Hey there. It’s been a while. After a sleepy start to the year, things have really picked up over the past three months, and now I’m not sure I’ve ever been busier. In a good way, though. Mostly.

Multiple deadlines have come at once. A couple of different bits of funding came through for different projects. And some pandemic-cancelled things have finally been able to happen.

So what’s been going on over the past few months?

Residencies:

Over the past couple of months, I’ve been on two writing residencies – both of which should have been last year, but were postponed because of the pandemic.

The first was at Moniack Mhor, in the Highlands of Scotland.

At the start of 2021, I was shortlisted for Moniack Mhor’s Jessie Kesson Fellowship. I didn’t get it – but instead, they very kindly offered me a place on one of their retreat weeks, which I was finally able to take them up on in April. I spent the week sitting in the traditional straw bale house (affectionately known as the Hobbit House), drinking coffee, basking in the heat of the log fire, and finishing the next draft of my second novel.

What made this experience even better, was being able to tag it onto the end of a two week holiday – driving Scotland’s North Coast 500, wandering along beautiful white-sand beaches, and wending between snow-capped peaks.

The second residency took me even further afield – to the Writers’ House in Tbilisi, Georgia!

In 2021, one of my short stories was shortlisted for the Desperate Literature Prize. Desperate Literature have a partnership with the Writers’ House – which means that one of the shortlist wins the Georgia Writers’ House Prize, and is awarded a ten-day residency in Tbilisi!

The residency space was stunning – but even more beautiful was the courtyard at the back, which was filled with trees and greenery, and dozens of little tables where I could sit and write. Which was perfect, because…

Deadlines:

Over the past couple of months, I’ve had two major deadlines: at the end of April, I sent my second novel to my agent; at the end of May, I finished my first poetry collection.

In some ways, having two such massive deadlines back-to-back was stressful (especially with all the other work that’s been going on). In some ways, though, it’s been useful. I actually love editing. I think it’s much more straightforward to take something you already have and, like clay, to mould it into something better. I think it’s much more stressful starting with a blank page – and I also think it takes a different kind of thought process. It’s been useful being able to be in ‘editing mode’ for a while, even if it is for two different projects.

That said, the freelance life is all about juggling projects, right? And it isn’t like I haven’t also been in all those other modes over the past couple of months as well…

Other Projects:

Ragged Edge Audio Adventure:

Over the past few weeks, I’ve been working with Ragged Edge Productions, on an audio adventure project. The project involved conversations with people from Ewanrigg estate in Maryport, facilitated and recorded by Stefan Escreet – which I then used as inspiration to write the commissioned poem. The poem, sections of audio, and music sung by the community choir were then combined with a walking route around the estate, and community performance along the route.

It was such a lovely project to be a part of – and I can’t wait to share the online version once it’s up and ready.

Kendal Poetry Festival:

This is probably the big one, which I’ve been working on a lot over the past couple of months. As well as being commissioned to create the annual Guerrilla Poetry strand, this year I’m also working as Festival Coordinator, supporting festival directors Kim Moore & Clare Shaw to deliver the festival (which runs 23-26 June, so if you haven’t already got your tickets, get them quick)!


The Month in Pictures:

It only feels like a few days ago that I was sitting down to write my update for January, and yet somehow, here we are again. February might be a couple of days shorter than the other months, but it feels even shorter than that. So how has so much managed to happen in the past four weeks?

Some of that, of course, I mean globally. But some of it I mean personally as well.

A Few Good Things:

Perhaps the most exciting development this month has been getting my agent’s feedback on the manuscript for my second novel.

I like to think I’m fairly hardy in terms of feedback – I’ve been part of enough workshops and writing groups over the years to be well adjusted to hearing people talk about my work. But it can still be incredibly nerve-wracking, waiting to hear whether a piece of writing is working for someone. With something as long as a novel, the time investment is so much more than, say, a poem, that nerve-wracking can quickly become terrifying. What if it falls flat? What if the idea is hopeless, and the conclusion is you have no choice but to scrap it and start over? However much confidence I have in a piece of writing, these thoughts will often flash through my head.

Luckily, the feedback was far more positive than that. In fact, I think it was my favourite kind of feedback: lots of positives, with some good solid editing suggestions to work on in the next draft. So that’s how I’m going to be spending my March: with my head buried in my manuscript, working gradually through my list of edits.

‘Marie first became obsessed with digging things up the week they buried her dad…’

But it isn’t all about work-in-progress. After the slew of successes in January, February has felt much lighter on the publishing front – although I still had a short story published in Joyland.

The story was written (and is largely set) in 2020, during the first lockdown, and features a mystery grey cat who appears as if from nowhere.

And speaking of published work, I’ve also been out and about signing copies of My Name is Monster over the past few weeks. The Abbey Kitchen cafe in Shap has a stack of them, as does Sam Read Bookseller in Grasmere (also available online here).

The Month in Books:

Not as many books as last month, thanks to a number of things which have cropped up over the past few weeks – not least having to sit down and re-read my own manuscript, to remind myself what happens in it before I approach the edits. But that saying about quality not quantity definitely rings true, because this month’s reading was excellent. A couple of proofs for books due out later this year, plus the second novel about medieval nuns I’ve read recently.

  • there are more things, by Yara Rodrigues Fowler
  • Matrix, by Lauren Groff
  • The Seawomen, by Chloe Timms

I keep waiting to read a bad book, but so far this year has been superb! Now looking forward to diving back into my TBR pile for March.

The Month in Pictures:

January is always a strange month. Named for Janus, the Roman god of beginnings, gates and doorways: a god with two heads, for looking forwards and looking back. It always feels to me like an in-between month, still emerging from the hibernation of Christmas, not quite in the full swing of the year.

This year, January has felt particularly transient, as I’ve spent a good portion of it self-isolating with Covid. In some ways, this isn’t too different to how I usually spend my January – I rarely have much work at the start of the year, and the weather tends to keep me coccooned on the sofa for most of the month, making it the ideal month to catch up on admin tasks and the ever-higher totter of the to-be-read pile. But Covid is a srange beast, and even on the days I haven’t felt particularly ill with it, it’s left me wiped out, unable to complete more than one or two simple tasks per day.

Luckily (or perhaps unluckily), I’ve been here before. Back in March 2020, after my first close encounter with Covid, I built myself a recovery plan: I split each day into three parts (morning, afternoon, evening), and aimed to accomplish one task in one of those parts, with the other two set aside for relaxing. Gradually, I progressed to two tasks over two parts of the day, and then moved from there back to something more like a normal schedule – although it took a good few months to achieve this.

What that means is that this time around, I know what I’m doing – which is to not overdo it, and to take it slowly. And to hope things get better before too long.

So, other than baking and crocheting and falling asleep on the sofa, what have I been up to this month?

A Few Good Things:

Despite the Covid situation, there have been some definite positives to this month. For starters, I won the Speculative Literature Foundation’s Gulliver Travel Grant! The grant is awarded annually, to assist writers of speculative literature in their research. I’ve been applying for the past few years, so it’s lovely to finally be successful! The grant will fund a trip to Cambridge, to the Scott Polar Research Institute, and the Polar Museum.

I also had a short story longlisted for the Galley Beggar Short Story Prize! The story, ‘The Architect‘, was selected as one of 10 to make the longlist, out of almost 1400 entered for the prize. I’m keeping my fingers crossed for the announcement of the shortlist next month – but in the meantime, you can read the story here.

And speaking of short stories – another one was accepted by Under the Radar this month – the excellent journal run by Nine Arches Press. The story, ‘In the Soft Grey Tide of the War’, will appear in issue 28, which should already be winging its way out to subscribers’ letterboxes, and which is available from the Nine Arches website.

And last but not least, I also had a poem longlisted for the Bedford Poetry Competition. Unfortunately, it didn’t make the shortlist, but recognition is always something to be proud of, so thank you to the judges!

The Month in Books:

I haven’t read as much as I’d have liked to this month. Blame it on the Covid, which has sapped my concentration like nothing else I’ve ever experienced. That said, I have read some really great books over the past few weeks, and I’m excited to keep working through my TBR pile in the weeks to come.

  • Strangers at Snowfell, by Malcolm Saville
  • The Art of Voice, by Tony Hoagland
  • All the Men I Never Married, by Kim Moore
  • Our Wives Under the Sea, by Julia Armfield
  • The BBC National Short Story Award 2021 anthology
  • Much With Body, by Polly Atkin

The Month in Pictures:

Every year, I write a blog post about how I’ve managed to make a living as a writer that year. Following on from 2020’s support grant-heavy income, this year has been a bit more of a mix: the support grants came to an end, and many of us are still trying to figure out what work looks like in this new half-open world.

At the end of 2020, I had a strategy: focus on my existing work channels to buy myself time to write. In practice, this meant not applying for opportunities (such as commissions or project work) which took days of application-writing. It meant waiting – largely – for work to come to me.

So how did that work out?

2021: A Rejection Round-Up

I said this last year, and I’ll say it again here: I’m lucky. I’ve been working freelance as a writer and facilitator for almost a decade, eight years of that in the same county. So I’ve built up enough contacts and relationships with other artists and organisations, which means that work does, now, just drop into my inbox from time to time. Even this year, when everything’s been a bit topsy-turvy, I’ve had work just arrive. So much, in fact, that I’ve even had to turn some of it down.

Wait, what? I’ve turned down work? Paid work?

Yep, that’s right. If you’d told me a year ago that I’d be in this position, I’m not sure I’d have believed you. Even to me now, writing this in the annual financial slump otherwise known as January, it sounds almost unbelievable. But I still think it was the right thing to do – partly because I was so busy, and therefore had to prioritise existing commitments, but also because, this year, I’ve been lucky enough to receive two grants (a Northern Writers’ Award and a Society of Authors Authors Foundation Grant), which buy me time to work on specific projects.

But more about this later on. For now:

What has 2021 looked like for me?

As you can see from the graph, income has been very up and down this year. This isn’t much of a surprise – it generally is.

I had a few decent-sized pieces of online work in the first few months, boosted by the 4th installment of the SEISS Covid grant in April. In May and June, the income took a big dip. Normally, this would be because this is exam time, and so I’m not going into any schools to run workshops – but of course, that hasn’t been happening for the past couple of years anyway.

What I have noticed over the past couple of years, is that when we’ve been in deepest darkest lockdown, there’s been a slow but relatively steady stream of work. It’s when we’re coming out of lockdown, and when there’s uncertainty, that the work all but disappears. It’s still very thin on the ground now, 6 months after the final SEISS grant installment.

But I’m getting ahead of myself – you’ll have till next year’s blog post if you want to hear about this year’s problems.

So. May and June were a bit of a wash-out, but then July and August were successful (thanks partly to SEISS Grant 5 in August), as were October and November. In September, I was Writer in Residence at Gladstone’s Library, and so the stipend from this was my only income for that month. December is almost always a wash-out.

What does all this mean? Well, it means that I need to think ahead when I’m thinking about my finances. I can’t live month to month, because the next month might be a no-income month, and then I’d be stuffed. It means I can’t always rely on more work coming into the inbox – and it’s this which makes that decision to turn work down so scary.

Kendal Poetry Festival: Festival Survival Kits

So where has my income come from this year?

Last year, I listed four categories:

  1. Funding: money from grants.
  2. Facilitation: both workshop facilitation and facilitation of creative projects. (These go into one category, because project money will often include funding for both the delivery and administration side, lumped together.)
  3. Writing: commissions, royalties, ALCS money, PLR money, prize money – anything that comes from the actual writing of the actual words
  4. Events: panel events, chairing and readings (in person and online and even over the phone).
  5. This year I’ve also reinstated a fifth category: residencies. (This was missing last year, because most residencies were closed for so much of 2020.)

As a reminder, here’s where my income came from in 2020:

As we can see, most of it came from grant-funding – unsurprising, given that we were in the thick of the pandemic, and pretty much all other income dropped away for the bulk of the year.

A small amount came from writing. Plus some from facilitation – mostly from a single project, which involved a combination of administration and remote workshop leading.

Let’s compare that to this year:

In 2021, the biggest block is still funding, but it’s a significantly smaller proportion – 44% rather than 72%. This is partly because the Covid support has now stopped, and partly because of the return of (some) other work. Most of the funding support I did receive came from the Northern Writers’ Awards, and from the Society of Authors, who gave me an Authors’ Foundation grant to work on my novel, to stand in place of the income that still hasn’t returned following the pandemic.

Facilitation is another significant chunk (28%) – largely because I started leading online workshops in 2021, which has gone some way towards returning the balance.

I also earned a significant chunk from writing last year – unusual in a year where I didn’t sell a manuscript, and so didn’t get an advance. (You can read more about how books earn money here.) The bulk of this came from just one source: winning the Palette Poetry Prize. This is why big prizes like this are so competitive – alongside being a massive confidence boost, they can also make such a huge difference to a writer’s income, and buy you a good couple of months of writing time if you’re lucky enough to win.

While I did do a couple of residencies and online events in 2021, these are still predictably low, thanks partly to Covid, and partly to my own circumstances, as it’s now two years since the novel came out. I’m keeping things crossed these aspects of my income have a chance to buck up a bit more in 2022!

So what’s next for 2022?

We’re already a good few weeks into 2022, and I’m starting to try to get a sense for how it’s all going to shape up. At this point, it’s always difficult to tell – even in a year where we’re not battling a global pandemic.

I’ll be honest, mostly, things look pretty lousy. A lot of organisations seem (understandably) unwilling to plan things at the moment. In-person-only events remain inaccessible to so many people, hybrid events require extra planning (all of which could be undone at any time by new restrictions), and there seems to be a reluctance by a lot of people to plan online-only events – led, I think, by the belief that people are fed up with them. (Personally, I don’t get this. I love not having to travel for events, and getting to sit on the sofa with the cat and a bowl of ice cream while I’m watching them. But that’s another story.)

In terms of income, this means 2022 looks pretty thin on the ground.

But all is not lost! I have a couple of sizeable things in the pipeline, which I’m keeping my fingers crossed for – but which I’m not mentioning as I’m trying not to jinx. And as always, you never know what might land in the inbox…


Fancy reading some more? How about:

How To Make a Living as a Writer: 2020 Edition

How To Make a Living as a Writer: 2019 Edition

How To Make a Living as a Writer: 2018 Edition

How To Make Money From Your Novel

How To Make a Living as a Poet (advice from people much better at it than me)

Let’s imagine you’ve written your novel. You’ve got an agent and/or publisher. The world is your oyster and you’ve got dollar signs lighting up your eyes. You know that a book is a commodity, that sales mean (at least some) money – but where does the money come from? And how else could your book make you money, beyond just flogging copies of it out of the boot of your car?

photo: Gladstone’s Library

The first thing to say is that most authors are not millionaires. So before you start shopping for your luxury yacht, a touch of realism:

Writing doesn’t pay well. Sorry. (If you don’t believe me, check out this info from the Society of Authors.)

Fiction pays slightly better than, say, poetry, but there’s still a lot of disparity within the form, and how much your novel makes will depend on a number of factors, including but not limited to: the genre, whether it’s standalone or part of a series, your publisher, their vision for the book, who reads it and happens to promote it online, whether bookshops get behind it, whether it wins or is shortlisted for any prizes, whether it gets picked up for film or TV (more on that later), your own part in promoting it, and of course, absolute luck.

That said, with fiction, it is technically possible to make a living solely from the books you write. It just isn’t easy.

I’m not saying this to put you off trying (please please don’t let me put you off trying), but just to be honest. (I write an annual blog post about all the various ways I’ve made a living in the previous year, of which the actual writing is only a part.)

But, if you were to make a living solely or even partly from the books, where might that money come from?

Grants & Prizes

Believe it or not, it is actually possible to get money for a book before it’s published, or even before you’ve finished writing it. Highly competitive, yes, but possible.

Generally, this comes in two forms: prizes (a kind of ‘well done, you’re amazing’ for part of the book you’ve already written) and grants (a kind of ‘well done, you’re amazing, here’s some money to write / finish the book’). Different prizes and grants have different stipulations for entry. Some require you to be unpublished. Others require you to have written & published at least two full-length books. Some want you to have finished the book, but not have a publisher (often with these, the prize includes publication and/or agent representation). Some only need to see the first few thousand words.

So where do you find out about them?

A couple of years ago, I put together a twitter thread of resources for writers, which includes places you can look for things like prizes & grants – as well as for residencies.

Residencies are another way to fund the writing of your novel. They don’t all pay, but if you can get one that does, it can be a way to make your book pay even while you’re writing it.

A kitchen table, with a cactus, a lit candle, a notebook and pen, and a mug of coffee

Advance & Royalties

This is the main way most authors get paid for their work, and is the money which comes from books actually being sold in bookshops / online, and is split into two (related) sections: advances and royalties.

Royalties are perhaps easier to understand, so let’s start there.

For every book that’s sold, the author gets a cut. It isn’t usually a big cut, though the percentage you get as a writer will depend on your contract, and whether you have an agent, and whether you’re self-published or published through a traditional publisher. For a traditionally published writer, this tends to be around 10-15%, depending on the edition / number of copies sold.

Self-published writers tend to take a bigger cut, but you also have to do more of the work, and you have to become an expert in multiple areas of the publishing industry. You also don’t get to see any of the money until after copies of the book have been sold. In other words, if you’re self-published, you won’t get an advance.

An advance is one of the big differences between self-publishing and traditional publishing. It’s basically a down-payment on royalties, made to you by the publisher and agreed when you sign the contract. Advances can range from £100 into the hundreds of thousands (though that’s rare), and depend on how much the publisher thinks they can make from your book. What’s its market potential? How many copies will it sell? Will it sell abroad (more on this later)?

Usually, an advance is paid in 3 or 4 chunks: on signing the contract; on delivery of the finished manuscript; on publication (sometimes split into hardback and paperback publication). Then, any royalties the book makes go towards paying off that advance.

Let’s say you get a £5000 advance. Your book costs £10 and you earn 10% royalties – so £1 per book. For the first 5000 copies, you won’t get any extra money, because you’ve already had it in your advance. Once that advance is ‘paid off’, you’ll start seeing royalty cheques. So if your book sells 6000 copies, you’ll be due £1000 in royalties. NB: If your book only sells 4000 copies, you won’t have to pay that extra £1000 back to the publisher. The advance is yours.

Foreign Rights

Books don’t just sell in the UK. If your book is translated into another language (or if it’s picked up by an American publisher as well), then you’ll get money for that, too. How you get this money depends on your contract, and what your advance is for.

When you sign with a publisher, there are two main types of contract: UKCW (UK & Commonwealth, excluding Canada), and World.

If you have a UKCW contract, the publisher can publish & distribute your book in the UK, and in places like Australia & New Zealand, as well as certain English Language bookshops abroad. But they can’t sell the rights for it to be translated. Those rights remain with you – which is where a good agency comes in handy, as the agent (usually a dedicated foreign rights team within the agency that your own agent is part of) will try to sell those rights off individually to foreign publishers. Each time your rights are sold, you get a new advance. For example, you might get a US advance, a German advance, and a Japanese advance, which means you get a new publisher in each of those countries, and a new advance / royalty agreement.

If you have a World contract with your publisher, then the publisher handles all of this instead of the agent. There’s still a new advance each time, but it doesn’t come to you directly. Instead, it goes towards paying off that initial advance the publisher paid you. Think of it like this: the publisher has already paid you a load of money, so they need to make that back before they can pay you any more.

The plus side to this, is that you (or your agent) can demand a bigger advance from the publisher for World rights. The down side is that you only get that payment once – until, as with royalties, you ‘earn out’ (i.e. you earn enough to cover that initial publisher’s advance).

new year writing resolutions: Katie Hale

PLR / ALCS

Royalties aren’t the only way to make money from people reading your book. After all, not every book is bought. Some are borrowed.

Ever wondered about the difference between pirating a copy of a book online, or borrowing it from the library? Well, when you borrow from the library, you’re not only supporting an excellent community-focused service. You’re also paying the author – and at no cost to you. Let’s just stop and think for a moment about how great that is. You get to read a book without paying a penny for it, and the person who wrote it is still getting paid. Wow.

This money comes to the author via PLR (Public Lending Rights). PLR is administered by the British Library, with funding from the Deparment of Digital, Culture, Media & Sport. Once your book is published, you can register with them as an author, and then individually register your books. Then, once a year, you should receive a small payment, based on how many times your book has been borrowed from the library.

Another annual payment comes from ALCS (Authors’ Licensing and Collecting Society).

I’ll be honest, I understand where this money comes from a lot less. The payment is for ‘secondary rights’ – so, when a school photocopies a textbook, or when libraries outside the UK (and not covered by PLR) lend copies of your book. The important thing for this post, though, is that it’s a source of income for your book. Like with PLR, you have to register your books, and then you get a nice little payment once or twice a year, depending on how much you’re owed.

You have to pay for membership of ALCS – but lifetime membership costs just £36 at the time of writing, and you can easily make that back. Or, if you’re a member of the Society of Authors (which I recommend for all writers), then you get your ALCS membership included.

My writing life - Katie Hale

Prizes (again)

Prizes don’t just happen before the book is published. They also happen afterwards. Think of things like the Booker Prize, the Women’s Prize, the Costa Awards. These are a few of the big ones, but there will also be a host of other prizes your book might be eligible for – prizes that are specific to your genre or location.

Prizes usually come with an actual prize, as the name suggests: money, which the winner (and sometimes shortlisted writers) are awarded as a congratulations on their excellent novel.

But this isn’t the only way a prize can earn you money – because prizes also affect sales.

If your book wins the Costa, it’s likely to get pushed closer to the front of the shop. It’ll be on the table near the door in Waterstones, so people see it as soon as they come in. It might be in the window, calling to people in the street. It’ll be on this bookshop e-news, or that recommended reading list. Online booksellers might push it to their front page, or further up their algorithms. If enough people buy it, it might make it onto a bestseller list, which pushes it up these algorithms even more.

More sales = more royalties, which either goes further to paying off your advance, or, once that’s done, means more money in your bank account.

If you’re a traditionally published writer, your publisher will usually submit your book to these on your behalf – though if there are regional / local / particular prizes you happen to know about, you can always mention them to your publisher and request to be submitted.

Self-published books tend not to be eligible for a lot of these prizes – though there are also prizes which are solely for self-published books. The best way to find out about these tends to be sitting down one evening with a glass of wine and google, and making a list for yourself.

A desk covered in bits of manuscript, with shelves of notebooks above

Adaptations

So many writers have that dream: our book is picked up by a big Hollywood producer, it becomes a box office hit, and we make our millions. Extra money, for a book we’ve already written and shelved.

Easy, right?

Not exactly.

For every book you see adapted into a film, hundreds more haven’t made the cut. Firstly, the right person has to read your book and think it might make a good film. (This is where things like sales and prizes come in handy – the more people read your book, the bigger chance there is that one of them will be someone who makes those kinds of commissioning decisions.)

So, let’s say a producer reads and loves your book. Great! Fanastic! Well done you! Usually what happens is they’ll put in an offer for option rights, usually for a period of 18 months to 2 years. This doen’t mean they’re allowed to make the film. What it means is that, for that length of time, you’re not allowed to sell the film rights to anyone else. This then gives the production company 18-24 months to decide whether they want to make the film or not.

Films are phenomenally expensive to make. Seriously – the amount of money involved in making even a small indie film is mind-boggling. That kind of money takes time to find.

At the end of the option contract period, the production company has a choice. They can:

  • buy the actual film rights, which will be a deal with more money attached to it, often a percentage of the film budget (usually with a floor and ceiling amount), or sometimes a percentage of box office take
  • take out another option contract, giving them another 18-24 months to find the funds (with another payment for you as the author)
  • say thank you but no thank you, and walk away (which means you get the film rights back, and, if someone else is interested, begin the whole process again with somebody else)

It’s worth noting that even a film adaptation doesn’t guarantee the big bucks. Joanne Harris is quoted as saying she only received £5000 for the film version of Chocolat. Though it’s also worth nothing that film isn’t the only adaptation. Your book could also be adapted for TV, theatre, radio, game, comic… The options are as many as there are art forms.

As with prizes, an adaptation can also push up sales of your book, as the title becomes something people recognise. Your publisher might release a film-cover version of your book, for example, and this will push a book which has been out a few years back into bookshops.

I bought some fancy coloured gel pens for editing

Extracts

Sometimes, a magazine will print an extract of a book. Or a radio programme might broadcast a first chapter, or an abridged version. Or a section of your book might appear in somebody else’s book (especially if you’re a poet, for example, who might be featured in an anthology, or if you write non-fiction and your work might be quoted).

Because of UK copyight law, all these things mean you would be owed money. Usually, these come in as requests to your agent and / or publisher, but it’s worth keeping an eye out yourself for opportunities as well.

Talks & Book Tours

This one is cheating slightly, because it isn’t just resting on your laurels and making money from the book you’ve already written. You actually have to do something extra for this. I promise you, though, it’s worth it.

How do readers find out about your book? Unless you’re a household name (if you are, then well done, you – and why are you reading this post?) or have a phenomenal social media following, then you need to find ways of persuading people that they want to buy your book. Some of this is out of your hands (reviews in national papers, marketing by your publisher etc), but some of it is much more small-scale, but can have a much higher impact. I’m talking, of course, about book events.

Speaking & reading at festivals and event series can be a great way of getting the message to readers that they really ought to be reading your book – which can translate to sales & royalties, or PLR payments if people borrow it from the library. But you should also be paid for the event itself, too.

The Society of Authors publishes a list of observed rates for things like talks, readings, panel discussions.

Archive

I’ll be honest – I don’t know masses about this. I don’t know how it works, or at what point it becomes an option. All I know is that, during a tutorial at university once, we were told about the phenomenal possibility of a university wanting to purchase your archive.

I’m assuming you need to have more than just one or two books for this to be a possibility – I think you might need to be the sort of writer who has their works studied and read over and over.

All I know is that we had it drilled into us: DO NOT THROW AWAY YOUR DRAFTS.

I’m assuming, the more comprehensive your archive, the more a university might offer you for it. As I say, this one isn’t really my area of expertise. But that doesn’t stop me having an attic full of manuscripts in plastic boxes, just in case!

Other Related Work

This last one is vague, but I wanted to acknowledge that you never know where a book is going to take you, or what other work might arise from it. You never know who might have read it, what projects they might have which mesh with yours, what opportunities might emerge. If you have a way that people can contact you (even if it’s just a page on your website, directing them to contact your agent), then the possibilities are there.

It pays (often literally) to keep an open mind.


I hope you enjoyed this post, and found it useful! If you did, then, in the spirit of authors earning money, please do support me by buying a copy of my novel, My Name is Monster. It won’t give you any extra income advice, but it will (I hope) be a good read!

Available from all good retailers, but I have a particular fondness for my lovely local indie, who will ship your order anywhere in the world.

I sit at the old wooden desk in front of the picture window. In front of me, the bogland dips down to where a stream runs down along the side of the lane. At the bottom of it, visible as a bright triangle of blue, is the sea.

This is where I sit and write for two weeks in October, as the world russets and yellows towards autumn.

On the edge of the village of Dugort, on Achill Island, on Ireland’s Wild Atlantic Way, is Heinrich Böll Cottage. Once belonging to Nobel Prize-winning novelist Heinrich Böll, the cottage offers fortnightly residencies to writers and artists, providing time and space for you to work.

I arrived at the cottage straight off the back of a month’s residency at Gladstone’s Library in Wales in October 2021. This wasn’t the original plan – originally I was supposed to be staying at the cottage in October 2020, but, for obvious reasons, it had to be postponed. I was a bit nervous about whether it would be too intense, attending two residencies one after another like this. After all, a residency is a wonderful opportunity to focus on the work, but that can lead to it feeling a bit like a creative workout; it needs a bit of normality around it to make the intensity work.

I needn’t have worried. The residencies had such different feels to them, that the contrast worked.

(Though, after 18 months at home, six weeks away did still feel like a lot – less in terms of creative intensity, and more in terms of missing friends. And the cat.)

So what is Heinrich Böll Cottage like?

This is a self-catered residency, but luckily, the kitchen is lovely (and has a dishwasher, which is my favourite time-saver). There’s a supermarket about 15-20 minutes’ drive away, in Achill Sound, or, in the other direction, a convenience store about 10 minutes’ drive. There are also a couple of pubs just a short drive away, which is ideal when you’ve spent the whole day writing and don’t want to cook.

The cottage has two bedrooms (a double and a twin), two studies (with desks and views down towards the sea), as well as a painting studio with plenty of natural light. There’s also an outside utility with washing machine and tumble drier – very useful when you’re on the road for six weeks.

There’s a bus that goes right past the front door, which goes into Achill Sound. But the island is so beautiful to explore that I wouldn’t want to do this residency without a car.

So how did I spend my residency?

Achill Island is stunning. I’d never visited the west of Ireland before, and now that I have, I’m already desperate to go back. Purpling peat bogs, towering mountains, golden sand, azure waters, dramatic sea cliffs, and about a million sheep. All of this meant I was determined to do plenty of exploring while I was there.

Over the course of my two weeks on the island, I developed a kind of routine: writing in the morning, then off exploring in the afternoon. Sometimes (often) I then carried on writing in the evening, or else read, or even just had a super early night. (Turns out, all that work and travel can be kind of draining.)

I say writing, but more specifically, I mean editing.

While I was at Gladstone’s Library, I wrote a second draft of the novel. During the weeks on Achill, I did the bulk of the work on the third draft. A lot of this process involved reading aloud (cue that day when I thought I had Covid because I had such a sore throat) – which was a refreshingly weird experience after spending a month working silently in a library.

I tend to edit by hand, on a big printout of the manuscript, which was perfect for avoiding distractions – especially as the cottage doesn’t have wifi (although there is limited 3G at the cottage). I didn’t quite finish the process of typing up all those edits, but once that’s done, I’m planning to take a couple of weeks’ break from the novel. After all, writing two drafts back-to-back like that (especially on back-to-back residencies) is intensive, and distance is always a good way to get perspective on a book.

What do you get / what’s expected of you in return?

Firstly, it’s worth noting that, while I was there as a writer, the residency is also open to other artists. The studio room, for example, has recently been refurbished and additional windows put in, giving it oodles of natural light and making it a perfect space for painting.

So what do you get on the residency?

The main thing is, of course, two weeks in the beautiful Heinrich Böll Cottage. Unlike other residencies I’ve done, you don’t get meals or transport paid for – which means you’re responsible for making your own way to the cottage.

What I did learn while I was there, was that I also got a small stipend to help cover costs (a total of €350 for the fortnight). This is funded by Mayo County Council and the Arts Council of Ireland. I don’t know whether this is something received by every artist in residence, or only in certain years, or certain art forms, or dependent on funding – it isn’t mentioned on the Heinrich Böll Cottage website, so I wouldn’t like to assure anyone of it, only for people to then be disappointed. For me, I planned the residency without it, and then it was a nice bonus while I was away.

What’s expected in return?

Apparently, during non-Covid times, the Association likes to link you up with a school or local arts group, to run some kind of event or workshop during your stay, as a way of giving back to the community. But while I was there, this part of the residency wasn’t happening.

The main expectation, though, is that you use the time and space to work on your artistic practice, whatever that may be. That’s it: just go to the cottage and create.

How do you apply?

The first thing to be aware of is that the Heinrich Böll residency has a long lead-in time. Admittedly, my experience of this was exacerbated by Covid, but even so, I submitted my application for the residency in July 2018. I also have it on good authority that the applications received in this current round are being considered for 2023, so any applications received in the coming year will be for 2024 consideration. As I said: long lead-in.

Personally, though, I like to plan ahead, so I’m a bit of a fan of a longer lead-in for a residency. (I find those residencies where you only find out if you’re successful a month or so before the start incredibly stressful.)

If this works for you as well, then you apply by snail mail, submitting your application (consisting of a recent sample of your work, a short CV and a letter of interest) to:

John McHugh
Achill Heinrich Böll Association
c/o Abha Teangai
Dooagh
Achill Island
Co Mayo
IRELAND

(Information correct at time of writing, but it’s worth checking the website for any change.)

NB: As with Hawthornden residency, the initial application for Henrich Böll Cottage is by post, but communication thereafter is done by email – or, when it comes to arrangements such as collecting the key to the cottage, by phone.

And that’s it! I hope you’ve found this informative – whether you’re thinking of applying yourself, or just here to nosy at what I was up to for a couple of weeks. And if you do decide to apply: best of luck, and I’ll keep my fingers crossed for you!

The hush of books. The dusty tingle of being surrounded by other people’s thoughts, other people’s ideas. Ornate wooden beams soaring overhead, as the occasional turned page rustles from across the gallery. In the sacred quiet of the library, I sit at my desk and start to write.

Gladstone’s Library is the UK’s only residential library, meaning that you can book to stay in one of the bedrooms, and eat in the restaurant, Food for Thought, and work in the library while you’re here. (Clergy & members of the Society of Authors gete 20% off!) The library also offers bursaries and scholarships, and runs a writer-in-residence programme – which is how I came to spend a month here, working on the second draft of my novel.

I arrived at Gladstone’s Library on 1 September 2021, sixteen months later than originally planned. The reason, of course, being Covid and the mutiple lockdowns and restrictions. For almost eighteen months, the library was closed, and we kept having to renegotiate the dates of my residency – so that by the time I actually made it here, the library had taken on this strange mythical quality, like a mirage, always two steps further on.

And there is something magical about Gladstone’s Library. Something transformative about the Reading Rooms, about the process of climbing the narrow wooden stairs each day, to sit at my desk in the little alcove above the porch, and immerse myself in the world of my second novel.

My first residency after (more or less) 18 months of being at home:

Compared to a lot of people, I haven’t had it bad the past 18 months. I haven’t had to shield, so I have been able to leave the house for things like food shopping and, more recently, outdoor social gathering. I have a garden and my back door pretty much opens onto the fell, so there’s been plenty of opportunity to get out of the house safely. I’ve even been on a couple of holidays around the UK.

But, like most people, I’ve spent the majority of the past 18 months in my own home, in my own (sometimes failing) routine.

The past few weeks have shocked me out of that. The change of scene, the change of company, the knowledge that I only had a specific amount of time – all of this helped me be far more focused and creative than I would have been at home. Not to mention the fact that having set (or loosely set) mealtimes imposed a useful amount of routine on my days at the library.

It reminded me how much I love residencies, and how much a new environment can – for me – help and encourage the creative process.

So what did I achieve?

I started the residency with a first draft of a second novel.

Everyone approaches the drafting process differently, and for me, first drafts are a mess. I don’t write chronologically. I write scenes which I know have to happen, but with only a vague concept of how they might all fit together. I also have a tendancy to change the characters’ histories and motivations halfway through the writing process, or to decide the ending isn’t going in the direction I originally thought, or – as in this case – to totally change the narrative voice from third person past to first person present.

This means that, when I have a ‘finished first draft’, what I actually have is a jumble of scenes and linkages which may be vaguely novel-shaped, but which also may look a bit more like a rubbish heap. The second draft, then, is where the shape and feel of the book really start to emerge. Where I have to try to make it all make sense.

(This is why, often, I dread the second draft. Suddenly, unlike before, the pressure is on for the words to actually make sense.)

While I was planning for the residency, I’d been thinking of my time away as a six-week block: four weeks at Gladstone’s Library, followed by two weeks on a residency in Ireland. In those six weeks, I thought, I should be able to get the bulk of the way through the second draft of my novel.

I also thought this was a pretty tall order. Bear in mind, the first draft took me eight months to write, and it was a total mess. Still, I would give it a go. Even if I didn’t finish the second draft, I reasoned, I would have enough of it done to carry me across the finish line when I got home.

Cut to three and a half weeks later. I’m in my final week of the Gladstone’s residency, and, after twenty-six days of writing in the library, I’ve finished a second draft.

85,000 words + a heck of a lot of coffees, and somehow, the whole second draft is complete.

I’m someone who tends to write a lot of drafts (I know writers who write more, and writers who write fewer – it really depends on the writer). For me, there’ll probably still be structural changes going on into draft three, and maybe even draft four – so there’s still quite a way to go in terms of finishing the actual book. And that’s before I even send it to my agent, and way before an editor gets to see it.

But it’s a solid start – and the residency has meant that I’m much further on than I ever expected to be at this stage.

The practicalities:

The residency consists of residential stay + meals + library use for a calendar month. The library also offers a £100 per week stipend, plus travel expenses from your UK address. In return, the Writer in Residence gives a talk (mine was part of the library’s annual festival, GladFest), leads a full day masterclass, and writes two blog posts during the course of their stay:

Blog post: Rewriting a Novel in the Theatre of Listening

Where do you sleep?

The library is a beautiful building, with one wing dedicated to the Reading Rooms (where the books & desks & archive collections are), a middle section of offices, and another wing dedicated to living: bedrooms, a lounge, the chapel, and the restaurant.

The Writer in Residence bedroom is a double ensuite room – mine was on the second floor, with a little window that I fell in love with at once, looking out on a tree which was filled with birds and, occasionally, squirrels.

There’s also a desk in case you prefer to work in your room – though beyond the occasional Zoom call, I didn’t use this much, preferring to work in the much more atmospheric Reading Rooms instead.

What about the food?

The Writer in Residence position is fully catered, meaning the library provides three meals a day, plus coffees in between if/when necessary.

Breakfast is continental (I maybe ate my body weight in croissants over the course of the month), with options for either lighter or more hearty meals at lunch and dinner (the steak pie is excellent). To begin with, I was worried the food might get a bit samey, eating from the same menu every night, but luckily they varied it up by adding specials, and having features such as Sunday lunctime roast dinner.

I had to limit myself on the desserts, though. Right at the start of the residency, I made a decision to only allow myself pudding on days where my total wordcount reached the next 10k word marker (so, at 10k words, 20k words, 30k words, etc) – which may have also contributed to my productivity during the month!

The best bits:

The best bit of any residency is the time to write. A chance to turn on the out-of-office and dedicate that brain space to the writing.

But there’s something extra special that happens at Gladstone’s. Whether it’s being surrounded by all the books, or the concentrated quiet of other people working, but there’s a magical focus that happens in the library, where the work just flows.

Apply to be Gladstone’s Library Writer in Residence

Also read: A Few Thoughts On: Writing Residencies

Hey there. It’s been a while. Sorry about that – but then, in some ways, it feels as though it’s been no time at all.

Either way, it feels as though time has been doing some pretty strange things over the last year and a half. Always slowing down and then speeding up, trapped between a race and a limbo. And the truth is that for a large chunk of it, at least for me, it hasn’t felt as though very much has been happening. I get up. I make coffee. I play with the neighbour’s cat. I write. I answer emails. I collapse on the sofa. I watch something or other on Netflix. I nod off. I drag myself to bed.

Like a lot of people, I’ve been struggling a lot this year with a feeling of inertia, a fatigue in the bones. Whether that’s just a result of lockdown, or the uncertainty we’ve all been living through for the past year and a half, who knows. The upshot is that everything seems to take longer, which means less going on, which has not only meant less time to post on here, but also feeling like I have less to post about.

Basically, this is just one long big excuse for my absence.

Cue this summer, when evrything changed. Or rather, when everything happened. It’s as though the days got longer and suddenly everyone came out of hibernation. Suddenly, I have news.

A Few Good Things:

I FINISHED A FIRST DRAFT!

At the beginning of this year, I started working on my second novel.

It’s been slow going. The novel which I started to work on early in 2020 proved to be a false start – partly because of Covid. (When the world turns upside down, different stories can start to matter more, and the stories which you thought drove you before can suddenly feel vaccuous and unimportant.) Luckily, I’d had another idea for a novel last March, and was finally able to start work on it in January.

A few weeks ago, I finished a first draft.

Of course, there’s still a long way to go yet. I’ve let the manuscript sit in a drawer for the past couple of weeks, giving it time to rest before I start work on draft two.

I always think the second draft is the hardest. Draft one is just about writing down your ideas. In draft two, you somehow have to make this colossal bundle of words make sense as a story.

But I don’t want to demean the process of writing that initial draft! It’s still an awful lot of words (70,000 words, to be exact), and this year in particular, that process of pulling a story out of thin air has been hard. I think it’s important to celebrate those achievements at every stage of the writing process.

So: first draft accomplished. Draft two, here I come!

AWARDS & PRIZES

At the end of last year, I posted about the sheer volume of rejections that 2020 brought. And, for the first few months of this year, it looked as though 2021 would follow suit. But then summer happened, and turned things around.

The biggest win (and one I’ve been applying for for years) has been a Northern Writers’ Award.

Northern Writers’ Awards are an annual set of awards, grants and prizes, run by New Writing North. This year, I was lucky enough to win a Debut Poetry Award, to work on my first full-length collection. The award comes in the form of a financial grant, alongside mentoring, which I can’t wait to get started on.

And, speaking of poetry, my poem, ‘Snapshot of My Great Great Great Grandmother, Missouri, 1863’ won the Prole Laureate Competition, judged by Carrie Etter, who said this about the poem:

The winning poem, “Snapshot of My Great Great Great Grandmother, Missouri, 1863,” transfixed me every time I read it. I was entranced by the poem’s deft interweaving of American history, motherhood, and the country’s relationship with guns. The speaker’s consciousness is well conceived, the references to God crucial for our sense of the speaker’s consciousness in that time and place. With expertly interwoven narrative threads, a thoughtful use of line and pacing, and poignant observation, this poem deserves more applause than I alone can give. It’s a remarkable, moving poem.

Carrie Etter, Prole

You can read ‘Snapshot of My Great Great Great Grandmother, Missouri, 1863’ here.

But it hasn’t all been about poetry this summer.

At the end of June, I had a short story shortlisted for the Desperate Literature Prize. And not only that – it went on to win the Georgia Writers’ House Prize, which comes with a week at the Writers’ House in Tbilisi! Still not sure when I’ll be able to take that one up (thanks, Covid), but I was thrilled to be chosen, and am already very excited for whenever it does happen.

The story, ‘Raise, or How to Break Free of the Ground, or The Lakeland Dialect for Slippery is Slape and to Form it in the Mouth Requires an Act of Falling’, will be published in an anthology later this year.

So that’s my very successful summer! Don’t get me wrong – there are still plenty of ‘thanks but no thanks’ responses. But it’s amazing how much difference it makes when you get a couple of ‘yes pleases’.


ROBIN HOOD

For me, one of the markers of summer is seeing The Three Inch Fools perform. An outdoor theatre company, The Three Inch Fools tour the country every summer, with five actors performing two Shakespeare plays (this year, The Merry Wives of Windsor and Romeo and Juliet).

This year, they toured a second play: Robin Hood. This was a more meta, folky, musical take on the well-known story, and I had great fun writing the lyrics for one of the songs (music by Stephen Hyde), sung by Marion (aka Emily Newsome):


So what else have I been up to?

Alongside all this, there’s been a mix of work & play. I’ve run a number of online writing workshops (which will start up again in October), and been one of the tutors on Northern Writers’ Studio’s inaugural Summer School.

Despite saying I was going to put less energy into submissions & applications this year, I’ve also been submitting work and writing applications. Which, yes, is time consuming. The difference this year is that I’m only applying for things that I actively want to do / would benefit my practcice, rather than just because the money’s good. If I’m going to spend hours and hours on an application with limited chance of success, I at least want it to feel somehow worthy.

As for the ‘play’ side of the summer, after very little over the past year, I’ve actually been away from my own house a few times lately. This started with a trip to the Highlands in June, and continued with a self-made writing retreat (where I wrote around 12,000 words in 5 days), then finished up with 3 days walking the Pendle Witches Walk with my friend Loren (in some very witchy weather). After the year of monotony, it’s been good to remind myself that taking a break, and changing the routine, can be so hugely beneficial for creativiy.

So what’s next?

Well, in many ways, that depends on the outcomes of some of these applications. But in the shorter term, there are a few things I know are in the pipeline:

  • Firstly, I have a couple of residencies in the pipeline, which were postponed from last year: Gladstone’s Library in Wales, and Heinrich Boell Cottage in Ireland. I’m going to be using the time at these to work on redrafting the novel, and hopefully to be able to totally immerse myself in it.
  • I’m also very excited to be going back to the poetry collection, with mentoring courtesy of the Northern Writers’ Award.
  • And, in the autumn, I’ll be back to running the online writing workshops, starting with Writing Weather on Saturday 23 October.

The Summer in Pictures:

I’m still not sure how we got here. The leaves are turning, and all the summer plants in my garden have started dying back. There’s a chill in the air when I walk up onto the fell, which itself is paling, losing some of its green summer lustre. The nights are drawing close up against the living room window.

And yet, somehow, I catch myself thinking it’s still March. Possibly because of the occasion sunny days that squeeze in through the rain. More likely because I feel as though I’ve been in stasis for the past six months.

But September, at least, has felt a bit different. Things have started moving again.

I won’t say things are back to normal, because they’re not, and there isn’t the same level of work as there was before lockdown. But there have been a few projects which have started to come together.

Cairngorms

September: A Few Good Things

Contains Strong Language:

Contains Strong Language is the BBC’s poetry festival – this year taking place in Cumbria. Obviously, it was an unusual approach to a festival, made necessary by Covid restrictions. But there was still plenty broadcast over the festival itself, and available online afterwards.

I took part in two events during the festival: one was a panel discussion on Ruskin’s View in Kirkby Lonsdale, and on the commissioned poems that four of us had written about it; and the other was an event called ‘Passing Words’, where a whole range of poets each performed six-minute sets. Both of these were broadcast live online (a strange experience, performing to an auditorium almost entirely devoid of anyone other than the production team), and I think there are plans for the events to be made available again on the website in the coming weeks.

(On top of Contains Strong Languague, there’ve also been a couple of other media bits, too – but more on those in the future! After all, I’ve got to keep some secrets…)

Winter Droving film

A top secret project:

And speaking of things that are under wraps… This month, I’ve been taking a little bit of a break from my own writing projects, and working on something a little more collaborative. Which has included a fair few Zoom chats, and even a couple of socially-distanced-masked-up-in-person meetings, which has felt very weird after so many months of very little work with organisations, and certainly none in person.

I can’t say too much about it just yet (oh how I love a good secret!) but I can say that it involves myth and mystery and vlogging and celebrating local places and not-at-all-made-up historical facts. And I’m hoping to be able to reveal what it is over the next few weeks!

beach

Getting away from it all:

Honestly, I think what gave me the energy to work on this new project was a change of scene. Like a lot of people, I’ve spend the past six months not going anywhere. I don’t just mean the usual been-working-too-hard-and-need-a-holiday. It’s been stranger than that. More intense. For months, I hadn’t been anywhere other than my own house and garden, the Co-op and post office (each only a mile away), and walks on the fell within a few miles of my own front door. I hadn’t even been into town to do a ‘big shop’, or into the other town to go to the dentist or get the car serviced. None of the little changes of scene that are so normal in most of our lives that we don’t even notice them.

It was partly this feeling of micro-institutionalisation that inspired my Ruskin’s View poem for Contains Strong Language. And it was also what made my trip to Scotland a few weeks ago both unnerving, and also one of the most refreshing things I could possible have done. A change of company, scenery (and stunning scenery at that), and long walks almost every day were exactly what I needed. I barely thought about writing once – though I did manage to find a few moments in the peaceful heather-filled garden to sit and read. In many ways, the trip was a creative cleanse. It left me physically shattered, but full of mental energy and ready to get back to writing.

Thin Places

The Month in Books:

Ever since the start of lockdown, I’ve been struggling to focus on reading. That’s continued this month, but with a strange sort of imbalance. At the start of September, I found reading incredibly difficult. I was reading the proof of Kerri ni Dochartaigh’s Thin Places, which is a phenomenally beautiful and heart-breaking and also hopeful book, but I was aware that I was reading slowly. Part of this was the desire to soak up every gorgeously crafted word on the page, but part of it was also due to something else. A worry, perhaps. That Covid-related anxiety that’s been bubbling under the surface for so many of us for the past six months or more.

Then, suddenly, I came back from my trip to Scotland, and it was as though something clicked. I started to read again – first finishing Thin Places, and then roaring through four subsequent books as though my life depended on it. Not only was I reading, but I had a hunger for other books as well. I’d stopped looking listlessly at my to-read pile, seeing it as a chore to be accomplished; suddenly, it was back to being a shelf of mysteries, each one silently begging to be uncovered.

The following list might not be the longest ‘books I’ve read over the course of an entire month’ list (and, with the possible exception of a novel in verse, there are no poetry collections on there at all), but it represents somthing else: a kind of re-birth; or, more accurately, a re-falling-in-love, and for that reason I’m proud of it.

  • Thin Places, by Kerri ni Dochartaigh
  • Run, Rebel, by Manjeet Mann
  • The House of Silk, by Anthony Horowitz
  • The Glass Hotel, by Emily St John Mandel
  • English Pastoral, by James Rebanks

And I can’t wait for what the next month of reading is going to bring.

The Month in Pictures:

2020. The year it all went pear-shaped, and the writing world was largely split between those who were struggling to find the headspace to engage with a single word, and those who were churning out chapters like the world was about to end. Which, let’s face it, it still might.

Notebook, pen, laptop and coffee mug on a kitchen table

I’ve already talked a bit about productivity during lockdown, and about the difference between solitude and isolation. But I want to come back to it: this idea of the writer in a lonely garret, probably wearing fingerless gloves and gnawing on a hunk of stale bread.

What does it mean to write in isolation?

At the end of 2019, I spent a month in Brussels. This was part of a residency organised between Belgian organisation Passa Porta and the National Centre for Writing, based in Norwich. I got to stay in a gorgeous apartment in the city centre, just up the road from the famous Grand-Place, and within spitting distance of Place Sainte-Catherine.

It was a gorgeous place to spend a month, and I had one of the nicest writing rooms I’ve ever experienced (vying for first place only with my little cabin in the woods at MacDowell).

Katie sitting at a desk in a light airy room in a Brussels apartment, with shelves of books behind her

And yet I felt lonely.

At first, I didn’t really notice. I was too wrapped up in reading, writing and editing poetry to pay much attention to the warning signs my body was giving me: insomnia, restlessness, overly vivid dreams that left me feeling like I hadn’t slept at all, shallow breathing, and a craving for salt-rich meals I didn’t have to cook but could just pick at, constantly.

This wasn’t the first time I’d experienced some sort of anxiety, so I knew what these symptoms meant. The trouble was that I just didn’t think I felt anxious. It took me until the end of the third week to work out that was what this was: an anxiety born of loneliness.

By that time, I’d already started going for long walks in Brussels’ many parks. At first, I felt guilty for bunking off from poetry, but the more I did it, the more I made myself acknowledge that this was actually a vital part of my writing process in that city: a way of reconnecting with nature and getting out of my own head – something as important for writing as it is for my own mental health.

It was November, and the trees were a flourish of reds and golds. There were a lot of those cold crisp days covered by endless blue skies, which always feel as though they’re pulled straight out of an autumnal picture book. I started taking a book with me to read on benches. I took poems to edit outside.

An avenue of autumnal trees in a Brussels park

I won’t say that these walks were a cure-all, because they weren’t. I was still lonely. I didn’t realise how lonely till I got back to London and met up with a friend for coffee a couple of hours after getting off the Eurostar; when I saw him in the coffee shop and gave him a hello hug, I realised I was shaking and on the edge of tears at realising I was back with familiar faces. I think it was a precursor to knowing I’d get to see my family the following day.

Since coming home, I’ve learned that I’m not the only person to have experienced this while on that particular residency. US writer Lauren Russel wrote her post-residency open letter about that feeling of aloneness in a foreign place. Olivia Sudjic published Exposure: a long personal essay that begins with her recounting her loneliness while staying in that very apartment in Brussels.

None of this is necessarily a bad thing – it’s just something I wasn’t prepared for. All the previous residencies I’d done had involved a group of people being in residence somewhere together, and suddenly finding yourself on your own in a foreign city – especially one you’re only in temporarily – is a big thing.

(I should mention here that all the staff at Passa Porta were utterly lovely, and very welcoming; they just all had their own jobs to be getting on with. I also met up with a couple of friends while I was in Brussels, and these few occasions were probably the saving grace of my sanity!)

I learned a lot about myself during this residency, and some of the things I learned have helped me over the past six months, as so many of us have had to negotiate a whole new type of isolation.

Isolated writing in the time of coronavirus:

Back near the start of lockdown, I wrote a blog post about how I was struggling to write. There were a number of things going on there (including jet lag and some sort of illness that may or may not have been Covid) – but there was also enforced isolation. At one point, I realised it had been over two months since I’d touched another human being.

And yes, I felt anxious. Of course I did – there was a deadly pandemic sweeping across the globe and everything was turning upside down. Vivid dreams seemed to be affecting people across the country, and there were days when I couldn’t remember whether something had really happened or if I had only dreamed it. I had insomnia. I felt restless. Everything about my body felt arhythmic and reactive. With the anxiety came some of the worst period pains I’d ever experienced.

But unlike in Brussels, it didn’t grind me down. Perhaps it was because what was affecting me was so definitely external, and something everyone was facing across the country, but this time, my anxiety felt distant. As though a separate part of my mind were looking down on my body, subjecting it to scientific observations. It was as though the whole country were sitting an exam, and I was one of the few people who had revised for it.

Laptop on a round blue metal table in a garden shed, looking out over a sunny garden

Two of the first things I did during lockdown, after I’d got over the worst of my maybe-Covid illness, were to clear my writing desk and reorganise my garden shed. (My neighbour calls it a summerhouse, but personally I’m not sure I spent enough money on it for it to have such a fancy name.)

Previously, I’d always worked at my kitchen table, but my kitchen chairs aren’t that comfy for sustained seating, and I’d learned from Brussels that it was important for me to vary up my writing space. Denied the possibility of writing in cafes (my usual go-to when I get fed up of being in one space) or going on any of the residencies I had planned for the rest of 2020, I created four separate writing zones: my kitchen table; my desk; my garden shed / summerhouse; and my sofa.

Like a lot of the rest of the country using their government-allotted exercise time, I went for walks. As in Brussels, I paid attention to the world around me. Gradually, I started to find myself writing.

Brussels also taught me about the need to spend time with friends, and the need to spend time think about things other than writing. Among other things, I’m now part of a regular Zoom quiz group, which I think would have been an amazing thing to have had during my Brussels residency.

As the months have progressed, the lockdown anxiety hasn’t really gone away, but I’ve been able to watch it as though from a distance. I can keep one eye on it, while focusing the rest of my attention on writing.

straight road leading away over the horizon - long grass on either side and a blue sky overhead

A bit like my walks around the park in Brussels, this isn’t to say that any of this is a cure-all. I don’t believe that all you have to do is reorganise your space, take part in a Zoom quiz and go for walks, and then suddenly you’ll have no issues with anxiety, and / or be able to write an entire novel during lockdown. We all have our own challenges, and I can’t even begin to address the work-life balance that has come into play for families working from home.

But for me, building on what I learned through my residency in Brussels, this has worked. At least so far. As for whether it will keep working as the seasons change and we’re threatened by more local lockdowns? Well, I’ll just have to wait and see.

A 17th Century Guide to Beauty in Virginia

Come,
in the owl-time, in the shy fox-hour, coyotes

still courting the moon, the silver creek
of the Milky Way glinting

above the Rappahannock River
in a fist of flung shillings –

come, dip your face
to the dew, each drop its own

loose change, waiting
to be slipped into the charity box of dawn.

Spend them liberally, soaking your cheeks
in the tears of your not-yet-country –

till, with a great stirring of snuff-dark breath
the sightless eyes of the household

blink awake, and the sun begins again
its daily scouring of the soil beneath tobacco leaves.

All day the plants will stake their hard
aromas to your brow, your unwashed palms.

All day you will catch your tongue
lamenting, reimbursing their murmuring aubade.

*

‘A 17th Century Guide to Beauty in Virginia’ was a finalist in the 2019 PBS/Mslexia Women’s Poetry Competition.

Novels are long. Really long. So long, that even if you’re full of ideas & enthusiasm when you start writing one, there’s almost definitely going to come a point when you’re not going to be quite as certain.

Sometimes, this is just a case of motivating yourself. After all, 70,000 words plus of writing, rewriting and rewriting again is a lot of time to keep yourself engaged. You’re bound to get frustrated with it from time to time, and it can be so easy to find a million things you’d rather be doing than writing your novel: baking; cleaning the windows; answering emails; scrubbing the toilet with a toothbrush… It’s a case of reminding yourself what you love about the novel you’re writing, and then making yourself get back to it.

But sometimes, it isn’t just about making yourself a big pot of coffee and chaining yourself to the desk. Sometimes, you can be hugely motivated to write, and yet still find yourself stuck in a particular scene. There are hundreds of reasons you might find your story isn’t really going anywhere. But there are also ways to help yourself over the hurdle of that difficult scene.

1. Go back to basics.

If I’m stuck on what’s going to happen in a scene, I often find it’s because I haven’t done enough preparatory work. Often, this boils down to me not knowing my characters well enough. This isn’t necessarily a bad thing – every writer works differently. Some writers plan everything in meticulous detail, constructing a ‘beat-by-beat’ of each scene, so that they know exactly what has to happen when, and then they just have to write it. Some writers go in knowing absolutely nothing. They start with a phrase or a first line or a vague idea, and build the whole thing up through the drafting process.

Personally, I’m somewhere in the middle. I like to plan just enough so that I have a vague idea of what’s going on, but not so much that there’s nothing left to discover in the writing process. I think of it a bit like walking through a tunnel under a mountain. I don’t need to see the whole route, but nor do I want to be blundering about in the dark. As long as I can see the next few feet in front of me, and have a vague idea of where the tunnel might bring me out, then that’s fine.

The good thing about this way of working is that I’m always getting to know more about my characters, the whole time I’m writing them. The less good thing is that I don’t know everything about my characters when I start writing – which means that sometimes, I have to go back and do some of that ‘preparatory work’ part way through the drafting process.

Often if I’m stuck, it’s because I’ve lost sight of what my character wants.

Everybody has something that drives them. Most of us are driven by multiple desires at once – some short-term (I’m cold and want to get warm) and some long-term (I want to be the first woman on the moon). The chances are, you’ll already have figured out what your character’s long-term desire is, during the planning process. But in the individual scene that you’re stuck on, maybe that long-term desire isn’t what’s driving them, and they’re being driven by something much more short-term. Maybe they have two or more conflicting desires – after all, most of us do. But in almost every moment, there’s going to be a desire that comes out on top.

One of the best books I’ve ever read, for understanding character-building, is Will Storr’s The Science of Storytelling. I’d recommend it for anyone wanting to understand character and build up a character-driven narrative.

Once you know what a character wants, you can put problems in their way, and see how they go about solving those problems, in order to achieve their desire. Goal + obstacles = story.

If you want a perfect example of how desire + obstacle can create narrative, watch The Martian. Without giving too much away: Matt Damon’s character is stuck on Mars, and his goal is to survive long enough for somebody from earth to send a rescue mission. It’s a hostile environment, where the obstacles are stacked against him. Each time he crosses an obstacle, another one rears its head. Not only does this create narrative drive, it also gives the narrative a sense of tension and release, as we follow the character’s desire to live.

‘At some point, everything’s going to south on you… and you’re going to say, this is it. This is how I end. Now you can either accept that, or you can get to work. That’s all it is. You just begin. You do the math. You solve one problem – and you solve the next one – and then the next. And if you solve enough problems, you get to come home.’ – The Martian

2. Make characters interact.

It can be so easy to write long extensive scenes in which a character sits in a room, possibly looking out of a rain-blurred window, contemplating life. I get it. Let’s face it – that’s quite possibly what you, the writer, are doing a lot of during the writing process, and they do say to write about what you know…

I wrote a whole novel where (for a significant chunk of it) the protagonist believes she’s the last person left alive on earth. The temptation to have her sit down and just think highly philosophical thoughts for long swathes of text was huge. But at the end of the day, that rarely makes good narrative. And if you’re stuck, maybe it’s because nothing is actually happening in your book. I recently spoke to a friend who was having trouble with a scene she was writing for precisely this reason. Her character was simply standing by the window, raising the tension and giving the writer a chance to describe the carpet tiles in great lyrical depth.

Now, there’s nothing wrong with lyrical description. Some of my favourite writers have this lyrical gift in spades. But when you do describe something in great detail, it has to be a choice, and not just as a way of stalling because you’re not sure what’s going to happen next.

My advice to my friend? Bring another character into the scene. Force them to interact.

Of course, how they interact will depend on who the other character is, and on their relationship to character number one. And I mean that in narrative terms, not just in terms of whether they’re the character’s sister or boyfriend or a distant stranger.

Let’s say that Character A (the one previously sitting and pondering the rain) is the protagonist. What is Character B’s purpose in the story? Are they there to assist the protagonist? Or are they the antagonist? If they’re the antagonist, then maybe they’re the one providing those obstacles we talked about in the previous section. (Think of the way a villain tries to foil the hero in a superhero film.) If they’re there to assist the protagonist, maybe the two of them are overcoming an obstacle together (think Thelma & Louise).

Still stuck on how to make your characters interact? Give them a task to accomplish together. It can be as simple as cooking a meal, but the way they interact during it will reveal a lot about their characters, and about their relationship with one another.

3. Start a fire.

If that interaction still isn’t getting you anywhere, then try something more dramatic. Give your character or characters a catastrophic event to react to. The beauty of rewriting is that you can always cut this event later, if you decide it really doesn’t fit your plot. But it can be a useful tool to get you past a difficult stage in the writing process.

In her book A Novel in a Year (based on the newspaper column of the same name), Louise Doughty advises crashing an aeroplane into a hospital, then seeing how the characters respond. Obviously that’s a hugely dramatic event, involving a whole community. But if you wanted to make it smaller and more contained, then why not start a fire? (In your novel, of course – not on your desk.) It could be a big house-burning-down sort of fire, or it could be a small more easily containable fire. Either way, it’s the sort of emergency that brings character traits to the fore, and heightens relationships between them.

I always think that writing fiction is somewhere between finely tuned craft and childlike play. So don’t be afraid to play around with your characters. Put them in unusual situations. Write fan fiction of your own novel, if it helps, to see how your characters would respond in different circumstances. You can always pick and choose the bits you want to include later on.

writing in cafes - notebooks and coffee

4. Skip back a bit.

It’s a well-known truism that, if you run into problems on page 200 of your manuscript, the likelihood is that the original problem started on page 100.

I forget who originally said this, but it’s certainly proven true for me – not just in fiction, but sometimes in poetry as well, albeit on a smaller scale. Often, the bit you’re struggling on isn’t the problem. The problem is buried somewhere much earlier.

I suppose it’s a bit like catching a cold. The first time you cough or sneeze isn’t the first instant you’ve caught the cold. The illness has probably been there for a few days or hours, incubating as your immune system begins its attempts to combat it, before the symptoms show themselves. It’s the same with fiction. Something happens early on in the novel, or your character makes a wrong choice, and suddenly 100 pages later, you find you’ve reached the dead end.

The trick is working out what that choice was. Try working out what events led to the scene that you’re stuck on. Can you change one of them slightly?

Over-simplified example: a girl is walking through a forest, on the way to her grandmother’s house. She sees a wolf, and wisely avoids talking to him, because she’s always been told to avoid wolves. There’s a moment of dramatic tension where you think she’s going to break her promise to her mother, but because she’s the hero, she never does – so she continues through the wood till she arrives at the cottage. When she gets there, she has tea with her grandmother. Suddenly, you’re stuck in a scene where Red Riding Hood and her grandmother are making smalltalk about the weather and nothing is really happening very much.

You have two options.

Option 1 is to introduce a big dramatic event, such as a fire. Maybe a spark from the grate ignites the rug, and before you know it the whole cottage is in flames, forcing them out into the forest, and perhaps straight into the arms of the prowling wolf, who has followed Red Riding Hood to the cottage. Suddenly, you have a crisis, and a problem they have to solve. You have a story again.

Option 2 is to go back to a point earlier in the story, where Red Riding Hood meets the wolf. Instead of ignoring him as she’s been told to do, she tells the wolf all about where she’s headed, giving him time to reach Grandmother’s cottage ahead of her, to eat Grandmother, and assume his disguise. We change the protagonist’s actions, and by doing so also introduce a character flaw: her reckless disobedience (the flaw which, in the Roald Dahl version of the story, becomes her saving grace). Once again, we now have a story.

Writing poetry in a cafe in Grasmere

5. Skip forward.

If you’ve tried looking backwards in the story, and got nowhere, then you’re always free to go the other way, and to skip forwards. After all, there’s no rule saying you have to write your novel chronologically. It’s perfectly acceptable to write the bits where you know what’s going to happen, and then fill in the blanks later.

(Programmes like Scrivener are particularly useful for this, as they allow you to segment your writing project into scenes and chapters, then move them around if necessary.)

You might not even know what order the scenes go in just yet. That’s also fine. When I was drafting My Name is Monster, while I did have a vague notion of the direction of the story, there were definitely bits that I moved from one part of the novel to another during the writing process. At one point I had the whole manuscript printed out and arranged by scene on my living room floor, with all my furniture pushed back to the walls, so I could rearrange the order by moving the pages around from one place to another.

So if you’re stuck? Move on and write something else. You may get to a scene later on, where you realise X needs to have happened already in order for Y to happen later. Suddenly, you realise X is the missing ingredient to the scene you were stuck with all along.

Whatever happens, the important thing is to not let it get the better of you. Don’t give up – and keep writing!

There’s a lot of mystery around how a writer makes money. A couple of months ago, I had a great question from a teenager, who heard I was a writer, and wanted to know how many books I’d written. Or, to be clearer – how many books had I earned lots of money from?

Adjusting for inflation (between what counts as ‘lots of money’ to a writer versus what counts as ‘lots of money’ for most other people, and therefore not including my poetry pamphlets), I said, ‘One.’

His response? ‘How can you be a writer if you’ve only written one book?’

It’s a fair question. How can you make a living as a writer if you’ve only written one (full-length) book?

2019: How I Earned a Living (with Pie Charts):

At the beginning of 2019, I wrote a blog post about how to make a living as a writer, compartmentalising the different ways writers (including myself) can earn a living. It wasn’t an exhaustive list, as I don’t think these sorts of lists ever can be – after all, every writer is different, and we all work in different ways to find our own niches.

But it did attempt to break down the various ways that I, personally, earn my income.

I broke my income for 2018 down into sections. I made pie charts and line graphs to illustrate the proportions of these income sections, and to emphasise the inconsistency of earnings month by month. I made the whole thing as clear as I could possibly make it – but with one final caveat: just as a writer’s income is inconsistent month by month, so it’s also often inconsistent year by year.

2018 was an exceptional year for me. I sold the rights to my debut novel, and delivered on my final manuscript, which meant that not only did I receive an advance, but that two thirds of it were paid to me over 2 consecutive months. Cue a big income spike, and a large proportion in the ‘advance’ section of the income pie chart. But the flip side of that was that, as I didn’t publish a book in 2018, it was quite a slim year for readings, talks & festival appearances.

The upshot? The 2018 graphs & pie charts were only part of the picture.

So I’ve decided to break down my 2019 income in the same way – to look at the ways my income was earned in a very different year: one where I didn’t sell the rights to any new books, but my debut novel was released and I had all the attendant income that comes from talks & readings etc alongside that release.

As with 2018, I’ve broken my income down into sections. In 2018, these were:

  • earnings from commissions
  • earnings from running workshops (for young people and for adults)
  • income from competition wins
  • earnings from readings / talks etc
  • money from my advance on my novel
  • income from other arts-related work (mostly, but not limited to, arts administration roles)

One mark of how my income pattern has changed since last year has been the need to add more categories. As my career has grown, I’ve started to get different types of work – which makes sense, when you think about it. So for 2019, I’ve added the following income categories:

  • residencies
  • radio work
  • grant funding

I’ve also had to widen ‘money from advance on my novel’ to include other book sales income, as well as ALCS payments and payments for writing included in magazines & journals.

As becomes very quickly apparent, my biggest income in 2019 came from the 3rd & final part of my novel advance, and from grant funding. This makes sense: a lot of the year was taken up with working on a poetry project, which I was lucky enough to receive an Arts Council DYCP (Developing Your Creative Practice) grant to help fund.

The rest of my income, as in 2018, is made up of a combination of other bits and bobs. The ‘portfolio career’ as it’s so attractively called. One interesting factor (at least to me) is that while I did earn some income in the ‘other arts-related work’ category, it was so little as to be rounded down to 0%. For me, this is a good thing, as I deliberately tried to cut down on the paid admin work in 2019, in order to be able to focus more on the actual writing.

But what does the pie chart look like without those two anomalies: the novel advance & the Arts Council grant?

With the anomalies removed, the big changes immediately become more apparent. Let me pop the two graphs (2018 & 2019) side by side here for comparison:

The main changes from 2018-2019:

  • More categories. I’ve already mentioned this, but I’ll mention it again: with the novel coming out, other avenues of work have opened up to me. The two main ones are writing residencies and radio work (both writing & present a programme of my own, and appearing as a guest on others).
  • Increase in readings & talks. From only 2% in 2018, I earned 15% of my (adjusted) 2019 income from giving readings & talks. Again, this makes sense, with the novel coming out. You’re more likely to get readings when you’ve got a recently publish book to promote.
  • Decrease in workshops. This might seem surprising, given that you could expect publication to lead to an increase in workshop bookings. But in 2018, most of my workshops were in schools. The increase in residencies, and being away from home a lot in 2019, meant that I wasn’t around to do as many school workshops as I had done the previous year. An increase in one corner leads, quite naturally, to a descrease in another.

Income by Month:

But what about how my income was distributed across the year? I’ve already talked about how a writer’s income is rarely evenly distributed. As always, this was the case in 2019:

It’s instantly clear that April was a low month – as it was the previous year. In 2018, this was largely because of Easter. In 2019, it was because I spent a chunk of March, and all of April, away in the States, on a research trip (funded by the Arts Council Grant) and on a residency (unpaid). So, while there may not have been any income, there was also basically nothing in the way of outgoings – other than what was already paid for by the grant.

The big spike in June is because of my novel advance. The second-highest point, in January, is because this was when I received the bulk of the Arts Council Grant.

These two anomalies aside, the graph looks more like this:

As you can see, once those anomalies are removed, the first half of the year suddenly starts to look quiet erratic. February and March were pretty good months (thanks largely to a well-paid residency & commission in February, and a good-sized competition win in March), but January & April’s income was non-existent.

But in the second half of the year, after the publication of the novel in June, things settle down a bit. Sure, there’s still a bit of a summer slump, and the standard December dip – but that’s to be expected when you’re working freelance in an industry not directly connected with school holidays or Christmas.

Will things continue in a nicely predictable, secure & even way into 2020? Doubtful. From what I’ve got in the calendar so far, the first half of the year is all over the place – and it’s a bit too far away to make any predictions about the second half just yet. But as long as there’s something coming in (and hopefully a bit of a buffer in the bank account), fingers crossed the electricity will stay on, and there’ll still be food in the fridge.

Ok – so what am I saying with all of this?

I know, I know. This is just a bunch of graphs. Apart from the fact that I quite enjoy making pie charts, what’s the point of all of this?

When I made last year’s graphs, I wanted to point out how unstable a writer’s income can be, and how difficult it is to predict where the bulk of that income is going to come from. This year, my goal is something slightly different.

It can be so easy to assume, once a writer is published, and their book is on the shelves in Waterstones & in your local indie, that they’ve got everything made. A lot of people assume that a cheque comes through every month, with book royalties, and that the writer cashes this in order to cover their bills & food & coffees. I want to show that while, yes, publication has absolutely increased my income, earning a living as a writer still isn’t straightforward. There’s still a need to diversify. There are still months when you can earn almost (if not completely) nothing at all.

Does that sound a bit too doom & gloom? It isn’t meant to. But if you want some consolation, then here it is: sure, making a living as a writer can be difficult, and sure, you can have to turn your hand to lots of different things at once; but the advantage of that variety is that, once something starts to take off, you get to pick and choose, and you get to tailor your work to drop the bits you’re not so keen on, and amplify the bits you love. In other words, you get to create your own ideal job.

*

Read last year’s post:
How To Make a Living as a Writer

Ever fancied penning your novel in a medieval castle? Or pouring over poems in a cabin in the woods? Working on your script in a little apartment by the sea? Maybe what you’re looking for is a writing residency. But what exactly is a writing residency? And how do they work?

What is a writing residency?

First things first: not all residencies are created equal. Some offer more than others. Some last as much as a year, some only last a week or so. Some offer individual accommodation, some offer shared. Some pay, some don’t. Some even expect the writer to pay to attend, but that’s not the sort of residency I’m going to be focusing on in this post (more on those further down).

So what is a residency? Generally speaking, it’s a combination of accommodation & time to write. You get somewhere to sleep and somewhere to work. Sometimes, you also get meals, and / or a stipend, and / or travel expenses.

Sometimes, the residencies ask you to run a writing workshop, or to give a talk or something, in return. Sometimes you have absolutely no commitments other than working on your own writing.

I went on 3 residencies in 2019, and I’ve got another 4 lined up for this year. Here’s a quick run-down of what they offer(ed):

  • The Wordsworth Trust Poet in Residence, Cumbria, England: a month; a private study-bedroom in a shared house opposite Dove Cottage; payment; required to give a reading & run 4 workshops.
  • MacDowell Colony, New Hampshire, USA: 3 weeks; private bedroom in a shared house; a separate studio cabin in the woods; meals; travel expenses; no requirements other than writing.
  • Passa Porta, Brussels, Belgium: 4 weeks; private apartment in the centre of the city; travel expenses; stipend; participated in 2 translation workshops & wrote a blog post.
  • Hawthornden Castle, Scotland: 4 weeks; private room in shared medieval castle; meals; no requirements other than writing.
  • KSP Writers’ Centre, Perth, Australia: 3 weeks; private cabin; stipend; required to run a workshop, attend a literary dinner & give a library talk.
  • Gladstone’s Library, Wales: a month; private bedroom in residential library; travel expenses & stipend; meals; required to run a masterclass & give a talk.
  • Heinrich Boell Cottage, Achill Island, Ireland: 2 weeks; private cottage by the sea; no requirements other than own writing.

Residency Round-Up: The Wordsworth Trust

Residency Round-Up: MacDowell Colony

What’s so good about residencies?

Residencies give you time to write, away from the pressures of everyday life. Whenever I’m on a residency, I switch on my Out Of Office, (mostly) prepare and queue up my blog posts ready to go, and ignore my admin. (Ok, I’ll be honest – I do sometimes check my emails, just in case. But I restrict my email-checking to the occasional evening, and even then I only reply to the absolutely urgent ones. At some residencies, such as Hawthornden, there isn’t any wifi anyway.)

It’s amazing how much extra time there is in a day when you don’t have to fill half of it with answering emails and trudging through invoicing & expenses & admin. Particularly if someone else is making all your meals for you, as is the case with some residencies.

My 6 most productive weeks of 2019 were the 3 weeks of my MacDowell residency, and the first 3 weeks of my Passa Porta residency. I wrote way more than I’d normally have written during that time, and when I looked back on what I’d produced afterwards, some of it was quite different to what I think I’d have written at home. For me, these residencies pushed me qualitatively, as well as quantitively.

But residencies can also be time to read, and a chance to experiment with your craft. In contrast to MacDowell & Passa Porta, I wrote comparatively little during my Wordsworth Trust residency (though still probably more than I’d have written during the same period at home). What I did do, though, was oodles & oodles of reading – reading both poems, and books about writing poetry. I spent a lot of time thinking about the craft of poetry, and experimenting with my own style of writing – something which I’m sure contributed to my huge productivity at MacDowell a month later.

This is the sort of craft development that can easily get pushed to the side in everyday life, particularly when you’re having to write for commissions & deadlines etc, and so every poem has to be ‘good’; it can become difficult to make time to explore & experiment. Residencies can provide that time.

They can also be a way of meeting other writers – though this depends on the residency. For those residencies where there are a number of writers all there together (such as Hawthornden), it can be an excellent bonding experience, where everyone is working so intensively on their own manuscripts during the day, then coming together to eat and talk during the evenings.

For those residencies that are multi-disciplinary (such as MacDowell), it can also be a good way of meeting artists working in other forms, and of finding inspiration in conversations with non-writers.

I’ll be honest, a large part of my initial motivation to apply for residencies was the opportunity to travel. Anyone who knows me will tell you that I love to travel, and residencies can provide a cheap way of doing that. If you can get a residency that provides travel expenses & accommodation, then you’ve essentially got a free trip to wherever it is that the residency is based.

Of course, residencies aren’t meant for sightseeing; they’re meant for working. But if you’re there for a reasonable length of time, then you’re going to need the odd day off anyway (trust me: residencies can be intense, and it’s good to break the cabin fever once in a while).

Another good way of exploring an area where you’re in residence can be to extend your trip. If your residency pays travel expenses, then there’s no reason you can find your own accommodation for a few days before or after your residency, and stick around to see the sights then.

Of course, beyond the tourism, travel & change of environment can be excellent for the work as well. Stuck on a manuscript, or just getting too easily distracted at home? A change of workspace could be exactly what the doctor ordered. And honestly, it doesn’t even have to be a beautiful cabin in the woods, or a medieval castle. I’ve had some of my most productive poetic breakthroughs in Travelodges.

But let’s look at the financial side of things for a moment, too.

Some residencies pay a stipend – which is sometimes a token amount to help you buy pasta & notebooks, and is sometimes akin to an actual wage. This means that you can actually earn money by staying somewhere gorgeous and working on your manuscript. Depending on what you have in the way of expenses back home, it’s even possible to save some of this stipend money to fund even more writing time back at home. In 2019, residencies formed a not insignificant part of my income.

Even for those residences that don’t pay anything, they can still make financial sense. For example: I live alone, in an old house that’s kind of pricey to heat, which means that my bills can be huge. By planning residencies during the winter, I can go whole months without having to heat my house. I might not be being paid to attend the residency (though fingers crossed I’d eventually get an advance on the manuscript I was working on during it), but I’m also minimising my outgoings enormously.

5 Things About: Writing on the Move

What’s not so good about residencies?

Maybe by now you’re thinking it all sounds too good to be true. Obviously, nothing is perfect. For me, the positives of residencies have always outweighed any negatives. But I like to be honest on this blog, so here are some of the downsides to residencies:

When you’re in a place for a concentrated period of time, there can be a huge pressure to produce work. After all, you have this precious gift of time, and if you don’t use it to create something incredible, then doesn’t that mean that you’ve wasted it?

This negative aspect is largely self-inflicted. After all, it’s extremely rare that a residency will ask you for a quantative breakdown of what you’ve produced during your stay. Which means that the strategy for dealing with this pressure has to come from you as well. After all, you know your ways of working better than anyone. But just remember that you don’t have to write 17 novels and 53 essays during your residency. It’s just as vital to work on your practice in other ways, by thinking, by reading, and by exploring the way that you work.

Although, speaking of productivity, it is also possible for a residency to go the other way: that you’re so overwhelmed by the residency’s other requirements of you (running workshops / giving talks etc) that you end up with very little time or headspace left for actual writing.

This is largely down to the residency, to make sure that they don’t overload you. But you should also make the effort to be aware of what’s required of you before you start, and to raise any concerns you have about workload with the residency coordinator ahead of time. This obviously doesn’t mean you can be a diva about it – the occasional commitment is fine, particularly if the residency is paying you a fee or stipend on top of the accommodation. But if the commitments outweigh the writing time, or if they keep being piled on beyond what you originally agreed to, then maybe it’s time to say something.

The other issue I want to talk about is loneliness.

Writing residencies can be intense, and they can also be lonely. Even when there are multiple writers / artists on the same residency, you can end up spending a lot of time inside your own head. And when it’s just you in an apartment, writing all day and reading every evening, then that loneliness can be hugely amplified.

Think of it like this: you’ve gone to a new town or city, where you don’t know anybody. You’re willingly spending hours (if not days) at a time shut up in your room or house or apartment. You don’t speak to anyone, much, except maybe the person on the checkout in the supermarket. You may not even speak the local language.

Now imagine this for four weeks. It probably isn’t long enough to make solid friends, the way you would if you were moving to a new city for good. But it is a long time to spend away from your normal social groups.

Of course, everyone reacts to isolation differently. There’ll be some people reading this, for whom even the thought of a few days without talking to anyone sounds horrific. There’ll be some of you who think a few weeks’ isolation sounds idyllic. At the end of the day, we all know our own limits – or at least we suspect them.

Take me, for example. I think I’m a fairly independent person. I’m an only child, so we never really had a houseful growing up. I live alone. I also live rurally. I work freelance, so I don’t have colleagues who I interact with on a daily basis. I’m generally faily happy in my own company, and I like knowing that I have my own space if I need to get away from it all.

But, during part of my residency in Brussels last year, I felt very, very lonely.

I was fine for the first two weeks, after negotiating the first couple of days of settling in – difficult whenever you go anywhere new. By week 3, I was starting to miss friends & family, but was still managing to put that aside to focus on work. I’d also starting going for days and afternoons out to explore a bit more, and to force myself out of the apartment. But by week 4, I was honestly a bit of a mess. I missed conversations with people. I missed the sort of interaction that comes from knowing someone really well – or from getting to know someone through shared intense experience.

Don’t get me wrong: the residency was amazing, the staff at Passa Porta were utterly lovely, and Brussels is a stunning city. I just realised that 3 weeks is pretty much my limit for that kind of isolated residency.

Which is fine. I learned something about myself during the course of the residency. I now know that I can discount any residencies longer than 3 weeks, if there aren’t other artists or writers in residence at the same time. I discovered the limits of my loneliness.

How to survive a writing residency:

That all said: what’s my advice for anyone going on a residency?

Do your research before you go. Because residencies can be so varied in terms of what they offer, and who they cater to, it’s worth knowing exactly what you’re getting yourself in for beforehand. This means there shouldn’t be any nasty surprises when you get there, and also that you can prepare for any talks & workshops before you go, so they don’t cut too much into your precious writing time.

Go with a project in mind. Remember that pressure to produce that we were talking about earlier? This can be exacerbated if you’re the sort of writer who works on more than one project at once. If you’ve only got the one residency, what do you start with? Your novel? Your poetry collection? Your short stories? Your epic fantasy saga spanning seven volumes? Do you try to dedicate a little bit of time to each? Knowing what you want to achieve from the outset can help you avoid wasting time on indecisiveness, and allow you to hit the ground running when you arrive at the residency.

Speak to people. A good way to combat the possibility of loneliness is to actually speak to people. This is obviously easier if it’s the kind of residency where there are multiple people there at once. But even if you’re on your own, make an effort to find people to talk to. Fellow writers. That person in the cafe. Even just a brief exchange with the person behind the counter in the shop can help with the feelings of isolation.

Take breaks. Yes, you’re there to work, and it can feel a bit like every day needs to be a 12-hour writing marathon, stopping only for toilet breaks and coffee. But that isn’t a sustainable way of working, and slowly concentration will begin to wane. Take breaks to read a book, to go for a walk, to sit in a cafe and drink coffee you haven’t reheated 3 times in the microwave. It’s a way of rejuvenating your energy – and it’s amazing how many Eureka moments can come when you actually step away from the writing desk.

Get out and about. By which I mean: don’t just take breaks in the immediate vicinity of your residency, but get even further away from the writing desk from time to time. During my MacDowell residency, a group of us took a whole day off to drive to a nearby town and try our hands at an Escape Room. It was completely unrelated to anything any of us were working on, but was also the best thing we could have done, to break that feeling of cabin fever we hadn’t even realised was beginning to set in.

Don’t beat yourself up if you’re not hitting your word counts. Yes, you’ve come with a specific project in mind, and you probably have goals you want to achieve while you’re in residence. But, while I absolutely believe that half the battle is just showing up to write, I also know that it isn’t a certain thing either. Sometimes, however hard you smack your head against your notebook or stare down that blank Word document, the words just won’t come. And that’s fine, too. You can have blank spells during a residency just as much as you can at any other time. The beauty of the residency is that you still have all that free time for creativity – so you can use it to read, or to freewrite, or to go for a walk and just think through your creative project. You can still be working, even when you’re not actually writing out words.

Pack snacks – and maybe a bottle of wine or two. This is a personal one, but I’m a big one for snacking, and I find it really hard to work if I’m hungry. So if I know I’m going somewhere that might not have easy access to a grocery shop, I always find it’s a good idea to stick a bag of biscuits in my bag – just in case. Even if I don’t end up eating them, I just like to know they’re there on the offchance I might need them. Plus, they’re a great way of breaking the ice. And the wine? Again: wine is nearly always a good way of making friends!

What to watch out for:

I said at the start of this post that not all residencies are created equal. The truth is that some offer much, much more than others. It isn’t always the case that the most respected residencies offer the most – but it is often the case that the less respected (and often less conducive to creativity) can actually take the most from the writer. The best way to avoid any upleasant surprises is to always read all the information available before you apply – just so you know what’s what.

A few things I’ve come across, which aren’t always bad, but which need to be noted, are:

Shared accommodation:

It’s quite common for residencies to offer writers a private bedroom / study-bedroom in a communal house, which may have shared bathrooms and communal workspaces – though you’re generally free to work in your room if you prefer privacy.

But I have also seen some residencies that only offer shared bedrooms (shared with another resident / residents, who you won’t meet till you arrive). I’ve even heard report of a residency that expected the writers to share a bed! Personally, I don’t think asking strangers to share a bed is ever appropriate, but I suppose the shared bedrooms thing is a matter of individual preference. If it’s something you’d be fine with, then go for it. Personally, I need my own space to work in.

Application fees:

A number of residencies charge a fee for you to apply. Usually, this is to offset the cost of processing the applications. After all, an individual residency might receive hundreds of applications, and somebody needs to process all of those, to check eligibility and ultimately to make a decision. That person probably needs paying, hence the application fee. Sometimes it can also go towards funding the residencies slightly, in the same way that the prize pot for a writing competition might be funded by the entry fees. This isn’t necessarily a bad thing – some highly respected residencies charge a fee to apply. It’s just something to be aware of before you decide whether apply, so that you can budget it into your decision.

Fee-paying residencies:

I mentioned this at the start of the post, and I want to talk about it here, because some residencies not only charge a fee to apply, but also charge a fee to attend. Sometimes this is nominal – just enough to cover a cleaner’s fee, or maybe put something towards electricity bills. But sometimes the cost can be as much as (or even more than) the cost of a hotel.

Again, there’s nothing wrong with paying for a room / apartment / cottage to go and write in, but I would argue that this is something different from a writing residency. I would argue that this is more like a self-guided retreat – like the kind offered by Arvon & by Gladstone’s Library. You pay your money, and in return you get to stay in a peaceful & supportive environment, and work on your manuscript.

But the thing about retreats like these is that they’re not selective. By which I mean: anyone can book and go on one, in the same way that anyone can book a room in a hotel. Again, that’s absolutely fine. There are hundreds of great reasons why these models work, and why you might want to pay to isolate yourself and focus on your manuscript – many of them th same as the ones above in this blog post.

However, if there’s a selective application process involved, and then you have to pay the full cost of the residency in order to attend, then I always wonder: why not just book into a hotel instead? Why bother with the whole hassle of writing & submitting an application, then waiting to see if you’ve been successful, when you can just book a retreat at Arvon or Gladstone’s in minutes – and know what you’re getting as well?

I’ve even seen so-called residencies that charge writers a fee to apply, and then also charge an astronomical amount for the writer to actually attend the residency. That’s like paying £20 to be in with the chance of booking an apartment on Airbnb, then having to wait 6 months to find out if you got it or not. Why would you do that?

Fortunately, there are plenty of residency opportunities that don’t try to make lots of extra money from the writer, and that aren’t commercial retreats masquerading as exclusive residency opportunities. So as long as you do your research, there should always be a residency that will suit the needs of each individual.

Ok, so where can I go?

There are residencies all over the world, and far too many to list here, even if I did know them all. I’ll start with the ones already mentioned in this post:

  • The Wordsworth Trust Poet in Residence is in Grasmere, Cumbria (UK), and has so far been running every couple of years. They announce call-outs for applications through the e-news, so it’s worth signing up to their mailing list in their website footer.
  • MacDowell Colony in Peterborough, New Hampshire (USA) has regular call-outs for applications.
  • Passa Porta in Brussels (Belgium) runs its own writing residencies, which can be applied for directly. For UK-based writers, they work with the National Centre for Writing in Norwich, and applications are announced through their website instead.
  • Hawthornden Castle, just outside Edinburgh (UK), has an unusual application process, in that everything is done by snail mail, and by hand. To request an application form, you have to send a physical letter to: Hawthornden Castle, The International Retreat for Writers, Lasswade, Midlothian, EH18 1EG. Completed application forms (including 2 professional references) are then due to be submitted by the end of each June, for residencies the following year.
  • The Katharine Susannah Prichard Writers’ Centre is in Perth (Australia), and runs a series of residencies for writers at varying levels of experience. These are open for application on an annual basis.
  • Gladstone’s Library is a residential library in Wales (UK), which means that anyone can pay to stay there. But if you’re looking for their writer in residence programme, then this is an annual application process, based around a published book.
  • Heinrich Boell Cottage is on Achill Island in County Mayo (Ireland), and is another one that requires a physical application. The deadline each year is the end of September, for a residency the following year – however, it’s worth noting that I didn’t receive a reply on my application till October the year after I submitted it (in the July), so this system may not be completely foolproof.

But of course, there are hundreds of other places to look for residencies. Good places to start your search might be:

  • ResArtis is an online database of residencies. It allows you to search for residencies with current application opportunities, as well as to filter by artform, accommodation type, and geographical location. Be aware that this website also features residencies where the writer has to pay to attend, so be sure to read all the details before you decide whether to apply.
  • Simliar to ResArtis, the other one to check is TransArtists. This online resource also allows filtered searches, and also features fee-paying residencies alongside ones where the writer doesn’t pay.
  • Arts Council England runs two mailing lists: ArtsJobs and ArtsNews. These sometimes advertise residencies, so it’s worth signing up to them. It’s also worth signing up to the relevant equivalent mailing lists if you’re based in Scotland, Wales or Northern Ireland, too.
  • Sign up to the mailing list of your regional writing organisation. For me, this is New Writing North, who are based in Newcastle. They also share residency opportunities, as well as lots of other useful info.
  • If you want to travel, then periodic checks of the opportunities page on the British Council website aren’t a bad idea, either, as sometimes these include residencies & travel opportunities for individual writers.
  • Another option? Sit down one evening with a couple of hours to spare, and a big glass of wine, and google variations on ‘writing residencies’ or ‘writer in residence opportunities’. Keep a list of anything that comes up, whcih you think might interest you.

If you’re applying for a residency, or you’re off to participate in one, then the best of luck! And in the meantime, here’s my favourite list of ‘residencies’ for you, from the New Yorker:

The New Yorker: Little-Known Writing Residencies

Some years just rattle over from one to the next, with very little sense of change or progression between them. Then again, some years are like fireworks, bursting into a glorious array of sound and light, leaving you dazed and slightly dizzy in their wake. 2019 has been one of those years – summarised as best as I possibly can here, in a mix of words and pictures.

Publications:

Let’s start with the big one, which I’m sure everyone reading this is already well aware of, as I’ve barely shut up about it for the past 12 months: my debut novel, My Name is Monster, which was published by Canongate in June.

From the moment I first saw the proposed cover design for the book, I fell in love with it. Since then, it’s been a rollercoaster of proofreading, launches, and two (yes, two!) dedicated bookshop windows! I did a series of events in some of the amazing bookshops and libraries around Cumbria, and appeared at a bunch of festivals, including Cheltenham, Edinburgh Book Fest, Port Eliot & Borderlines.

Seeing the book in print, and even more seeing it on the shelves in bookshops, has been a phenomenal experience. It still feels strange to know that something that started off as a vague idea somewhere in the recesses of my brain, has been made into an actual physical object, that people can pick up and buy and read and take their own thoughts from. It’s like some strange form of alchemy.

My Name is Monster: available from all good bookshops!

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In the poetry department, 2019 also saw the publication of my second pamphlet, Assembly Instructions.

Assembly Instructions was published in March by Southword, after winning the Munster Fool for Poetry Chapbook Competition. And, because Southword are based in Cork, I got to travel to Cork Poetry Festival to launch it, and to read from the book at Cork Library.

Read the opening poem from Assembly Instructions here.

Residencies:

This year, I’ve learned that residencies are like buses. You spend years applying for them, and then suddenly all the successful applications come through at once.

My first residency was for the month of February, with an organisation I know well, having run numerous schools workshops for them over the past 5 or 6 years: The Wordsworth Trust, in Grasmere.

While I did, of course, write poetry during the residency, what proved most valuable was the time to read, and the time to experiment with poetic practice. These are the things that so often get pushed to the side, in favour of admin and deadlines, so it was hugely important to have that time to focus on the poetic craft, without the pressure of having to ‘produce’ something.

Residency Round-Up: The Wordsworth Trust

I’m certain this time was instrumental in setting me up for the amount of work I produced during my second residency of the year: MacDowell.

MacDowell Colony is a multi-disciplinary residency, set across an area of woodland in New Hampshire, USA. Each resident gets their own studio, which takes the form of a little house or cabin in the woods, and gets their lunch delivered to them in a little picnic basket. Breakfast & dinner are communal meals in the big house.

Residency Round-Up: MacDowell Colony

The main thing I noticed at MacDowell was how much time there was in each day. Having someone else cooking my meals for me freed up way more time than I’d anticipated, and I had possibly the most productive 3 weeks I’ve had all year – rivalled only by my first 3 weeks at Passa Porta.

Passa Porta was my third residency of the year, in Brussels. It was a month-long stay in an apartment in the centre of Brussels, through a partnership between Passa Porta, the National Centre for Writing and the Flemish Literature Fund. It gave me the chance to finish a first (very rough) draft of my poetry collection – and, of course, to eat a lot of waffles!

Each of these 3 residencies had a very different feel, and I learned a lot about myself and about my ways of working by doing them. (I think I may write a blog post about it sometime in the new year. Watch this space!) But in the meantime, I’m just celebrating the opportunity to live and work in such beautiful places, and to meet so many interesting people.

And speaking of beautiful places…