Paula Writes

Paula Puddephatt – Author

Characters and the Role of Pets — May 22, 2019

Characters and the Role of Pets

characters-pets

Does your MC have any pets?

How about your other characters, starting with major characters? If not, why not? And did they ever have pets?

And let’s be as specific as possible.

Two dogs, yes. But try two Labradors. Okay, one Black Labrador, and one Chocolate. Names?

Dog people. Cat people. Someone with a house full of parrots. The fact is that animals are important in many of our lives.

A pet can even become, effectively, another character.

At any rate, the relationships between our fictional people and their pets can speak volumes. It can help from a character development point of view.

If your MC has a pet rabbit and you yourself never have, research pet rabbits, as if you were planning to buy one yourself.

It might not seem necessary, if the rabbit doesn’t actually play a significant role in your story, but knowing such details about aspects of the character’s daily life does matter.

The more effort you put into these areas, the more you will ultimately connect, and come to understand, your protagonist, and other main (and even minor) characters.

In conclusion then, do take the time to consider pets.

This seemingly small tip is one that can actually make a significant different, if you’ve created characters, but they feel somewhat distant, or like cardboard cut-out archetypes.

Pets can give characters the edge, and transform them from names, ages, and traits, into actual people: people readers can believe in, and care about.

What is Literary Fiction? — March 27, 2019

What is Literary Fiction?

define-literary-fiction

Let’s begin with what Literary Fiction is not: Genre fiction.

Genre fiction includes, for example: Romance, Crime, Thriller, Horror, Science Fiction, and Fantasy. There will be many subgenres within any particular genre.

Some authors of genre fiction have a very specific niche, and stay within this, whilst others move around within different subgenres, or even genres.

Particular novels may blend two or more genres, with varying degrees of success.

Genre novels adhere, at least to some extent, to conventions and formulas. There will be strong reader expectations, such as the crime being solved, by the detective in a Murder Mystery, and a happy ending in a Romance.

It doesn’t necessarily follow that genre writing is not high quality, or lacking originality. The standard of genre fiction varies widely, and it’s a misconception that genre is automatically inferior to Literary Fiction.

Equally, it’s wrong to assume that Literary Fiction is merely pretentious, and not as genuinely enjoyable to read as genre fiction.

Identifying a Literary novel in a bookstore or library should be relatively straightforward, aside from the section in which you discover the book.

In precisely the same way that a genre and subgenre can usually be established, at a glance: The cover.

Book cover trends vary over time but, whatever the current design trends might be, the tendency is for covers to Do What It Says On The Tin.

It’s how marketing works, and the most immediate way to communicate instantly to potential readers, whether your story is likely to appeal to them.

One vital aspect of Literary Fiction is the tendency to address deeper themes.

It’s true that there is genre fiction out there that also does this, but with Literary Fiction, there’s more focus upon this.

Without the restriction of having to stay within genre rules and guidelines, there is greater opportunity to explore the themes thoroughly – and, often, although not always, at a slower, more reflective pace.

The boundaries are set by the writer, and not the market.

Literary fiction can be successful, and make money, but the tendency is for it to be less popular and commercial than genre fiction.

That’s a major down side. It’s more challenging to market a work of fiction that is less conventional, and doesn’t tick any of the standard boxes.

Character development can be emphasized – something that particularly appeals to me, personally.

I believe characters to be the heart of great fiction.

The quality of prose will be of a high standard.

This is probably one of the few definite requirements.

It often does mean a poetic style, although not necessarily. The style may be more precise than poetic. And we’re not talking purple prose, either – but genuinely fine writing.

For an example of what I would consider to be quality poetic prose, refer to “The Bell Jar” by Sylvia Plath.

Literary fiction is often experimental.

It sometimes has a lack of plot, in the ordinary sense, although not always. Some genre novels have almost a literary feel to them, and are on the borderline.

Some would define Literary Fiction as effectively its own genre.

This makes sense, in some respects.

 

But, however Literary Fiction is or isn’t defined, it does have immense value.

Whilst not “better” than genre fiction, it can often unique perspectives, that simply wouldn’t be possible within the confines of a standard genre.

 

Follow me on: Twitter, Instagram, and Pinterest.

Exploring Your Characters’ Motivations — January 15, 2019

Exploring Your Characters’ Motivations

your-characters-motivations

I’ve discussed characterisation in various posts, and have always emphasized my personal belief, that strong characters are the heart of compelling fiction.

Whilst other factors, including plot, are undeniably important, weaknesses in these areas can often be forgiven, provided that the reader is sufficiently invested in the characters.

I’ve written posts about character creation, and aspects of character development, and would like to focus right now, on character motivations, in particular.

It’s vital to understand the why behind your characters’ actions and reactions – and to communicate this, via your story’s events, to the reader. I always return to the importance, as I see it, of character development, and exploring character motivations is very much a part of this.

With the possible exception of minor characters, it’s usual for each character to have an arc – a definite pattern of change in that character, from the starting point of the story to the climax.

Sometimes the change will be drastic, and sometimes, very subtle, but there will almost always be change, of some description.

Events in real life shape us, and alter our perspectives, and it’s the same way for our fictional people.

So, in terms of needs and motivations, these will shift and change accordingly, as the story moves along.

Your plot will be influenced by the actions and emotions of the various characters, and these actions and emotions can’t be understood without knowing what motivates the characters, on multiple levels.

Most people are familiar with Maslow’s Hierarchy of Needs, represented by a pyramid. Human needs range from the most basic survival – life or death – needs, to the highest human need, for self-actualisation.

At different times, and in different circumstances, our needs will change. When we’re fighting for mere survival, we aren’t focusing upon any need higher than that.

So, there may be times, during the course of your story, when your characters are literally fighting for their lives, and at these times, many of their usual priorities, hopes, and dreams, will fade into insignificance.

But there’s more to it than this, of course. Desires, goals, dreams – all change over time, even outside of life and death situations. True for all of us, and same applies for our characters. Motivations will be consistent, and yet, evolving, also.

The motivations of one character may be in direct conflict with those of another.

This is excellent, from a storytelling perspective, because conflict is essential, in order for your plot to progress, and remain interesting.

The timespan of your story is another consideration.

In my own case, my WIP begins in 1983, ending in the early 1990s. My protagonist, Lucy, is seventeen, at the start.

The epilogue takes place in 1993. The change between a girl of seventeen, and a twenty-seven year old, who has been through the novel’s various events, will obviously be significant.

Many of Lucy’s motivations and needs will be very different. These will have changed gradually, over the years, and the challenge is to not only understand these developments ourselves, but to communicate them effectively, and skilfully, to the reader.

 

There’s so much more to say, on the subject of character motivations, and character arcs, and it’s difficult to do justice to such a vast, and important, subject. But, for now, these are some thoughts on character motivations, which will hopefully be of interest.

 

Follow me on Twitter, Instagram, and Pinterest.

How To Create Believable Friendships in Your Fiction — August 30, 2018

How To Create Believable Friendships in Your Fiction

friendship-in-stories

Fictional friendships are important.

How do you ensure that these ring true?

I’ve already shared a post about writing romance, but romantic relationships aren’t the only type that need attention – in reality, or in our stories.

It’s worth considering that, in the context of a story, we will often tend to focus upon maybe one to three close friendships.

This is fine. But it’s also useful to keep in mind that our main characters will generally have a wider friendship circle, of some description. It can sometimes be beneficial to include a name or reference here and there, in order to reflect this.

When developing a friendship, consider the backstory – the history behind the friendship.

My main character, Lucy, has been best friends with Charlotte since primary school. As well as going to school together, they used to be neighbours. This does mean that they have a great deal of shared history. Yet, they have also grown apart, in many respects. By the end of the novel, Charlotte isn’t Lucy’s exclusive “best friend” in quite the same way. At the same time, that shared history will always be there – and that would be the case, even if the friendship ended.

Think about the “why” behind the friendship.

There are usually multiple reasons. In the case of Lucy and Charlotte, obviously they would have become friends partly due to circumstances – because they lived so close to each other, and went to school together. So, yes – the met at school, through work, or at the local chess club, part is always going to be there.

But then there will be other factors, including shared interests, shared secrets, a similar sense of humour – or, going deeper, the same core values. Maybe the friends are actually opposites, in many respects? Which can be good or bad – or a bit of both.

All friendships have their ups and downs, and this definitely needs to be reflected.

In some stories, it will a major plot point, or a subplot – but, even if it isn’t, it should ideally be communicated, to some degree. No friendship is perfect, after all. The problems and misunderstandings are part of what makes the relationship feel realistic. In this way, hopefully, your reader will be able to relate, and being able to relate leads to caring.

Make sure that your friend characters are fully developed in themselves, and not simply “sidekicks”, with no other obvious role in life.

They need to have their own lives, and not everything they do will be about their friend, even if said friend happens to be your protagonist.

Hopefully, these tips will help you to create believable friendships in your fiction. You might even start to envy your fictional characters, for having such strong friendships. That’s a good sign, because it shows that you believe in your own characters, and can feel the strength of their friendships.

Find me on social media.

Writing About Substance Abuse in Your Fiction — March 11, 2018

Writing About Substance Abuse in Your Fiction

write-drug-alcohol-addict-fiction

Drug addiction and alcoholism are challenging, controversial, and complex to write about, but I personally choose to address both, in my fiction.

I do have personal, although not recent, experience, in the areas of problem drinking and volatile substance abuse – but not of using illegal drugs.

There are many resources that can help with our research online, but definitely, a lack of material dealing specifically with how to write about these issues, in our fiction. I hope that this will change and, even though I can by no means claim to be an expert on substance abuse, I’m going to share what I am able to, at this point in time.

I did touch upon the subject of drug and alcohol abuse, in my post regarding how I address mental health issues, in my fiction. Mental illness and addiction are closely related, so I would suggest reading that post, for further insights.

Now, let’s get into the tips for writing about characters with substance abuse issues.

Just one more quick note first, though – to mention that addiction covers much more than substance abuse. I recognise that addictions to gambling, shopping, and so on, are very real. I simply can’t deal adequately with those, in the context of this one post.

Drug addiction, alcoholism, and binge drinking are also subjects that feature heavily in my WIP, making it natural that I would make it a priority to discuss these matters, here on my blog.

 

It’s vital to know about the physical effects of any substances your characters are abusing.

That’s the absolute minimum, so start your research there.

Know how the drug alters the personality and behaviour of your character.

If a character is introduced to readers prior to the addiction, contrast and changes will be easier to demonstrate. Early warning signs should be evident.

Know in yourself, at least, how the character was before. It may mean delving into back story. Was there any trauma, in the character’s past, that contributed to development of the addiction?

There will be some perceived benefits.

What does the drug do for the character? Does it numb physical or/and emotional pain? Ease symptoms of anxiety? Alcohol, for instance, is often used in an attempt to self-medicate, by sufferers of social anxiety.

There will be specific ways, in which the addiction clearly controls the character. Make sure that you show some of these.

How does the person fund their habit?

Any committing of crimes, such as burglaries? Has the addict become a dealer? And, of course, to say that it is not easy to escape those networks, is an understatement. Attempting to do so could place the person, along with loved ones, in very real danger. This would be an obstacle to recovery, even if the character was able to “get clean”.

How have relationships with family members and friends, who are not themselves addicts, been affected?

People, however close, will draw the line somewhere, and most will, ultimately, walk away. So much damage will have been done, possibly over years or decades.  There can come a point, at which the strain is more than the relationship can take.

Usually, an addict will reach a crisis point – rock bottom, basically – and then decide to change.

Is your character able to give up drugs, drink, or both – as applicable? Does the individual subsequently relapse?

Do your research regarding the long-term health implications.

There could be serious, and even fatal, physical health consequences. Equally so with mental health. The addict is at an increased risk of suicide.

Access your own inner darkness.

Even if you haven’t had the precise experience that you’re describing, you can probably relate, on some level, to aspects. If you were drawn to write dark fiction, in the first place, there’s a reason.

Survivors understand survivors. Research the specifics, but beyond that, write from the heart.

 

Writing about drug addiction and alcoholism is no easy task, but I hope that these tips will guide and inspire you, as you attempt to realistically portray substance abuse, in your fiction.

 

More specific information, regarding substance abuse and addiction

Connect with me on social media.

Child Death in Fiction: Dealing With Tragedy in Your Writing — March 9, 2018

Child Death in Fiction: Dealing With Tragedy in Your Writing

address-child-death-fictionElizabeth-Jennings-poem

I have already written posts about killing off characters, and the grief experienced by those left behind.

I would suggest reading both of these, if you haven’t already, as much of the information is applicable here, and I won’t duplicate everything.  My post about how I approach mental health issues, in my fiction, also relates.

I felt the need to address child death, in particular.

It’s such a specific, and heartbreaking, subject – and one with which I myself deal, in my fiction.

One way in which child death can occur is following a terminal illness, and this is something with which I actually haven’t yet dealt, in my own work.

In such cases, the child, along with loved ones, could have potentially been fighting a long, excruciating battle, which he or she has finally lost. The story may have been following the characters throughout the exhausting process of hoping and praying, and trying out various treatment options. The grief, when the death finally takes place, could be laced with a degree of relief – and, at the same time, guilt, for feeling this way. Of course, all of this would apply, no matter how old the person was, who had died in this way. But something like this happening to a child would make everything that much more intense, and add an extra layer of tragedy to the outcome.

Then there is death by sudden illness.

Again, this hasn’t come up in my own writing. An example that comes to mind, however, is cot death. Shock, and possibly total disbelief and denial, are likely to be reactions. Guilt, blame, and questioning.

Accidents, resulting in death, are an area in which I do have experience, from a writing perspective.

For me, this has generally been in the form of road accidents. In terms of how it will affect loved ones, there is certainly much in common with the sudden death due to illness. Shock and denial are likely – as are the guilt, blame and questioning aspects. Some of the close family members may be witnesses. Of course, that could also be the case with the cot death example. But with a car crash, it’s very possible that some of the child’s family were actually involved. Survivors’ guilt could be an issue, and it may even be that the accident really was the fault, or partial fault, of whichever family member was in the driver’s seat.

Miscarriage is another form of child death, and can be overwhelming, and also isolating.

The effects can be felt by fathers, siblings and others, as well as the mother. And there can be a lack of validation, because people don’t generally regard the loss as a bereavement, in the usual sense. Which it still very much is. A couple in my novel, who later lose their daughter in a road accident, do also lose a baby, prior to this, through miscarriage. The double loss, along with other relationship problems, contributes to the mother’s eventual breakdown, and effectively, the disintegration of the whole family.

Abortion results in an even more complex form of grief, and is one of the most controversial, and deeply painful, subjects out there.

One of my characters does have an abortion. Her pregnancy is the consequence of her being raped, at the age of fourteen. The girl’s own mother bullies her into going through with the operation, believing that she is doing the right thing. However, the guilt, along with the loss of her baby, leaves the young girl feeling suicidal.

And yes, suicide is another form of death, which it is too easy to avoid, as writers.

Again, controversial, dark, and complicated. And, in my view, too important to be ignored – or worse still, dealt with poorly.

When it comes to child death, in its various forms, I believe that we do need to go there, in our fiction.

Research any specific issues that come up, in connection with your particular stories. Also, allow yourself to go deep, and feel the raw emotions. When you find yourself able to do so, you’ll know that you’re doing your characters justice. And potentially, your novel could be a source of support and hope, for many of your readers.

Follow me on social media.

Why Write About “Depressing” Subjects? — February 5, 2018

Why Write About “Depressing” Subjects?

why-write-depressing

This post was originally published on my previous blog.

So, why would anyone love writing or reading dark fiction?  Or survivors’ poetry?

In December 2017, I did publish slightly revised versions of two other posts: one regarding my personal writing journey, and another about writing modern historical fiction.

I considered also republishing this one, but decided against it, at the time. I didn’t see it as a priority, because I have other posts that cover much of the same ground, including one regarding my approach to mental health issues in my fiction, and another about the process of writing dark fiction. There are also elements that overlap with my post on character development.

However, on balance, I have decided to go ahead, and share it again.

I feel that there is enough here that could potentially be of value, and it doesn’t do any harm, in my opinion, to revisit some of the same subjects, when they are ones that are close to our hearts. So here goes…

I don’t know where to start with the subject, but it’s an important one, so I want to address it.

I know that more people are familiar with my poetry than my fiction, as there isn’t much of the latter “out there”, as yet. The fact is that I deal with dark and controversial subjects throughout all of my writing. I am focusing more upon my fiction here, although much of what I say applies across the board.

Firstly, my fictional characters are not me.

They each contain aspects of myself, to varying degrees, but none are me, as such. That isn’t how fiction works.

Some experiences of certain characters are heavily autobiographical, but there will always be fictionalised aspects, and it shouldn’t be important for a reader to know what is based on my actual life experiences, and what is not.

That’s not to say that readers won’t, or even shouldn’t, be interested – and often, I will be happy to clarify and share my own stories, since I’m a naturally open person.

There is definitely an element of therapy to writing for me, that is essential to my survival – to my sanity, such as it is.

I do write to explore subjects and situations because I’ve been through them myself, or something similar.

Yet, this is not always the case.

I have had, for my writing, to research subjects, including heroin addiction and abortion, and many others, of which I have no direct, personal experience. Is it “depressing”, if you like? Yes, at times. I would say it is deeply painful, and also makes me more compassionate – and, at times, paralysed by my own inability to fully understand, and do justice to the subjects.

The social issues won’t go away by ignoring them.

That said, is it sufficient that many of us attempt to write about them, in our fiction? Isn’t there more that we can and should be doing? Sometimes it isn’t easy to know what to do, but I can’t close my heart or mind to these themes, to which I feel drawn.

I’m so restricted by my own health and circumstances, and I don’t have the answers – only more questions, and they replay, on an endless loop, inside my mind.

I think that the best answer is that I would find it more depressing to ignore the issues, and I don’t know if I will ever achieve what I ideally want to through my work, but I just have to keep going. I hope that this made at least some sense.

Follow me on any or all of my various social media sites, where I regularly share writing related posts.

Writing Believable Dialogue — January 7, 2018

Writing Believable Dialogue

writing-believable-dialogue-stories

Dialogue is the representation – as opposed to replication – of realistic conversation.

By this, I mean that it should sound like real life conversation, to a point – but not entirely. It would be better to consider character dialogue in terms of edited highlights. In reality, people ramble, go off at tangents, and frequently use phrases such as “um” and “er”. This is boring to read through, so keep it concise and readable.

As with all aspects of telling a great story, conflict is necessary.

Pleasant conversations, where all is happiness and light, and there is no disagreement or problem between your characters, are pointless. Cut to the drama, wherever possible. Remember that dialogue is a tool, and should be used to move the story forward.

Use dialogue to develop your characters.

Differentiate the dialogue of various characters, in as many ways as you can. Consider the range of vocabulary that each would use – individual word choices. When you actually reach the point of being able to “hear” the characters talking, in your own mind, you will know that you have created real people. Then, you will know instinctively, if a line of dialogue doesn’t fit – because it will not be something which this person would actually say, in the particular context.

A major role of dialogue is, as I mentioned, to move the story forward.

As such, dialogue is often the perfect place to convey necessary information. However, be careful not to “info dump”. Dialogue must sound natural.

And, on the subject of natural sounding dialogue – please take care not to overuse character names.

As in:

“Hello, Mary. How are you today, Mary?”

“Hello, Tom. I’m fine, thank you, Tom. How are you, Tom?”

Okay, so it’s not normally this bad – but, at times, can come close. Pay attention to real conversations, and you’ll realise that we don’t generally use each other’s names that often: mainly at the start of our interactions, or when trying to emphasize a specific point.

Said is not dead.

It’s generally much better than “exclaimed” and the like, which draw attention to themselves, and are principally used for the sake of it, in a misguided effort to keep dialogue “interesting”. Some variations, such as “asked” and “yelled”, have their place, but “said” is an “invisible” word, and should be your default option. Mix it up with action tags, and instances where no tag is used at all. The latter is more difficult when three or more characters are present, but can be used effectively in dialogue between two characters.

Make use of subtext in your dialogue.

It’s unrealistic, as well as tedious, for characters to say exactly what they mean, at all times. Multiple layers of meaning add that subtle touch, that will make readers believe in your fictional people and situations.

 

Hopefully, these tips will help you to write believable dialogue – an essential aspect of creating strong, and highly relatable, characters.

My posts on character development and describing locations in realistic fiction, may be of interest.  Also, some additional thoughts on writing convincing dialogue.

I would also recommend a post from Standout Books, for another perspective on the subject of writing awesome dialogue.

Find me on social media.

Believe in yourself and your dreams.

My Writing Journey — December 20, 2017

My Writing Journey

journey-paula-writeswriting-Gloria-Steinem

Before I could physically write, I was already, in a sense, a writer.

I invented people, worlds, and situations. I daydreamed, and also “played games”, assigning roles to my brother and friends. I talked to myself, as well. Past tense…? Well, not entirely – because I’m a writer, and writers are weird. That’s my excuse, anyway.

steam-train-journey

When I was five or six, and able to go beyond the formation of individual sentences, I wrote my first stories.

I was that child who loved writing stories at school, so much that I wrote my own, out of choice.

I found Maths boring and difficult.

I have the co-ordination disorder dyspraxia – which, at the time, was undiagnosed – and was, therefore, useless at the so-called “fun” activities. This covered pretty much every sport, basically. Yes, that’s right – not a fan of PE.

I was bullied relentlessly, right through school, and struggled with depression and anxiety, from a very young age.

I never fitted in, and longed to, but if I had, then maybe I would have been happy but ordinary, and not a writer. It was the one thing that I was able to do better than average, and I focused on that.

I do have periods of writers’ block, for want of a better term.

I also have long reading slumps.

I don’t write every day. I would like to say that I do, but I don’t. That’s just the truth.

I currently have many health issues, physical and mental health.

I have also been let down many times, by people I thought I could rely upon – family members, who have been less than supportive, to put it mildly – and so-called “friends”, who have hurt me deeply.

Poetry, although not my original passion, has often helped me through.

I will probably write a post specifically about my poetry journey, at some point.

I do also have a novel that I’m working on, sporadically – an old project, which I revived in recent years.

I’m making slow progress, but getting there. It’s a project that means so much to me, more than I can express – and yet, I’m terrified of failure. Sometimes, the fear leaves me paralysed, and I don’t get anything done at all.

However, I believe in what I’m doing, with all my heart, and know that I have to finish my book.

I did finish another, and shelved the first draft, without revising, which I am okay with. I felt, and still do, that finishing was enough, in that instance.

This post was originally published on my previous blog, and I simply made a few minor adjustments.

Since then, I have developed more of an interest in blogging. I plan to focus much more on this aspect of my writing in 2018 – and do also hope to make more progress on my novel, than I have in previous years.

If you would like to know more about the themes and topics covered in my fiction, I would suggest reading a recent post of mine, concerning my approach to mental illness, alcoholism and drug addiction, in my work.

Also, my piece about writing dark fiction, may be of interest.

Writing is my life.

I’ve been in some dark places, and I truly believe that I wouldn’t be here without my fiction and poetry – and increasingly so, my blog.

Believe in yourself and your dreams.

Find me on social media.

train-journey

 

Writing About Mental Health in Fiction: My Approach — November 15, 2017

Writing About Mental Health in Fiction: My Approach

mental-health-realitiesAs someone who suffers from both physical and mental illness, my own experiences definitely influence and inform my writing.

I deal specifically with many issues, including drug and alcohol addictions, and rape and sexual abuse, in my fiction.

Not every subject that I write about is one that I have experienced personally, although I can always relate, on some level. I have never had drug addiction issues, for instance, although I have had problems with alcohol, in the past.

When it comes to mental illness – yes, definitely, I cover that too, as a writer, but not in the usual, neatly packaged way. For myself, it’s a priority to reflect realities that are not usually represented.

Most of my characters are either not diagnosed with mental illnesses, or the diagnosis is not mentioned.

It’s idealistic to suppose that everyone who has a mental illness is diagnosed – and correctly diagnosed, at that – and also, that everyone who is diagnosed with a mental illness necessarily has a mental illness at all.

I refuse to endorse the psychiatric system by going along blindly with the “this diagnosis treated by this type of medication”, textbook version.

I have also had enough of the myth that, following a suicide attempt, people are routinely admitted to psychiatric hospital.

I have never been an inpatient in psychiatric hospital. When I have taken overdoses, for the most part, no-one has actually realised at all. My parents, and others around me, have assumed that I must be sick from drinking too much.

On the few occasions when I have been treated for the physical effects – far from being admitted to psychiatric hospital afterwards, I have simply been sent straight back to full-time work, as soon as physically able. Literally. In fact, it was the same after being raped.

I have not had therapy, and any dealings with the mental health services have ended up causing more distress than if I had simply “got on with it”, and not sought help at all. And, yes, there are others in similar positions. Mine is, by no means, an isolated case.

The lack of support received is effectively then used against those of us who have been denied help, since we receive fewer “illness points” than others who have received medical attention – which, in turn, affects subsequent decisions about medical care, or lack of.

I do have a character who attempts to take her own life, and others who experience suicidal thoughts, and my characters don’t receive the “textbook” version of the NHS service, which is not the reality, for most of us.

I understand that many people have traumatic experiences within psychiatric hospitals, but this is already represented in literature. The experiences of those who are forced to “get on with it”, and offered no support whatsoever, need to be portrayed, as well.

My protagonist, Lucy, has symptoms of anxiety, which I convey in the “show don’t tell” tradition.

The subject of whether or not she has a diagnosis isn’t mentioned. She doesn’t.

Her mother, Helen, does have anxiety too, and is diagnosed – and this can be seen through the fact that she is addicted to prescription tranquillizers.

I have the benefit – the extreme privilege – of being a writer, and as such, I believe, a responsibility to speak out, on behalf of others.

I have done this, at times, through my poetry. As a writer of realistic, modern historical fiction, I hope to achieve more, in this respect. I shall certainly try.

Writing is my therapy and my passion. It has enabled me to survive. There is no greater blessing.

 

Believe in yourself and your dreams – always.

Find me on social media.

My post about Sylvia Plath, and my feelings regarding the term “suicide poet”, might be of interest.

Some thoughts on addressing controversial subjects in our writing

hemingway-quote

 

%d bloggers like this: