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About the author and blogger ...

Anne Goodwin’s drive to understand what makes people tick led to a career in clinical psychology. That same curiosity now powers her fiction.
A prize-winning short-story writer, she has published three novels and a short story collection with small independent press, Inspired Quill. Her debut novel, Sugar and Snails, was shortlisted for the 2016 Polari First Book Prize.
Away from her desk, Anne guides book-loving walkers through the Derbyshire landscape that inspired Charlotte Brontë’s Jane Eyre.
Subscribers to her newsletter can download a free e-book of award-winning short stories.

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For Whose Benefit? A Sideways Look at the Creative Writing Industry

3/1/2016

19 Comments

 
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Over half a century ago, the social scientist and psychoanalyst, Isabel Menzies Lyth was commissioned to carry out an investigation into why so many promising nursing students were dropping out of training. What she discovered makes edifying reading for anyone using, or employed within, the human services or, indeed, any organisation at all. Despite the best intentions of all the staff, the social systems that had evolved within the hospital were like a spanner in the works, functioning against the primary task of healing the sick. Many highly motivated students, despairing at the impossibility of delivering compassionate care, simply left. Yet this human wastage was built into a system that relied on a high volume of low-paid students to deliver patient care, without having sufficient posts for them to move on to on qualification. Although the work is radically different, I’ve wondered for some time whether there’s a similar redundancy built into the creative writing industry, encouraging the dreams of far more budding writers than there are slots in the publishers’ lists.

Of course, there’s nothing wrong with teaching people to write better for the fun of it. There’s nothing wrong with providing the support and structures to enable people to work out whether they’ve got what it takes. What bothers me is the mythology, perpetuated by wannabe writers as much as the industry, that handing over large sums of money will have a significant impact on reaching a goal that depends, to a degree, on luck.

No way am I suggesting that those in the industry are frauds. Like the nurses in Isabel Menzies’s study who spoke about “the appendix in bed number three” and such like, they’re genuinely trying to help. And of course, many certainly do. Yet helping,
as therapists recognise, is fraught with danger. Beyond the basics of first aid administered in an emergency, we can’t always know whether our well-meaning intervention will be helpful to another person. I’m sure that’s why this quote from a psychotherapist to a patient, I believe attributable to Patrick Casement, has stayed in my mind, despite its counterintuitive message: “Don’t worry, I wasn’t trying to help you!”

I’m not convinced that many in the creative writing industry understand the complexity of the helping relationship. This lack of insight might lead them to underestimate the hurtfulness of, potentially accurate but critical, feedback rendering it virtually useless. They might advise prematurely, without getting to grips with what the writer herself wants to achieve. They might be so fixed in their ideas about what constitutes good writing, they kill the soul of a piece before it’s begun to breathe.

Although I haven’t worked with her directly, from what I read
on her wonderful blog, Emma Darwin is a creative writing teacher who does appreciate the complexity of her role. She provides pointers rather than answers, always addresses a topic from different angles and acknowledges the limits of what teachers can provide. Of the pros and cons of writing courses, she’s said:

Good teachers do their best to bring out your own best writing, but we all have our limits, and too many are too rule-bound, and have too fixed an idea of what the best writing is like. Other teachers don't have a fixed enough idea, in the sense that they can't offer you enough technical understanding to help shape your material and develop your craft.
 
while in another post, she lists
eleven things a creative writing course can teach. But where she really nails it, in my opinion, is in this post on the need for humility in giving feedback, because there’s no knowing how useful one’s perspective might be if we don’t know how the other’s mind works.

And that, I think, is the nub of it. Not everyone’s mind works like our own. Some teachers will intuitively recognise and respect that
difference, and will hold back from giving advice, while others will adopt the attitude that what works for them must work for everyone else and blunder in. On top of that, in a competitive marketplace, the teacher who puts forward their ideas tentatively, who asks more questions than they answer, might not look so competent on the surface to the student who wants a clear path to success.

We might ask just who is the creative writing industry designed to help? My thoughts on this are informed by the work of another psychoanalyst and organisational consultant,
RD Hinshelwood, and particularly his perspective on the symbiotic relationship between psychiatric patients and staff. We need the mad to confirm our own sanity and thus have a vested interest in their failure to recover, just as the diet industry would collapse if people actually lost weight through their use.

Since few writers can earn
a living wage directly through their writing, teaching, mentoring and critiquing provide a far more reliable income. Even those not constitutionally suited to the teaching role will find the prospect eminently attractive when it comes to paying the bills. While many will find deep satisfaction in helping novice writers reach their potential, there must also be an anxiety, however deeply buried in their unconscious, that these novices will overtake them, stealing their readers and publication advance. I know, I know, we all chant about how there’s room for everyone but, in fact, publishers’ lists are limited, as is the reader’s time.

I offer these thoughts not to condemn the whole industry (as stated above, Emma Darwin is marvellous, and
Roz Morris has some good advice on choosing a critique service too) but to prompt debate among users of these unregulated services. If you’ve followed the links, you’ll see that some of my references are few years old; that’s because I made the notes for this post at a time when I was struggling with the fact that the professional feedback I’d paid for while grappling with successive drafts of my debut novel, Sugar and Snails, seemed to be taking me one step forward and two steps back. (I concede that that might be down to the complexity of the task I’d set myself, but it was frustrating not to be “got”.) It’s getting an airing today because Charli Mills has asked for 99-word stories on the subject of industry.

I’m always pleased when novelists manage to bring their characters to life, not just at home, but
at work. And I’m in awe of the research Charli has done into the old industries around where she lives. I’m not so hot on the historical side, and rubbish at retaining facts, but I’m fascinated that the desolated areas where I walk regularly once accommodated a thriving millstone manufacturing industry. Here’s my tawdry tribute to that:

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Skills passed from father to son, father to son, it was good work. Steady, if not lucrative; we might not thrive but neither would we starve. So long as there were millers there’d be millstones; so long as there were bakers there’d be men chiselling stones from the cliff. Ladies might grouse that their bread was grey and gritty, but so what? Gritstone was gold to us.
 
Three complete and one nearing; there’d be shoes for the littl’un when the gaffer came to collect. Suddenly a crack; how had I missed the faultline? No choice but to start afresh.
 

Thanks for reading. I'd love to know what you think. If you've enjoyed this post, you might like to sign up via the sidebar for regular email updates and/or my quarterly Newsletter.
19 Comments
Lisa Reiter link
4/1/2016 09:54:05 am

Great post Anne. I notice a few of us beginning quietly to question the various sorts of writing 'wisdom' available - not that I've done it publicly on my blog. I'm reaching the point where I realise there's a society acceptance of the message that "Because I have succeeded at what you want, I can therefore advise you how to do the same." In the beginning, I felt that about surviving cancer only to learn over time that it is too individual a thing to imagine my perspective is in any way superior to another's. So it becomes more of a "You might be able and/or want to learn something from me, but neither of us knows exactly what that is yet." Those that think they can tell you what to do, all so often are still only looking at it from their own perspective and have over simplified the complexity of learning. I think (though I don't wish to sound political, sociological etc) that this approach originates in the business/capitalist model of making money, selling services etc - knowledge or service gets oversimplified so it can be badged and sold as a product. A lot of the nuances we might have gained are therefore lost in the process. I'm struggling with my memoir and cannot find the help I need so I'm slowly picking the problem apart having lost ground following other's 'wisdom'!

Reply
Annecdotist
4/1/2016 01:59:15 pm

Thanks for your support, Lisa, and good to know it struck a chord. I was a bit nervous about posting this for fear of offending blog readers who might earn their living through providing writing advice, or even those who have contributed (even if it was two steps backwards for the one forwards) to my getting my novel out there. But, from my studies of organisational psychology, I’m pretty convinced that almost all organisations/services have this anti-task element, which doesn’t necessarily mean that people aren’t genuinely well-intentioned.
I’m interested that you have found parallels with your cancer survival – in a way, it’s human nature that if we’ve found a solution to what seemed impossible we’d want to shout it from the hilltops, and it can be disorientating to find it doesn’t work for others. But, yeah, that tentative sharing, with no set agenda as to how it will be received and used is very reminiscent of Emma Darwin’s style of writing advice on her blog. But, so sorry that you’ve come to a dead end with the advice you were following for your memoir.
And yeah, do feel free to be political here – as long as it’s the right (left) side of politics ;). It’s certainly the capitalist agenda to put a price on everything, but even in an ordinary sense people need to earn a living and, as long as there are writers looking for advice, that’s going to be a reasonable way to do so.
Finally, delighted to see you in the blogosphere again after quite a gap and wishing you all the best for the New Year.

Reply
Sarah link
4/1/2016 04:15:53 pm

Great post. A little close to home for me, right now...but true.

Reply
Annecdotist
4/1/2016 05:04:08 pm

Thanks, Sarah, hope you can manage to nudge it a bit further away!

Reply
Poppy Peacock link
4/1/2016 04:55:17 pm

What a great post Anne... I've bookmarked it to come back to when I can have a good peruse though the links! Love the analogy with Student Nurses...

Reply
Annecdotist
4/1/2016 05:05:20 pm

Thanks, Poppy, it's a fascinating area, and once you start looking you find it applies almost everywhere!

Reply
Charli Mills
6/1/2016 05:21:19 am

A lot to consider in our chosen industry. I've often pondered that there are essentially two paths of writing -- professional and personal. Goals usually reflect either path. I've mentioned the local publisher I talk with and she also teaches a low-residency MFA. She's seen a shift in students who want to further a career in creative writing to students who have a book in them, a life's work kind. I think creative writing belongs to everyone who feels the pull to write. But I also think the marketplace is flooded with a profusion of books written by many simply wanting to fulfill a personal desire. I don't mind if only I could sort them out from the professional writers who also focus on craft and building an audience who wants to read their books and who desire to make a living. I diversify as a writer because I know it's the best strategy for making a living. My income is 100% from my writing, though not creative (yet). I don't know how I feel about all the teachers and coaches and gurus because all their courses, how-to books, webinars and paid subscriptions make money off of those who will likely never actualize making a living by words. And so many are desperate to write that they "sell" books for free or write content for businesses for pennies. I gave up freelancing years ago because publications began to fold and others slashed what they paid writers. That's why I'm so thrilled with Go Idaho -- they believe they can sell subscriptions to a quality magazine based on quality writing they are willing to purchase. I hope they succeed. It means my success while it takes me years to craft and polish fiction that will take more years to ever generate an inkling of an income. Whew. Lots to think about! And your flash reminds me of writing a novel -- we can spend years, anticipating the potential income, carving, hoping for shoes and we miss the flaw that will require us to start all over unpaid.

Reply
Lisa Reiter link
6/1/2016 05:41:12 pm

"Like"
(wish I had time / back stamina for more! Wishing too that the Annecdotist would add a "like" button. Hint xx)

Reply
Annecdotist
8/1/2016 01:43:42 pm

Sorry, Lisa, it has been mentioned before and the answer is: I would if I could but currently Weebly doesn't have the facility. It is a shame, as I know lots of people would like to register the fact that they've read a post but don't have the time to leave a comment.

Annecdotist
8/1/2016 01:53:10 pm

Very interesting, Charli. As someone who isn't obliged to make a living from her writing, but nevertheless considers herself a "professional" in inclination, I have another perspective on the personal/professional divide via a (fortunately small) number of friends who perceive my enterprise as a hobby, rather than the main thing I do. I also wonder if we can move in and out of those two categories, or rather between them, in response to skills development and/or marketing success/apathy. But I agree, your magazine is really exciting, I think lots of people do appreciate ads free quality writing. In fact, even websites and blogs that include a lot of advertising put me off the writing.
And thanks for that feedback on the flash, I didn't see the parallel with writing a novel, but it's quite true. In fact, that might be where the distinction between the personal and professional lives: the personally motivated might, based on the effort and love they have put into it, go ahead and publish despite the flaws, where is the professional will have a stiff drink and/sulk or whatever it takes and begin again.

Reply
Charli Mills
11/1/2016 12:35:50 am

Ann, I think that works out to aptly describe the personal/professional approach (the wheel is good enough vs. the wheel needs to be revised). And you're right, not all professionals seek a "living" but often for credibility (such as adding a book their career work) and for craft.

Terry Tyler
7/1/2016 09:11:17 am

A very interesting post, Anne.

I've noticed, over the past few years, a fair few writers who've previously described themselves as 'bestselling', are now leaning towards the much more lucrative marketing/advice arena... perhaps they gave up the day job a few years ago when their success first hit, and have now found, as the market gets more and more crowded, that they simply aren't selling as many books as they used to. Problem is, they're sharing wisdom that might be outdated - what turned their books into bestsellers 3 or 4 years ago might not work now. Do these people truly understand the market well enough to advise?

I read and review a lot of self-pub and indie press pub books. Sometimes, I find out a bit about the author, because I will probably review differently for a debut novel than I would for a 6th or 7th. A while back, I reviewed a book that I knew had been submitted for a 'professional' critique before publishing. I was expecting something really good but was disappointed. This 'professional' should have suggested that the author needed to do more ('any' might have been nice) research on the subject she was writing about, and re-think her dialogue, which was information-heavy, with every single character talking in the same way. I wonder if a positive critique was given because this 'professional' wanted the author to return and pay her another few hundred pounds for the next novel. I suspect there is much of this sort of thing going on - with advice being, as Lisa said, sold as a product.

I've written many times on my own blog and on comments on those of others', about my opinion of creative writing courses - suffice to say that to write a really good novel you need talent, and talent is something you can't buy or learn, though, yes, you can learn how to structure, so they're not without their uses. Carol Hedges wrote a very good piece about such courses on her blog.

Reply
Annecdotist
8/1/2016 02:02:19 pm

Interesting, Terry, and sad when people have to turn away from the things they love to make a living. But, you're right, the climate changes so quickly, and the advice of last year's bestseller is already out of date.
I'm not totally against creating writing courses myself, and have certainly benefited from a couple I've attended, particularly early on, in having my effects taken seriously by someone in the business, particularly when I've admired their own writing. But it does seem, regarding the MA at least, that this is only a starter level in the business rather than the final stage before publication for many. But perhaps that's not so unusual for university degrees in general, nowadays, as higher and higher levels of qualification required for the most mundane kind of job.
I agree with you slightly, but not wholeheartedly about talent, as I think talent might not necessarily be evident in the early stages, so perhaps one of the most useful functions of creative writing courses could be discovering whether one has the talent or not, although it's such an inexact science, how could anyone tell?
Better stop rambling, before this drifts into another post!

Reply
Norah Colvin link
9/1/2016 04:54:45 am

Great post, Anne. I very much enjoyed reading it and the comments, though struggled to not feel damned by many of them. Hopefully that's just my insecurities and I have worked to repair the flaws rather than just go ahead. It's always a difficult decision to make: when is good enough good enough and when would better really be better?
I found your discussion around teaching and writing challenging, in a good way. It encouraged me to consider and assess my own thinking and processes. There are many little points you raised that tend to niggle away.
I really enjoyed your flash and the link to the article about the millstones. You know I hardly gave the idea of a millstone a thought beyond the saying "a millstone around my neck". How poor was my questioning. I realise how much I take for granted and how few questions I ask. I need to be more curious! I hope I don't find too many new cracks that send me back to the start!

Reply
Annecdotist
9/1/2016 04:25:56 pm

Damned? I’m not sure why you’d think that?
I suppose an important thing about the Isabel Menzies research was that it wasn’t pointing the finger at individuals, more saying that this is what people are like in general, and it’s hard not to be affected by the anxieties inherent in the work, of whatever type.
As a teacher? Although I haven’t experienced your teaching directly, from what you’ve written about it, I envisage you’d be very like Emma Darwin: ever encouraging, never dogmatic, and continually re-evaluating your approach. What’s not to like?
I’ve found it interesting learning about millstones – I’ve assisted with a guided walk, although I’m afraid I haven’t taken in a lot of the information. I agree it’s good to be curious, as you certainly seem to be, but I don’t think we can question everything – it would be like being a baby with everything novel and strange. I’m not sure we get very far with that!
Thanks as ever for your comment.

Reply
Mrs Sherri Matthews link
9/1/2016 05:41:31 pm

Hi Anne, I had this post bookmarked and glad to get the chance to read it and the comments at last. I have wondered for some time about the benefits (or not) of paid writing courses/critiques. When I started one four years ago (creative writing), I did it because I wanted to know if I could write and to learn how to approach editors of magazines in the hopes of selling articles, if I stood any chance at all of 'breaking in'. I was fully expecting to learn 'how to write', but I didn't receive any such feedback, only markings as with homework with typos etc. I'm not sure if that's a good thing or bad, ha Ultimately, like you, I do wonder if most of our publishing success, if not all, truly does come down to luck and being in the right place at the right time. So much of what I read lately about the publishing industry threatens to crush me, but like so many, I'm compelled to give it my best shot. I know I could be setting myself for disaster, but I'm willing to go for it. I couldn't live with myself if I didn't. But I know one thing, the minute I overthink my writing, I'm in trouble: I freeze, I lose all confidence,doubt and fear and panic overwhelms me and sits in my gut like a lead weight. This, I think, is the danger of too much 'help' from others. It can actually have the opposite effect. Just like my son who studied electric guitar at Brighton Institute of Modern Music: he was self taught and got in on audition, but was so keen and excited to expand his knowledge. Sadly, the course killed his creativity, as he tells it, and it took years for him to get back to doing what he loves best - writing music and playing. Now, at 27, he's love of what he started at 17, has at last returned. I'm rambling...all this to say Anne, this is an excellent post, very thought-provoking with valid and intelligent points about an industry that causes us all it seems a great deal of anxiety. And I loved your flash too :-)

Reply
Annecdotist
10/1/2016 12:03:27 pm

Thanks for sharing your experience, Sherri, and sorry it was so disappointing. I really don't think we need that line editing in the early stages – surely even a note to make surely you proofread more before submitting would have been more useful?
Something that really helped me in the early stages of my writing was a weekend course in which we all read from our WIPs and had one-to-one feedback with the tutors. I was working on two novels at the time, neither of which were worth continuing with as I later discovered, but having my attempts taken seriously and is perceived as "promising" was really validating and perfect for me at that point in time.
But I so identify with what you say about overthinking it being counter-productive. We need to find a way of balancing trust in ourselves and our own way of doing things, alongside being open to industry advice – but that's something I've personally found quite difficult to do. Perhaps getting there after about fourteen years of writing and the validation of having a novel published, but it can still be difficult.
Wishing you all the best, as ever, with your own writing journey.

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