writing retreats

Celebrating Writing Retreats with Friends

Writers on a writing retreat

I’ve run retreats for others and gone on a solo one, so this isn’t the first time I’ve discussed writing retreats – and it probably won’t be the last! This post is a special collective celebration of an incredible writing group. We’d known each other for years before our first retreat in 2021, in the wake of the pandemic. It took place in Surrey, at Goddard’s, an Arts and Crafts house run by the Landmark Trust. In 2023 we were in Marazion in the far west of Cornwall, in a 19th century house looking out towards St Michael’s Mount. Last April we retreated to the Loire countryside in France.

On the anniversary of that French stay, I thought it would be fun to ask those who’ve attended our retreats what these trips have meant to them and share the challenges and successes they’ve experienced. Contributing are Clare Flynn, Debbie Young, Jean Gill, Alison Morton, Karen Inglis, Liza Perrat, Carol Cooper – and me, of course!

Let’s start with the challenges

Writing is a start-stop affair, so going on retreat is a way to carve out some solid time to concentrate and get words on the page without distraction. That’s the theory, anyway. We’ve found a retreat is also about stepping back to give our thoughts liberty and our concepts a chance to find their way. Our group includes an impressive range of productive writers, who may be traditionally published or publishing independently – or both. We are hard workers, but some projects halt us in our tracks. Some phases of our writing careers lead us to doubt our creative intention and potential. A retreat is a way of getting in touch with what we may have lost sight of. It’s a way of triggering new inspirations and new solutions.

Even when the house is beautiful, the spirit willing and the friends around, though, the muse doesn’t always seem to have come along on the trip. We can feel dry of inspiration or full of doubt about a current work in progress.

Clare at Goddard’s: ‘I spent most of our time frustrated and unable to get any writing done. I didn’t believe in writer’s block until then – if I stared at an empty page for long enough, the words would always flow. But this time I was genuinely stuck.’

Carol in France: ‘My writing wasn’t flowing … I came for a break from the non-fiction book which had a deadline not far away.’

Karen at Goddards: ‘When I first started reading my enormous print-out in the grand dining room, my heart sank; I was suddenly convinced that the MS was dreadful!’

Alison at Goddard’s: ‘I was working on Julia Prima at Goddard’s, working out the horrible complexities of a long journey in the hazardous times of the late 4th century.’

Liza at Marazion: ‘I was having trouble writing in general at this time. I didn’t pen a single word … on the retreat.’

Jean: ‘In Marazion, I did not write one word. … I didn’t settle in the Loire either. … Too many distractions. Ooh, a chateau to visit! Ooh, friend X is talking about her book! Ooh, time to shop or cook!’

Lorna’s writing journal while at Marazion: ‘I feel as if I’ll never write again. …Not one word. Not one scintilla of inspiration. Not one intimation that something is rising to the surface.’

Progress and breakthroughs

Given some have confessed to not writing a word, you might wonder whether a retreat is just a cover term for a holiday with the girls. Certainly wine, good food and laughter play significant parts! But the magic truly happens when we feel stuck: the support of our friends helps to unblock us, whether with a specific project or our worries about our writing identity.

In Marazion, I was tussling with my long-term lack of productivity. It was a kind of existential crisis. I was comparing myself to my friends, some of whom had published several series of books. How could I call myself a writer, when I didn’t write? (Name me a writer who hasn’t asked themselves that painful question!) During one memorable morning, when we were sitting round the kitchen table talking about marketing techniques, that doubt felt overwhelming. But that emotional moment was a pivot moment. It would take more than a year, but by the time I joined the others in the Loire I had, to some degree, changed my life, making sure that I allowed more time for writing. In the Loire I began a new book, One Morning in Provence, which I published by the end of the year. I can’t tell you how good it felt to get something new out into the world!

In Marazion, Liza also broke through a barrier: ‘As I said, I didn’t feel like writing at all on the retreat, but on the long train trip back from Penzance to London, the rest of my story gushed out into my notebook, completely unaided, which was wonderful. I was able to type up these notes at home and continue the novel.’

After Marazion, Jean says, ‘I came home and wrote!’ and also after the Loire retreat, when ‘travel times meant that I had five hours waiting in a train station before going home. Dear readers, I wrote 5,000 words. I’m a 1,000 words a day writer so this was extraordinary. I believe the simmer time and inspiration from the week and conversation was a catalyst.’

Also in the Loire, Clare discarded 10,000 words of her current novel because it wasn’t working out and started again: ‘That retreat enabled the book to get off to a great start – it will be published as The Star of Ceylon in early June 2025 by Storm.’

Carol says of the Loire retreat: ‘It was just the energising interlude I needed. I returned with several ideas for my novel, but more importantly with renewed enthusiasm for my non-fiction MS which had to be delivered within two months of the retreat.’

Lorna’s writing journal in the Loire, where she wrote over 10,000 words: ‘I feel at peace and as if knots are untying. … Unlike Marazion, I’ve done what I wanted to do and go back home feeling self-respect.’

Karen says of her doubts at Goddards: ‘Had I been at home I might have put things off at that point but that wasn’t an option and I stuck at it –realising that it wasn’t nearly as bad as I had feared! By the end of our stay I had made huge inroads and the book eventually came out in March of 2022 and was later shortlisted for a couple of awards! At Marazion … time away forced me not to procrastinate! … As for France … I used the opportunity to dig out an old MS of a futuristic novel for adults and this is something that I am now slowly working on in between other children’s book projects.’

Even when breakthroughs were not spectacular, the sorting out of timelines and locations and logistics made progress. Alison says, ‘I don’t think I had a breakthrough as such on any of the retreats …I just plodded on with my writing.’ But as we all know, each small action, each step, leads us to the goal in the end.

Experience and support

Fellowship is the name of the game but more than that – we offer professional levels of support to one another. There might be practical advice, such as plotting solutions, publishing strategies and marketing techniques. Our instinct to turn to one another for feedback and opinion is heightened when we are together. Liza found her story gushing out on the train because previously she had gone for a walk with Karen on the Land’s End peninsula and Karen made ‘a brilliant suggestion’ that unblocked her.

At Goddard’s on our last afternoon, Clare describes how, seeing how frustrated she was, I suggested a playful approach, selecting random sentences from ‘random books plucked from the bookshelf to act as writing prompts. From a couple of those sentences I got a topic – stained glass windows – and one of my characters. I started writing that afternoon and from that shaky start I produced the three full-length novels in the Hearts of Glass series which were published in 2024 by Storm. A successful trilogy from one afternoon and your stimulus – a fantastic return!’

Wine, women and … stories

The joy of a retreat lies in obvious components such as free time and a fresh location, a break from the norm. But there’s so much more. True friendship that deepens over time. Shared meals and walks in the countryside. Practicality and an element of nagging when required! Recharging creative batteries. We have fun and laughter. We play word games and share extracts. We delight in one another’s successes: in Marazion, Debbie launched her Murder in the Highlands and that was a great cause for celebration. The necklace we gave her is, she says, ‘a talisman for writing a new book set in Cornwall – still a work in progress.’

Liza: ‘Getting to know my lovely author friends, sharing nice moments in the stunning house we rented, exploring Cornwall, which I didn’t know at all, and just loved.’

Jean: ‘The wine😉 Unexpectedly, I enjoyed the games, especially ‘identify which person here wrote this’. It showed that each of us had a distinctive voice. It was SO relaxing to be with others obsessed by writing.’

Alison: ‘Relief from the everyday, the chance to discuss writerly things, just the being amongst fellow writers and exchanging thoughts and ideas.’

Karen: ‘’The group dynamic is wonderful and even though we all write in different genres, we really gel as people and it’s wonderful to be able to share both the ups, downs and challenges of planning and writing a novel.’

Carol: ‘There’s nothing like the camaraderie of writers, even when we’re all writing very different things. I so valued the company, and the many conversations that evolved spontaneously.’

Debbie: ‘Like the Three Musketeers, only more so – all for one and one for all! We celebrate each other’s successes and boost each other when challenged and it was wonderful to be able to do this in real life for a change and to have so much uninterrupted time together.’

 

Finally

I think we all echo Jean when she says, ‘I am so lucky to call you all friends.’ I’ll give the last word to Clare: ‘All in all, [it’s] the mixture of fresh and stimulating surroundings, great company, sympathetic ears to share writing (and sometimes other) troubles, and lots of time to write and even more importantly, to think. It’s definitely time for another one.’

On that last note, one of the biggest challenges of all is to find a time and a place where as many of us can get together as possible. So far, we haven’t arranged a 2025 retreat. But make no mistake – there will be another …

Check out the books featured above and these authors’ other books by visiting their websites - click on their names at the start of this post. There’s something for everyone - happy reading!

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    Writing Historical Fiction: wise advice at the Historical Novel Society Conference 2024

    Dartington Hall in Devon

    Back in the spring, I reached the 17th to 19th century category shortlist of the Historical Novel Society’s First Chapters competition. It was the nudge that encouraged me to attend the HNS conference in early September. The HNS and I have history (ahem): I attended the conference in 2012 and in 2014, and was on the committee for the Oxford conference in 2016. I have history with the competitions too! I was on the shortlist for the Short Story Award in 2012 with ‘Reputation’ and won in 2014 with ‘Salt’: you can read both these stories in my ebook An Oxford Vengeance. In 2016 I was on the judging panel for that year’s short story award.

    Other tempting reasons for going: the chance to meet up with friends I’d made at previous conferences and to make new ones. Plus, the location: Dartington Hall in Devon, which is set in beautiful countryside near Totnes and which has stunning gardens. I’d heard so much about it over the years and it didn’t disappoint. What did disappoint was the weather – lots of cloud and rain over the weekend, but on Monday morning , when virtually every other delegate had left, the sun came out at last and everything glowed.

    The conference theme was page to screen, which is really apropos, given so many historical novels achieve fame through television and film productions. (As I write this I’m eagerly anticipating the start of the TV dramatization of Hilary Mantel’s The Mirror and the Light). There were so many talks and presentations – it was impossible to attend them all, of course. But here’s a selection:

    The HNS founder Richard Lee opened the conference on Saturday 7th September before Bernard Cornwell gave the keynote. Who better to kick off the weekend’s talks, given that his novels about Sharpe and Uhtred have transferred so successfully to the screen? He was sardonic and down to earth, with a great range of anecdotes. His first piece of advice was ‘Don’t get too excited’ if an offer for your work to be filmed comes your way: he only believes that the project will actually happen ‘when the credits roll.’ And if you’re invited to write the script? ‘For Godsake, say no!’ He expressed frustration with those who don’t portray history correctly on the screen, lambasting Ridley Scott’s film Napoleon for not knowing the difference between a mortar and a howitzer and for having an officer at the battle of Waterloo scream at his men to go ‘Over the top!’ He shared anecdotes about actor Sean Bean, saying that now when he writes the Sharpe novels, it’s Sean’s voice he hears. He came across as one who certainly does not suffer fools gladly, including the French, the ‘little darlings’ who make the films and writers who claim to have writer’s block, which is something he does not believe in. He said that he has ‘never done a structure in my life … Part of the joy of sitting down to write is to see what happens.’

    In a discussion of writing medieval fiction afterwards, Elizabeth Chadwick reminded us that ‘A writer is a bridge between now and then’ and Matthew Harffy, talking about the difficulty of accessing the medieval mindset, asserted that ‘Authenticity is more important than accuracy.’

    Ian Mortimer, author of the very popular Time Traveller’s Guides, used his platform to disagree most vigorously with the traditional way of teaching history, with its ‘God’s eye view of the past’. He called for ‘free history’ rather than neutral, formulaic history.

    Kate Quinn highlighted something every historical writer can relate to when she said ‘You run into the danger that you never finish the research.’ Ain’t that the truth (I speak from experience …)

    On Saturday evening, there was a gala dinner in the incredible Great Hall which dates back to the time of Richard II, with after dinner speeches and the announcement of the overall winner of the First Chapters competition, Lenore Hart, for ‘The Alchemy of Light’. Entertainment was by the Sea Gals, who sang sea shanties with great gusto.

    On Sunday, Diana Gabaldon took a very different line from Bernard Cornwell. He had advocated not getting involved with the scriptwriting, but she has very much been part of the production of the scripts for the Outlander series. She gave us insights into the process: the writers’ room, the showrunner who produces the ‘beat sheets’, the way changes are made for political, gender or race reasons. She described how, if you are not writing within a recognised genre category, you need to ‘make it as good as you can so they don’t care whether it doesn’t fit in a box’. She wrote Outlander ‘as a practice novel to learn how to write a book’, having intended to write crime. And there was common ground with Bernard Cornwell when she said ‘I don’t write in a straight line … It comes to me in pieces.’ So anyone who worries about not having their book completely mapped out in advance can relax a little.

    My friend Alison Morton chaired a lively panel discussion with authors Kate Quinn and Ruth Downie, all brilliantly costumed in Roman outfits, about how ancient Rome has been portrayed on the screen. They highlighted the eternal fascination we have with Rome and how it’s all about common humanity but also about the great differences between their outlook and ours. ‘What is it about blokes with swords?’ Alison asked, before describing how she came to write her Roma Nova series, about a part of the Roman Empire surviving into the modern age – a Roman Empire ruled by women.

    Jane Johnson, in her vibrant talk, proved that ‘The most authentic writing comes from the depths of your experience’ when she described how she met her husband during a dramatic and romantic adventure in the Atlas mountains while she was researching The Tenth Gift. They now live in Cornwall and location clearly feeds into and sustains her novel-writing. Like many of us, it’s when she trips over an interesting historical fact that her imagination kicks into gear. ‘One of the reasons I write is to find those secrets in our history,’ she says, while adding that ‘It’s more difficult in many ways to write about history that’s within people’s memory.’ She has had an amazing career as publisher as well as writer and worked with Peter Jackson on the Lord of the Rings films in New Zealand; she published Tolkien’s books at George Allen and Unwin and she launched the Voyager imprint which published Stephen King and George RR Martin. I’ve read several of her books and am really looking forward to reading the latest, The Black Crescent.

    Finally, Scottish author Shona MacLean discussed with her agent Lisa Highton how she never intended to be a novelist at all. She was all set for an academic career, but a job move for her husband led to her living in a small town in the north east of Scotland where she became interested in its history: what she learned turned into a novel, The Redemption of Alexander Seaton. Not only have I read this novel, but I went to school in Banff for three years so I was keen to hear what she had to say! What came across strongly was her passion for the period and more than that, the locality: even when she was under pressure from her publisher, what mattered most to her was a setting she could relate to. There was also a pressure to write books in a series – this seems to be particularly the case when your story involves a crime or two! She warned of ‘the marshes of research’ but her love for the history of Scotland and her respect for ‘the spirits of the folk’ really shone. Her latest book, The Bookseller of Inverness, is a standalone (I’ve read this one too!) and is set in the aftermath of Culloden. It powerfully depicts the trauma of defeat and the risks of staying loyal to a cause that’s been lost, as well as the corruption of faith and honour that fear and oppression may bring.

    I said at the start of this blogpost that a major part of the appeal of a conference is the chance to meet and talk. I was delighted to enjoy meals at the White Hart at Dartington with my friends and to meet new writers and readers. Afterwards, I joined my friend Clare Flynn, multi-published historical novelist, in a beautiful old Devon cottage (well, it had to be old!) for a brief writing retreat. I was working on revisions for my new edition of The Chase, which counts as historical these days as it is set in 1989, (the ebook is now out in this edition with a new cover - paperback to be updated very soon), plus my forthcoming book of short stories, One Morning in Provence. More about these in a future blogpost!

    Interested in writing or reading historical fiction? Find out more about the HNS here.

    Writing retreats: how to get the balance right

    A month ago I returned from the third writing retreat I’ve spent in the company of the best writing friends you could imagine. In 2021 we went to an old Arts and Crafts house in Surrey. Last year, we were by the sea, in Marazion, Cornwall. This year we chose the Loire region of France. 

    I have loved all three retreats and I’ve come away from each with new enthusiasm, new insights, new knowledge. I think that for me, this was the best one yet. 

    Why was that? It was all about getting the balance right. Our first retreat was too short for the kind of deep-dive experience writers seek. A retreat is all about getting in touch with your creativity in a location where the everyday cares and distractions of normal life no longer interrupt. I came back from Surrey with a new idea but little actual writing done. 

    Cornwall is for me a spiritual home. I have been in love with its landscape and history for more than two decades. Maybe this got in the way during the Marazion retreat. As the group member who found and co-ordinated the property let, I was so intent on making the experience perfect for everyone else that I lost sight of what I was there to do. Once again, I came home having not been as productive as I’d intended, though I had learned a lot about publishing and marketing from the multi-published authors in our group. 

    If you go on a retreat, it’s important not to undervalue the non-writing time. Things go on that are intangible; they may not seem obviously practical or developmental but actually they are. When I look back at all three retreats, I can see how our friendships have deepened. How it is crucial to be with people you trust. How we root for each other, nag one another, sympathise with one another, give each other ideas and information. How we share laughter and anecdotes and strategies. How we defend one another in the context of a publishing world that can be hostile or frustrating or plain incomprehensible. We steady one another. We reach out from our little writing cells and know someone will be there to reply, cajole, soothe, giggle, share indignation, gossip, inspire.

    The French trip had minor downsides. The travelling was onerous. The weather wasn’t great. But we could cope with that. There were incredible pluses: we shared an amazing gite in the Loire countryside. We spent time alone or in small groups or all together. The gite had great facilities, including not one, but two swimming pools! We went on an excursion to the beautiful château of Amboise. Those members who live in France were indefatigable in their efforts to ensure we were all comfortable and well fed. Our evenings were spent in gales of laughter as we played word games and shared mystery readings. 

    I went to France with a plan: I would not burden myself with notes and research and all the paraphernalia of the two major projects I am engaged in. I took my iPad and a slim notebook, that’s all. I chose to write something different, for publication this summer. I was disciplined: I went on the Amboise trip but not on two other excursions. I retired to my gorgeous peaceful room after breakfast and wrote in bursts until lunch and after lunch, knowing that the evening’s fellowship (and wine!) would be my reward for a productive day. I struggled during the first couple of days, then it all gelled. I came home with 10,000 new words for my new project. I couldn’t have been happier. 

    Back home it is hard to maintain the momentum, of course, but I am still plugging away. Already we are discussing where our next retreat will be … 

    Photos above: notebooks I made for my friends; at the Château d’Amboise; in my writing room; breakfast spread; headshot by Jean Gill

    Advice if you’re going on a retreat:

    • Make sure you go with the right people. A retreat is about community. It’s about support and sharing, not competition. You need to feel you can trust your fellow writers and you can open up to them. Over the years, my friendships with my fellow retreaters, some of whom I met initially online, has grown ever-deeper and more invaluable to me. 

    • It’s not all about you. It’s about listening and supporting. It’s about moving out of your own self-obsessed grumbles and resentments about writing and publishing. It’s about knowing you are not alone and neither is anyone else in the group. Knowing that you can offer fellowship, love and support to your friends is infinitely precious. 

    • Make the most of the skills you bring. I’m an editor and writing coach. Several of us are genius marketers with experience of traditional, independent and hybrid publishing. My friend Jean Gill is a fantastic photographer and took new headshots of me for my author website!

    • It’s about the right choices: the length of the retreat, its location, its comfort. There is no point in not being kind to yourself. A retreat is a celebration. Choose somewhere with comfy beds and space around you, tables to write at, nature to contemplate, good food and drink. A retreat is not a penance: it is a reward for your commitment to the present and future of your writing life. 

    • Make plans. Go to the retreat with a clear idea of what you want to accomplish. It may be that you’re not particularly interested in coming away with a massive word count, which is not a badge of honour to be waved – after all, those new words may not be the best words in the end … You may go on a retreat to edit a completed novel, brainstorm a new one or find a way of becoming unstuck. You may come home with a single sheet of paper on which is sketched out an outline or a new plot-thread – result! This is precious time you are giving yourself, so spend some time beforehand evaluating which task or aim you want to focus on. Otherwise (and I speak from experience) you will hop about from task to task and not get any of them done to your satisfaction.  

    • Go equipped. Consider keeping it simple. I chose not to take my laptop and my files of research and outline notes this time. This freed me up. You might take only a notebook which you use in a random way, jotting ideas, single lines, whole passages down as they come to you. This is liberating. You know that when you come home you can expand and organise from these beginnings. 

    • Decide if the internet is important and if it is, what use you are going to make of it. There’s no point spending a fortune on a trip if all you do is doom-scroll on social media. But if you have a launch coming up, posting photos of your writing life keeps your readers interested. If you’re writing a tricky scene, you may need the internet to consult sources and facts. Or, like me, you simply type xxx at any point you’re unsure about and you do the follow-up checking when you get home. 

    • Think about how you’re going to maintain some of the momentum after your return. Not just the momentum – the spirit of the retreat. This is hard, I know, because real life comes washing back into your consciousness like a tide. Consider having a Facebook group with your friends, dedicated to the retreat and its aftermath so you can keep in touch with the people who shared the experience with you. Consider keeping a writing journal during the retreat, that you can reread to reawaken the feelings and thoughts you had while you were there.

     Photos above: Amboise house; fireplace and bed in château; mural of French Resistance hero Jean Moulin in Chartres; carvings and rose window in Chartres (on way to the retreat); Château d’Amboise

    To Alison, Carol, Clare, Jane, Jean and Karen - thank you so much for your friendship!

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