I had a strange experience last week. Back in January/February, I booked an Arvon course called Editing Fiction. My plan was to use the opportunity to finish my novel and start submitting it to agents. The course was last week and it was amazing — I learnt a lot and felt inspired. However, by the end of the week, I had decided to abandon my novel.
To say I hadn’t expected this outcome would be an understatement. One of my 2018 goals was to get The Novel up to a decent standard, making it the best I could. I was persuaded to read the opening chapter to my writing group and got encouraging feedback. I had redrafted it 4 times since I wrote the first draft 3/4 years ago. I was sure that working on this novel was what I should be doing.
And that was the problem. I was no longer enthusiastic about The Novel. Had fallen out of love with it.
The realisation came during a tutorial with one of my favourite writers. I went in babbling about not knowing whether I should be prioritising The Novel and feeling like an utter idiot. Luckily, the tutor is an excellent teacher and reader of humans: she saw something I hadn’t yet realised. She recounted her experience of writing a novel and losing it when her laptop was stolen. After the initial shock, she was relieved.
She asked me how I would feel if the same happened to me. My answer? Free.
The Novel isn’t right for me. Not at the moment, anyway. As the course tutor pointed out, if it had been right for me to keep working on it, I would have been offended and defensive when she suggested I quit. Instead, I was delighted to receive permission to stop.
I have thought a lot about permission in relation to writing. Like many other writers, I struggle with confidence and the paradox of assuming my work isn’t good enough and being arrogant enough to want people to read my stories. However, I had never considered seeking permission not to write — to abandon something in which I have invested a lot of time, effort and even (thanks to an online course on plot) money.
I don’t think twice about casting aside short stories that aren’t working for me, but The Novel felt different. I have never written a novel which is good enough to publish; perhaps I thought I had to prove myself. A lot of the writing advice I came across said to keep going, to finish projects, so I felt obliged to continue. To keep redrafting, even when I was no longer motivated.
Quitting feeds into a lot of my fears and negative beliefs: that I’m a failure, lazy, simply not good enough. Yet what is the point of pursuing a goal which I no longer want to achieve?
The tutor reassured me that I hadn’t wasted my time on The Novel. It’s an experience which has improved my writing and will help me to clarify my goals as a writer. I have learnt a lot through writing it, from the fact that spending 3/4 years on a project probably means I’m not lazy, to the Writers HQ course which developed my plotting skills. I’m not upset about giving up on it; I’m happier, lighter.
Although it’s early days, I believe that I will learn a lot from putting The Novel aside. It has made me wonder what else I’m clinging to in my life.
The strangest part of this experience has been finding evidence that I knew — unconsciously — I should abandon The Novel before it was pointed out to me. In my lists of current goals, I have not prioritised The Novel. I was reluctant to show the other course tutor, an editor, my synopsis because I thought it was crap, which I now translate as knowing I didn’t believe in it, since it would have been sensible to ask her how to make the synopsis less crap. In my tutorial with the editor, she asked me questions about The Novel which I hadn’t considered. Why hadn’t I considered them? Because I didn’t care.
Other people on my course talked about their projects with enthusiasm, but I didn’t enjoy talking about The Novel. I was too ashamed to show it to the writer I admire — instead of my first chapter, I submitted a short story which I actually quite like.
With hindsight, it is clear I shouldn’t be working on The Novel. Yet I ignored the signs for months.
Again, it makes me wonder what else I’m overlooking. I am trying to trust my intuition, but I get swayed by what I “should” be doing. I “should” finish The Novel. I “should” focus on The Novel because its premise is commercial. I “should” be better at promoting myself and my work.
When I act on my intuition, the outcome is usually good. I can’t think of a time when I have regretted following my intuition; just loads of times I wish I had, but didn’t.
Forget what I “should” do. That’s the main lesson I took from the Arvon course. I can’t waste time and energy trying to be a different kind of writer, a different kind of person.
I’m not sure why I fight against my intuition so much — or why I fail to see the signs which point me towards what I really want. I think I’m getting better at recognising what I need to do, but this experience has taught me that I’m far more likely to listen to people I admire than to myself. It’s something I need to change.
Another issue which was mentioned in my tutorial is confidence. The self-doubt will never go away, says the writer whose books I buy as soon as I can (in print, no less). And it can be a good thing, because the best writers are those who are continually trying to improve, not the ones who believe their work is perfect.
Again, this is something I kind of knew, but it was reassuring to hear from one of my favourite writers. If I wait to feel confident before doing anything, especially writing/submitting stories, it won’t happen. I need to take action despite lacking confidence, to make it a habit.
When I take action towards goals which are important to me, I feel energised. Even if I was exhausted and demotivated before doing anything. I stopped feeling energised by The Novel long ago. I just needed someone else to give me the message.