Writing Manifesto

•  Keep going through self-doubt, criticism, a sore back, rejection, ridicule and terror.

• Honour that tiny light that sparks sometimes when I touch keyboard or grip a pen.
• Let go of pride, decency, even ambition.
• Make that stab in the dark.
• Dwell in uncertainty and make friends with insecurity. Be hungry.
• Leap for that goal. Turn into a rainbow shoal of fish as I do it. Or a dead man in a stinking overcoat.
• Kiss the scabs on my fingers.
• Wander down some cold back alley in an unknown country, at three in the morning (without my cardigan, and in heels).
• Stare without blinking.
• Love loneliness, or at least offer it a whisky when it comes knocking on my door in the rain.
• Stay with struggle.
• Have the grace to fall.
• Have bruised knees and no one to phone at two in the morning.
• Watch. Listen.
• Stop loving the sound of my own voice.
• Let go of being clever or the desire to be clever, or to be seen as clever.
• Sever myself from ideas of success.
• Feed beauty. Track wonder. Breath out fire. Dream.
• Die not with a thorny blue rose in my palm but with a ridiculous happy look on my face, and odd socks.
• Love.
• Take delight.
• Run rings around inadequacy. Remember the blood in my veins even as I wake up with a hangover.
• Embrace boredom.
• Run out of teabags three lines before the end of the paragraph and laugh whilst cursing.
• Freefall.
• Chill the fuck out
• (it will never be what I want it to be.)
• Accept/ever accept.
• It is solace, so give solace.
• It is generous - so give the shirt off my back.
• Take those risks, the ones that matter.
• Eschew judgment, especially my own viperous tongue.
• Kiss fear on the mouth or at least one cheek.
• Never give up.
• Carry on swimming out until the yellow buoy is under my hand.

Rear Window

Well, I can't even call this morning. It's lunchtime, and I've been at my computer for almost three hours. I've reached stalemate with the story I'm writing, which always happens around about now. If I'm not careful, I'll be propelled into a round of meaningless www.nonsense, and then it'll be five o clock before I've blinked an eye.

     
And I need to be at least halfway through my story by the time it's dark tonight, and the man with the black hair in the posh flat across the road has closed his laptop lid on the day and left the room.

I'm somewhat annoyed with him right now. From time to time I waft about my flat, eat lunch, sift through papers and not once does he look up and acknowledge me. He's been working at that window for a year now, and nothing stirs him from his work. I figured I'd strip naked in front of my window to see what happens, but I've worked out he's probably gay (he lives with a man who irons a lot... flimsy evidence, I know).

     
I feel comforted when my man across the road is at his laptop working. Sometimes he talks on the phone, but mainly, he perches over it, the screen lighting up his glasses. I'd like to think that perhaps he's writing a novel or a screenplay (hey, we could swap stories!), or is on his way to becoming the next Danny Boyle (he looks a bit like him).

     
But I strongly suspect it's work of a rather more mundane nature he's doing. After all, he doesn't strut and fret his living room, hand to forehead, looking like inspiration's just about to strike. He doesn't toss page after page to the floor, lips quivering with rage. No, he sits and he types and he stares at his screen. He doesn't even drink tea or coffee (I never see a mug beside him).

     
Actually, he probably IS a writer. Because that's what proper writers do nowadays. In olden times, it was okay to spend your life speeded up to the eyeballs, reeling about your flat (if you had a flat), trying to find your way to your cup of coffee through the heaps of papers mounting up on the threadbare carpet, waiting for mystical vision (or the drugs) to kick in. Nowadays, it's work, work, work; tap tap tapping into your Imac, sticking to routines, deadlines, structuring your sentences. No one roll of paper and a line of charlie for my man across the road. He's got it sussed. Hard work and a clear head gets you there.

     
I'm going to make another cuppa. Wait for the hot water to turn to brown syrup in my teapot. That's how I'll get through today. Mine isn't always a healthy life, I have to admit, and I don't think I can even excuse it by calling myself a writer yet without sounding hopelessly pompous.

    
 But are we so different: him with his Habitat lampshade, me in my stupid furry slippers? I bet he's too posh even for Waitrose, and that he never cries at Eastenders. But if my man over the road can do it, then so can I, even if he never lifts his head and look at me. What would I do if he did? Would I really wave? Hold up a piece of A4 with a crayoned thumb upturned on it? Show him my new hula-hooping trick? Maybe. Or perhaps I'd scuttle off to the kitchen, caught out, and throw peas at my bin for a while.

     
It's a funny thing, this writing business, and we all need allies, don't we? Even if they are too preoccupied or shortsighted to acknowledge our genius, or just our fantastic leopard skin dressing gown.

Oxford

I went to Oxford this weekend. That means spires, cobbled lanes, book shops and lots of clever sods cycling about in loafers and mismatched shirts. It's elegant, rich with history and tradition. And packed with posh people.

I felt clever just meandering through its streets, as though the brilliance of the sunlight bouncing off church windows was enough for my IQ to soar by at least 20 percent. It's a timeless place, which might explain why some of its students haven't arrived into the 21st century yet, seemingly lodged in a moment somewhere between 1985 and 1998. Voluptuous 18-year-old girls toss their long locks and strut, minx-like, in ruffled skirts and white heels. Every one of them is pretty, with the kind of glowing skin one only gets when one's daddy earns over 300k a year. Perfect and shiny, they pout with red-lipped confidence.

These are the kind of girls I loathed at school. They had horses and upturned collars and got into The Smiths in 6th Form because they'd finally clicked on, five years too late, that Morrissey was actually cool. In turn, I got ousted from the Duke of Edinborough Award project (selling hairbands) for having a 'bad' attitude, and never got to read my favorite Carol Ann Duffy poem in the poetry show because it was about the Holocaust and had the word 'piss' in it. Ah, poor me. I championed the cause of the fully-fledged, chip-on-shouldered outsider and never went to the balls or rowing or indeed any of the things on offer at my rather posh school. I took Ecstasy instead.

It's funny how old memories re-surface. Oxford resembles a much larger version of my school. But what I find walking thorough its streets is not what I found at school. The tradition, the rules, the ethos suffocated me, left me feeling a fraud.

We stayed in a suitably unglamorous B&B, to contrast with the elegance of the city. Three facts about Bronte Guesthouse - it won the National Hanging Basket Of The Year Award in 1995, it had a sock (yes, a fucking sock) hanging from the bedroom ceiling, and there was a particularly disagreeable something or other lurking under the bed.

I didn't want to leave. I wanted to move to Oxford and do an MA in Creative Writing and grow my hair again and start wearing flouncy skirts and saying 'Yah' a lot. Actually, that last bit isn't true. However, for all my reactions to the upper-class privilege that's so present in a place like Oxford, making it cloistered, perhaps, from reality, there's a part of me that adores it. It's more than just because it's pretty. It has serious, weighty myth.

I got back and found on the internet that the deadline for applying to the Oxford MA had gone. Damn. I could just see me in that black cape.