Debunking the creative life

Mostly when I’m online, I talk about my creative life and my Druidry – those are the bits of what I do that I find most interesting. However, it may give the impression that I’m living the dream – full time Druid and author. I’m not.

There was a point in my life where I spent most of my time writing, teaching, leading meditation groups, running rituals and so forth. I didn’t feel able to ask for payment for the Druid work, because I was hearing a lot at the time about how it was supposed to be service. I didn’t make a vast amount from the writing. Sometimes I wrote pub quizzes for money. I had financial support from the person I was then living with, but little money of my own and no economic freedom.

Most creative people, and most professional Pagans are in a similar situation. Either the money comes from somewhere else – an inheritance, a partner or a pension, or there is a second job, or there is abject poverty. Sometimes there’s a second job and abject poverty. The lack of money and/or the not being full time is not a measure of failure. It is nigh on impossible at the moment to make a living as a creative person.

For example, it takes Tom a day to draw a page of Hopeless Maine. It takes me some hours to colour it. Then it has to be scanned, tidied up, and the lettering done. It is a full time job plus a bit. To get a graphic novel out once a year, that’s six months of solid work for Tom and part time work for me. Advances are rare, and you’re more likely to get them on handing in finished work ahead of publication than when you start drawing or writing. That’s six months with no income, please note.

Now, work out how much money you need to live on. The cover price of the book is not the money the creator gets for a book, even if they’ve self published. Half of the cover price likely goes to whoever was selling it. From the remaining half, the print costs have to be paid, plus the publisher wants to make some money. Perhaps the creator gets £1 a copy. That’s optimistic. So, you can do the maths and work out how many books you’d have to sell in a year to have what you consider a decent standard of living. Note at this point that the average book sells about 3000 copies in its entire life.

Most of us work other jobs, because that’s the only way it’s possible to create. And if we don’t, we aren’t sat in our nice libraries pondering the world – I have friends who write at a rate of about a novel a month, and believe me, that’s intense. I have friends who spend their weekends taking their work to events and markets – while doing the creative work in the week. That’s a way of making ends meet that allows you no time off. That’s no kind of easy option. To sell anything, you have to spend time promoting it. That also takes time and energy. It’s pretty full on.

Creative people and professional Pagans alike won’t necessarily tell you what their private financial situation is. For some reason, many people assume that the default answer is full time and well off. The reality is much more likely to be part time and considering it a win if they can make ends meet.

I work other jobs. I have always worked other jobs, and I expect I always will. At the moment I’m working six small part time jobs. And because of that, we can afford to have Tom full time on Hopeless Maine, and we can keep making comics. This is normal.

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Not keeping up appearances

One of the consequences of doing anything well, is that it tends to look effortless. If you’re doing something professionally, it is of course desirable to look as good as you can while doing it. Success is attractive. Relaxed capability is attractive. You want people looking at the elegant swan you’ve put into the world, not all the frantic paddling below the surface required to keep it there.

The problem with this – and I see it a lot – is that a significant number of people will assume it is indeed, effortless for you to do what you do. If they can’t see how much time and effort went into getting you to the point whereby it is indeed easy, they’ll use words like ‘gifted’ and ‘talented’ and maybe ‘lucky’. This can have consequences. It can leave other people assuming that they should be that good for no effort. Or they may assume that because they aren’t instantly that good, there’s no point even trying. Neither idea is useful.

The general wisdom is that to master something takes 10,000 hours of work. The effortless performance, the relaxed artistic flourish…  are possible because of the many hours of study and practice underpinning them. There’s also a lot of planning in the mix. Films have a nasty habit of showing us creators producing amazing work in a single frenzied round. Most of us don’t work that way. Paintings are planned and sketched for. Stories and pieces of music are built up in stages. And so on.

The same is often true of other things. Cooking. Gardening. Self employment. The effortless coasting towards success is often just a superficial appearance. People who get results usually have to work for them. If they can do it easily now, it’s because they already put in the work. Right now, Tom and I are starting to enjoy the benefits of the Hopeless Maine project – in terms of money, recognition, opportunities and whatnot. We’ve worked together on this for about a decade, Tom’s been on it longer. As one if my publishers used to say ‘it takes years of work to become an overnight success.’

We like the stories of people who come out of nowhere to achieve wild, unexpected success. We don’t tell stories about years of quietly chipping away at it, slowly building a following, and having modest success, but that’s often how it goes. We also don’t tell stories about people being able to invest in their own projects because their families support them and cover their bills, help them make time and give them space. It’s easier to be creative if you’ve already got money – are retired, or have a supportive spouse. This kind of information tends to vanish from the story of how the successful individual got to where they are.

It’s always tempting to create stories that make us look as good as possible. However, I think it’s ultimately harmful to create the impression of great talent welling up to achieve great things, and not mentioning the levels of work and dedication required. I also think its problematic to let people  assume you’re making it as a creator when you aren’t.

At the moment, my household is getting by on the money I make as a book publicist. We get top-ups from the creative side, which is always cheering. It looks feasible that in the next few years, the Hopeless Maine project will start laying golden eggs for us. This is because we’ve made a choice to invest time in the creative stuff rather than Tom mostly working for other people. If we make this work, it will be because of the massive amount of time he’s invested, and because I’ve been able to pay the bills. I intend to keep talking about this because there are myths I want to dispel.

Creative Community

I have never liked the image of creator as lone genius, up in their ivory tower, making Art away from the influence of nasty commercialism, nasty popularity and actual people. For me, this is an image that goes with elitism, wilful obscurity, pricing most people out of the market and creative irrelevance. I’m equally not a fan of disposable, industrialised pop culture where people make pretty much the same thing over and over for it to be consumed by other people who don’t much care about it.

There are of course other ways.

At the moment, I am blessed with a creative community. There are people whose work I am involved with to varying degrees, and who are involved with my work. People who pass me their first drafts, and who will read mine. People I trade reviews with. People I go to poetry nights with. People I can learn from, and be influenced by and test myself against. People who inspire me and who sometimes, to my great excitement, are inspired by me.

I find it always helps me to know who I am creating for. Much of my fiction work is written with a few specific individuals in mind. I can’t write for everyone; that makes no sense to me. Writing purely for myself feels too indulgent and narcissistic.

Being part of a creative community means finding out what other people are interested in, reading, looking at, watching, listening to. I may not be much engaged with mainstream entertainment, but I am engaged with things that other people in turn find engaging.

Creative community means support for what I do, and people I want to see thrive. It’s easier to get your books in front of people when someone else can say they are worth reading, simply. It’s good not to feel alone as a creator, and community helps offset the crushing qualities of the industry.

There can be a downside to all this. A small and inward-looking community can become a bubble of dysfunction. It can give people illusions of importance that stop them from doing things that would help them. I’ve seen it happen several times in different contexts. Creative cliques breed arrogance and obliviousness. The solution to this is to be part of an extended network that maybe has some tighter knit groups within it. There’s no real gain in finding a small pond in which to be a large fish.

There’s a romance to the idea of the lone creator that some creators have played up as part of their marketing strategy. The truth tends to be more complex. Stand-out famous creative people tend, when you look more closely at their lives, to have people around them. Wordsworth, for all his claiming to wander lonely as a cloud was actually out on a walk with his sister, and used her diary account of the day to help him write the daffodils poem. The myth of Solitary Great Men abounds, but in creative community we can find natural, healthy antidotes to this where we can all be excellent people in relation to each other.

Glass Herons and donations

A glass heron is a creature native to Hopeless Maine. Like most of the resident life forms, they’re a bit… odd.

There’s a glass heron front right in the image above and a second at the back and to the left.

Some time ago, in a fit of enthusiasm, I added a glass heron level over at Patreon. All of my Patreon levels are based on Hopeless Maine creatures, so at $1 there’s small things in bottles, and $5 is the splendid Dustcat level. They are about the size of a cat. I’m writing the dustcats a book about dustcats. I’m not the best when it comes to self promotion, so I put up the glass heron (size of a heron, give or take) and didn’t really spend much time telling people it was there. At glass heron level, you get things in the post – at least four times a year. Tom and I between us generate a lot of small things that can be posted, like cards, and dustcat books, little originals, handwritten things.

This week I was very excited to find that my first glass heron had sauntered in. There is a lot of validation for me in people liking what I do enough that they want to throw money at me. Not least because I appreciate that most of us don’t have a lot of spare cash to chuck about, so the decision to support creativity is a big deal.

Money is, simply, a great enabler. I’m living within my means, which are small. Extra cash means being able to afford research books, the odd course, getting to things that inspire me. Doing events as a creator costs money and you don’t always make it back – I’ve lost money on two events in the last year. Doing a print run for something like a dustcat book costs money. It’s a lot less stressful doing this sort of thing when you aren’t also obliged to carefully count the pennies. I’ve got very talented friends who should be getting their work out there and can’t afford to invest in it. I want to be able to help them with printing costs.

I like the gift economy angle with Patreon. I put free things into the world – here, on www.hopelessvendetta.wordpress.com, on my youtube channel, my Sage Woman blog column. I write regularly for Pagan Dawn and for the PF international. No one pays me for these things because there’s no money with which to pay.  Pagan magazine publishing does not make anyone rich. I know what it’s like to have no budget for fun stuff, and what a difference free, online content makes in that scenario. Now that I can afford to, I do buy books and music, and tickets for gigs, I support the creative economy as best I can. In turn, people who like what I do and who can afford to support me are doing so, and it really helps me make ends meet and feel like it’s worth carrying on.

Money of course is not the only thing to have that effect. Likes, shares, reblogs, comments, sharing my stuff on social media – these things cost nothing and they have a massive impact on me from one day to the next. At my lowest points when I’ve not known how to keep going in the desperately difficult economic environment of ‘creative industry’ it’s been this blog, the support here and the comments that have kept me moving and saved me from despair. That’s gift economy in action, too.

So, here’s a question. I’ve been wondering about putting a donate button of some sort on the blog. I appreciate that the commitment to regular Patreon funding is going to be too much for many people. A donate button is more like being able to throw small change in the pot when you have it. Would that be a thing? If you think you might like to chuck a dollar in a virtual hat now and then, can you let me know? No commitment required, just I want a sense of how people feel about this. If everyone following this blog chucked a dollar in the hat once a year, it would change my life radically. I’m also at the kind of level where small sums of money make a difference. I’ve resisted the idea of a donate button for a long time because I want people to feel comfortable about having things for free. I choose to give this stuff away, and I hate it when people tell me things are free and then demand a five pound donation… so I’m not doing that. Thoughts?

Into the Gallery

Those of you who have been here for a little while may have already seen the blog on The Hopeless Maine Arts and Crafts Movement and Fluffy Doom. Tom and I have been working for months now, alongside all the regular work we do, getting ready for a Hopeless Maine show as part of Stroud Book Festival. We’re setting up on Monday, Lansdown gallery will be open Tuesday through to Sunday, and on Saturday night we’re in Lansdown Hall with a show in the evening as well.

The canny amongst you will have noticed that this means a seven day working week with a late night near the end of it. There was so much to do this week, that although I can take some of this weekend off, I’m going to have to spend some of Sunday packing and sorting ahead of the setup. I’ve had a lot of extra work to do trying to get ahead on all the stuff I normally do in a week, and even so I’ll have to get up at seven and put in two hours of normal work before I hit the gallery each day.

This last week has been full of anxiety, stress, triggering, panic attacks and waking up in the wee small hours and being sleep deprived. I took yesterday afternoon off and walked, and it has cleared my head a bit, but by no stretch of the imagination am I in good shape going into this.

It’s going to be tough. I hope it’s going to be worth it. By Tuesday of this week, no tickets had been sold for the show, and other book festival events were in the same boat. Partly it’s because people buy tickets later at the moment. I assume it’s about the weather, and wanting to be sure you can go before you commit. Less money to throw around must be a factor. Stroud is also prone to people rolling up about five minutes after the thing started and buying a ticket on the door. But still, it’s a stressful situation to be in.

Also of course, like every promoter, every event, every publisher and music label and thing of that ilk… all the advance promotion went on the big names who least needed the advanced promotion and there is no budget for marketing. I never cease to be amazed by the number of activities that have a budget, but consider promotion to either be a luxury extra or not worth paying for. This approach becomes a self fulfilling prophecy, in which the not so famous are proved not to be worth it, so either get even less space, or even less promotion next time. It’s happening across the board in creative industries.

I hope, in a small way, to buck the trend, but it means having to do a lot of promotion work alongside actually putting together the gallery show and the evening show. That’s also increasingly the size of it for anyone not famous enough that their name alone won’t sell whatever they were doing. Most creative people now have to do most of the work involved in selling whatever it is that they do. Where big companies are involved, profits go to shareholders, while the creator who is both creating and doing all the promotion work, is the last person to get paid.

If you’re in striking distance and want to come along, here’s the webpage for the evening event https://stroudbookfestival.org.uk/event/tom-nim-brown/  – you can just turn up to the gallery.

A gathering of tribes

It’s interesting to think about where we fit and belong, the communities we call home and the relationships we have with them. I started pondering this a couple of days ago, and making notes, and the scale of it surprised me.

I have my blood family and the people I share history with – people who have lived in the same places, been through the same schools.

There’s the folk community – full of family ties and personal history. People I have played music with, people whose songs I sing, people I listen to. Also there’s the tribe that gathers for Genevieve Tudor’s folk program, and that’s an important weekly moment of belonging. I hope to put dancing back on that list.

I identify with the Pagan community, and with Druidry, and within that I belong a whole host of places – OBOD, The Druid Network, Druid Camp, Contemplative Druidry, Auroch grove, and through the bard side, it overlaps with the folk, and through my writing with the next lot…

Authors, book people, bloggers, readers, Moon Books, JHP fiction, other publishers. People I read and admire, storytellers, the local writing community and through those connections I branch out into…

Wider creative connections with artists, musicians, local creative folk, organisers of things, and I branch out into Steampunk, Comics, and geekery in general.

My Paganism also directs me to green activism, so that’s The Green Party, which is part of my local tribe, as is my engaging a bit with the Transition Network and other local, green, sustainable alternative outfits. People I know because they are local.

Eventually, I also managed to recognise that there are people who are in my life simply because they like what I do. I have a number of important connections based entirely on that.

Inevitably it’s the people who fit in more than one of those circles that I interact with most, because time is also a factor in all of this, and the more I share, the more time I tend to spend with someone. There are people I see once a year, or less, and there are people I pine for if I have to go more than a week, and I can manage an afternoon without Tom, but that’s my limit.

Of those people who I interact with in numerous ways, there are a few with whom I share creativity – either working together, or working alongside, swapping ideas and inspiration. This is a small tribe, and these relationships I pay a lot of attention to. They are the most defining ones in my life. It’s not any kind of coincidence that I married my artist… I am most emotionally invested in people with whom I can share creativity.

Beyond that, and overlapping with wider circles in all kinds of ways, is the tiny tribe I walk with. My most essential tribe.

Reclaiming my bloke

For the last year, this young lady has given me no small amount of trouble. When Tom wasn’t with her, he was mostly thinking about her, and that’s tough in any relationship. I knew about her of course – she was getting ten and twelve hours a day of his time, often seven days a week, I’d have to have been pretty oblivious not to notice her impact on our lives.

It’s the biggest project Tom’s ever had – a 200 page graphic novel for Inklit – a Penguin imprint. He gave it his all, because he always throws everything he has at doing projects anyway, and this being the biggest and highest profile one to date, really focused his attention.

It did not make for an easy year. Tom and I came together through a publishing house, many years ago. We were collaborating on www.hopelessmaine.com long before we were romantically involved, and our creative partnership was for years a defining part of our relationship. Only, last year, he was mostly working with someone else. I occasionally got to help out doing large areas of simple shading, but that was about it for me – I provided domestic support, and what other support I could, but I wasn’t part of the project that had taken over our lives. I found that hard.

It’s also a challenge in any relationship when one party shifts up a gear to become way more successful, and the other party does not. As the person not making huge strides forward, it was hard not to feel peripheral, and left behind at times. I’ve made my peace with that – there was nothing else to do. I’ve watched resentment of success eat other people up, and I don’t want to be like that.

I pick my collaborators carefully. Always did. I’ve probably made more careful and considered choices around investing in co-creators than ever I have in romantic relationships. In matters of the heart, I’ve been swept off my feet into poor choices more than once. I’d assumed that the focus and intensity of a creative collaboration would be too much alongside also living with someone, but apparently not. And, having spent this last year with my marriage stripped largely of its creative collaboration aspect, it is immensely cheering to find that we still get on well and can be happy in each other.

It’s a form of challenge any relationship can face – when the thing that brought you together, or defined you, is no longer part of the mix. For couples defined by their parenting, the growing up of offspring can cause real difficulties. Then you get to find out how many facets your relationship has, and whether there’s enough depth and breadth to survive what’s missing.

This last year, we’ve learned that while working together makes us both very happy, we can survive long stretches of being flat out on working with others. It’s been an interesting experience, and by ‘interesting’ I mostly mean that I hope we won’t do anything quite like that again! At least nothing quite that long and involved.

More about the aforementioned book here.

A novel year

It’s November, and around the world, vast numbers of people will set about spending it trying to write a novel. I won’t be one of them. I started a novel in November last year – not because of NaNoWriMo, but because I’d been pondering and planning for a while, and felt ready to start. It’s nearly a year on and I haven’t finished writing the first draft. I’ve written a lot, I like where it’s going and I could wish it had got beyond this stage by now, but at the same time, I’m not enormously troubled. It’s been a busy year.

In the same time frame, I saw a co-written novel come out (Letters Between Gentlemen) and started work on the sequel. I wrote ten new short stories and recorded them for www.nerdbong.com ‘s Splendiferous Stories for Slumber. Non-fiction title ‘When a Pagan Prays’ came out, and I’ve nearly written my next non-fic. I wrote a poetry collection, although am not quite sure what I’m doing with it, and a story that won me a place in Stroud Short Story competition. On top of this, I was a small part of the huge team effort that got Molly Scott Cato elected as a Member of the European Parliament, and took on managing two blogs for John Hunt Publishing. I spent a month working as a studio assistant. I’ve gone back to editing as well – the day jobs are many.

Alongside that there’s the more personal labours around being wife to a massively talented artist whose epic contract this year has meant he really needed me to keep the home front running smoothly. I’m also mother to a budding maths genius, with his rugby generated laundry and need for interesting and educational out of school options.

Along the way I’ve had several bouts of block with regards to the novel, a crisis over my creative work, and some serious run ins with depression. These are not unusual afflictions for authors, either. I’ve had patches where I needed to step away from the book to reflect on the structure, characters, and direction. I would not have had a clue how to finish it without some personal experiences this autumn that have made me realise what was missing, and what, therefore, will happen next.

It takes a lot of material to write a rich and engaging novel of decent length. I read all the time, I study people, absorb ideas and influences, and sometimes that radically impacts on what I was doing. What I set out to write is seldom what I end up with because I learn so much on the way. If I tried to write a draft in a month, I would lose all that space for learning and reflection. I would lose the real life events that feed into what I write. I know there’s a logic that says get something down and then hone it, but that doesn’t work for me. I need to like what I’ve written. It has to be good enough to justify the time and energy of a redraft. If I don’t give it my best the first time around, I won’t feel inspired to stick with it.

I notice that I do my best work when it can go at its own pace, when I can have a range of creative projects on the go – music and crafting, kitchen projects, learning things – at the same time. I write better when I have a good diet of creative and inspiring input, when I have time to read, walk, go to gigs, dance, daydream. To write a book in a month, and honour the day jobs, and care for my family, I’d have to write about 2000 words of fiction most days. Other things would have to give. What I’ve learned this last year is that when I give up that balance of things to focus on whatever is supposedly more important, my creative output goes down, and so does the quality.

We’re all different in terms of how we think, feel and create. If running flat out for a month at the expense of everything else works for you – fine. But if not, there are other ways. There are always other ways.

Something cyclical, something ceramic

It’s an odd thought that this time a week ago, Andrew Wood was nothing more than a name on a rather unusual job-poster, and I knew nothing whatsoever about fine-art ceramics. Both have rather taken over my time and attention since then. I have a knack for finding opportunities to get entirely out of my depth in short time frames, so that in itself comes as no surprise at all. Looking back it occurs to me that most of the important things in my life have come about from sudden decisions to jump into things I was in no way equipped to deal with. Apparently I like the challenge of a steep learning curve, and opportunity to see the world from a new angle.

Andrew Wood is a Stroud-based ceramic artist with quite a history, which I am now in the business of becoming fluent in. I confess this blog is partly a warm up because later I will be writing press releases for his open studio event in May. I did not know, until after I’d landed myself this opportunity, that Andrew founded Prema arts centre, in Dursley. Prema is where I saw The Tempest, with a minimal cast and a lot of hat swapping. It’s where I studied Tai Chi for 2 terms – both significant events in my life. An arts centre in a village, Prema was a place of magical possibility and wonder in my childhood and I can’t begin to unpick all the threads of influence there. Grow up with an arts centre on your horizon and the world is a very different kind of place, and being a creative person seems like a much more viable option.

I’ve always loved clay work. I have something bordering on a fetish for hand-thrown pots (there was an awesome potter in my childhood as well) and nowhere to put them. I have a longstanding fascination with the fine end of art, although I’m fairly uneducated, but I like to look. I did once hold a ceramic ash-tray made by Picasso. What I’ve never encountered before is clay worked very much in 3d and yet presented on a wall almost like a flat piece of art. I’ve also never previously encountered anyone painting onto clay with oil paints. The art I’ve been looking at over the last week is like nothing I’ve seen before. I’ve dusted it, getting to know the colours, textures, shapes. I am reminded of the suggestion that writing about any other form of creative expression makes about as much sense as dancing about architecture.

You can see some images of Andrew’s work here – http://www.andrew-wood.com/the-shape-of-things-to-come but it really doesn’t do the experience justice. The photographs don’t capture the intensity of colour or the physical scale of the work – it’s big. The free-standing piece at the bottom is nearly as tall as me.

One of the things I’ve learned in the last few days, is that a process has been underway in the fine art world that seems entirely comparable to what has happened in publishing and music. A narrowing of possibility, a closing of doors, a caution and conservatism that limits scope for everyone involved at the creative end. Twenty, thirty years ago it was a lot more viable to make a living by making art – be that fine art, literature, theatre or music. It was also a good deal more feasible to make a living at the popular end as well. Something has gone awry there, and it is right across the creative industries. I had been nursing a hope that some other spaces might be different, but the recent crash-course and what I’ve been picking up about high brow literature and theatre indicates a depressing universality.

Perhaps it is in part because I grew up with an arts centre in my awareness that I am so convinced that collectively we need art, and we need it to be viable for creative people to make a living out of what they do. There’s a curious circularity to all of this.

Dear everybody (part 2)

I hear little voices. These are not ones I made up, once upon a time they came out of the mouths of people. Or were typed. Words of dismissal and incredulity, words of damningly faint praise and scathing criticism. When I can’t sleep at night, they haunt me, like hungry ghosts. Now, if I could hold the belief that every last one of the nay-sayers was jealous/mean/foolish then I could shake it off, but that’s never worked. Sure, they had their reasons, some better than others. Not giving up has depended to being able to subdue those voices, forget them, ignore them. But of course they feed into every doubt and uncertainty I ever had.

A degree of doubt and dissatisfactions seems to be key in creativity.
Get too comfortable and you’re going to stop. It’s that sneaking belief that it could have been better that makes you try again, and again, and again, because resting on laurels, real or imagined, is never enough. It doesn’t make for an easy life, but I’ve yet to meet a creative person who feels totally satisfied by the last thing they did, and who doesn’t wince a bit over the early stuff. There’s a difference between having a desire to do better, and never being able to trust your own judgement and creativity.

The little voices say you are rubbish and bound to fail. You can’t even sing in tune you sound like a cat. You’re not pretty enough. You didn’t go to the right university, and you didn’t study the right subject. You don’t have the right friends, and you aren’t smart enough to handle the industry. Basically you’re going to make a total fool of yourself if you try, and we’re telling you this for your own good, to spare you the inevitable humiliation that will come if you keep down this stupid route.

The little voices say this is not a proper job, you’re lazy and sponging, no one will ever pay you for the worthless stuff you do/create. People like you are ten a penny, get over it. You’re not special, you’re not even good, you will fail. And we will be there, when you’re flat on your face, to say ‘I told you so’ and have a good laugh. Looser.

These are not imaginary voices. These are people, and I have a nasty suspicion that anyone who tries to be creative, picks up some of these along the way.

Last week I fell apart, for lots of reasons. I let the little voices in. I let them shout all their usual rubbish in my head just the way they announced it whenever it was first aired. Smug and self important voices. Disappointed voices. I rolled up in a little ball, ready to admit that they were all right about me and that I should never have tried.

Then that other thing happened, that stunning rush of other voices, here on the blog, on facebook, google+ twitter, by email and text, people got in touch with me. A veritable tidal wave of other voices, saying you have, and you can and you will, and some offering help, and direction.
It felt a bit like that moment in Peter Pan, where Tinkerbell is dying, and Peter asks all the children to clap their hands if they believe in fairies, and they do, and she lives. Looking around I realise there are a lot of Tinkerbells out there, spirits of hope and creativity, or inspiration and magic, that are all too easily poisoned, and very much in need of the clapping. I am humbled by what happened last week. I’ve had to sit with it quietly for some days, making sense, getting to a place of being coherent enough to talk about it.

I shall try to carry that with me. Next time the little voices in my head are offering the poison cups, I will remember, and maybe I will do a better job of holding out. I think the odds are good. The other thing I’m going to do I watch out more intently for where else that is needed, those acts of belief and trust and confidence in other human beings, because it’s not just me.
Thank you all.