writing

Distractions

by Lucy Felthouse

It’s a sad fact of my life that in terms of work, my writing comes last. Not because I want it that way, but for the time being, because it has to be. Running my own business means I can work from home and have flexibility in my schedule. In turn, this allows me to squeeze writing in wherever I possibly can. But of course, paying clients (as opposed to writing books that may or may not be contracted, and may or may not sell), must come first for me to survive.

Therefore, distractions from my writing, when I get to do it, are not welcome. I’m not talking about the emails-coming-in, social-media type stuff, as they’re distractions that can be avoided, or at least ignored until you’ve written so many words. I mean the unavoidable distractions; personal ones, health ones, family ones, and so on. Stuff that demands your time, with no exceptions or workarounds.

It can be very hard to stay focussed on creativity when there’s something on your mind. Or it is for me, anyway. If I’m not in the right frame of mind then I tend to just stare at the screen with not much going onto the page. It’s frustrating, but it can’t be forced.

So, what to do when distractions are around? Well, that’s easy, isn’t it? I’ll do client work, I’ll do my freelance editing, I’ll shout about the books I already have out there – there are lots of tasks that make up my average day, and for that I’m grateful. I’m not sure how I’d cope with being a full-time writer, as when distractions come along, I’d be achieving very little. At least this way, I’m still crossing things off a to-do list.

What about you? Can you write through certain types of distractions? How do you cope with them?

Happy Reading,

Lucy x

*****

Lucy Felthouse is a very busy woman! She writes erotica and
erotic romance in a variety of subgenres and pairings, and has over 100
publications to her name, with many more in the pipeline. These include several
editions of Best Bondage Erotica, Best Women’s Erotica 2013 and Best Erotic
Romance 2014. Another string to her bow is editing, and she has edited and
co-edited a number of anthologies, and also edits for a small publishing house.
She owns Erotica For All, is book
editor for Cliterati, and is one eighth
of The Brit Babes. Find out more
at http://www.lucyfelthouse.co.uk.
Join her on Facebook
and Twitter, and subscribe to her
newsletter at: http://eepurl.com/gMQb9

Getting Together

by Lucy Felthouse

Writing is a very solitary thing. Something you have to just sit down and do, all by yourself. Yes, you may have other people involved in the research stages, and you may have beta readers once it’s finished, then editors, publishers, cover artists… the list goes on. But the specific act of getting words down on the page is a lonely task. Nobody can do it for you, and unless you’re super-talented (and if you are, I’m very jealous), you probably can’t talk to people while you’re doing it.

Which is why it’s nice to have writer buddies. Whether you know them in real life or just online, they’re a valuable bunch. There to encourage, to rant with, offload on, ask questions, sympathise, celebrate, commiserate… as much as friends, partners and families may try to be and do all of those things, it’s really only other writers that truly get it.

I’m very lucky in that I have writer buddies living locally, ones I see on a fairly regular basis, as well as ones I chat to pretty constantly online. Some of those I get to see occasionally, too. One such example being last weekend (not the one just gone, the one before!). A whole bunch of erotica and erotic romance writers and readers descended on Scarborough on the east coast of England for Smut by the Sea, a day of smut, workshop, socialising and fun. And fun it was! There was lots of chatting, giggling and all of the above supportive-types things going on. It’s so nice to be reminded you’re not alone as a crazy writer that’s battling away on something that’s bloody hard work, often for very little reward.

Now it’s all over, I’m already thinking about the next such get-together. Which is in November. I’m sure it will be upon us within the blink of an eye. So if you’re in the UK and can get to Manchester… it’d be great to see you there!

Happy Reading,
Lucy x

*****

Lucy Felthouse is a very busy woman! She writes erotica and
erotic romance in a variety of subgenres and pairings, and has over 100
publications to her name, with many more in the pipeline. These include several
editions of Best Bondage Erotica, Best Women’s Erotica 2013 and Best Erotic
Romance 2014. Another string to her bow is editing, and she has edited and
co-edited a number of anthologies, and also edits for a small publishing house.
She owns Erotica For All, is book
editor for Cliterati, and is one eighth
of The Brit Babes. Find out more
at http://www.lucyfelthouse.co.uk.
Join her on Facebook
and Twitter, and subscribe to her
newsletter at: http://eepurl.com/gMQb9

Gone Researchin'

So, as this post goes live I’m actually out of the country. In Paris, France, one of my very favourite places on earth… so far 😉

I’ve gone researchin’. For some reason, ever since my very first visit to Paris back in 2010, I found it beautiful, fascinating, interesting and inspirational. Since then, it’s spawned several stories which have been set there, all very different and all so much fun to write. And yet, I’m not done! One of those tales has been begging for a long time to be extended into a novel, but my hands were tied due to a shitty publisher, who shall remain nameless. Since then, I’m glad to say the publisher is no more (yeah, seriously, they were that bad), so I have the rights to that short story and the characters back, and I can work on the novel. I’m really looking forward to it because I love the story, the plot and the fact that my crazy little brain actually figured out this could be turned into a series. It’s been languishing for too long, and I’m hoping that another research trip to Paris will inspire me all over again and I’ll be bubbling over with ideas, new settings and enthusiasm for the project 🙂

Happy Reading!

Lucy x

*****

Lucy Felthouse is a very busy woman! She writes erotica and
erotic romance in a variety of subgenres and pairings, and has over 100
publications to her name, with many more in the pipeline. These include several
editions of Best Bondage Erotica, Best Women’s Erotica 2013 and Best Erotic
Romance 2014. Another string to her bow is editing, and she has edited and
co-edited a number of anthologies, and also edits for a small publishing house.
She owns Erotica For All, is book
editor for Cliterati, and is one eighth
of The Brit Babes. Find out more
at http://www.lucyfelthouse.co.uk.
Join her on Facebook
and Twitter, and subscribe to her
newsletter at: http://eepurl.com/gMQb9

Is It Okay Not To Be Worried About… Everything?

By Lucy Felthouse

As you know, lots of the other regular contributors to this blog pen some fabulous posts about the technicalities of writing, how to do it, how to improve, how to get inspired, and so on. A couple of recent examples being Three Workouts for Erotic Writers and Writing exercise – the canzonetta.

I don’t tend to write posts like that. I’m not one for the technicalities. Yes, I’ve got a degree in Creative Writing, I know how to write, I know how to spell and I know how to use an apostrophe (though I still occasionally wrestle with them). As long as I get to the end of a story, a novella or a full-length book and it’s correct and I’m happy with it, I don’t worry about anything else. That’s not because I don’t care. It’s because I’ve gotten to the stage where I have to trust myself, trust my ability to write. If I get bogged down in the technicalities, the many, many tiny elements that make up a piece of writing, I’m at risk of sinking into that bog and never finishing anything.

So I write what comes into my head, or from an outline I’ve sketched out, and I let the words flow naturally. Let my characters and the situation dictate what is said or done next. I put my backside in the chair, my fingers to the keyboard, and hope that what arrives on the screen isn’t a load of crap. And when it’s finished, I edit, tweak, polish and improve until it’s the best I can possibly make it. Then I hope like hell that someone will accept it.

So, what do you think? As long I’ve done my very best work, is it okay not to be worried about… everything?

*****

Lucy Felthouse is a very busy woman! She writes erotica and
erotic romance in a variety of subgenres and pairings, and has over 100
publications to her name, with many more in the pipeline. These include several
editions of Best Bondage Erotica, Best Women’s Erotica 2013 and Best Erotic
Romance 2014. Another string to her bow is editing, and she has edited and
co-edited a number of anthologies, and also edits for a small publishing house.
She owns Erotica For All, and is book
editor for Cliterati. Find out more at http://www.lucyfelthouse.co.uk. Join
her on Facebook and Twitter, and subscribe to her
newsletter at: http://eepurl.com/gMQb9

Why My "But" Is Here to Stay

By Jean Roberta

(Note: My apologies for arriving late. I had trouble posting this piece earlier.)

The word “but” seems wildly unpopular these days. According to television counsellor Dr. Phil, whatever follows a “but” negates whatever came before it. In the context of personal relationships, there seems to be some truth in this claim. When a guest on the Dr. Phil show tells a Significant Other: “I’m sorry I cheated on you, but …” the rest of the sentence is always an attempt to justify the behaviour that the speaker supposedly regrets. When the defense lawyer in a sexual assault case says, “I’m not really saying the victim deserved what she got, but. . .” the rest of the sentence usually implies that she, not the perpetrator, was responsible for an unfortunate misunderstanding. When someone in an on-line thread says, “I’m not racist, but. . “ well, you see the pattern.

My spouse, as a professional counsellor, agrees with Dr. Phil. She tells me that when I say, “I like X, but . . .” the sentence contradicts itself in a confusing postmodern style.

Allow me to present the case for “but.”

I was delighted to teach a credit class in creative writing for the first time in Fall 2013, at the university where I have taught first-year literature-and-composition classes for (as of spring 2014) a quarter-century. I had offered informal crits of other people’s writing in the Storytime list here at Erotic Readers and Writers, but I was nervous about doing this in an official capacity. How could I judge other people’s short stories, poems, scripts or opinion pieces and assign grades to them without being unreasonably biased in favour of what I happen to like? On a deep level, this question nagged at me: Why on earth should other writers (even those almost young enough to be my grandchildren) respect my opinions? Am I brilliant or famous?

As it turned out, it seemed surprisingly easy to evaluate student assignments by the same standards I use to evaluate academic essays on literature. This is my general checklist:

– What is the purpose of this piece? (In the case of an essay, I look for a thesis, a controversial statement which will be defended with fairly objective evidence, much like an appeal to the jury by a prosecutor/district attorney or a defense attorney in criminal court. Neither lawyer can be neutral, or defend both sides.)

– How does this piece approach its purpose? If this seems to be a mood piece, does it use descriptive language? Does the writer “show” a situation or “tell” about it? What are the advantages of the strategies used, if any?

– Is this piece written grammatically, in standard English? (In the case of an essay, ungrammatical writing automatically lowers the grade.) If a creative piece is written informally, in slang or dialect, is this an attempt to produce the effect of spoken language? If so, does it work? Is the piece a linguistic experiment? If so, is it understandable?

– Is this piece coherent, or does it switch viewpoints for no apparent reason? Is the pacing uneven? Does something important seem to be left out?

When grading the assignments of eager young writers (of stories, novels-in-progress, structured poems, short plays and essays), I found much to admire, but I always had a “but.” Usually I liked the plot premise, but sometimes I found the characters two-dimensional or the dialogue full of cliches. I was taken aback by the number of apparently unintended grammatical problems in student writing. In the case of structured poems, the technical problems were easy to spot. (This is one reason why I gave the assignment). How many sonnets, I asked aloud rhetorically, have lines that vary from eight syllables to thirteen?

So my evaluations usually started with praise for the general conception of the piece, followed by a “but.” Example: Interesting contemporary drama about a dysfunctional family (and aren’t they all, if you look closely?), but do Canadians in the 21st century say, “Mark my words?” (As far as I know, this phrase might still be a part of local speech in some quaint backwater, but I suspect the student was too influenced by the literature of the past.) Or: Exciting, ambitious fantasy story, but how can an immortal character drop dead of natural causes, and why does the invisibility cloak only work on some occasions?

This brings me to a recent discussion in the Writers list, here at ERWA. Someone said that as writers, we can never know why an editor rejected one of our submissions. This statement seems akin to saying that we can never really, really know what another person means. I can agree with this, but I’m not convinced that editors are especially cagy about expressing their true opinions.

I’ve received numerous rejection letters. Trust me. They no longer sting as much as they used to because I’ve also had approximately 100 stories (mostly erotic) accepted for print anthologies, as well as a novella and three single-author story collections. Some of the editors who reject Story A from me (despite my hope and faith that this particular editor will love this particular story) then accept Story B, which I sent in on a whim, not expecting much. As they say, there is no explaining taste. When an editor tells me “I really like this story, but it’s not what I’m looking for,” I usually have no reason to think this message isn’t sincere. I know that editors could usually say more about their choices than they usually do say (especially in rejection messages), but a brief explanation isn’t necessarily code for: “Your writing sucks, and I never want to see any more of it.”

I value the “but.” It’s a useful and meaningful word. Sometimes when I reread my own writing, I use the “but” on myself. (Still love the idea, but OMG, this passage is unnecessarily long and draggy. Or conversely, no wonder this piece was rejected. It has lots of potential, but it’s a fantasy novel in embryo that I tried to squeeze into just under 5K. In its present form, it probably wouldn’t make sense to anyone but me.)

I can’t speak for anyone else, but when I use “but” (a co-ordinating conjunction that balances two grammatical units of equal weight), I hope the reader will understand that I’m really trying not to be obscure, snarky or completely negative. No one’s art – and no one’s life –could honestly be summed up as all good or all bad.
* * * * * * * * * * * * *

The Most Relaxing Music In The World

For the last two
months of 2013, I was seriously depressed. I have bipolar disorder, which I’ve
talked about on this blog before, and my doctor tried a new medication on me.
It didn’t work. I sank into a pit of despair I hadn’t been in in many years. In
fact, I had forgotten how horrible I used to feel. When it was unbearable but I
had enough composure to ask for help, I called my doctor. I’m now back on my
old medication, just a slightly higher dosage. I’m fine now. I don’t ever want
to go through that again. That nightmare has long been over.

One thing I did
while in the pits was self-medicate through music. I listened to a nature
sounds radio station, an alternative therapy station that played New Age and
ambient music you’d hear in reiki healing, massage sessions, and holistic
health spas. I also listened to trance music in the afternoons as a way to pick
myself up. This music was very soothing. I even played it in the bedroom so I
could listen to it while I slept, and it helped me to sleep well. As an
afterthought, I’ve considered buying some French and Italian language CDs to
play while I sleep so I may learn Italian and brush up on my French.  I used to do that in college with cassette
tapes and it works.

So imagine how
intrigued I was to learn that a study
determined which songs are the most relaxing tunes ever composed
. Granted,
this study was conducted by a bubble bath and shower gel firm and the sample
size was tiny (40 women), but it’s still fascinating. The song deemed the most
relaxing tune ever made was “Weightless” by Marconi Union. The study
determined this song is so relaxing you shouldn’t listen to it while driving
because it could make you drowsy! Here is “Weightless”:

All ten songs in
order of relaxation are:

1. Marconi Union –
Weightless

2. Airstream –
Electra

3. DJ Shah –
Mellomaniac (Chill Out Mix)

4. Enya –
Watermark

5. Coldplay –
Strawberry Swing

6. Barcelona – Please
Don’t Go

7. All Saints –
Pure Shores

8. Adele – Someone
Like You

9. Mozart –
Canzonetta Sull’aria

10. Cafe Del Mar –
We Can Fly

[Go to the link
above to listen to all ten songs.]

I listened to
“Weightless” and I didn’t find it to be all that relaxing. I
certainly didn’t get drowsy. The ones that seemed to work with my natural
rhythm were Enya’s “Watermark”, Airstream’s “Electra”, and
Adele’s “Someone Like You”. I’ve always enjoyed Enya, anyway, so
“Watermark” came as no surprise.

This got me to thinking
about listening to music when reading, editing, doing research, or writing. I
like to listen to music when working and reading. Not everyone does. I know
plenty of writers who must work in dead silence, otherwise they can’t
concentrate. They find music to be much too distracting. Other writers don’t
mind lots of noise including wailing kids underfood, the TV blaring, the radio
playing, game sound effects when the kids (or the husband) are playing World Of
Warcraft. Some require all that chaos. Then there are the writers who prefer
white noise playing softly in the background without anything else going on
around them.

I like to listen
to nature sounds and New Age/ambient music in the morning when I write, and
trance music in the afternoon when I edit, do research, or work on particular
types of scenes. Sometimes I listen to classical or Baroque music. For me, the
type of scene or book I’m working on determine the music I listen to. When I
was in that black pit of despair last year I couldn’t write at all, but music I
found relaxing helped me maintain my sanity. I often listen to the same music
in the morning to get in a very relaxed mood so I may properly write romantic
and sexy scenes. I can’t be agitated and write erotic romance. I save the
agitation for horror and dark fiction. 🙂

Here are some examples of music or ambient sounds I listen to that either inspire my erotic writing or put me in a safe and comfortable place where I may write at all.
First up, thunderstorms. I can listen to this all day and night and my heart rate will never go about 65. LOL

The same applies to the sound of ocean waves crashing. Plus these two videos run for ten hours! I live near the ocean so I don’t have to listen to waves crashing on my computer. I can jump in my car, take a ten minute drive to the beach, and listen to the real thing. It’s very soothing and inspiring. The only thing missing in this video is seagulls calling.

To me, Biosphere’s “Substrata” is the most relaxing and beautiful ambient music ever recorded. “Substrata” consistently makes the top of “best of” ambient music lists. It’s worth a listen.

This is my favorite song from “Substrata”. Eerie. The voiceover is from “Twin Peaks”.

I recently discovered “Duet” when I watched the movie “Stoker”. Philip Glass’s minimalism can be inspiring if his music is the sort of thing you get into.

Another song I discovered from a movie. The entire soundtrack to “Half Light” is beautiful, the love theme in particular. Plus the movie is quite good.

When I write erotic scenes, I often play “Principles of Lust” in the background. It suits the mood.

I found the study about the most relaxing music to be very interesting if flawed. Some writers love sound whilst others can’t bear it because it ruins their concentration. Do you listen to music when you write? How about when you read, edit, or research? If you do listen, what are your favorite songs and types of music or ambient sounds?

Goals for 2014

by Lucy Felthouse

Wow, my last post of 2013. How did that happen?! This year seems to have flown by, but I guess it’s because I’ve been so busy. And I’ll definitely never complain about that – business is good, I’m writing and publishing lots of books, nothing to complain about!

So now I look forward to 2014. I already have releases lined up, which is awesome, and there are other books out for submission which I have my fingers crossed for.

So what are my goals?

  • To finish and submit The Persecution of the Wolves to a publisher
  • To submit to four specific annual anthologies which I haven’t yet been published in – and no, I’m not going to name them, I don’t want to jinx it!
  • To finish two co-author projects
  • To write at least one solo novel

Hmm, it looks pretty doable when it’s listed in four bullet points, but I guess I’ll just have to wait and see. Some of that depends on other people as well as myself, so I just have to hope the stars align to get all that done. And, of course, these are just my larger goals – I’ll also be writing for anthologies, editing at least three anthologies, and I already have a couple of novellas I’ve promised to write… looks like it’s going to be a busy 2014 – woohoo!

Happy Christmas, everyone, and best wishes for 2014.

Lucy xx

*****

Lucy Felthouse is a very busy woman! She writes erotica and
erotic romance in a variety of subgenres and pairings, and has over eighty
publications to her name, with many more in the pipeline. These include several
editions of Best Bondage Erotica, Best Women’s Erotica 2013 and Best Erotic
Romance 2014. Another string to her bow is editing, and she has edited and
co-edited a number of anthologies, and also edits for a small publishing house.
She owns Erotica For All, and is book
editor for Cliterati. Find out more at http://www.lucyfelthouse.co.uk. Join
her on Facebook and Twitter, and subscribe to her
newsletter at: http://eepurl.com/gMQb9

The Beautiful Experiment

By K D Grace

I was bored. My flight had been delayed.
I’d already been traveling forever, and I’d reached that point at which I was
too tired to read, too tired to concentrate on writing, too tired to sit still
without being twitchy. I didn’t want to drink, I didn’t want to eat. I just
wanted to be done travelling. That’s when I began The Beautiful Experiment. I
was seated off one of the main concourses, which was a constant hive of
activity, of people coming and going, popping in and out of shops and scurrying
to make tight connections. It was the ideal place to people watch. But with a
twist. I decided to watch the masses to see just how many truly beautiful people
I could spot.

Okay, I know everyone has a slightly
different ideal when it comes to beauty, but we all know it when we see it. We
all know that look that turns heads, that look that makes us want to stare, to
take in all that loveliness just a little longer. I didn’t care if the real
lookers were men or women. I mean if we’re honest, we look at both, whether we
admire it, want it or envy it. So I sat and I watched. … and I watched … and I
watched. Since that time I’ve carried out my little experiment in pubs, in
museums, on the tube, in busy parks, and the results are always the same. There
just aren’t that many real stunners out there!

I was struck by that fact in the airport
that day, so I decided to add another dimension to my experiment. I decided to
look for people who were interesting. It didn’t necessarily have to be their
looks that were interesting, it could just as easily be their behaviour, their
dress, something, anything that made them worth a surreptitious stare. And wow!
Being delayed in an airport suddenly became a fascinating grist mill for story
ideas and intriguing speculation.

I’ve carried out this experiment lots of
time now, and the results are always the same. There are very few stunners out
there, and even when I spot one, even when I find myself sneaking glances at a
beautiful person, my eyes, and my attention, can always be drawn away by the
interesting people.

In erotica and, in particular erotic
romance, the characters are usually voluptuous, sculpted beauties and broad shouldered,
wash-boarded hunks. It’s fantasy after all. But how long can a story focus the
reader’s attention on washboard abs or perfect tits? Descriptions give us a handle.
Descriptions are like the label on a file. They might attract us to the file,
but if the file is empty, it won’t hold our attention. It’s what makes the
described beautiful person interesting that makes the story.

In our genre, sex is a large part of
what makes our beautiful people intriguing; how they think about sex, their
kinks, their quirks, their neuroses, their baggage – all of those things make
the fact that our beautiful people are interesting way more important than the
fact that they’re beautiful.  Add to that
some seriously delicious consequences for that sex, some chaos and mayhem, a
few character flaws that catch us off our guard, that draw us in and voila! A
gripping story is born!

Perfection in a story, in characters, is
the equivalent of a literary air brushing. No flaws = no story; no rough spots
= nothing to hold our attention. Our characters’ beauty is only their handle.
Their flaws and their intriguing quirks are what catapult us into the plot,
what make us want to stay on for more than just a look-see and to dig a little
deeper, to really know those characters and become emotionally involved with
them.

Last night on the tube in London, I
tried my little experiment again, just to make sure. More data is always a good
idea, and good science has to be repeatable, doesn’t it? Taking into account my
own preferences and prejudices, the results were the same. I can remember a
half a dozen really interesting people, people I could very easily write a
story about. There wasn’t a single stunner among them, which leads me to the
conclusion that we’re more interesting in our flaws than in our perfections.
We’re more interesting in our experiences and the way they manifest than in the
static beauty of the moment. It also excites me to think that I’m surrounded by
interesting people all the time. A story is never farther away than the next
intriguing person. Is this an ordinary-looking person’s version of sour grapes?
I don’t think so; I hope not. Truth is there’s an astonishing transformation
that takes place in the company of truly interesting people. Before long, right
before my eyes, those truly intriguing people become the beautiful people.
There’s always a story in that.

The Original Mind May Be A Troubled One

Elizabeth Black lives on the Massachusetts coast with her husband, son, and four cats. You may find her on Facebook and on her web site.

It came as no
surprise to me that writing is one of the top 10 professions in which people are
mostly likely to suffer from depression. According to a new Swedish study, “writers
have a higher risk than the general population of anxiety and bipolar
disorders, schizophrenia, unipolar depression, and substance abuse. They were
also about twice as likely to commit suicide.”

A second recent study
from Austria found a tie between creativity and mental disorders. According to
this study, “creative professionals are a bit more likely than others to
suffer from bipolar disorder. The healthy relatives of schizophrenics tend to
enter creative fields. A genetic variant of some psychoses may be related to
creative achievement. Some dimensions of schizotypy–personality traits that
may make a person more vulnerable to schizophrenia–predict a person’s
creativity.”

I’ve suffered from
bi-polar disorder since I was a child, but I wasn’t diagnosed until my mid-20s.
I’m currently on medication that keeps the mood swings in check but I know the
moment I go off them I’ll dive into the pit of Hell and soar to uncomfortable heights
again, and neither is a pleasant experience. During these highs and lows, I
wrote and continue to write. I’ve also painted, drawn, and composed music, but
mostly, I put fingers to keyboard.

The tie between art
and mental illness is not something to be taken lightly. It’s not merely a
matter of having “the blues” and needing to pick yourself up by the
bootstraps and get on with your life. Depression and other forms of mental
illness can very devastating —and deadly.

Creativity and
madness go hand-in-hand. Hemingway committed suicide with a bullet to the head.
He’s not the first writer to suffer from mental illness. Virginia Woolf drowned
herself. Sylvia Plath stuck her head in her oven, but only after giving the
kids milk and cookies as a snack. Her colleague and friend Anne Sexton also
committed suicide. Zelda Fitzgerald was diagnosed with schizophrenia, and she
spent the last years of her life in an asylum. F. Scott Fitzgerald suffered
from depression and alcoholism. Hunter S. Thompson shot himself. Susanna Kaysen
stayed in a mental hospital and later wrote “Girl, Interrupted”.
Hermanne Hesse, who may have been bi-polar, attempted suicide and spent time in
several mental institutions. Another possible manic-depressive and definite
violent alcoholic, Malcolm Lowry, spent time in a mental institution and died a
“death of misadventure” combining booze and an overdose of sleeping
pills. Whether his death was suicide, accident, or murder remains unanswered.
Spalding Grey long suffered from depression and he committed suicide after
leaping from the Staten Island ferry. Mental illness isn’t confined to writers.
Actors Patty Duke, Vivien Leigh, Catherine Zeta Jones, and Jeremy Brett were
diagnosed with bi-polar disorder. One of my favorite British actors committed
suicide. George Sanders checked into a small in a hotel in Barcelona, wrote a
short suicide note and took an overdose of barbiturates. He wrote, “Dear
World, I am leaving you because I am bored. I feel I have lived long enough. I
am leaving you with your worries in this sweet cesspool. Good luck.”

There
seems to be a history of suicide in the Hemingway family. Another notable
Hemingway to kill herself was his granddaughter, Margaux. Despite the common
belief that Hemingway committed suicide, his wife insists he accidentally set
of his gun while cleaning it.

I’ve already
mentioned Sylvia Plath’s suicide. Some believed based on her note that she
didn’t intend to kill herself and that her actions were a cry for help. She
wrote the brief note, “Please call Dr. Horder.”

Hunter
S. Thompson left a suicide note before putting a gun to his head. Thompson left
the “Football Season Is Over” note for his wife, Anita. He shot
himself four days later at home. He wrote: “No More Games. No More Bombs.
No More Walking. No More Fun. No More Swimming. 67. That is 17 years past 50.
17 more than I needed or wanted. Boring. I am always bitchy. No Fun for
anybody. 67. You are getting Greedy. Act your old age. Relax This won’t
hurt.””

O.
Henry was plagued by alcoholism and cirrhosis of the liver. His final words
were: “Turn up the lights, I don’t want to go home in the dark.”

Sergei
Esinen wrote his suicide note in his own blood, and he gave it to a friend the
day before he hanged himself. He wrote:

“Goodbye,
my friend, goodbye

My
love, you are in my heart.

It
was preordained we should part

And
be reunited by and by.

Goodbye:
no handshake to endure.

Let’s
have no sadness — furrowed brow.

There’s
nothing new in dying now

Though
living is no newer.”

Virginia Woolf had
had a mental breakdown years earlier, which she feared was about to recur. She
committed suicide by stuffing her coat pockets with rocks so she wouldn’t
float, and then she drowned herself. She left the suicide note on the
mantelpiece of her home, for her husband. “Dearest, I feel certain that
I’m going mad again. I feel we can’t go through another of those terrible
times. And I shan’t recover this time. I begin to hear voices, and I can’t
concentrate. So I am doing what seems to be the best thing to do. You have
given me the greatest possible happiness. You have been in every way all that
anyone could be. I don’t think two people could have been happier until this
terrible disease came. I can’t fight it any longer. I know that I am spoiling
your life, that without me you could work. And you will I know. You see I can’t
even write this properly. I can’t read. What I want to say is I owe all the
happiness in my life to you. You have been entirely patient with me and
incredibly good. I want to say that everybody knows it. If anybody could have
saved me it would have been you. Everything has gone from me but the certainty
of your goodness. I can’t go on spoiling you life any longer. I don’t think two
people could have been happier than we have been. V.”

With talent often
comes pain and sorrow. Creative people may be tapped into humanity’s foibles a
bit more than the average person, hence the acute sensitivity to what goes on
around them. I often wonder if I’m attracted to the Dark Side because I’m a
writer, or am I a writer because I’m attracted to the Dark Side? Writing is a
wonderful way for me to relieve stress and solve problems. When I create a
character going through similar ordeals as myself, I can detach and come up
with a good solution. I wonder how many other writers have done something
similar? I know writing is one way to gaze into our darker selves, although
it’s not necessarily a safe thing to do. As Nietzsche said, battle not with
monsters lest ye become a monster and if you gaze into the abyss, the abyss
gazes also into you. I prefer to dive right in rather than play it safe and
hang around the comfortable edges. And I know many other writers do the same
thing. It makes them human.

I Learned Something New…

by Lucy Felthouse

I learned something new this month. I can do a lot more than I thought possible. And without sacrificing sleep, food and fun, too. If you saw last month’s post, you’ll probably already know that what I’m talking about is related to NaNoWriMo. I thought I was insane to sign up for it, and that I had only a slim chance of achieving it, but it turns out it’s not the case. I’m currently a few days over the halfway mark, and I’m still on track. I’m managing my 2.5k words a day, weekdays only, and I’m also running my business, walking the dog, doing boring household chores and sleeping the same amount. Last week, I even managed to write and submit a short story, THEN did my NaNo words.

I’m not sure how I’m doing it. I’m not mainlining coffee, as I don’t drink it. I’m not even mainlining energy drinks. I’m just doing it… somehow. I suspect it’s down to the pressure. Whereas some people crack under pressure, I get more focussed, driven, determined to succeed. I hate letting others down, and, turns out, dislike letting myself down. And so, even at this stage, I’m pretty damn sure I’m going to “win” NaNoWriMo. I’m even considering doing it every month. Imagine the novels I could churn out at that rate of writing… 🙂

What can you take from this? Firstly, remember that no two people are the same, and the things that work for one person won’t necessarily work for another. But it’s definitely worth giving pressure a try – give yourself a deadline, or scare yourself by pitching something to a publisher that you haven’t written yet. It’s truly amazing what you can do when you really set your mind to it. I can write 2.5k a day, EVERY weekday, dammit. Something I never thought was possible. 

At this rate, I’ll have subbed the book by mid-January. Watch this space…

*****

Lucy Felthouse is a very busy woman! She writes erotica and
erotic romance in a variety of subgenres and pairings, and has over eighty
publications to her name, with many more in the pipeline. These include several
editions of Best Bondage Erotica, Best Women’s Erotica 2013 and Best Erotic
Romance 2014. Another string to her bow is editing, and she has edited and
co-edited a number of anthologies, and also edits for a small publishing house.
She owns Erotica For All, and is book
editor for Cliterati. Find out more at http://www.lucyfelthouse.co.uk. Join
her on Facebook and Twitter, and subscribe to her
newsletter at: http://eepurl.com/gMQb9

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