How many notebooks do you have? Not the irresistible ones you’ve stroked in arty places and found yourself buying, only to leave them untouched because they were ‘too nice.’ No, I’m talking about the partially filled, slightly dog-eared variety, with random notes tucked inside, the ones you’ve promised yourself you’ll go back to?

I can’t tell you how many I have. Not because I’m being super-secretive, but because I stopped counting a long time ago. The answer would be embarrassing.

For a time, they lived in a big blue plastic box, then they began to nudge the lid open, so the others got piled up on top, until the pile was so precarious I was in danger of needing to invest in box number two. But would that be an investment? Surely it would be akin to procrastination and, as I know only too well, I don’t need to hone my skills in that department.

What needed to be done, I decided, was to attack each notebook in turn. Type stuff up, put it into orderly digital categories, use some kind of code or sticker in the notebook to show what had been dealt with. This would then allow me – ooh, two or three months down the line – to select various drafts from the orderly files on my laptop, refine pieces that particularly called to me, and submit them to appropriate places from an impeccable spreadsheet based on focussed research. That was three years ago.

Don’t get me wrong – I did make a start (thanks to a boring tale involving medication that gives me a bonus half hour before breakfast). But it was just taking too long. I was, as my mother always loved to tell me, ‘at the back of the queue when they were handing out patience.’ I grew dispirited, annoyed with myself. At this rate, it could take me years to type everything up before I even began to develop or edit any of it. There was an amalgamation of pieces drafted in cafés, on trains, planes, at Lapidus days, workshops, masterclasses, and yes – for goodness’ sake – even during residential weeks at Arvon. All just sitting there.

I don’t help myself by being fickle. Poetry? Ooh yes, I’ll take that piece I started at Simon Armitage’s masterclass, craft it until it’s as good as I can get. Or maybe I could try my hand at a radio script? I did go on that workshop run by Rachel Joyce, two or three years ago, I wrote that thing about someone in an accident … or maybe it was a hospital?

Inevitably, I reached the point, over porridge one morning, where I decided this bonus half hour would probably be much better spent working on The Novel (two, to be exact, but the first one makes me cringe). So, the notebooks were shelved for a while – literally – and out came the novel again. But that took so long to get my head back into it that I ended up doing neither. Instead, I reassured myself, oh so easily, that half an hour’s reading before breakfast would ‘inform’ my own writing, which of course was true up to a point. But actually, the real informing to be done was from Procrastinating Me to Writer Me. Now here’s a radical idea, I told myself, have you noticed there are actually another 23.5 hours in each day? I know, I know, said the other one, but take Leonardo da Vinci … I mean, he had treatise after treatise he never got round to writing up, all those fountains and statues never built. But he was Leonardo, Glynis: look what he did do. OK, fair point.

Plan B – or C or D or whatever it is by now – is to go through each notebook as originally planned, but this time just type up the pieces that really pull me. The ones where I’ve put a big tick by the side or scrawled ‘do something with this.’

Meanwhile, I’ve discovered Tim Clare’s online Couch to 80K Bootcamp, so I make sure I do at least one of his short exercises every day. Why do we find it so much easier when it’s someone other than ourselves urging us to spend just ten minutes to do something that, let’s be honest, we actually enjoy doing once we get down to it?

I find setting a timer works. So too does shutting the rest of the notebooks out of site and being systematic. OK, so you’re not a great Renaissance genius, but you might just find a tiny nugget in that wobbling pile of notebooks that’s worth sharing.

Glynis Charlton [www.glynischarlton.com] is a poet and fiction writer whose work has been published in several anthologies. Her poetry was Highly Commended for the Bridport Prize 2016 and she is currently working on two novels. Glynis has also scripted a film short, screened at Leeds International Film Festival, and another screened on BBC1. She works freelance and has been running workshops in Yorkshire for many years and also runs an autumn writing retreat on a tiny Italian island [www.italianwritingretreat.org]