Carving Out the Time to Write – and to Read

On Christmas Eve, we explored the theory that 10,000 hours of quality practice can make someone an expert in a given field.

It’s a concept I’m still thinking about five weeks on, so I’ve been conducting a couple of unscientific experiments about increasing the time available for writing – and indeed reading, which is almost as important for an author.

As many mornings as possible, I go for a half-hour walk around the local park. I’m also a frequent radio listener, so I often take my pocket-sized DAB receiver with me. I use it when I walk other places, and occasionally at work when it’s quiet.

For five weeks, I’ve replaced that radio listening with educational podcasts; the subjects covered have not been writing-related, as I’m already familar with that.

Similary, I also have two 15-minute breaks per day. To increase my reading time, I’ve started setting my watch to beep after ten minutes, during which time I concentrate on my book. When time is up, I then finish at the next convenient break, usually the end of the current paragraph or page.

By doing this consistently, I’ve now clocked up an estimated 100 hours of learning in just over a month: that’s already one percent of the 10,000 aformentioned hours.

If I were a beginner writer, I could replace the walks with audiobooks, and replace the reading with writing, and I’d be on my way to becoming better at what I enjoy. There is usually time to be carved out if you look for it.

Adapting to Film, Adapting to Change

On Saturday, I went to see a performance of Benidorm at the Edinburgh Playhouse, based upon the ITV2 comedy of the same name. It even featured some of the actors.

The TV series is already rather theatrical in nature, like a Carry On film with a more modern attitude. As such, it transferred very well to the stage.

Sometimes, though, adapting a story from one medium into another is a hit-or-miss affair.

Those I enjoyed include the 2004 film Layer Cake, then I discovered it’s so closely based on the novel by J. J. Connolly that it even contains direct quotes. Similarly, The Thirty-Nine Steps worked as a mock radio adaptation performed on stage, even though the plot was stripped down to the bare essentials.

Yet I was disappointed by the film version of one of my favourite books, Starter For Ten, perhaps because it deviates from the first-person point of view. And the 2016 Dad’s Army movie opened to lacklustre reviews, with The Guardian asking why we needed a film version of a much-loved TV series.

One classic case of an author disowning a film version is Roald Dahl’s reaction to Willy Wonka and the Chocolate Factory. He disliked the plot changes and musical numbers so much that no other screenplays of his work were authorised until after his death.

A few years ago, I posed a question to Irvine Welsh at a book signing about his thoughts on adaptation, considering how many of his novels have been on the big screen. He replied that he considered film to be a different medium and he accepted that changes sometimes had to be made.

‘And,’ he concluded, ‘it never hurts book sales.’

It’s Playback Time

Last week, I talked about how I hadn’t been reading very much. By contrast, I’ve had a lot of time to read over the last seven days, thanks to a six-hour train journey to Stockport and the same coming back.

Photo of a recording studio control room durin...
Photo of a recording studio control room during recording, viewing a trumpet part performance in the studio room, for Witches’ Heart of Stone album – http://www.witchesband.com/ (Photo credit: Wikipedia)

Today’s entry isn’t just about reading, but reading out loud.

A friend mentioned last week that he didn’t like hearing back recordings of his own voice. I sometimes forget that most people feel the same way. I’ve long been accustomed to hearing mine through volunteering at student, community and hospital radio stations. I’d often listen back to shows and figure out how I could improve them.

I don’t recall exactly when I stopped paying attention to how I sound to myself, but it’s a useful skill to develop. When I play back my work, I can focus on the words, the timing and the structure without distraction.

I sometimes say on this blog that reading your own work out loud to nobody is a key step to refining it. On top of that, the ability to listen back can be just as useful.

A good example is The Purple Spotlights EP, which I released almost exactly two years ago. When I listen to it now, I can hear that I focus too much on the technical quality of the recording and not enough on the performance. When I release my next EP, I’ll aim to correct that balance.