Wendy Heydorn
Some of you will recall July's Showcase, which focused on my good friend, Judy Worham. Well, I am thrilled to introduce our eleventh showcased writer of 2024, Wendy Heydorn, who just happens to be Judy's daughter. I haven't chosen to showcase her for this reason, but rather because she is an excellent writer and her work deserves promoting. A Cambridge graduate who teaches at Sevenoaks School in Kent, Wendy is both an academic and a gifted writer of fiction.
Biography
The middle daughter of three girls, Wendy was born and raised in Sevenoaks where she has lived most of her life. She’s married to Carl, and they have two teenage children, William and Rosie, and a dog, Jumble (named after the dog in Richmal Crompton’s ‘Just William’}.
She was always drawn to reading and writing, as a teenager, enjoying the poetry of Phillip Larkin, writing A Level English and History essays and applying for graduate jobs as a journalist. Educated at Bennett Memorial School in Tunbridge Wells, she discovered a taste for scholarly books, inspired by some brilliant teachers (Simon Brickell and Anne Scott) who inspired in her a theological fascination for all things New Testament and Church History. The fantastic Head at the time, Anne Scott, loaned her a copy of Albert Schweitzer’s book, The Quest for the Historical Jesus’ which opened up a fascination with the ‘Jesus of history’ and the ‘Christ of faith’.
Having graduated from Fitzwilliam College, Cambridge, she went on to study for an MA at King's College, London and a PGCE at the Maryvale Institute in Birmingham. She has worked in the educational sector for most of her career, as a teacher of Theory of Knowledge and Head of Religious Studies.
She has come to writing through thinking about ideas. For her, writing and reading is not so much a necessity of routine, but more of an escape from the mundane chores of middle-aged life (she turned fifty this year). She loves listening to an audiobook whilst cleaning the house or unloading the dishwasher. Stories are part of her ‘life of the mind’, a way to feed the soul. She enjoys the creative process of writing, the wrestling to find the best words and the focusing on a project of her own.
Her day job as a teacher has enabled her to keep her writing as a hobby and a ‘side-hustle’ in the school holidays; she’s co-authored three school textbooks with Cambridge University Press, and a forthcoming book on university entry with Trotman (to be published in April 2025). In her spare time, she is a writer of fiction and, in 2023, she self-published a novel set in New Testament times, Salome's Wish, under her maiden-name, W J Worham.
She is currently Director of
Higher Education at a school in Kent. She advises students with their post-18
options and supports them with their university applications. Her book on
higher education advice, co-authored with her colleague, Laurence Goodwin, is
being published by Trotman in spring 2025.
Wendy visits her textbook in the Cambridge University Press bookshop, 1 Trinity Street, Cambridge
Relevant links
Salome’s Wish
Group discussion questions for book groups reading
‘Salome’s Wish’
https://worhamwj.wordpress.com
Theory of Knowledge
Linkedin
******
Wendy was amongst the 120 women’s rugby players who returned
in September to collect their cap and number, awarded to all the women who have
played for the university since 1988
Wendy has sent us examples of both her journalism and her fiction writing. Enjoy!
The first two samples here are extracts from Wendy's novel Salome's Wish:
As a reward for dancing at his banquet, Herod offers Salome a wish…but what does she really want? A novel for book groups, schools and churches – suitable for age 13+ exploring some of the most famous stories in the New Testament
CHAPTER 6: Salome
Herod’s fortress at Machaerus, Peraea
The shadows lengthen and the sky
darkens as I stand at the edge of the stage, ready to perform. I need my
performance to be perfect, to impress Marcus. My heart is pounding with nerves
and excitement in equal measure. The time drags as I wait, but I know my
routine well. There is perspiration on my fingertips as I smooth my skirt with
my shaking hand. Servants carry trays of oysters served with honey and poppy
seeds. The sight of this food makes me feel sick. Why isn’t my mother serving
food that’s kosher? I expect she's bought in these Roman delicacies to impress
her fashionable guests who recline, as they eat and drink.
I haven’t had a chance to talk to
Marcus. He is speaking intently to my mother, but I wonder what they are
talking about. Perhaps literature, poetry or even government? But another man
who I don’t recognise is also speaking to them. He is the same height as Marcus
but older than Herod, with a full beard and dressed in extravagant blue robes.
Who is he?
The pipes and drums get louder,
to signal the start of my dance. My mother joins Uncle Herod and sits on the
throne next to him. I walk to the centre of the stage and pause. The guests
fall silent. Every pair of eyes rest on me. The music pauses. Each man and
woman steals a glance at the detail of my exquisite costume which reveals my
slim and exposed waist. I have the attention that I crave. The drums beat faster
and the pipes get louder. For once in my life, I am in control. People say that
I’m graceful, poised, and elegant and my best moves are breath-taking. The loud
applause makes my heart beat faster and my confidence rises within me.
I lie down and gaze up to the
ceiling. My hair splays out around me. The tempo of the music increases. I arch
my back into a deep, athletic bridge and point my toes upwards. I kick my legs,
scissoring them high into the air, rolling backward into my first upright pose.
I pause. In one movement, I jump to my feet and stretch upwards, elongating my
body. The beat of the music flows through me. At once, my energy and pace
increase to match the rhythm of the drum. The audience is attentive to each
step.
I spin and glide around the room.
I transform my shape into silhouettes that cast shadows against the back of the
stage. Absorbed by the present moment, I enter a trance, and experience
freedom. I twirl around the stage and somersault high into the air. The
audience gasps. I jump and soar high, landing with precision, and continue the
next step; a turn, a spin, a stretch, a jump.
Hungry for more, the guests cheer
me on. I continue my display, my acrobatic moves becoming ever more fearless. I
approach the back of the stage and run the diagonal length. The audience
applauds. I jump backwards, flipping over, landing on my hands. I spring
straight back into the air, turning two high somersaults. They cheer again. I
run across the stage, this time spinning, flipping, and turning a full circle
in the air.
My mother sits on her throne and
beams at me. I have her attention, and this is my moment. My performance holds
everyone’s gaze. The sound of their loud clapping overwhelms me, and I am
bursting with joy. For once, it’s all about me and I’m happy. I curtsy to my
audience. Delighting in their approval, I have the crowd in the palm of my
hand. Some of the guests call out, ‘Dazzling. That was mesmerising. She’s
amazing. What an outstanding dancer! Is that Herod’s daughter? We want more!’
I catch a glimpse of Marcus. His
mouth is wide open, and I grin back at him. Is he impressed? I hope he likes me
even more now he’s seen my dance. Why do I feel so strongly about him?
‘Bravo, bravo,’ shouts Herod.
‘Enchanting. My darling Salome, I will grant you a wish. As a reward for your
wonderful dance, ask me for anything you would like!’
The guests applaud. My eyes meet
the fat and imposing figure of Herod and I stare into his pale eyes.
Breathless, I pause and say,
‘Anything?’
‘Yes, anything,’ Uncle Herod
reiterates. He grins at me, the folds of the skin on his cheeks turn into a
revolting broad grin, exposing his rotting teeth. ‘I’ll offer you whatever you
desire, Salome. I’ll give you as much as half my Kingdom!’
The guests are still staring at
me. I can’t think. What is my wish? Nothing that Herod’s money can buy me. I’d
like Marcus to pick me up in his arms and take me to Rome where we can marry
and have some fun together.
My mother stands up, ‘My young
daughter should really check with me first.’ She rushes up to me and places her
mouth to my ear. The guests fall silent. Filling the awkward silence, one of
them begins to clap again and shouts ‘bravo’. Another person calls out, ‘be
careful what you wish for!’ and the crowd laugh.
‘Ask for it now,’ she commands.
I am horrified by the poison that she hisses at me. ‘I can’t say that. I
don’t...’
The guests stir and some of them cover their mouths to murmur
and whisper awkwardly to one
another.
‘Then I’ll say it for you,’ she spits under her breath. ‘Salome is
exhausted after her performance,
but she has clearly stated her wish. This is her heart’s desire - the head of
John the Baptist on a plate.’
Herod’s expression changes; his
face drops and he shakes his head, ‘I’m sorry, but I can’t do that, my
darling.’
The guests clap again and cheer,
and someone in the crowd calls out, ‘It’s what she asked for. Give the girl
what she wants. You promised her.’
Uncle Herod pauses before he
stands up, raises his hands in the air and announces, ‘I must be true to my
word. Guards, bring her the head of the prophet, at once. I will grant Salome’s
wish.’
...
CHAPTER 32: Zeb
Sea of Galilee, Bethsaida, Galilee
I want to continue the
conversation with Salome, but I can’t think of how to reply, so I just hold her
hand. The silence lingers and as our natural tiredness sets in, she goes quiet,
and falls asleep in my arms. I gaze up to the stars, but I am reminded of the
generations of fishermen who have been here before, just like me, with their
troubles unchanged by the beauty of these surroundings. I stare back at Salome
and feel overwhelmed by my feelings for her; her flawless skin, her unbound
hair, her chest rising and falling gently as the boat bobs.
Salome deserves the truth. I am
desperate to find the words to tell her the truth about that bloody incident in
Jerusalem that casts a shadow over me. That memory that still haunts me makes
me cautious to pick my own battles. It also makes me even more determined to
decide my own fate. I regret the deaths I caused. Everything could change
between us if Salome knew the truth. How can I find the words to tell Salome
that I’m a killer?
But somehow, it’s too late for
talking. Instead, I go quiet and reflect on the same events again. Would she
understand that I had underestimated the consequences of getting involved with
Barabbas’ riot? She might even empathise with me if she knew that I was hungry
back then. Barabbas paid me to fight with him and his men. It sounds arrogant
now, but at the time I thought that my height and strength would guarantee that
I’d succeed.
My thoughts turn over again and
again, keeping me awake with the relentless rock of the boat. I was fighting
against men with superior weapons and body armour. Despite my strength, I was
no match for them and was lucky to survive the skirmish. The Jerusalem garrison
is too difficult to beat. Barabbas is crazy if he thinks he can organise enough
men to revolt against the Romans, who have occupied this land for so long.
Many people were unhappy with
Pilate. The Temple tax money we give every year should be spent maintaining the
Temple building. But without asking, he wasted that sacred money building an
aqueduct to carry water a long distance to Jerusalem. Everyone agreed that the
Romans were misusing Judaean money. We waited for Pilate to visit Jerusalem and
Barabbas had organised a decent number of men. Our plan was to protest, and if
needed, take control of the city and storm Pilate’s headquarters. Then he would
have to change his mind about spending our money on an aqueduct. The crowd
gathered in Jerusalem to protest at Pilate’s mishandling of money, but the
soldiers descended on us from nowhere. They were hidden in the crowd, disguised
in plain clothes. They attacked us with cudgels and clubs, so no one had time
to think or defend themselves. Their fighting was brutal and bloody and
innocent people were beaten with sticks and some were trampled in the chaos.
Thankfully I was able to defend
myself with my dagger. I fought against the odds, and I stabbed one of the
attackers in the leg and another in the throat. I may have killed four or more
soldiers and seriously injured several others. But when so many Romans kept
attacking the crowd, I fled. I escaped in time before Barabbas was arrested. I
could have been incarcerated with him were it not for God’s protection. I look
back on that day and believe that God was there with me, keeping me safe but I
regret the blood I spilt. I saved some innocent women and children in the
crowd, but I don’t think I can explain any of this to Salome. That’s why I
often say that we cannot change the past, but we can imagine it differently or
try to forget it. My fear is that one day, if Barabbas is ever released from
prison, he will track me down and get his revenge; because he’ll assume that I
deserted him. Since then, I’ve grown up and realised that I can’t fight the
Roman occupation – I’d rather focus on goals that I can achieve. I want to tell
Salome all of this now, but I promise myself that I will share this with her
tomorrow. I’m poised to confide in her, but she is fast asleep in my arms.
I watch Salome’s soft breath go
in and out, like the rhythm of gentle waves lapping against the boat, until a
wave of tiredness crashes over me.
...
Critical response:
“Salome’s Wish is a very interesting novel about New Testament times, inspired by a careful reading of the story of John the Baptist’s death, and alert to ways in which this story might connect with many issues in our modern communities, as well as some great links to art. Do read it and enjoy it!”
LAT BLAYLOCK
...
The following extracts on the theme of university entry are published
in Innovate, a teaching magazine (Sixth Edition), and the full article appears
here:
A reflection on the advice we give to students and parents on higher education options –
by Wendy Heydorn, Director of HE and Careers:
The importance of in-person experiences in an online world
In 2007, the same year that today’s 17-year-olds were
born, the iPhone was released.
Nearly two decades
later, we are trying to understand the consequences of a technology they have
literally ‘grown up’ with. ‘The Anxious
Generation’(2024) by Jonathon Haidt describes how teens, so-called
Generation Z, underwent a ‘rewiring’ as a result of their increasing dependence
on the internet in general, and their iPhones in particular. Haidt proposes
that this amounts to an existential crisis for young people today. It’s a consequence of the digital revolution which
occurred during the formative years of their childhood and adolescence. He
describes this transformation from 2010 onwards of a transition from a
‘play-based childhood’ to a ‘phone-based childhood’, and the devastating
consequences for adolescents’ mental health. He argues that excessive social
media use associated with online addictions are the cause of mental health
problems, depression and social isolation. Paradoxically putting social lives
online has made people feel less connected and more isolated.
Haidt
proposes an antidote, arguing that young people need to develop real
connections and roots in real relationships; with their families, in groups and
in ‘in-person’ communities. He suggests that we need to belong to real
communities, not virtual networks, because only real and embodied interactions
will meet our deep human need for belonging and social connection that has
evolved over millennia. This has important
implications for how students might think about their education at school and
university and in their future employment.
...
Guidance
for parents on the transition from school to university
In The Anxious Generation (2024), Jonathan Haidt uses the
analogy of racing cars to illustrate the approach that some parents take
towards university admissions. The child is like a fragile racing car, and the
parents are like the pit-crew, responsible for the fine-tuning of ‘the race car’
which depends on their pitstop team for their success. Paradoxically,
this approach taken by parents can become problematic if it prevents their son
or daughter from ‘owning the application process’ and risks the independence
they will need to develop as adults, whether at university or in the workplace.
Autonomy is key to
the success of university applications, and students should be ‘the drivers’ of
their own application without the need for excessive pit-stop intervention from
their parents. Parents should give plenty of encouragement, stay open to the
possibilities and open-minded about the outcome or final university
destination. Above all,
parents and schools should encourage and allow students to be active in their
research, course choice, open day visits and university choices. A university
or job application is not something that happens to a student; their
university, apprenticeship or job applications are shaping their future,
hopefully something they are excited about and feel responsible for.
...
The need for
in-person communities
University
is not only about education; it’s also about joining and belonging to a
community – one that values in-person activities and prioritises the mental
health of students. US universities in particular are renowned for their focus
on community membership, and they select applicants who they believe will have
a positive impact on their community.
Moreover, the importance of alumni networks means that university entry offers
joining a life-long membership to a network of people. Indeed, schools and universities
can be crucial in combatting the problem of isolation that Haidt has
identified; they create the environments for in-person connections which
contribute to student’s social and emotional well-being.
And finally we come to The Big
Interview, in which Wendy kindly
answers writing-related
questions and lets us into
some of her writing secrets...
1.
How old were you when you first knew you wanted to be a writer, and what set
you off down that journey?
At university, I wrote for a student newspaper, Varsity, and
interviewed one of the first ever Anglican women priests. I wrote the college
yearbook entry for my cohort when we graduated. I set out to become a
journalist, applying for a job with the Kent and Sussex Courier.
In
1994, I did work experience with Walter Schwarz, the Religious Affairs
Correspondent at The Guardian. He
invited me to write an article for their ‘Face to Faith’ column in which I
defended the ideas of the philosopher of religion, Don Cupitt, best known for
his ‘Sea of Faith’ movement and his non-realist approach to religious faith (in
response to a news story at the time about Anthony Freeman, the clergyman who
was sacked from the Church of England for his alleged atheism). Rowan Williams,
who at the time, was the Bishop of Monmouth, replied to my article in The Guardian letters page, which
resulted in various subsequent letters between us both, back and forth. With
hindsight, it amuses me that the man who went on to become the Archbishop of
Canterbury took the time to publicly disagree with me. WJ Worham of Fitzwilliam
College, against whom he was arguing, was a second-year undergraduate!
Following
this, I knew there was something more that I wanted to say, but I didn't yet
know what it was. At Don Cupitt’s 60th birthday party, I met his
daughter who kindly put me in touch with Anima Bose, an elderly scholar based
in Delhi. Anima helped me with my dissertation on the religious dimension of
M.K. Gandhi’s ideas. I visited her in India on a research scholarship and she
was the first to teach me about Martin Buber’s notion of ‘I and thou’ and I had
a tentative plan to write her biography.
For more on the
‘Sea of Faith’ movement:
https://www.bbc.co.uk/programmes/m00256wy
2. Tell us about the books and writers
that have shaped your life and your writing career.
I wanted to stay
on at university and do further study but none of these plans worked out and I
was fortunate to try out teaching instead. I’ve been lucky to have worked with many
colleagues who also pursue creative projects and research alongside their
teaching. The school where I currently work has been a very supportive
environment and an intellectually-enriching community that has inspired my
mind, fed my soul and inspired my classroom teaching for many years. We are
encouraged to develop ‘the life of the mind’ and I owe a lot to my past and
present colleagues for my intellectual growth. I’m grateful that I get to work
in education and a community that values critical thinking and ideas.
3. Have your children,
other family members, friends or teachers inspired any of your writing? In what
way?
My
Mum went to University College London as a mature student where she studied for
an English degree. A vivid childhood memory from age 10 was of her writing her
university dissertation, typing away on our 1980’s Amstrad computer. She was
exploring the theme of ‘disability and disfigurement in Charles Dickens’ works’
and infuriatingly, the whole thing failed to save on the ‘floppy disk’; it was
a drama and she eventually managed to either rewrite or recover it.
I also remember on a family holiday to Cornwall,
whilst other parents on the beach were leafing through copies of Woman's Weekly,
or the latest Jilly Cooper, my mum was reading Edmund Spenser’s epic poem The
Faerie Queene. Books and ideas mattered to her and that had a positive
impact on me as I entered my teenage years. She still inspires me so much; at
the age of 78, she has just published her first novel.
4. Does the place you
live have any impact on your writing?
Bosham
near Chichester is where my wonderful in-laws live and my husband, Carl and I
have spent many happy holidays there since the late 90’s. We both love spending
time by the sea. Our children and dog love it there too; it’s a very special
place.
Bosham, a landscape that inspires Wendy's writing [photograph taken by....]
Another landscape that inspires Wendy's writing - a Kentish woodland [Jumble, Wendy's cockerpoo, posing in centre] -[photograph taken by ....]
5. How did you begin to
write educational textbooks?
I’ve
co-authored four non-fiction books and written one novel. Around 2010, I was teaching Year 12 students the
International Baccalaureate Critical Thinking course, Theory of Knowledge. One
of them was finding it a challenge to question the nature of knowledge and
knowing, and so, to help them to understand some of the concepts, I started
writing some basic chapters on them. I used Apple ‘Pages’ and tried to use
plain and simple language and accessible examples to convey some of the more
abstract ideas.
In 2012, with
everything moving in the direction of digital and electronic resources, I
assumed there would be no market for a school-based text book. TOK was a
renowned course with well-established existing authors. By chance, a colleague
who reviewed books for Cambridge University Press suggested I send my chapters
to CUP. Following his kind recommendation, I was very lucky to have a book
proposal taken seriously, and after a meeting with the commissioning editor, I
was asked to submit more sample chapters. I was teamed up with the wonderful
Susan Jesudason and together we co-authored three text books:
●
Decoding
Theory of Knowledge for the IB Diploma
1st edition (2013) and 2nd edition (2020)
●
Theory
of Knowledge for the IB Diploma Course Guide
(2020)
Hot from the press...
6. Are there certain
themes that draw you to them when you are writing?
I’m interested in expanding my knowledge.
I like learning. The textbooks I wrote on the nature of knowledge in various
areas - history, human science, the arts etc - led me to read widely and
sharpen my thinking.
Since 2010,
alongside teaching, I’ve also worked with a team of colleagues to support
students with their university applications. I have just finished the second
draft of a book I've co-authored with my colleague, Laurence Goodwin, due to be
published with Trotman in April 2025, ‘An Educator’s Guide to University
Applications: Supporting Students with their Post-18 Options’. I hope that this
book will share good practice and help colleagues in other schools who are also
advising students with their post-18 options; from degree apprenticeships, to
Gap Years, to universities in the UK, US and other international destinations .
7. Tell us about how you
approach your writing. Are you a planner or a pantser?
I
would say, both. As a writer, I need order and chaos for the creative process
to happen. To use a metaphor from Greek mythology, we need both sons of Zeus: Apollo
would be the planner, Dionysus would be the pantser. I like a plan and a mess
of ideas; one feeds the other. I liked a spreadsheet for plotting my novel,
with the overall story arc planned out, and chapters planned. When I’m revising
and implementing feedback on a draft text, I like a spreadsheet with all the
suggestions for edits that can be ticked off. So yes, I like a plan. But none
of us know where our ideas really come from and I don't know what I'm going to
write until I start typing. Walking helps me; ideas often come to me when I'm
walking the dog or listening to music and I note them down as I go.
8. Do you have any advice
for someone who might be thinking about starting to write creatively?
In
October 2013, my mum shared a Guardian article on ‘how to write a novel
in 30-days’. Unusually, my school’s half term didn’t coincide with my own young
children’s and so I had a few days free. Maybe in another possible world, I
could have cleaned the house or gone shopping. Instead, I got started looking
at the Guardian resources on offer: planning sheets, and worksheets for
sketching out characters with spaces to fill in their attributes and
preferences. I struggled to plan a basic plot but ended up with the start of a
spreadsheet, for structuring chapters and the overarching plot.
During the school holidays that followed, I eventually
found techniques that worked. This process was very slow and there were plenty
of setbacks, dead-ends and deleted chapters. But I kept going, writing during
the school holidays and eventually finished in June 2023. It had taken me 10
years to write a novel and what ‘could’ have taken 30-days turned out to be
over 3000 days! However, this book became my debut novel, Salome’s Wish,
published under my pen-name, W J Worham, because I didn't want it to get
confused with my Theory of Knowledge textbooks.
So, my advice to other writers would be to take your
time; just like one of Kevin McCloud’s ‘Grand Designs’ TV programmes, you
should expect your writing project to take longer than you’d ever imagine.
Writing is my hobby, so I treat it like one; I enjoy it and I take breaks.
Fortunately, my life and income doesn’t depend on my writing being a success.
Photograph of Wendy's novel being read by a swimming pool by one of her friends-[photograph provided by Wendy]
9. Are you, or have you been in the past, a member of any writing groups,
online or face-to-face?
I've
been fortunate to find a reading group amongst some kindred spirits of a
similar age and stage of life. For over a year, we’ve chosen books, hosted
discussions in our houses and I've broadened my appreciation for the craft of
writing. Were it not for that group, I would never have encountered the
wonderful Niall Williams’ book, This Is Happiness, an utterly charming
book that captures the genuine warmth of a community, set in Ireland just
before electricity was introduced to the village…Highly recommended!
10. You are a well-educated and highly
intelligent woman. Have you studied creative writing in a formal way?
No, not yet. I'd like to do one of these courses but
haven’t done one. Lots of people in the creative writing industry are keen for
you to part with money for their services or enrol you on a course. The
commercialisation of writing is an interesting phenomenon - it’s curious why so
many aspiring writers want to pay to learn the craft of writing, in a digital
age that coincides with a decline in reading habits.
Writing is individual and
collaborative. Courses and services are collaborative. Writing a first draft is
often done alone; it’s independent. That’s the beauty of writing; it’s you and
the pen, or you and the laptop. It's about finding space, discovering a voice.
My Dad has written some very
entertaining and thought-provoking articles for his local village magazine and
he is living proof that no training is required; he’s the last person I know
who would ever enrol on a writing course, but he is a talented and naturally
engaging writer with an original perspective on life.
Visiting Chawton in Hampshire where
Jane Austen wrote six of her novels made me appreciate the fact that we have
central heating, electric lights and the sources and inspiration online that
she could never have dreamed of. I was struck by her writing table which seemed
like a small and rickety piece of furniture and it’s humbling to think that she
could focus on her craft because her family supported her and did domestic
chores on her behalf.
Today we have so many distractions
and find excuses and reasons not to write, but the main distraction for writers
today is the excessive time we spend online; it's a blessing and curse. Writing
won't be replaced by Chat GPT because it can't be you; a Large Language Model
cannot simulate your intellectual life. A machine doesn't search for meaning
nor possess ideas that are of personal significance. Pilgrimage and the
creative process have much in common; if you're a writer, your journey is your
writing and drafting. It's not so much about the finished product or completing
the final draft. It’s about the process; trial and error and an ongoing
conversation.
11. What do you think
about getting feedback on your work from other writers and/or non-writers?
Yes,
I like feedback, as it’s always an opportunity to improve. I want to know how
my first draft can be better, and then the second draft. I’m grateful to the
people who take the time to read my drafts and help me improve.
12. If you have
experience of self-publishing, what have been its challenges and rewards?
You
learn from doing it; producing interior files, designing covers, barcodes,
ISBNs. Then there's uploading the book to Amazon KDP and submitting a book for
‘New releases for Less’ with BookBub. The list goes on. There’s a lot to
discover. Abbie Emmons on YouTube is an inspiration who has some excellent resources to get started on
the self-publishing process.
13. Where do you get your
ideas from?
I often get my ideas whilst out walking the dog. I’ve plotted scenes for my novel whilst walking in the Otford hills. I’m often running my ideas by my daughter, Rosie. She's been so helpful, discussing with me what works and what doesn't.
14. They say that
successful writers need to be selfish. How far do you agree with this?
At
home I write while sitting on the sofa; I don't have a study. I just have my
laptop out and I start typing. I write in the evenings if I feel like it. And
if I'm not working, I’ll write in the morning too; I like a first cup of tea
and a blank page. For me, writing is not so much about routine or habit as it
fits round the other things I do; my work and my family. It’s more about
expression, finding words to express ideas and finding a voice; I don't think
that’s selfish.
15. Beyond your family
and your writing, what other things do you do?
I
enjoyed pottery and calligraphy when I was younger and entered italic
handwriting competitions. I played rugby in my teens and 20s. Now I do weight
training and the occasional run, dog walking and gardening. I also like baking
cakes and cooking.
Wendy (pictured at the end on the right) found her community at university through playing rugby, and thirty years on, they still meet up!
Wendy was awarded cap number 94 for playing rugby for the Cambridge women’s team in 1994 and 1995
16. Would you describe
yourself as a ‘cultured’ person?
‘Cultured’
seems like a rather snobby category; some people like opera and ballet and use
the arts to signal their social status, but the arts are meant to be accessible
and enjoyed by all. I like ballet because I danced until the age of 15. If the
choice is between watching Paddington in Peru at the cinema or viewing
an exhibition at the National Gallery, I’d like to do both.
17. Are you interested in
history and if so does it impact on your writing?
I
was inspired by Pat Parker’s two novels about the Trojan War written from the
viewpoint of the female protagonists. I also enjoyed reading Naomi Alderman’s
historical novel, The Liars’ Gospel, based in New Testament times. My novel, Salome's
Wish, was set in New Testament times; it pushed me to think about
historical evidence, truth, facts and narrative. I questioned whether it might
be too religious for a secular audience but too unorthodox for a religious
audience; thankfully it's been well received by the Religious Education
teaching community and Lat Blaylock has been complementary about it. It’s
difficult to write with suspense about events whose outcomes and consequences
are well-known but I hope I've written a novel that will be read and enjoyed.
Observing my
teaching colleagues in the English department inspired me to read Anna
Karenin by Tolstoy and Madame Bovary by Gustave Flaubert. These
books made me think about the representation of women in literature. Female
perspectives interest me, and historical views also fascinate me - I loved
Robert Harris’s Cicero trilogy. Theological ideas and themes always interest me
and I love Pilgrim's Progress by John Bunyan.
18. There is a lot of
talk at the moment. in the publishing world and elsewhere, about political
correctness, the Woke movement, cultural appropriation, ‘cancel culture’,
‘trigger warnings’, sensitivity readers and the importance of diversity. What
are your thoughts on this, with regard to writing?
Freedom
of expression is a British value and a cornerstone of our society. However,
it’s a concern that a culture of censorship has emerged in the UK with language
becoming weaponized, a phenomenon which has significant implications for
writers. A tribal society would insist that we pick sides and set groups up
against one another, censoring and accusing anyone who challenges authoritarian
thinking. A social and political narrative of division is a problematic context
for writers to write in. It’s important that we can discuss and debate, that
people can disagree well, and reach different conclusions to one another. I don’t intend
offence, but I will stand up for freedom of speech. We need Orwell to remain fiction!
The
issue for writers is where their writing sits in the context of identity
politics. Everyone should be protected under the law. The concept of ‘protected
characteristics’ makes historical sense and it has good intentions; it is
intended to protect groups who have been historically marginalised or
mistreated. We need to treat all people with kindness and respect, and we all
need to be under the rule of law equally. We also need to protect freedom of
speech, good judgement and common sense, but fear has meant that these things
are sometimes in scant supply. What could be more important than writing? A
writer can use their voice to unite, to build community, to connect, to imagine
‘what if’, to inspire.
I
also wonder if we should critique the role of feelings and offence. Authors
often show us through literature that feelings have never been a reliable measure of truth
- from Malvolio’s misguided feelings in Twelfth Night, to Marianne’s
sensibility in Sense and Sensibility. In Pride and Prejudice, Mr
Darcy found much to offend his idea of decorum in Elizabeth Bennett and her
family: her tactless mother who possessed ‘no filter’, her somewhat negligent
father and her younger sisters who lacked propriety. Elizabeth fell far short
of the standards of an ‘accomplished’ woman, according to Caroline Bingley. In
turn, Elizabeth Bennett concluded that Darcy was rude, pompous and arrogant.
Elizabeth didn't set out to offend Darcy, but he took offence to her and was
prejudiced against her low family connections. Darcy did not intend to be
perceived by Elizabeth as an arrogant, privileged snob.
I
find it interesting why feelings have come to play such an important role in
recent politics. Darcy could be on difficult ground today if Elizabeth had
chosen to take offence. If she lived today, Elizabeth could have accused him of
sexism or misogyny. But Elizabeth and Darcy were both mistaken about one
another, and they both learn that they were wrong. The best plot lines involve
misunderstanding, the best characters often make mistakes, and our journeys with
them on their character arcs enable us to grow in understanding and appreciation.
Life
is full of unintended consequences and unknowns. Often, we don't know how we
seem to others and we will always be strangers to ourselves. We can never know
how we appear to others, but we can rely on the idea that, if we try to become
kinder, more compassionate, and try to listen and understand one another, we
can become more empathetic. We will try to hear someone else’s voice, and we
will endeavour to understand them.
That’s what makes us human; we are incomplete and yet we find ourselves in our relationships, our connections. Our communities are our sacred spaces, and as I am part and product of that community, I hope I can also influence and use my voice for the benefit of others. Part of that responsibility is to defend the right of other people to disagree with me.
19. Where would you place
your own writing, on a continuum with PURE FANTASY at one end and COMPLETE
REALISM at the other?
There’s
the renowned Picasso quote, ‘Art is a lie that brings us closer to the truth’.
That's the interesting paradox for writers (and artists). Fiction has to be
convincing on the one hand, sufficiently close to the real world of plausible,
compelling characters and authentic settings to appeal to and stand out in a
saturated market. However, imagination is essential; writing fiction is a
creative process. Stories aren’t real, but somehow there is a truth in fiction.
20. Do you have any quotations about writing that you’d like
to share with us?
I like these quotes, both by Anne Tyler:
“I read so I can live more than one life in more than one place.”
“I write because I want
more than one life; I insist on a wider selection. It's greed, plain and
simple.’
22.: What's the best
advice you've received about writing?
The best advice I received was from my son, William: ‘Mum, don't
try and make money out of your book. It's your hobby.’ I hope that my response
to these questions have communicated something of the joy and fun of writing.
******
Thank you very much, Wendy, for such an interesting and informative showcase.
******
In September, I will be showcasing
another fabulous writer:
EB
Not to be missed!
******
So far in this series, I’ve showcased the following writers:
Ruth Loten – March 2023
Jane Langan – March 2023
Beck Collett – April 2023
Ron Hardwick – June 2023
L.N.Hunter – July 2023
Katherine Blessan – August 2023
Jill Saudek – September 2023
Colin Johnson – October 2023
Sue Davnall – November 2023
Alain Li Wan Po – December 2023
Lily Lawson – January 2024
Philip Badger – February 2024
Glen Lee – March 2024
DHL Hewa - April 2024
Tonia Trainer - May 2024
Mike Poyzer – June 2024
Judith Worham - July 2024
Chrissie Poulter - August 2024
Adele Sullivan - September 2024
Lin De Laszlo - October 2024
Wendy Heydorn - November 2024
You can find all these showcases by scrolling back through the material on this blog.
