D’Arcy arrived in 2020, a refugee to the wonderful world of fiction writing after several decades in management consulting. During those years, hundreds of thousands of words were selected, moulded, and plugged into corporate documents across tens of industries and business types, all stamped with ‘commercial in confidence’. It was always challenging, often stimulating, and demanded discipline but it was rarely creative for a centre-brain thinker, and despite all that writing, I’d never considered myself an author!
What did it take to convince me that I should close one door and open another that I’d been ignoring most of my life? The voices of others who persisted in urging me to “write, for crying out loud, write!” Story concepts kept on coming until my inner-author’s world felt like a literary paella! With more than nine novel concepts, two partly drafted, and two play concepts and occasional short story drafts mashing around and frying my brain, I needed to listen and act.
In a light-bulb moment in 2019 - and an ‘at last!’ moment for others - the two came together. ‘Oh, for goodness sake! I’m not going to be, I am a writer!’ It is not about how I produce my craft, or for whom even, but what and why I produce!’ It’s humbling to finally get the obvious after having spent decades trying to help others see their brick walls!
While the commercial world provides sumptuous and seductive fodder for writers of business and thriller genres, these are not mine. Those times were an adventure and I’m grateful for all the peaks and troughs, but thinly veiled exposés of former clients’ successes or disappointments belong in the past, in-confidence and privileged. Door closed.
I look around and the only door beckoning is the one inscribed with Creative Author across it. What exactly does that mean? Do I need a password? Is my password a genre? If so, what is it? Am I writing for a genre or two or am I expressing whatever has inspired me? So many questions!
Whether micro fiction, short stories, or full-blown novels, I am inspired by the ‘long-tailed’ consequences of historical events that continue to bleed into the lives of people today. So, my writings tend towards historical fiction but instead of transporting the reader back in time, I bring history into contemporary settings, typically rural Australia settings mixed with big city and global influences. The ‘long-tails’ might be wrought in family sagas, white collar crime, commercial intrigues, or socioeconomic settings, to name a few. Such is the freedom of creative fiction.
Can I shift disciplines from corporate non-fiction to whatever fictional genres capture my imagination and can I do so in ways that take my readers on adventures? There is but one way to find out, but it still feels like freedom!