I was in the kitchen, faffing not writing, when the light through the hedge at the top of the garden caught my eye. Hurrah – a project! I dashed outside with my camera to capture the high definition catkins against the sunset, and caught this little bird as well – probably a dunnock; it’s hard to tell. But whatever it is, I like the tiny curve of sunlight against her breast.
Lens-Artists #Curves Please visit Tina to see her fine gallery of curves.
Posting this photo has set me off on a little train of thought, creative writing-wise. For one thing I’m reminded how my artist friend Sheilagh Jevons once expressed surprise at how predominantly visual my blog often is. ‘But you’re a writer,’ she said. ‘I didn’t expect to see so many images.’
I didn’t really have a good answer at the time, but I have often pondered on her remark since. It’s an interesting paradox: a writer who struggles to translate into words the fictional worlds she summons as if she were watching them; as if she were there, taking part in the narrative.
This is not to say that the envisioned people, places and events arrive in-brain in sharp focus. Far from it: the circumstances are often very blurry, slippery even; all that is viewed is presently in the foreground; the overall context hazy, unformed. But something in an imagined scene will have caught my mind’s eye; triggered the story alert. It is usually a person, never anyone I know, but always a particular someone who belongs to particular place and thus could be from nowhere else; although this is not to say that they might not be, in some sense, displaced when I first notice them. Otherwise, I probably don’t know much about them, only their general looks plus a certain something that snags my attention.
I know at once I should follow them. I may already know their name, and even if that name should later change, the ‘fact’ of their existence will not change. Once fixed on, these people subsist forever in conscious memory (as real to me as my relatives or neighbours), lingering there and waiting for their story to be told. Some have been waiting a good long time.
So what happens next? Fantasy and Science Fiction writers call the process world building. But then I feel that all story telling involves world building: the subtle articulation between physical circumstances (setting in time and space) and the events in a character’s life; their reactions, the ‘what happens next?’. This construction must be seamless; appear authentic; have ‘the ring of truth’; integrity; whatever you wish to call it. It is a bit like conjuring, but with much substance. And, to pursue the magician image, it is also a grand performance, the sustainedly active ‘suspension of disbelief’ wherein the audience/reader/viewer should be so engaged as to not start wondering: How did that rabbit come out of the hat.
And here is where the looking comes in; or perhaps a better way of putting it is schooling oneself to see (and by ‘seeing’ I mean engaging all the senses); honing the skill of it in the real world as a piece of daily practice; learning how to express the experience in another medium (in my case the written word, but it could be any of the arts). Such exercise develops world-building muscles, refines powers of discretion; helps you know what to look for in the fictional environment; where to shine the spotlight, how to manipulate light and shade, enhance texture, condense or expand detail in order to give a scene (in some sense) reality.
It is a lot to think about. And for those of you struggling with your own powers of creativity, no matter the medium, here is some wonderfully creative play to spur you on. It is a New Year’s gift this morning from blogging chum and artist, Janet Weight Reed. Please pop over there and have some fun. Who knows where it might lead you next, or what blocks it may release.
copyright 2019 Tish Farrell
#HowIWrite
January can be a dreary time up at the allotment: cold claggy soil, weedy peripheries, bare trees and a general sense of neglect and of plots too long abandoned. And yet…and yet…when I slip-slide around my raised beds I find there is still plenty to harvest: leeks, parsnips, Tuscan kale, Swiss chard. The slugs have even left us some carrots (the voracious little gastropods are especially fond of the sweet and stubby rooted Paris Market variety), but I manage to find a bunch that have not been too gobbled.
There are also some golden beetroot to pluck, some as big as turnips. From the outside they do not look too promising – over-weathered and their skins suggesting woodiness within. But to my surprise, they are still good – delicious chopped into cubes and roasted till they start to caramelize, and even better with added quartered onions (Sturon still going strong from the summer cropping) and cloves of garlic kept in their papery jackets (so they can be popped out later, if squidgily, and accompanied by much finger licking).
Down by the raspberry bed, the purple sprouting plants, long nurtured through the summer drought and now wrapped in netting against pigeon attack, are looking stout and lush-leaved. I see that they are beginning to yield, and manage to find half a dozen fat florets. Hopefully, the plants will keep cropping now into the spring.
And then as I make for home with my muddy bag filled with veggies, I spot the marigolds (Calendula officinalis). There they are, back in flower after their December lull, and making their own sunshine on a dull and chilly day. I feel a bit guilty about picking them, but then I think some sunshine on the kitchen table would be a cheering sight for He Who Is Presently Coughing His Socks Off. And of course a scatter of petals, therapeutic little entities that they are, would be just the garnish for a dish of roasted golden beetroot.
copyright 2019 Tish Farrell
Present and past conjoined in silence across eight centuries.
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P.S. Starting the New Year with my one thousandth blog post or so WP tells me.
Last December we had over a foot of snow which lasted for a couple of weeks. This year we’ve barely had frost. Anyway, prompted by Lens-Artists, I thought I’d finish 2018 with ‘a year in the life’ of Townsend Meadow behind our house.
Happy New Year everyone, and may sanity and kindess be restored to Planet Earth and all who voyage on her.
Ann-Christine asks for a photographic review of 2018, however we choose to do it.
This wintery looking hedge is on the lane to Downs Mill, though it was a mild afternoon when I took this photo, more like spring. The hazel catkins along the field path by the house have been thinking much the same, their tassels opening to the late December sun. Out in the garden the Dyer’s Chamomile (grown from seed last summer) is still flowering, as are pink and coral hesperanthus and hardy geraniums. None of them seem to have been bothered by the few mornings’ frost we had earlier in the month.
Otherwise, there have been a couple of gales, lots of murk with fog and too much rain, but also blue-sky days too, and so far little sign of winter as we once knew it. Up at the allotment the Swiss Chard is having yet another flush of juicy leaves and the pot marigolds have started to flower again, their petals adding a zing of colour to green salads. And in the fields all round the winter wheat is zooming up.
Here we are – midday on Christmas Day in Ashes Hollow, Little Stretton, Shropshire, walking across some of the oldest landscape on the planet. Such vast antiquity is perhaps an unexpected distinction within a rural English county whose location, even to the citizens of the United Kingdom, is often a total mystery.
But here it is, one of the valleys, locally known as batches, whose streams wheedle their way down from the flanks of the Long Mynd, a 7-mile ridge of Precambrian rock, formed around 570 to 560 million years ago. It is also well travelled geology, having moved 13,000 miles from its origins in the Antarctic circle where its iron-rich sediments (eroded from volcanic mountains) first accumulated on the sea bed. This was closely followed by some tectonic shunt and shift which squeezed the sediments into a U-shape, so tipping them from the horizontal to the vertical. It’s a feature you can glimpse here and there on exposed rock faces. It means too, that in one sense at least, as you pass, you are walking through time.
The bad news is he doesn’t seem to have left much room for the pressies. And already he looks to have had a tot too many of the Christmas spirits.
Happy Holidays Everyone
C-Curve by Anish Kapoor and reflective puddles courtesy of the rain god; photo taken several freezing Decembers ago in Kensington Gardens. You can spot the Farrells looking a bit stiff – centre twosome on the left.
Lens-Artists ~ Reflections Patti set the challenge this week. Her fantastic photo of the Chicago Bean sculpture by Anish Kapoor reminded me that I had photos of his work too.
Well it had to be done for Becky’s December ‘time squares’, didn’t it? Here we are in Much Wenlock’s town square complete with Victoria’s diamond jubilee clock cum water fountain. It’s 3.20 on the ‘next shortest’ day, and we have almost-sunshine. Keep it up weather gods.
In case you’re wondering about our shops, straight ahead is our ecclesiastical outfitters, an unusual provision in a small town. Coming up next is the clock’s view of the sixteenth century Guild Hall with its veggie market and the medieval parish church beyond:
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And in the other direction one of our several cafes, Catherine’s Bakery and A.J’s household goods store. In the Square itself is the weekly cheese stall. Not exactly bustling on the last Saturday afternoon before Christmas:
