Category Archives: Uncategorized

a dog, a jacket and a fine memory

Yesterday I took Rosie for a walk, Rosie being the dog we’re fostering for a dog rescue organisation until someone adopts her – and if anyone has a farm or acres of land and/or wants a working dog, she is a 9 month old 18 kilogram dynamo of energy who needs more space than is available in hipster Brunswick. Rosie is super friendly and super cute [and super chewing, biting, digging etc].
Australian cattle dog/Staffordshire cross. The body of a blue heeler and the heart of a staffie.
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So, yesterday was cool and wet [again] and I dragged out my red waterproof jacket and had a rush of recollection. It is almost exactly one year since I did the Coast to Coast walk across England, starting at the Irish Sea, into the Lakes District, through the Yorkshire Dales and Yorkshire Moors until reaching the North Sea; 310 kilometres in 13 days. A lovely walk with a lovely group of people, through sun and fog, grass and bog. And, you see, I had not worn my red jacket until today and the memories and emotions flooded in. It was a brilliant experience.
This year I have only one six day walk in October [Kangaroo Island], next year hopefully will be the hike down Italy from Saint Bernard Pass to Rome.
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In the words of the inimitable Leonard Cohen – ‘If I’ve got to remember, that’s a fine memory’, inspired by my old red jacket which has covered thousands of kilometres with me.
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Isn’t is strange and wonderful how life throws up these connections and loops as long as we are open to them?
Oh and the gorgeous Rosie is lying at my feet as I write, more memories of the dogs who came before her. Shep, Beau, Bruce, Max and Geoff and not forgetting the lovely Matilda, going strong in Sweden.
Soon it will be time for another walk; I do 5 kilometres per day, but it is not enough for a working dog….

Literary speed dating

No, this does not refer to speed dating literary women, though I have done that in the past with modest success. It refers to speed dating literary agents and publishers; that is, being given three minutes maximum [in reality 30-60 seconds] to interest/intrigue/tantalise a potential publisher or agent to the extent that one of them will ask to see the first chapters of my manuscript. This is my improbable dream for the speed dating day in two weeks time.
So I have put aside my 5th draft to concentrate on writing the perfect pitch of 1 minute, the perfect synopsis of 300 words and the toughest of all ‘tell me what your novel is about in one sentence’. Karma perhaps for all the PhD students I forced to describe their potential thesis in one sentence – two, if I was feeling generous. It is difficult to reduce the hard work and great ideas and brilliant writing to a sentence and I’ve just spent two hours in my favourite local café trying to articulate the core of my manuscript – the beating heart – in one sentence.
Next I’m focusing on the so-called ‘elevator pitch’. Why would any publisher be interested in my manuscript rather than the x thousand others which will cross their desk? An excellent question.
The good news is that I’m enjoying the torture!
Thanks you Australian Authors Association and Writers Victoria for this opportunity in a couple of weeks.
Okay, back to work….
man reading

The romantically unemployed and free market economics

I read an article which used rational choice theory within economics to categorise those not in a relationship as being ‘romantically unemployed’. It referred specifically to the construction of the algorithms which underpin online dating sites and the matching of singletons to become couples.

Okay, at one level this is funny. Not ‘single’ or ‘looking’ or ‘not interested’ or’ perfectly happy with my dog, thank you’ or whatever, but unemployed. Romantically unemployed.
Dig a little deeper and it is unfunny. Unemployed equals ‘unproductive’ in free market thinking; that is, not contributing to society or the national economy. In the nasty jargon of the Australian government, these unemployed are ‘leaners, not lifters’ who sponge off the rest of society. imagesFGH768PA economics terms
The romantically unemployed? Do they need to apply like the labour market unemployed for a position/date forty times per month to avoid being pariahs on the economy? Should they be expected to travel far and wide searching for a date/position? Should they be doing productive local community work/dating locals in order not to be socially unacceptable?
At least they receive no government benefits for being romantically unemployed and will not live in constant fear of having benefits reduced or removed to ‘encourage’ them back into romantic entanglement.
Should they be interviewed by government officials every month to check that they are ‘genuine romantically unemployed’ and not simply leaners who have set their romantic standards too high to avoid the perils of the dating pool and the joys of coupledom? Being unrealistic and not genuine in their quest? Not prepared to accept ‘good enough’ or NQR?
What about the free market obsession with ‘efficiency dividends’, which simply means doing more with less? How could this be targeted at the slack ‘romantically unemployed’? Surely there is room for more efficient searching and dating?
Surely a free market can make revenue from the ‘romantically unemployed’? Oh, that’s right. That is what online dating is all about and we are back at square one.
I’m pondering how we can refine this ‘romantically unemployed’ category; the unemployable, the long term, the unskilled, those in need of skills upgrading and further training?
All very funny and all very sad. And guess what? Everything I have poked fun at here is already happening. Think of any absurdity these days and I guarantee it is out there somewhere.

Write like a Spartan: a small rant about rules for writing

No adjectives.
No adverbs.
No exclamations!
No background setting. ‘Get on with it!’
No explanations, ‘show, not tell’.
Short sentences to make it easier for the reader.
Break up long paragraphs to make it easier for the reader.
Start mid-scene so that the reader is not bored and drops the book within 30 seconds.
We live in a digital age of short attention spans so get to the point and keep it simple and fast. Oops, sorry, too complicated Hilary Mantel and as for James Joyce, what’s that all about?
Only one distinctive speech signifier per character.
The plot must be ‘this and therefore this and therefore this’ so no digressions. Sorry, Laurence Sterne, you are out.
Avoid flashbacks and non-linear narratives. Gone, Woolf and Calvino.
‘Kill your darlings’ is the cry. Sorry to all writers who write elaborate, luxurious and expansive prose. Red pencils at the ready.
Stay ruthless; if it does not propel plot or character, if it is merely digression, out it goes. Sorry, Tolstoy, Gogol, Mann, Dostoevsky etc. [and do not use ‘etc’].
Lean and straightforward prose is the mantra. Sorry, Proust, out you go. Sorry, Thackeray, get a good editor. Sorry, Woolf, self-indulgent and lacking in plot and clear structure. Austen? You can stay.
Out the door with the rest of you.
Hemingway? Ideal, albeit spawning countless bad imitations and we need to separate the author from the writing; no problem, we celebrated the ‘death of the author’ decades ago.
And when all too often the critically and commercially successful novel breaks all these rules, we are told ‘ah well the exception proves the rule’ and we odd sagely [note unnecessary use of adverb].
Yes, it is all good advice and it helps prevent the self-absorbed, over-written, neglectful-of-audience stuff I was writing 12 months ago. Yes, it helps to train better writers in the same ways we can train people to be better athletes or dancers or guitarists. There is nothing mystical about writing [except for those authors who inspire awe and I ask ‘how do they do it?’] and rules are valuable: we have to know the rules and then know when to ignore or bend them.
Why this gentle rant? Maybe because I would love to hear/read a creative writer teacher to add the ‘and yet ….’ to these rules and to allow leeway, at least a little encouragement to ‘dare to be different’ to us wannabes.
They are only rules.

10 things I learned from reading detective novels and one caveat

1.Start mid-scene and keep the story moving!
2.Sketch characters quickly and concisely and unpack their motives and complexities by action throughout the story.
3.Maintain suspense, do not reveal early. If there is sexual tension/possibility, defer, defer and defer the consummation.
4.Action drives the plot and reveals character.
5.No pontificating and explaining until the end when motive, means and opportunity are revealed.
6.No backgrounding and scene setting at the start.
7.Dialogue must be to the point, revealing either character or plot [or both].
8.We must want to keep reading and discover ‘what happens next’ = a good old page turner.
9.The ending is foreshadowed at the beginning and the story is a satisfying whole where it ‘all makes sense’.
10.We want to find out what happens, yet do not want the story to end.

Okay, on the one hand this adds nothing new to what I have been taught in the few creative writing workshops I have done in the last year. On the other hand, becoming aware of what was happening in me when reading a quality detective story and then making this list did give me a fresh insight and a template against which I can keep checking the progress of the fourth draft [total rewrite] of my mystery/romance set on the Camino.
On the other hand, as a former academic there is always an ‘on the other hand’ and always a caveat, how different would these insights have been in the mid-nineteenth century when there was not the same emphasis/obsession with ‘showing, not telling’ and when there was room to stretch out and take our time telling a story without an editor telling us to get on with it because readers get bored after sixty seconds [or is it less?] and won’t tolerate slabs of narrative or description.
More on this question in my next rant – oops, I mean my next post.

When pebbles become avalanches and relationships end

Friends of mine have just split up with no chance of reconciliation and I have conflicting emotions. Part of me is shocked that the ending came abruptly and with such finality and a smaller part of me says ‘that was always going to happen, I saw it coming’.
More accurately, I should say that I was surprised and then began to think about the no-longer-a-couple and understood that I had registered the signs, grown accustomed to them and assumed they would continue together neither truly happy nor miserable, fearful of being alone.
When did the process begin? At what point was the end of the relationship unavoidable and needing only one final pebble – an unkind word, a look, an impatient sigh or a miniscule act of bad faith – to trigger the landslide of recrimination and the decision from which there is no going back?
Those tiny pebbles of hurt or neglect, unconscious perhaps at first and later consciously, maybe deliberately hurtful, uncaring at least, which unearth other pebbles and soon there is a tumble, small and then bigger and finally an avalanche and then silence when the words are over and there is nothing left to be said.
Not always of course, not every day. Rather an accumulation of grit like an axle on a baggage-laden cart rolling along dusty roads day after day in good times and bad and it is not noticeable and anyway it does not matter or we believe it can be rectified ‘later’ [fateful, lazy word] when we have more time or are under less pressure or the kids are grown up or a myriad of other reasons until later is replaced by ‘too late’.
Looking back we puzzle when the pebble became an avalanche and we let it happen.
And yet –
And yet. Is the feeling of the inevitability of the end itself merely an excuse for our self-absorption in the trivia of the narcissistic culture in which we live, a world obsessed with individual rights [happiness, freedom, success, self-expression].

Ghost story: choose your own ending

He woke and saw her standing by the bed, staring down at him. What did she want from him? She had been dead ten years and still she came and watched and waited.

Her gaze was steady; he yearned to reach out and take her hand, yet knew instinctively that to do so would be his own death. Nor did he dare to close his eyes.

Why did she visit him every night? What was she seeking from him or trying to tell him? He had done his best. Nobody blamed him, not to his face at least. What else could he have done? The alternative had been unthinkable and what would it have changed?
Would she have lived if things had been different between them that day?
She gazed at him, unwavering, expressionless, the dark eyes he could never forget. The room grew cold. he wanted to reach out and hold her, it was ten years too late.
She faded away, to reappear the next night and every night until finally, in the pre-dawn light, he did what he had long known was the only way out.

Death: I am a part of all that I have met

On Sunday a friend died, perhaps she took her own life, perhaps not. She was not a close friend, others closer to her are grieving deep as I write; for me she was a smart, funny and caring person whom I liked and respected.

Her death shocked me and it has triggered profound memories of friends and family whom I have ‘lost’ over the years. In my student days from drug overdoses deliberate and accidental and later in life from cancer, the number one killer far above mental illness as number two and any other cause negligible. Some were ready to leave, others resisted to the last.

So, it has left me numb and triggered the predictable reactions of grief, sorrow, sad memories, questions about what is truly important in life and how to lead a good life and the importance of showing others that we love them and value them.

Nothing original here.

The beautiful title line is by Tennyson in his “Ulysses”.

What has intrigued me since Sunday is our use of the word ‘loss’ to describe our emotions. We ‘lost’ a loved one or the world has ‘lost’ a beautiful person. I understand why we say it and I say it myself, for they are gone and we remain, but now I am wondering what it means to say ‘lost’?
I write here of myself, I do not speak for others.
They are ‘lost’ in their corporeal selves – ‘never again’ to touch or to speak – but they are not lost to our memories and in their acts and shaping of others and not lost to the world except in an immediate, concrete, tactile sense which is never again. They are gone from me. I don’t know how to put this in words, nor what are the right words. what I do know is that I have spent four days puzzling over the word ‘loss’ and understanding it intellectually yet with a gnawing feeling that it is not adequate.

Death is a rupture. There is ‘before’ and there is ‘after’ and nothing is the same.

This is not about finding euphemisms for death, it is about finding the right word, if indeed one word can capture the emotional intensity of death.