nothing in the rulebook

In the latest of our ‘Creatives In Profile’ interview series,  we’re thrilled to introduce acclaimed writer, Russ Litten.

Litten is the author of “Scream If You Want To Go Faster”, “Swear Down” and “Kingdom”. His short stories have appeared in various international magazines and he has written for the screen and radio.

INTERVIEWER

Tell me about yourself, where you live and your background/lifestyle

LITTEN

I am a 47 year-old man from a working class background who lives and works in Kingston-Upon-Hull and entertains himself with fairly simple pleasures; walking the dog, going to football, sitting in the pub talking bollocks.  In between all of this I sit down and write. For the last five years I’ve been a writer in residence at a prison, but the funding got pulled in May when the current set of psychopaths got into government. So my lifestyle currently involves balancing the need to make money with the need to make time to write.

INTERVIEWER

Is creativity and writing your first love, or do you have another passion?

LITTEN

I’ve always written and that’s the thing closest to me, but for years I was in a band. I played bass and wrote lyrics. I think this period was the closest I’ve come to achieving transcendence through the act of creation, but of course it’s a shared experience, and sooner or later you’ve got to push your own boat out. So music is my significant other passion. I still play bass guitar to amuse myself. I’d give anything to be able to sing though. That must be amazing, to be able to entrance a room with your voice, rather than clear it in seconds.

INTERVIEWER

Who inspires you?

LITTEN

As far as the writing goes, everyone and everything on the face of the planet and beyond, human beings especially. If you’re talking about heroes or influences on life in general these change from year to year, but the hard-core influences remain: Muhammad Ali, Quentin Crisp, Nelson Mandela, Jesus Christ, Chief Sitting Bull, Charles Bukowski, Kevin Rowland, Billy Whitehurst, Lillian Bilocca and Eddie Smith. Anyone who had a go, basically.

INTERVIEWER

Your 2010 novel, Scream If You Want To Go Faster, is rooted so firmly in the location and geography of your home city of Kingston upon Hull. What role does region and notions of ‘home’ play in your writing?

LITTEN

I was living in London when I started writing that first book. At the time, Hull had come bottom of some bullshit marketing gimmick “worst places to live” table. When I moved back up, Hackney took the bottom slot. So I’m obviously the kiss of death to any place I’ve previously lived. Except for Prague, hopefully. But generally, when considering notions of home and belonging, I refer to that Captain Beefheart song, “My Head Is My Only House Unless It Rains”.

INTERVIEWER

Your subsequent novel, Swear Down, has been described as “a postmodern triumph” – when you are writing, do you consciously attempt to create something that is ‘post modern’? Where does your focus, as a writer, lie when writing?

LITTEN

I certainly don’t set out to write post-modern stuff because I don’t particularly like post-modernism that much. I find it a bit tiresome and unhelpful. I like sincerity and stuff that’s from the heart. The focus for me when writing is purely to get the story down in as simple and as evocative a manner as possible. If that involves adopting a specific voice then I like that voice to be as authentic. I like Kerouac’s definition of literature as “a tale that’s told for companionship”.

INTERVIEWER

Are there any specific themes you’re interested in exploring as a writer?

LITTEN

I would very much like to write a love story. In fact, that’s what I’m doing next. A proper full-on exploration of love, in all its glorious fucked up wonder. Other than that, I like to start a story from an initial spark of intrigue and wander about within it until I find the thing that’s bothering me. It’s generally an abstract human emotion, like desire or jealousy or loyalty or grief, and out of that emerges the theme.

INTERVIEWER

Why do you write?

LITTEN

Because if I don’t I get unwell. I realised this a long time ago. I write to get it all out of my head and put down somewhere safe where it can’t bother me anymore.

INTERVIEWER

In his work, The Psychology of Writing, Ronald T Kellogg explored the role of the daily writing routine in producing inspiration and enhancing creativity. Sometimes these are pretty specific. Virginia Woolf, for instance, spent two and a half hours every morning writing, on a three-and-a-half foot tall desk with an angled top that allowed her to work both up close and from afar. Do you have a specific daily writing routine? If so, what is it?

LITTEN

I do have a preferred writing routine, which is to get up, go for a run around the park, come back and start typing at around seven am. This is a summertime routine though. In winter, I usually avoid the running part. Generally, the earlier I start the better writing day I have. I like to write to music as well, instrumental stuff mainly, ambient or classical. I don’t like music with human voices when I’m writing unless it’s a language I can’t understand. I used to have this routine where I had to listen to Ralph Vaughan William’s “The Lark Ascending” in its entirety before I could type a sentence. But you have to be careful with routines; they can become crutches, which are a bit unhealthy.

INTERVIEWER

In terms of writing fiction, what do you think is most important to keep in mind when writing your initial drafts?

LITTEN

That you’re probably going to change everything, so it absolutely doesn’t matter. Just enjoy yourself. It’s the best bit, the first draft. It’s like spewing up and then immediately feeling better.

INTERVIEWER

Looking around at current trends in literature, what are your thoughts and feelings on the publishing industry as a whole? And how would you advise aspiring writers to break out onto the ‘scene’?

LITTEN

I think it’s fair to say that the cramped financial restrictions on mainstream publishing means that it’s become a lot more safe and cautious, less experimental or willing to take risks. As a result, the books they push tend to be a bit dull and samey. Everyone seems to be frantically copying each other in the hope of emulating commercial success, hence the plethora of books about birds and grief, or girls in a variety of locations. Most of the interesting stuff comes from the small presses and the underground. As for aspiring writers, I’m not sure I’m well qualified to offer any hints or tips outside of the obvious stuff – write from the heart, don’t try and chase the obvious trends and find the thing you really want to say. Sooner or later some else will notice.

INTERVIEWER

Within this scene, is there anything in particular you see as being potentially future-defining, in terms of where the industry is headed?

LITTEN

Not really, no. I try and ignore trends or any attempt to ride the zeitgeist. I suppose self-publishing will become more and more popular as a way of avoiding the traditional gate-keepers and I think that can only be a good thing.

INTERVIEWER

How is the digital age impacting writers?

LITTEN

As soon as you can reproduce anything digitally it is worthless. You now have a generation that don’t realise you should actually pay for music. An artist now has to identify the people who are into what they do and hope that they feel enough passion and loyalty to part with some money in exchange for a physical thing. In a more practical sense, the digital platforms enable a writer to get a story or book or whatever straight to an audience pretty quickly.

INTERVIEWER

In an internationalist, interconnected world, ideas and creativity are constantly being flung across community threads, internet chatrooms and forums, and social media sites (among many others). With so many different voices speaking at once, how do you cut through the incessant digital background babble? How do you make your creativity – your voice – stand out and be heard?

LITTEN

I really don’t know. I think the temptation of the last few years has to be sensationalist or extreme or brutal. I’m a bit bored of all that to be honest. Twitter is a good example of this, where people often feel the need to be endlessly sarcastic or cutting or witty. To me, it feels like one big public audition for people who want to be the next Charlie Brooker. It’s back to that post-modern thing, the endless self-conscious wink of the eye.  The best way to stand out is to be truly yourself.  Which is a task in itself.

INTERVIEWER

Do you have a specific ‘reader’ or audience in mind when you write?

LITTEN

Not really, no. I write initially to amuse or engage myself and if anyone else recognises something of worth in there, then that’s ace. Writing to a specific audience would only end in disaster for all concerned.

INTERVIEWER

How would you define creativity?

LITTEN

It’s a spiritual thing, and it involves breathing from within. Opening your head up like a radio receiver. It doesn’t stand up to too much scrutiny. It used to amaze me when I was in a band, having four or five of you in a room hitting bits of metal and wood and then all of a sudden there’s something there that did not exist five minutes previously. Swop guitars and drums for a typewriter and the effect is much the same.

INTERVIEWER

What does the term ‘writer’ mean to you?

LITTEN

Someone who writes things down, regardless of whether it gets read by anyone else or not.  A recorder, an observer, one who scratches marks in the mud for posterity and kicks.

INTERVIEWER

For all writing, the importance of finding the right ‘voice’ is of course crucial. Often, writers’ speak of developing an ‘other’ – who provides that voice when they write. How have you created and refined your voice and tone for your writing – and do you have a separate, ‘other’ persona who helps you write?

LITTEN

I would identify that “other” as the subconscious. If you write often then your subconscious mind tends to bubble to the surface and you become less elf-conscious. I think that’s a vital part of finding your own writing voice; letting go of conscious hang-ups and telling the truth as you perceive it.

INTERVIEWER

Could you tell us a little about some of the future projects you’re working on?

LITTEN

I’m writing a love story and a non-fiction book about prison. I’ve also got a collection of monologues in the pipeline and a longer animation project for kids that I’m tackling next year.

INTERVIEWER

Could you write us a story in 6 words?

LITTEN

Probably not, no. Oh, hang on …

INTERVIEWER

Could you give your top 5 – 10 tips for writers?

LITTEN

1. Turn off the internet
2. A long walk throws up many answers.
3. Most TV isn’t worth watching
4. Listen to The Beatles
5. Don’t measure your success against others
6. Pull down the blinds
7. Try and finish everything you start
8. Don’t worry
9. Read stuff you don’t think you’d like
10. Try and tell the truth unless the lie is more sincere