The closing keynote from @davidjalmond at @The_UKLA Writing for Pleasure conference was just so wonderful. I feel like i'm going to explode with inspiration and excitement. I was too hooked to tweet at the time but some key thoughts that stood out to me...

On ideas: 'Stories are everywhere, they are ordinary human things that happen to each one of us. Within the boringness are the most extraordinary tales.' Also, 'We are an imaginative species, even deciding what you are having for dinner is an act of imagination.'
On the writing mind: 'The terrifying thing about a book is that it doesn't look like a mind. They look at the book and think it's perfect but they don't see what comes before [the notebooks]. People think writers must have a special type of mind but we all have the same minds.'
On bringing writing out of the head: 'Stationery, notebooks and pencil cases make writing physical. Thinking through a problem in a story can make it harder. Doodling and playing [in a notebook] can help to release the imagination.'
'It's important to remember how close the written word is to the voice. If you can speak a sentence without stumbling it's probably okay, if you can sing it without stumbling it's probably really good. It accentuates that words are not just beautiful black marks, they are sounds'
On what makes children's writers children's writers: 'We don't go to children to say look what I've done and how clever I am, we go to them and say look what I've done, you could do it too.'
On children not needing to write in a 'literary voice' and on owning their authentic voices: 'The voice is in their bones, their blood, their experiences, their families, that is their language.'
On discovering your story and allowing unknowns: 'It's important to write with a sense of uncertainty. You have to work in the space between security and insecurity. Not knowing is really important. That's what the world is like, that's what we are like, mysteries.'
On not overthinking writing: 'For anybody to write anything, you have to get out of the way to let the language and story to do itself. Trust the language, trust the story, trust your imagination.'
On keeping up motivation when writing seems tough: 'When I get stuck, I put bigger spaces between the lines so I fill the pages faster and feel like the story is rolling along.'
On not hovering over children when writing: 'We demand of children that they show us everything and allow us to comment on it. It's important we allow children to be confidential and secretive about what they are writing.'

More from Writing

I want to talk about how western editors and readers often mistake protags written by BIPOC as "inactive protagonists." It's too common an issue that's happened to every BIPOC author I know.


Often, our protags are just trying to survive overwhelming odds. Survival is an active choice, you know. Survival is a story. Choosing to be strong in the face of the world ending, even if you can't blast a wall down to do it, is a choice.

It's how we live these days.

Western editors, readers, and writers are too married to the three-act structure, to the type of storytelling that is driven by conflict, to that go-getter individualism. Please read more widely out of your comfort zone. A lot of great non-western stories do not hinge on these.

Sometimes I wonder if you're all so hopped up on the conflict-driven story because that's exactly how your colonizer ancestors dealt with people different from them. Oops, I said it, sorry not sorry. Yes, even this mindset has roots in colonialism, deal with it.

If you want examples of non-conflict-driven storytelling google the following: kishoutenketsu, johakyu, daisy chain storytelling/wheel spoke storytelling. There was another one whose name I forgot but I will tweet it when I recall it.

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