A year ago, my writing buddy died. He was my cat, Wimsey. I’d had him for over 14 years. This post isn’t going to be filled with sentimental reminiscences or cute cat stories, though there will be a few of those; more, it’s going to consider what happens to your writing when you experience trauma, loss or serious illness.
But to start, how can a cat be a writing buddy? Like this. If you’ve followed this blog for a while, you’ll know that I write first drafts in the same way that I’ve written since I was a child: sitting up on my bed, writing longhand in a notebook. Wimsey would curl up beside me on the bed, sometimes batting at my pen as it moved, occasionally knocking a hardboiled sweet around the skirting boards for my entertainment. As I often tell my coaching clients, it helps to think of writing as playing, and having the cat charge about after a boiled sweet certainly stopped me taking myself too seriously. Later, when he was an old, old cat, he’d press himself full length against me, his hot paws on my leg, his head positioned so I could feel his breath on the back of my hand and within easy stroking range.
When I transferred my handwritten draft to the computer, he lay on the floor under the desk with his paws on my foot, or positioned himself on the chaise longue in my study, occasionally emitting gurgling noises to remind me he was there. And as for printing out material ready to send off? I often had to reprint the title page because there was a paw print on it. Quality control, cat style.
Writing is an up and down business, and us writers have a tendency to gloominess, so having someone who’s always thrilled to see you is essential. My husband loves me, but he doesn’t fling himself on the ground and writhe around in pleasure that I’m home (maybe I should speak to him about that?). When everyone hated my story, the cat didn’t care. Equally he wasn’t that fussed when everyone was raving about my latest novel. He helped to smooth it all out.
When he died, I was recovering from whooping cough. It was a serious infection and I was physically very weak and rather depressed. I’d just started writing a new novel - ironically about grief and loss - and Wimsey as usual had been there, assisting with the writing and it was flowing nicely. I keep a spreadsheet with my daily word counts on it, and at the point he died, there’s a month’s break in the writing when I didn’t write a single word. How could I? I didn’t know how to write without him there. It felt wrong. And, frankly, I was so grief-stricken that I couldn’t care less about the wretched novel.
When I coach other writers, I emphasise the importance of routine: writing in the same place, at the same time, with the same writing rituals. It prepares your mind for writing. Now my usual rituals and routine were broken, and I didn’t know what to do. How could I create a new writing routine that would get me through to the end of this new book?
I admit, for a while I considered just jacking it in, but then I realised that this was just another writing challenge in a long line of challenges that I’d overcome over the years, and that were waiting for me in the years to come. Life is littered with setbacks, griefs and disappointments, the trick is to learn how to come bouncing back after them. After a month of not writing, it was time to find my way back. This is what I did.
I had elements of my routine that hadn’t changed: writing longhand, on my bed, with a coffee, and with the TV chuntering in the background. Keeping those bits took me half-way to my usual writing conditions. The problem was he’d left a big hole in my life and my mind kept on saying, ‘This feels weird without him’. I needed to quiet my thoughts so I could write. I did this by taking a few minutes at the start of each writing session to simply focus on my breathing. Just breathing, I could do that. After a few minutes, my mind had stilled, and I set a goal for the writing session ahead – to write the dialogue in a scene, to write a description of a character, to feel excited about what I was writing, to discover a new aspect of a character. Then I wrote.
What I wrote wasn’t as important as the fact that I was writing; I knew I could sort it out afterwards. But setting down words, when I didn’t really want to, when it felt wrong – that was the key thing. I kept a note of my word counts, and the first day I managed 300 words. The next day I did 250. Two days later I wrote over 2200 words in a sitting and it took me just over an hour. After that I kept at a steady 1200-1500 words each sitting, written in around an hour.
Yes, it was painful, and it was also fascinating. Grief has a strange energy to it. It’s strong and furious and overwhelming, and it’s not constant. It came in waves that I could feel building. I watched as it crashed over me and bashed me about, then watched it recede. I couldn’t write about it, though. My grief-stricken characters had to wait for the editing process to have their emotions properly attended to.
Is it still difficult to write without my writing buddy? Yes, but then it’s still odd to do my Pilates exercises each morning without him licking my eyebrows, and it’s weird doing the gardening without him filling in the holes the moment I’ve dug them. Life is constantly changing. Us writers, us stuck-in-the-mud, wedded-to-routine scribblers, aren’t immune to it, and the ability to be flexible, to find a new way, is ultimately our strength. Over a lifetime of writing, we’ll all come up against obstacles – ill health, looking after family, changes to jobs and homes, changing what and how we want to write. Raging against it all won’t help; we need to find gentler, more nurturing ways to get back to writing. Sometimes that means tweaking what we already have; sometimes it means being brave enough to create a whole new approach to our writing.
And now over to you. Have you overcome challenges to keep on writing? Tell me what you did and what worked best for you in the comments below.
Kim Fleet lives and works in Cheltenham. Her two cats help the creative process by standing on the delete key.