The Writers’ Space
“Sadly, the writing life doesn’t always come equipped with an idyllic woodland cabin in which to pen profound prose. For all the authors profiled below, they figured out how to be massively effective no matter the setting. They did the work.” We love this quote from a recent piece profiling the writing spaces of 100+ great writers on The Writing Cooperative by Jared A. Brock.
In this vein, we decided to revisit one of our earliest blog topics – where were some of the stories in our current issue written? The writers’ space is often far over-idealised. In this Issue 12 series we asked three writers to share their own spaces with us. What works for them and why. After all, that what it’s about; work. Not a Pinterest or Instagram-worthy spot in which you imagine you might write – one day. These three writers wrote great pieces in these spots, submitted them. They did the work. Let’s take a look!
First up is the talented Carly Thomas whose story ‘Dirt’ appears in our current issue. Carly’s story is based on the truth: she owns Nancy’s crazy old house in rural Manawatu, which she inhabits with her three kids, husband and three horses.
A Space of My Own
I am very lucky. I have my very own room just for writing in. When I put down words, I am surrounded by them; there are books on every wall and I hear whispers from the past. This room is old – my study was built in 1884 and I am not the first to have loved it.
The walls are panelled with rimu, the bora plays dot to dot on my desk and I even have a fireplace that spits warmth from logs split small. It is a truly incredible place to be; a wonderful space to create.
And I know I am lucky, because I haven’t always been. My writing spaces before include: the inside of a wardrobe (as a kid); on the top bunk of a noisy flat in Lyttelton; on the underground commuting to a shitty job in London; and then, when I became a mum, wherever my kids were not.
I write stories that are true for a living and that happens in an office where the light has no ebb and the air has no flow. This room is for the not-true, the fanciful and the lyrical. And it’s a place to hide my posh chocolates from the kids.
I am very thankful. I now have a room that is just for this; putting one letter in front of the other, making space for the next word and catching them in my backlit screen as they fall. It is a room for dreaming and retreating. It gives the stories in my head a place to breathe.
The carpet is from the fifties and my books are from every era imaginable – Maurice Gee sits next to Agatha Christie and Michael Chabon elbows Sylvia Plath. There are old maps on the walls, there are lists that remind me that if I sit idle they will rebel into long form, and there is tea, always tea.
What is outside this room matters too. There is a fuchsia bush that threatens to overtake me at any moment; it is Jurassically proportioned and to see beyond it I have to stand, which I do often because I’m not very good at sitting. I check the kids are still alive, pat a horse, a dog, and a cat, all with their differing elevations of comfort. I often find that I write about this house, with its vast, voluptuous garden. I write about the people who might have been, could still be and probably were not.
And then I make another cup of tea and scoff a soft centred chocolate while no-one is looking. And I begin.
Want to join our Headland family? Submit your work to us for Issue 13! You’ve got until 1 June to share your work (wherever you’ve written it) with us. Get writing, and submitting.
Stay tuned for the next instalment of this series next week.