I wrote this yesterday.
Last day of November. It’s storming outside, the wind is bouncing between the block of flats I live in and the one of the other side of the rail road tracks. It’s hitting windows and scraping tree branches along the walls. Sometimes a train rushes past. I hardly hear them anymore and only notice if it’s a big freight train screaming and whooshing.
London is still grey and it’s getting colder. I’ve spent the day transcribing an interview. I don’t often record the interviews I do anymore, but I’m glad I had this one on tape. There are good quotes that will only work verbatim.
December is falling into place and it makes me happy. I’ve started scheduling things and it’s a relief to know what will happen when instead of staring down a huge pile of stuff that just has to be done at some point. I think the most stressful part of being a journalist is the period before a story comes together, before I’ve started booking the interviews, when everything is still an idea. As soon as I know who I’m going to speak to and when I start relaxing, then I know it’s possible.
I’m starting to realise it’s the same with creative writing. I’ve come up with a new system. I need to know exactly what happens, from every characters’ point of view, throughout the whole book. The more I know the more precise I can be when I’m telling the story. In my previous attempts at writing creatively I’ve always been rushing, trying to get the story out as quickly as possible, because otherwise I fear I might lose it somewhere along the way (and I often do lose it somewhere along the way). But if I instead write it out quickly, in a not very coherent fashion, using plenty of clichés and a multitude of other literary sins, it already exists and all I need to do is slowly, carefully craft it into something that sounds good. Now that I’ve realised this one thing putting a book together seems more possible too.
Photo by Samuel Zeller.