Hazel McHaffie

University of London

Why do we do it?

Wahey! and Yippee! Roll of drums, if you please, maestro. My tenth novel is finished! Just awaiting a few more fancy frills and computing complexities from the technical team and then we should have blast off. Feels fantastic. But also makes me realise how much angst goes on behind the scenes that readers are completely unaware of. These moments of sheer exhilaration are few and far between.

Once upon a time I had a real classifiable career. Nurse. Midwife. University researcher. Tick-box choices. Job descriptions, targets, performance indicators. Bona fide qualifications, tangible credentials. Now I’m a writer, and boy, let me tell you, this is no easy option. Goalposts? What goalposts? Documented procedures, organisational structure, monthly pay packet, career pathway … hello?

A few examples will suffice.

Pitiful pay
A study conducted at the University of London a couple of years ago found that a typical professional writer earns just £11,000 annually; less than the minimum wage. Worse – 17% of all writers earn next to nothing even in that honeymoon period shortly after having their work published.
A few weeks ago a writer who’d won a major Costa award went public on his reality: even being publicly acclaimed – in the papers even! – and having a big publisher on his side, he can’t earn enough to pay his mortgage. He has to go back to a paid job outside the literary world.

Sitting targets for vitriol
In most jobs if someone doesn’t like what you do, negative comments are confined to your place of work, and relatively private. Not so for us. Our work is out there for any Tom, Dick or Harriet – with or without literary credentials – to see. And even though reading is a subjective experience, they can slate our writing publicly. And believe me, critics can be brutal! The most recent example I’ve seen is Dominic Cavendish‘s condemnation of a certain play, Sex with Strangers, as ‘two tedious hours and punctuated by excruciating simulated raunch. It’s fit only for theatrical masochists. I’d settle for a cup of tea and watching Question Time any day‘. Ouch. And there’s nothing the poor playwright can do to erase that comment.

Crippling self doubt
In most jobs, once you’re trained and experienced, you have confidence that you can perform the tasks your post requires of you. Writing’s different. There are no A + B + C  formulae, no tried and tested procedures, to be followed slavishly towards guaranteed success. No set shift hours, no line management, none of the usual structure governing paid employment. No resting on your laurels. Every book is uniquely different, presenting new challenges, new unknowns, new misgivings. Small wonder then that self-doubt is a recognised hazard even for established authors. As best-selling horror and suspense writer Steven King says: ‘Writing fiction, especially a long work of fiction can be a difficult, lonely job; it’s like crossing the Atlantic Ocean in a bathtub. There’s plenty of opportunity for self-doubt.’

Health risks
It’s a sedentary, solitary occupation. Eye strain, tension headaches, backache, weight gain, repetitive strain injury … to name but a few of the risks. Depression, isolation and identity crises … And no occupational health department to bail us out. No watchful boss to ease the load in a crisis. No sick pay. No occupational Bupa subscription.

I could go on – the stress of living parallel lives (real and fictional), the burden of being deep inside the skin of troubled characters, the humiliation of finding an audience of two at a library event … But I won’t!

So why on earth do we do it? Compulsion, that’s why. An irresistible drive. I personally feel quite bereft if I’m unable to write for any reason.

And such is my desire to reach out and touch lives that, in spite of all the risks and negatives, I’m actually going to be giving away my tenth novel, Listen, as a FREE download. It feels wonderfully liberating. No need for any humphs and galumphs and caveats about the price. Or anxious scanning of the sales figures. Or worries about accessibility. Or … anything! It’s yours – anybody’s – for nothing.

This one has been the most fun to write of any of my books, the quickest, the least personally demanding. I’ve had some super feedback from my cohort of critical readers too. What a thrill it is to hear … I couldn’t put it down … It really made me think … It made me get back in touch with my Mum … It made me cry … I know [one of the characters] … Not many jobs bring that kind of reward now, do they?

Oh yes, there may be many negative aspects to my chosen occupation, but I’m already plotting my eleventh novel!

, , , , , , , , ,