How Women Live with Fear and ‘Don’t Turn Around’ by Jessica Barry

 

Melissa Pimentel - Random House, author, writer, How Women live with fear and ‘Don’t Turn Around’ by ,Jessica BarryHow Women live with fear and ‘Don’t Turn Around’ by Jessica Barry – published by Harvill Secker at £12.99

I wanted to explore the female-specific relationship to fear in my new novel, Don’t Turn Around. The novel opens with Cait and Rebecca driving through the night on a deserted road. Their destination is unknown. Out of the darkness, a pair of headlights appear, intent on destruction. The two women – who, up until that night, were strangers to each other – are forced to dig into their pasts to understand who might want to kill them. 

The answer, as most women know, is not straightforward.

Is it someone from their past? Their present? Is it a complete stranger with a thirst for blood? 

Cait has experienced the full terror of online abuse first-hand. An article she wrote about a bad date was met with vitriol, and she became a figure of hate on ‘men’s rights’ chatrooms. She receives death threats from total strangers. Worse still, her home address was published on the internet without her consent, so anyone who wanted to make good on those threats can find her. Is it possible that an online troll has finally tracked her down in the flesh?

Rebecca is the wife of a prominent politician in conservative Texas. She’s spent years playing the happy campaign life, but now she finds herself in a desperate situation. Her husband has turned against her, and there’s no one she can trust to get her across the Texas state line. She has to rely on a stranger – Cait – to shepherd her to safety. But there’s no guarantee that her husband hasn’t had her followed.

What about the man at the diner who stared at them so openly? Or that strange man at the gas station? Danger lurks around every corner. The world bristles with possible menace. 

Every day, women live with fear. It’s a low-level constant, familiar as breath. We mitigate it, negotiate with it, rationalize it. We make thousands of tiny calculations and calibrations on its behalf. Is that man following me? Should I turn around and face him, or should I run? Will my shoes let me run fast enough, or should I take them off? If I scream, will it scare him? Or will it just make him angry? Is there anyone around who would hear me?

For women, the potential for danger is everywhere. Walking through an empty parking lot at night. Going for a run. Sitting alone at a bar, or in a park, and a stranger approaching you. A guy standing a little too close behind you in line at the grocery story. The car that followed you ten blocks, horn blaring, because the driver thought you cut him off.  The moment you post on social media expressing a political preference, or a divisive idea, or critique. The sickening drop a few minutes later, when the first commentator calls you a bitch.

The statistics speak for themselves. Over half of women in the US have experienced physical violence. A quarter have experienced physical or sexual assault at the hands of an intimate partner. One in five women are raped in their lifetime. One in six women are stalked. 

Things aren’t much rosier in the digital world. One study found that seventy-two percent of online harassment victims are women. Individuals using female-skewing usernames are sent threatening or explicit content twenty-five times more often than those with male-skewing or ambiguous usernames. Close to two-thirds of female journalists have been threatened, intimidated, harassed or been subject to sexist abuse online. 

Of course, men are also the victims of violence and harassment: I’m not pretending otherwise. But I think that that women view the world through a specific lens coloured by the constant potential for danger. 

Ask a man what precautions he takes before going out for a run in the morning and you’ll likely be met with a confused look. Ask a woman and she’ll tell you about pre-planned routes and high-traffic areas and the importance of keeping your headphones at a low volume so you can hear someone coming up behind you. These seemingly-minor decisions shape how we move through the world. 

To live as a woman in this world, the question isn’t so much ‘What if something happens’ but ‘When? Where? How? Who?’ And the answers are ‘Anytime. Anywhere. Anyway. Anyone.’ 

Anyone could be behind that pair of headlights. Anyone could be waiting for us around a darkened corner, waiting to strike.

So far, so dark: I know. But there’s a silver lining in all this, and that’s the way that this fear bonds women together and, in a way, it’s what makes us who we are. You know that old cliché, ‘feel the fear and do it anyway’? That’s a way of life for us. Those mental calculations make us sharper. Those keys clutched between fingers make us tougher. Those close calls and rough scrapes and stories of survival make us stronger.

In order to survive their night on the road and make it to safety, Cait and Rebecca will have to work together. They’ll have to draw deeply from their experiences and from their personal strengths, and above all, they’ll have to learn to trust each other. 

Lucky for them, they’ve had a lot of practice at the art of survival. 

My Writing Process David Gilman

  • David Gilman, writerWhat you have written, past and present.

I wrote my first story when I was about six years old. It was The Runaway Sixpence,  written in the first person, and the sixpence got swallowed by a cow. I remember the teacher berating me in front of the class, saying how could I write from beyond the grave. Stupid woman. Obviously, she had never seen Sunset Boulevard.  That put an end to my writing career there and then. But a storyteller is not someone you can keep down. My verbal storytelling skills got me out of plenty of jams and allowed me to talk my way into jobs I would never have had otherwise. I left school at 15 to support my mother and siblings. When I was a teenager, I wrote a few Battle Picture Library comic books. It was wonderful. All those ‘movies’ in my head, the visual images being described to the artist in the script, and then writing the dialogue, tight and expressive with a narrative description. Economy of scale and a lot of fun. That was abandoned when I travelled around the world and took any job I could to pay my way.

After a few adventures over the years, I ended up in South Africa working as a sales rep for an international publisher. I had hundreds of books to read – and sell – and I was good at it. So much so I ended up going to night school to study marketing and management and became a regional marketing manager for Penguin SA. But the urge to tell stories nagged away. Visual imagery was my strong suit. I had once worked as a professional photographer, so I decided that radio drama was my milieu. It is the perfect visual medium for the listener. Dialogue and sound effects creating every listener’s unique picture in their mind.

In those days there were no writing schools, no one extended a helping hand, and you could not get your hands on a script to see the layout and how to present it for love or money. It was a lockdown business. The broadcaster owned the scripts, and they had no intention of letting you see one.  I stumbled on an old BBC publication, long out of date but gave a couple of pages from an example radio script. I copied the format, was forgiven a lot of sins by a producer, rewrote, learnt – and ended up writing hundreds of radio dramas and a daily soap that ran for 18 months. I did all of this late at night and every weekend while working full time. The payments were abysmal. Barely enough to buy typing paper. 

But that’s where I learnt to write.

I felt confident enough to hand back the company car, quit the well-paying job and have a crack at television. I wrote several 13×60 minutes of multi-stranded drama series and 4×60 minutes mini-series.

I returned to the UK in 1995 and started from the bottom again at 48 years old. And that’s a late time to start from scratch once more. I came to realize that the stiff competition here meant producers of existing series preferred to work with writers they knew. It was all a bit of a club. I found a tv agent and wrote outlines for tv producers and a couple of television movies for the German market that did very well, but I still could get none of my scripts for tv series being picked up here. Some years previously I had met the producer for A Touch of Frost when he filmed a movie in South Africa. So six years after my arrival here The producer asked me to submit a script, (you had to be invited onto the series) it was accepted and I ended up writing A Touch of Frost for several years until Sir David Jason retired from the series.

I then had a choice. Stay in television or have a crack at writing novels. Once again I threw caution to the wind and wrote a Young Adult series called Danger Zone: The Devil’s Breath, Ice Claw, Blood Sun. The three books were published by Puffin, won a French literary award, was short and long-listed for the Carnegie Medal. I spent a lot of time travelling to schools, giving talks and attending all the major literary festivals. I decided to have a crack at adult fiction. What was it going to be? Crime fiction, which is so popular, or something fresh and challenging. I had seen a painting of an English adventurer who fought for Italy in the 14th century and not knowing anything about the period plunged in to research the period. That was how the Master of War series began. I have just finished writing the seventh book in the series, and I’m pleased to say that because of the various established characters – especially the main protagonist Thomas Blackstone – and the breadth of the storylines and the strong women characters in the books, I have a diverse readership with many women readers who are fans.

The long, hard slog of writing a series means time is at a premium. But I also wanted to write other books, and that meant writing longer hours to achieve this. A favourite is my children’s book Monkey and Me, and then I squeezed in an evocative story set in Southern Africa, The Last Horseman which was shortlisted for the Wilbur Smith Adventure Writing Award. And last year my standalone novel,  Night Flight to Paris, set in France during WW11 was well received.

Now I have created a new character for a new contemporary thriller series. The first book is called The Englishman. Dan Raglan is a former Foreign Legion soldier who works quietly behind the scenes and who is a modern Paladin – a knight errant who rights the wrongs – and gets hurt along the way. Perilous journeys undertaken to help those in danger.

I write this lengthy explanation in the hope of encouraging writers starting out, and others who look at the blank page and think the journey might be too difficult. It can be a natural and daunting experience but if an uneducated, wandering storyteller like me can make it then so can others. Never give up. Let the passion and determination drive you on. 

  • What you are promoting now. 

The Englishman. The first book in a new series.

  • A bit about your process of writing.

I start in the morning and write my day’s worth – but it’s a mixed full day at my desk because of the breadth of research I do. The added hours come in when I want to write a standalone novel in between my ongoing series. That means I have to go back to my desk late at night for a few more hours.

  • Do you plan or just write?

When I wrote A Touch of Frost, for example, the producers needed a synopsis or an outline so they could see where the storylines were going (there was always more than one in every episode). This was a broad brush stroke and often became embellished or diminished as the writing went on. There are writers meticulous in their planning and when it comes to the actual writing, they tend to breeze through it. I have tried that approach with my novels but abandon it. I get bored. So I just write.

  • What about word count?

I have a year planner next to me and every day I mark my word count. It’s a ‘kick up the pants’ aid. I can see when I have to finish a book – I have never yet missed a deadline – and what it is going to take to finish it in time. I plan for 1500 words a day. They have to be good words. Considered and rewritten every day.

  • How do you do your structure?

For books  – there isn’t one. A general idea, an incident or a place that attracts me. Something that pops into my head. I write the first line and see where it takes me. If I can be entertained and surprised by the journey, then so too will my reader. There is, though, an understanding in the writing that the rhythm has to feel right. It’s a composition. And as the story builds and often changes, then the structure emerges. Plant the seeds and watch them blossom. It’s a wonder.

  • What do you find hard about writing?

Everything. The long hours. The misery of self-doubt. The grappling with the jigsaw puzzle of a story without being able to see the picture on the box.

  • What do you love about writing?

Everything.

 

 

Free Poetry Book To Celebrate National Poetry Day

poetry, poetry book, poems, women authors, Scottish writers, poetry book, female writers,Today is National Poetry Day and to celebrate you can get a copy of What Do You Think? A collection of poetry from Catherine Balavage, Frost Magazine’s owner and editor-in-chief. One of her poems is below.

 

Loved person

Broken promises I knew you could not keep
You only ever tried to love me and in gratitude I lay at your feet Because I was in love too, but my love was different

My love was the notion of life, a good one
All I wanted from ear to ear; a smile from my own mouth
It did not work
You loved me so selflessly I could not leave
Although I know now it was only through your love for me that I loved you You lost your own identity
You chose mine but I wanted mine to keep

Still. Here I am
This time only crying at your ever loving feet
I owe you too much to leave
So for the rest of my life. If I never find the courage I will be the living, loved dead
Even though I see
Your love in an otherwise cruel world binds me Forgive me. I doubt for all that I was ever worthy

 

Get your free copy of What Do You Think? now.

My Writing Process – Ian Wilfred

Do men write romance? They certainly do, as Romantic Novelists’ Association member Ian Wilfred proves. Ian’s characters are instantly relatable and he has a knack of choosing gorgeous settings, from Tenerife to Greece to his native Norfolk.

On top of all that, Ian is one of the most supportive authors you could wish to meet. Which was just one of the reasons Jane Cable invited him to share his writing process.

Tell us a bit about you?

I’m 50+ but in my head I will always be 39. I live on the Norfolk coast with my husband and west highland terrier and I’m a member of the Romantic Novelist Association. My first book was published in 2013.

What you have written, past and present?

I’ve written and published five books. In the first four all my leading characters were women over 50 who are starting again and leaving the past behind, but in this year’s summer book, My Perfect Summer in Greece, Cheryl is a much younger heroine and this was lovely change

What you are promoting now?

My new book Time To Move On, which is out on 24th September. It’s the story of Billie coming to terms with her divorce and being made redundant, and moving to Norfolk from London.

What’s the most important thing about your process of writing?

I love to write every day even if it’s just a few hundred words. I have to keep the story fresh in my head.

Do you plan or just write?

I plan a lot more with each book I write and for me this seems to work better each time.

What about word count?

I don’t give myself a daily or weekly word count but I do like to do 40,000 words a month for the first draft. Then I take two months to rewrite and rewrite before I send it off to my editor.

How do you do your structure?

I don’t plan that – it just sort of happens. I have a beginning, a middle and an end in my head and off I go.

What do you find hard about writing?

Everything! Each book is a learning process with many mistakes made over the years, but you just have to move on and know you’re improving.

What do you love about writing? 

The characters. I love the first draft when they are in your head and you can’t wait to get them on the page and bring them to life.

Any advice for other writers?

I get asked this a lot and I always give the same two answers; write every day, and read and watch every article Milly Johnson has ever done on writing tips. She is the best for advice.

You can follow Ian on Twitter @IanWilfred39. He’s great at sharing news from a wide range of romantic novelists. 

 

My Writing Process – Georgia Hill


Huge thanks to Jane Cable for inviting me! I write romance – romcoms and historical. I live on the Dorset coast with my two beloved dogs (a sprocker and a delinquent cockapoo puppy) my husband (also beloved but not at all delinquent) and a ghost called Zoe. I love Jane Austen, elephants and Strictly Come Dancing. I’m also a complete museum geek and find inspiration for my writing from the folklore and history of the many places in which I’ve lived.

I’ve worked in the theatre, for a charity and as a teacher and educational consultant before finally acknowledging that making up things was what I really wanted to do. I’ve been very happily living in a fictional world ever since.

My writing

I began writing professionally in 2009, have had 6 novels published, a volume of short stories and have also written short stories for magazines. 

My writing process

I used to walk the dogs, then write throughout the day. Nowadays I find being glued to a screen for too long makes my eyes gritty and my shoulders stiff. I’m far more likely to write for an hour, put some washing in, write some more, make a cup of tea – you get the picture. I’m always thinking about the work in progress, so even when I’m not at the keyboard, I’m wondering about my characters. They become very real. There’s a certain amount of promo on social media to fit in too. Luckily I enjoy that.

Planner or ‘pantser’?

I’m a convert to planning – reluctantly! Using Post-its, I brainstorm the story, working backwards from the end listing the main plot points. Those are written up into bullet points as a crib sheet. This guides me through the story and avoids the ‘what was going to happen next?’ issue. However, characters often take on a life of their own and the crib sheet has to be rewritten as it’s scribbled over so much. If I’m writing one of my dual narratives, I have to plan out more carefully and often end up writing a chapter by chapter synopsis to help me keep track. Helps with the edits too.

Word count?

I keep a tally on the crib sheet when writing the very ‘dirty’ first draft. I tend to write that quickly and usually add about 20,000 words during the second draft so I usually know where I’m going.

Structure?

I have the three act structure in mind and occasionally have even been known to apply it! Instinct guides me more.

What’s hard about writing?

I love writing the first draft. It’s very rough and, as I’m not a skilled typist, has lots of strange typos and very little punctuation. I’m strong on dialogue so the first draft is often little more than that – with ADD DETAIL written in lots of places for the second! I love telling myself the story, which is why I’m a reluctant planner – I like to see where the characters are going to take me. Once their story is told, I lose interest and have to force myself to do the next round of edits – that’s when, for me, the hard work begins.

My advice to other writers

Keep abreast of social media, especially Twitter; you can pick up current trends, tips and useful features. Develop a writing community but choose your writing pals wisely and build up trust; they can be your most valued supporters. Read widely and often. Take a notebook absolutely everywhere. Do your research. And develop a very thick skin!

Links

www.georgiahill.co.uk

Facebook georgiahillauthor

Twitter @georgiawrites

Instagram @georgiahill5681

 

My Writing Process – Juliette Quenin

I was born in France but I travelled and lived in many countries as a child and as a teenager. I always had two certainties in life. One was that I wanted to be a creative, artistic person and the other one was that I wanted to live in London. I have now fulfilled both those dreams so I am a happy person. I have tried my hand at different creative mediums. I studied acting in Paris, I sang Opera for a few years and I have done a cinema school. As such I directed a couple of short films and worked on other fellow students’ short films. But writing has always been a constant passion of mine and since in London (nearly 12 years now), I have dedicated myself to playwriting.

What you have written past and present?

Over a period of 10 years I have written 8 full length plays. The Beauty of the Cactus Flower talks about the difficulties of being a woman in this age and time. Dear Wallis is about a teenager revolting against an abusive alcoholic mother. My play Sugar talks about the strong bond in between a grandmother and a granddaughter and the healing power of baking. 430 King’s Road, An Urban Odyssey tells the story of the punk movement’s birth, narrated as a Greek Tragedy. Little Wing exposes the difficult relationship between two brothers carrying the burden of a past accident. Womb’s talks about the demolition of buildings and key historic buildings in the Soho Conservation area and the impact this has on the local residents. Catsville tackles the problem of animal hoarding and loss. And my last play is still a work in progress, so I won’t be talking about it today.

What are you promoting now?

I have decided to self-produce and direct one of my plays. Little Wing, the story of the two brothers, is going to be on stage at the Jack Studio Theatre in London from the 7th of April till the 18th of April 2020. I have produced and directed short films and readings before, but this is a very different adventure and I am very excited about it. Hopefully this will be the beginning of a new modus operandi: Part time playwright/part time director.

Do you plan or just write?

Years ago, I used to just write. Not anymore. I miss this very spontaneous way of working because it can produce beautiful and poetic writing but I have noticed that in terms of storyline I would get stuck, sometimes finding myself in a cul-de-sac. I wanted to take my writing to the next level, so I started planning. Now, as far as I am concerned, the work is less spontaneous but much more structured and of course playwriting is about structure, structure and more structure.

What about word count?

For me as a playwright, it is more about number of pages. I know that when I hit the 70 pages mark (knowing that a page of dialogue is more or less 1 minute and half on stage) I have a play that is about 1 hour and 30 minutes long, so then I can relax, before starting a new draft.

How do you do your structure?

The play and the subject matter command it really. My plays are rarely about big dramatic situations and twists, so I am not worrying too much about the climax for instance. Of course there is always a climax, but mine tend to be quite subtle. I tend to favor two act plays. They work well for me. I’ve learned through the years that a scene did not need to be of a certain caliber and length, that it’s all about balance and rhythm. I have studied music for many years and I love the idea that my plays are like scores. 

What do you find hard about writing?

Endings! It’s always hard to finish a piece. It’s like a little death and I don’t like that. Also, the time in between two plays is a difficult one for me. I get crippled with doubts, I become a bit crazy. Will I ever be able to put pen on paper again? I have a few coping mechanisms now but it’s still difficult. One thing I don’t have, fingers crossed, is the famous writer’s block.

What do you love about writing?

The craft. It puts me in a zone like nothing else does. Nothing makes me happier than a well-produced page of dialogue. I love this wordsmith business. I fancy myself as a lacemaker, only it’s with words and sentences. Beautifully written pieces can move me to tears (more that the content of the play itself actually). For that reason, I am a big fan of Jean Cocteau, J. M. Barrie,  Edmond Rostand and William Shakespeare for instance. I recently reread Hamlet. Everything, absolutely everything you need to know about plays and playwriting is in there. And if I dare say, everything you need to know about life!

Advice for other writers?

Do the 1%, which is present yourself to the page consistently and preferably at the same time of the day, and the universe will do the 99% left, which is inspiration, willingness and the courage to push forward. Drink lots of water, exercise (I’m not very good at that myself) because sitting hours in front of the computer can be hard on the body. If it’s a first draft, don’t indulge in endless rewriting (that’s a tough one). And don’t give up! My production company is called Five Minutes Before the Miracle (short for Don’t give up five minutes before the miracle!) which is a constant reminder that one needs to be perseverant in life. That’s the key.

 

My Writing Process – Jane Cable

Jane Cable , writerAs well as being contributing editor to Frost, I write romance with a twist. My first two novels were published independently but now I’m signed by Sapere Books.


My books are relationship driven, because how people fall in love, mess it up, or get it right, fascinates me. But there always has to be something else. My stories are contemporary but the strapline on my promotional material is ‘the past is never dead’ and for very good reason.


My first book with Sapere, Another You, is published on 27th June. It’s a story of family life which draws on the horrors of combat, both in modern times and World War 2 as Marie fights to reclaim her identity outside her marriage and discover what really matters to her.

A bit about your process of writing.
I am at my best first thing in the morning, so that’s when I tend to write if I’m working on new material. I creep out of bed, make a coffee and settle down at my laptop to work up the ideas I’ve been thinking about. I’ll keep writing until I either run out of story or emotional energy, then have a shower and get on with the rest of my day.

Do you plan or just write?
I used to just write, but now I’m working with a publisher I have to plan. It’s more time efficient too, saving endless rewrites. I still need to give my characters room for manoeuvre though, because inevitably they will shape the story more and more as it progresses.

What about word count?
I don’t stress about word count as long as I feel I’m making progress. Every day my Sister Scribe Kitty Wilson and I check in with each other to make sure we’re sticking to our writing goals.

How do you do your structure?

I used to write first then overlay character and story arcs to make sure they made sense. It always surprised me when they did, but Frost’s wonderful editor Margaret Graham says that the rhythm of story-telling is innate in those who have read since childhood. However these days I have a more, well, structured approach after Cornish writer friend Liz Fenwick introduced me to Blake Snyder’s Save The Cat. The approach comes from screenwriting but works for novels too, splitting the story into ‘beats’. I find it really helps me to focus.

What do you find hard about writing?
Getting published! Most of my books have a slightly ghostly element (or at least, could be read that way) and in the past that has made publishers run a mile. At Sapere they understand that if told in the right way, readers love the world of consciousness beyond matter – even in a genre like romance.

What do you love about writing?
I think what I love most of all is being read. It’s being able to create characters and craft their stories in a way readers relate to. One of my proudest moments was when a woman approached me to tell me that The Cheesemaker’s House had got her reading again after her husband’s death.

Advice for other writers. 

The more you write, the better you get at it, so never, ever, be tempted to publish an early draft. Polish it, craft it – work with an editor if you can afford to, but never let a book see the light of day until it’s as good as it possibly can be.

 

My Writing Process – Caroline James

I am proud to have author Caroline James be the first writer to be part of our new series. How I Write gives readers, and other writers, an insight into the minds of writers. Not only how they think, but how they work. Enjoy. Catherine Balavage, Editor-in-Chief. 

I always wanted to write from a very early age, but never thought that I was good enough. A few weeks short of my sixteenth birthday, much to my parents’ horror, I left school, and also home, to work in Cornwall, doing anything from pot-washing to waitressing. In that time, I realised that I loved the hospitality industry and if I couldn’t write, I would work hard and one day have my own business. Fast forward several years and I achieved that dream. After catering college and working for a large hotel group in London and abroad, I eventually owned a pub and then a country house hotel. When I sold the hotel, I became an agent representing celebrity chefs. It was a fabulous career but still I wanted to write and decided that I wouldn’t die wondering and pinned my bum to a chair to write my first book.

Five books on and I am currently writing my sixth. The first was self-published and to my amazement, went to number three in women’s fiction on Amazon. My writing dream had come true. Two of my titles are current Amazon best-sellers and my dream of writing full-time has been achieved.

I am currently writing a follow-up to The Best Boomerville Hotel for my publisher, Ruby Fiction. I am a speaker too and give talks on various subjects including entertaining speeches for large events, such as a guest speaker on cruise ships and at various literature festivals. I write food related articles for various magazines and promote my work through social media and my website.

What is your process?

I like to write early in the morning before the rest of my world wakes up. I never find the process easy; I have to force myself each day, onto a chair and in front of my laptop. I’ve always found the writing process hard, but on occasion it has moments of relief when I simply can’t stop and may write solidly for several days. But that’s rare.

Do you plan or just write?

I always try to plan a novel before I begin the writing process, but the characters usually take over and want to do their own things. I think a framework is a good writing tool, so that there is a beginning, middle and end, however you get there.

What about word count?

Some days it may be 200 words others 3,000. It all depends on what writing demands I have. I may be writing an article or doing social media and blog posts for a client, so I have to fit novel writing in when I can.

What do you find hard about writing?

I find it hard to make myself get on with it. I envy the disciplined author who sets out a target each day and achieves it. I found it easier to write when I was working full-time running a business and had many other family demands. That old saying, ‘If you want something doing, ask a busy person,’ is certainly true for me. Since I decided to take a leap of faith and write full-time, I find it much more difficult to actually write a novel.

What do you love about writing? 

The freedom to write about anything at all. The freedom to express myself. The freedom to live my writing dream. I love to be able to empower other writers and, in any way, possible and pay it forward. I love that I am living my writing dream.

Advice for other writers.

Just get on with it. Don’t waste years wondering. Glue your rear to a chair and get going, write and write and write – no matter what. You will find your muse when you least expect it.

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