I was asked recently about which publishing route I took and why. So here’s a potted history of how I became an independently published writer – or ‘indie author’, as we’re increasingly known.
I’m an indie author, published entirely now on Amazon. I gave up my job to concentrate on writing a few years back. It was what I’ve always wanted to do, and besides publishing quite a bit of poetry, I knew I wanted to write novels. I submitted my first book, the young teen novel The City of Light, to agents and publishers. An agent reader’s report said it was a potential Harry Potter (can you imagine how I felt!?). A friend of a friend in the Children’s Rights department of Random House loved it and championed it through editorial teams – only for it to fail at the sales team, who in the post-Harry Potter world had moved on from contemporary fantasy to gritty realism.
To be honest, I gave up for a couple of years until my sister-in-law suggested I go indie. I’ve never looked back. I’m no more of a control freak than the next person, but sending off to agents and publishers was about as dispiriting as it gets. There were lots of long waits and half-promises. Being in control of what and when I write and how and when I publish is great. The downside of course is lower sales – we’d all love distribution in bookshops throughout the world. But of all my colleagues who write and have been traditionally published, none have ended up with rosy sales figures. And most have had a pretty miserable time with their publisher’s demands and processes.
As far as tips are concerned, I did put a lot of time into publishing on multiple platforms – but always for a measly return. When I went exclusive on Amazon and signed up for Kindle Unlimited my sales rocketed. Sad, but true.
Let me know if you’ve had experience of the publishing world. And if you’re a reader, does whether a book is published independently or through traditional publishers affect your choice?
OK, so technically National Poetry Day was yesterday and I missed doing this Poetry Playlist post due to juggling 101 other things!
Whilst I love reading poetry on the page, it’s important to recognise that it developed from oral traditions, a means of passing down the values, wisdom and playfulness of humanity from one generation to the next before writing became common.
So for me poetry exists in two very distinct states. The poem on the page, which emanates its power in a wonderful, still silence (if it’s good!) And then there’s the poem as read by the poet or avid reader, which can take on a wholly different feel. The pacing and the length of the end-of-line pause, the emphasis of certain words, the catching of the poem’s rhythm. All are shaped by the personal interpretation of the out-loud reader.
I’ve done quite a few poetry readings in the past – at festivals, schools, pubs and in such illustrious venues as the basement of the Troubador Cafe in Old Brompton Road, where Bob Dylan and the Rolling Stones played (and Ed Sheeran and Laura Marling for you young folk!). But with Covid there’s much fewer chances of doing live readings, so why not take a look at this Poetry Playlist I’ve put together? In it, you’ll find me reading six of my favourite poems from my two collections, Up in the Air and The Things We Thought Were Beautiful.
And if they inspire you to read more, the books are available here:
Today I’m reading a short excerpt from The Unknown Realms, the last book in my mystery adventure series, The Secret of the Tirthas. It’s the moment a Venetian boy, Alessandro, sees the hero, Lizzie Jones, emerge from one of the magical portals, or tirthas, with a very unusual – and frightening – companion. I won’t give any more away for those of you who haven’t read the previous books!
If you enjoyed this reading from The Unknown Realms click below to find out more; or, if you’ve not yet started the series, click on The City of Light.
To learn about the magical garden of rooms that inspired the series go here, and about the real City of Light in India go here.
I was amazed when I heard ‘Negative Capability’ used in a meeting the other day. People were looking at the ways in which society works, and using the term to highlight the skills needed to navigate increasingly complex systems. It’s pretty impressive, considering Negative Capability was a concept invented by the Romantic poet, John Keats, to describe the poet’s seeking after Beauty without becoming bogged down in reasoning.
I’ve always liked this concept. We can easily get distracted from creativity and even living life itself if we try and keep on top of everything. Negative Capability is not really negative at all, it’s about letting go, about wading right into the mystery and seeking out the things most beautiful and important to you. Hold faith with those things you cherish, even in the midst of doubt and uncertainty.
Many people are not happy with uncertainty. They prefer to make concrete decisions about the way the world is and isn’t. I think I’m the opposite. As part of the universe, I feel fundamentally ill-equipped to make final pronouncements on it. I just don’t know. Why are we here? Is there an ultimate purpose to life? I tend to think not, but given the inconceivable improbability of our own existence, who knows? There are always gaps, always possibilities.
I think in our modern context, Negative Capability really comes into its own. Society is becoming more complex, mainstream views are being overturned, strong-man populists reign, a pandemic rages, and the climate is on the brink of catastrophic change. In a decade or two’s time, most jobs will require digital literacy, or be taken over by robots. The times, in short, are changing. Sometimes it feels like the only way to survive is to ignore the the big picture and double down on what matters most to us. Whatever that may be. Art, Environment, Politics. We need to function, and thrive, in the midst of all this complexity.
So, hats off to Keats. What an amazing poet, creating words and concepts that are just as significant now as when he invented them.
How’s your tolerance for mystery? Are you happy not knowing things or do you like to find rational explanations for everything?
This poem from my first book Up in the Air was written a few years ago. I think it’s pertinent to our current coronavirus crisis, where once again we find ourselves reliant on brave and selfless public workers. It’s my first – and only – prose poem and I wrote it after watching a TV programme about the Marriott World Trade Centre hotel, which stood beside the Twin Towers. As you can imagine, the hotel was damaged beyond repair, and there was one guest who spoke in tears and amazement about how a firefighter saved his life. I can’t remember much more than that, but it showed how there’s something more important to us than money and power and status. It’s the ability to feel widely, to be open to everything and have empathy. We’re not talking about being wishy-washy, but about sensing the ‘drunkeness of things being various’, as the Northern Irish poet Louis MacNeice would put it. The world is amazing. What makes us special is the fact that we are able to sense and feel it, in all its fathomless complexity.
I’m posting this poem from The Things We Thought Were Beautiful for World Poetry Day not because it’s a ‘happy’ poem, but because sharing our sadness can also help us to pull through.
Many people think of poetry as a sideline, or even worse, an irrelevance. But for many of us, poems are a source of inspiration and comfort. Losing the possibility to see and hug our close relatives is surely one of the hardest things for us all to deal with at the moment.
This poem, Sorted, heads up the ‘Without Love’ section of The Things We Thought Were Beautiful, and it was written about the frustration and emptiness we often feel when we’re not with a lover. But I think it works just as well in the context of being apart from anyone we love.
I’m currently working on the final draft of my second poetry book, “The Things We Thought Were Beautiful”. Like “Up in the Air”, I’ve divided this one up into sections, the first of which is called “Another World”. The poems in this section focus on the natural world and our desire to see more deeply into it.
One of my favourite poems is Wordsworth’s “Lines Composed a Few Miles Above Tintern Abbey”, in which he talks of what the eye and ear ‘half create, and what perceive.’ I’ve always loved that line. It’s as if there really is a transcendent value in nature that we can grasp, or “perceive”.
But when Wordsworth talks about us “creating” it, is that in the sense of making it real – or just us making it up? And how do we know which bits are our own creation, and which bits are real? The true reality behind reality – if there is such a thing – can only ever be understood, or felt, in glimpses. Poetry is one of the best ways of having those glimpses.
To read more about why I love Wordsworth, check out this post.
This is the last of my Five Favourites series, based on the categories of books I’ve published myself. It’s a reflective time of year, so I’m finishing with my five favourite poems.
I think in general your emotional response to a poem is strongly attached to where and when you first read it. But not always. For me, there are some poems that get richer over time, and continue to provide a visceral, often transcendent, feeling. My favourite poems are always changing, but the five below have stayed with me throughout my life.
Louis MacNeice was a Northern Irish poet who wrote some wonderful poems, including Prayer before Birth and The Sunlight on the Garden. My favourite is Snow, a poem that points to the incongruousness and mystery of the world:
The room was suddenly rich and the great bay-window was Spawning snow and pink roses against it Soundlessly collateral and incompatible: World is suddener than we fancy it.
2. The Sun Rising
My pitch-perfect memory for poetry is not good, but there’s a power in the opening lines of this poem that has always stuck with me. I love John Donne, his interplay between sacredness and lust, spirituality and corporality, and the way he finds a way through the opposites to breathless transcendence.
This poem, with its movement from chiding the sun for rousing him from his lover’s bed to the moment when he realises it’s fulfilling its duty by warming them, is the perfect epiphany.
Busy old fool, unruly sun, Why dost thou thus, Through windows, and through curtains call on us? Must to thy motions lovers’ seasons run? Saucy pedantic wretch, go chide Late school boys and sour prentices, Go tell court huntsmen that the king will ride, Call country ants to harvest offices, Love, all alike, no season knows nor clime, Nor hours, days, months, which are the rags of time.
Thy beams, so reverend and strong Why shouldst thou think? I could eclipse and cloud them with a wink, But that I would not lose her sight so long; If her eyes have not blinded thine, Look, and tomorrow late, tell me, Whether both th’ Indias of spice and mine Be where thou leftst them, or lie here with me. Ask for those kings whom thou saw’st yesterday, And thou shalt hear, All here in one bed lay.
She’s all states, and all princes, I, Nothing else is. Princes do but play us; compared to this, All honor’s mimic, all wealth alchemy. Thou, sun, art half as happy as we, In that the world’s contracted thus. Thine age asks ease, and since thy duties be To warm the world, that’s done in warming us. Shine here to us, and thou art everywhere; This bed thy center is, these walls, thy sphere.
Alice Oswald continues and reinvigorates the traditions of William Wordsworth and Ted Hughes. Nature is the main focus of her poetry, suffused with the numinous. In poems like Dunt: A Poem for a Dried-Up River, nature (here, a nymph trying to give birth to the poor stream) seems to represent the arduous challenge of the creative process itself.
I’ve chosen the poem Mountains from her first collection, The Thing in the Gap-Stone Stile. Like all the best poems (writing?) there is a push towards resonance, idealism, the unfathomable; the things which open up the mind and feelings as opposed to shrink and contain them. I like to think there’s an allusion to Plato’s cave at the end, the bigger reality behind daily experience:
…you can feel by instinct in the distance the bigger mountains hidden by the mountains, like intentions among suggestions.
4. Lines Composed a Few Miles above Tintern Abbey
I owe my love, and writing, of poetry to Wordsworth more than any other poet. I have written about why I like him – and especially Lines Composed a Few Miles above Tintern Abbey – so much here. The line about what the eye and ear “half create, and what perceive” is, I think, one of the best ideas ever contained in a poem. We connect deeply with nature, glimpse something bigger than us there; but what that is remains always beyond our reach. Our story is in the yearning.
5. Tales from Ovid
Ted Hughes and Sylvia Plath seem to me to be among the last generation of poets to have gained iconic status. It’s hard to choose between them in terms of greatness. In the end I’ve opted for Tales from Ovid by Ted Hughes, as it was the first book-length poem that I devoured with the excitement of a thriller. Hughes’ rendering of these classical Greek stories is a revelation. He brings to life the rawness of the stories (the hunters killed so many animals the ‘slopes were patched red with the butchering places‘) and the warping of souls caused by deep and precarious passions.
Many other poems by Hughes are brilliant, including Birthday Letters (about his time with Plath) and his most famous poem, The Thought-Fox. But Tales from Ovid is the one I push my friends to read.
Finally, a few of those that got away…
So, I’ve mentioned Sylvia Plath. I discovered her poetry one winter in Kenilworth and loved the icy desolation / vivid madness of Tulips, the dark power of Daddy, and the wonder and playfulness of You’re.
Another poet I admire is John Burnside, whose Myth of the Twin (‘bending to a clutch of twigs and straw to breathe a little life into the fire‘) is deep, complex, bleak. It’s out of print unfortunately, but you can still find a second-hand copy.
One of the first poems I had published was in a magazine called Tandem, which placed famous poets alongside new. One edition included a poem by Seamus Heaney, Postcript, which includes the astonishing image of the ‘earthed lightning of a flock of swans’. The poem alludes to the impossibility of holding on to things:
“Useless to think you’ll park and capture it / More thoroughly. You are neither here nor there, / A hurry through which known and strange things pass“
Finally, I have to mention Dylan Thomas’ Do not go gentle into that good night, a poem about how no matter how you live your life you will always feel a lack. And somehow the poem seems to suggest that the lack, or yearning, is somehow in itself what makes life worth living. The failure, the drive to be more, to comprehend. From a young age, I’ve always felt that the most important thing for me is to understand what being alive means. This poem captures the keeness – and frustration – of that desire to know.
These are a few of the poems that have inspired me down the years. There are many, many more. If you’d like to see what they’ve led me to write, check out my own poetry: