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Morning pages and writing for the long haul

I’ve been talking about morning pages on Twitter all month, and some days it makes for long threads. Yesterday’s was particularly long, and I know today will be long as well, so I’m parking the content here instead. On Twitter, I’ve talked about “how” we might do morning pages as well as “why”; I’ve offered lots of ways in to the practice and given prompts for how to use them more creatively, to generate and develop new ideas. Morning pages are a big part of my writing life, particularly when I’m working on long-form projects – work you have to try to sustain over months. And sometimes it can be hard to keep a piece of writing going, particularly when your life and your head are very busy. So I’m particularly invested in this process of using morning pages to break long-form writing down into morning-sized chunks, because it’s how I’m going to have to work for a little while. Maybe it’s how you’ll have to work too, once we turn the page into September and new sets of priorities and challenges beckon.

Here’s what I do. As I start a project – or another draft – I use one set of morning pages to tell myself the story. I just type out what happens, however much or little I know at the time. In a first draft, I might just be telling myself what the big story is – who my characters are and what they want and what happens to them to make them respond – to change. (I try to remember to focus on how the story develops “because” something happened, rather than just “and then this happens. Once I’ve written that very rough version of what I think the story is, I cut and paste it into a new document. I use Scrivener, but you might use anything else you prefer.

Whenever I have the headspace, I start to break that story down into smaller chunks – scenes, if you will. This is easy to navigate in Scrivener, as you can have as many documents in a folder as you like – and it’s an easy place to cut and paste into – but Word will work as well. From that scrappy document, I use morning pages to approach each chunk, each scene, one morning (or whenever I can manage it) at a time. In 750 words I can flesh each scene or each idea out, cut and paste it into its own new document, and get on with my to-do list and whatever the day requires. Later – or when I have headspace – I open the scene and find what feels like a very rough draft or a treatment of a scene, but it’s enough to get me writing – to flesh it out, to finish it off. Those first 750 words might be scene setting, using sensory details that I think are there but also ones that affect me as I’m writing, but there’s usually emotional temperature there as well. I’m usually writing with a sense of where characters have been and where they need to get to. This also means that, in a first draft anyway, I don’t have to work logically or in a linear fashion. I can jump around. And sometimes that jumping imposes itself on the structure of the story I’ll tell – in a good way – as I’m following the heat.

To the right is a screenshot of how my scenes look in their binder in the first draft. Right now, I’m rewriting a rough first draft banged out during lockdown. I am looking at the structure and order of what I wrote and jettisoning a lot that I don’t like. That’s OK. I’m approaching the rewrite in morning pages, telling myself the story again, as it has evolved, and then I start the process again in Scrivener, breaking the story into bite-sized scene-chunks, using a print out from my rough first draft as a guide for setting, time, emotional temperature etc., but writing with a clearer sense of what’s going on and what’s at stake. Building on these little steps of words means I rarely face a blank page and it reassures me that I am making progress, even when it feels slow. It will organise my thoughts and what I have to accomplish, with a goal to finish the rewrite by the end of half-term. Can I do it? Watch this space, as they say.

If you struggle to stay on top of longer projects, why not change your tools? Using software, time, planning and morning pages might just make a difference. Whatever keeps you writing – write on.

Morning pages prompts

This week on Twitter, I’ve been talking about how morning pages can be used creatively. Using prompts and sets of words that you wouldn’t ordinarily reach for can help your writing move in new directions. This can be especially welcome when it feels like our own words are stuck in a rut or repeatedly circling old issues.

We use this same practice in workshops, introducing simple, open prompts – such as “I could see it from here” or “it had never been so cold” – to get new stories started or playing a game of “word cricket”, whereby writers write as quickly as they can and “catch” words as I throw them out. (I learned this game from Vanessa Gebbie – thanks, Vanessa!).

Want to play a game of word cricket? Here are 10 words for you. Set a timer for one minute. Every time the timer goes, grab another word here. It isn’t quite like me chirping in the room with you, but in these days of social distancing, it will have to do. Let’s play!

Set a timer and start with: The door was open.

Minute one: Fox

Minute two: Mirror

Minute three: Shoe

Minute four: Candle

Minute five: Knife

Minute six: River

Minute seven: Milk

Minute eight: Key

Minute nine: Moon

Minute ten: Window

How do the words work? Did they take you in any new directions? They may have been the kinds of words you would ordinarily reach for – or they may have been an unusual set. I like them because they’re simple nouns that can also (many of them) work as verbs. Maybe you played around with them and used them as you saw fit – I hope you did. Prompts are only there to be played with. If this system works for you, you might make a jar of words to guide you – which is something friend and author Claire King does.

If you like the idea of using morning pages more creatively, come find me on Twitter @Peggy_Riley – tomorrow there will be new ideas!

Morning Pages

Over on Twitter, I’ve been inviting people to experiment with morning pages and to consider how they might work for them. There are daily prompts looking at “how” to do morning pages – when and where, how often and how long. (Hint: there are no rules except for maybe this one from Natalie Goldberg. Keep your hand moving.) Dorothea Brande did her pages on the typewriter, Julia Cameron does hers longhand, and I rattle them out online at – there are no rules.

Screenshots from Twitter

This week, we’ve been talking about “why” we do morning pages, how they work to make a bit of room in a busy head. Because it is hot – so hot – many of us aren’t sleeping, and sometimes dark unsleeps become opportunities for self-torment, for me. On waking, I feel brittle. All resilience is gone. And on these days, I need morning pages all the more to talk myself around.

Next week, I’ll be moving on to creative applications for morning pages. If you’re particularly worried about morning pages being nothing more than naval-gazing, this week might be for you. (But I say, what’s wrong with naval-gazing? Who else is going to look at it with such curiosity and compassion?)

Do you do morning pages? What works for you – and what doesn’t? And if you haven’t tried them, what would help you to start?

The Listening Post in your Living Room

The Listening Post has been invited to join The Wandsworth Arts Fringe – in your Living Room!
Follow this link to listen to a “curated aural exhibition” of thirteen short stories (one of them by me!) read in the authors’ own voices set to sounds by composer and musician Lucy Claire. Authors include: Jess Kidd, Christina Lovey, Owen Lowery, Sonia Overall, Peggy Riley and Philip Whiteley, Helen Atkinson, Susan Emm, Amanda Jones, Sue McClymont, Elizabeth Scrase.

Listen in! There’s a new story each day of the festival at 3.30pm – or you can binge on them anytime from the website!

A Writing Workshop

Hello! As a few writers had trouble with today’s Zoom link for The Stay-at-Home Literary Fringe Festival, I’m putting my workshop here on line – in word form. Grab a pen and get writing!

We began by grounding ourselves in place and time, settling into our senses, before freewriting from the simple words: I want. For 3 minutes, we just wrote to the prompt – I want – however we wanted to. The task in freewriting is to keep your hand moving – any time you get stuck, just write – I want. After that, we talked about how we were going to think about wants – and desires – and objectives for the rest of the hour.

We got going with a game of word cricket, a game Vanessa Gebbie plays: I must have played word cricket in one of her workshops about 10 years ago now. Golly! To play word cricket, you need to “catch” words as they’re “thrown” to you – in my game, I held up cards from The Literary Witch’s Oracle, one at a time, introducing 10 cards and 10 words in 10 minutes.

We began with the image of a house. I asked writers to picture a person inside the house – maybe upstairs – and to choose a simple objective. Did the person want to get out of the house – or to stay in? And then the cards came, 1 after the other, until the writers had to accommodate 10 words in their story – 10 words they might not have chosen for themselves.

I drew the cards at random from the pile – and this is what they got: knife, teacup, moon, wings, wolf, doll, lantern, bees, milk, spider. I asked the writers to consider letting the words pull their story forward – driving the character – or using them as obstacles to stop the character from achieving their simple objective. After 10 minutes, the writers had a story. A simple story – but a beginning, nonetheless.

From there, we talked about how objectives build characters. We might not know a lot about those characters, in 10 minutes, but we will know how they respond – to objects and obstacles. We know what she wants – and we see her trying to get it. But how do we raise the stakes of a simple story? We explore what the character is willing to do to achieve her want – her objective – by learning what is at stake.  Who will the character be if they get what they want?  What will happen if they don’t get what they want?  

To learn what’s at stake, we have to consider what will happen if she leaves the house. We might need some backstory to show why she wants to leave – or stay? We might need information about her relationship with the house. Something has happened that made her want what she wants – to stay or go. Characters begin in stories fully-formed, of course. Even in the opening lines of a story, we see characters coping – or not coping – with the world they’re in. Before anything changes – we see who they are (and have become) with what has already happened to them. I asked the writers to consider – what happened in the house before the story you just wrote?  Is she in the house – alone?  Is there someone else usually there? Has someone just left – or is someone about to come?  How does what has already happened influence what they want? We talked about how we would learn about what had happened – before – through how the character perceived her environment as well as the obstacles and objects that arose.

How else do we raise the stakes? We give information on what staying in the house or leaving it means to her. What is the deeper desire – why does she want what she does? If she stays in the house, what will happen?  What does she want to happen for her, in the house?  Who does she imagine she will be?  If she gets out of the house, what will happen?  What does she want to happen for her, outside the house?  Who does she imagine she will be?  This gets at her yearning, her dream.  After all, in a simple story like Cinderella, we know she wants to go to the ball – but what she really wants is to fall in love – and get out of the bad house she’s in.   

Take some time to sketch out this cause and effect, these stakes.  Did the character get out of the house? Did she achieve her desire? Or did the obstacles you placed in front of her – through these words – make it harder for her to get what she wanted?  If she gets what she wants, it’s a happy ending.  If she doesn’t, it’s a tragedy – or she changed her mind. But a story is made more complex – and more compelling – through things being as difficult for characters as possible. How far could you push this simple story to make it matter for your character – and you?  

Stories are lit and fuelled by desire. Characters are driven through the story by what they want – rather than responding to story circumstances. Characters act – even when they are reacting. The reactions – to story elements like the things on the cards – still have to push and pull the characters closer to or further away from their desires, their objectives.  

So what are our objectives? At the start, you wrote – I want – I want. How do obstacles (like things on cards) push and pull what we want? How can we stay active in our own lives, our own stories? What is the yearning that is pulling us forward in the stories of our own lives?  In these strange days we’re living through, how can they not become just another story about a virus – but about a person who was changed by virus – whether through meeting it or avoiding it or trying to keep it out of the house – and survived.  And thrived.  And changed.  

That’s a story we all want to read, isn’t it? However these days are treating you, find ways to keep writing. And why not join me online next week?   



The Stay-at-Home Literary Fringe Festival

It’s time for a festival! I’m delighted to be a part of this brand new fringe festival, produced by MA students at the University of Glasgow as a response to the Stay-at-Home Literary Festival. Organised by author Carolyn Jess-Cooke, it was the first of what will surely be a full summer of lockdown lit events, open and accessible to all. The Stay-at-Home Literary Fringe Festival features masterclasses, writing workshops, talks and open mic events. I’m particularly delighted to see events with friends from Canterbury Christ Church, alumna of our Creative Writing MA, Charlotte Hartley-Jones, and a lockdown psychogeographical workshop with author and colleague, Sonia Overall. It’s a full programme – jump in and get involved!

For the past year, I’ve been running a free writing group at Canterbury Christ Church, The Writing Circle. Throughout the festival, The Writing Circle will pop up from its usual home on campus to become an online writing space with prompts, free writing exercises, and ideas to get you writing your heart out. If you want to join in – follow this link to RSVP.

The festival takes place 27 April – 16 May 2020: The Writing Circle happens on Wednesdays 29 April, 6 May & 13 May, 2 – 3 PM. See you in the Circle!


Boy, howdy, these are strange days. We used to dance every time we heard the word “unprecedented”, until our hips went out. But the wonderful Foyle’s Bookshop is trying to cheer us all up with their pun-tastic weekly Twitter book game. And today – I am the winner!

Want to play? Jump in next Friday – see you on Twitter!

You’re Invited!

Greetings from the virus bunker! As public events are being cancelled around the world, so has been the launch for our upcoming anthology, The Best Most Awful Job. No matter – the launch has moved on line… and you’re invited! Join us on Twitter, Thursday 19 March, 7:30 – 8:30 pm GMT. See you there – at a safe and appropriate distance!

The Best Most Awful Job

I’m delighted to be a part of this new anthology, published 19 March 2020. The Best Most Awful Job features 20 brand new essays, covering the whole spectrum of mothering, including – in my case – being mothered, being unbothered, and being unable to mother. My essay is pretty brutal, according to editor Katherine May, but it’s a new way of working for me – and I’m proud to be in such great company at Elliot & Thompson Books. Here’s a little press about the writers, and here’s a link to an online shop. Three cheers for new anthologies – hip hip!

Thread and Word

Here’s a link to the sound installation made by Thread and Word from my short story for them, called “Your Last”. Click to listen to me or any of the other lovely stories found there which were shared in Margate for The Listening Post at the Book Buoy. Many thanks to artists Elspeth Penfold and Sonia Overall: it’s always painful listening to yourself read anything, but they made it trouble free!

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