Page 3 of 3
Re: Enid's technique
Posted: 29 Jun 2008, 14:33
by Belly
Ah, that's interesting, thanks. I've never seen one of her manuscripts. I imagine then her techinque provided her with the main story and she tweaked accordingly.
I suppose it is obvious to say that this techinque is one of the reasons her output was so vast. I know when I was at university I would procrastinate for weeks over an essay, often putting together extensive notes only to can the whole thing and decide to do another one entirely, goodness knows how long a book would take or even if I could ever complete one! A 'cinema screen' method must help take away some self doubt etc too.
Re: Enid's technique
Posted: 06 May 2015, 09:40
by pete9012S
rogoz wrote:The EB story by Bob Mullins quotes the following satire by Joyce Grenfell in 1954 on this topic:
" Hullo, boys and girls. I was so pleased when you asked me to come along and tell you how I write my books for children. Well, of course, the answer is - I don't. No, my books write themselves for me...
Well as you know, children, I write lots and lots of books for you and this is how I set about it. First of all I go upstairs to my Hidey Hole - well, this is really just a great big upstairs workroom but I like to call it my Hidey Hole. I pin a notice on the door and it says: 'Gone to Make Believe Land.' This is just my way of saying: 'Please don't come and bother me because a book is writing itself for me and we mustn't disturb it, must we?'
Then I put a clean white sheet of paper in my typewriter and I sit down in front of it and I close my eyes. And what do I see? I see a rambling old house in Cornwall. And I hear seagulls - and I see children - one -two - three children scrambling up the cliffs because they are very nearly late for tea, and their names are Jennifer-Ann, and Robin-John, and the little one is called Midge - because he is the littlest one. (Oh yes, he has a proper name. It's Anthony Timothy Jeremy Michael and he doesn't like porridge - but, we won't tell anyone, will we?) "
This made me chuckle!
Re: Enid's technique
Posted: 06 May 2015, 10:12
by Rob Houghton
I love Joyce Grenfell and have read this before - brilliant stuff! I've often thought it was a pity about the children's names though, just to be picky - not very Blytonish at all! But the rest is brilliant!
Re: Enid's technique
Posted: 06 May 2015, 16:43
by Courtenay
Oh dear, yes, I've read that one too somewhere, but it was a number of years ago - before I really rediscovered my love for Blyton - so I don't think I made much of a conscious connection between Joyce's send-up and Enid!! Quite brilliant - reminds me of her legendary Nursery School sketches as well. ("George!... DON'T do that."
)
Re: Enid's technique
Posted: 26 Aug 2015, 09:42
by Katharine
I thought this article was very interesting. I think it's safe to say that Enid most definitely did not have Aphantasia.
http://www.bbc.co.uk/news/health-34039054" onclick="window.open(this.href);return false;
It might explain why some people don't particularly enjoy reading her books. After all, how can a person lose themselves in a fictional world if they can't see it in their mind's eye?
Re: Enid's technique
Posted: 26 Aug 2015, 09:54
by Daisy
I saw this item on the Breakfast News - it isn't something I had thought of before, but found it interesting.
Re: Enid's technique
Posted: 26 Aug 2015, 10:27
by Rob Houghton
Very interesting article. I must admit I always struggled to imagine sheep jumping over a fence as a kid and still do today. Its an image that only ever half forms for me before my mind goes drifting off onto other things. I can fly and sail and dance and sing and go on long walks and have all sorts of pictures and images in my head, but for some reason those sheep were always a problem!
Re: Enid's technique
Posted: 26 Aug 2015, 10:42
by Katharine
I've never been able to count sheep either, but maybe that's because I have so many other crazy images floating around my head that there isn't any room for a lot of sheep.
Re: Enid's technique
Posted: 26 Aug 2015, 13:57
by Lucky Star
Katharine wrote:I've never been able to count sheep either, but maybe that's because I have so many other crazy images floating around my head that there isn't any room for a lot of sheep.
Me exactly.
Re: Enid's technique
Posted: 26 Aug 2015, 20:50
by John Pickup
And me. I can visualise many extraordinary things but if I try to count sheep I quickly start to imagine something else.
Re: Enid's technique
Posted: 26 Aug 2015, 21:27
by Courtenay
Like talking puffins?
Re: Enid's technique
Posted: 10 Jul 2022, 12:36
by pete9012S
rogoz wrote: ↑04 Jun 2008, 16:31
The EB story by Bob Mullins quotes the following satire by Joyce Grenfell in 1954 on this topic:
" Hullo, boys and girls. I was so pleased when you asked me to come along and tell you how I write my books for children. Well, of course, the answer is - I don't. No, my books write themselves for me...
Well as you know, children, I write lots and lots of books for you and this is how I set about it. First of all I go upstairs to my Hidey Hole - well, this is really just a great big upstairs workroom but I like to call it my Hidey Hole. I pin a notice on the door and it says: 'Gone to Make Believe Land.' This is just my way of saying: 'Please don't come and bother me because a book is writing itself for me and we mustn't disturb it, must we?'
Then I put a clean white sheet of paper in my typewriter and I sit down in front of it and I close my eyes.
And what do I see?
I see a rambling old house in Cornwall. And I hear seagulls - and I see children - one -two - three children scrambling up the cliffs because they are very nearly late for tea, and their names are Jennifer-Ann, and Robin-John, and the little one is called Midge - because he is the littlest one. (Oh yes, he has a proper name. It's Anthony Timothy Jeremy Michael and he doesn't like porridge - but, we won't tell anyone, will we?) "
I've started re-reading
Spiggy Holes and found this tongue in cheek work scarily accurate!!!
The horse cantered on. The children could hear the sound of the waves breaking on the shore far below. They were driving along a high, winding cliff road, and the sea-wind blew hard in their faces. It was a very pleasant breeze, for the sun was hot, and still high in the sky.
“What’s our house called?” Mike asked the farm-lad, who was driving.
“It’s called Peep-Hole,” said the lad.
“Peep-Hole!” said Jack, surprised. “What an odd name!”
“You’ll be seeing it in a minute,” said the lad. “There it be!”
He pointed with his whip—and the four children saw the queer little house that was to be their home and the centre of their strange adventures for the next few weeks.
It was a funny crooked house, with a queer little tower built on one side of it. It was set in a hollow in the cliffs, and was turned towards the sea.
They took off their sandals and splashed into the water. It was warm. They danced about in glee, and played ‘catch’ in the water. Nora fell over and wetted her frock.
Peggy squeezed it out, and then looked at her watch.
“Goodness, it’s time we went back!” she said. “We must hurry. Come on!”
They ran back to the cliff and climbed up the steep, narrow path in the rock, panting and puffing, for they were not yet used to it. Then down the garden they ran to the side-door of Peep-Hole.