2022 – A(nother) Year of Hidden Dips

Hummus behind a hedge perhaps

Like the road signs which I always snort at because, to me, they tell me nothing more than that the road will lower slightly ahead–and what driver can’t handle that, right? *snort*– I’ve come to appreciate that I must subconsciously view my own internal warnings of ‘hidden dips’ with much the same disdain.

In short: I don’t need to be warned; I can handle them. Whatever they are.

And yet, if 2022 has shown me anything, it is that I clearly can’t handle them. Also that I don’t see the warnings until it’s too late and I’m arse-up in a ditch on t’other side.

Not a pretty sight.

I’ve been mulling over the signs I overlooked during the past 12 months in the hope that in future I might notice them better and prepare to act before they derail me, but I also know that to expect my neurodivergent mind to do anything it’s not used to is to hold an uncooked meringue in a gale force wind and expect it to keep its shape.

The first sign came early.

At the beginning of 2022 I’d started sending out agent enquiries for the novel I’d written on the MA I’d completed in November 2021. To me, this was the most complete, the most edited, the most reviewed, re-drafted-pored-over book I’d ever written. It had been discussed, dissected, peer-reviewed during classes, and I’d had the benefit of having a bestselling author as my manuscript tutor who’d convinced me this would be my breakout novel and any editor I worked with would consider me their dream author because of my diligence, attention to detail and keenness to compromise.

In my head this was it.

It also helped that I’d been awarded a distinction and so, in my silly little hopeful heart I was dancing a continuous jig of joy without ever announcing to the world, in case … y’know *Hidden Dips*.

Then the rejections started dribbling in.

My top three agents (the ones I’ve always–over the course of 25 years–sent my manuscript to first of all) responded with standard form rejections.

Rejections never get any easier. My ‘thick skin’ never developed although I pretended it did. The only way I can move through a rejection is by repeating over and over in my head that it doesn’t matter; it’s subjective; there are other agents; this wasn’t my ‘time’ and carry on. So, carry on, I did. I enquired of the next ten agents on my list…

Then these rejections began dribbling back.

My submissions list, which I’d handwritten and given cheerful colours to, along with dates of sending, a ‘helpful comments’ box (which remained empty because I received none) and a date of return, became one side of A4, then two, then two and a half. Finally I stopped filling it in.

I also stopped announcing on social media that I was submitting or, in fact, doing anything remotely connected to writing, because I felt wounded. And when I feel wounded, like a wild animal, I retreat. I don’t want anyone to see me or ask me if they can help, because of course they can’t; if they tried I’d end up infecting anyone who came near me with sadness. So I withdrew.

I didn’t go to either graduation ceremony. Partly because of social anxiety, partly because of chronic pain, but mostly because I could hear how conversations would go and I had nothing to bolster my fragile confidence: “Yes, I finished my novel. No, nobody liked it“. My brain yelled at me that my manuscript tutor had lied when they’d said this was The One and I couldn’t imagine bumping into them because I knew I’d either sob or scream. I couldn’t do it. I’d already exhausted myself in my head. I’d failed.

However, and even though I hadn’t met any of them IRL, I hated the idea of losing contact with the students I’d worked close with for the past year. I also knew that the further back I retreated, the more likelihood there’d be of my disappearing altogether. So I volunteered to join the team assigned to produce the Bath Spa Anthology of 20-21 writing. A good move. I love a project; love putting things together and seeing an outcome.

But, three team meetings later–all online– frustration began to build inside me like a grumbling volcano. I had done a ton of research (hello ADHD hyperfocus) on past anthologies, on other uni anthologies, on cover design, layout, website format, word count, biographies, etc, produced my findings to the rest of the team via e-mail ready to discuss at the meetings… where I was met with a wall of (what I saw as) apathy.

Simple decisions like wording an email to our fellow students to inform them of the anthology, took weeks and weeks of back-and-forth commenting on one Google document.

Decision-making in general seemed to be something none of the team felt able to do without checking first with our course leader (who’d already given us carte blanche to go ahead and get on with it) and after three months of nothing happening, where I’d been e-mailing suggestions and ideas, asking everyone for their input and receiving nothing back, I felt demoralised and invisible. More rejection. And rejection for a neurodivergent person is something that is automatically triplicated. it’s a heartbreak. Every one.

Again, I withdrew.

I also obsessed over how the team might now be doing without me. I had a small hope they might contact me to persuade me to stay, considering my skills, but as this didn’t happen I perceived this non-communication as my never having had any skill to begin with, which was perhaps why they’d never reciprocated when I’d made suggestions or offered the ideas I’d had… the spiral became endless and dark. I lost sleep, I couldn’t eat. I started wondering if they’d always been this ambivalent towards me–even during classes–and I’d hyperfocus on things I’d said, firmly believing I’d been the object of everyone’s annoyance and everyone had laughed at me behind my back. Even at the graduation/s.

I withdrew further. This time, with added obsession.

I tried to concentrate on other things as a distraction. I’d picked up artwork and design and although I’d been following thousands of accounts on Instagram, and YouTube, diligently practising skills I hadn’t used since 6th form, I could feel something building again from inside my feet. I tried watercolours, inks, pens, pen-and-ink, pattern, still life, abstract, surreal, impressionist, animals, figures, objects, you name it, I was convinced that once I found my ‘groove’ everything would fall into place.

Everything fell, that’s for sure.

The last thing I attempted to paint was a pear hanging from a tree. So simple. From a photograph I found online. I’d done it on a day I knew I’d be alone in the house because I couldn’t bear the shame of anyone seeing how badly I might be doing and pretending it was anything other than terrible. In my head I’d made this my ‘last ditch attempt’ so the failing wouldn’t be such a shock. But it still hurt like hell. Washing my brushes and pots afterwards, I wanted to rip my skin off, I felt such an abject failure; and at something which was meant to be such a pleasurable past time.

I was beginning to feel hopeless.

I needed another distraction. Maybe hands-on creativity wasn’t my ‘thing’. Maybe I needed to return to online design; I’d enjoyed designing posters and building websites and blogs in my working life; what if I tried something along those lines? What if I tried something like… I don’t know, designing book covers.

I put a call out on social media offering to help any writer struggling with designing their book cover, free of charge. One brave person took me up and, with the help of my long-suffering daughter, a crash course in Photoshop and much backing-and-forthing of copy, a cover was produced with delight from the author. After that – nothing. I couldn’t advertise my design because the book hadn’t released. So I continued making fictitious book cover designs and posting them on my IG and FB feeds which garnered minimal interest. I was treading water again. Doing nothing productive and feeling invisible.

Personally, I was diagnosed with fibromyalgia in the summer, which made sense of the chronic pain I’d always had and always assumed was my fault (I’ve written about this before so won’t bore you again) and in the autumn I was diagnosed autistic, which helped me understand why I’ve never felt I fit into anywhere, doing anything, with anyone. It doesn’t make the isolation go away, it simply means I know where to find information and acceptance now.

Since the beginning of 2022, I’d kept in touch with someone I’d once shared lodgings with (she went on to marry one of my ex-boyfriends). She checked in with me every day and we chatted about our shared history; about what we were up to and once she’d mentioned one of her three grown-up children had suffered with mental health issues, saying that she’d learned things about MH she’d never known before, which I’d found refreshing, since she’d always dismissed the idea before, in much the same way that my parents had always dismissed mine. I’d begun to see her presence in my life as more supportive after she’d revealed this, and our conversations flourished.

Until one evening shortly after the Queen’s death, when my daughter and her partner had gone to stay with her father for the weekend and I was sitting alone in the house watching an overspill of emotions on TV. My friend had asked me what I was up to, and instead of lying, I told her I was alone and had been crying since lunchtime over something (ostensibly trivial to anyone else) which had happened and had upset me. Only to be be told that I needed to stop wallowing, get up, go outside and meet people who were worse off than me.

I actually felt my heart hit the floor.

I saw this reprimand as a kind of bell tolling; it rang out LOUDLY that I was nothing but a snivelling, weasley wretch who read far too much into simple things that nobody else thought twice about; that I was a waste of space and this was why none of my so-called friends ever contacted me out of the blue to ask me how I was, much less have a conversation with me, and the fact I was sitting there on my own sobbing proved this and nobody actually cared. Literally nobody. As if on a film-reel, the earlier parts of the year rewound then re-viewed all the other occasions I’d been equally invisible, unwanted, discarded and irrelevant. Of course, it all made perfect sense now.

I wasn’t meant to be alive. I should never have been born. In fact if I’d been born a century earlier, both my mother and I would’ve died at (my) birth.

I ran through a list of ‘friends’ who hadn’t kept in touch since I’d moved away 5 years previously. Or who did, but only after I’d contacted them first or if we ‘liked’ a post on social media. I bet they’d come to my bloody funeral, though, wouldn’t they? Out of some warped sense of guilt and remorse if nothing else. Well I didn’t want them to use the energy if that was their attitude; I’d let them off the hook now. By sending a quick text telling them I loved them, and farewell. There. Done and dusted.

In hindsight this would turn out to be my second biggest pratfall of the year.

Because of course all these people started contacting me. And (unbeknown to me) contacting my daughter. Ruining her weekend if not her life.

Needless to say, police were involved, the crisis team were involved and I felt stupid, humiliated and shamed. All my own doing, of course, which is how it always happens, and leading me to feel nothing but worse about myself.

I stayed in bed for the ensuing two days, only surfacing for wees, water, and to refill the cat’s food bowls. Someone from the crisis team called to make sure I was still alive, didn’t have plans to ‘harm myself’, and signed off with “enjoy the rest of the weekend” which I will take to my grave as the most ironic, perverse thing to say to a suicidal person.

When my daughter and her partner returned, I’d bolstered myself to deliver apologies and ask for her forgiveness, but didn’t get that far. Because during the course of the year, I hadn’t taken into account, or even seen, the many signs pointing out how I was affecting those closest to me. I’d been so preoccupied with white-knuckling my own steering wheel and trying to stay on course that I’d forgotten to check other important road users. And now it was too late. They’d discussed it, they were sorry it had come to this, but we couldn’t all go on living together; it was too much for them to cope with. I needed to move out.

To be continued…

Rugs & Towels

Maybe it’s because I turned sixty this year. Maybe it’s because an ADHD diagnosis has afforded me greater realisation. Maybe it’s because I’ve discovered that the aches and pains I always put down to sleeping/sitting/ standing weirdly are actually undiagnosed Fibromyalgia – a comorbidity of ADHD and equally undiagnosed – for which I’ve self-medicated my entire life.

Maybe it’s because my current counsellor has said the same thing countless other therapists have told me over the years which is a variation of: “It does seem that the rug is pulled from under your feet quite a lot”.

Yes, that’s precisely how it seems. And maybe it’s just time to admit this. Time also, to admit that I don’t believe -don’t have the strength of mind or body to believe, actually – that this will ever change. Not now.

Maybe it’s a combination of all these things which has led me to a slow-burn belief that it’s time to start being kinder to myself and stop beating myself up. Because I beat myself up a lot. I was trained in the art of self-flagellation from an early age, so it’s instinctive. Something happens (bad) and immediately I know it’s my fault. Even if I’m nowhere near The Thing. Even if there’s no clear connection to me and The Thing. And if there isn’t a clear indication that I am to blame, then I will find a way to make it be my fault. Because it makes The Thing easier to handle.

A lot of people over the years have called me pessimistic; the original Debbie Downer. And I always countered that I’m not a Pessimist, I’m a Realist. These are two entirely different beasts. A Pessimist expects Bad Things to happen and sees negativity in any given situation, and a Realist knows Bad Things happen, so runs through every possible scenario in their head to ensure that when it does, it doesn’t impact too greatly on those they care about.

That’s the difference.

Before being diagnosed ADHD, I assumed this was one of my weird personality traits, something else that alienated me from people who thought positively and believed in Good Things happening. But now I know that my brain is simply wired to scramble (as in ‘action stations!’, not a mess of eggs) scenarios in the space of a few seconds to make sure every eventuality is considered, and ready for good or bad. It’s my Amygdala bracing itself in Fight or Flight, and has nothing to do with only seeing a negative. It’s my survival mode. It’s prehistoric. Instinctive.

Proving this point is the very real fact that I have, from a very young age, aspired to be a proper, published writer. From when the story I wrote about my best friend was accepted by the local newspaper as their story of the week and I had my photo taken and was paid £5.00 for it. I honestly believed this was the first step on the path of my life. How’s that for optimism?

A year or so before, I’d co-written a script for Fawlty Towers (still on its initial airing at the time) and sent it to the BBC, who returned it with a compliments slip suggesting I took a degree in English or an apprenticeship in scriptwriting, which wasn’t going to happen if I wasn’t allowed to go to art school. But I remained utterly convinced that writing was my future. Writing was my friend.

I’d kept a diary from the age of 13, recording daily events, and separately I’d write about things had happened at school which had affected me. I’d write about it without restriction and hide it away. Which was how I came to write the story that the newspaper published. It was a celebration of the friendship I’d had with my best friend, and the gaping hole that his absence since going to university had left me with. It released burning emotions and placed them in a recognisable black-and-white form.

With the success in the local newspaper, I sent the story to magazines, although I hadn’t considered their demographics. I’d naively assumed that all short stories were equal, so when the rejections came back – by royal mail in those days – I felt felt sorely disappointed.

Although one editor sent me something else, and I wish to this day that I’d held onto his letter, because it’s the One Thing my mind returns to when I consider my early days of believing things might happen. He wrote that although he’d enjoyed my story and could see humour and talent, it wasn’t the right ‘fit’ for his publication however…. however... because he liked my style, he said he’d like to chat about future commissions should I ever find myself in London EC4… he wrote his telephone extension number at the magazine.

I knew that this was an opportunity; it fizzed in my veins and filled me with unparalleled joy. But my parents didn’t see it the same way and refused to let me go. *sound of rug-pulling*. I was weeks away from leaving school, finishing my A-levels, and I’d already been told I couldn’t go to art college. *more rug-pulling*

Now they were telling me I couldn’t pursue another ambition. My mother, believing London was a den of iniquity, insisted that this editor was only after “one thing” (because that was all they thought I was good for), telling me “you’ll have plenty of opportunities to go gallivanting around London once you’ve grown up and left home.”

I don’t remember sending the editor a reply. What would I have said? My mum and dad won’t let me?

And I believed them. Why wouldn’t I? I did believe that more opportunities like this would come my way, so I carried on writing stories and sending them to magazines. I borrowed money to enrol on the London School of Writing correspondence course to further my writing education, and continued believing I was doing the right thing whilst working jobs that depressed me and exploited me, writing well into the night once I was home, to dispel the grubbiness I felt from my days.

I held onto this belief for another forty years, through shitty jobs, failed marriages (a successful stint at single-motherhood, however) and rubbish relationships, all the time self-medicating a brain disorder I never knew I had. I joined writing groups, submitted every novel I wrote to agents with a pause for two years when I came so close to representation that the eventual rejection physically hurt. A student loan gave me a BA(Hons), I threw divorce settlement finances at a writing mentor who promised things that didn’t materialize. I took out another loan out for a Masters where I gained a distinction and my manuscript tutor convinced me this novel was The One which reminded me of the way my last husband fed me superlatives, whipping my mind into a frenzy of sky-high beliefs which always came crashing down around my ears.

I feel I’ve done so, SO much to stay on the damned rug to realise this long-held dream of writing to be published, that I’m actually winded by it all.

I joined all the social media platforms, followed all the right accounts in a bid to make connections; entered every competition I could afford (some I’ve been ‘listed’ in), inveigled my way into conversations and signed up to writing group subscriptions hoping to further my path. When I stopped working I signed up to LinkedIn, hoping I might find a route to paid writing there, but every application I’ve made has been ghosted (that’s ‘ignored’, right?) and now I’m exhausted. Nearly as exhausted as I used to get waiting for my parents, employers, hell, anyone, to say something positive about me.

Every morning when I open my emails I find invitations to join writing groups, to read about another debut author’s path to publication and how tough it was getting twenty (yes, 20!) rejections before securing their dream agent. I get offers to take myself off on writing retreats where the magic will happen, which I can’t afford even if I did have the mental and physical ability to attend. Twitter announces proud publishers and agents advertising their latest signed author, the authors themselves unbridled with joy, and my already shattered soul breaks into ever-tinier pieces.

I now feel more removed from the world of writing than I ever have. I suppose from having tried so hard to get precisely nowhere. My age isn’t in my favour either, despite all the links I see about successful authors debuting in the twilight of their years. Holding onto hope now feels more like clutching at straws, and I’m done.

I’ve cancelled subscriptions, I’m unfollowing agents, publishers, editors, authors. Anything I see that that presses fingers into my bruised soul, I’m letting go. Because I think it’s about time I did let it go, and I can’t say I didn’t try. Which seems a fitting note to end on, because teachers always wrote: “Deborah really must try harder”, despite that undiagnosed kid trying so hard it left wounds.

The Bird and Bubba Morell

The day they came for Bubba Morell, the last of the leaves had fallen from the trees surrounding his cabin in the woods. Warm russets and pale golds had sunk, then knitted with moss and mud below, creating a counterpane of colour which covered any tracks Bubba’s heavy boots had made to his door.

Two days before they came for Bubba Morell, in the building at the heart of the small town, five locals had met and huddled around an arrangement of wooden tables. At this meeting a large map was unrolled and held in place by heavy objects: beer cans; stones; a Stetson; a sandbag; a shotgun.

Once flattened and positioned, the locals studied this map, which depicted—along with copper-coloured stains—their town, its terrain, and its boundary. It showed the main thoroughfare parallel with the river; the wooded areas and the church; homesteads sympathetically constructed around the land’s natural dips and swells; the hall they stood in. And the cabin belonging to Bubba Morell.

The cabin where he held The Songbird prisoner.

Small communities have few secrets and upholding the law came second only to breathing in theirs. The idea of pasting up posters, pleading for information and offering a reward on the whereabouts of the songbird, was a moot one. They knew where she was because she’d been seen going in.

Trouble only showed its face when she hadn’t come back out again.

Bubba Morell had never been the kind of character regular folk might reason with. His sister had married and moved, and as he’d been schooled by his ailing Ma, had no friends. A decade since, Bubba had interred his Ma alongside the curved mound of his Pa out back, and had it not been for the keeper of the General Store seeing Bubba drag a covered cart of kindling to trade for tinned meat one fall, folk might never have known Bubba was on his own.

Only now he had their Songbird.

But they’d devised a plan.

Everyone knew that, as a child, Bubba’s nature had necessitated him being kept behind bars in their cabin. A fact endorsed by the seamstress who, whilst delivering remnants, heard keys rattle in an iron lock before the door was opened. So this, they’d concluded, was where The Songbird was being held.

Once they’d created a distraction, causing Bubba to flee, two of them would enter the property and rescue the jailed bird. The remaining three would chase, capture, and deliver Bubba Morrell to justice.

In the seconds before they came for Bubba Morell, Day had said farewell. Night was creeping in to curl her fingers round the bare-boned trees, when suddenly a fierce snapping and popping shattered the still, illuminating the murky cabin from within.

From a distance, the locals watched as their firecrackers hissed and swirled their fiery tails then shattered the window pane, whooshing to freedom.

A jumble of clothes and limbs burst through the door then collapsed.

The rescuers approached with caution. The two detailed to rescue their songstress coughed through the doorframe, whilst the three charged with pursuit and capture bent over the expelled heap. They agreed that Bubba Morrell seemed smaller in death, and their eyes travelled the length of his outstretched arm, where blackened fingers pointed to a key, half-hidden in a mattress of leaves.

Energised with success, whooping with victory, they scooped up the key, eager to complete their mission, only to find the doorway blocked by The Songbird.

The wake of the firecrackers had reddened her eyes and, as she gazed from the key, to the motionless body beyond, a sound built up from her chest, rising to her throat. A sound they’d never heard the Songbird make.

She lashed at the hand and the key flew away.

What made them think she’d been captured? Imprisoned against her will!

The prisoner had always been Bubba!

Had they never noticed that while they watched her sing, The Songbird’s own eyes held those of the outsider who always stared in?

Her voice had been his solace. The notes she reached, the only sounds Bubba could hear.     

“It’s a ‘No’ from me” (whoever I am)

I was delighted to see the return of the Discoveries Prize for women following the inaugural 2021 search and spent months honing my submission for entry. I ‘liked’ and ‘heart’ed all the Facebook and Twitter announcements, re-posted them and did a “YAY!” post when I’d submitted to further this great opportunity.

Typically of my ADHD character, I can be a Last-Minute-Lucy, so this year decided to err on the side of alacrity and prepare, not less submit, in a much timelier fashion.

I entered with months to spare (the deadline is January 2022) feeling gratified that I could cross this off my free-to-enter or subsidised for low-income-writer competitions list and let the judging process take its due diligence, knowing the announcement of the longlist was set for May 2022.

However, last night (a Saturday night; a weekend before December began; a time of kicking back and enjoying a Christmas film with the family) I was surprised to find an email notification sent from ‘Discoveries’ with the subject heading: Your Submission:

I had to re-read this a number of times to believe it could have come from a genuine (not to mention high-profile) organization, because there was nothing more than that one-line stock rejection; no platitudes—not even feigned ones.

I’d also never heard of the person who’d decided “not for me” – not for who? – and did a google to see how qualified this person might be. Perhaps they were an author I hadn’t heard of? Perhaps an assistant to one of the authors, or an assistant to one of the judges? My search heralded two accounts with no activity and so I questioned the legitimacy of the sender.

Who were they?  

If they were signing ‘on behalf of’ one of the judges, then why hadn’t they said as much?

This dismissive and incredibly unkind email contained none of the layout and professionalism of the Curtis Brown Discoveries pages, and for a long time, I stared into space (the Christmas movie now on pause) attempting to keep tears in check, heart hammering.

Could it be some kind of sick joke?

After all, it didn’t mention the process, or the fact they’d already received thousands of entries; that this email confirmed their ‘sad, and unfortunate, necessity’ to whittle through the early ones…. because this simply screamed :“WE DON’T HAVE TO WAIT FOR THE DEADLINE , WE ARE RIDDING OURSELVES OF THE SH*T ENTRIES NOW!”.

I messaged some writer friends who offered sympathy and support, but nothing made me feel any better about it. Last month I get a Distinction and now I get a Dismission? I even questioned the validity of the marking of the MA. Oh yes, I’m fully qualified in Rejection Sensitive Dysphoria as well, thank you ADHD.

I can’t tell you how deep my sadness at receiving this went, because people I know might read this and I don’t want them to think I’m teetering on the brink of oblivion, but it’s down there with the lowest of any of the lows I’ve experienced.

So whoever you are (or are not), dear person, please PLEASE pass on my concerns to whoever has trusted you with the doling out of these standard form rejections, and impress upon them the necessity to create a template far, FAR more encouraging than a one-line ‘I didn’t like it’ from whatever your job title is. Because nobody knows what somebody else might be going through at any given time. Your ‘Nah, didn’t like it’ might untimely arrive during a crash in someone’s confidence; during a time in their life when they’re questioning their future (in writing or otherwise); in the midst of something dreadful they already find disabling; you don’t know. And as you have no way of knowing what this person might be going through, for goodness’ sake, be kind.

As I couldn’t decide whether to email Curtis Brown directly or write a post here, I’ve done both. And I really, REALLY hope if they run this competition again, that they’ll at least format a nice template to send to the early losers of their ‘Prize’.

I’m sure they won’t be bothered or the least bit interested to know that I shan’t be wasting my valuable energies on them again, either as competition hosts or as prospective future agents.

Such a shame.

A Good Start

In all the ‘How to Write’ books that I’ve amassed there is inevitably a section near the front called, variously: Starting, or The First Line/Chapter; The Opening, Where Do I Begin?… you get the idea. Pertaining to the very first words a writer writes and decides is good enough to leave—and lead—at the start of something they believe is worth reading.

It’s crucial. Of course it is. All first impressions are crucial. At an interview, on a first date; Dear John/Julie letters; emails, you name it. Making sure the right words appear in the right order is make or break in any situation. It’s the difference between arousing interest or being ignored.

It’s also a great way—for me, anyway—of getting some words down before the demon of Writer’s Block threatens an appearance. It’s panicky when a writer starts to actually believe they’ve run out of ideas, so turning to something afresh can be a way to dispel the fear.

I’m not about to tell you How To write an opening sentence. I’m just going to tell you where my thoughts took me recently, and how these opened up a great deal of other thoughts. The thought process also reminded me that I wasn’t blocked, and utilizing this ‘fresh start’ exercise more often could even create a neural pathway leading the demon away for good.

Photo by Samudraneel dutta on Pexels.com

Let’s imagine there’s a knock on a door.

It could be your door. Or someone else’s door. It could happen right now. It might have happened a long time ago; centuries, yesterday, or last week. It might be a door you know; it might be a door you don’t know but have seen (IRL, or in a picture) or you’ve only ever heard about. Whatever and wherever the door is, or was, right now it’s just been knocked.

(If your hand is up because you want to know if this can be a doorbell rather than a knock, then that is a whole other kettle of worms. There are so many different ring tones that this kind of ‘thought’ is beyond my personal comprehension. I need to keep things simple. So, if you want to do bells, and you have a specific ring in mind, by all means, take that as a starting point. But, if I were to use a bell, then I’d spend the rest of the day googling a million of them, then wonder what I was doing standing on the virtual Great Wall of China.)

Let’s get the door.

It’s Roger—or whoever you want it to be—but don’t get bogged down with names just yet. Unless you have a specific character in mind. Keep it vague until the next words have settled on the line, and it doesn’t have to be the actual start of a book or a short story; it could just as easily be the start of a new chapter. Or the beginning of a new paragraph. It’s a starting point somewhere. Anyway, back to Roger.

There are now different ways that the information of Roger at the door can be conveyed:

  • Roger stands at the door (third person, present tense)
  • Roger stood at the door (third person, past tense)
  • Roger is at the door (third person, present)
  • Roger was at the door (third person, past)
  • I’m standing at the door (the narrator is Roger, first person, present tense)
  • I stood at the door (first person, past)
  • You’re at the door (your reader is Roger; so, second person, present)
  • You stood at the door (second person, past)

Don’t think right now about mentioning the actual knock on the door. That would slow things down and give rise to needing to explain whose door it is, who’s answering it, what time of the day it is… even what the door looks like. These details can be filled in along the way, or the opening returned to and enhanced once there’s a skeleton of a story you’re happy with. For now, let’s concentrate more on immediacy. Momentum is key.

Say you wanted to impart slightly more…

  • Roger, panting, stands at the door (the ‘panting’ offers immediate intrigue)
  • Roger stood breathlessly at the door (equally intriguing; why is he out of breath?)
  • Roger is back at the door (implying he’s returned, so where has he been?)
  • Roger was finally at the door (indicates a goal, so what was his journey?)

You could throw in a bit of description if you wanted to:

  • Roger stands at the door with dirt on his face (now he’s of indeterminate age)
  • Roger straightened his tie as he stood at the door (why? What’s he been up to?)
  • Roger is at the door with the mail (oh, so he’s the postman; and a familiar one)
  • Roger was at the door, the lead hanging from his collar (good lord, what happened to his owner?)

Yes, I agree that the last example is slightly improbable. Unless Roger the dog had his own dog-level door knocker, but we’re writers, right? Anything is possible: maybe the person on the other end of the lead fell into the bushes (therefore out of sight) following their knock on the door. If so, what could have happened?

It’s exciting to imagine that from a simple knock on a door, something new and unwritten is about to unfold which even the creator (that’s us) doesn’t know the outcome of. Imagine how excited a reader might equally feel as they follow the words to see what the story’s all about.

I’ll do a ‘subsequent sentence’ post, to show how many wildly different (maybe not all of them practical, sensible or possible) ways a follow-on sentence can go. But for now, I’ll leave you to answer the door.

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