That is not the way ahead my friend. Keep your puff and fluff, it could reap fantastic rewards a few months from now, because amongst the puff is the kernel of an idea that you had, and that must have some merit. Just because your whole story/novel/poem/essay isn’t formed yet doesn’t make it valueless.

Don’t be put off by that little niggly voice in your head telling you that what you’re writing isn’t any good. It might not be perfect – yet – but take a page off of Vincent’s canvas and stick with it.

She Said, He Said…

Overheard in a supermarket recently;

‘..so I told him straight, I wasn’t putting it anywhere near him…’

Fret not dear reader, I resisted the urge the hurl my trolley round the corner and follow the orator stealthily through the salad aisle in the hope of discovering what it was she wasn’t going to put anywhere near him, but I can tell you, the urge was incredibly strong. Instead, I distracted myself with the lack of cucumbers and pondered instead on what she could possibly have been talking about and how I could fit it into a short story. Was she reassuring him that she wasn’t putting the crocodile/the broken bottle/it anywhere near him, or was she refusing to put the crocodile/broken bottle/it anywhere near him? Alas it will always be a mystery to me as she disappeared down the cheese aisle still chatting on her phone and by the time I caught up with her in the bread aisle the call was complete. I had no way of knowing. Her poker face offered nothing. Brown or white bread seemed to be her only concern.  We parted ways in the rice and bean aisle and by the time I got to the wine aisle a story had formed.  The next hurdle was remembering it without writing it down.  Well you can imagine what the outcome of that was.

Needless to say I returned to my office later that day and set about dismembering my 500 word short story which has been slowly growing and transmogrifying into a completely different story to the one I originally started writing. Gone were two of the main characters and in their place was a soldier and a man who might turn into a milkman at any given moment. I think I may have lost the plot temporarily. I was keen, you see, to implant, somewhere, my newly over-heard dialogue. The fact that it didn’t fit in to any of the story didn’t faze me. It should have done of course as I wasted another two and half hours trying to insert a sentence into a story that had about as much right to be there as a spider in a fridge.

You can imagine how it all ended. The short story was re-written for the 110th time and the sentence only made it as far as this blog. Well, as a fan of recycling and reusing, I can’t see any problem with that. But even so, I wish I knew what she’d been talking about…

Something About April

There’s just something about April, dontcha think? Is it gonna be warm? Is it gonna be cold? Is the sun gonna shine? When will it be summer? As I write, despite the horror news of the world burning to a crisp by Christmas it is quite actually properly April out there. You know the kind of thing here in the northern hemisphere, first bit of sun and we all rush outside like idiots getting sunburn while complaining it’s still chuffing cold, or migrating to the pub to quaff vast amounts of ale/cider/gin/something fizzy because it is SUMMER AND THAT’S WHAT WE DO only to discover that as soon as the sun goes down we return to winter and a halter-neck and flip flops just won’t cut it.

But why this nonsense about the weather? How about this is why we should include the weather in our writing:

Thanks NOAA at Unsplash for this great picture

‘On the fifth day, which was Sunday, it rained very hard. I like it when it rains hard. It sounds like white noise everywhere, which is like silence but not empty.’ – Mark Haddon, The Curious Incident of the Dog in the Night Time

or

‘It was one of those March days when the sun shines hot and wind blows cold: when it is summer in the light, and winter in the shade.’ Charles Dickens, Great Expectations.

There was once a school of thought that suggested writing about weather in our work was dull. B Or Ing. Something we shouldn’t do if we wanted to keep our readers engaged. No one wants to read about the sunshine pouring in through the window or the rain battering the door we were told. Why ever not? I think one of the most important elements of a novel or short story or even flash, is, if applicable to the plot, the weather. It can set a mood, break a mood, and is as important a plot device as any of the others. Thrashing storms have to be thrashed out on the page to bring them to life. Simply saying there was a horrible storm at sea and the ship nearly sank doesn’t creative many waves, does it? So bring on the weather.

With climate change and the heating of the Earth many authors are turning their skills to writing cli-fi, much of it not fiction at all, so it looks like the weather in our writing is well and truly here to stay. But not in the way authors 50 years ago expected I guess.

Is cli-fi speculative? Can be. Dystopian? If you want. Utopian? Up to you. But all of it deals with the human fallout of a warming planet.

Climate Fiction: sounds like 21st century gothic horror to me.

What’s In a Name? Everything.

As TS Eliot correctly acknowledged, the naming of cats is a serious matter. As is your main character, or indeed a home, the place where all the action happens. Manderley for example. Serious action going on there. The House at Pooh Corner – not quite the same but still notable literary history, plus the added bonus of imparting a geographical location sans gps – just as long as you know where Pooh Corner actually is I guess.

Don’t bite the apple Snow White…

         On my Covid roamings my ever-observant eyes have paid more attention to local house names – apple anybody? – and the history-loving part of me mourns the death of Orchard Cottage (not an apple in sight), The Oaks (treeless), The Old Post Office, The Old School, Rose/Jasmine/Lavender/Yew Cottage. Scattered across the country are countless Blacksmith’s Cottages, Station Houses, and Old Mills, all a wonderful nod to the past and how lives were lived. But that was then and this of course is now. Where are the new names? Couldn’t we do with an I.T. Terrace perhaps, or a Broadband Bungalow? Or maybe Seeseeteevee Lodge, or simply just Renewables for a new housing estate on a windy site? As if someone had been thinking along the same lines as me, I did see one modern terraced house recently with a quaint 21stcentury millennial ring to it: it was named Tiny Box. True. The new owner was clearly being sardonic/humourous/notworriedaboutsellingit and it made me smile. Surely, as we stride ever forward, our achievements, as the industrious creative humans we are should be recognised in the naming of our homes? Holme Delivery? Still At Home With Mum & Dad House? (bit long for any on-line form, that one) or (and I promise this is the last one) Can’t Really Afford It Cottage. Where house names once reflected our jobs or the natural world perhaps in the future they’ll reflect the socio-politics of the time. Perhaps they should. Anyway, just a thought. A thought that brings me on to the importance of other names; our characters. Yes, like many a writer my path always returns to the plot, the people, and that pesky protagonist.

         A question for you dear reader. What do Harry Potter (pick an installment) Hamlet, Rebecca, Matilda (know where this is going?) have in common? Exactly. Each novel is the title of the main character. Yes yes I know that in the case of Rebecca ***SPOILER ALERT!!*** she’s not exactly there, being dead an’ all, but you know what I mean. It ensures that we’re not likely to forget them in a hurry doesn’t it? Leap forward some decades and ask yourself if you can remember the name of the protagonist in a book you read three months ago. Or the book before last. But seriously – what better way to get your work into the psyche of your readers? Nail the name and the rest should come, surely?

         Hunton Gurney. Top lawyer. Privately educated. 21stCentury Guy. London apartment, cottage in Cornwall (Fisherman’s, probs), expensive car, almost married to another high-flier. Or Hunton Gurney, 18thcentury labourer – no – let’s make him a blacksmith (and we all know where he lives), back already damaged from hard work, four living children, two others already dead from consumption, married to the exhausted but determined Rose. Or…Hunton Gurney, a small, mysterious village off the A436 somewhere between the Oxfordshire and Gloucestershire border. 

         You decide.