We're on a roll

 

“People are like dice. We throw ourselves in the direction of our own choosing.” 

- Jean-Paul Sartre

 

I had a thought experiment recently. Not as paradigm shifting as any of Einstein’s but, well, food for thought – for me. I imagined myself teaching a class of children for a lesson and deciding that we’d do something a bit different, something that might change their understanding of their potential or the nature of reality. You know, the small stuff.

 

The ‘experiment within the experiment’ was for each child to throw a pair of dice together and I’d write the outcomes beside their names on a blackboard.

 

Of course, there was a range of outcomes from double six to double one and various permutations in between. I imagined that the boy who rolled a double six considered himself the winner (he was a boy in my imagination) and a girl who rolled a two-and-a-one (again, it’s what I saw) felt disappointed.

 

I then explained to them that any outcomes – assuming a balanced pair of dice and similar throwing techniques (i.e. no cheating) – had an equal probability of occurring. Any significance in a particular score was in the eye of the beholder, unless rules had been agreed beforehand (which wasn’t the case). We then, as a class, tried to work out (sometimes elaborate) rules whereby each pair of dice scores could be declared the winner.

 

For example, a double one would win lowest score; a two and a one would win ‘lowest dice throw combinations where one die score is twice that of the other’. The skill lay in coming up with a meaningful – for them – rule that celebrated their random dice throws.

 

In my imagination each of the children found, or were helped to find, a rule whereby they were the winner/s.

 

How does this relate to creativity, writing or the freelancing business?

 

Good question.

 

Often, especially when it comes to creativity, we do something first and then decide if it was successful afterwards without identifying measures beforehand. Usually it’s based more on whether we like the outcome than any other benchmark.

 

But we decide. And success or failure, however we define them, happens because of the confluence of a lot of factors: timing, who sees it and the extent of their influence, luck, who or what else we’re competing with, etc.

 

Attitude is a huge factor as well because it may influence how we interpret our experience. In my thought experiment I imagined each of those children feeling like a winner and recognising, perhaps fleetingly, that they can all be winners when they see outcomes in a way that means something positive to them.

 

What about the world and objective success?

 

What’s our yardstick? If we’re not starving, being bombed or having our freedom of speech curtailed, that feels like a win. If we have a roof over our heads and the opportunity to be creative or run a business, that feels like a win to me.

 

Yes, the cynics will sneer, but what about hard currency from our professions – in pounds, dollars, and euros. (Okay, for LinkedIn as well, crypto too.) You’d need to bring in other factors like education, your product or service, your target audience, and your understanding of – and position in – the marketplace. Plus budget, your network, your ability to sell, and whether you have a convincing story.

 

But it all starts from somewhere and I believe it’s not the roll of the dice so much as the decision to roll those dice and what you make of the outcomes.*

 

 

* For clarity, not every business will be financially sustainable, nor every work of art appreciated and suitably rewarded. I get that. If what you’re doing isn’t working, do something about it or do something else.

TV Evangelists

Have you ever been watching television and out of the blue you catch a line of dialogue or a theme, and then suddenly you’re thinking about the programme in a completely different way? That happened twice for me in the past week.

 

The first time I was watching a documentary about The Hollies on Sky Arts. I’m a bit of a fan anyway but I didn’t know much about them, except that Graham Nash left the group – and his old life – to travel to California where he joined David Crosby and Stephen Stills and form their eponymous super group.

 

Long story short, Nash wanted to be more experimental while the rest of the group preferred sticking to a successful formula as a pop group with incredible harmonies. Despite Nash’s departure marking the beginning of the end, during this period they released their two most celebrated tracks: He Ain’t Heavy, He’s My Brother and The Air That I Breathe,

 

The lightbulb moment, as I saw it, is that they knew what they were good at and were happy to carry on with it. They weren’t trying to be something different for the sake of it, and that holds true for Graham Nash as well. We all have our own star to follow.

 

The second flicker of light came while flicking through the channels in that way that makes my partner want to confiscate the remote control. I landed on an episode of Gogglebox and the ‘audience’ were watching the singer Jane MacDonald put on a show. I say ‘watching’ but taking the piss from the comfort of their comfy chairs, while eating the takeaways that the TV company pay for, might be more accurate. I’m not familiar with Jane’s work, and I’m no musical critic, but her voice seemed good to me. There might have been a wobble or two in her live show but certainly fewer than The Hollies’ live performances.

 

I watched the gogglers, watching Jane, and it seemed to sum up everything that’s wrong with social media. We can easily become armchair critics, puffed up by our self-importance, failing to recognise that it takes hard work and determination to make something and to put yourself and your work out there. Of course, there’s not much of a TV format in that.

 

Why does any of this matter? In fact, does any of it matter?

 

Well, it does if you want it to. Authenticity is bandied about in the creative arts (and beyond) as if it were a cure-all for guaranteed personal fulfilment, sales and success. Being who we are is really only the beginning. It gives us clarity about what we want to offer and then we can think about how to develop it and present it to its best effect.

 

The Hollies remind us that talent has its own lines of least resistance. That when we understand what we do well it’s easier to do that very thing and to own it. Gogglebox reminds us that not every critic comes from a place of understanding or knowledge. Sometimes they’re being deliberately provocative because that’s the role they’ve taken on, or that is their skill. Like a toddler who can’t build a tower of blocks but is happy to knock over yours, again and again.

 

Speaking of TV, have you checked out the site TV Heaven for a celebration of programmes past and present? Here's one of my contributions:

https://televisionheaven.co.uk/articles/downbeat-endings

I write British spy thrillers and crime mysteries. You can find them here:

https://www.amazon.co.uk/stores/author/B0034ORY08

 

I am also a freelance writer and comms specialist.

https://www.linkedin.com/in/professionalwriter1/

An Inconvenient Store

Back in 2022 Co-op sold off its petrol stations (and associated Co-op forecourt shops) to Asda. Our local forecourt Co-op was very much a community shop – we knew many of the staff by name and there was a buzz about the place.

 

Fast-forward a couple of years and the shop’s livery isn’t the only change. Despite seeing these former Co-op shops as a "significant growth opportunity for the business" something seems to have been lost in transition:

 

-       Asda Reward cards are not accepted at Asda Express stores

-       Asda special offers are not available at Asda Express stores

-       Cashback is not available at Asda Express stores

-       It is not possible to order in Asda food items at Asda Express stores

-       Quite often, a full range of fruit and veg isn’t available from our Asda Express store

 

I contacted the Asda team on Twitter* in July 2024, who promised to forward my concerns. I contacted them again in October because nothing had changed and no one had got back to me. In their reply they stated:

 

“I wouldn't be able to tell you if any action has been taken as this is against our policy. Please be assured this has been fed back to (the) store and has been logged here at Asda Head Office.”

 

Someone-in-the-know suggested I contacted Lord Stuart Rose, who took on the role of CEO in September 2024, so I wrote to him.

 

The Asda Executive Relations Team telephoned me and emailed me on his behalf, promising to look into the patchy fruit and veg and asking what I bought from Co-op that I can no longer get there. I told them and they couldn’t get it there for me either.

 

I explained that there are four competitors’ outlets within a three-mile radius that do operate loyalty schemes so they’re steadily eroding their own customer base. When they talked about the acquisition of these 'small convenience stores' I pointed out that the shop in question had seven tills, albeit with hardly anybody using them when I was last there.

 

The call ended in a stalemate with the ERT assuring me that these concerns would carefully considered (again). And, as a show of thanks, they would send me a voucher, which could be used at any Asda outlet, including Asda Express.

 

I popped down there, collected some treats and presented my voucher. The person on the till informed me that Asda Express doesn’t accept Asda vouchers – apparently it’s a different system – so I put the goods back on the shelves (anyone who knows me will understand my pain at having to return chocolate) and walked out.

 

Naturally, I went back to the ERT to denounce their voucher. They suggested I go to my nearest (genuine) Asda store, which would entail a round trip of 20 miles. It feels like no one has thought this through properly. Not for the fantastic – and increasingly sparse – staff in store, not for the customers, and not for the Asda brand.

 

* Deal with it!

Envy Queue

At the last count, I have six CVs (even if most of them are called resumes). As any expert will tell you it’s never a case of one size fits all, and the key lies in attuning the CV to the client or opportunity. It’s a sort of stylised authenticity.

 

What I find mildly fascinating is the filtering process, which is often driven by space as much as any other considerations. For example, I rarely refer to my stint as an NVQ Assessor (Customer Service and Business Administration – thanks for asking), unless it’s for a role that has a similar approach to data handling or detail-orientated work.

 

I last assessed an NVQ more than 20 years ago and I recently learned that they were withdrawn in 2015, in preference for the Qualifications and Credit Framework (QCF). It might also explain why that particular batphone hasn’t rung for a while.

 

I remember assessing three people in a six-month period (two for Cust Serv and one for Bus Admin). What stood out for me was how indifferent the candidates they were about the qualification and, crucially, how passively they approached the study and evidence gathering. It seemed to be a case that the employer/s wanted their staff to have them but hadn’t really sold them on the value of NVQs, the process, or the amount of work required.

 

For one candidate I attended a call centre and completed a series of observations, followed by two Q&A sessions and an evidence review. The candidate, clearly a conscript, showed almost zero proactivity. I checked and rechecked their understanding about what was required, and how they planned to break down the tasks and map the outcomes to the modules, and they made all the right noises. But in the end it became clear that they were hoping I could repeat the success of the first signed off module (i.e. I observe them in their day-to-day work and effectively fill in the blanks with them). We arranged numerous meetings and agreed milestone dates but they never progressed beyond that one module.

 

Now, they may have had other things going on in their life and, without doubt, a full-time job does not always lend itself to professional development, but I don’t think we could have made the process less onerous.

 

Another candidate wanted to do Business Admin NVQ Level 3, but their employer would only support (through time and any costs) it at Level 2. The knock-on effect was that the candidate remained less than committed. Considerably less.

 

They dragged their heels with the ‘coursework’ for so long, and with so many extensions granted, that they eventually completed it less than a month before they were due to leave the job. The NVQ team (Internal Verifier and beyond) were not prepared to process it because by the time an NVQ would have been awarded the person would no longer be in the job. Or possibly any job.

 

I’ll spare you the tale of the third candidate but, suffice it to say, things did not go well. Now, to paraphrase Oscar Wilde, three strike-outs begins to look like carelessness, and I did consider whether it was time to hang up my D32/D33 hat.

 

In the end, much like gardening, even though we can prepare the ground and provide all the necessary conditions, sometimes the ground remains fallow.

 

Perhaps NVQs were not for them and, in some parallel universe they’re writing a blog post about the terrible jobs that made them start an NVQ they didn’t want, and how they rebelled by failing to do the work. Who knows?

 

My point, if there is any, is that sometimes all we can do is turn up and give it our best shot. Now, tell me more about QCFs…

 

 

Why are we picking on Richard Osman?

 

Why are we picking on Richard Osman?

 

(How we got it all wrong about writers and publishing.)

 

Not a month goes by without one of my many author friends, or some stranger online, having a pop at Richard Osman. And yes, I have felt the occasional twinge of gluckschmerz myself. But I think I’m cured – more on that later.

 

The criticisms of Mr Osman usually fall into a few categories:

 

1.     He went to the right university so doors are open to him that remain closed to mere mortals.

2.     He was already fantastically successful so he is really just another celebrity ‘having a go at writing books’.

3.     His high profile garners free publicity on TV and beyond that other jobbing writers will never see.

4.     His celebrity-endorsed novels are taking oxygen away from other novelists.

5.     His novels aren’t very good.

 

I’ve done a modicum of research (i.e. trawling the web before posting this) and here are my thoughts…

 

1.     Yes, he went to Cambridge. And if he hadn’t, that doesn’t mean they would have been knocking on your door to fill an empty desk (they have desks there, right?).

2.     I’m not sure four novels and a fifth in development constitutes ‘having a go’. Should there be a limit on creative endeavours?

3.     True and true. There’s a hierarchy of success in every branch of the arts. And everywhere else, actually. Would you have turned down a TV plug for one of your novels?

4.     Yes and no. Let’s think about the world of publishing for a moment. Publishers exist to sell books. Promoting RO’s books generates sure-fire sales, which in turn leads to profits.

5.     I mean, who decides when it comes to popular fiction? Speaking as an author who received a one-word review that read ‘awful’, who am I to judge? And if we’re talking about ‘good’ what are the criteria? I received another review that one of my books was ‘a good airport read’ and I was pleased. One thing is certain: Richard’s books sell well.

 

So what cured me of gluckschmerz? I’m not really sure but I can tell you exactly when I noticed it.

 

My fellow author, Emma Bennet, posted online that she had just received word of a four-book audio deal. My immediate reaction was delight – for her. End of story (pardon the pun…). I know how much effort it takes to write a novel – even if it’s an airport read – and I know how engaged she is with her audience. If I’m happy for someone I know, why wouldn’t I be happy for someone I don’t know?

 

And let’s not forget, before I welcome a barrage of comments about privilege, and what about my recent post on class, Richard Osman has had his challenges. His father abandoned the family when he was young and he (Richard) has longstanding health issues.

 

You see, dear reader, I’ve come to the conclusion that life is like a game of bridge. I mean, it isn’t, but it will do as an analogy. I started learning bridge (but poorly) just before the pandemic took hold.

 

When I started out I thought that the object was to make the highest number of points. I now see it differently. The skill lies in assessing the strength of your and your partner’s hands in order to bid an achievable contract. Sometimes the distribution of cards mean you exceed your bid; other times it works against you. To me it’s a study of possibility and probability.

 

In cards as in life, and back to books. The song says it’s not where you start it’s where you finish, but, statistically speaking, that’s really down to the strength of your hand.

Transgressive writing

It’s been said at many a writing workshop that we should be willing to write the unconscionable. Giving the subconscious free rein upon the page, whether its violence, sex, cruelty or depravity. The thinking being that no one else has to see what was written or, should we feel so inclined, we can publish and risk being damned.

 

That’s all well and good when it comes to exorcising our creative demons but what about when we’re writing to order? I recently applied for a writing opportunity that I knew would challenge my view of the sort of writer I am. Sometimes it’s good to take a step into the unknown. Sometimes…

 

The project wanted humour material about the crisis in the Middle East. You know the one I’m talking about. The clients want to use humour to promote peace at a ground level, rather than relying on leaders to do the right thing.

 

I get it. Humour is, after all, a great way to unite people and to approach difficult subjects diagonally. Bringing in different perspectives to highlight similarities, differences and incongruities.

 

Against that backdrop I approached this assignment as I would any other. I met the clients online and did my research in order to prepare an original pitch. We chatted, I threw in some ideas…they threw them back or stared blankly at me.

 

It became clear one of the clients wanted hard-hitting humour slanted in one direction only, at least initially, which did not sit well with me. After further discussion and receiving some suggestions I put pen to paper.

 

I decided to write exactly what I wanted, rather than working to any brief. A sort of litmus test to see if we were on the same page (you’re welcome). They could use the piece and pay for it or decline it as they saw fit. Turns out they didn’t get the joke.

 

Here’s the sample piece. Read on at your own discretion.

 

 

What The Frick Is The Problem In Gaza?

(Political History for Dummies)

 

Let's start at the beginning. G*d** said...

 

Okay then, not at the very, very beginning.

 

Who's to blame for the cultural beef in Israel / Palestine? The British, obviously. Every Disney animated movie should have prepared us for that.

 

A little history lesson

After the collapse of the Ottoman Empire (who knew furniture could be so dangerous?) the Council of the League of Nations - so good they named it once - took Palestine and asked the Brits out on a mandate, 'it being clearly understood that nothing should be done which might prejudice the civil and religious rights of existing non-Jewish communities in Palestine, or the rights and political status enjoyed by Jews in any other country'.

 

Simpler times, right? There was also the Emirate of Transjordan, which was not necessarily as progressive as the name now implies.

 

It's fair to say that the British were not universally appreciated as landlords of a land that was nothing to do with them (but when did that ever stop them?). They sought to limit the number of Jewish people settling in Israel and Zionist paramilitary groups formed to enter into political discourse with them, via the medium of assassinations and bombings. 

 

Of course, as the British thriller writer Gerald Seymour pointed out: "one person's terrorist is another person's freedom fighter". The Brits eventually gave up and some of those Israeli freedomists were absorbed into the IDF or took office in government.

 

The rest, as they say, is history. But if you ever wondered whether G*d has a sense of humor, consider this: 

Lehi, one of the paramilitary organisations during those turbulent times, had a weekly publication called Hamaas. If nothing else, it reminds us of the importance of spelling.

 

 

** Other G*ds are available. There's like a whole bunch of them.

Story time

I love writing – all communication really. But sometimes it can feel more like a profession than a vocation. So, in the last few months, I joined a local writers’ group who create poetry, short stories, novels-in-progress, developing scripts and memoir

 

Some are published, some not, and some have no interest in publication. However, what the members have in common is a passion for the written word and an unwavering belief in the creative process. And flowing between those two poles like a living current: joy. Returning to a writing group is a little like returning to a well of inspiration. I can’t say it has improved the quality of my output but it has definitely has a positive effect on my well-being.

 

Through our various forms of writing we explore and share common themes: what it is to be human, making sense of the world and our place in it, and the gift of imagination given free rein. It feels like play for grown-ups and if it leads to a published story or a book…that’s just a bonus.

 

A recent house move saw us packing and unpacking dozens of boxes of books. By the time we’re done I’ll have returned 50 crate boxes to the local supermarket. Many of pour books are now considered vintage because we are; one or two are valuable in their own right, and some books may never be read again but remain on their shelves like honoured guests.

 

Within the collection are individual volumes, whose covers that instantly draw me back to a formative time in my life, like a touchstone. Richard Bach’s A Gift of Wings – often read on the ferry to Manhattan as I travelled to my slightly less than legal job in the Big Apple. Irwin Shaw’s God Was Here But He Left Early – a gift that coincided with a pivotal decision in London about which direction my life would take. Sir Arthur Conan Doyle’s The Further Adventures of Sherlock Holmes – bought in Coventry when I sneaked off to meet a friend, while working on a data project in the Midlands.

 

Those three examples are all anthologies of a sort, as are we. A collection of the stories we tell others (perhaps with a little editing and the occasional flourish), and the ones we don’t tell because they reveal too much about others or ourselves.

 

When it boils down to it, we are all a collection of stories.

 

I’ve been sifting through my own short stories – the ones for public consumption, I mean. Some feature in anthologies and some are still waiting for the right opportunity. I’ve been thinking about my own anthology for a long time and I already have the cover ready. Who knows, I might finally get around to it in the next few months. We’ve all got a list like that in our heads – the someday list.

 

There’s no call to action here. Not a sales call, anyway. Instead, I want to remind you to find the joy in whatever you’re doing, if at all possible. Or find some joy in something else.

 

And think hard about what you’re carrying through the years – those favourite stories you bring out for friends or strangers, and the ones you tell yourself that shape who you think you are. Remember, all stories are partly fiction. Even the true ones.

 

Lastly, consider this a public information announcement to get on with it. Whatever it is. Because not only is there no time like the present, individual time is a finite commodity. To quote Pete Wylie from Talking Blues [Story of the Blues Part 2]: “…well, that’s my story and I’m sticking to that.”

 

 

 

Coming soon?

 

 

You Must be Joking

 

Not so long ago, on LinkedIn, a bunch of us were lamenting the lack of opportunities for gag writers. It got me thinking about the things I’d tried in the past to sell some comedy material, successfully and otherwise, so here is a list of places to try if you want to flex your funny bone.* In no order, other than my ability to recall them...  The Grumpy Octopus – I wrote some social media content for them - a mixture of wordplay, surreal and situation-based captions. A most enjoyable gig! https://thegrumpyoctopus.com/en-gb The Treason Show – Topical gags, sketches and parody songs. There is a huge pool of writers and it’s run on the Darwinian principle of survival of the funniest. You got to see your material performed live and they paid for whatever they used. https://www.treasonshow.co.uk/ (https://www.treasonshow.co.uk/the-team.html) The News Revue – Run on the same lines as The Treason Show, and in fact predates it. True story, a co-writer of the time and I got invited to submit material when we were on a train to see The Treason Show. (Because we talked too loudly about our comedy writing.) https://canalcafetheatre.com/our-shows/newsrevue/

Newsjack – A BBC Radio 4 Extra (still Radio 7 in our hearts!) show that had an open-door for topical material. And paid professional rates too. They used a couple of my gags. https://www.bbc.co.uk/programmes/b00kvs8

The Comedy Crowd – A great resource for checking out paid and voluntary opportunities. https://thecomedycrowd.com/opportunities/

Comedy Wire – A largely US website with daily challenges involving wordplay, news stories, or open jokes. Adult humour welcomed. They used to have ‘contests’ where the website team voted for the best entry and writers won Amazon e-vouchers. Those were the days! https://comedywire.com 

Greetings Cards – The days of sailing boats, bunches of flowers and cakes with candles are largely gone. These days, funny is on the money. I had seven gags picked up by the much-missed Graphic Humour Ltd, as well as a card gag for Selfish Kitty in the US. Card companies come and go so a useful resource is https://www.gca.cards/directory as well as old-school web searches,

Merchandise – Ephemera Inc is a popular site. As you’d expect, competition is fierce and bear in mind it’s a US concern. They made one of my slogans into a badge that I imagine is still offending people. https://www.ephemera-inc.com/

Film – I’m not talking about writing off to production companies because that’s like casting a pebble into the void. (Although I am still waiting, Baby Cow Productions.) That said, there are nuggets to be found out there, sometimes on freelance sites. Here’s a short comedy film called Wasabi that I scripted for someone. https://vimeo.com/122506746

Ebooks – Back in the day, David French and I started our own magazine (As Above So Below, a new age satire mag). It was as regular as a blocked drain, but we had a small and loyal fan base so we kept going. Emboldened by our own brilliance, as all comedy writers should be, I approached one of those ‘little book’ companies to pitch material from the mag. The result was The Little Book of Cynics, first as a real book and then an ebook. After that, largely for the fun of it (i.e. they never sold well), I put together an occasional collection of gags – some topical, some themed and some just puns. You can find them and my novels here: https://www.amazon.co.uk/Derek-Thompson/e/B0034ORY08

Honourable radio mentions for other jokes used

– Damn the Torpedoes: military themed sketch show for the British Forces Broadcasting Service.

– Watson’s Wind-up: a BBC Scotland comedy show. One of my gags appeared on their last ever episode. I’m hoping that’s just coincidence.

– History Makers podcast.

– 4Weekly Show: Anyone remember Channel 4 Radio? I do. They used 17 gags of mine as additional material. Happy days.

Dishonourable mentions

– Contracted writer for US radio show The Afternoon Call and for comedy app iLarious (see what they did there...). Chuffed to receive both contracts and then jump through an ITIN shaped hoop, but not so chuffed to have never earned a dollar from either one of them.

* Not literally because that would hurt. Take it from someone who knows.

Altruism for Authors

I’m a great believer in supporting the writing community wherever possible and whenever practicable. Of course, there is competition for representation, for publication, and for funding, but most of that activity happens in the privacy of one’s outbox and those all-important decisions are beyond our control once we have pressed send.

How can novel writers support one another, I hear you ask? (I have a very active imagination.)

Several ways come to mind for helping out your fellow authors:

1.   Sharing on social media. It’s not so much that you’re expected to wield great influence, more that you are likely to know people (and communities) that the other writer doesn’t know.

2.   Hosting a blog post. Often the author will provide something for you to host. If not, a simple Q&A format, with one or two quirky questions thrown in, helps the author talk about their work in a new way for a fresh audience.

3.   Reading and reviewing. This can be controversial because there may be expectations of a shining review for a less than shiny book. Alternatively, it may not be your genre, or your thing. Sometimes authors will agree to mutual reviews, which can take on the nature of a poker game! Honesty is always the best review policy. Amazon has some baffling rules – which it doesn’t share – about reviews so don’t be surprised if a review there suddenly ups and disappears.

4.   Become a beta reader. You get to read the book first, sometimes as a work-in-progress, and other times it’s the pre-launch, basically good-to-go version. Here, the focus for feedback tends to be around grammar, formatting glitches, and consistency. You might even end up in the acknowledgements for services rendered.

5.   Making recommendations to your own readers’ list. And if you’re a published author and you don’t have a list, consider this a prompt.

 

Why you ought to consider it

If the notion of good karma doesn’t light your inner flame, there are more tangible positives to author altruism:

·      By participating in the community you are raising your profile, both to other authors (and their agents / publishers) and to your own followers and readers.

·      Interacting with other authors can be an education in other people’s creative process, which in turn informs yours.

·      It is an opportunity to see how other authors market themselves and their work, and then consider what you do.

·      More diverse authors and posts on your blog / social media streams.

·      Frankly, it takes you out of your own ‘magnum opus’ centred universe. Sometimes we need a little perspective and visiting someone else’s universe can be a great way to do that. It normalises what you might think of as your unique struggles, when you realise everyone goes through the same old crap!

·      Maybe, just maybe, other authors will go the extra mile for you. Who knows, you could start a trend!

 

Reservations

I know what you’re thinking (I did say my imagination was active): what about the downsides? Well, as long as you know why you’re doing what you’re doing, and you have realistic expectations…oh, okay then, here goes:

·      Other authors might be doing much better than me! In the words of an old friend from Staten Island, “Deal with it!” There will always be more successful and less successful writers than you. That’s the nature of the beast. But the ones ahead of you may have a bigger community for you, while the ones behind you may appreciate you all the more for your kindness.

·      What if people don’t help me back? Well, like the rest of life, sometimes that happens. Altruism is not a payback scheme.

·      Surely I should spend my time on my own writing? Yes, when you need to be writing. Only you know what time you can spare, but why not spare some of it to make a difference to someone else’s book / chances / day?

·      Isn’t altruism unrealistic, nay, self-defeating, in a competitive environment like the arts? If you see supporting others (and let’s face it we’re talking about small ways, not making a sandwich board and marching up and down Oxford Street for hours) as a drain on energy you’d rather devote to your own book, then this is not for you. I think it comes down to personal values. I’m not convinced that 20 minutes spent sharing the load of another author will be the decider between my success and my failure. I’d rather feel good about helping someone than see it as a winner takes all, rat race with pens. 

·      I feel pressured / guilt tripped / manipulated to do something I really don’t want to do. Then it’s not for you. No sale; no drama! But maybe let the other writer know, so they’re not building up false expectations (or a grudge!).

 

Supporting your fellow authors may not advance your own agenda one iota; that’s not the point. It may, however, make you a more fulfilled human being, a more rounded author, and a much appreciated contributor to the writing community.