Henry Miller is right. The only way to have consistency is to have joy. Writing is a thankless task if the validity of doing it is dependent on external approval. That's fine if you're JK, King, Mantel, Boyd or Rushdie. The rest of us bottom feeders have to like the taste of crumbs and get a big kick out of small things like the possibility of a feral word.
If I read the words 'team player' one more time, I'm going to scream. We're hiring at work. And everyone who applies is dedicated and conscientious, and strategic, and tactical, and organised... and dull. Nigh on every CV sounds exactly the same (no-one tell us they're a lazy misanthrope who can't multitask, strangely - though I'd be tempted to interview them).
Through my writing and social media, I try and encourage girls to pursue the things they're interested in, whether it's a hobby they would like to make into a career - like writing - or whether it's an academic subject they want to study further, even if it's a STEM subject that's typically a male-dominated area. Girls need good role models and I am determined to be one of them.
This critical voice is paramount because if it's encouraging, the words come; they made not be good words but they're allowed fill the page. If the voice is too critical, the words never become ink. That's what's going on with me lately. I look at the words I produced for my dissertation and the words I'm now putting on the page and I feel like I've regressed...
So how will I do this? How will I achieve 50,000 words by late evening on Saturday 30 November? The short answer is, I do not know. I could plan everything to the literal letter, but that would feel too much like a military operation to me. My plan is to write, simply write. I intend to let my imagination run wild and hope to write something every single day of November.
When I came up with the idea for the BAFTA/BFI Screenwriters' Lecture Series, it was partly an attempt to explain the screenwriter's art and partly an attempt to explore the screenwriter's complex relationship to a completed movie. When their work is done, screenwriters tend to vanish, literally and figuratively.
Every year, fringe performers pay large fees to fringe venues in order to perform in them and pay large portions of their ticket sales to promoters and to agents. Most of this is in an attempt to craft a following, either for the television agents who comb the fringe for new padding for the BBC3 television schedule, or to generate enough popularity among a comedy-going audience...