Variations on a Theme

‘Mostly, we authors must repeat ourselves- that’s the truth.’ F. Scott Fitzgerald

With the sad passing of David Bowie last week, I, along with the rest of the world couldn’t keep my eyes from the deluge of images of our unique star in all his vivid guises and characters. So many people commented on his ability to change from look to look, genre to genre, always reinventing and never being boring. But Bowie viewed his kaleidoscopic career as something far simpler than this. Bowie felt he always wrote and sang about the same things - loneliness, alienation, stardom, identity, sexuality – throughout his career and that it was these underlining themes that were the common denominator in his work.

Julia Cameron talks about something she calls ‘the vein of gold’. Her idea is that all artists have topics that obsess them, inspire them, ideas that they can’t help but revisit project after project. Moreover, when they explore the things that fascinate and impel them they are working within their vein of gold. I think Cameron’s theory is so right. It’s the reason Monet made waterlilies his metier. It’s the reason we know that when we pick up a Margaret Atwood book we’ll probably encounter something that will get us to think about a woman’s place in the world. It’s the reason anyone who’s ever felt like an outsider finds solace in the work of Morrissey.

In fact, if you choose any artist you’ll see these patterns. This is an idea that really reverberates with me. I feel that everyone is given a topic or two, a theme they are urged to explore throughout their life and through being creative they somehow find a conclusion to their curiosity. When you look back over things you’ve written it can sometimes feel like you never do anything new, that you’re always getting at the same old thing. Your characters might blend into one. Your plots might be similar. But I think this is a sign your writing about the things you should be. The alternative would be to write about things you think you should be writing about and that wouldn’t be authentic at all. So, stick with the things you want to know about, the things that inspire you and see what happens.

Just as Cameron suggests in her brilliant book make a list of the films, books, songs, television programmes, art works that you love. When you’ve done that think about the topics that you find yourself thinking and talking about. Then make a list of things you love doing. Look at your lists once you’ve done this and see if you can see correlations – do your favourite films share similarities with your favourite reading topics? I’ve found the things that really resonate with me and pique my curiosity are the things that end up in my stories.  It was a real ‘a-ha’ moment for me when I began seeing the echoes across my writing. Two of my themes included sibling dynamics and characters who are somehow unable to deal with the societies they find themselves in.

Give this a go and see if you can see any patterns in your own work. I’d love to hear if you make any discoveries.

To Keep or Not to Keep a Journal

At this time of year, we are tantalised by the variety of journals to take into our lives. For some, this is an intimidating commitment – having to write a daily entry seems an annoying burden, another ritual we won’t stick to. Journals also have the cringe worthy connotations of adolescent angst – mementoes from times in our lives we’d rather forget. I encourage you to put these fears behind you and be open to the wonderful benefits of journaling.  Here are some of the ways you can use a journal to have a positive impact in your life:

Journals enhance creativity

Journals are ideas factories, private little worlds where we can ferment our thoughts, plans and dreams. Great writers like W. Somerset Maugham and Virginia Woolf kept diaries throughout their lives. Whilst these provide fascinating insights into them biographically, what’s most striking is the sense of them needing to digest their day to day life. Maugham is impelled to write quick character portraits of people he comes across, and Woolf ends up charting Bloomsbury group gossip and housework frustrations. You might use your journal as a space to jot creative ideas down. There’s something less scary about writing in a journal than a blank page in Word. A journal is a place to be playful, cross things out and warm up before hitting the keys.

Journals cultivate a sense of gratitude

Read any wellbeing book and the concept of gratitude is bound to occur. I saw a quote the other day – on a pyjama top in fact-  that said ‘when its dark, look for the stars’. A journal is a convenient place to count your blessings. Set yourself the challenge of making lists of people, things, qualities you have, places and events you are grateful for.

Journals allow us to think through problems

When an issue is bothering you a journal is a great way to relieve yourself of the burden. By writing your problem down you can attempt to minimise its impact. A great technique is to write constantly for a set amount of time or for a specified length. This can help breakdown a problem and shine a light upon possible solutions for your conundrums.

Journals are places to be inspired

Journals don’t have to be filled with reams of writing. They can also be a record of things that pique your interest. A journal is a private scrapbook to keep track of things that interest and inspire you. My journal is full of quotations, postcards, pictures, doodles and quick notes.

Journals are tools for recording our lives

Diaries are insights into our memories and our passions. They remind us of who we were and who we wanted to become. They conjure up images of days gone by, obstacles overcome and provide us with an insight into ourselves. A quick and easy way of processing your day is to make a list of five things that have been significant for you each day. You might include something you did that day, a new idea that occurred to you…anything that is noteworthy for you. After all, unless you end up being the next Samuel Pepys, your diary is for you alone.

Do you keep a journal? Has it been helpful for you?

The Key to Winter Reading

Step One: Find a cosy corner. The armchair, the bed, your favourite spot in the library. Anywhere really that’s warm, quiet and comfortable. Extra points if you have a lovely wintry view to gaze on.

Step Two: Choose a book. The most important stage, of course. Winter is the time for comfort so it’s no surprise if you find yourself returning to old favourites that never let you down. I tend to go for festive reads. One absolute favourite is Christmas Pudding by Nancy Mitford – country house shenanigans, satirical swipes abound.  At the moment I’m reading The Adventure of the Blue Carbuncle by Arthur Conan Doyle. This is particularly recommended for those who are anxiously counting down the days to the Sherlock special - I know I am.

Step Three: Select a snack and drink. My personal winter beverage of choice is Whittard’s white hot chocolate because it’s the colour of snow and I can imagine myself drinking it in a cosy log cabin. I tend not to eat and read (crumbs in pages, chocolate smears obscuring page numbers etc.) but there is always something tasty up for grabs in my house at this time of year so who am I to refuse?

Step Four: Optional Extras. Now, it’s time to make it yours. Add candles, hot water bottles, bolster yourself with plump cushions. Be comfy and enjoy.

Six Ways to Enjoy Winter

Winter is the time that we hibernate into a cocoon of Quality Streets and Chocolate Oranges. Winter is the time we wrap up in scarves and gloves and embrace the chill on walks across frosty landscapes. Winter is the time for celebration, friends, family, food and festivity. Here are my six ways to get the most out of this magical season.

1. My favourite way to embrace the changing seasons is to go for a long walk in the midst of it all. Reflect on the passing year and dream about brighter days as you trudge along in boots. Take pictures of bare branches, blue white skies and red berries. Catch up with your companion and pack a little pick me up to warm you through!

2. One of the best things about having a little one in my life is the way I’ve begun to see things through a child’s eyes. Winter is transformed when you look at things this way; puddles are for jumping in, leaves are there to be collected and everything is worth a closer inspection. You notice the little robin you might have passed by or a statue overgrown with ivy. Be observant, be curious and be imaginative.

3. With Christmas just around the corner, it’s this time of year we are at our most generous. I love taking time to pick out things that will make my loved ones happy. Tell people how grateful you are for them and prove that cheesy sentimentality isn’t just a make believe thing from Christmas adverts.

4. Christmas can be a stressful season for some. Even I, who floats through advent to new year in a sugar induced joy bubble, sometimes need to take some time out to relax and cut off from frantic preparations and festive expectations. Treat yourself to a bath treat (Lush always have the best Christmas selection) and evaporate tension in a tub.

5. Fill your house with all the natural beauty you encounter outside. A Christmas tree, faux or no, is a good starting place. Mistletoe, pinecones and sprigs of holly are good ones too. Buy some scented candles with earthy notes. And make sure you look out the window to see if Mr. Robin has come to call.

6. The cosy feel of being surrounded by a fluffy blanket; The smell of cinnamon and cloves when rolling out biscuit dough; The taste of a little chocolate in the Advent calendar; The sound of brass bands and choirs when you’re out Christmas shopping. The most enduring Christmas memories are infused with sensory detail. This December relish those evocative smells, sights, tastes, sounds and textures you associate with all things festive.

What are your favourite ways to enjoy Winter? 

Writing Exercise: Character Correspondence

Before I write down one word, I have to have the character in my mind through and through. I must penetrate into the last wrinkle of his soul. - Henrik Ibsen

Write a letter to one of your characters. You might choose a character that you’re struggling to get right or a character you love but don’t know what to do with. You might want to ask them a question, offer some advice, air your frustrations towards them, or to ask them to tell you what they think should happen next.

This may sound a bit odd but there are lots of benefits to this exercise. First, if you’re feeling blocked it will get you writing something. More importantly, it will clarify where you are with your character- what you feel is going badly, what you feel you’ve done well. Given a letter is usually a small space, it will allow you to really think what you would like to find out.

When I wrote my letter I found myself apologising to my character for the misfortunes in her life, but resolved that despite the sadness I’ve made her tolerate it would be the wrong move to give my novel a ‘happy ending’. I finished my letter with a series of questions all of which basically asked ‘have I portrayed you correctly?’ These answers are emerging over time. By seeing your character as a real person you become a biographer. You’re no longer inventing someone’s life but trying to reveal and unearth all the facts slowly.

I did draw the line at sending the letter – I feel imaginary penfriends is probably not a track I want to go down. However, in terms of getting to know my character and deciding what to do next with my story writing, letters to fictitious people has proved a very helpful little tool.

Further suggestion >>> Write a response from your character to your letter. This is a great way of familiarising yourself with their voice and gaining further knowledge into where they want to take you. 

Little Luxury: Lush Yoga Bath Bomb

The pursuit of calm is something I try to bring into my everyday routine.  My fast track way to calm is a perfect temperature bath, some twinkly candles and something lovely from Lush to make the water smell and look heavenly. Therefore, I was excited by the idea that this bath treat could help me achieve a tranquil state of mind without me having to do the downward dog. By Lush’s standards the Yoga bath bomb is of an unassuming appearance, the kind you might easily pass by for something more dazzling and colourful but don’t let its calm exterior fool you. What makes Yoga special is how long it takes to fizz, meaning for the duration of the bath you can watch the orange shell give way to purple and turquoise infused waters. The key ingredients are chosen for their soothing qualities, particularly Sandalwood oil, Olibanum oil, Cassie Absolute and Ho Wood oil. The result is a warm, woody and comforting fragrance which is perfect for these cosy, wintry evenings.

You can buy the Yoga Bath Bomb from Lush for £3.95.

Review: Great Shakespeare Actors by Stanley Wells

When in Rome do as the Romans do. When in Stratford-upon-Avon, purchase everything you can that’s Shakespeare related, i.e. everything. This is my mantra anyway. When I went this summer I treated myself to Stanley Wells’ Great Shakespeare Actors which lay on the Shakespeare themed table in Waterstones so temptingly.

In his book, Wells has chosen thirty-nine masters of Shakespeare. Not simply actors who can act Shakespeare but artists who bring something new or profound to the work. Wells explains how these great Shakespearean actors translate the works to us in the audience. So many people get turned on to Shakespeare by a particular performance or performer, in this way the actor has a crucial role. Wells has a difficult job in that he must recreate what it was like to witness watching the actors in performance. To do this he draws upon contemporary accounts, reviews, and autobiographies of the actors and, for some of the more recent entries, his own memories of seeing them in the flesh. In brief flashes he brings the experience of watching the actors to vivid life. He goes to great lengths to help us envision the voice and movement of these actors- we’re told of Georgian actress Sarah Siddons’ black eyes which could ‘flash with ferocity’ and of Paul Schofield’s gravelly, nasal twang. This is particularly beneficial for those performers we have no audio or visual record of.

The stories that emerge are colourful, theatrical and full of monumental egos. Anecdotes include: George Frederick Cooke’s drunken performance as the ghost in Hamlet to the alarming tale of Drury Lane favourite Charles Macklin murdering his co-star backstage. As the book is assembled into mini, readable essays per actor it means you can dip in and out quite happily, flitting between time periods. These entries give a quick but in depth analysis of the actor’s life, major roles and noteworthy characteristics of their style. This format makes for a great starting point for further reading, with its tantalising glances of these figures. You’re bound to be attracted to some actors more than others. I found myself drawn to the intelligent and womanly actresses of the Victoria era such as Ellen Terry and Helen Faucit. Faucit was keen to engage with the characters she played on a real, empathetic basis. Wells quotes her thoughts on Ophelia’s childhood envisioning it as one ‘with no playmates of her kind, wandering by the streams, plucking flowers, making wreaths’. Gratefully, there is plenty of backstage gossip thrown in too- we hear about the sexual appetites of Edmund Kean as well as the bitchy rivalry between theatrical heavyweights Donald Wolfit and John Gielgud.

At the heart of the book is a centuries long conversation between actors about how the lines should be delivered. Wells tells us that in one camp we have the actors who think of their craft as ‘an imitation of how people behave in real life’ versus an exaggerated, majestic style favoured by actors ‘acknowledging the artificiality of what they are doing.’ Throughout the book styles pendulum between these extremes, at times co-existing together. Preparatory methods also seem to be a crucial factor. Wells talks about the actors who transform themselves to look like their characters, the greatest example being Laurence Oliver as a hunchbacked, prosthetic everything Richard III. In the other camp are those who adapt the character to their own appearance and quirks- Gielgud remarked he wouldn’t stoop to impersonation. Written chronologically, the book charts the fashions of acting and casting over time. We meet the first great female actors to bring us the bounty of Shakespeare’s women. He highlights other trailblazers –Ira Aldridge, the first Shakespearean black actor as well as those championing the bard further across Europe and in America.

Stanley Wells is a rarity in that he has a gift of being able to tread the fine line between academia and accessibility. He reminds us that Shakespeare is there to be performed, heard and seen. The dedication of the book is to all great Shakespearean actors not mentioned in the book which I take to be a disclaimer that Wells has not intended this to be a definitive list. A whole host of names don’t make the cut- Patrick Stewart, Vanessa Redgrave and Helen Mirren to name a few. For the book’s younger readers, it is disappointing not to see mentions of the heroes of our generation like David Tennant, for example. Above all, the book emphasises that great Shakespeare acting is like the plays themselves, something woven into history- growing, regenerating, changing and modifying as times goes on.

For anyone interested in Shakespeare, acting and theatre this is an essential. Shakespeare sticky notes, Shakespeare colouring pencils and Elizabethan player’s masks probably aren’t - but I’ll keep buying them anyway…

Who would make your list of Great Shakespearean actors? What have been your favourite productions of Shakespeare?