Ibiza Writing Challenge

Blogging daily in August for my Ibiza Writing Challenge was incredibly rewarding.


It was a pleasure to go through old photos, choose favourite quotes, and connect with new friends. Massive thanks to all of you who liked, followed and joined in the conversation and inspiration over the past month.

I’d like to do something special to thank everyone who’s read the blog over the past month, so I’ll put it to a vote. Would you like:

A) Another article in the ‘How To Be Creative’ series?
B) A downloadable PDF of the highlights of my ‘How to Write Non-Fiction’ series?
C) My Top 5 Writing Craft Guides as a PDF?

Please vote in the comments!


How to Be Creative: Ibiza Food Studio

Creativity is not just what you do. It’s how you relate to the world.

Boris & Michel

Boris & Michel

Stepping through the heavy wooden doors of the Ibiza Food Studio I felt a flash. By the time chef-proprietor Boris Buono introduced himself my head was floating a few inches above my spine. Here was something: tucked in the heart of Sa Penya (Ibiza’s old fisherman’s quarter) amidst broken paving stones, rubbish, feral cats and wary neighbours, a secret chamber of serious sensual delights.

I don’t want to spoil the surprise for future guests of the Food Studio, suffice to say it was the best meal I’ve had in Ibiza. Superb food and drink were a given (Boris is consummate chef with a stellar CV) but what made the night glow was being part of a creative process. Perched around a table made from antique ship beams, eating delicate cured salmon off handmade pottery plates, laughing at each others’ attempts to play wine-critic, our little band of new-made friends was part of a delicious conspiracy to make something beautiful of life’s necessities.

Boris reminded me that the abstract notion of creative work is grounded in concrete attributes. If you are caught in the motions “being creative” stop. Do the concrete practices instead. Approach life with Craft, Risk, Energy, Attention, Talent, Intellect, Vision, and Effort and you can’t help but be creative.

Craft: Craft is the ability to perfect every element to create a triumphant whole. Boris began his career at two-Michelin starred Noma, aka the best restaurant in the world. He has worked all over Europe, honing his craft as a head chef, consultant and food expert. His mastery is evident in the richness of a prawn-infused ailoi, the unctuousness of a clam and mussel broth, the sweet-tart-creamy white chocolate, mango and coconut pudding.

Risk: Running a tiny Food Studio is not the charted path to culinary fame and fortune. Nor is doing fine dining in Ibiza without massive corporate backing. Boris is unfazed. Not because he didn’t considered the risk to his finances and place in the restaurant industry food chain, but because he did and decided to do it anyway. Creative risk takers aren’t careless but they know what they value.

Energy: “I’m grateful for the culinary industry,” Boris says. “I would have been in trouble without it. I have a lot of energy to channel.” The air around him crackles. In addition to planning, shopping, cooking, and hosting he sourced, crafted, or restored every item in the Food Studio from the antique monogrammed cutlery, to the light fixture made from a fisherman’s basket, to the hand-painted chairs. He smiles when asked how long it took to transform the salvaged assortment into Studio fittings: “A day or two.”
Attention: Boris’s attention to detail verges on the uncanny. I took photos while he plated the starters. Without looking up from the prawns he was arranging on slates, he directed me to a spot on the opposite side of the work-surface: “Just that way a little, it’s the best light.” Nothing escapes him: the precise number of salt flakes on a slice of roast lamb, the level of our wine glasses, the room’s emotional energy.

Talent: One aspect of creativity you can’t teach is talent. It is ingrained, runs deeper than learning or logic. “When I was first in the kitchen it was like coming home,” Boris says. “Like a language you haven’t spoken in a long time, but you know you can speak.” Everyone has talent but you have to be honest. You have to identify and nurture your talent, not fake what you think will make you cool or rich.

Intellect: Boris sits at the foot of the table while we greedily attack our main course, chewing a rye roll, riffing on cookery, fishing, the history of Sa Penya, pizzarias, Es Vedra, kitchen culture (no to Gordon Ramsey-style shouting; yes to leadership by example) and politics. Like most creative minds, his wanders far beyond the boundaries of his profession, gathering information and stimulation that feeds back into his work.
Vision: Boris could run a conventional restaurant, but doesn’t. The Studio expresses his vision of food as a source of healing and harmony. “Channeling energy as a chef is profound,” he says. “You’re in the middle of the wheel of life. To put food in another person’s mouth is a huge trust.”

Effort: Not long ago the Ibiza Food Studio was an abandoned apartment on a crumbling alley. “There was nothing here except the work-surface, the stairs, dirt and cockroaches.” Boris signed the lease, rolled up his sleeves and scrubbed. Once it was spotless and bug-free, he foraged for furniture and fittings. Now he scours the market daily, digging for perfect clams, picking unblemished plum tomatoes. When the meal is finished, he and sous chef Michel clean the kitchen, wash the dishes, put the wine goblets back in glass cabinet and blow out the candles. In the morning, he starts again.

Ibiza Food Studio on Facebook
Bookings: +34 664 21 32 27


How To Write Non-Fiction – Part Six: Marketing Basics

Once you’ve finished your book the hard work starts: marketing.

Some people are brilliant at marketing. They get off on it. I’m not one. I hate it. But I love my book and know it deserves an audience. What to do?

If I could afford it, I’d hire a bloody brilliant PR firm and let them worry about it.
I can’t, so here’s my no-budget marketing strategy:

1. Social Media

Social media platforms breed like bunnies so you can
A) cross-post till your eyes bleed and you have severe repetitive strain injuries. Or
B) work with what you’ve got.

I like Twitter, LinkedIn and blogging so I Tweet, blog and, er, Link.
On Twitter, I interact with wineries, wine organisations, other wine writers/bloggers, Oregon media, food and drink publications, and so forth.
On LinkedIn, I connect with as many wine colleagues as possible.
As for the blog… you’re reading it.

2. Make a Pitch List
A pitch list is simply who you’re going to tell about your book. Think about two categories:

A) those interested in your book because of its contents
B) those interested in your book because of you

Category A, for Vine Lives includes anyone into: Wine, Oregon, Pinot Noir, travel, sustainability, craft, agriculture, work, family, grapes, wine culture, food, restaurants, nature, etc. Hence magazines, newspapers, blogs, etc that cover any of those topics.

Category B is about my personal connections: hometown, library where I volunteered, restaurant where I waitressed, university alumni magazines/newsletters, publications I write for, websites I’ve contributed to, etc

Start with the obvious stuff then let yourself get weird. Make a mind map!

more paper required...

more paper required…

3. Spreadsheets
Once you’ve got two fat lists from part two, make yourself a spreadsheet. An hour’s tedium now will save on sanity later. Plus, filling it in is addictive. It’s tangible proof you’re doing something. If you’re naturally lazy, like me, you’ll need that carrot. For Vine Lives I’ve got three pages so far: media, wineries, events. All you need is a basic details of the organisation/individual: website, contact name, email/phone, notes, date.
I’m on a one-a-day regime: sending one email/press pack per day. If I had more time/energy I’d do more but this at least keeps me ticking at a minimum.

I call this post “Marketing Basics” because it’s as much as I know so far. When I know more, I’ll write more. Meantime, I’ve got press releases to write!

Please share your marketing tips in the comments!


How to Write Non-Fiction, Step Five: Edit

Editing requires stubborn patience and discipline. The good news is, all you have to do is read. The bad news is, you have to do it over and over and over. You have to read your manuscript until you can recite it like the catechism.

You must read with purpose, though. Otherwise you bore and blind yourself to what needs fixing.

On your first read your concerns are:
A) Structure and B) Continuity

Structure is how the whole thing fits together:

1. Does it have a beginning, middle and end?
2. Does the pace fit the topic and tone?
3. Does it feel like a book rather than an assortment of pages?

Continuity is how smooth, complete and ordered the writing is:

1. Do the main sections have a logical order?
2. Does each section/chapter fit in the overall theme?
3. Do individual chapters read coherently from beginning to end?

Since Vine Lives: Oregon Wine Pioneers consists of separate profiles with a common theme my main concern was the internal structure of the chapters. If you are writing a non-fiction book where each chapter builds on the previous one you have to be careful to present facts and information in clear, linear fashion.

Your second read takes a closer look at A) style and B) voice.

This was critical in Vine Lives because style and voice are what give the profiles continuity. By the time I wrote the last profile my writing had matured. There were obvious stylistic differences between early and later chapters so, I rewrote. Usually your writing will get leaner and cleaner as you work, so often early chapters just need a good pruning. Rather than treat this as a dull duty take satisfaction in the fact your writing has improved. Showcase this better self.

Your third read should be a GAS: A) Grammar, B) Adjectives/Adverbs, and C) Spelling
Sure, you could hand your manuscript over to a professional editor or proofreader at this point, but if you do you lose a tremendous opportunity to enhance your craft. Writing is like playing an instrument. As a beginner, you go to a teacher or technician to tune your instrument. To become a master musician, though, have to develop your own ear. You have to know if you are transmitting at the right frequency. The key to mastery: practice, practice, practice. Eventually, like the Stones say, tuning your work will be a “Gas Gas Gas”.

Grammar: You don’t have to be formally trained in grammar to check your work. Lord knows, I’m not. Like magisterial prose stylist Joan Didion, I claim “grammar is a piano I play by ear”. Any avid, careful reader (much less writer) instinctively knows when a sentence sounds wrong. If you hit on an awkward phrase and aren’t sure how to put it right, get thee to Google. Most grammatical conundrums can be solved by internet these days.

Adjectives and Adverbs: Patrol your writing for inappropriate use of the two “A”s. Adjectives should not be a substitute for clear description; adverbs should not be a substitute for a decent vocabulary.

Example: In the Montinore chapter I wanted to write: “It was a glorious spring day”, because it was. “Glorious” is vague and subjective, though; “glorious” doesn’t tell the reader anything useful. This is what I wrote instead:

“Rhododendrons, lilacs, roses, cypress, oak, and weeping willow channel the earth’s exuberance into great bursts of foliage and color…. Chipmunks skitter on tree trunks, scolding the birds that loft saucily towards clouds hanging like puffs of whipped cream in the spring sky.”

As for adverbs, watch those “ly” endings. If things are “especially good” better they are “splendid” or “thrilling”, if “awfully bad” try “catastrophic” or “disastrous”, etc. Adverbs are for the most part lazy replacements for strong adjectives, which are themselves often substitutes for specific detail. Be aware of how you use language.

Spelling: Yes, spelling matters. No, you cannot rely on Microsoft-fucking-Word. A writer’s vocabulary should outstrip the paltry mechanisms of Microsoft, especially if you are writing about a technical or specialist subject, such as wine. By all means, run a spell check to correct any obvious typos, but rely on close reading and regular dictionary checks to ensure your words are saying what you think they are. Pin down inaudible differences (“compliment”, “complement”) in print, watch out for malapropisms (“prodigy” for “protégé”) and double check commonly misused words (“disinterested” for “uninterested”).

Now your work is ready for other readers.
By all means, pass it around. Fresh eyes will spot incongruities to which you are blind, and generally have an overview you lack. Ask for specific feedback, e.g. “Does chapter three follow logically from chapter two?” or “Is the description of underwater basket weaving clear?” Accept comments dispassionately and with good grace. Remember, criticism of your writing is not criticism of YOU.

Once you’ve incorporated any suggestions and corrections, proofread.
I’m a professional proofreader and sub-editor so I proofed Vine Lives myself. If you’re not a trained editor, farm it out to the best proofreader money can buy. You want a hawk-eyed pedant who will read every line of your book as if it were his/her billionaire uncle’s last will and testament. Let him/her correct your manuscript then read it one more time.

Is it perfect? Congratulations. You’ve edited a book. Pour yourself a glass of wine!

Share your editing tips in the comments.


How to Write Non-Fiction, Step Three: Organising Your Material

Organising your material is the critical step between research and writing. If you have orderly tendencies this should be easy. If, like me, your inclination is to scribble, stuff and scatter this is where you pull things together.
Remember when you Plan and Research

You want to have more information than you “need” (remember what Hemingway said about the iceberg) but you don’t want to get bogged down in detail. Here’s a few tips:

-Go into every interview or research session with a list of questions
-Take copious notes
-Use a voice recorder
-Take photos (they’re great memory prompts even if you don’t use them in the book)
-Label your notes/photos/etc (e.g. “Jean Smith interview, July 3 2015, recorded and saved as file ‘JSmith 3/7′)
-Collect additional material (maps, brochures, clippings, ticket stubs, etc)
-Gather everything that seems interesting and relevant (within reason) — edit later

Organising is actually a step in the writing process. Imposing physical order by cataloguing, categorising, labelling, filing, etc creates mental order. Organisation starts the writing process before you type the first word. I’m terrified of writing. Organising is a way of conning myself into developing structure and narrative.

Specific organisational tools and techniques depend on your project. For Vine Lives: Oregon Wine Pioneers I used a tabbed file folder to hold miscellaneous items like business cards, maps, brochures, etc. I recorded interviews on a Dictaphone (or use your smartphone) and carried a large notebook to scribble observations. Each interview / vineyard visit was the basis for a chapter of the book, so it was easy to bundle information.

The critical step in my organisation process was typing my hand-written notes and transcribing the interviews. I’m lazy, so left doing this till the end. It would have been better to have typed/transcribed immediately after the interviews to A) preserve fresh detail and B) spot any gaps. As it was, leaving it till later meant I forgot some things, and thought “gee, I wish I’d asked…” about other things. That said, imperfection is a fact of life. It is always better to work with what you have than obsess over what you don’t.

On my computer I created a master folder for the book with separate folders for each chapter, plus a folder of “additional information”. For a more elaborate project involving a wider variety of source material you might have separate folders for video clips, music files, databases, etc. Keep a careful bibliography of any source material (books, magazine articles, etc) — this makes it easy to find references while writing and saves you the excruciating task of compiling a bibliography at the end.

Four Steps to Organise Your Material

1. File and/or catalogue all your physical material
2. Transcribe interviews, type hand-written notes, etc
3. Create a file system on your computer that works for you
4. Keep a running bibliography of reference material

Don’t worry about the overall structure of the book at this stage. Work on the level of individual chapters or sections. Your (writing) life will be a lot easier if you heed Jesus’s dictum: “Take therefore no thought for the morrow… Sufficient unto the day is the evil thereof.” (Matthew 6:34)

Share your organisational tips or questions in the comments.


How to Write Non-Fiction, Step Two: Plan and Research

Topic in hand, you’re ready for the next phase of writing your book: planning and research.

Before you begin go back to Step One: Choosing Your Topic and review this bit:

1) What kind of book do you want to write?
2) What research will you have to do? (e.g. What’s the gap between what you know and what you want to write?)
3) How much time do you want to devote to it?
4) What are your constraints?

These questions shape your research agenda. They will help you figure out what you need to know and who you’re going to ask.

In the case of Oregon Wine Pioneers my primary source was winemakers. I had to figure out who I was going to interview, why, where and when. My brother and I put our heads together and started making a list.
He’d had a nice bottle from A to Z Wineworks, so they went on the list. Plum Hill is a family favourite. I’d already interviewed the owner of Abacela for a different project. I went to Willamette Wines and made a list of potential subjects.
cover 1
Don’t get too hung up on a particular angle, subject, or idea at this point. My initial contact list was probably 40 wineries. Of those, maybe 25 responded. In the end, I interviewed and wrote about 15 of them. Some people I contacted were enthusiastic then stopped answering emails; others were initially aloof but wound up being great subjects.

Depending on the project your primary research focus may be people, books, newspapers, archives, websites, films, police blotters, or YouTube videos. For each source or type of research consider the following:

1. Access: Is the information you need accessible in your area? Your language? Is it confidential?
2. Cost: Phone bills, gas money, subscription fees, printing/copying costs, buying equipment e.g. software, camera, etc
3. Time constraints: What’s your deadline? Is your topic time-sensitive? Are you limited by your work/travel schedule? Is certain information only available at certain times (for example, do you have to attend an event?)

For Vine Lives: Oregon Wine Pioneers my access was determined by the willingness of my participants, so that was straight-forward. Other resources such as existing Oregon wine and travel guides were available in the library or local book shops.

Costs included gas money, phone top-ups, office supplies, and sundries. The biggest expense was a high-grade Sony digital camera to ensure we’d have book-quality photos.

And I was working against the clock: with just six weeks in Oregon I had to schedule my interviews as efficiently as possible. This meant visiting adjoining wineries on the same day, in some cases.

Once you identify your access, cost and time constraints all that’s left to do is research.

You want to have more information than you “need” (remember what Hemingway said about the iceberg) but you don’t want to get bogged down in detail. Here’s a few tips:

-Go into every interview or research session with a list of questions
-Take copious notes
-Use a voice recorder
-Take photos (they’re great memory prompts even if you don’t use them in the book)
-Label your notes/photos/etc (e.g. “Jean Smith interview, July 3 2015, recorded and saved as file ‘JSmith 3/7’)
-Collect additional material (maps, brochures, clippings, ticket stubs, etc) in a file folders
-Gather everything that seems interesting and relevant (within reason) — you can edit later

Good luck! Share your research tips in the comments.


Five Step Guide to Writing Non-Fiction

You can write a book. Just five steps are required to craft a non-fiction book and, in the coming weeks, I’ll take you through each step in detail. If you read and apply this information you can write a book. It’s easy, like losing weight through exercise and sensible eating is easy — the principle is blood-simple but you have to do the work.

cover 1

This five-step plan is based on my experience writing Vine Lives: Oregon Wine Pioneers, a travel-guide-cum-social-history of Oregon’s thriving wine industry. I’ll take you through the entire process from the seed of the idea to final edit.

The guide covers:

1. Choosing Your Topic
2. Planning & Research
3. Organising Your Material
4. Writing
5. Editing

Each article will include examples, action points, and inspirational quotes to get you going.

Don’t just read these blogs. Use them as a guide and inspiration to begin your own book.
Follow Creative Writing Ibiza so you don’t miss anything!

Stay tuned for bonus tips on finding your writing rhythm, marketing and more.

Coming next week: Step One – Choose Your Topic