Entrance to The Hurst

This year I was unable to spend time in Iona on Roselle Angwin’s Writing Retreat. I’ve written elsewhere about the benefits of spending time away from home in the company of other poets and on the beautiful island Iona. The repair to my elbow took more from me physically and emotionally than I expected so I was pleased to find an alternative writing experience:  What makes a novel work. 

I’ve been writing a new historical novel for over a year now. Having reached the middle I was working on the complex core of the novel. How could I incorporate the main characters in riots which personally didn’t concern them? The course was about novels in general, but it seemed to fit the bill. I hadn’t heard of either of the tutors, knew no one else who was attending and had never been to The Hurst in Shropshire. What had I to lose?

Quite a lot. I’d be homesick. Wifi connections were said to be slow, phones didn’t always work. I’d have to help prepare a meal one evening and what if the others were no better than I at preparing for 20 people in an unfamiliar kitchen? What if everyone else was a brilliant writer? Or if they were going to get drunk and writing wasn’t really their thing? You get the picture.

Rhododendrons in the Gardens

To prepare myself I read the novels written by the tutors. I enjoyed both books – that didn’t necessarily mean they were capable, inspiring tutors but as writers they were skilled story tellers. What did I want to bring back from the course? something specific. I chose an end scene between the two black guys in my novel because I worried about that.  Who was I to write in the voice of men totally different from me? I took a copy of my work so far on my tablet, along with some background notes about the main characters. My hair dryer, Pilates mat, winter fleece and hot water bottle were left at home.  An Elly Griffith’s novel was added to my Kindle as a relaxing read before I went to sleep.

Monday evening was spent meeting course members, the tutors and chatting over a meal prepared by the staff at The Hurst. The next morning Kerry and Jarred introduced us to the work ahead. We were off. Both were inspiring and conscientious teachers. I’ve masses of notes with which to help me complete the first draft. After that I’ll plan the first edit with the help of Post Its – a mammoth task because it includes the entirety of the story and includes all the characters and scenes. The different coloured Post Its will allow the content of each scene to be easily moved around.  I was asked to reflect on why this particular novel matters. Why I was best placed to write it, not least because it takes a long time to write a novel. If I’m not committed, I may not have the enthusiasm to finish it. We were given material about character, place, tension, the usual stuff but in a logical way that’s easy to refer back to. We discussed writer’s block, how to schedule our working life according to our lives, not to those of a mythical writer who can write while doing several other things . We were reminded to look after ourselves, that we are to write the best novel we can and when it’s finished, send it out. Ultimately, to let it go.

All this in the company of other committed writers. I learned a lot from them. We laughed a lot and enjoyed the sunshine. We’re keeping in touch via Whatsapp, having spent some time vowing not to be distracted by social media! Company had been in short supply for me during the Pandemic and it was wonderful to spend time studying and becoming friends with people outside my usual circle of friends.

Tall nettle in the woods

References:

Jarred Mcginnis – The Coward

Kerry Young – Pao, Gloria and Show Me a Mountain

Writing Begins with the Breath : Embodying your Authentic Voice – Laraine Herring (recommended by Kerry)

The Hurst, The John Osborne Arvon Centre, Craven Arms

Photos taken by me