A Writing Room of My Own: Diane Woodrow

When I was feeling lost, scared, depressed or any of those other things that make it impossible to sleep I would dream of having a room of my own; a room I could just be me in.

Not somewhere with another function but just where I could sit and look. I have had many rooms of my own but they were bed-sitting rooms or even just bedrooms of my own; always rooms with other functions. When I would dream of this room it would always come with a view of something beautiful, of something that would hold my eye and take me away even from this perfect place of perfect room.

I gave my room away one day.

I shared my safe place with a friend who was suicidal. For me that dream of the room of my own gave me hope and solace. I wanted to help him find that hope and solace too. He killed himself when he was in the his house on his own. For four years I struggled to regain my dream as I struggled with my grief but the Lord is good and now my dream no longer a dream but has become a reality.

We sold our house and moved over two hundred and fifty miles away and now I have my room of my own which has no purpose other than to let me be. Yes I do things in it, write, read, keep in touch with friends, build a website to set up my new venture, and it holds my stuff; those things that are inherently mine – pictures, quotes, books, that I do not want to share with those who pass through the rest of my home.

But mainly this room is for me to watch the seasons.

I am blessed by having a large sycamore tree on the verge opposite and then a view to hills beyond. I can sit and look, watch the seasons going past. Today my view of the Victorian mock castle is obscured by the sycamore in full leaf but in not too many months the tree will be bare, my view will change, but the constant will be that this room is mine and mine alone. 



 www.barefootatthekitchentable.weebly.com 
 www.aspirationaladventures.wordpress.com
 

On Samhain

 

      Since men wrenched back the clocks, twilight catches me unawares.

The night steals in stealthily, and lands fast. Tonight will be imbued with magic. Samhain- the turning of the year. The going into the dark. I watch through the office window, as the soft light casts long shadows, and fades. Like powder cast into water, dissolving, tinged with melancholy.  And strangeness.

      Hauling on my rucksack, and tucking trousers into socks, I go out into the sharp air. I smell wood-smoke. A chill fog moves in. The twilight hangs like a fine veil between the worlds. I think about ghosts. Of my wonderful Grandmother, not long gone. I want to be home before I am encased in darkness, and the army of witchy creatures from all history, swoop down at me.

      I climb on to the bike, and ride for home.  I turn on the lights, but the beam only sharpens the fog, and bounces back to me. Fiery-copper autumn trees are half-seen. Mistaken and morphed. They recede from my eye, like boats sailing away into the mist. The silent turning world.

      Now you see things. Now you don’t. Now you see things. Now you don’t.

      Descending the hill, my hands tighten on the handlebars. My Grandmother flashes into my mind. She imprints herself upon me. Her hands snap into position where mine should be. ‘Off we go then’ she says, in the spirit of adventure. And my heart flips over. Tears swell to my eyes silently, softly, achingly.

      I can’t find her at all in the outside world, but she sometimes takes up residence in my body like this. I am not consumed by grief. I am disoriented by it. It is her absolute presence and absolute absence that confounds me. She is so clear, but when I reach out, I put my hand through clouds.

      Now I see her. Now I don’t. Now I hear her. Now I don’t.

      Flying down the mountain to the plain, I see it from far away. The mute, scarlet, swinging blink, of an ambulance light cutting through the fog.

     I freewheel alongside the empty country airfield. Where the airfield ends and a field of maize begins, a helicopter sits like a resting dragonfly, limp winged, alongside the ambulance. There is the jagged remains of crashed glider too, glowing white in the dark. I guess that it came down too steeply, before the runway. Its face is shattered into a thousand pieces across the shorn grass ground.

      A group of silent, uniformed men are standing, quietly, head bowed, as if round a grave.  They shelter a still, prone form from view. A tableau. They don’t move for a long time.

      I bring my bike to a halt, somehow inside the drama. Alone on the deserted road I peer at the scene through the half-light. The smell of newly-turned harvest soil in my nostrils. No one moves. No one looks over. The utter silence roars. 

      It’s hard to get a grip of what’s happening. Slowly, piecing the half-seen together, I realise that the unremitting flashing light of the ambulance is pacing out a death scene. The uniformed men, bearing the sad disappointment of how life turns out in the end, move medical equipment away.  There is nothing more to be done.

      My grandmother’s voice chortles in my ear ‘Well, well, well’. And that small, sharp intake of breath that she used to do, escapes my lungs.

      The men perfunctorily turn a blanket out to cover what they guard. They carry it to the helicopter, its weight causing their gait to roll.  I know there is a person under there.

      My Grandmother’s head, (or possibly it’s my head?), shakes slowly in disbelief. Hers was a proper death at almost 94, not like this young thing, gone at perhaps a quarter of that.

      Now you see me. Now you don’t. Now you’re here. Now you’re not.

      The utter silence roars.

      I am lost in other bodies, swathed in death. And all I want to do now is to fly from it. Shake them all off. Turn on the silenced siren to blast through the fog.  That something might reach me.

      Don’t let the light fade. Don’t let the light fade.

      On I pedal. I go fast, fast. In order to jerk myself awake. I want to come back from between the worlds. I try to contact the fall of my feet on the pedals, and my breath. I latch on to beacons of colour. I drink in the amber and gold-sparking chrysanthemums, that wait outside houses. They will be placed on graves, on tomorrow’s Day Of The Dead. My eyes can’t get enough of the glittering citron poplar trees, and the popping ruby berries strung along the road.  

      And when I arrive home I grasp too the bubbling laughter of my son, and the scratch of the pouncing kitten, to bring me back to the land of the living.

      In the evening, at official celebrations of All Hallows, I am delighted to be only with those who still breathe. There is the pulsing, crackling fire. There is sharp cold-slap on my face as I surface from the bobbing bucket, a scarlet apple clenched between teeth, juice sour in my mouth.

     The dead are absent and life blazes. Hypnotised by the flames, I hear, in their dancing flicker, these words-

 Live fiercely, while you can.

Hold those you love very tight.

Don’t waste a second on discord.

Set a blaze in your heart.

Because one day, too soon,

A veil will be thrown between you and them,

And you will be gone into darkness. 

A Writer's Process: Penny Asquith Evans

I can’t say, hand on heart, that writing is always a complete joy for me.

I persevere through very dark days with Morning Pages, practically screaming with frustration at how long it can take to write three meagre, miserable pages of meaningless drivel.

But then there are those blissful days of flow. When your writing transports you to another time and place. Your hand can’t keep up with the outpouring of words, turning, twisting and tumbling over one another to be heard, diving onto the page with the force of a waterfall crashing into the valley below.

It isn’t necessarily easy to work out how to get into that state of flow, although, for me, it helps to have a definite end-point in mind.

Most recently, this was an article about ‘being brave’ for a travel writing competition.

The particular time and place was easy to choose, and I knew how to relate my story to the brief. All I had to do after that was write the thousand words! I dabbled for days on end, making notes, writing, re-writing, and abandoning an opening sentence artlessly designed to grab the reader’s attention. I went for long, solitary walks, muttering endlessly to myself as I tried to coax the article into being.

With only two days left until the submission deadline and nothing to show for my efforts, in desperation I took myself off into the countryside, and set up a makeshift writing desk on my favourite picnic table, next to a fast-flowing stream in the heart of the Derbyshire Dales.

I closed my eyes, and listened to the sound of the water rippling over stones, catching the occasional ‘plink’ of a fish leaping out of the water in pursuit of a fly. Soothed by the sound of the wind rustling in the trees, and the feel of the breeze catching an errant strand of hair, it became easy to take myself back to my big, brave adventure. Suddenly, I was back in Yosemite, climbing up the steep, rocky path to Vernal Falls, bathing in a rainbow of spray.

Words gushed out in a torrent; sights, sounds, smells all as fresh in my mind as the day I had been there, and as my mind wandered through the memories, the emotions came back with vivid clarity as well.

The article pretty much wrote itself after that, and though it didn’t win any prizes, for me, it was probably the most authentic piece of writing I had ever done, and I was immensely proud of that. 

On Emotion

The Wild Words Retreat. Photographed by Peter Reid. 

The Wild Words Retreat. Photographed by Peter Reid. 

Emotion is common to us all. It’s basic to our experience of being a human animal.

Reading or listening to stories imbued with emotion stimulates much more of the brain than reading an emotionless account would do. The empathy areas light up, and oxytocin, a chemical related to feelings of love and trust, is released.
 
When our words are imbued with emotion, for both the storyteller, and the listener or reader, it’s like having the wild animal very close, breathing down our neck.
 
These wild words hook the reader. The power and the passion within them sweeps us along, all the way to the end of the story. There is nothing tame about these words, nothing predictable. They live in extremis. One moment the receiver is roused to laughter and joy, the next they are devastated by tragedy. Hooked by emotion, they journey with the narrator/lead character. It’s quite a trip.
 
Rachel Shirley gives a relevant example of how to work with emotion on the page. She explains that you could write,
 
She waited by the door. She felt so frightened, she thought she would begin to panic.
 
However, it would be stronger to write,
 
She waited by the door. Her heartbeat thrummed against her ribcage, her mouth tasted like iron and her breaths hitched in her throat.
 
Although wild words are infused with emotion, as you’ll have noticed in the above example, the emotion is often not named on the page.

Instead the experience of feeling emotion in the body, which is actually the experience of the intensifying of bodily sensations, is described. As these experiences are common to all of us, we know exactly what emotion is being experienced, even if it’s not named. Indeed, it’s more impactful for not being named.
 
Below is a wonderful (if stomach turning) example of how to work with emotion on the page, from Ian Fleming’s ‘Casino Royal’. Le Chiffre is torturing Bond. Notice how the emotions are never named, but there is attention to the detail of bodily sensations.
 
Bond's whole body arched in an involuntary spasm. His face contracted in a soundless scream and his lips drew right away from his teeth. At the same time his head flew back with a jerk showing the taut sinews of his neck. For an instant, muscles stood out in knots all over his body and his toes and fingers clenched until they were quite white. Then his body sagged and perspiration started to bead all over his body. He uttered a deep groan.

 

Making NaNoWriMo Work For You

November is National Novel Writing Month. 

I applaud that project, and any writer who steps out over the parapet to take part in it. When you commit to the daily word count, it won’t only be others who await the results you’ve promised. You’ll also be setting up high expectations for yourself. The pressure will be on.

For some writers, at some times in their lives, it’s just what they need. NaMoWriMo is a virtual community, where the peer network can guide and inspire superbly. 

But for other writers, this headline of a month can exacerbate what we tend to do anyway as human animals, and human-animal-writers, which is to set unrealistic goals for ourselves that we then fail to achieve. 

This is a dangerous pattern for a writer because once we’ve failed to achieve a goal, it is evenmore difficult to achieve it next time.  We can end up spiraling down into a vortex of unfinished projects and decreasing confidence.

What we need to do this NaNoWriMo is set ourselves up to succeed not fail. We want to create a virtuous circle, not a vicious one. To do this, it’s imperative that we set realistic goals with regards to how many words we can write each day, given our other life commitments. It’s often better to complete a shorter project than half-finish the next War and Peace. 

Underestimate, rather than overestimate.

Even if you write only ten words of a poem a day, or manage to spend 15 minutes in your private writing space, if that fulfills your intention, you’ll feel satisfied. As writers we need to stop beating ourselves up about what we don’t achieve, and notice how much we do achieve.

Applaud your own efforts this NaNoWriMo.

 

Good luck! 

Competition Winning Story: Leaves

By Alice Penfold

She was a leaf. Weathered from the stormy nights, when the evening exhaled its shadowy smokes and clouded the light into sleeplessly lying, she felt herself fragmenting. Like a commuter carriage, crying for extra space, her own branch was overcrowded; each being jostled to stay rooted. Stemming from her withering spine, yellowing wrinkles were beginning to spread across her paper-thin skin - tea-dipped, discoloured from dry routines.

Time had continued to pick at her skin. Her once smooth hues of blushing emerald were jaded, now, worn down by the relentless demands of raining hail, shouting down onto her exposed flesh and leave her no choice but to stay the clinging victim, with no power to overthrow the self-appointed dominance of the sky’s ever-replenishing army.

Of course, she knew, too, to look for the glowing moments that had passed during the rolling days. The summer week when a gentle gust had embraced her and her fellow passengers, a breeze that helped her breath as the yellowing light lay glimmering on her resting self. Although she had been grown to reside alone, she had found herself waving, for no reason except the affecting season, at those delicate souls that shared her space, who had been thrown by the thundery hands of fate to take a similar route to her own.

She had to take her leave, soon, as the wind wound through the thinning air and the tug of moving on became too strong. It was a fallacy, she knew, to think she could choose when the crossroads of her next step would come. Stoned by one stormy encounter – not from firing above, this time, but by a rocky rebellion below – she was made redundant, her stem splintered near completely from its grip on her tree’s outstretching arm. A merciless creature, dressed in leather boots and armoured in a buttoned up coat, had screechingly raised a rough-edged rock above its squealing head, and thrown, thoughtlessly, towards her shaking place of residence. Having stampeded to pieces the peace of the ending autumn bodies below, it was only natural that this creature would find more victims. As the boulder bombed through her fragile frame, she realised in an instant that she would have no choice but to let go. Like a trying toddler gripping to the reaching bars of a climbing frame, her own joints already weakened over repetitive efforts to stay on the known road, she knew her next path was coming. This wasn’t a place that she could cling to forever. Despite the ever-going, ever-growing weeks that she had been wishing for a natural break in the cycle of her clouded days, the harsh reality of choice still left her frozen.

Drops continued to descend. Weighed by polluting pellets bulleted from the smudged skies above, she was soon to lose her grip. Yet the expected route – the fall to the crunching floor at the base of the trunk – was, to her, simply not an option. Layered in spongey tiers, iced with winter’s whitening chill, previous leaves lay in infinite wait, forgotten in their likeness; they each added to the padding under frantic feet and heavy heels. She knew the well-worn path would keep her too downtrodden.

It was an unexpected ray, piercing through the defensive skin of the leafy barriers above, which made her see a less predictable path. To her right, fighting the biting attacks of the unrelenting gales, clung another, his stem half-torn from the stability of a separate branch, a metre or so below. She could not say for certain, but if it had not been for the sun’s brief triumph over the smoky smudge of haze that suffocated her surroundings, she did not think she would have spotted him.

Waving, she leant forward, slightly, letting the breeze catch and bring her to his attention. They connected.

As the hazy cloud consumed the final desperate daylight hours, she knew that time was flowing too quickly away, like sand spilling through the gaps of a broken sieve. The wind switched direction, taunting its paper-thin victims, the rain washing away each leaf’s vibrancy; a howling chill ripped through the swelling vein on her left side, leaving her stomata sweating for breath. Now, then, was the moment to go. Taking a deep breath, she let her stem loosen its grip on the spindling twig to which she had been clinging for too many identical hours and felt herself snatched by the unstopping storm. She was wading through treacle, every step forward stealing the air from her frailing frame. With perseverance against nature’s forces, though, she changed her direction just a fraction, in order to pass by the one leaf who had caught her sight from so far away. Her shimmering edges brushed past him and she embraced the tingle of his touch that, for too long, her lonely routine had forbidden her from feeling.

He felt it too, they knew. Soon, whilst the grey-smudged skies were increasingly subsumed into unseeing obscurity, he found the strength, too, to loosen his desperate hold on the bark below. He wrapped his being around her crumpling skin, the tiny hairs of her skin stroked by his midrib and margins. They twisted as one through the attacking shadows, fighting away the bulleting rains and grip of ever-going gusts. Together, too, they mustered the strength to plough through the night and to reach the spot that few fellows had been able to reach before. It was a quieter patch – the challenges to reach it leaving it far less travelled – by the edge of a trickling river. They rolled down towards the earth – like footstepping down each rung on a rickety ladder, their certainty of success increased as they approached, hearing the twinkling notes of the water chime against the rocks underneath. There, they settled, letting their pores drink and their bodies stretch along the cool pebbley surface, sheltered from the wind’s ferocity by the protective arms of the stream’s largest evergreen. Their union, they knew, had made all the difference.

Summer Solstice Writing Competition Winner: Alice Penfold

Alice Penfold. Winner of the Wild Words Summer Solstice Writing Competition 2016

Alice Penfold. Winner of the Wild Words Summer Solstice Writing Competition 2016

I am delighted to have won the summer Wild Words writing competition!

I have always loved creative writing, particularly thinking about how to write different perspectives and how the same characters or settings can be seen in such different ways, depending on the subjectivity of the viewer. In addition, the power that words have to be interpreted in multiple ways has always been at the heart of my writing.

It was whilst reflecting on the impact of homonyms in writing that I was inspired to write ‘Leaves’, a piece drawing on its meaning as both a noun and a verb. I wanted to write an abstract piece reflecting the challenges that change and leaving things behind can bring.

To create my story, I combined my love of word play with my passion for writing in the natural environment.

For me, nature and in particular, a keen and active observation of the world around us – its colours, its details, its changes – can provide the basis of such a range of writing.

Robert Frost’s poem, ‘The Road Not Taken’, has always been a favourite of mine, and I wanted to draw out its ambiguity as both a poem of hope and uncertainty in my writing today.

I took the poem and some blank paper to my local park, to observe the falling leaves in detail and consider the metaphorical implications that I could draw on and describe.

I am feeling even more re-inspired to create further stories – and to frequent more parks with nothing but an inspirational poem and blank sheet.

Just A Set Of Signs?

This week a friend sent me this beautiful poem. If I were to receive a poem a week from a friend, well, life would be perfect…

From March '79
Tired of all who come with words, words but no language
I went to the snow-covered island.
The wild does not have words.
The unwritten pages spread themselves out in all directions!
I come across the marks of roe-deer's hooves in the snow.
Language but no words.
Tomas Tranströmer
(Translated from the Swedish by John F. Deane. You can find the original, and hear it here.)

 

It’s got me thinking. We can use words, but not really be communicating. Sometimes I’ve been asked to read stories and memoirs, and found they are like that. There may be a set of signs on the page, but they have left me unmoved, and with only a vague sense of the characters and world they are describing.

Conversely, language is not always a set of signs that we can use verbally. It can also be something more subtle- a rhythm, a felt sense, an atmosphere. Communication is the key. The important questions are: How do want to affect our reader? And, how can we convey the essence of the world/person/thing that we are describing? This thought process has led me into the work of Jeanette Winterson. She writes, in Art Objects,

‘The artist is a translator; one who has learnt how to pass into her own language the languages gathered from stones, from birds, from dreams, from the body, from the material world, from the invisible world, from sex, from death, from love. A different language is a different reality; what is the language, the world, of stones? What is the language, the world, of birds? Of atoms? Of microbes of colours? Of air?

So we go on learning our craft, trying to make something meaningful of these black marks on the page.

 

The Weekly Writing Prompt

‘Words but no language…language but no words’.

Write a non-fiction or fiction piece, in prose or poetry, using this line as inspiration.

If you’d like to publish it as guest post on the Wild Words Facebook page, I'd be delighted. 

This blog was first published on April 5th 2013.