Writing through the discomfort

Self doubt does not seem to disappear, especially when taking on a large project. Whenever anyone asks, the answer is vague, and so is the time frame. Why yes, I am working on a project, but since it is complex both in terms of plot and writing style the process is extending close to the far end of my ability. Hence the title refers to discomfort, because it is more than the doubt, the piece is both experimental and old. At the turn of the century I fell into the gap between the ease of self-publishing in its current form, and the receding tide of traditional publishing. Right at the pinnacle of a choice that impact more than two decades, I was ready to veer into long form writing.

For people who wrote prose this may have meant a short disruption to the system, and the process of learning new technology. However, in my circumstance this was not the case, and in turn the general advice given that “no one wants to read poetry” had an impact on my decision. At the precipice of extending into long form writing, I misunderstood the advice and wrote a young adult fantasy in prose. While the skills this taught me still remain, and I am grateful for the accomplishment, it is bitter sweet. The turning point came afterwards, when my poetry outsold my prose at a rate of 3 to 1. In that moment I realised that the advice, no matter how helpful it was intended, had led down a path I would not have chosen otherwise.

In the scope of regret I made the decision to circle back to the discomfort, and wonder what my writing would have looked like in novel form. I asked the question; what if I could begin again as though I were standing on the edge of that decision. Not knowing the impact it would have, and yet stepping forward into something more familiar, along the path that could have been. Such is my journey into an experimental piece that holds the structure of an epic fantasy trilogy. Once upon a time the term “epic” referred to long form poetry, and in some ways it will do so again. At one sixth of the way through, the project is written in rhyming sentences, and I would not have it any other way.

Published by Chantelle Griffin

Chantelle’s mother remains one of the most famous witnesses in Australian legal history. The first large screen movie the author saw, at the age of nine, had an actress playing her as an infant when she was at Uluru on 17 August 1980 at the same campsite as the Chamberlains. She began publishing poetry later in life with the first release coinciding with the fortieth anniversary of the disappearance of Azaria. While most poems have been released in the volumes for the anthology, more than a thousand were written throughout a twelve year period. Chantelle has a Master of Environmental Planning and enjoys life at half pace with two cats. Her first fantasy book was released too soon, after a near death experience and a second edition was published four years later. She resides in Tasmania and continues to write as a past time in the evening.

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