Showing posts with label work in progress. Show all posts
Showing posts with label work in progress. Show all posts

Sunday, 3 January 2021

Work in Progress

Update: I'm still here, still quietly working away in these strange, unsettling times. I can't say I've worked all through last year, but I have a rough draft now of the hardest and most rewarding book I have ever attempted. Its scope has expanded though, and I now envisage a two-part work in the same volume. The first will be a fictionalised novella based on my mother Joy's diaries, set in Moscow in the late 1950s at the height of the Cold War. The second will be a memoir of her, and our experiences as a family - what happened next, in other words.

My thinking is that this might seem odd at first glance, but actually could be very satisfying. And sometimes writers have to try new formats, surely, or all books would conform to the same dull template. This is the idea I'm currently working with, anyhow. It's a way to avoid compromising the drama of a spy story based on real, known events, in particular the continuing enigma of Kim Philby before his unmasking as a Soviet spy, while also examining the personal price paid for what she herself called "an interesting life".

There's a true romance in the fiction, too. It was in Moscow that my mother met my father. Their tales of their dates trailed by the KGB became part of the fabric of our family history. Some of their adventures sounded fantastical when I was growing up, but research has proved it all to be true, and much more besides that I never realised. 

In the end, this personal memoir of her is a universal story about how families and their stories evolve; the narratives we thought we knew and understood, yet missed the point due to familiarity and mistaken assumptions, or lack of courage to ask, or lack of curiosity at a given time. And sometimes, secrets kept until the last.

A short extract from the first draft:

My mother never discussed any specific work she did. But I read and then carefully transcribed her diary for 1958 knowing what she had finally told me in her final years: that she had worked for MI6 and that “There were four of us who knew all the secrets” at the British Embassy in Moscow.

She would have had a natural aptitude for intelligence work. Despite her beauty, she was self-effacing almost to a fault, did not court attention and was irritated by those who did. She was analytical and patient, interested in psychology and sociology; her nature was self-sufficient and she had deep inner resources. 

Some people - perhaps most people - want to seem more than they are. Very few people are content being more than they seem – but Joy was one of them.

What was always clear was that the past was never all that far from the present. It resonated throughout my childhood. The war my parents experienced as children. The lucky near-misses in wartime bombings. The fateful meeting in Moscow. The Cold War. Kuwait. Peking. When they entertained, which was often when we were abroad, the talk was all of foreign postings and people and upheavals, political and personal. Communism. The Cultural Revolution. The grey oppression and underlying threat of Soviet Russia. It was a lot for a silent, observant child to take in. I would sit quietly, lest I be told to go out of the room, absorbing it all, as the tales rolled out of people who had disappeared, what had been tried to save them, or find them, or help them across a border, like the European nuns who had taught me and other international children at the Convent of the Sacred Heart, the last Catholic school in China.

When my sister and I were growing up, she made sure we knew that she thought satisfying careers for girls were far more important than finding husbands. Though in the long run, husbands and families were to be encouraged, they shouldn’t be considered until we were in our thirties and had had more experience of life. (When I married at 28, it was with a sense that I might have rather let her down.) It was typical of my mother that when I left school after taking Oxbridge entrance examinations in December, I found she had booked me a secretarial course starting in January. Her reasoning was simple: with typing and shorthand skills, I would be able to earn good money in the university holidays, and would always have something to fall back on. I did wonder, though, whether there was a subtext. She wanted me to understand that clever girls could forge interesting careers by careful choice of which typewriters to bash.

My parents in Moscow in January 1959, at the wedding of friends - Joy was a bridesmaid. They would marry later that year in London.



Sunday, 9 October 2011

Work in progress


Hello from the depths of my study, amid teetering piles of research material and pages of notes! Hope you’re all well and enjoying the start of autumn. I’ve been working hard as I intended: at 25,000 words into the first draft, it’s “so far, so good” with the new book, even if there’s a long way to go yet.

I always think of this stage as the word equivalent of painting a big colourful picture. You need to fill the canvas completely with broad brushstrokes to block in the main features. It’s an undercoat – little more than a guide for the more detailed work that will form the top layer that you’ll gradually build up. This really is one of the fun parts, because it’s all about experimenting and it doesn’t have to be perfect.

The allowing of it to be imperfect is key to the whole process, for me at least. It completely eliminates writer’s block, as putting words down fast kick starts the imagination. How many of the current 25,000 words make it into the finished book? I’ve no idea. They are the building blocks. The good parts will survive to the next stage, and the parts that make me cringe will be cut or rewritten.

It’s a good time to write key dialogue and conversation scenes, though, because they have to sound spontaneous and new all the way through to the finished book, and sometimes I’ll hardly change these from this first enthusiastic charge into the heart of the book.

It’s not a good time to read any reviews of previous books. I think I’m very open to criticism and have a strong sense of how I might take feedback and improve. With the new book, for example, I’m trying hard to inject some rocket fuel under the plot right from the start, and to rein back on superfluous description.

But there comes a point when writers have to be true to themselves and what they are trying to achieve – which is not necessarily what a proportion of Amazon reviewers were expecting, and failed to find. I don’t want to abandon characteristics of my writing that many other readers have written to me personally to say they’ve loved.

And whenever I feel daunted, I make myself smile and remind myself that this is fun. I never forget that I might otherwise be commuting to a job I hate, or be a square peg in a round hole of any number of work situations, and that I’m very lucky to have the chance to do this in the first place.    
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