This book is not perfect, certainly, and I would advise anyone short on time to leave out the final fifty pages entirely - nothing of any great value would be missed. But, regardless of these criticisms, any work of historical theory which is written as well as this one is certainly worth looking at and - maybe with caution, in this particular case - taking to heart.
It's almost impossible to be really happy with something you've done yourself. But does the script best represent your writing? Has it got passion? Are any boring, overwritten bits definitely gone? Have you had enough feedback and done enough re-writes to be confident that this is your best attempt?
I'm often asked to write, or give talks at conferences or on cider-soaked park benches, about women and work. Women who write, women in business, women going back to work after having a baby, women deciding not to go back to work after having a baby, juggling motherhood and work, the work-life imbalance and so on.
Why did we feel the need to set our words to music? Why not just write poetry? Music has existed for hundreds of years (with and without lyrics!), so it clearly appeals to the human race. Who among us doesn't listen to music in some way every single day? What is it about music that we enjoy so much? And how do I go about trying to explain this?
I first met Richard Beard on a Arvon writing course and shortly afterwards enrolled with NAW. I have written a number of travel books but never my own creative project. As my material is essentially memoir, I was in danger of becoming swamped by the psychology of my own story. I had the building blocks of the idea but the form seemed out of reach.